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THE JOURNEY THROUGH TIME

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Events

Moments that changed communities, movements, institutions and the nation.

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MY'STORY

The MOVE Fire

This is a personal recollection on the Move fire on May 13, 1985 Philadelphia police fired thousands of rounds at the MOVE house, city officials approved dropping an explosive device on the roof, the resulting fire was allowed to burn, 11 people—including five children—died, and 61 homes were destroyed. Philadelphia City Council later called it a “brutal attack carried out by the City of Philadelphia on its own citizens” and acknowledged that no individual faced criminal consequences for the bombing. One timeline correction worth preserving for the BHP record: the major previous MOVE-police confrontation was August 8, 1978, about seven years before the bombing, not a year or two earlier. Officer James Ramp was killed, other police and firefighters were wounded, nine MOVE members were later convicted, and television cameras recorded police beating Delbert Africa during his arrest. The 1985 MOVE Commission later specifically criticized city planners for failing to adequately use lessons from that 1978 confrontation. And that actually strengthens the point you’re making: 1985 did not happen without precedent or institutional memory. There had already been a deadly confrontation with MOVE, years of conflict, negotiations and police involvement before Osage Avenue.

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BLACK FACTS
The Truths They Never Taught You...

The Violence That Helped Spark the NAACP

In August 1908, a white mob attacked Springfield, Illinois’s Black community, destroying homes and businesses and lynching two Black men. National outrage over the violence helped spur the movement that created the NAACP the following year.

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NMAAHC

Black Effect: Main View Render

Date
2019
Designed by
Illustrated by
Description
An Adobe Illustrator file of the “main view render” from a project titled “Black Effect” by Tobi Ashiru. The project is an artistic reimagining of the National Museum of African American History and Culture with this view depicting the approach to the building from a footpath leading from the northeast street corner to the east entrance of the building.
At the center of the image is a rendering of the museum in white, shaded with black diagonal lines. All five above ground floors are visible in this rendering including: Heritage Hall, the top floor, and all three tiers of the museum. The street is rendered in dark, asphalt textured gray and the footpath is rendered in a lighter gray. The footpath extends from the street corner towards the northeast corner of the building where it splits into a footpath that lines the north side of the building and a footbridge with handrails that leads to the east entrance of the building.
Extending horizontally on either side of the footpath is a narrow water feature outlined in white and rendered in water textured blue, segmenting the museum grounds from the pedestrian sidewalk along the street. Between the horizontal water feature and the footbridge on the left is a larger, round water feature featuring a black sculpture of a nude woman representing the Yoruba orisha Yemaya, lying in repose atop black rocks. To the right of the water feature are three gold plinths with statues and figures on them. The figure on the far left is a bronze head of a Benin oba (king). The middle statue is of a female figure, representing the Yoruba orisha Osun, posed with her proper left knee raised and her hands cupped to form a circle at her waist. The statue on the far right is of a pair of royal male and female figures by Kwaku Benpoh. On the north side of the building is a raised walkway lined with three bronze sculptures of Shirley Chisholm, Dr. Martin Luther King Jr., and Malcolm X. The raised walkway appears to extend from the grass in front of the museum to the top corner of the first tier.
The lawn of the museum is rendered with a grassy textured green. It is landscaped with trees lining some of the walkways, including one cherry tree near the entrance. There are small, yellow rose bushes at the bases of the trees and lining one side of the horizontal water feature. There are stylized renderings of men, women, and children wandering around the museum grounds. The sky is rendered in yellow and shaded at the top with small black circles.
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National Museum of African American History and Culture Collection
Collection title
Rendering Visible
Portfolio/Series
Black Effect
Classification
Decorative Arts, Craft, and Design
Credit Line
Collection of the Smithsonian National Museum of African American History and Culture, Gift designed by Tobi Ashiru
Data Source
National Museum of African American History and Culture
Object number
2021.114.4
Type
architectural drawings
digital media - born digital
Restrictions & Rights
© Tobi Ashiru
Permission required for use. Proper usage is the responsibility of the user.
Medium
digital
Dimensions
H x W: 9000 pixels × 9000 pixels
File size: 333.16 MB
Title
Title • Black Effect: Main View Render
Record ID
nmaahc_2021.114.4
Museum
NMAAHC
Title Sort
BLACK EFFECT: MAIN VIEW RENDER
Source
National Museum of African American History and Culture
Metadata Usage
CC0
Date
2010s
Geo Location
City • Washington • State • District of Columbia • Country • United States • Continent • North and Central America
Online Media Type
Images
Online Media Rights
Limited Use

Source: National Museum of African American History and Culture, Smithsonian Institution. Rights and restrictions shown above are supplied by the Smithsonian record.

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NMAAHC

Photograph of Terri Lyne Carrington and Richard Pablo Landrum

Date: Date

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NMAAHC

Black Effect: Main View Render

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NMAAHC

Divine Legacies in Black Jewelry

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NMAAHC

Photograph of the Young Lords Party rally

Date: Date

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TOPIC OF THE DAY

Greenwood / Black Wall Street

Before the 1921 destruction of Tulsa’s Greenwood District, Black residents had created a remarkable center of business and community life. The district included stores, professional offices, entertainment venues and homes owned by Black citizens. Understanding Greenwood means learning what was built—not only what was burned.

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TRIVIA QUESTION OF THE DAY

Who was the first African-American woman millionaire in the United States?

Madam C.J. Walker