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THE JOURNEY THROUGH TIME

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Events

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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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BHP gathered finds from its connected research sources. Showing the 4 strongest Black History matches.
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NMAAHC

Albumen photograph of Wild West Performers

Date
ca. 1905
Photograph by
Caption
This picture of American western entertainers, particularly notable for its display of ethnic and gender diversity, is an example of the uniqueness that also characterized the internationally popular Buffalo Bill’s performing Congress of Rough Riders of the World. The Riders consisted largely of former U. S. and foreign military veterans, recruited to re-enact a highly sensationalized, literal “theater” of wars, skirmishes, weapons and equestrian skill. Traveling troupes like the one pictured, created profound impressions of race relations in and beyond the Americas that last to this day.
Description
An albumen print depicting Wild West Performers. Captured outdoors, the image shows a large crowd of diverse individuals, both men and women, arranged sitting and standing in groups along riser seating, a long curtain strung behind them. Prominently featured in the back center is a teepee structure with several individuals in indigenous American style dress, some with feather headdress. In the center middle, below the teepee structure, is a group of white men in dark suits, and below them is a group of men in military style dress with tall hats, some holding musical instruments. Sitting on the ground at bottom center is a group of white women, some dressed as cowgirls. Among the crowd on the left side are more individuals in varied Native American dress, men in white turbans, a group of men in Prussian military style uniforms with eagle insignias on their hats, a group of men in sombreros, and a group of men dressed as cowboys and vaqueros, two holding lasso ropes. Among the crowd on the right side are more individuals in a variety of styles of American Indian dress, a black man holding a tuba, individuals in draped keffiyeh-style headscarves, and, along the bottom, a group of young men in light colored jackets, pants, tall spats, and hats reading [OZ], holding rifles. On the reverse of the photograph are various numerical inscriptions made in graphite.
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National Museum of African American History and Culture Collection
Classification
Photographs and Still Images
Credit Line
Collection of the Smithsonian National Museum of African American History and Culture
Data Source
National Museum of African American History and Culture
Object number
2013.244.38
Type
albumen prints
portraits
Restrictions & Rights
Public Domain
Proper usage is the responsibility of the user.
Medium
albumen and silver nitrocellulose on paper (fiber product) cardboard
Dimensions
H x W (Image): 4 7/16 x 6 5/8 in. (11.2 x 16.8 cm)
H x W (Sheet): 5 1/8 x 7 1/16 in. (13 x 17.9 cm)
H x W (Mount): 7 1/16 x 9 in. (17.9 x 22.9 cm)
Title
Object Name • Albumen photograph of Wild West Performers
Record ID
nmaahc_2013.244.38
Museum
NMAAHC
Title Sort
ALBUMEN PHOTOGRAPH OF WILD WEST PERFORMERS
Source
National Museum of African American History and Culture
Metadata Usage
CC0
Date
1910s • 1890s
Geo Location
Country • United States • Continent • North and Central America • Country • Mexico • Region • Latin America • Country • Argentina • Continent • South America • Country • Russia • Continent • Europe • Country • Germany • Region • Middle East
Online Media Type
Images
Online Media Rights
No Known Copyright Restrictions

Media

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

NMAAHC

Straw sombrero hat associated with Civil Rights campaign, Camden, Alabama

Date: Date

Description

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NMAAHC

Tintype of man saluting against a backdrop of Grant's Tomb

Date: Date

Caption

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NMAAHC

Albumen photograph of Wild West Performers

Date: Date

Caption

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No preview image
NMAAHC

Photograph of Disc Jockey Bill “Hawk” Hawkins with a strolling band

Date: Date

Description

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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

Which heavyweight champion was known as the “Brown Bomber”?

Joe Louis.