Feb 1, 2011
Romesh Ratnesar
Romesh Ratnesar
"Romesh Ratnesar has produced a riveting account of one of the greatest speeches in modern times, which would have been enough. But along the way he has also written a brilliant and incisive history of the end of the Reagan Presidency and the Cold War. Tear Down this Wall affirms the power of words."
Why U.S. Should Cheer Tunisia’s Risky Revolution
Time.com, January 17th, 2011
What are we to make of the tumult in Tunis? Few uprisings in recent memory have materialized as suddenly and produced results as swiftly as Tunisia's Jasmine Revolution. Just one month ago, former President Zine el-Abdine Ben Ali and his clan luxuriated in the kind of outrageous fortune that only two decades of U.S.-backed, kleptocratic rule can buy: beachfront villas, pet tigers, ice cream flown in from St. Tropez. Now they can't even keep their rooms at Euro Disney.
"Romesh Ratnesar has produced a riveting account of one of the greatest speeches in modern times, which would have been enough. But along the way he has also written a brilliant and incisive history of the end of the Reagan Presidency and the Cold War. Tear Down this Wall affirms the power of words."
Why U.S. Should Cheer Tunisia’s Risky Revolution
Time.com, January 17th, 2011
What are we to make of the tumult in Tunis? Few uprisings in recent memory have materialized as suddenly and produced results as swiftly as Tunisia's Jasmine Revolution. Just one month ago, former President Zine el-Abdine Ben Ali and his clan luxuriated in the kind of outrageous fortune that only two decades of U.S.-backed, kleptocratic rule can buy: beachfront villas, pet tigers, ice cream flown in from St. Tropez. Now they can't even keep their rooms at Euro Disney.
Dreams And Reality Forever Intertwined In 'Harlem' : NPR
Dreams And Reality Forever Intertwined In 'Harlem' : NPR
Harlem Is Nowhere: A Journey To The Mecca Of Black America By Sharifa Rhodes-Pitts
Harlem has served as an incubator both for African-American optimism and for ongoing racial conflict. In her first book, Harlem Is Nowhere, Sharifa Rhodes-Pitts writes of a Harlem where legacies of triumph and misfortune in America still duel. The reality, she finds, is somewhere in between.
Growing up in Texas, Rhodes-Pitts visited the packed tenements and smoky jazz clubs of Harlem through books, with Langston Hughes, Ralph Ellison, Zora Neale Hurston and many others as her guides.
Growing up in Texas, Sharifa Rhodes-Pitts visited the packed tenements and smoky jazz clubs of Harlem with Langston Hughes, Ralph Ellison, Zora Neale Hurston and many others as her guides. After college, she moved to the neighborhood she calls the mecca of black America herself. And now she's written a book that will engage the imaginations of readers to come, and the forces and individuals who created Harlem and infused it with meaning far beyond the confines of Northern Manhattan.
Excerpt: 'Harlem Is Nowhere'
I used to stare into similar wide, open spaces as a child. I grew up in a city where the combined meaning of the words urban and planning was imprecise. To reach the side of town where we lived, you took a highway from the city center that crossed vast stretches of undeveloped land. From the window of our car, I stared into these spaces. I sought evidence of activity in the deep distance — perhaps a figure dashing across the field — from which I could invent a story. Typically, the only figures in those fields were small herds of undernourished horses or cattle. This brittle land was used as a makeshift pasture — livestock foraged for nourishment among the dry brush between oil pumps and electric towers. I looked out the windows of our car to see how far into the horizon my eyes could carry me, watching for something I hadn't noticed before. But that landscape never changed. It was twenty years before new housing was built along that highway. When I was a child, those fields were always marked with faded billboards offering the acreage for development, perpetually in search of a willing taker.
When I came to live in Harlem, the fenced-off, overgrown empty lots here also attracted my eye. At first, they were evidence: I had indeed arrived in the place I'd heard of. The empty lots held some significance; it was similar to the feeling I'd had when, riding from the airport in New Delhi, I first saw cows in the road. Yes, this is the place I have heard about, I'd thought. There are cows all over the road exactly as they were in the guidebook pictures. The empty lots in Harlem had the same verifying quality. Later, those empty lots provided something beyond veracity. They were a place for the eyes to rest. This was not some romance for ruins. These blank, disavowed spaces had been labeled as blight, but they provided a visual and mental break from the clamor of the buildings and people. There was a hint of the horizon.
Here was solace from the crowded landscape — both the physical crowdedness of buildings and people and the crowd of stories and histories. A friend of mine describes certain cities as being full — too much has happened there, you cannot move. Paris, he says, is the quintessentially full city. I suspect he'd say Harlem is another place that is too full — though its crowdedness and overpopulation have been discussed in other terms. In the empty lots, my mind escaped history.
Later I understood that these empty fields were indeed the setting of a history, the loathsome history of neglect and destruction stretching back to the beginning of black settlement in Harlem and its corollary, white flight. But at first, as in Texas, those spaces where my thoughts played were just settings for scenes and fancies whose significance was fleeting. I admired the wild patches of Queen Anne's lace that grew up in summer. Independent businessmen used some lots as locations for unofficial open-air markets, selling used furniture or vintage clothes.
Many of these places are now occupied by new condominiums. One is now a Mormon church. As the empty lots disappeared, I became more interested in what was there before. In some places it is possible to see what was there: the foundation of a building remains; a front stoop rises up from the sidewalk but leads to nothing. Such things recede into the background, part of the natural history of this place, as if they had always been like that. But this is the evidence of an unnatural history — it was not always this way, it came to be that way for a reason.
There are new empty lots different from those I noticed upon first arriving. Returning after a year's absence, I found an empty lot at the southwestern corner of Lenox Avenue and 125th Street. It was covered with fresh gravel, to stop its reversion to a wild field. When I first saw the lot something sank inside of me — the sensation mocked the feeling of a demolition, a building brought to its knees. This new empty lot opened a new horizon: from 125th Street you could see clear through the block to 124th Street. But the view was not one that gave rest or inspired the eye and mind. There was only the instantaneous, frantic search for something that once was there and was there no longer.
It was a grand old apartment house whose facade hugged the corner, making the intersection look like a stately plaza. It might have been a candidate for landmark status, but its windows were sealed up with cement bricks. Soon after I arrived in Harlem, the few tenants remaining in the building's storefronts — a decrepit Chinese restaurant, a flamboyant haberdashery, a store specializing in women's undergarments, and a shoe shine and repair service — had all closed up shop.
The building stayed in place long after those stores had gone. For a few years it brought revenue as the background for various athletic-wear billboards; for several seasons a heroic image of Muhammad Ali, having just knocked out an opponent, loomed over Lenox Avenue. I heard a rumor that the building had not been demolished because a family lived inside and that they'd defiantly refused to leave when the other tenants cleared out. This seemed impossible with all of the windows bricked over, and I never saw anyone enter or exit the building. But I did always see — through a small window in a battered door on Lenox Avenue — a light illuminating the vestibule.
There used to be an empty lot near my house, on Seventh Avenue just south of 133rd Street. One day in summer, I saw through its chain-link fence a pile of watermelon rinds at the rear of the lot. There was an open pit in the ground nearby, where someone was burying the waste. Later, the pile disappeared and the open pit was covered by recently turned earth. Soon, construction began on that site. It was only a matter of weeks before the frame of a new building rose up on the lot. A security guard was now stationed there each night to guard the property. He didn't wear a uniform, and like many of the men (and sometimes women) who work security jobs at construction sites in Harlem, he was an immigrant from West Africa.
Later, when construction was nearly completed but the premises were not yet occupied, I passed again one night and saw through the building's glass doors the outline of a man sitting in the condominium entry. He kept watch in near darkness, visible only by the light of a nearby street lamp. Whenever I passed the spot, I looked to see if anyone was inside. Sometimes the guard was there, slumped in his seat, sleeping through his shift out of exhaustion or boredom. Other times, there was only an empty chair. A few times, the watchman waved hello. Once, the figure beckoned me inside.
I didn't accept the invitation. The building still looked unoccupied, but a large sign now hung from its facade. The building is called the Ellison. To advertise the property, the sign shows a photograph of a handsome, clean-cut young black man in a suit. He is shown in regal profile, his eyes are closed, his chin is lifted toward the sky. Change your state of mind, begins the sales pitch for the new condominiums. The man on the sign looks lost in contemplation, on the brink of transcendence, about to receive some celestial enlightenment. Or maybe he has just thrown back his head and is about to unleash a howling laugh.
Harlem Is Nowhere: A Journey To The Mecca Of Black America By Sharifa Rhodes-Pitts
Harlem has served as an incubator both for African-American optimism and for ongoing racial conflict. In her first book, Harlem Is Nowhere, Sharifa Rhodes-Pitts writes of a Harlem where legacies of triumph and misfortune in America still duel. The reality, she finds, is somewhere in between.
Growing up in Texas, Rhodes-Pitts visited the packed tenements and smoky jazz clubs of Harlem through books, with Langston Hughes, Ralph Ellison, Zora Neale Hurston and many others as her guides.
Growing up in Texas, Sharifa Rhodes-Pitts visited the packed tenements and smoky jazz clubs of Harlem with Langston Hughes, Ralph Ellison, Zora Neale Hurston and many others as her guides. After college, she moved to the neighborhood she calls the mecca of black America herself. And now she's written a book that will engage the imaginations of readers to come, and the forces and individuals who created Harlem and infused it with meaning far beyond the confines of Northern Manhattan.
Excerpt: 'Harlem Is Nowhere'
I used to stare into similar wide, open spaces as a child. I grew up in a city where the combined meaning of the words urban and planning was imprecise. To reach the side of town where we lived, you took a highway from the city center that crossed vast stretches of undeveloped land. From the window of our car, I stared into these spaces. I sought evidence of activity in the deep distance — perhaps a figure dashing across the field — from which I could invent a story. Typically, the only figures in those fields were small herds of undernourished horses or cattle. This brittle land was used as a makeshift pasture — livestock foraged for nourishment among the dry brush between oil pumps and electric towers. I looked out the windows of our car to see how far into the horizon my eyes could carry me, watching for something I hadn't noticed before. But that landscape never changed. It was twenty years before new housing was built along that highway. When I was a child, those fields were always marked with faded billboards offering the acreage for development, perpetually in search of a willing taker.
When I came to live in Harlem, the fenced-off, overgrown empty lots here also attracted my eye. At first, they were evidence: I had indeed arrived in the place I'd heard of. The empty lots held some significance; it was similar to the feeling I'd had when, riding from the airport in New Delhi, I first saw cows in the road. Yes, this is the place I have heard about, I'd thought. There are cows all over the road exactly as they were in the guidebook pictures. The empty lots in Harlem had the same verifying quality. Later, those empty lots provided something beyond veracity. They were a place for the eyes to rest. This was not some romance for ruins. These blank, disavowed spaces had been labeled as blight, but they provided a visual and mental break from the clamor of the buildings and people. There was a hint of the horizon.
Here was solace from the crowded landscape — both the physical crowdedness of buildings and people and the crowd of stories and histories. A friend of mine describes certain cities as being full — too much has happened there, you cannot move. Paris, he says, is the quintessentially full city. I suspect he'd say Harlem is another place that is too full — though its crowdedness and overpopulation have been discussed in other terms. In the empty lots, my mind escaped history.
Later I understood that these empty fields were indeed the setting of a history, the loathsome history of neglect and destruction stretching back to the beginning of black settlement in Harlem and its corollary, white flight. But at first, as in Texas, those spaces where my thoughts played were just settings for scenes and fancies whose significance was fleeting. I admired the wild patches of Queen Anne's lace that grew up in summer. Independent businessmen used some lots as locations for unofficial open-air markets, selling used furniture or vintage clothes.
Many of these places are now occupied by new condominiums. One is now a Mormon church. As the empty lots disappeared, I became more interested in what was there before. In some places it is possible to see what was there: the foundation of a building remains; a front stoop rises up from the sidewalk but leads to nothing. Such things recede into the background, part of the natural history of this place, as if they had always been like that. But this is the evidence of an unnatural history — it was not always this way, it came to be that way for a reason.
There are new empty lots different from those I noticed upon first arriving. Returning after a year's absence, I found an empty lot at the southwestern corner of Lenox Avenue and 125th Street. It was covered with fresh gravel, to stop its reversion to a wild field. When I first saw the lot something sank inside of me — the sensation mocked the feeling of a demolition, a building brought to its knees. This new empty lot opened a new horizon: from 125th Street you could see clear through the block to 124th Street. But the view was not one that gave rest or inspired the eye and mind. There was only the instantaneous, frantic search for something that once was there and was there no longer.
It was a grand old apartment house whose facade hugged the corner, making the intersection look like a stately plaza. It might have been a candidate for landmark status, but its windows were sealed up with cement bricks. Soon after I arrived in Harlem, the few tenants remaining in the building's storefronts — a decrepit Chinese restaurant, a flamboyant haberdashery, a store specializing in women's undergarments, and a shoe shine and repair service — had all closed up shop.
The building stayed in place long after those stores had gone. For a few years it brought revenue as the background for various athletic-wear billboards; for several seasons a heroic image of Muhammad Ali, having just knocked out an opponent, loomed over Lenox Avenue. I heard a rumor that the building had not been demolished because a family lived inside and that they'd defiantly refused to leave when the other tenants cleared out. This seemed impossible with all of the windows bricked over, and I never saw anyone enter or exit the building. But I did always see — through a small window in a battered door on Lenox Avenue — a light illuminating the vestibule.
There used to be an empty lot near my house, on Seventh Avenue just south of 133rd Street. One day in summer, I saw through its chain-link fence a pile of watermelon rinds at the rear of the lot. There was an open pit in the ground nearby, where someone was burying the waste. Later, the pile disappeared and the open pit was covered by recently turned earth. Soon, construction began on that site. It was only a matter of weeks before the frame of a new building rose up on the lot. A security guard was now stationed there each night to guard the property. He didn't wear a uniform, and like many of the men (and sometimes women) who work security jobs at construction sites in Harlem, he was an immigrant from West Africa.
Later, when construction was nearly completed but the premises were not yet occupied, I passed again one night and saw through the building's glass doors the outline of a man sitting in the condominium entry. He kept watch in near darkness, visible only by the light of a nearby street lamp. Whenever I passed the spot, I looked to see if anyone was inside. Sometimes the guard was there, slumped in his seat, sleeping through his shift out of exhaustion or boredom. Other times, there was only an empty chair. A few times, the watchman waved hello. Once, the figure beckoned me inside.
I didn't accept the invitation. The building still looked unoccupied, but a large sign now hung from its facade. The building is called the Ellison. To advertise the property, the sign shows a photograph of a handsome, clean-cut young black man in a suit. He is shown in regal profile, his eyes are closed, his chin is lifted toward the sky. Change your state of mind, begins the sales pitch for the new condominiums. The man on the sign looks lost in contemplation, on the brink of transcendence, about to receive some celestial enlightenment. Or maybe he has just thrown back his head and is about to unleash a howling laugh.
New Car Technology Tells Tailgaters To Back Off : NPR
New Car Technology Tells Tailgaters To Back Off : NPR
In 2009, more than 30,000 Americans were killed in car crashes. Most of those accidents were avoidable — the result of driver error.
Now, the auto industry wants to cut down on traffic deaths by using vehicle-to-vehicle communications technology.
The technology enables cars in close proximity to one another to share information wirelessly. The premise behind it is that most crashes are avoidable if drivers have enough time to react.
http://www.npr.org/2011/01/31/133374309/new-car-technology-tells-tailgaters-to-back-off
In 2009, more than 30,000 Americans were killed in car crashes. Most of those accidents were avoidable — the result of driver error.
Now, the auto industry wants to cut down on traffic deaths by using vehicle-to-vehicle communications technology.
The technology enables cars in close proximity to one another to share information wirelessly. The premise behind it is that most crashes are avoidable if drivers have enough time to react.
http://www.npr.org/2011/01/31/133374309/new-car-technology-tells-tailgaters-to-back-off
Norton Simon: The Best Museum You Haven't Visited : NPR
Norton Simon: The Best Museum You Haven't Visited : NPR
The Norton Simon Museum in Pasadena, California, may be America's least known great museum. It's filled with first-rate Old Masters, Renoirs, C�zannes, Picassos, and South Asian sculptures. The place often has more European than American visitors - Europeans know about it, Americans do not. Even Californians who live nearby claim they've always meant to get there - but, you know, it doesn't work out.
http://www.npr.org/2011/01/31/133284083/norton-simon-the-best-museum-you-havent-visited
The Norton Simon Museum in Pasadena, California, may be America's least known great museum. It's filled with first-rate Old Masters, Renoirs, C�zannes, Picassos, and South Asian sculptures. The place often has more European than American visitors - Europeans know about it, Americans do not. Even Californians who live nearby claim they've always meant to get there - but, you know, it doesn't work out.
http://www.npr.org/2011/01/31/133284083/norton-simon-the-best-museum-you-havent-visited
La Lupe: A Performer Ruled By Instinct, Ecstasy : NPR
La Lupe: A Performer Ruled By Instinct, Ecstasy : NPR
But her legacy is not a sad song. She left us treasures that we should savor, and that place her among the '60s Queens of Tough: Janis Joplin, Tina Turner and La Lupe.
Few singers have had as swift a rise and steep a descent as La Lupe, the Queen of Latin Soul in the '60s. At her peak, she was a regular at the Palladium Club and played Madison Square Garden. By the late '80s, she was on welfare with no fixed address.
http://www.npr.org/player/v2/mediaPlayer.htmlaction=1&t=1&islist=false&id=133217813&m=133370864
http://www.npr.org/2011/01/31/133217813/la-lupe-a-performer-ruled-by-instinct-ecstasy
But her legacy is not a sad song. She left us treasures that we should savor, and that place her among the '60s Queens of Tough: Janis Joplin, Tina Turner and La Lupe.
Few singers have had as swift a rise and steep a descent as La Lupe, the Queen of Latin Soul in the '60s. At her peak, she was a regular at the Palladium Club and played Madison Square Garden. By the late '80s, she was on welfare with no fixed address.
http://www.npr.org/player/v2/mediaPlayer.htmlaction=1&t=1&islist=false&id=133217813&m=133370864
http://www.npr.org/2011/01/31/133217813/la-lupe-a-performer-ruled-by-instinct-ecstasy
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