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Benjamin Franklin Bridge

Farewell factories, hello luxury lofts

Industry in North America has changed enormously in the seven decades since World War II. Manufacturing has moved away from the industrial heartland of the northeastern and midwestern United States and eastern Canada, to other parts of the continent or overseas.

This process is commonly referred to as deindustrialization. I don’t like this term, because it seems to imply that the industrial revolution has somehow ended and moved on from a region or a country. Nothing could be further from the truth, at least not in the case of North America. The ex-industrial heartland of North America still has plenty of manufacturing—Ford Motor Company still has an enormous operation in Dearborn, Michigan, for example—and people living there continue to live by the clock, consume large amounts of energy, and use manufactured goods. The United States is no longer the world’s leader in manufacturing, but it holds the second place with a very comfortable lead over third-place Japan.

Yet even if the term deindustrialization is misleading, its effects are real enough. The closing down of a major operation in an industrial town can be traumatic, as the town loses a major source of tax revenue and the employees lose their jobs and union wages. The effect of industrial relocation is portrayed in a memorable (if maudlin) way in Michael Moore’s 1989 debut film Roger & Me.

Another example of industrial relocation appears in a book I read way back in my first semester of grad school: Capital Moves: RCA’s Seventy-Year Quest for Cheap Labor, by Jefferson Cowie. The book describes how the Radio Corporation of America moved its manufacturing from New Jersey to Indiana, Tennessee (briefly), and finally northern Mexico.

RCA made some of the twentieth century’s most popular consumer electronics products, radios and televisions. At its peak, it was one of most profitable companies in the country. Thirty Rockefeller Plaza in Midtown Manhattan, now called the Comcast Building, was originally named the RCA Building.

RCA opened its first factory in 1929 in Camden, New Jersey, just across the Delaware River from Philadelphia. The factory produced radios, the hottest consumer electronic product of its day. Management had hoped that the largely female workforce of the factory would not be interested in unionization. When the workers did unionize after a four-week strike—and with help from Depression-era labor legislation known as the Wagner Act—management decided to set up a new facility with a new, non-unionized workforce in Bloomington, Indiana, in 1940. Over time, as RCA and other industries left Camden, the former industrial tracts of the city turned into a desolate wasteland of boarded-up factories.

At length, and after a short but failed venture in Memphis, Tennessee, RCA moved its manufacturing of consumer electronics out of the United States entirely, and across the border to Ciudad Juárez in the northern Mexican state of Chihuahua. The RCA operation in Bloomington finally closed down in 1998, after the laserdisc players manufactured there had failed to become popular.

Two months ago, I went to a conference in Philadelphia, and out of curiosity I skipped a few sessions and rode a train across the Delaware to check out the remains of RCA’s industrial empire in Camden. Like many cities in the old industrial heartland of North America, Camden is slowly being redeveloped, its old factories and warehouses being torn down or converted to new uses.

RCA Building #17 still stands tall above Camden, its ten-story tower visible from parts of Philadelphia. In 2003, it was converted into apartments, with some commercial space on the ground floor.

RCA Building #17 in its new incarnation as a luxury apartment building.

RCA Building #17 in its new incarnation as a luxury apartment building.

Detail of the tower of the RCA factory, with the company's logo in stained glass.

Detail of the tower of the RCA factory, with the company’s logo in stained glass.

Awning of The Victor, as the building has been rebranded.

Awning of The Victor, as the building has been rebranded.

Plaque on The Victor.

Plaque on The Victor.

I am glad that the RCA factory was saved from the wrecking ball, although I wonder if the redevelopers could have come up with more creative uses for the building. As RCA Building #17 and its neighbors are transformed from boarded-up shells to luxury lofts, Camden is leaping from one urban crisis to another. The new urban crisis is caused by ballooning property values that make the city classist and segregated.

This is not a problem that I can solve in this short blog post—or anywhere. But it is something that should give pause to the redevelopers of old urban industrial sites.

New luxury lofts in the works in Camden.

New luxury lofts in the works in Camden.

Remodeling Nehru’s house

In the three years since I did a little of my dissertation research there, the Nehru Memorial Museum and Library (NMML) in New Delhi has become the subject of controversy over plans to remodel the museum or its surrounding grounds.

As much as I like NMML, I grant that the museum could use a good remodeling. It is housed in Teen Murti Bhawan, a British-era mansion that was originally built as the Commander-in-Chief’s house before independence, and after independence served as the official residence of India’s first Prime Minister, Jawaharlal Nehru. After Nehru’s death in 1964, the house was converted into a museum rather than serving as the official residence of subsequent Prime Ministers.

Backside of Teen Murti Bhawan.

Backside of Teen Murti Bhawan.

The bottom floor of the house has exhibits about Nehru’s life and the independence movement. It is a standard textbook-style narrative, and it is quite unengagingly presented with black-and-white photographs and hard-to-read text in English and Hindi. The upper floor has some preserved rooms, including Nehru’s office and the bedroom where he died. The rooms are certainly interesting too look at, but they are not in the best of condition. I remember seeing water damage on the ceiling in one or two of them.

View of Nehrus office in Teen Murti Bhawan.

View of Nehru’s office in Teen Murti Bhawan.

The bedroom that Nehru's daughter Indira Gandhi used when she stayed at Teen Murti Bhawan.

The bedroom that Nehru’s daughter Indira Gandhi used when she stayed at Teen Murti Bhawan.

Surreal Lok Sabha replica, with trompe-l'oeil walls, mannequins of MPs, and spots on the benches for real people to sit too. I really hope this is preserved in any remodeling of the museum

Surreal Lok Sabha replica, with trompe-l’oeil walls, mannequins of MPs, and spots on the benches for real people to sit too. I really hope this is preserved in any remodeling of the museum.

The house is located on a large landscaped estate, which also includes a research library, a planetarium, and a medieval hunting lodge that was incorporated into the site plan when the mansion was built.

SLV-3, India's first satellite launcher, on display next to the planetarium at Teen Murti.

SLV-3, India’s first satellite launcher, on display next to the planetarium at Teen Murti.

Proposals to remodel NMML go in two different directions. One direction is modernizing the existing displays but keeping the nationalistic, Nehru-centered narrative intact. This is outlined in a document posted on the NMML website, “New Design Plan for the Nehru Museum,” from September 2015. The black-and-white photographs and hard-to-read text will go, to be replaced by touchscreens.

The other direction for remodeling the museum is completely overhauling it to honor all prime ministers, not just Nehru. This seems to be favored by the current ruling party, the BJP, which has made it a point to play down the legacy of Nehru.

From what I can tell, the proposals have reached a compromise of sorts, with Teen Murti Bhawan set to stay as it is and a national prime ministers museum to be built somewhere else on the estate.

These proposals to remodel Nehru’s house are at their heart political, but I would like to look at them from a historical perspective—or rather a historiographical perspective, which means how history is interpreted.

I don’t know enough about the national prime ministers museum proposal to comment on it, but from studying the “New Design Plan for the Nehru Museum,” I feel that it has missed an opportunity to reinterpret Nehru and his legacy in an appropriately critical light. As is it now, there is no room in Indian popular discourse for a critical discussion of Nehru. He can be either all good or all bad, and the debates about remodeling NMML fall into these predictable ruts.

Like every leader in the history of this planet, Nehru left a mixed legacy. This legacy should be open for interpretation, but it shouldn’t be inevitably polarized. Like many leaders of his time, Nehru promoted industrial growth and democratization at the expense of minority communities. He proudly trumpeted anti-colonialism but refused to criticize Soviet interventions in eastern Europe. He claimed to believe in democracy and self-determination but took a firm line on Kashmir and brutally suppressed an insurgency in Nagaland. This ambiguity in Nehru’s legacy needs to be taken seriously, not papered over by heroizing or villainizing narratives.

But isn’t it inevitable that a museum dedicated to one man’s legacy would portray him as a hero? I argue that it is not. As an example to the contrary, consider the Lyndon Baines Johnson Presidential Library and Museum in Austin, Texas, USA. As president of the United States from 1963 to 1969, Johnson had as mixed a legacy as Nehru. He promoted civil rights legislation and social welfare programs known as the Great Society. But he also escalated the the American war in Vietnam, a war that left over a million people dead. The LBJ Library does not softpedal Johnson’s role in escalating the war.

The same approach can and should be taken for a remodeling of NMML. Nehru’s contested legacy should be acknowledged and explored in the museum dedicated to him.

Prime Minister Indira Gandhi and President and First Lady Johnson in Washington, DC, March 1966.

Prime Minister Indira Gandhi and President and First Lady Johnson in Washington, DC, March 1966.

Collective memory and space movies

Not very many films have been made about real-life space travel. Flying a rocket into space is always dangerous, but it usually doesn’t make for good story material. Spaceflight is clinical, precise, and often boring. It offers filmmakers little in the way of conflict. Something goes wrong on every space mission, but the vast majority of them end happily. Fictional space films set in the near-future and using recognizable hardware usually over-compensate for the relative safety of space travel by killing off large numbers of astronauts in their stories. (Most recent example: Gravity [2013].)

Fictional movie astronauts all trained, suited up, and ready to die. (Touchstone Pictures)

Fictional movie astronauts all trained, suited up, and ready to die. (Touchstone Pictures)

Let’s take a look about two non-fiction space films that cover a similar subject from very different angles: The Right Stuff (1983) and Hidden Figures (2016). The Right Stuff is based on Tom Wolfe’s 1979 book by the same name. It is a long, sprawling epic about flight testing and the beginning of NASA’s space program in the 1960s. Although the book has a more serious, reflective tone, the movie Right Stuff is written almost like a cartoon, with the paparazzi and Vice President Johnson being especially over-the-top. There are many factual inaccuracies in the movie, but it is also quite fun to watch for the most part. The movie was hugely influential for developing the visual language of spaceflight and heroism in a high-tech era.

Seven of the masculine heroes of The Right Stuff. This corridor scene has been endlessly imitated and parodied. (Warner Home Video)

Seven of the masculine heroes of The Right Stuff. This corridor scene has been endlessly imitated and parodied. (Warner Home Video)

In the Right Stuff book, Tom Wolfe explored the masculine world of flight-testing and spaceflight, and tried to understand how and why the early astronauts were made into heroes. The movie is less self-aware, instead taking the astronauts’ heroism at face-value. It un-self-consciously portrays a sexist, racist time, and some parts are hard to watch now.

A completely different perspective is given by the recent Hidden Figures. While The Right Stuff wouldn’t even pass the Bechdel Test—and forget about portrayals of people of color in it—Hidden Figures is about three African-American women working at NASA Langley in Virginia in the early sixties. The characters (composites of actual women whose factual stories are explored in a book by the same name) perform the calculations that allow the first Americans to fly into space and return home safely.

The black computers of Hidden Figures in their work room. (20th Century Fox)

The human computers of Hidden Figures watching a space mission in their work room. (20th Century Fox)

Like The Right Stuff, Hidden Figures is very much a product of its time, when Americans are being more reflective about race and gender inequalities. The story of black human computers (as the characters of Hidden Figures were called) would never have been told in a major feature film in 1983, much less in the early sixties. The film’s approach to race is a little sentimental, but overall I thought the movie was very well written and a good watch.

Apart from portraying social dynamics very differently from each other, the films also diverge in their portrayals of the technology of early space travel itself. In this respect, the otherwise cartoonish Right Stuff is much more accurate than Hidden Figures. The Right Stuff had to be visually accurate because it portrayed events that were much more in living memory in 1983 than in 2016. More than half of Americans alive in the early eighties would have remembered the early sixties, but a much smaller portion of the population would have remembered back that far by the mid-2010s.

Living memory of the early space age, combined with strategic use of stock footage to save production costs, meant that The Right Stuff faithfully portrayed the Mercury spacecraft, pressure suits, buildings, and control equipment of the era.

The cast of The Right Stuff recreate early NASA publicity photographs.

The cast of The Right Stuff recreating an early NASA publicity photograph. (Warner Home Video)

The Mercury astronauts were introduced in a famous press conference, which was recreated in The Right Stuff. (Warner Home Video)

The Mercury astronauts were introduced in a famous press conference, which was recreated in The Right Stuff. (Warner Home Video)

Hidden Figures didn’t need to be as faithful. Several times while watching it, I suppressed a groan in response to inaccurate set design or portrayal of some other aspect of the technology. (The launch gantry for the Mercury-Atlas rocket was especially unfaithful to the original.) The filmmakers even depended on their audience’s not knowing the technology. At the beginning of the movie, the flight of a CGI Russian rocket is intercut with NASA engineers at ground control. The audience is supposed to think that this is a NASA rocket, until at the end of the scene the rocket rolls and—surprise!—there is a big hammer-and-sickle on the other side. (The surprise was lost on me because I recognized it as a Russian rocket from the start. The filmmakers were depending on most of their viewers’ not having built model rockets of that design as kids.) In reality, the Soviet rockets of the time didn’t have such big hammer-and-sickles on them, but the filmmakers needed to add this detail so the audience would know what they were looking at.

The movie John Glenn (played by Glen Powell) neither looks nor acts like the real man. (20th Century Fox)

The movie John Glenn (played by Glen Powell) neither looks nor acts like the real man. (20th Century Fox)

The further we get from historical events, the more our collective memory of them becomes fuzzy. The Right Stuff had to be visually accurate because the events it was portraying were more in living memory. Hidden Figures didn’t need to be that accurate, and it even needed to change some details in order to tell things to the audience that The Right Stuff’s audience would simply have known.

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