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[chiseler]

The Bombing of Black Wall Street

O.W. Gurley 

On the night of May 13th, 1985, as Derek Davis has so eloquently documented in previous issues of The Chiseler, the Philadelphia Police Department dropped a packet of C4 explosives onto the West Philly house occupied by MOVE, a black radical group whose sociopolitical agenda was fuzzy at best. You should read Davis’ stories to more fully understand how and why this came to pass, but suffice it to say in the end eleven people in the house (including several children) were killed, and some sixty surrounding homes—an entire city block’s worth—were allowed to burn to the ground.

At noon on September sixteenth, 1920, a group of anarchists detonated a horse-drawn cart packed with explosives and shrapnel in the middle of Wall Street, killing thirty-eight capitalists and sending hundreds more to area hospitals.

Nine months after the Wall Street bombing and sixty-four years before MOVE, an incident which in a way echoed both events took place in Tulsa, Oklahoma, but with far more devastating results. The Bombing of Black Wall Street, as it was sometimes known, would go on to be just as forgotten, at least in white history books, as both the MOVE and Wall Street bombings.

In 1906, a wealthy black entrepreneur named O.W. Gurley moved from Arkansas to Tulsa, where he bought up forty acres of land on the northern outskirts of the predominately white town. He had a plan in mind, and would only sell parcels of the land to other African-Americans, especially those trying to escape the brutal economic conditions in Tennessee.

Within a decade, the resulting thirty-four square block community, which had been dubbed Greenwood, had evolved into one of the most affluent regions of the state, and certainly the wealthiest and most successful black-owned business district in the country. A few of the new residents had even struck it rich when oil was discovered nearby. Along with the grocery, clothing and hardware stores that lined the main commercial strip, Greenwood boasted its own schools, churches, doctors,  banks, law offices, restaurants, movie theaters, a post office and a  public transportation system. The houses had indoor plumbing, and, even that early in the history of aviation, six of the residents owned private airplanes. Thanks to Segregation laws which prohibited blacks from shopping in nearby Whites-Only stores, the African-American residents of Greenwood shopped at their own local stores, which kept money circulating in the community, only bolstering their economic strength.

By all accounts, the people who lived there were extremely proud of what they had forged, especially the school system, insisting each and every child of Greenwood receive a full and solid education.

Although generally referred to as “Little Africa” or “Niggertown” in the Tulsa Tribune, Tulsa World, and other local papers, the residents of Greenwood preferred to think of it as Black Wall Street, a nickname that has stuck to this day.

As you might imagine, the much poorer white residents in surrounding Tulsa resented the wealth and success of their black neighbors. This resentment was only fueled by the local papers, in particular the Tribune. Taking their lead from the local chapter of the Klan, more often than not the Tribune’s writers insisted, despite all evidence to the contrary, on caricaturing the residents of “Little Africa” as either stupid, shiftless, shuffling drunks or drug crazed, wild-eyed criminals and rapists running wild in the streets. Meanwhile, editorial writers over at the World even recommended conscripting the Klan to restore law and order to the community.

Combining the reality with the grotesque cartoon proved to be a poor white racist’s worst nightmare. Not only were those blacks in Greenwood subhuman, they were rich subhumans. Jesus God Almighty!

The simmering anger reached the boiling point on May 30th, 1921 when seventeen-year-old (and white) Sarah Page accused nineteen-year-old (and black) shoeshine man Dick Rowland of rape. Page worked as an elevator operator in Tulsa’s Drexel Building, and claimed Rowland attacked her while she was  on the job. No one really knows to this day what happened in that elevator, but later investigators who’ve looked into the case genrtally agree there was no rape. Rowland would claim he either bumped into Page accidentally or stepped on her foot—he couldn’t remember. At the time it didn’t matter. The following morning’s Tribune ran a racially inflammatory, lurid account of the fictional crime in which they essentially declared Rowland guilty. A hearing was scheduled for that afternoon, and the paper further erroneously reported the gallows was already being built outside the courthouse for that night’s hanging.

Whether or not a rape had occurred was, to be honest, irrelevant. It was simply the easiest and cheapest way to rile up the angry white masses. If the paper had run an article about economic disparity and racial class resentment turned on its head, all it would have encouraged its white readers to do is flip forward to the sports section.

The residents of Greenwood understood this, and on the 31st, the day of the hearing, a group of men, some of them armed, showed up outside the courthouse in hopes of protecting Rowland.  When they arrived they found themselves facing off with the much larger (and better-armed) angry white mob, there to ensure Rowland was hanged, trial or no trial.

Words were exchanged and a few scuffles broke out. A white man reportedly approached an armed African-American WWI vet, and demanded he hand over his gun. When the vet refused and the white tried to wrest it from him, the  gun went off, and the riot was underway.

Realizing they were outnumbered, the mob from Greenwood retreated towards home, only to be pursued by the white mob, both on foot and in pickups.

It’s worth noting that the confrontation outside the courthouse had gone on for several hours before the few cops onhand to keep the peace finally called for backup. When all hell broke loose after that gunshot, the cops quickly began deputizing whites on the fly, giving them the authority to make arrests. A few did, and an internment camp set up at the local fairgrounds quickly began to fill. Most of the new deputies didn’t bother, and just started shooting.

As the white mob entered Greenwood, they immediately began looting and torching every building they passed. For the next twelve hours they rampaged through the neighborhood, whooping and hooting as they smashed windows, kicked in doors, took potshots at fleeing residents, and set fire to anything that wasn’t already ablaze. Several eyewitness reports claim two small planes flying over the community started dropping what some believe were kerosene bombs and others believe was dynamite on the already raging inferno. Firemen who arrived on the scene to douse the fires were turned back at gunpoint by the rioters.

The number of white families from nearby neighborhoods—a lot of mothers and children—who gathered around the edges of Greenwood to watch the carnage has led some to believe the attack was planned well in advance, likely by the Klan. They were just waiting for an excuse.

The National Guard arrived shortly before noon on June 1st, but by then most of the rioters had gone home. Along with trying to control the flames, the Guardsmen also began arresting Greenwood’s residents. By the time the fires were put out, all thirty-four square blocks of Black Wall Street had been burned to the ground. An estimated three hundred had been killed, another eight hundred hospitalized, ten thousand were left homeless, six thousand were being held in the internment camp at the fairgrounds, and six hundred businesses had been destroyed. No whites were arrested or charged for their role in the massacre.

Some of the dead, it was reported, were buried in mass graves, others dumped in a nearby river, and still others dropped into the shafts of a local coal mine.

The coverage of the destruction of Black Wall Street in the following day’s Tulsa World included the headlines “Fear of Another Uprising” and “Difficult to Check Negroes.” To this day, white media outlets continue to refer to the incident as “The Tulsa Race Riot,” when they refer to it at all. The Tribune quietly removed the front page story about the alleged rape from all their bound editions, and all police and fire department files about the incident mysteriously vanished.

The day after the riot, all charges were dropped against Dick Rowland (who had been safely hidden away in a jail cell throughout it all), and upon his release he quickly and quietly left town.

Only one of Black Wall Street’s buildings was left standing, and those who survived vowed they would rebuild. They did, too, to an extent, but they were never able to fully reclaim the spirit and status the community once had. Making things more difficult, Greenwood was in a prime location in terms of business expansion. City politicians, anxious to reclaim that land, began devaluing Greenwood property, hoping they might encourage residents to sell out and move far away.

Ironically, the real death blow to Black Wall Street came when Segregation was overturned in Oklahoma in the late ’50s and early ’60s, and most Greenwood residents decided they were happy to take their business to formerly whites-only stores.

Seventy-five years after the massacre, the state of Oklahoma ordered an investigation into the events of May 31st-June 1st, 1921. When the investigation ended in 2001, it was suggested a scholarship fund be set up, and reparations be paid to the families of the victims. A few scholarships were handed out before the program was discontinued three years later, but no reparations were ever paid.

by Jim Knipfel

[stevepotterwrites]

A Review of David Lynch Biography/Memoir “Room to Dream”

As one might well expect from a book about the life and work of the eccentric auteur David Lynch, Room to Dream is by turns hilarious, heartbreaking, and a little strange. Biography and memoir in one, each chapter contains two sections separated by three or four pages of black-and-white photos from the time period covered in the chapter. First, we get a well-researched and clearly-presented biographical take featuring input from Lynch’s friends, family members, and collaborators. Former L.A. Times journalist Kristine McKenna does a fine job of keeping the story of Lynch’s improbable rise moving along. She gets out of the way and lets her interviewees do the talking when that’s best and weaves their recollections effectively giving us glimpses of the different stages of Lynch’s life and career from multiple angles. In the second section of each chapter, Lynch takes over and revisits the past in his own words. He goes into greater detail, sometimes, focusing on an aspect of the story that wasn’t covered in as much depth in Ms. McKenna’s section sometimes building on what others said. On a few occasions, he remembers things differently and disagrees with what others have said. For example, Lynch believes that Anthony Hopkins tried to get him fired from directing The Elephant Man. Ms. McKenna’s conclusion, based on her research, is that Hopkins complained bitterly about Lynch but stopped short of demanding he be fired and replaced. Who can really say for sure which account is closer to the truth? Either way, Lynch had the last laugh. The Elephant Man was a critical success and received eight Oscar nominations including Best Director. His career was launched. As much as one may be put off by Hopkins’ snotty attitude and presumption, regardless of whether or not he actually pushed to remove and replace Lynch or merely complained about him, his concern about being directed by a complete unknown isn’t really too surprising. Lynch was an inexperienced young director whose only full-length film was a bizarre, unclassifiable, no-budget, black-and-white surrealistic nightmare starring a bunch of actors no one had ever heard of before and which had only been shown as the midnight movie at a handful of art house theaters in the States. Yes, it’s recognized as a classic now and, yes, Lynch has become a legend, but at the time he was a completely unknown young American directing a cast of highly-acclaimed British actors including stage legend John Gielgud. Incredible. Thankfully, producer Mel Brooks had great faith in Lynch and admirably threw his full support behind him despite the reservations Hopkins and, quite likely, though less vocally, others had.Lynch’s rise was an astonishingly steep career trajectory by any measure. He made the animated short loop Six Men Getting Sick in 1966 and the live-action short The Grandmother in 1968 while a student at Pennsylvania Academy of Fine Arts in Philadelphia. Those opened the door to the American Film Institute in California where over a five-year period, on a tiny budget, with a small dedicated crew, he made Eraserhead. That film, in turn, convinced Mel Brooks that Lynch was the guy he was looking for to direct The Elephant Man  starring his wife, Anne Bancroft, among many other fine performers. Then came hard lessons learned from the $40 million (estimate according to IMDb) big-budget disaster of Dune. Despite that not going so well, producer Dino De Laurentiis gave Lynch the go-ahead to direct Blue Velvet with full creative control. Lynch found his groove and went on to create the body of work he is best known for. What we see examples of repeatedly throughout Room to Dream that at least in part explains his success is how Lynch’s charisma, contagious enthusiasm for his projects, and dedication to his craft and vision engenders a sense of loyalty from his actors, crew and other collaborators. The section of the book which recounts Catherine Coulson’s final performance in her iconic role of Margaret Lanterman, AKA the Log Lady, may well have you weeping when you read it. Her scenes will take on a deeper poignancy when you watch Twin Peaks: The Return again. Ms. Coulson was a key member of the Eraserhead team who worked tirelessly to help get that film made even donating her waitressing tips to the cause. Many of those sharing stories in the book are world-famous — Isabella Rossellini, Kyle Maclachlan, Laura Dern, Sting, John Hurt, Sissy Spacek — but some of the most illuminating insights come from lesser-known behind-the-scenes talents. One of my favorites is handyman and jack-of-all-trades, Alfredo Ponce. Mr. Ponce was doing some landscaping work in Lynch’s neighbor’s yard in the mid-nineties. Lynch struck up a conversation with him and the two hit it off. Lynch hired him to do some cleaning. He has been working for Lynch ever since taking care of everything from landscaping to plumbing to electrical work to mechanical repairs to building a set for Inland Empire.  “People see me here cleaning or raking leaves and they think nothing — they don’t know how much I know,” Mr. Ponce says. “I can smell things from far away, and I can see immediately when someone comes up here who doesn’t have David’s best interest at heart. The negative energy — I can see that, and I’ve seen a lot of people come and go. David’s an easygoing, nice person and he can be taken advantage of, so I try to protect him. Anybody who works here has to be somebody I trust.” Ponce’s picture jibes with the overall depiction of Lynch in the book. While he’s had his fallings out, breakups, business deals gone wrong and so forth the general consensus seems to be that he’s a pretty nice guy. On a scale of Dale Cooper doppelgangers, he’d likely hew more toward the Dougie Jones side of the spectrum than the Evil Coop zone. No doubt the man can be cantankerous, cranky, foul-mouthed and ill-tempered when confronted with realities that get in his way, as demonstrated in this clip below from the making of Twin Peaks: The Return, but some Hollywood veterans who’ve worked with him describe the experience as among the nicest, most pleasant and least dysfunctional gigs they’ve had in their long careers. The man has manners. He’s considerate. He knows everybody on set by name and acknowledges their contributions far beyond the directorial norm. This may in part be due to his long commitment to the daily practice of Transcendental Meditation. We also see Lynch’s maniacal attention to detail. He’ll fuss over something on set that likely won’t even be visible on screen in the end. To get the feel of the scene just right, it is important for him that all of the details be just so, just right. And, of course, if one gets to the point of fussing over minor details that won’t ever show, it’s only because there’s nothing left to fuss with. Everything is just right and ready to go. He’s like the short story writer who knows he is done with a story when he finds himself putting commas back in that he’d previously cut. Yet coupled with that powerful desire to get the set to look just the way he envisioned it is the seemingly contradictory willingness to embrace chance and serendipity, to spontaneously incorporate a new element that presents itself into the work. Lynch’s best friend since high school, the production designer and artistic director Jack Fisk, who has worked with many of the finest directors in Hollywood including the Coen Brothers and Terrence Malick and is every bit as well-respected as Lynch in the movie industry (though far less famous to the general public) gives an example of this from when they were teenagers obsessed with painting. A large moth flew onto one of Lynch’s wet paintings, got trapped and flailed away trying to break loose. While another painter might have been upset and set to work to remove the moth and smooth over the disrupted section of paint, Lynch was thrilled and at once accepted the dying moth’s struggle and eventual death as a part of the painting. Many years later, in a now famous incident, set designer Frank Silva accidentally got himself trapped on the set of Laura Palmer’s bedroom when he blocked the exit door with a dresser. He hid behind the bed during the filming of a scene. Lynch was intrigued by the thought of an unseen character hiding in the room. In a later scene in the Palmers’ living room, Silva’s face was accidentally shown reflected in a mirror. Clearly, he was supposed to be in the show. Lynch incorporated Silva into the series as a central figure, the evil, interdimensional being BOB who possesses Leland Palmer and makes him do bad things. It is hard to imagine Twin Peaks without BOB but such a version might have been if Mr. Lynch was less open to influence, if he didn’t allow himself the room to dream. Room to Dream. What a perfect title. Mr. Lynch managed to find himself the room to dream and to bring those dreams alive on film, on record, and on canvas so the rest of us can dream along with him. He got past the most common destroyer of artistic ambition — concerned, well-meaning parents who don’t understand what you’re doing — and found collaborators who did get it. That this is a book Lynch fans will enjoy goes without saying, but it’s also a good choice more generally for anyone interested in how movies get made or those who simply enjoy a good memoir.

-- Steve Potter

https://bookfreak.us/2018/10/21/david-lynchs-room-to-dream/

[pttedu]

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[pttiedu]

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[chiseler]

The Bombing of Black Wall Street

On the night of May 13th, 1985, as Derek Davis has so eloquently documented in previous issues of The Chiseler, the Philadelphia Police Department dropped a packet of C4 explosives onto the West Philly house occupied by MOVE, a black radical group whose sociopolitical agenda was fuzzy at best. You should read Davis’ stories to more fully understand how and why this came to pass, but suffice it to say in the end eleven people in the house (including several children) were killed, and some sixty surrounding homes—an entire city block’s worth—were allowed to burn to the ground.

At noon on September sixteenth, 1920, a group of anarchists detonated a horse-drawn cart packed with explosives and shrapnel in the middle of Wall Street, killing thirty-eight capitalists and sending hundreds more to area hospitals.

Nine months after the Wall Street bombing and sixty-four years before MOVE, an incident which in a way echoed both events took place in Tulsa, Oklahoma, but with far more devastating results. The Bombing of Black Wall Street, as it was sometimes known, would go on to be just as forgotten, at least in white history books, as both the MOVE and Wall Street bombings.

In 1906, a wealthy black entrepreneur named O.W. Gurley moved from Arkansas to Tulsa, where he bought up forty acres of land on the northern outskirts of the predominately white town. He had a plan in mind, and would only sell parcels of the land to other African-Americans, especially those trying to escape the brutal economic conditions in Tennessee.

Within a decade, the resulting thirty-four square block community, which had been dubbed Greenwood, had evolved into one of the most affluent regions of the state, and certainly the wealthiest and most successful black-owned business district in the country. A few of the new residents had even struck it rich when oil was discovered nearby. Along with the grocery, clothing and hardware stores that lined the main commercial strip, Greenwood boasted its own schools, churches, doctors,  banks, law offices, restaurants, movie theaters, a post office and a  public transportation system. The houses had indoor plumbing, and, even that early in the history of aviation, six of the residents owned private airplanes. Thanks to Segregation laws which prohibited blacks from shopping in nearby Whites-Only stores, the African-American residents of Greenwood shopped at their own local stores, which kept money circulating in the community, only bolstering their economic strength.

By all accounts, the people who lived there were extremely proud of what they had forged, especially the school system, insisting each and every child of Greenwood receive a full and solid education.

Although generally referred to as “Little Africa” or “Niggertown” in the Tulsa Tribune, Tulsa World, and other local papers, the residents of Greenwood preferred to think of it as Black Wall Street, a nickname that has stuck to this day.

As you might imagine, the much poorer white residents in surrounding Tulsa resented the wealth and success of their black neighbors. This resentment was only fueled by the local papers, in particular the Tribune. Taking their lead from the local chapter of the Klan, more often than not the Tribune’s writers insisted, despite all evidence to the contrary, on caricaturing the residents of “Little Africa” as either stupid, shiftless, shuffling drunks or drug crazed, wild-eyed criminals and rapists running wild in the streets. Meanwhile, editorial writers over at the World even recommended conscripting the Klan to restore law and order to the community.

Combining the reality with the grotesque cartoon proved to be a poor white racist’s worst nightmare. Not only were those blacks in Greenwood subhuman, they were rich subhumans. Jesus God Almighty!

The simmering anger reached the boiling point on May 30th, 1921 when seventeen-year-old (and white) Sarah Page accused nineteen-year-old (and black) shoeshine man Dick Rowland of rape. Page worked as an elevator operator in Tulsa’s Drexel Building, and claimed Rowland attacked her while she was  on the job. No one really knows to this day what happened in that elevator, but later investigators who’ve looked into the case genrtally agree there was no rape. Rowland would claim he either bumped into Page accidentally or stepped on her foot—he couldn’t remember. At the time it didn’t matter. The following morning’s Tribune ran a racially inflammatory, lurid account of the fictional crime in which they essentially declared Rowland guilty. A hearing was scheduled for that afternoon, and the paper further erroneously reported the gallows was already being built outside the courthouse for that night’s hanging.

Whether or not a rape had occurred was, to be honest, irrelevant. It was simply the easiest and cheapest way to rile up the angry white masses. If the paper had run an article about economic disparity and racial class resentment turned on its head, all it would have encouraged its white readers to do is flip forward to the sports section.

The residents of Greenwood understood this, and on the 31st, the day of the hearing, a group of men, some of them armed, showed up outside the courthouse in hopes of protecting Rowland.  When they arrived they found themselves facing off with the much larger (and better-armed) angry white mob, there to ensure Rowland was hanged, trial or no trial.

Words were exchanged and a few scuffles broke out. A white man reportedly approached an armed African-American WWI vet, and demanded he hand over his gun. When the vet refused and the white tried to wrest it from him, the  gun went off, and the riot was underway.

Realizing they were outnumbered, the mob from Greenwood retreated towards home, only to be pursued by the white mob, both on foot and in pickups.

It’s worth noting that the confrontation outside the courthouse had gone on for several hours before the few cops onhand to keep the peace finally called for backup. When all hell broke loose after that gunshot, the cops quickly began deputizing whites on the fly, giving them the authority to make arrests. A few did, and an internment camp set up at the local fairgrounds quickly began to fill. Most of the new deputies didn’t bother, and just started shooting.

As the white mob entered Greenwood, they immediately began looting and torching every building they passed. For the next twelve hours they rampaged through the neighborhood, whooping and hooting as they smashed windows, kicked in doors, took potshots at fleeing residents, and set fire to anything that wasn’t already ablaze. Several eyewitness reports claim two small planes flying over the community started dropping what some believe were kerosene bombs and others believe was dynamite on the already raging inferno. Firemen who arrived on the scene to douse the fires were turned back at gunpoint by the rioters.

The number of white families from nearby neighborhoods—a lot of mothers and children—who gathered around the edges of Greenwood to watch the carnage has led some to believe the attack was planned well in advance, likely by the Klan. They were just waiting for an excuse.

The National Guard arrived shortly before noon on June 1st, but by then most of the rioters had gone home. Along with trying to control the flames, the Guardsmen also began arresting Greenwood’s residents. By the time the fires were put out, all thirty-four square blocks of Black Wall Street had been burned to the ground. An estimated three hundred had been killed, another eight hundred hospitalized, ten thousand were left homeless, six thousand were being held in the internment camp at the fairgrounds, and six hundred businesses had been destroyed. No whites were arrested or charged for their role in the massacre.

Some of the dead, it was reported, were buried in mass graves, others dumped in a nearby river, and still others dropped into the shafts of a local coal mine.

The coverage of the destruction of Black Wall Street in the following day’s Tulsa World included the headlines “Fear of Another Uprising” and “Difficult to Check Negroes.” To this day, white media outlets continue to refer to the incident as “The Tulsa Race Riot,” when they refer to it at all. The Tribune quietly removed the front page story about the alleged rape from all their bound editions, and all police and fire department files about the incident mysteriously vanished.

The day after the riot, all charges were dropped against Dick Rowland (who had been safely hidden away in a jail cell throughout it all), and upon his release he quickly and quietly left town.

Only one of Black Wall Street’s buildings was left standing, and those who survived vowed they would rebuild. They did, too, to an extent, but they were never able to fully reclaim the spirit and status the community once had. Making things more difficult, Greenwood was in a prime location in terms of business expansion. City politicians, anxious to reclaim that land, began devaluing Greenwood property, hoping they might encourage residents to sell out and move far away.

Ironically, the real death blow to Black Wall Street came when Segregation was overturned in Oklahoma in the late ’50s and early ’60s, and most Greenwood residents decided they were happy to take their business to formerly whites-only stores.

Seventy-five years after the massacre, the state of Oklahoma ordered an investigation into the events of May 31st-June 1st, 1921. When the investigation ended in 2001, it was suggested a scholarship fund be set up, and reparations be paid to the families of the victims. A few scholarships were handed out before the program was discontinued three years later, but no reparations were ever paid.

by Jim Knipfel

[blackkudos]

Ta-Nehisi Coates

Ta-Nehisi Paul Coates ( TAH-nə-HAH-see KOHTS; born September 30, 1975) is an American author, journalist, comic book writer, and educator. Coates is a national correspondent for The Atlantic, where he writes about cultural, social and political issues, particularly as they regard African-Americans.

Coates has worked for The Village Voice, Washington City Paper, and Time. He has contributed to The New York Times Magazine, The Washington Post, The Washington Monthly, O, and other publications. In 2008 he published a memoir, The Beautiful Struggle: A Father, Two Sons, and an Unlikely Road to Manhood. His second book, Between the World and Me, was released in July 2015. It won the 2015 National Book Award for Nonfiction, and is a nominee for the Phi Beta Kappa 2016 Book Awards. He was the recipient of a "Genius Grant" from the John D. and Catherine T. MacArthur Foundation in 2015. He is the writer of the Black Panther series for Marvel Comics drawn by Brian Stelfreeze.

Early life

Coates was born in Baltimore, Maryland, to father William Paul "Paul" Coates, a Vietnam War veteran, former Black Panther, publisher and librarian, and mother Cheryl Waters, who was a teacher. Coates' father founded and ran Black Classic Press, a publisher specializing in African-American titles. The Press grew out of a grassroots organization, the George Jackson Prison Movement (GJPM). Initially the GJPM operated a Black book store called the Black Book. Later Black Classic Press was established with a table-top printing press in the basement of the Coates family home.

Coates' father had seven children, five boys and two girls, by four women. Coates' father's first wife had three children, Coates' mother had two boys, and the other two women each had a child. The children were raised together in a close-knit family; most lived with their mothers and at times lived with their father. Coates said he lived with his father the whole time. In Coates' family, he said that the important overarching focus was on rearing children with values based on family, respect for elders and being a contribution to your community. This approach to family was common in the community where he grew up. Coates grew up in the Mondawmin neighborhood of Baltimore during the crack epidemic.

Coates' interest in books was instilled at an early age when his mother, in response to bad behavior, would require him to write essays. His father's work with the Black Classic Press was a huge influence: Coates has said he read many of the books his father published.

Coates attended a number of Baltimore-area schools, including William H. Lemmel Middle School and Baltimore Polytechnic Institute, before graduating from Woodlawn High School. Coates' father got a job as a librarian at Howard University, which enabled some of his children to attend with tuition remission.

After high school, Coates attended Howard University. He left after five years to start a career in journalism. He is the only child in his family without a college degree. In mid-2014, Coates attended an intensive program in French at Middlebury College to prepare for a writing fellowship in Paris, France.

Career

Journalism

Coates' first journalism job was as a reporter at The Washington City Paper; his editor was David Carr.

From 2000 to 2007, Coates worked as a journalist at various publications, including Philadelphia Weekly, The Village Voice and Time. His first article for The Atlantic, "This Is How We Lost to the White Man", about Bill Cosby and conservatism, started a new, more successful and stable phase of his career. The article led to an appointment with a regular column for The Atlantic, a blog that was popular, influential, and had a high level of community engagement.

Coates became a senior editor at The Atlantic, for which he wrote feature articles as well as maintaining his blog. Topics covered by the blog included politics, history, race, culture as well as sports, and music. His writings on race, such as his September 2012 The Atlanticcover piece "Fear of a Black President" and his June 2014 feature "The Case for Reparations", have been especially praised, and have won his blog a place on the Best Blogs of 2011 list by Time magazine and the 2012 Hillman Prize for Opinion & Analysis Journalism from The Sidney Hillman Foundation. Coates' blog has also been praised for its engaging comments section, which Coates curates and moderates heavily so that "the jerks are invited to leave [and] the grown-ups to stay and chime in."

In discussing The Atlantic article on "The Case for Reparations", Coates said he had worked on it for almost two years. He had read Rutgers University professor Beryl Satter's book, Family Properties: Race, Real Estate, and the Exploitation of Black Urban America, a history of redlining that included a discussion of the grassroots organization, the Contract Buyers League, of which Clyde Ross was one of the leaders. The focus of the article was not so much on reparations for slavery, but was instead a focus on the institutional racism of housing discrimination.

Coates has worked as a guest columnist for The New York Times, having turned down an offer from them to become a regular columnist. He has also written for The Washington Post, the Washington Monthly and O magazine.

Coates is a national correspondent at The Atlantic.

Author

The Beautiful Struggle

In 2008, Coates published The Beautiful Struggle, a memoir about coming of age in West Baltimore and its effect on him. In the book, he discusses the influence of his father, a former Black Panther; the prevailing street crime of the era and its effects on his older brother; his own troubled experience attending Baltimore-area schools; and his eventual graduation and enrollment in Howard University.

Between the World and Me

Coates' second book, Between the World and Me, was published in July 2015. The title is drawn from a Richard Wright poem of the same name about a Black man discovering the site of a lynching and becoming incapacitated with fear, creating a barrier between himself and the world. Coates said that one of the origins of the book was the murder of a college friend, Prince Carmen Jones Jr., who was killed by police in a case of mistaken identity. In an ongoing discussion about reparation, continuing the work of his June 2014 Atlantic article on reparations, Coates cited the bill sponsored by Representative John Conyers "H.R.40 – Commission to Study Reparation Proposals for African-Americans Act" that has been introduced every year since 1989. One of the themes of the book was about what physically affected African-American lives, e.g. their bodies being enslaved, violence that came from slavery, and various forms of institutional racism. In a review for Politico magazine, conservative pundit Rich Lowry stated that while the book is lyrical and powerfully written, "For all his subtle plumbing of his own thoughts and feelings and his occasional invocations of the importance of the individuality of the person, Coates has to reduce people to categories and actors in a pantomime of racial plunder to support his worldview." In a review for Slate, Jack Hamilton wrote that the book "is a love letter written in a moral emergency, one that Coates exposes with the precision of an autopsy and the force of an exorcism".

Black Panther

Coates is the writer of the comic book series about the Black Panther for Marvel Comics drawn by Brian Stelfreeze. Issue #1 went on sale April 6, 2016, and sold an estimated 253,259 physical copies, the best-selling comic for the month of April 2016.

He also wrote a spinoff of Black Panther titled Black Panther and the Crew which ran for six issues before being cancelled.

We Were Eight Years in Power

Coates' collection of previously published essays on the Obama Era, entitled We Were Eight Years in Power: An American Tragedy has been announced by Random House, with a release date of October 3, 2017. The title is a quote from 19th-century African-American congressman Thomas E. Miller of South Carolina, who asked why white Southerners hated African Americans after all the good they had done during the Reconstruction Era. Coates sees parallels with the Obama presidency.

Teaching

Coates was the 2012–14 MLK visiting professor for writing at the Massachusetts Institute of Technology.

He joined the City University of New York as its journalist-in-residence in late 2014.

In 2017, Coates will join the faculty of New York University's Arthur L. Carter Journalism Institute as a Distinguished Writer in Residence.

Upcoming projects

Coates is currently working on several projects. These include America in the King Years which is a television project with David Simon, Taylor Branch, and James McBride about Martin Luther King Jr. and the Civil Rights Movement, based on one of the volumes of the books America in the King Years written by Taylor Branch, specifically At Canaan's Edge: America in the King Years, 1965–1968. The project will be produced by Oprah Winfrey and air on HBO. He is working on a novel about an African American from Chicago who moves to Paris.

Coates is also set to adapt Rachel Aviv's 2014 New Yorker article "Wrong Answer" into a full-length feature of the same title, starring Michael B. Jordan with direction by Ryan Coogler.

Personal life

Coates says that his first name, Ta-Nehisi, is an Egyptian name his father gave him that means Nubia, and in a loose translation is "land of the black". Nubia is a region along the Nile river located in present-day northern Sudan and southern Egypt. As a child, Coates enjoyed comic books and Dungeons & Dragons.

Coates lived in Paris for a residency. In 2009, he lived in Harlem with his wife, Kenyatta Matthews, and son, Samori Maceo-Paul Coates. His son is named after Samori Ture, a Mandé chief who fought French colonialism, after black Cuban revolutionary Antonio Maceo Grajales, and after Coates' father. Coates met his wife when they were both students at Howard University. He is an atheist and a feminist.

With his family, Coates moved to Prospect Lefferts Gardens, Brooklyn, New York, in 2001. He purchased a brownstone in Prospect Lefferts Gardens in 2016.

In 2016, he was made a member of Phi Beta Kappa at Oregon State University.

Awards

2012: Hillman Prize for Opinion and Analysis Journalism

2013: National Magazine Award for Essays and Criticism for "Fear of a Black President"

2014: George Polk Award for Commentary for "The Case for Reparations"

2015: Harriet Beecher Stowe Center Prize for Writing to Advance Social Justice for "The Case for Reparations"

2015: American Library in Paris Visiting Fellowship

2015: National Book Award for Nonfiction for Between the World and Me

2015: Fellow of the John D. and Catherine T. MacArthur Foundation

Bibliography

Monographs

Asphalt Sketches. Baltimore, Maryland: Sundiata Publications, 1990. OCLC 171149459 Book of poetry.

The Beautiful Struggle: A Father, Two Sons, and an Unlikely Road to Manhood. New York: Spiegel & Grau, 2008. ISBN 978-0-385-52684-5 OCLC 638193286

Between the World and Me: Notes on the First 150 Years in America. New York: Spiegel & Grau, 2015. ISBN 978-0-812-99354-7 OCLC 912045191

Comics

Black Panther (#1–) (2016–)

Black Panther: World of Wakanda (#1–6) (2016) (with Roxane Gay, Yona Harvey)

Black Panther and the Crew (#1–6) (2017) (with Yona Harvey)

A Nation Under Our Feet (collects issues #1–12)

A Nation Under Our Feet Book 1 (tpb, 144 pages, 2016, ISBN 1-3029-0053-6)

A Nation Under Our Feet Book 2 (tpb, 144 pages, 2017, ISBN 1-3029-0054-4)

A Nation Under Our Feet Book 3 (tpb, 144 pages, 2017, ISBN 1-3029-0191-5)

Vol. 1: Dawn of the Midnight Angels (tpb, 144 pages, 2017, ISBN 1-3029-0650-X)

Vol. 1 (tpb, 136 pages, 2017, ISBN 1-3029-0832-4)

Selected articles

"Promises of an Unwed Father". O: the Oprah Magazine. January 2006.

"American Girl". The Atlantic. January/February 2009. Profile on Michelle Obama.

"A Deeper Black". Early, Gerald Lyn, and Randall Kennedy. Best African American Essays, 2010. New York: One World, Ballantine Books, 2010. pp. 15–22. ISBN 978-0-553-80692-2 OCLC 320187212

"Why Do So Few Blacks Study the Civil War?" The Atlantic. The Civil War Issue. February 2012.

"Fear of a Black President". Bennet, James. The Best American Magazine Writing 2013. New York: Columbia University Press, 2013. pp. 3–32. ISBN 978-0-231-53706-3 OCLC 861785469

"How Learning a Foreign Language Reignited My Imagination: Pardon my French". The Atlantic. Vol. 311, Issue 5. June 2013. pp. 44–45

"The Case for Reparations". The Atlantic. June 2014.

"There Is No Post-Racial America". The Atlantic. July/August 2015.

"The Black Family in the Age of Mass Incarceration". The Atlantic. October 2015.

"My President Was Black". The Atlantic. December 2016.

"The First White President". The Atlantic. October 2017.

Multimedia

with Richard Harrington, Nelson George, and Kojo Nnamdi. Hip Hop. Washington, D.C.: WAMU, American University, 1999. OCLC 426123467 Audio conversation recorded January 29, 1999, at WAMU-FM, Washington, D.C.

with Stephen Colbert. "Ta-Nehisi Coates". The Colbert Report. June 16, 2014.

with Ezra Klein. Vox Conversations: Should America offer reparations for slavery?" Vox. July 18, 2014.

The Case for Reparations. Middlebury, Vt.: Middlebury College, 2015. OCLC 904962550 Video of lecture delivered at Middlebury College on March 4, 2015.

with Amy Goodman. "Between the World and Me: Ta-Nehisi Coates Extended Interview on Being Black in America". Democracy Now!. July 22, 2015.

with Jon Stewart. "Exclusive – Ta-Nehisi Coates Extended Interview" "Pt. 1" and "Pt. 2". The Daily Show with Jon Stewart. July 23, 2015.

https://goo.gl/HzyZFK

[in-her-chains]

How to Hire the Right Home Inspector

25 years prior, a home review was something uncommon, and proficient home inspectors were rare. Presently, essentially every purchaser realizes that they ought to get an assessment, and there is an apparently interminable stockpile of inspectors, all asserting some 'accreditation' or certifications that sound noteworthy. Be that as it may, how would you realize which is the right auditor for you?

All things considered, here are a couple of straightforward considerations from somebody inside the business (some of which, numerous inspectors will be angry with me for uncovering, and will trust you will not understand them). Meeting them actually. Don't simply accept somebody's recommendation that "this person is acceptable." Converse with them.

Get some information about what they do (and don't do - many don't walk rooftops, some don't give fix quotes).

Get some information about their reports (straightforward agenda, or engaging story?)

Do they give fix quotes?

It is safe to say that they are authorized (if important in your satiate)?

How long have they been doing business?

What is their experience as well as preparing?

Is it true that they are individuals from the BBB or Angie's Rundown or other buyer arranged gatherings?

In particular, do they approach you with deference and pay attention to what your requirements are?

You will rapidly find that there is a huge improvement in Inspectors and how they see YOU, the customer, as a component of the investigation. Some consider you to be an essential malevolence, or an interference of "their" examination. You will realize you have employed one of these inspectors in the event that they give you an estimating tape to keep you occupied with estimating rooms while they review.

Regularly on controller visit sheets they talk about "controlling" their examination, as though the customer is a trouble. Always remember: The review is (and Ought to be) about YOUR schooling, and making YOU OK with your new home.

E and O Protection.

Inquire as to whether they are protected. Numerous inspectors treat this inquiry as though you have quite recently posed to them for their Charge Card and PIN, however it's anything but an authentic and smart inquiry for customers to pose. You wouldn't let a uninsured handyman work on your lines, OK? So why permit a uninsured assessor exhort you on the whole home and the entirety of its frameworks and segments? E&O (Blunders and Oversights) Protection is your insurance that if the investigator misses something critical, that you will not be left paying for that slip-up. Click here : Wilmington Home Inspectors

Experience.

My father consistently said: "There is no substitute in life for experience." (He likewise said, "Experience is the thing that you get when you didn't get what you needed.") This is additionally obvious with regards to inspectors. While some may have perused it in the best books accessible, you essentially need to gain proficiency for certain things by doing them. (Like, for instance, never test the way to a room by shutting it from within the room. The motivation behind why will be right away clear when the handle tumbles off in your grasp and you are stuck on the inside.)

You will know just by conversing with a monitor and asking them the inquiries recorded above whether you are conversing with a crude "beginner" or a prepared star. Some value "reviewing" loads of imperfections, however frequently, a significant number of these things are entirely normal and generally minor (the sorts of things most dealers will not address or make up for). A few inspectors additionally value being hated by Real estate agents. This just confuses me since most Real estate agents I know genuinely care about placing their customer in a decent home, and regard the assessment of the assessor. Most occasions, this demonstrates to me an investigator who is somewhat brimming with himself, and might be out to demonstrate the amount he knows, or needs to make a significant arrangement out of a minor issue.

Affirmations are extremely common in the assessment business. Consistently, my email inbox is stuck with individuals selling all the more speedy and simple "certificates" of various stuff. Truth be told, one spot will guarantee you (indeed, you) as a "ace" auditor in the event that you take a few free online courses and send them a check for $375 - while never playing out a solitary examination! As should be obvious, certificates are exceptionally suspect. Expertly, the ones that are genuinely critical are offered by the Worldwide Code Board (ICC) and affirm that the reviewer has a nitty gritty comprehension of current building regulation (especially supportive in the event that you are buying new development).

When all is said in done, I would suggest an assessor who has performed in any event 1,000 reviews, and has at any rate 3 years experience - however even among these, you should pose different inquiries to get the best met for your requirements.

Decisions.

Does the controller offer decisions to oblige you? All purchasers are not the equivalent. All homes are not the equivalent. So for what reason do most inspectors offer similar investigation to all customers? Inquire as to whether they offer decisions in costs, level of detail, and administrations advertised. A financial backer looking for an assessment on the fundamental parts (structure, rooftop, electrical, plumbing, air conditioning) of a home they expect to revamp may not require the fastidious detail needed by an anxious First Time Purchaser. Try not to be hesitant to request what you truly need, regardless of whether it is by all accounts more (or not as much as) what the controller ordinarily offers. In the event that the auditor you address can't offer the help you need, continue to look, you will discover one that does.

Cost.

Which carries us to the last point, and the principal question a great many people ask: "What amount does an assessment cost?" The appropriate response is - it depends (generally on your space of the country, and the size of your home). Most inspectors base the cost on square feet (the bigger the home, the more it takes to investigate). Be careful of the individuals who use cost or postal district as a deciding element (purchasing a more costly home in a more well-to-do neighborhood can drastically expand your cost with these inspectors who trust you should have more cash to spend). Shop costs around. You CAN and WILL discover a sensibly estimated reviewer who is just as great or better than the most costly inspectors.

A decent hint is: In the event that somebody doesn't post their costs on their site, they are higher than is run of the mill. Once more, numerous inspectors will respond inconsiderately with some variety of "you get what you pay for." Inquire as to whether they purchase Premium Unleaded at the most costly service station around, and afterward glance through the supermarket handouts to track down the most extravagant things accessible - all things considered, they should be the awesome they are the most costly!

Joseph Michalski is something beyond a profoundly experienced home overseer and Proprietor of Sherlock Homes Examinations, close to Philadelphia. He is a teacher, showing customers their homes in wording even the most un-helpful of homeowners can comprehend. He is a solid supporter for customers, distributing articles to help and ensure individuals in their homes. He is a pioneer in the home investigation field, offering uncommon degrees of decisions (in examination types, costs, and organizations) to customers. Furthermore, he is a comunity chief, building up a non-benefit establishment to offer free kid sealing examinations for single and low-pay moms, free wellbeing assessments for seniors, and aiding bring issues to light of basic family perils.

[pttedu]

5 Offshore Job Opportunities After Completing Pipefitting Training

Pipefitting training enables people to pursue a wide range of employment opportunities. Read further to learn about 5 fulfilling offshore career options.

[pttiedu]

Secrets Of Pipe Fitting: Insider Tips From Pipe Fitting Classes

Want to ace your career as a pipefitter? Join the pipefitting classes and learn professional tips to push your career forward in the pipefitting industry.

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[bathroomstoragesolutionspa]

Why Bertch Vanities Are Perfect for Your Bathroom

The vanity is one of the most crucial pieces of furniture in your bathroom. Once installed, it takes center stage, enhancing the functionality and look of your space. Finding the one that suits your needs is challenging, given the full range of options available in the market. American-made Bertch vanities are designed, such as to provide an answer to all your bathroom vanity requirements.

Variety

Bertch vanities are available in such a wide range of colors, styles, sizes, finishes, and materials that you are sure to find one that matches the theme and aesthetic appeal of your bathroom.

The Traditional Style: The simple, traditional style of vanities offers more storage space and is designed to rest on the floor on a solid base or with legs.

Double sinks are common with traditional vanities like Bertch’s traditional oak ensemble complete with suspended drawers to create a unique dropped shelf with a wooden top. Oval sinks also are a classic choice, blending very well with the traditional vanities.

The Modern Style: The modern is all about clean lines, neutral colors, natural materials, and a minimalistic approach. This style in Bertch vanities is embodied in the following elements:

Toronto or Weston door styles from Bertch’s Marketplace line of kitchen cabinets, which can be repurposed for your bathroom.

Riverside, Osage and Interlude door styles with sleek lines and clean designs

The loft color with its simple, straightforward finish

The stylish, space-saving wall-mounted designs

Partially recessed sinks where a portion of the sink rests above the countertop or fully recessed sinks that are entirely sunken into the vanity top

A wide range of vanity countertops include the following:

Faux granite countertops available in multiple colors are not as expensive as granite, are durable and easy to maintain

Cultured marble vanity countertops are an affordable alternative to marble, is customizable and available in many colors and sizes

Instances of the modern style in Bertch are seen in:

The graphite colored Riverside vanity with metal hairpin legs and a mid-century modern vibe.

The wall-mounted Arcadia style vanity with a white ash 3D laminate finish and a sleek faux granite countertop that evokes the European styling of a modern design

The Contemporary Style: This style reflects the tastes and trends of our current times. It changes and evolves accordingly. Full access vanities with a frameless construction are a true reflection of this style. Bertch’s Insignia door style collection has full access, frameless construction with dowelled and glued joints for a distinct look. The 3D Laminates are a thermoformed decorative surface that can be pressed or vacuum-formed to contour surfaces without requiring edge treatments.

The Antique Style: The antique style brings old world elegance into your bathroom.

Farmhouse: To achieve this style, we use Venetian thicker tops, Interlude vanities, and white-painted or rustic-looking wood.

Cozy Nook: The cozy nook uses a unique grain pattern of the hickory with a driftwood finish and a faux granite countertop. Bertch’s Madison style vanity, made from select alder with a ginger finish, is intricately designed with hand-applied moldings on all the doors and drawers and antique glass. All of these combine to create that antique, vintage look.

The Rustic Style: The warm feel of a rustic, country-style bathroom finds its place in Bertch’s Riverside style vanity in birchwood with a brindle finish.

Made in the USA

Family owned and operated, Iowa-based Bertch sells vanities that are 100% made in America. While some cabinet companies import their products from overseas, Bertch produces and assembles all wood components on-site.

Customizable

Imported vanities are available in limited sizes, colors, and materials. As Bertch vanities are made in the USA, you can customize them according to the space of your bathroom and your aesthetic preferences. You can even mix styles, use two or more combinations to give your bathroom vanity a distinct look.

Environmentally Friendly

When investing in a Bertch vanity, you are preserving the environment because Bertch products reflect a commitment to reforestation, recycling, and respect for the environment. Over the years, Bertch has partnered with many local school communities to educate children on the importance of recycling, reforestation, and taught them to take care of our environment.

The Weinstein showroom in Collegeville has a wide range of bathroom and kitchen products from 150 brands, including Bertch vanities. Our friendly and professional staff is always available to help you navigate through all these products and options for you to best match your style and home. To know more about the possibilities and customizations available, visit our showroom in Collegeville.

About Weinstein Bath & Kitchen Showroom in Collegeville:

Weinstein Bath & Kitchen Showroom in Collegeville offers plumbing and heating supplies to both wholesale and retail customers for clients living in Collegeville, Norristown, Pottstown, Phoenixville, and Trooper. We supply plumbing and heating supplies to both wholesale and retail customers. For kitchen, bathroom, and storage solutions in the Philadelphia area give us a call at (610) 409-2800 or send us an email via our Showroom Contact Form.