There was a plan for a Germantown spur off the Broad Street line that would take off from Erie Station in North Philly and run northwest under Germantown Ave. Germantown was once German Township, two words, a distant suburb where textile mills lined Wissahickon Creek. In the 19th century it was pulled into Philly by the railroad as the city pushed outward as if trying to escape itself.
Germantown is many histories of escape, of refuge and flight. There was a station on the Underground Railroad in the 1850s, right on Germantown Ave, known as the Johnson House. It still stands, now a museum.
Museum means “shrine of the muses,” an attempt at making a house of mind, a station for thinking. So it can’t work the way you want it to. Muses move, pass thru. A station wants you to stay, to stand like a steed in a stable.
“A museum is a curious graveyard of thinking,” wrote Amiri Baraka in his essay “Hunting is not those heads on the wall”.
In the 1790s, George Washington whose head is on the quarter and one-dollar bill escaped Philly’s yellow fever epidemic by hiding in Germantown, along with other rich people, 6 miles away from the city. Horses and boats took them there. Horses were status symbols.
Imagine the man on the one-dollar bill petting his favorite horse. This one’s my favorite, he says. Imagine him, with that one-dollar expression, naming his horse. This is Mary Ball, he says, I love her. Imagine the man on the one-dollar bill talking to his horse. It’s all right, baby, we’re almost there.
Money turns you into a cartoon, a rubber band that can be shot across the room, bounced into other forms. Time does this too. So does speed and the desire for speed—that you must be traffic to escape traffic. No one thinks of themselves as traffic, even while they’re in traffic.
As traffic, you’re part of your vehicle and part of everyone else’s. As you speed up, you embody the freedom you desire, escape itself, the pleasure of animation, wind blowing in your face, and you become more elastic, more fluid, like Tom or Jerry, like the Road Runner, like Wile E. Coyote, and you begin to feel more and more invincible. You fly on I-95 as pure spirit until traffic slows, and then slows, and then comes to a standstill, and you want to pull your hair out, because you’re a cartoon just like everyone else, in your private car, melting into the public roads, which will never be yours.
Fuck you and the horse you rode in on.
Fuck me and the Ford Focus I broke down in.
We gotta get out of this place
If it’s the last thing we ever do
We gotta get out of this place
Girl, there’s a better life for me and you
That's the Animals, 1965. Bruce Springsteen, “the Boss”, has said, “that’s every song I’ve ever written. That’s all of them. I’m not kidding, either. That’s ‘Born to Run’, ‘Born in the USA’.”
It’s a song born of working-class frustration. It’s not a song about overthrowing capitalism but of escaping it. It’s a song you turn up in traffic, where solidarity is impossible. You are stuck in the hellish city. Stuck in your job. Stuck in your body, slaving away just like your mother and father, just like your neighbor. Nothing but traffic. Animals in need of animation.
The words “animal” and “animation” share the word “anima”, which means “soul.” The Indo-European root, anə, means “to breathe.”
In the film noir Who Framed Roger Rabbit (1988), humans and cartoons co-exist. It’s the 1940s, and in contrast to the humans, cartoons are playful, imaginative beings—artists—who live more or less peacefully with one another in a completely animated part of Los Angeles called Toontown. They are also immortal unless erased by a special “dip.” All of Toontown is under threat of erasure because of a plot to build a freeway through it. To make it happen, Judge Doom has purchased LA’s public streetcar system in order to destroy it.
Judge Doom’s dream is our reality: “I see a place where people get on and off the freeway. On and off. All day, all night. Soon where Toontown once stood will be a string of gas stations, inexpensive motels, restaurants that serve rapidly-prepared food, tire salons, automobile dealerships, and wonderful, wonderful billboards reaching as far as the eye can see. My God, it’ll be beautiful.”
Fortunately, the good guys win. The human protagonist, detective Eddie Valiant, saves the animated protagonist, Roger Rabbit, and in doing so he helps save Toontown. He also regains his lost sense of humor and breaks his own depression. He gives Roger a big funny kiss and all the toons cheer as they’ve won collective ownership of Toontown. In the end, Valiant finds his anima. The movie, ultimately, is about fending off spiritual death. Implicit is a critique of Jim Crow-era racism—toons, who are drawings of animals, including people, are discriminated against, seen as less than human, and are segregated from humans, who believe they themselves are not-animals.
In real life, Judge Doom was General Motors, which along with Standard Oil, Firestone Tires, Mack, and Philips Petroleum, conspired to dismantle streetcar systems across the USA in the 1930s and 40s. They succeeded by using a front company called National City Lines. I learned this on 11th St. one day waiting for the 23 bus, which takes you to Germantown. The bus was late and the man next to me, who was complaining about SEPTA, started musing about the long-gone wonderful days of streetcars, how they ran up every street before we had buses. He told me to look up National City Lines. I did.
A hundred years ago, Philly had 550 miles of track and a fleet of 2,000 trolleys. Then came the rise of the car, which is an eraser. Then came the Great Depression. Then National City Lines: most trolley routes were converted to buses. And subway development slowed. Then came World War 2 and highways and suburbs, blockbusting and white flight.
In real life, Eddie Valiant and Roger Rabbit were people who drove cars, listening to Bruce Springsteen songs before Bruce Springsteen was born.
There were people in Germantown like Samuel West, my great-grandfather who made a living at the BUDD factory, which manufactured train and car bodies. His father, Thomas West, had drunk himself to death after the Great Depression sunk his textile mill and lightning killed his eldest son while he was working on the roof of their house. The rest of the family fought over the scraps and Samuel wanted nothing to do with it. He eloped with a poor girl from Scranton, moved to another neighborhood. He never talked to his siblings again.
For Samuel, love was an escape. His granddaughter, Dorothy, is my mother. She said Samuel loved his new family but was close-minded and racist. He told her once, whichever political party is in power, join that party—that way, you know someone’s got your back when things get bad. To him, all politicians were crooks. Their ideas didn’t matter. What mattered was self-preservation.
Having escaped, Samuel found himself preserved, happy with where he was, sitting on his small piece of land in North Philly, believing perhaps that he was his own boss, pretending perhaps not to be erasing anything. But the world began to swirl around him again, and he started to feel that he couldn’t move, that he was stuck as if he were in a museum, and people were looking in but could not see him. And he began to panic.