Category Archives: eclectic music

Viewing World AIDS Day From the Cheap Seats

01 Saturday Dec 2018

Posted by in 1, Boy @ The Window, Christianity, culture, Eclectic, eclectic music, High Rise Buildings, Jimme, Marriage, Mount Vernon High School, Mount Vernon New York, My Father, New York City, Pittsburgh, Politics, Pop Culture, race, University of Pittsburgh, Youth

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World AIDS Day 2018 logo, November 30, 2018. (http://hiv.gov).

Today and this weekend mark 30 years since the first World AIDS Day. Unlike three decades ago, I seldom give HIV/AIDS any thought at all. Where did it go? Has anyone actually died from AIDS recently? Do people still have to worry about HIV/AIDS? I know the answers are, nowhere, yes, most definitely, and hell yes, dumb ass.

But 30 years ago, I worried about HIV/AIDS the same way I worried about the Soviet nuclear threat, my Mom still living with my idiot stepfather, and dying if I wasn’t part of some evangelical Christian rapture. I pretty much worried about everything back then. In the context of my heterosexuality and mostly burying it for fear of intimacy, pregnancy, and bodily fluids, though, I worried that with my luck, any sex at all would lead to the STD to beat all STDs.

So when my dad went out of his way to get me a prostitute (we didn’t use the term “sex worker” then, I think) for my seventeenth birthday in December 1986, a young woman I knew to have been a fellow Mount Vernon High School student the year before, I didn’t hesitate to say no. I preferred Jimme calling me “faggat” to doing the equivalent of Spike Lee’s character in School Daze, a form of meat-market sex approaching (but not quite) rape.

I knew, down to my bones, despite the ACT UP crowd of relatively well-off gay White male activists on MTV and elsewhere, despite the dome of Black hypermasculine homophobia found in Mount Vernon and in the city, that HIV/AIDS wasn’t a “gay disease.” Basic biology would dictate that viruses don’t make left turns based on sexual orientation, class, gender, or race. So, hell yes, I was scared, for quite some time, from the prospect of living with a disease that has killed more than 35 million people worldwide since 1979.

The dangers of sex work, of casual unprotected sex, and of HIV/AIDS were made clear to me on my trip to Pittsburgh in August 1990 to secure what would be my studio apartment living for the next eight and a half years. It started at the Port Authority Bus Terminal on 41st on Friday night, August 3. It was going to be my second trip ever on Greyhound, catching the 11 pm red-eye, nonstop bus from Manhattan to downtown Pittsburgh. As the 40 of us stood in line to catch the bus, I saw a woman around my age wandering between the men’s room and the waiting areas, talking to different guys, with one or two jumping out of line for a few minutes.

Port Authority Bus Terminal entrance, New York, NY, October 22, 2015. (Ilana Gold/CBS2; https://newyork.cbslocal.com/2015/10/22/port-authority-bus-terminal-plan/).

As she drew closer to my line, I recognized her. She was someone I knew to be the cousin of one of my neighbors on the third floor of 616. By then, I also saw a Black guy in his mid or late-twenties, standing near the men’s room, keeping a close eye on her. It was like the cogs of my mind moved in slow motion as it became clear that this person I knew was a sex worker and the guy was her pimp.

A few minutes later, the pimp bellowed, “Five-O! Five-O!.” The all-too-familiar woman took off. She booked out the terminal doors and toward the streets around Times Square. The Port Authority police and two NYPD cops had grabbed the pimp, put him on the ground, handcuffed him, and took him away.

I was so surprised and sad after that, at least as we boarded the bus and weaved our way through New Jersey. I hadn’t seen this woman since 1986 or 1987, when I was a senior in high school. Over the years, she had come over to her cousin’s place to visit, and maybe to stay (at least temporarily). She had mostly teased me about my “White music,” except for Tears for Fears in the summer of 1985 (their “Shout” had been turned into some hip-hop urban mix on WBLS).

She had asked me on more than one occasion, “Do you like girls?” I mostly ignored her, saw her as just another person at 616 and in Mount Vernon who saw me as something to kick around. I didn’t consider her attractive because of how she talked to me, but looking back, she was. At five-seven or five-nine, she was a yellowish-brown skinned woman, with some freckles, a nice smile, shortish hair, and a nice proportionate shape. She could be witty, in a New Yorker’s sarcastic sort of way. But between Wendy, Phyllis, and my march to college, nothing and no one in Mount Vernon could compete for my attention in that way back then.

A week later, I came back from my Pittsburgh trip, on another Greyhound non-stopper, only to realize at 8:30 on Saturday, August 11 that I needed to take a dump. As I’ve said elsewhere, I tried and failed to take one at Grand Central, as the basement restrooms were full of broken toilets, boarded up stalls, and at least one person with obvious signs of Kaposi’s Sarcoma, a sign of full-blown AIDS. I don’t know how I managed to hold my shit until I made it back to 616.

I learned from my Mom twelve or thirteen years ago that my former neighbor and teaser had died from AIDS-related complications, leaving two children behind. Even though I didn’t know her very well — didn’t want to know her, really — I was still heartbroken for her and her kids. All I could think was, what an awful life, what an awful way to die! Who’s going to raise her kids?

But really, I couldn’t help but go back to that Friday night in August 1990. I observed from up close, what the limited choices in a world of capitalism, patriarchy, misogynoir, and racism left people like this young woman. I observed, from afar, how this world can make something as destructive as HIV/AIDS a movement for gay White males, and a silent way of killing Black women at the same time.

Coming From Where I’m From

30 Monday Jul 2018

Posted by in 1, Boy @ The Window, culture, Eclectic, eclectic music, Jimme, Mount Vernon New York, music, My Father, New York City, Politics, Pop Culture, race, Youth

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A week and a half ago, I received an email from a reader in response to my latest Al Jazeera piece, “Why I Don’t Understand the Black Affluent Class.” She congratulated me on the article, and agreed with most of my sentiments in the piece. She also revealed that she had spent a decade living in Mount Vernon, NY.

It turned out that this reader lived five blocks from me during my Boy @ The Window years, right off East Lincoln Avenue! Part of my follow-up included, “[m]aybe our paths crossed, maybe they didn’t. But I’m sure my growing up years helped shape some of what went into my Al Jazeera piece from last week.”

I was mildly excited that someone from Mount Vernon had read one of my mainstream articles, and not just the blog. But, even with some shared ideas and a common point of reference, the reader’s response actually reflected some of what I critiqued in the article. She agreed that “Money Earnin’ Mount Vernon” had helped shape my views around the buying in of a relatively materially privileged class into White patriarchial and supremacist ideas like civility and respectability politics. Then she immediately veered toward identifying the great Mount Vernonites — “Denzel Washington, Al B Sure, Heavy D, Sidney Poitier, etc.”

What is it about smaller cities not blessed with the narcissistic largesse of a New York, L.A., or DC that causes people to fall back on the “but we have successful people from here, too” trope? Not only is this not necessary. It points to a sense of competing for attention and importance in a way that can be a bit unseemly, a way of countering a negative narrative from a crowd of self-centered media elites with one that’s just as narcissistic and needy.

The fact is, pick a spot on a map where at least 1,000 people live, and guess what? Someone rich and/or famous either grew up there or lived there for a time. Even if those individuals aren’t nationally known, one can guess that they’re known in that region or state. Dean Martin’s from Steubenville, Ohio. The opera singer Leontyne Price is originally from Laurel, Mississippi. Mr. “The Price Is Right” Bob Barker is from Darrington, Washington. Stand-up comedian Lewis Black’s from Silver Spring (where I’ve lived for nearly 20 years now). I bumped into former NFL player and sports broadcaster Ahmad Rashad at my local pizza shop in 1989. Heck, the Black feminist lesbian poet Audre Lorde worked for years at Mount Vernon Public Library. None of this could possibly change how I saw my original home base, not in 1976, not in 1987, and certainly not in 2018.

It’s not that I didn’t know the Delaney sisters lived off South Columbus Avenue, or that Stephanie Mills had a house somewhere between Mount Vernon High School and the Mount Vernon-Bronxville border. But what did that really mean to my day-to-day when I was going from one end of Mount Vernon to the other for groceries, for piece of mind, and sometimes, to avoid more physical and emotional abuse at home? How did knowing that a classmate was in a scene on the soap opera General Hospital change the fact that I still needed to hunt down my alcoholic father on Friday for enough money to cover the cost of my AP English exam? What did Al B. Sure or Heavy D’s success in the 1980s have to do with my striving for a college education, or my five days of homelessness in 1988? Nothing, of course, absolutely nothing.

It’s good to know that there are notable people, Black, Afro-Caribbean, African, Latino, Nuyorican, Italian, male, female, transgender, gay, lesbian, bisexual, dead, old, young, and alive, from Mount Vernon. But a community doesn’t hang its hat on notable people or the rich and successful. Its lifeblood is the ordinary, of activists, artists, and educators, students and librarians and postal workers, the grandparent here, the friend of the family there, who takes a real interest in your development and success. For that reason, Denzel doesn’t really matter to me. I can’t tell you how I feel about Albert Brown night and day, because I’ve hardly given his music a thought since Quincy Jones’ 1989 album Back on the Block (the song “The Secret Garden” makes me gag). Sidney Poitier living in Mount Vernon for a time? And?

For me, for better and for worse, it was the crossing guard at the corner of Esplanade and East Lincoln when was at William H. Holmes. Or, it was my mom and dad’s friends (drinking buddies, really), Ms. Pomalee, Ida, Callie Mae, Lo, and Arthur. Or, it was my mom’s Mount Vernon Hospital friends, especially Billie. It was my Uncle Sam. It was Ms. Griffin, Mrs. Shannon, Mrs. O’Daniel, Mrs. Bryant, my school teachers before Humanities and Meltzer. Whatever lessons I learned about aspirations, civility, and respectability politics, and the idea that these ideas aren’t all good or set in stone, they helped me in that process. These were the people who mattered to me outside of 616 and off the street of Mount Vernon.

“You Can Tell From The Lines On Her Face…”

01 Monday Jan 2018

Posted by in 1, Boy @ The Window, culture, Eclectic, eclectic music, Mount Vernon New York, music, New York City, Pittsburgh, Politics, Pop Culture, race, Religion, University of Pittsburgh, Youth

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One of the more haunting songs for me from the ’80s is Phil Collins’ “Another Day In Paradise.” It came out in the mid-fall of 1989, and ended the ’80s as a #1 hit. It was also #1 to start the ’90s. For those who were younger than ten in late ’89, “Another Day In Paradise” was a song about chronic homelessness and the callousness of folk toward the homeless, in the UK and in the US.

There were at least three million people living on the streets between Battery Park in New York and the Santa Monica Pier in Southern California when Collins released his admonishment for the world and God to do something about what was then considered a serious crisis. It’s not Phil Collins’ best song. But if you gave a damn about people you saw every day, leather-faced, wearing tatters, obviously sick in body and broken in mind, then this song may have touched you in some way.

It touched me. Just sixteen months removed from five days of worry about my future, sleeping on a concrete slab, and washing up in public bathrooms, I was going to be moved by “Another Day In Paradise” anyway. Unlike most Americans, I cannot walk by someone homeless and not have it register that this could be me. I don’t give change every time a panhandler asks me. I’m not made of money. Sometimes, though, I do tear up, because seeing families without a place or home sitting on a sidewalk in the rain should make anyone sad or angry. Especially on days like today, when much of the nation is around 10ºF (-11 or -12ºC).

America had as many as five million homeless people during the height of the Great Recession, and as few as about 600,000 as recently as a year or two ago. But as with most social statistics, this is likely an underestimate. There are plenty of well-washed, well-kempt, and somewhat healthy folk in this country who don’t have a place of permanent residence. They bounce from friend to friend or from extended family member to caring loved one. They may have access to a bed or some halfway house or temporary housing. Still, they aren’t guaranteed a place to sleep, sit, or rest from one day, week, or month to the next. And this takes a toll.

It took a toll on my own family between April 1995 and March 1998, especially the first seven months after the 616 fire. I’m convinced it’s why my younger siblings struggled for years afterward to earn a high school diploma or GED. The disruption in their lives, of their dreams, in their peace of mind. It can and does drive many people to drink, drugs, and madness. It drives those who are with mental illness to the grave, like my former classmate Brandie Weston.

Yet our nation homeless-proofs itself with jagged spikes on stone walls, covered steam grates, and patrol officers hell-bent on making sure homeless Americans will not see one moment of sleep and rest. We treat our most vulnerable Americans as if they’re some form of contagion, a diseased sort of garbage that we’d love to put on a barge and dump in the middle of the Pacific.

America in our policies and our people visits indignities, malignancies, and wrath upon our homeless, whether military veterans, impoverished families, or mentally ill individuals. It’s what we do to anyone in our nation who isn’t a so-called winner. And if you’re a person of color who’s homeless, the best you can hope for is being near a college campus, where a steady stream of the well-off exploit your stories for A’s and writing jobs.

America does “to the least of us” whatever it can to take advantage, ridicule, hide, and even eliminate their existence. Proving once again that while America is a great nation, we are a horrible people. Phil Collins was right. We “can tell from the lines on her face” that America has forever calloused itself, human but often devoid of humanity.

The Politics of the Apolitical

09 Wednesday Aug 2017

Posted by in 1, Academia, Boy @ The Window, Carnegie Mellon University, culture, Eclectic, eclectic music, Mount Vernon High School, Movies, Patriotism, Politics, Pop Culture, race, Religion, Sports, Youth

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Mimi and Eunice comic strip, July 27, 2012. (Nina Paley via http://mimiandeunice.com/category/politics/).

In late-October 1994, I had a wonderful steak dinner with my friend and former high school classmate Laurell in DC. It was during my first ABD (all-but-dissertation) visit to the area to conduct some official initial research on my multiculturalism-in-Black-Washington, DC-doctoral thesis. It was also a couple of weeks before the midterm elections, the cycle that would sweep in Newt Gingrich as Speaker of the House and the rest of his cronies as part of the Contract With (really, on) America, the gift that has kept on giving for the past twenty-three years.

As part of our three-and-a-half hour dinner and dessert, we talked about the Clintons, their failed attempt at universal healthcare, the Contract With America, and the ongoing politics of racial resentment. Laurell said, not for the first or last time, that she was “apolitical,” that she didn’t “adhere” to “either party’s platform.” This was because she was “fiscally conservative” and “socially liberal.”

Even in ’94, I could’ve picked apart Laurell’s hair-splitting with a hot hair comb. But here’s the part that got me then and really irks me now. Being apolitical is a political stance and perspective. Being apolitical is like being agnostic. You may not believe in someone or something exactly the way most people in the crowd do. You may have some serious doubts. But you are still a human being. And since you are human, and have beliefs, you also have a political point of view. Otherwise, your apolitical stance is the equivalent of selling bullshit to others and lying to yourself.

The politics of steak, August 8, 2017. (http://zeenews.india.com).

A few weeks ago, I watched BBC World News and saw a young White actress on the telly promoting her new summer film, declaring it “apolitical” as it delved into serious issues around feminism and potentially other -isms. Here’s a news flash, folks. Every movie, piece of art, song, poem, every article, book, or TV show, contains a hidden agenda, a specific set of beliefs, an ideology. By definition, every piece of entertainment or art has a political message, no matter how gentle or subtle. Even if a movie like, say, Rough Night is just about women “laughing at themselves” and “having a good time,” the idea that White women have the right to both feminism and femininity is embedded in these otherwise rather banal phrases. And that’s a political statement, whether people are willing to see it or not.

But the realm of politics goes well beyond the world of entertainment and leisure. Politics is everywhere, in everything, and with everyone, all the time. Calling yourself “apolitical” doesn’t change this truth. If you eat steak and potatoes, you obviously aren’t a vegan, and that reflects your personal politics around food. When you buy clothes, wear perfume or cologne, take a vacation overseas, call a young person in your neighborhood an “all-American boy” or “all-American girl,” you are unwittingly expressing your politics. Even in declaring yourself a Christian, atheist, Muslim, Buddhist, or Jew, this isn’t just an admission of your love for God, Yahweh, Allah, or a lack of belief in a higher power at all. It is a worldview with political implications, one that colors how you see the world, humanity, and governance. We are all political animals, no matter how little some of us pay attention to the machinations of the Democrats and Republicans.

Time Magazine cover (cropped) Colin Kaepernick, October 3, 2016. (http://facebook.com). Qualifies as fair use due to cropped nature and subject matter.

This is also why the common refrain among racist sports junkies about not combining sports and politics is also total bullshit. Of course the political implications of sport are intertwined with the actual sport in question! How else can you explain the blackballing of former 49er quarterback Colin Kaepernick for his Black Lives Matter kneel-downs during the National Anthem at NFL games in 2016? It’s certainly not based on Kaep’s performance or merely about a kneel-down. The politics of American racism, of faux-hyper-patriotism, of money and fandom, were and remain in play here. That some continue to doubt this is yet another example of the penchant of millions to crave willful ignorance of anything that would make them think beyond their own perceived superiority and simplistic views of an always political world.

So no, you can’t away from politics in this world. One would have to take a time machine back to before the Agricultural Revolution to find humans in a world without politics. But even then, there would be domestic politics, gender politics, tribal politics, and food/water politics. Not to mention, religion and the politics thereof. But, keep believing that you’re apolitical, and see how that works out as your worldview comes crashing down.

The Painful Destruction of the Pedestal

26 Wednesday Jul 2017

Posted by in 1, Boy @ The Window, culture, Eclectic, eclectic music, Mount Vernon New York, Politics, Pop Culture, race, University of Pittsburgh, Work, Youth

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Demolition of the Kingdome as a GIF, Seattle, Washington, March 26, 2000. (USA Today).

This week thirty years ago was the beginning of the end of my sexist dream of having women recognize me for being “a nice guy.” As I wrote in one of my very first blog posts a decade ago, it was a dream “that had to die.” Precisely because it was a fantasy, a phantasmic display of teenage delusion borne from five years of abuse and oppressive social immaturity. In ’80s parlance, my wack ass had to learn the hard way that I had no game. And, more importantly, that pedestals are meant for smashing with sledgehammers, as people can never live up to their marble or bronze busts.

It wasn’t really women I was trying to impress with my quiet and stoic demeanor. I was all about my second infatuation, Crush #2, my version of Phyllis in the summer of 1987. I’ve outlined in painstaking detail here and in Boy @ The Window my obsession with Phyllis and her smile, and my ridiculously stupid attempts to make conversations with her in the three weeks of my various impromptu encounters at the old Galleria in White Plains and on the 40/41 Bee-Line Bus back to Mount Vernon.

But “the end of the lesson,” or at least, the “end of the beginning” of it (to quote both Kevin Costner in The Untouchables (1987) — which I saw at The Galleria twice that summer — and Winston Churchill), began on my brother Yiscoc’s birthday on the fourth Thursday that July.

I walked around for over an hour after I got off the bus at North Columbus and East Lincoln. I must’ve called myself “pathetic” at least a dozen times on that hot and steamy walk. And I was. I didn’t get home to wish Yiscoc a Happy Birthday until after 8 pm, by which time I missed any semblance of a birthday celebration at 616.

Packing up and moving to Pittsburgh — and my freshman year at the University of Pittsburgh — seemed as far away that weekend as it did during my summer of abuse five years earlier. I was no longer sure that this transformational period of my life would actually bear fruit. I thought I was destined to spend the rest of my days alone, ridiculed, emasculated, and otherwise as a piece of trash.

Toppling and destruction of Vladimir Lenin’s statue via sledge-hammer, Berdichev, Ukraine, February 22, 2014. (unknown).

I was seventeen years and barely seven months old when I had those thoughts. I’ve been married for nearly that long, and have a son on the cusp of turning fourteen. There’s no way that Donald 1.0 could have envisioned either of these experiences, much less worked to make them happen. It wasn’t exactly a miracle that I became a boyfriend, fiancé, husband, and father. No, it was an evolution, with a couple of personal rebellions and revolutions mixed in.

The one good thing I did after Phyllis took a wrecking ball to my delusions of feminine perfection was to talk about it with someone who was willing to listen. This time around, a young woman put up with me griping about something I never had, someone whom was never for me to begin with. As many times as I would go on to listen to women of all stripes about their relationship issues, I needed to be on the rueing end of things this one time.

It would take a lot more talking, a bit more learning, and four more years befriending and dating, before I’d completely give up putting women on pedestals entirely. Women may be beautiful, and Black girls may be magic, but none are meant to be worshipped at altars. Like all other anthropomorphized idols, humans on pedestals will always fail us when we delude ourselves into thinking that we need them to be free. Especially when we need them the most, or at least, believe so.

 

When Enough Isn’t Close to Enough

23 Sunday Jul 2017

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Yiscoc Washington, July 5, 2017. (http://facebook.com).

“I took care of my kids! I put food on the table, put a roof over y’all’s heads, put clothes on yo’ back! I did the best that I could, and none of y’all can tell me different…” That’s what my Mom yelled at us the day before Sarai’s funeral seven Julys ago. It was an excited utterance, after she had spent five days in a trance, unable to do as much as eat a piece of toast. We were in the living room of Mom’s flat at 616, me, Mom, Maurice, Yiscoc and Eri, being yelled at over a lifetime of disappointment and frustration. Ours and hers.

Today is my brother Yiscoc’s thirty-sixth birthday. That he’s here at all is a bit of a miracle. Especially with the number of times he ran away from 616 between 1989 (when he was eight years old) and 1994, with his one-time video game addiction, and with muggers and pedophiles out there and all too willing to take advantage of a vulnerable preteen.

I started with Mom, though, for a reason. Her yelling at us was probably meant for me, but it was in response to Yiscoc, who shared a personal secret with her for the first time. Mom’s response was to defend her record as a parent, to tell us that we had no right to judge, critique, or assess her record. That she added, “That’s what you get for…” in response to Yiscoc’s tearful sharing session was shameful and disgusting.

“You’re So Vain” (1972), by Carly Simon, 45 cover, cropped, July 23, 2017. (http://avclub.com).

“But you don’t understand, your Mom was mourning the loss of her only daughter,” would be the response of Mom-defenders everywhere. To which I say, really? Your Mom’s response is to push four of your five living children away with a tirade? One where she says, “this fucked up, piece of shit life I helped set up for all of you was the best I could do, and if you don’t like it, that’s on you, and you can kiss my Black ass!” Would that really be acceptable under any circumstances, much less during a week of mourning?

Yiscoc ran away from home, hung out with several wrong crowds, and dropped out of Mount Vernon High School a year and a half before he could have completed his coursework. Seventeen years later, and Yiscoc still doesn’t have his GED (the last two times, he failed the social studies portion of the exam — ain’t that a kicker!). I’m not laying all of this at my Mom’s feet. But Yiscoc’s adult life wasn’t exactly set up for success by his growing up years. The normative permanence of systemic racism on the one hand, and domestic violence, welfare poverty, and the 616 fire of 1995 that left Yiscoc and my other younger siblings temporarily homeless on the other, would make any kid itching to run away.

A second younger brother has now reached the second half of his thirties. Yiscoc’s the same age I was eleven and a half years ago, when I began working on Boy @ The Window in earnest. One of the things I figured out in writing such a torturous book was that I blamed myself for so many of my parents’/legal guardian’s failures and sins. I had blamed myself for not putting an end to the domestic violence at 616 since I was twelve, for not doing enough to support Mom and my younger siblings since I went away to college at Pitt in 1987. I also came to understand how much Mom deflected, defended, and denied when it came to her parenting, especially when we called on her to do more than find temporary shelter, meager food options, and threadbare clothing. Mom was and remains one of the vainest and unaffectionate people I have ever known — vain, insecure, and likely clinically depressed.

“Flash Memory #2” (an unmasking), in stainless steel, by Liu Zhan, Kuang Jun, and Tan Tianwei, 2009. (http://elhurgador.blogspot.com/2012/05/unmask-group-escultura.html; H.T. Gallery, Beijing, China).

I also know that Mom has passed these traits down to each of us. I’ve been dealing directly with them for three decades. I’m not sure Yiscoc has ever peered behind his mask long enough to see Mom lurking in the shadows, warts and all. If he has or ever will, it has been or will be an ugly sight. But if we are truly attempting to rebuild and remake ourselves, it is a sight we must endure. A painful process of honesty, soul-searching, revelation, and admitting that on some level, we’ve fucked up, and been fucked up, by life, oppression, and parenting.

Happy Birthday, Yiscoc. Know that despite everything, I do love you. I hope that this next year brings you closer to the person you want and need to be.

The #45 Mix Tape

28 Sunday May 2017

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Then candidate 45 hugging US flag at campaign rally (remember, he’s the anti-Midas, everything he touches turns to crap), Tampa, FL, June 11, 2016. (Chris O’Meara/AP, Times Free Press).

I’m changing it up a bit this weekend. With so much focus on the apocalypse that is 45 and his band of greedy, racist, misogynistic, Islamophobia, and Russia-helping yes-men, I have something goofy and meaningful to say. There are already several comprehensive syllabi on Donald J. Trump out, though, so adding my scholarly musings and sources to this almost inexhaustible topic would be a futile exercise. Instead, I have a mix tape (sort of), one that highlights the changes in my music tastes over time and a group of songs that I mostly despise. Just like I loath most of America’s knee-jerk arguments over 45 and his minions from the past two years.

1. “Little Lies” (Fleetwood Mac, 1987). From their Tango In The Night album. Christine McVie sounds like a shot dog on this song (and Lindsey Buckingham doesn’t sound much better). But this was a Top-5 hit on Billboard in 1987, around the same time Trump was likely being turned by Vladimir Putin and the KGB in the former USSR. And, the song’s theme is pretty obvious.

2. “Live to Tell” (Madonna, 1986). Not exactly my favorite artist, but a one-time favorite song from the one-time “Material Girl” for me three decades ago. After several sources quoting the deposed Michael Flynn, “he has a story to tell,” I remembered Madonna’s lyrics, “I have a tale to tell.” Come to think of it, doesn’t Jared Kushner have a tale to tell about his and 45’s “thousand lies?”

3. “Spies Like Us” (Paul McCartney, 1985-86). Proof positive that Baby Boomers will vote for anything, this piece of poop was a Top-10 hit in January 1986. It’s also emblematic of the theme of ineptitude and macabre humor that runs through the song, representing the movie by the same title, and Flynn, Kushner, Carter Page, Roger Stone, and the rest of the monolithic bloc of 45’s White men.

4. “Russians” (Sting, 1985-86). Why? Because Russians (maybe with the exception of Josef Stalin and Putin) “love their children too” — didn’t you know? But they love messing with our corrupt democracy even more.

5. “Oops!…I Did It Again” (Britney Spears, 2000). God, I have no idea why anyone would’ve ever liked this zit-popper. But the then-eighteen-year-old Spears was prescient with the line “I’m not that innocent.” Neither is 45. He made be a narcissistic buffoon who can’t put two coherent sentences together with a pen, two pieces of paper, Scotch tape, and a flashlight. But he knows where his money’s coming from, no?

6. “Just A Friend” (really, “Jus’ a Friend,” Biz Markie, 1989-90). Same theme as Britney Spears’, with a twist of crossover appeal, a ridiculous baroque get-up, and off-key singing that could only be topped by NBA Hall-of-Famer (and internalized racist) Charles Barkley. But it captures perfectly the love affair between ditto-headed supremacist Americans and 45 (it doesn’t go the other way, of course).

7. “White, Discussion” (Live, 1994). A bit of my favorite grunge, which I have used before. It applies to the folks, the so-called American liberals ready to blame non-voters, third-party voters, and Trump supporters for the rise of 45. Still, many of them are to blame also, because most of them aren’t liberal. If you supported Hillary Clinton in 2016 based on principles, and not out of pragmatism, you are not a liberal, and have been voting in center-right candidates for decades. As the song goes, “look where all this talking got us, baby.”

8. “Stranger In Moscow” (Michael Jackson, 1996-97). Jackson’s introspective song applies here as well, because, well, he uses Russia and the theme of isolation throughout. Except in 45’s case, he likes it that way. And apparently, so does Russia.

9. “Lies” (En Vogue, 1990). Trust me, it fits! (s/o to Dawn Robinson).

10. “Thug Paradise” (Capone-N-Noreaga/Tragedy Khadafi, 1997). The lyrics below say it all:

I twist the truth, I rule the world, my crown is called deceit
I am the emperor of lies, you grovel at my feet
I rob you and I slaughter you, your downfall is my gain
And still you play the sycophant and revel in my pain
And all my promises are lies, all my love is hate
I am the politician, and I decide your fate

Supporters and sycophants beware: 45 is coming for you, in a steamroller with a 700-horsepower engine going one hundred.

11. “Fake Love” (Drake, 2017). I’m a Aubrey Graham fan. I can’t stand Drake. Still, this release from More Life should be required listening from 45 supporters who think they’re not racist, misogynistic, xenophobic, or narcissistic. He also has a song on this album titled “Portland,” though I seriously doubt he was thinking about this weekend or Richard Collins III.

12. “Waterfalls” (TLC, 1995). Yep, yep, yep. Both 45 and MAGA-types have been chasing illusory rainbows and torrents off jagged edges, and damning everyone who they perceive as a threat along the way. And they’re both on a one-way trip.

13. “Don’t Forget Me When I’m Gone” (Glass Tiger, 1986). This is the song 45 should play whenever he finally leaves office, whether by resignation, impeachment, and/or force. As everything 45 touches turns into crap, Glass Tiger’s Top-10 schlock cannot be made any worse. Plus, not even Glass Tiger would complain about 45 using their crappy music.

14. (Bonus Track) “No Bravery” (James Blunt, 2006). 45 is part of a continuum, one that stretches through all of American history. On the international stage, though, it has been one of constant chest-thumping while killing innocents in the name of freedom or national security. Though Blunt’s was about fighting for the UK, the song has much more applicability in the US. We have so much blood on our hands, and 45 means to add to this fetid river on the domestic and international frThe #45 Mix Tapeonts.