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Notes from a Boy @ The Window

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Notes from a Boy @ The Window

Category Archives: Movies

I’m Not Happy Feet (or Ted Williams)

21 Monday Feb 2011

Posted by decollins1969 in 1, Academia, Boy @ The Window, culture, Eclectic, Movies, music, Politics, Pop Culture, race

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Acting, Avatar: The Last Airbender, Class, Classism, Dancing for Dinner, Drug Abuse, Drug Addiction, Entitlement, Gender, Happy Feet, Homelessness, Hustle, Hustlin', Hustling, Poverty, Prince Zuko, Race, Racism, Shuckin' an' Jivin', Tap Dancing, Ted Williams, The Soloist, Trained Seals, Uncle Iroh, Voyeurism, YouTube


Happy Feet Big Dancing Scene Screen Shot, February 19, 2011. Qualifies as fair use under US Copyright laws, as screen shot is of low quality and illustrates the subject of this post.

Happy Feet Big Dancing Scene Screen Shot, February 19, 2011. Qualifies as fair use under US Copyright laws, as screen shot is of low quality and illustrates the subject of this blog post.

Remember that homeless Black guy who kicked off our new year a few weeks ago through the power of YouTube and some folks who recorded him and his golden voice on their smartphone? Yeah, how could any of you forget, really? Ted Williams had a whirlwind ten days, as thirteen million people watched the YouTube recording, companies and individuals offered him jobs and money, his family came back into his life. And then, of course, Williams became violent, relapsed into drug use, and is in the midst of rehab — again.

But it all started with his YouTube performance for the good folks of voyeur America. The whole incident made me cringe from start to finish. It also made me think about something that has always bothered me about race in America. Why? Especially since the video surfaced a man who’d been on a downward spiral for three decades? Because it seems that in order for a Black person to be taken seriously in this society, we have to perform like trained seals in order to get the attention we need and deserve.

Ted Williams, Columbus, OH, January 3, 2011. AP. Qualifies as fair use under US Copyright laws because of low resolution and use as subject in blog post.

This isn’t about some metaphorical relationship between excellence and success, or displaying intellect at school and in the world of work. No, this is actually about giving a performance, acting, or as the older folks would say, shuckin’ an’ jivin’, or hustlin’, to grab the attention of mostly Whites in high places. While this isn’t always a bad thing, it also is mostly not good. For it also seems that many of us must experience hardship, prison, drug addiction, abuse and homelessness in order to get attention in the first place.

That’s why it pisses me off when hearing about journalists shadowing the homeless in order to learn about life on the streets. Or when writers sit down with a homeless man or woman to learn about their ironic life story. It also bothers me when I see lists of the “50 Most Successful X” and the “100 Most Innovative Y,” knowing before I read one word that the only Blacks who made these lists were entertainers (I include professional athletes in this category, by the way). It’s disheartening to know that, for all of my writing ability and intellect, the only way I’ll likely be as successful as I hope to be will be by delivering a performance that allows Americans — mostly White — to be voyeurs of my life beyond my words and deep thoughts.

It all came together for me in the Avatar: The Last Airbender episode  (Season 2, Episode 4) “The Swamp,” where Prince Zuko and his uncle Iroh sit at the side of the road in an Earth Kingdom town begging for change. One man forces the once proud general to dance for a gold coin — “Nothing like a fat man dancing for his dinner,” the man says. It speaks to shameful classism — or, at the very least, a sense of class and race entitlement — that we in this country engage in every day.

Fat Man Dancing For His Dinner

Fat Man Dancing For His Dinner

So, here are a few more thoughts. I look at Ted Williams, The Soloist with Robert Downey, Jr. and Jamie Foxx, even the Pixar/Disney movie Happy Feet (2006) — which me and my wife made the mistake of taking our son Noah to see (he didn’t like the movie, by the way) — and see lots of shuffling across a floor for the attention of Whites (and some people of color) in high places. Do two million penguins really need to tap dance ala Savion Glover in order to get attention from White scientists trying to save life on this planet from our global warming ways? No, but Blacks have had to literally tap dance for food and spare change in the exact same way.

I felt this way in grad school and at various times throughout my career. That I needed to sing, dance and do flips and cartwheels to make myself stand out for my middling White professors and supervisors. It would explain why some of them would ignore my grades, papers and awards to ask me if I could palm or dunk a basketball — out of the blue! Or why a muckity-muck at the Academy for Educational Development would walk by my office, notice the PhD on my name plate, and say, “Wow! You have a doctorate! I thought you only played softball!” I said, “Yeah, that’s why I’ve been working here for three years, just so I can play on the organization’s softball team.”

We ignore those suffering the most, whether because of race or class or gender or a combination of the three (or more) until they do something that impresses us. That’s when they deserve a chance, at least from the perspective of those laughing at them. And that’s shameful, demeaning, and yes, racist and elitist in a very specific way.

Why Ferengi Are Jewish & The Maquis Are Latino

17 Monday Jan 2011

Posted by decollins1969 in 1, culture, Eclectic, Movies, Pop Culture, race

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Tags

Acting, Actor Roles, Anti-Stereotype, Archetypes, Armin Shimerman, Aron Eisenberg, Avery Brooks, Cultural Stereotypes, Deep Space 9, DS9, Ferengi, Jr., LeVar Burton, Martin Luther King, Max Grodenchik, Michael Dorn, MLK Day, Racial Stereotypes, Reggie Miller, Robert Beltran, Roxann Dawson, Star Trek, Star Trek: Deep Space Nine, Star Trek: Enterprise, Star Trek: The Next Generation, Star Trek: Voyager, Stereotype Threat, Stereotypes, The Maquis, TNG, Tony Plana


 

Ferengi Characters, Star Trek: DS9, "Little Green Men" Episode Screen Shot, January 16, 2011. Image qualifies as fair use under United States copyright law because of its low quality and limited use nature.

Maquis Characters, Star Trek: Voyager, "Caretaker, Part I" Episode Screen Shot, January 16, 2011. Image qualifies as fair use under United States copyright law because of its low quality and limited use nature.

In honor of Martin Luther King Day ’11, it’s my privilege to discuss Star Trek and stereotypes. For whatever reason, I’ve spent the better part of the past six months watching episodes of different Star Trek series in my spare entertainment time. Whether the theatrically great DS9 (Deep Space 9), the ever-goofy TNG (Next Generation), or the uneven and mediocre Voyager, the Star Trek franchise that made runs of four different series between ’87 and ’05 had at least one theme consistent with our much less harmonious twentieth and twenty-first century times. Playing to stereotypes seemed to be a common undercurrent, though with great makeup artists — and at least with DS9, good writing and acting — those stereotypes were light and subtle.

 

In watching, it amazed me that nearly all actors who played the alien Ferengi were Jewish. Yes, the actors who played the Ferengi characters were supposed to be short, but I didn’t know that Jews had cornered the acting market for people under five and a half feet tall. Armin Shimerman, Aron Eisenberg, Wallace Shawn, and Max Grodenchik all played the main Ferengi characters on DS9. Not so ironically, the Ferengi culture centered itself on making profit by virtually any means necessary, a pretty vile stereotype for an entertainment franchise based on a future and better human race.

Reggie Miller, Potential Ferengi

 

Even while watching DS9 in the late-90s, when all of the episodes were new ones, I commented to my friends that NBA Hall-of-Famer Reggie Miller could easily play a Ferengi, even at six-foot-seven, because the makeup artists would have very little work to do. Of course, that wasn’t to be.

 

Tony Plana as Maquis Character, Star Trek: DS9, "The Maquis" Episode Screen Shot, January 16, 2011. Image qualifies as fair use under United States copyright law because of its low quality.

It wasn’t just the Jews-as-Ferengi that I picked up on the first or second time around. On both Voyager and DS9, the Maquis, a guerilla group fighting for disputed territories, had a disproportionate number of Latino actors playing those lead characters. Robert Beltran, Roxann Dawson and Tony Plana (mostly known these days as the father on the recently ended TV series Ugly Betty) were among the Latino actors playing these characters. I guess that the passionate or hot-blooded Latino stereotype played a role in the selection of these quality actors to play passionate or hot-blooded rebels in the relatively placid paradise of the Star Trek galaxy.

 

Of course, Black men on these shows found themselves emasculated for the most part. From LeVar Burton

Anthony Montgomery as Travis Mayweather, Star Trek: Enterprise, January 16, 2011. This screen shot qualifies as fair use under US Copyright laws because it is of low resolution screen shot and is a minimal use.

as the blind engineer to Michael Dorn as the semi-defanged Klingon, and from Tim Russ as the more-emotionally-repressed-than-normal Vulcan to the milquetoast twenty-second century human played by Anthony Montgomery, these characters seldom were provided the opportunity of a higher level of complexity beyond stereotypes or in playing an anti-stereotype. The one notable exception was Avery Brooks’ character Capt. Benjamin Sisko, who became one of the Bajoran Prophets at the end of the DS9 series, destined not to enjoy the fruits of his god-like work in the here-and-now.

 

I’m not bringing all of this up to denigrate the Star Trek franchise. I actually love DS9, still like TNG, and can tolerate an occasional Voyager episode. Rather, this is about the battle over racial stereotypes, living them down, defying them, and being surprised when others don’t exhibit them. The fact that a franchise as optimistic and progressive as Star Trek couldn’t avoid major stereotypes says a lot about how deeply ingrained they are in our advanced culture.

Here’s a stereotype-breaking thought. Let’s make most of our images of alien humanoids out there somewhere in the Milky Way into folks who have various shades of brown skin. I know that this wouldn’t play well on any future Star Trek series. But this has about as much of a chance being true as the pink-skinned humanoids that characters in the Star Trek franchise constantly encounter. This first-contact stereotype, of course, is the hardest one of all for the Hollywood set to break.

It still amazes me that people are amazed that someone like me, a six-foot-three Black guy, has a doctorate, teaches, writes and still likes to play basketball. It also amazes me that many are still waiting for President Obama to slip into a stereotype, even though he’s bent over backwards to be neither a stereotype nor an anti-stereotype. Or, for that matter, the amazement of Blacks or others of color in watching a fast White guy play football or a tall one dunk a basketball. Stereotypes, like perceptions, are real, but not as real as the human capacity to defy them. Anyone who doesn’t believe that doesn’t believe in anything that Martin Luther King, Jr. stood for.

The POTUS and The Last Airbender

08 Wednesday Dec 2010

Posted by decollins1969 in 1, Boy @ The Window, culture, Eclectic, Movies, Politics, Pop Culture, race

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Avatar, Avatar: The Last Airbender, Bryan Konietzko, Bush Tax Cuts, Capitulation, Compromise, GOP, James Cameron, Left of Center, Liberals, M. Night Shyamalan, Michael DiMartino, Noah Ringer, Obama Administration, POTUS, POTUS 44, President Obama, Press Conference, Progressives, Tea Party, The Last Airbender, The Lexus and the Olive Tree, Thomas L. Friedman


C-SPAN Video Player - President Obama News Conference on Tax Cut Agreement Screen Shot, December 8, 2010. Donald Earl Collins. Qualifies as fair use under United States copyright law because screen shot is of low quality and is only intended to highlight the subject of this post.

In a post I did during President Obama’s campaign run (see “The Avatar State” post, July 22, 2008), I dared to hope that the then energized candidate and senator would be a bridge that would work across the divides of race and ideology. Much like the main character of my favorite animation series of all time, Aang of the Avatar: The Last Airbender. But unlike Thomas L. Friedman’s The Lexus and the Olive Tree (1999), I don’t purport to have a special wisdom about how he can do this.

 

And like the animated series, Obama’s run for president also came to a successful end. For both the creators of the series and our beleaguered president, it was time for the big time. For one, it was the opportunity to do a live-action, big screen movie to introduce the epic nature of kids embarking on a journey to save the world to a larger audience. For Obama and his group, it was the chance to govern based on the ideas and ideals that they communicated successfully to nearly 67 million voters.

Unfortunately, both have disappointed, and not just a little. James Cameron managed to wrest away the very title of the movie — Avatar — from the Avatar: The Last Airbender creators Michael DiMartino and Bryan Konietzko, even though his movie was merely a dream at the time that series had begun in ’04. That, and settling for M. Night Shyamalan as director turned The Last Airbender into an irrelevant movie that hurt the brand, while inadvertently helping Cameron’s Avatar make money-making history.

Poor Noah Ringer as Aang of M. Night Shyamalan's The Last Airbender Screen Shot, December 8, 2010. Donald Earl Collins. Qualifies as fair use under United States copyright law because screen shot is of low quality and is only intended to highlight the subject of this post.

 

The Obama Administration also began conceding its brand within weeks of reaching office. They say that governing dilutes the rhetoric of campaigns, and even hopeful me maintained enough jadedness to realize that. Yet to see how quickly Obama and his administration moved from action on the stimulus bill to a bunker mentality on virtually everything else was a bit distressing. The picks of Larry Summers, Peter McNickol of Ally McBeal fame — I mean Timothy Geithner — and Arne Duncan to be pillars of his economic and education teams should’ve been signs. That the Obama Administration would look after corporate and rich people’s interests before it would look out for mine. That there would be little fighting for the ideas and ideals of his campaign.

Only yesterday afternoon did Obama decide to flash anger at liberals and progressives. To be truthful, some of them have been bitter and overly critical of Obama’s decisions almost from day one. But to paint all of those left of center with the same broad brush, as if we all “have the satisfaction of having a purist position, and no victories for the American people. And we will be able to feel good about ourselves and sanctimonious about how pure our intentions are and how tough we are.”

It’s a nice sentiment. Except that the president doesn’t seem to understand the difference between compromise and capitulation. As David Gergen put it on CNN yesterday, while Obama may well be right in heading off political opposition from the Tea/GOP group looking to hold Americans and him hostage, his execution of this from a communications standpoint was terrible.

We’re approaching the midway point of his first — and possibly only — term in office, and Obama has yet to take a serious stand on any principle he campaigned for in ’08. I’m not speaking as a liberal or

"Sozin's Comet, Part 4" from Avatar: The Last Airbender Screen Shot, December 4, 2010. Donald Earl Collins. Qualifies as fair use under United States copyright law because screen shot is of low quality and is only intended to highlight the subject of this post.

progressive here. Just look at his memoirs, his speeches and campaign promises, even the speeches and pressers Obama gave in his first months in office. Now, some of this is the result of real compromise. But after nearly two years, those compromises look more and more like concessions for the rich and corporate, and less like compromises to protect the poor, unemployed and underemployed.

 

Like the poor kid who didn’t have a chance in heaven to measure up to the character Avatar Aang in the Avatar: The Last Airbender series, it looks as if President Obama is having a hard time measuring up to his forty-six-year-old self. But hopefully, like the animation version of Aang, the real Obama will find his way. He needs to take a stand on something important to him and us, and do it with the bravado in which he ran on. So that even the folks who wouldn’t vote for him if God asked them to will at least get out of his way.

Deep Race 9

30 Tuesday Nov 2010

Posted by decollins1969 in 1, culture, Eclectic, Movies, Politics, Pop Culture, race

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Tags

1990s, Acting, Alexander Siddig, Avery Brooks, Culture, Nana Visitor, Pop Culture, Race, Screenwriting, Star Trek, Star Trek: Deep Space 9, Star Trek: Deep Space Nine, Star Trek: DS9, Terry Farrell


Star Trek: DS9, "What You Leave Behind" Screen Shot, November 30, 2010. Donald Earl Collins. Qualifies as fair use under US copyright law because this screen shot is used for limited illustrative purposes in identifying the theme of this article.

I just finished re-watching the Star Trek: Deep Space Nine series via Netflix, probably one of the more underappreciated Star Trek franchise shows, not to mention underappreciated during the good-old ’90s. Since the middle of June, through the death of my sister, teaching, writing and revising different pieces and Boy @ The Window, I re-watched all 176 episodes (although, admittedly, I’d missed most of the seventh and final season in ’98-’99, between travel and a long job search).

This was easily the Star Trek series with the best acting, the most interesting story lines, and the most complicated in terms of moral choices and the complexity of humanity (and the universe more broadly). I gained an even greater appreciation for Avery Brooks — who’d previously been known as Spenser: For Hire’s Hawk character — Terry Farrell, Alexander Siddig and the rest of the cast as they grew the show over the course of seven years.

But you can’t find the series anywhere in the cable TV universe. It’s as if it disappeared in a singularity — a black hole for the layman. Even Star Trek: Enterprise, a terribly written series with mediocre acting on its best days, can be found in rerun syndication. I can’t help but think that Avery Brooks’ position as the lead actor in the series has a little something to do with my inability to find DS9 on TV.

The lead cast, dealing with complicated issues in ways that some have written would’ve made Gene Roddenberry spin like a top in his grave, may have made many uncomfortable in our intolerant of anything serious times. Race, genocide, oppression, the darker side of human — maybe even alien — nature, the idea that not everything in the distant future will be paradise. All too much for those who prefer their liberalism brewed in a ’60s era coffee machine.

The last five months of using Netflix to relive a piece of ’90s culture was wonderful. Watching classically trained theater actors on the small screen, watching religion, science, race and conflict brought to together so nicely. It made me want to give James Lipton a call to get him to interview Avery Brooks, if he hasn’t done so already. After watching the series finale last week, I felt like I lost a dear old friend again.

Where the Past Meets the Future

15 Wednesday Sep 2010

Posted by decollins1969 in 1, culture, Eclectic, Movies, Politics, race, Religion

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Tags

"Past Tense Part 1", Adrian Fenty, Alexander Siddiq, Avery Brooks, Benjamin Sisko, Bigotry, Carl Paladino, Charles Rangel, Christine O'Donnell, Economic Woes, Election Primary 2010, Julian Bashir, Kevin Powell, Star Trek: Deep Space Nine, Star Trek: DS9, Tea Baggers, Tea Party, Vincent Gray


Star Trek DS9 - Past Tense Pt. 1, Screen Shot

Last night, I was reminded of the power of entertainment, Netflix and how art and life converge. I was watching episodes of Star Trek: Deep Space Nine when a familiar two-part episode, “Past Tense,” began. I had planned to skip it, but once I remembered the story line, I watched it again, for the first time in at least thirteen years.

The crew of the Defiant, in attempting to beam down to 24th-century San Francisco, find themselves in the year 2024, in a San Francisco and an America turned upside down by bad economic times. Two members of the crew, played by Avery Brooks (Cmdr. Benjamin Sisko, or “Hawk” for those of you who remember Spencer For Hire on ABC from the ’80s) and Alexander Siddiq (Dr. Julian Bashir, or more recently, on 24 and in the movie Kingdom of Heaven) find themselves in one of many government-run concentration camps for the homeless and unemployed. This just days before an uprising that exposes the truth of an unjust system of economic neglect and government cover-up to the nation and world.

It’s not that Americans don’t care, according to Brooks’ Sisko and Siddiq’s Bashir, it’s that “they’ve given up,” they’ve “forgotten how to care.” I paused the DVD and thought about that statement as I watched Tea Baggers’ Christine O’Donnell and Carl P. Paladino win in Delaware and New York, Kevin Powell get slaughtered by Ed Towns in Brooklyn, and Charles Rangel paste five other opponents in Harlem. Not to mention young Turk Adrian Fenty losing to the ol’ Blacks network and Vincent Gray in DC.

Last night proved to me that most Americans simply don’t know how to care about anything except for someone who looks and sounds like them, whether that politician represents their interests or not. Some may care, some may not, some may even have forgotten how to care. But way, way too many of us get caught up in style over substance, in grandiose grandstanding over a sensible platform, over a good handshake rather than someone giving us a real hand in our lives.

We are as shortsighted as a roach, running just hard enough to not get stomped on, but not seeing that the person with the size 14-4Es has two feet, not one. As Polyanna-ish as Star Trek is, that two-part episode from season three of Deep Space Nine presents a stark and nasty future that is already beginning to manifest itself right now. All because we’ve allowed our bigotry and fear to lead us in the direction of creating a self-fulfilling prophecy.

The Last Airbender, or Shyamalan’s Cynical Egg?

01 Thursday Jul 2010

Posted by decollins1969 in 1, culture, Eclectic, Movies, Pop Culture, race, Youth

≈ 3 Comments

Tags

Avatar: The Last Airbender, Bryan Konietzko, Cynicism, M. Night Shyamalan, Michael DiMartino, Movies, Racebending, Roger Ebert, The Last Airbender


The Last Airbender Poster. Source: http://www.mediawiki.org/wiki/Manual:External_editors

I’ve been reading the reviews. On HuffingtonPost, by Roger Ebert, on Twitter and so on. I’ve been watching the previews since December. I’ve read all of the articles about casting and race (see my post “Racebending Avatar: The Last Airbender” from April 2009). As of midnight in New York and L.A., the movie has finally arrived. And for most fans of the greatest animation series ever, The Last Airbender‘s DOA, SOL, and FUBAR, all wrapped into one. M. Night Shyamalan, who hasn’t done a great film since Shyamalan and Mark Wahlberg, 2008. Licensed with Cc-by-sa-2.0Sixth Sense in ’99, should’ve used all six of his senses before agreeing to wield a cleaver to a show based on multicultural authenticity and a sense of humanity only matched by its revealing humor.

The truth is, this isn’t all Shyamalan’s fault. Michael DiMartino and Bryan Konietzko, the creators of the animated series Avatar: The Last Airbender, sold their movie rights and creative direction for this movie so easily and cheaply. They may as well have been the McDonald brothers selling what’s now McDonald’s to Roy Kroc back in 1955. The producers of the film and Paramount Studios should be shot with a turkey for letting a live-action film based on an animated series — which almost never works out — make it to a CGI board, much less a screen.

But even with all of that, the picking of mostly White actors to play multiethnic roles was horrendous. The making up for this by making all of the actors playing Fire Nation characters — the bad guys — Maori and South Asian was another sign. Not at all dissimilar from the constant complaints about Star Trek: Nemesis (2002), the last of that long-running franchise. The special effects of fire and water-bending — not so special, in the words of Beavis and Butthead. And 3D effects? Huh? Really?

Avatar Aang, Back Turned. Screen Shot, Avatar: The Last Airbender

This shows how cynical the world that controls what we see and hear is. They think that the consuming public is so stupid, our kids so demanding, that they can serve us slop out of a garbage can with a fungus-covered plastic spoon, and then expect us to like it. It’s still a world in which our heroes and villains must look and act a certain way, our appreciation for anything not overtly American gets thrown out of a window, our need for the bombastic more important than our need for the authentic.

The real jaded-ness here, though, is that The Last Airbender wasn’t made with fans of the animated series in mind, the majority of whom are teenagers and adults. No, this movie was made for the five to ten-year-old set, the ones who may or may not have seen the Nicktoons replays of Avatar: The Last Airbender. But even the kids who have seen the series cannot appreciate the layers of complexity in the show, the richness of the characters, or the overall dialogue of the series. That’s what folks like Shyamalan are counting on.

My son was asking about The Last Airbender this morning, because he thinks that it’ll be like the animated series. Soon to be seven, Noah has a more thorough understanding of the series than most his age. But he doesn’t know how bad this movie is. If I’m pushed to or if he begs, I might take him, if only to show him how a good series can be turned into a horrible film. Then I’ll ask Shyamalan to give back his salary for making such schlock.

Strange Days

24 Wednesday Jun 2009

Posted by decollins1969 in 1, Boy @ The Window, Christianity, culture, Eclectic, Jimme, Marriage, Mount Vernon High School, Mount Vernon New York, Movies, music, race, Youth

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616 East Lincoln Avenue, Black Male Identity, College Years, Crush #1, Humanities, Identity, Mount Venron HIgh School, Popularity, Salutatorian, Self-Reflection


Cover for the album Strange Days by The Doors, September 1967, scanned June 27, 2008. (Father McKenzie via Wikipedia). Qualifies as fair use because of low resolution of scanned album cover.

Being on campus at Princeton teaching for a few weeks and working with college-ready high school students sometimes takes me back into my past. It’s funny really, realizing that the “best and the brightest” were hardly the best and weren’t quite so bright, even at the time I went to school with them. That’s not to say that the students I’ve had or have now at Princeton or the classmates I graduated with didn’t or don’t have loads of potential. They did and do. It’s more about what can happen when teachers, administrators and parents fill our heads full with delusions of grandeur, with ideas of intellectual greatness based on signs of academic excellence. It’s what can happen when students spend more time trying to keep up with the image of high academic achievement that others have created for them rather than finding their own path, one that allows them to be themselves and to tap into their potential.

I know, I know, some students strive and thrive even with the pressures from their parents, the doting of teachers, and the turning-the-other-way of administrators. I could also be accused of playa hatin’, I suppose. After all, I was far from popular in my glory days of high school, and only found myself in the last two and a half years of college. But that’s just it. Even I had to come to grips with my family’s expectations — especially the lack of them — in high school and college. I needed to find myself in order to be all that I could be in college and in grad school. I needed to make a clean break from the doubters in my life — including of course, my teachers and administrators.

That’s the unfortunate truth I faced in my last two years at Mount Vernon High School. Especially when the class rankings came out a month into our senior year. Out of 545 potential graduates, I was ranked fourteenth. I was a little disappointed because I didn’t crack the top ten, mostly because I knew I needed scholarship money and a good financial aid package to help pay for college, wherever I went. I had already learned that my performance wasn’t good enough for my teachers in eleventh grade. They kept reminding me that I was doing nothing in comparison to the salutatorian in our class, an involved-in-everything Black male. I guess I could’ve argued that they should’ve been comparing me to our Class of ’87 valedictorian, but my teachers saw the second in our class as a much more well-rounded student. At the very least, I knew from the comparisons that the person I was supposed to be more like had a charming way with our teachers.

I saw this particular classmate as more of an enigma than many of the other ones I had done time with in Humanities. I genuinely felt both in awe of and disheartened by his presence in my life during the Humanities years. I thought it was amazing that he was able to do as much as he did. The high school band. The mock trial team. The school newspaper. Our yearbook. An appearance on Phil Donahue! At least he wasn’t a star basketball player too, especially in Mount Vernon.

Yet I saw the results of all of that involvement on his part, and not just in terms of how teachers saw me. As far as teachers were concerned, it was as if I was this classmate’s younger, underachieving brother. But I also saw how the young man occasionally worked his reputation to his advantage, cashing in on his built-up academic capital to give himself more time to work on assignments no one else got a second of overtime to do. I don’t think I ever wanted to be him or become close friends with him, though. Something about his need to be well-liked by our peers and teachers bothered me. So I was happy in more ways than one to see our salutatorian gallop into the sunset with his diploma, a law firm job in Manhattan, and his ticket to Harvard punched some twenty-two years ago.

Ralph Fiennes and Angela Bassett in Strange Days (1995), screen shot, November 12, 2009. (http://ugo.com via Fox Entertainment). Qualifies as fair use because of low resolution of screen shot, not meant for redistribution.

Something strange happened in the days after the final fight between my mother and ex-stepfather in June ’89 (see my “The Miracle of Divorce” post from earlier this month). It was a week after idiot Maurice had moved out for the last time. Me and my older brother Darren were on our way to my father Jimme’s for money and because Darren was in the process of moving out of 616 — God knows he needed to. Along the way, we bumped into Crush #1, which is a story unto itself, a good one that is. Ten minutes later we bumped into salutatorian off The Avenue and West First, still trekking toward Jimme’s. This surprise meeting trumped my Crush #1 conversation and made a lasting impression on my understanding of myself as a Black male. So much so that I had a long conversation with my late teacher Harold Meltzer about it years later.

When I bumped into the man en route to Jimme’s with Darren, he’d just gotten off work at his summer law firm job in the city, his third summer working there. He was wearing a hideous green-and-white-checkered dress shirt with dark green suspenders and even darker green slacks. Why hideous? Because on a hot and hazy day in late-June ’89, a day in which batting an eyelash required some degree of sweat, the guy was dressed like it was the middle of March. The color scheme didn’t blend at all with his dark chocolate skin, and his face was both greasy and sweaty from a long, hard day. But the biggest shock was his hair. It was conked — or fried as some folks say — ala Miles Davis or Malcolm Little before he became Malcolm X. This was the first thing I noticed, even before the Green Giant getup. Since I was already in a pissy mood, one only mildly moderated by my Crush #1 sighting and conversation, I didn’t outwardly react to it.

I realized as I stood there with Darren talking to my former classmate what had bothered me about him

Jolly Green Giant statue in Blue Earth, Minnesota, May 20, 2006. (Jonathunder via Wikipedia). Released into public domain via CC and & GFDL.

during all of our years together in Humanities. I had called him an “Oreo Cookie “—Black on the outside, White in the middle — in my head and under my breath on a few occasions during our Humanities years. Yet this sighting and conversation let me know that I was wrong. Sadly, I realized that our salutatorian didn’t have any identity at all. He made himself into whomever others wanted him to be. To his family, he was the mild-mannered and religiously faithful kid who just happened to be smart. To our teachers, he was super-intelligent, an overstretched overachiever whom teachers gave the benefit of the doubt if his assignment was late and he needed an extra day. To many of us, he was the polar opposite of our eventual valedictorian, a talented competitor who was far more worthy of our school’s number one status. I’m sure to a fair number of his Harvard classmates saw him as a marvel, either not “Black” enough or too much of a “credit to his race.”

The person I saw that day wasn’t the confident, take-on-the-world with a-smile-on-his-face person I’d seen in action for six years in Humanities. He was confident enough to attempt to act that way toward me, though. I got the story about how life at Harvard was good, that he was succeeding academically and that he’d found a way to fit in with his mostly White, six-figure and two-comma classmates. He also still intended to go to law school. And though his job at the law firm was difficult, he said that he enjoyed that also. My former classmate must’ve thought that he was talking to the uncultured twelve-year-old I once had been. His utter lack of details about classes, people, majors or professors let me know right away that life for his at America’s preeminent university was somewhere between rocky and a living hell.

My conversation with the person folks thought I should be much more like was a major revelation. It explained why it took until I was a sophomore in college to find my footing. We all had significant identity issues, exaggerated by our competitive conditioning as Humanities students. These weren’t typical teenage struggles over being cool or not. Especially when being cool meant being “Black” or “Italian” or “anti-intellectual” or a “brainiac,” not just “cool” in general. You could say that our grades and ranks—or shunning them as the case might’ve been—were as much a part of our individual identities as being affluent or Jewish or Black. Our salutatorian may well have been an extreme example of this, but he was hardly alone. Everyone in Humanities, even the “cool” cliques within had their share of identity issues to reconcile or struggle with.

My own identity issues were many and varied. In my case, though, I’d been working on reconciling mine since the middle of seventh grade. I realized that the battle I’d been waging for so long came out of my identity crisis, one that started as a spiritual disconnect between being a Hebrew-Israelite and watching my stepfather break every rule in the Talmud while attempting to break me and my mother. That battle didn’t even begin to subside until I decided to embrace myself for who I was, good, bad and ugly. Once I took that proactive step, shooting for the best person I could be and small miracles like real friendships were only a matter of time. It’s a lesson that I hope the high-potential students I’ve taught the past couple of years learn, and learn well.

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Boy @ The Window: A Memoir

Boy @ The Window: A Memoir

Places to Buy/Download Boy @ The Window

There's a few ways in which you can read excerpts of, borrow and/or purchase and download Boy @ The Window. There's the trade paperback edition of Boy @ The Window, available for purchase via Amazon.com at http://www.amazon.com/Boy-Window-Donald-Earl-Collins/dp/0989256138/

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Boy @ The Window on Amazon.com: http://www.amazon.com/Boy-The-Window-Memoir-ebook/dp/B00CD95FBU/

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Boy @ The Window on Apple's iBookstore: https://itunes.apple.com/us/book/boy-the-window/id643768275?ls=1

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Boy @ The Window on Barnes & Noble: http://www.barnesandnoble.com/w/boy-the-window-donald-earl-collins/1115182183?ean=2940016741567

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