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Notes from a Boy @ The Window

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Notes from a Boy @ The Window

Category Archives: music

2012 Presidential Debates & The Great White Hype (1996)

24 Wednesday Oct 2012

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

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"Mama Said Knock You Out" (1990), Boxing Metaphor, Damon Wayans, Election 2012, Mitt Romney, Peter Berg, President Barack Obama, Presidential Debates, The Great White Hype (1996)


Obama-Romney Debate Season

Obama-Romney Debate Season

This next to last scene (in poor resolution, by the way) — the fight between Roper (Damon Wayans) and Conklin (Peter Berg) — sums up perfectly the three debates between President Obama and Mitt Romney this month. Oh, with some additional pictures and LL Cool J’s “Mama Said Knock You Out” (1990). From Obama’s lackluster first debate to his KO of Romney in the third, as illustrated by punches and knockdowns.

The Make-Believe Media

17 Wednesday Oct 2012

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

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"Both Sides Do It", "Dirty Laundry" (1982), Anchors, Columnists, Commentators, Jay Rosen, Journalism, Journalists, Liberal Bias, Mainstream Media, Make-Believe Journalism, Media, News Media, Objectivity, Print Journalism, Pundits, What Are Journalists For? (1999)


What media can get wrong (Election 1948, SCOTUS Obamacare Decision), November 3, 1948 and June 28, 2012 [October 17, 2012].

I get so tired of so many “journalists,” commentators and columnists saying the same thing over and over again. About the 2012 Presidential Election, about education, about race relations, about crime, about virtually anything anyone with a working brain cares to think about.

For more than four decades, our media has become like the color commentators for an old World Wrestling Federation (now WWE) event between “Rowdy” Roddy Piper and Hulk Hogan. Where the mere appearance of journalism and fairness has become more important than any actual substance. Where pitching fake debates about actual facts about real events and trends is normal business. Overall, the news industry — TV, print, radio and Internet — is about as professional an operation as a hole-in-the-wall bar attempting to become a strip club.

“If it bleeds, it leads,” whether it’s Ruth Chris Steakhouse or the mainstream media, October 17, 2012. (http://sanfrancisco.com).

Jay Rosen’s ’99 book What Are Journalists For? and Don Henley’s ’82 hit “Dirty Laundry” have plenty in common. They both unmask the news business as just that, a business. All of these ideas about objectivity, access and coverage for mainstream journalism in all its forms are just that, ideas. In actuality, news has grown into another form of entertainment, sometimes in the most literal sense (read The Onion and watch The Daily Show and The Colbert Report as but three examples).

Perhaps the most glaring falsehood of all is that the media is a mere reflection of society, and that journalism’s role is to be the mirror that stands apart, reflecting both the light and the darkness of our world. Both Rosen (in a scholarly tone) and Henley (with sarcasm-dripping lyrics) call bull crap on this idea.

There are too many lies that the media tells itself for me to go through all of them in one blog post, but there are particularly pernicious ones that I need to address here:

1. The built-in “liberal media bias:” This one is about as true as “dolphins fly” and “parrots live at sea” (thank you, Stevie Wonder). Fact is, the news media, with the exceptions of FOX News, represents a centrist view of the US and the world. Period. When’s the last time anyone has heard CNN discuss creating a single-track Pre-K to twelfth grade college and work preparation school system? Since when does the New York Times recommend the legalization of marijuana or the decriminalization of heroin and cocaine? Has the Washington Post ever suggested that America’s imperialist foreign and economic policies were the ultimate reasons for 9/11? These are all liberal positions, and yet, they get next to no play except maybe on non-mainstream TV and rags, liberal talk radio and progressive blogs.

2. The media’s goal is “objectivity:” Are we really that daft? Scholarly objectively went out the window in the humanities and social sciences in the ’80s, because it was obvious that scholars are actually, well, people. Last I checked, journalists, commentators, editors, columnists, anchors and talk show hosts are, too. Their collective main goal – to sell a story to the public (or, in many cases, to others in the media world), and overall, to make money for their newspaper, radio station, news channel or website. For if the business makes money, folks in the media get to keep their jobs and their prestige.

Gold bars and the earth on a set of brass scales (inspired by An Inconvenient Truth [2006]), August 2, 2011. (http://drpinna.com).

3. The “both sides do it” argument: The fact that the media has turned into about five different monopolies has led to this idea that there are two equal and opposite sides to everystory. It’s been true of the mainstream coverage of this election, but it’s applicable to everything they show the public. Climate change, some say “yes” (as in 99.8 percent of all scientists) and some (scientists paid off by Scaife, Olin, and the Heritage Foundation) say “no.” Trayvon Martin, was he a victim or a thug? Look, we all know that life has much more gray than the media is capable of capturing, but most rags and news outlets have long given up trying to provide a full story. All in the name of selling more newspapers, driving up ad sells and pushing up Nielsen ratings.

Megyn Kelly, FOX News, September 27, 2011. (http://huffingtonpost.com).

4. People in the media world are intelligent and sophisticated: This one is a keeper. To be sure, there are plenty of brilliant folk associated with CNN, MSNBC, The Huffington Post, and the New York Times. But most journalists aren’t as smart as we tend to assume. Fact is, journalists are good at two or three things: asking lots of questions, looking professional in front of a camera and writing in middle school sentences. I could’ve done two of these three by the time I finished sixth grade. Since most folks in news spend most of their time talking with each other, their brilliance is self-evident. They certainly don’t need to check in with us for our approval.

I’m sure that the likes of Megyn Kelly, Soledad O’Brien and Tom Friedman won’t be reading my blog to see what I’ve said about their business. After all, they have the pen and the mic, and I’m just an aspiring writer and professor with a blog. But I know something they don’t. You can’t live in the world of make-believe forever.

Election 2012: The Plan

10 Wednesday Oct 2012

Posted by decollins1969 in 1, culture, Eclectic, eclectic music, music, Patriotism, Politics, Pop Culture

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"Universal Terrorist Playbook", Battlestar Galactica (2004 series), Bear McCreary, Cylons, Debates, Die Hard (1988), Election 2012, Joe Biden, Mitt Romney, Obama-Biden, Opening Credits, Paul Ryan, President Barack Obama, Romney-Ryan


Yes, Mitt Romney and Paul Ryan do have a plan — the universal Neocon/GOP playbook — and they’re running it step by step. Be ready, President Obama and Joe Biden, be ready.


Coping in the Boy @ The Window World

06 Saturday Oct 2012

Posted by decollins1969 in 1, Boy @ The Window, Christianity, culture, earth, wind & fire, Eclectic, eclectic music, Marriage, Mount Vernon High School, Mount Vernon New York, music, Politics, Pop Culture, race, Religion, Sports, Youth

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"Owner Of A Lonely Heart", Battlestar Galactica, Battlestar Galactica (2004 series), Coping Strategies, Fantasy, Football, Humanities, Imagination, Inner Vision, Inner World, New York Giants, New York Knicks, New York Mets, Psychology, Self-Discovery, Touré, Who's Afraid of Post-Blackness (2011), Yes


Gaius Baltar tortured/in imagination (merged pics), Battlestar Galactica, October 6, 2012. Qualifies as fair use under US Copyright laws – low res (1st picture) and merged rendering.

“A wide receiver tiptoeing the sideline of a football field after making an acrobatic catch, barely keeping his left foot in-bounds by tapping his big toe in the two inches of space between the grass and the thick white line in front of him. A note in a song that is so inspiring, so well-balanced between rhythm and harmony, so well sung that the hairs on my neck stand up and my spirit feels like soaring.” This is what I wrote in the first paragraph of the preface (which I need to revise yet again, by the way) to my Boy @ The Window manuscript.

In context, I was writing about the infinitesimal decisions and actions that could’ve added up to success or failure for me growing up in those dismal days and years. But I could’ve just as easily been writing about what imaginations and fantasies went through my head growing up to make my inner world more powerful than anything I saw and experienced in the real world. Much of Boy @ The Window is about how I coped, good, bad and ugly (see my posts “Peanuts Land” from April ’12 and “Mr. Mister’s ‘Kyrie’” from March ’11 for more).

How I coped through imagination, inner projection and fantasy changed during the worst of my preteen and post-puberty years. I went from imagining and acting out an entire city, nation-state and culture in my room to the need for an internal world that couldn’t be taken apart by abuse, poverty and isolation. Ultimately it came for me in the form of the everyday things I either already liked or was on the cusp of liking. I already enjoyed a wide variety of music by the fall of ’82. Once I became a sports fan and occasional sports participant, those images and achievements became part of my inner movie and soundtrack.

It became a partnership that I eventually learned to conjure up at will, that became part of my residual sleeping state, that made the madness of 616, MVHS and Mount Vernon, New York dissolve into background noise.

Santonio Holmes’ Super Bowl XLIII game-winning catch, Tampa, FL, February 1, 2009. (http://bleacherreport.com).

It meant, though, that watching a Mets, Giants or Knicks game or listening to Earth, Wind & Fire wasn’t a simple casual experience. It involved rooting for the underdog, which in turn meant rooting for myself. It included the synching of home runs, touchdown passes and three-pointers to guitar riffs, crescendos and other highlights in a particular song or series of songs. It meant that my imagination became itself a fully dedicated line for coping with stress, checking anger, solving problems, and seeing my world the way I chose to see it, rather than the way my world actually was.

Take one of my favorite songs as a teenager, Yes’ “Owner Of A Lonely Heart” (1983). It wasn’t just the fact that I actually felt lonely and could relate to the song. When I heard the song, I could see myself running a screen play in football, following a group of well set-up blockers all the way to the end zone for a touchdown. I could relate emotionally, because the song was about me as an underdog, because of my unrequited love for Crush #1, because I now knew what a screen pass was. It made existential philosophy easier for me to understand my senior year of high school in my AP English and Philosophy classes.

“Owner Of A Lonely Heart” also reminded me to never “concede my free will,” even when my now ex-stepfather Maurice’s fists met my face and teeth and ribs at fifteen and sixteen. Like a scene from the ’00s Battlestar Galactica involving Gaius Baltar or Caprica Six, I often projected a view of the world I wanted over whatever was going on in reality. Going the mile or so between 616 and the C-Town in Pelham could either be a chance for me to catch a long touchdown pass or for me to figure out to which colleges I should apply.

Ryan Fitzpatrick of Buffalo Bills v. NY Jets, in rare protection against blitz while in pocket, October 6, 2012. (http://bleacherreport.com).

Sometimes, if I allowed myself to slip deeply enough, like, in the moments before an exam, I could use a buildup point in the song to bring in an extra blocking tight end to run a max-protect play. I’d snap the ball, send three receivers on one side of the defense, and wait just long enough for one to cross before delivering a perfect pass that allowed my receiver to split the secondary for a long score. All while taking a hit in my right ribs and being knocked down to the turf, just a quarter-second after my index finger’s come off the ball, giving it a smoother spiral rotation while in flight. And so many times, that re-visioning of my world made it so that my natural ability to remember everything and discern many things resulted in very good grades, solid performances, and a balancing act that made life at 616 and MVHS just bearable enough.

I was reminded of how often my mind went down this road by Touré’s Who’s Afraid of Post-Blackness (which I blogged about earlier this week), particularly his chapter on imagination and art, “Keep It Real Is a Prison.” Except that my mind does still go there sometimes. Usually as I’m about to give a speech, or while running a five-miler, drilling a three or driving. Or in writing something for publication, like Boy @ The Window.

The Great “Original Sin” Debate

03 Wednesday Oct 2012

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

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"Moment of Surrender" (2009), Black Reconstruction (1935), Carnegie Mellon University, Chants Democratic (1984), David Roediger, Marcus Rediker, Media's Game Mentality, Obama-Romney Debate, Original Sin, Pitt, Race, Sean Wilentz, Slavery, U2, University of Pittsburgh, W. E. B. Du Bois, Wages of Whiteness (1991), Wendy Goldman


Obama-McCain Third Debate (post-debate picture), Hofstra University, Hempstead, NY, October 15, 2008. (Jim Bourg/Reuters).

We’ve finally meandered our way into the presidential debate cycle portion of our Election ’12 cycle. I’m grateful to finally see what the media has built up to be a match between the Pittsburgh Steelers and the New York Giants! Not really, of course. But from standpoint of political reporters and pundits alike, tonight’s first debate between President Barack Obama and Mitt Romney might as well be a sports event.

In the end, though, this isn’t as much a presidential debate as it is a personality contest with questions and psychologists’ interpretations of nonverbal communication. It will be more hype than substance, more stiff than an overbaked souffle. One of the men — most likely President Obama — will win this first debate, though it won’t be clear how significant this “win” will be, given the trends for the past couple of months.

Professor Wendy Goldman, Carnegie Mellon University, circa 2012, October 3, 2012. (http://www.history.cmu.edu).

I am reminded of another debate, one that occurred in my Comparative Working-Class Formation graduate seminar at Carnegie Mellon University in the fall of ’93. It was taught by Professor Wendy Goldman, wife of Marcus Rediker, both decidedly Marxist, but in Goldman’s case, Marxist without any considerations of race at all. It was a course that turned into a debate because I’d already grown tired of professors at Pitt who believed race and gender to be identities subsumed under the long, hard human battle over class inequality (see my post “Dairy Queens, Dick Oestreicher and Race” from February ’11).

All semester-long, there had been a three-way tug-of-war between me (and occasionally, my former Pitt grad school colleague who decided to hop across the bridge to Carnegie Mellon to take this course), ten brown-nosing students who’d agree with her despite the evidence (led by Mike and Mark, the “M&M Boys,” as I labeled them for my friends and colleagues) and Goldman. I didn’t expect my now fellow Carnegie Mellon grad students to take my side. But I did expect them to read E.P. Thompson and Sean Wilentz and other folks with a critical eye and not just to get an A out of our professor. There may have been one or two other classes I dreaded more in three years of grad school. Yet I’d never been around a professor more unaware of their own biases than Goldman (see my “Crying Over E.P. Thompson” post from September ’09).

It all came to a head when it was time to discuss David Roediger’s Wages of Whiteness (1991) and, indirectly, Sean Wilentz’s Chants Democratic (1984) on the last Thursday in October ’93, which happened to be my mother’s forty-sixth birthday. Both authors looked at the formation of the White American (and male) working-class in the first half of the nineteenth century. Goldman, as usual, took the stance that the only ideology of significance was one that proclaimed class inequalities the predominant issue explaining the radicalization of the American working-class.

Michelangelo’s sin of Adam and Eve painting, Sistine Chapel ceiling, Vatican City (1508-1512), May 20, 2005. (The Yorck Project via Wikipedia). In public domain.

Finding this a bit laughable (a mistake on my part), I pressed my argument that at least in the case of US history, race and class distinctions have been and remain intertwined. So much so that a typical neo-Marxist analysis of the American working-class couldn’t apply. The next two hours were me and my Pitt colleague against the M&M Boys, the other brown-nosers and Professor Goldman. Luckily in my case, I could not only quote Roediger and Wilentz, but Herbert Gutmann, W.E.B. Du Bois, and a host of other scholars to press home my counterargument. At the end, our professor said to me, in utter exasperation, “I guess we should just go back to original sin.” It meant that I was being a racial determinist, which I guess was supposed to be an insult as well as her version of “No mas, no mas!”

Aside from the fact that America’s “original sin” really was the taking of Native American lands and the systemic destruction of Native American peoples and culture, I really didn’t have much of a response to Goldman’s excited utterance. I finished my argument with a final volley that included Du Bois’ Black Reconstruction (1935) and Roediger, and class adjourned sooner thereafter.

My brown-nosing classmates looked pretty beat from the class session, while me and my colleague from Pitt were both energized from the three-hour class. Still, we couldn’t help but discuss Goldman’s Moment of Surrender at the end of the class. Of course we knew what her “original sin” comment meant when it came to race and slavery. The comment, though, seemed small and petty coming from a professor, one that was too personal, and not professional.

Still, the worst thing I learned is that it took Roediger’s Wages of Whiteness to confirm ideas that Du Bois had begun writing about in 1903 and 1935. That, for me, made me apprehensive about wanting to work with scholars who may well see me and my work as well-intentioned, but inferior to theirs. At the same time, I learned that, for better and for worse, that not going along to get along can be a good thing, especially after years of ridicule from people of all stripes for doing so.

My “original sin” of not going along with whatever Goldman said forced a debate, one of the more exciting times I had in grad school, certainly at Carnegie Mellon. How could that be bad?

Summer of Sound

05 Sunday Aug 2012

Posted by decollins1969 in 1, Boy @ The Window, culture, Eclectic, eclectic music, Mount Vernon New York, Movies, music, New York City, Pop Culture, race, Work, Youth

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"End Of The Road", "Walking On Broken Glass, Annie Lennox, Boyz II Men, Garth Brooks, Grover Washington Jr., Growing Up, John Coltrane, Jon Secada, Mariah Carey, Mary J. Blige, Michael Jackson, Miles Davis, Musical Tastes, Ronny Jordan, Sounds of Blackness, U2, What's the 411?


Mary J. Blige’s What’s the 411? (1992) CD cover, August 5, 2012. (Donald Earl Collins).

One of the few great things for me about being back in Mount Vernon and New York City the summer of ’92 was that I was ahead of the slow pop cultural curve that was Pittsburgh two decades ago (although it’s still slow — just not as slow as it used to be). For one last summer, despite the turmoil of kids and my mother treating me like I was one (see my post “The Last 616 Summer” from June ’12) and the constant chaos at my job (see my “Working With Wackos, Part I” post from July ’12), I had access to all the immediate in music, movies and other forms of culture, pop or otherwise.

This was truly the summer that my tastes turned from randomly weird to eclectic. To think that just five years earlier, early Whitney Houston, Thompson Twins, Glass Tiger and ABC were all part of my regular cassette rotation for my Walkman! My tastes had grown up to the point where music had to have a mood or rhythm to it. It no longer needed to be quirky or silly in order to put me in a quirky or silly mood.

But those weren’t the only emotions available to me by the summer of ’92. I could actually feel sexy, romantic, generous, loving, caring, and not just angry, depressed and goofy in my normal life. A half-decade away from the crushing life of strife at 616 and in Mount Vernon, high school, Humanities and in general, had something to do with that. Dating off and on had brought others into my life, which meant that Crush #1 and Crush #2 had become somewhat repressed memories. The bottom line was, I no longer needed music or pop culture to block out the daily emotional pain that had been my life in the ’80s.

And that opened me up to new and more eclectic (if still occasionally goofy experiences) music experiences that year and summer. I became a big Jon Secada fan that summer (see my “Otro Dia Mas Sin Verte” post from August ’09), both in English and en Espanol. I was so glad he branched off from Gloria Estefan, as I’d had it with the Miami Sound Machine’s sound years ago.

I also became enthralled a bit with jazz and what we now call smooth jazz that summer, between Grover Washington, Jr., Ronny Jordan’s “After Hours”, John Coltrane, even some Miles Davis (who I did appreciate, but never quite understood). I had friend at Pitt who had exposed me to jazz over the previous five years, but it took graduate school for me to finally fully appreciate it. It also took working in an office with a woman who played all kinds of music all the time for me to actually go out and buy their stuff on CDs.

Boyz II Men’s “End Of The Road” (1992) singles cover, May 19, 2009. (Undermedveten via Wikipedia). Qualifies as fair use under US Copyright laws (low resolution picture).

The expansion of hip-hop and rap twenty summers ago to include new and fresh sounds ended up having an impact on my own music collection as well. Mary J. Blige’s What’s The 411? hit the stores and her songs the NYC-area airwaves that July and August, so raw and so new that even I the late-bloomer noticed. And who could forget Boyz II Men’s “End Of The Road.” I heard that song at least eight times a day nearly every day between the end of June and the middle of August, especially at my Mount Vernon Clinic job. I guess if I’d been divorced or in a bad relationship, I would’ve appreciated it more. As it was, any thought of buying Boyz II Men’s second album disappeared by the beginning of August. The same was true for me regarding Jodeci, the hip-hop screechers and beggars from the Upper South. They were like nails on chalkboard to me then.

Still, I incorporated music more typical of my earlier tastes into my collection that summer as well. Mariah Carey’s “I Don’t Wanna Cry” became the song I went to every time my sister Sarai started whining about me telling her to do chores at 616. Sounds of Blackness’ “Optimistic,” I discovered that summer (one summer after its release). U2’s Achtung Baby, Garth Brooks’ “The Thunder Rolls” and Michael Jackson’s “Remember The Time” rounded out my catching up to the current that summer, while Annie Lennox’s “Walking On Broken Glass” was, new, silly and serious at the same time.

There have been other times, other summer in which my tastes have taken leaps forward. I must admit, this has usually occurred after great pain or after having recovered from a major trial in my life. The summer of ’92, though, was a transition summer for me, from having to act like an adult due to stressful circumstances to just being an adult because I actually was.

Working With Wackos, Part I

02 Monday Jul 2012

Posted by decollins1969 in 1, Academia, Boy @ The Window, culture, Eclectic, eclectic music, Mount Vernon New York, music, Pop Culture, race, Work, Youth

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"End Of The Road", Boyz II Men, Deception, Micromanaging, Office Politics, Ralph Williams, Valerie Johnstone, Westchester County Department of Community Mental Health, Workplace Abuse, Workplace Issues


Shaun Of The Dead (2004) poster, August 22, 2011. (Quentin X via Wikipedia). Qualifies as fair use under US Copyright laws because of poster’s low resolution.

I don’t mean this in a literal sense, although in this particular case, it’s pretty close to true. In the case of my last summer working for Westchester County Department of Community Mental Health at its Mount Vernon clinic on 9 East First Street, it’s ironic that the least sane folks around were my bosses and colleagues. The amount of drama generated from such a small office was enough to start a nuclear fusion reaction, providing power for Mount Vernon’s residents for years on end.

Unlike the summer of ’89, the summer of ’92 wasn’t just about the dreaded Valerie Johnstone (see my post “Fried Green Toenails”  from February ’11). This summer involved the head of the clinic, a Dr. Ralph Williams. From my first day there, it was obvious that there was a strange and sordid dynamic at the clinic, one that had little to do with the patients who showed up with everything from associative disorder to schizophrenia, for drugs from Dilantin to Xanax. I got a dressing down from Johnstone about having earned my master’s degree two months earlier, as she said, “See, I have a master’s degree, too.” Except that she was sixty, and I was twenty-two, at least that’s what went through my head while she was telling me how much better she was than me.

Williams wasn’t much better. My first one-on-one with him at the end of June was about how much better we were than “ordinary” folks like Johnstone because he had the ultimate prize – a medical degree from Harvard – and I was about to embark on the ultimate degree, a doctorate. From our first meeting, Williams had described Johnstone as a “dummy” and an “overbearing bitch.” While I knew that the latter was true, I would’ve have never said it, certainly in a workplace setting. And I certainly didn’t expect it from my boss.

By the beginning of July, it had become obvious to me that the main issue with the clinic front office and its director was much more than being three years behind in back-billing to New York State Medicaid and Medicare for psychiatric services. On the first Friday in July, I happened to be outside the director’s office, pulling old files for re-billing to New York State, when I heard someone crying. I overheard Williams say, “you are the dumbest person that I’ve ever worked with,” and another sentence where he called the woman in his office “a bitch.”

The calmness in which Williams spoke, it was as if he was attempting to comfort parents who had learned their kid was autistic. It was scary. I knew that the woman crying was Johnstone, as I’d seen her later on that afternoon, eyes unusually burgundy, mood unusually insecure.

The secret war between the office manager and the clinic director became an open one later on in mid-July, a Thursday to be more precise. They became embroiled in a shouting match over a patient’s records, escalating from “stupid” and “idiot” to “bitch” and “motherfucker” in a matter of seconds. All right in front of the office pool and waiting patients, at 3:30 pm. If I hadn’t known any better, I’d guessed that Johnstone and Williams had been involved prior to a breakup, and were using the office as a way to work out their frustrations over their relationship. But I probably read too much into what was going on.

Finally, at the end of July, came the most foul thing I’d ever been a part of in the workplace. Williams requested a one-on-one meeting with me. He wanted me to write a report that would implicate Johnstone as both incompetent and capricious as the office manager. Williams said, “people like us need to stick together.”

I knew that I wouldn’t be coming back to work for this clinic or the county again. At least, not in this capacity, and not with me starting Pitt’s doctoral program, so I really had no skin in this game. At the same time, I knew that if I wrote the report exactly as Williams had requested, that Johnstone would be out of a job. In their own way, they were both terrible bosses, lousy leaders, and had warped perceptions of the people and the world around them. I didn’t know yet what to do. I just knew that if I did exactly what I’d been told, it would lead to more office chaos, something the outpatients at the clinic didn’t need or deserve.

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Boy @ The Window: A Memoir

Boy @ The Window: A Memoir

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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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