Copying, Lifting, and Cultural Appropriation

19 Thursday Mar 2015

Posted by decollins1969 in 1, Boy @ The Window, culture, earth, wind & fire, Eclectic, eclectic music, music, New York City, Politics, Pop Culture, race, Youth

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"And The Beat Goes On" (1979), "Blurred Lines" (2012), "Boadicea" (1987), "Got To Give It Up (1977), "Holiday" (1983), "Ready or Not" (1996), Al Jolson, Authenticity, Copying, Copyright Infringement, Cultural Appropriation, Dance, Disco, Elvis Presley, Enya, Lifting, Madonna, Marvin Gaye, Multiculturalism, Pharrell Williams, Plagiarism, Pop Music, R&B, Robin Thicke, Stealing, The Fugees, The Whispers

Pharrell Williams and Robin Thicke at the 56th Annual GRAMMY Awards, Beverly Hills, CA, January 25, 2014.
(Larry Busacca/Getty Images, via http://images.musictimes.com/). Qualifies as fair use under copyright laws, via Getty Images agreement with CC-SA-3.0.

I’m sure all of you have heard about the recent court decision that gave Marvin Gaye’s estate a $7.3 million award, finding that Pharrell Williams and Robin Thicke committed copyright infringement stemming from their 2012 hit single “Blurred Lines.” They lifted the melody and rhythm for their song from Marvin Gaye’s 1977 single “Got To Give It Up.” The two songs do sound similar enough, and interviews with Williams do show that he was heavily influenced by Gaye’s work. I find myself agreeing with the jury on this because of Williams’ Whiteness rhetoric about being the “new Black” last year, as well as Thicke’s constant cultural appropriation in his videos and music.

The decision, though, made me think about how much copying has gone on in music over the years. It made me think about the first time I heard Madonna, off her first self-titled album, on the airwaves in the fall of ’83. It was her first Billboard Top 40 single “Holiday.” Except that the first dozen or so times I heard it, I thought at first it was “And The Beat Goes On,” a late ’79/early ’80 disco hit from the group The Whispers.

It was the first time I realized that music artists could copy each other, or at least, have similar sounds, rhythms, tones and other musical arrangements in their songs. The lyrics were obviously different, but both “And The Beat Goes On” and “Holiday” were “forget-the-cares-of-this-world” dance-pop songs with heavy R&B influences.

I’d wondered for years whether Madonna ever gave The Whispers any formal credit for sampling their music for one of her very first tracks. I did find an answer in the Madonna (1983) album’s liner notes. Nope, not a single mention, not a word of acknowledgement. But John “Jellybean” Benitez was mentioned as producer. There’s no way in this world that he and the other folks who worked on “Holiday” didn’t know who The Whispers were or hadn’t heard their song “And The Beat Goes On.” It’s possible that Madonna herself didn’t know, but given her constant credits to the disco era, I seriously doubt that, too. Take a gander below, folks, and tell me how similar the two songs were/are:

Keep in mind, though, this was before Madonna had become “Like A Virgin” Madonna, “Material Girl” Madonna, and “Vogue” Madonna. And copying, sampling, and lifting was more acceptable in the early 1980s than it is today. Especially since at the time, neither The Whispers nor Madonna were music icons. Of course, lifting from relatively obscure Black artists to mainstream a song or music genre is nothing new. Just ask Al Jolson and Elvis Presley!

Thirteen years later, The Fugees released their big hit, “Ready Or Not” (1996). As soon as I heard it, I knew they had sampled Enya’s “Boadicea” (1987), because I’m that kind of eclectic music enthusiast. They didn’t give Enya credit in their initial liner notes, either, and hadn’t obtained permission to use her music in their song. Enya threatened to sue over this rather obvious copyright infringement, and The Fugees and Enya settled the issue out of court.

By ’96, the rules for sampling other music artists’ work had become tightened, and Enya herself was a well-known, if not iconic, new age music artist. The up-and-coming Fugees picked the wrong Irish singer to copy without permission or acknowledgement.

What does all of this mean? For starters, you should never plagiarise someone whose work is well-known. Vanilla Ice, meet Queen and David Bowie. The Verve and “Bittersweet Symphony” from ’97? Let me introduce you to The Rolling Stones!

But the “Blurred Lines” decision means much more than the message that one should steal from an unknown without a major music contract instead of stealing from Marvin Gaye. The legal decision blurs the distinction between illegal sampling and inappropriate cultural appropriation. Really, Madonna’s use of The Whisper’s “And The Beat Goes On” is just as blatant, and so was her appropriation of disco, R&B and other Black and Latino dance rhythms between ’82 and ’93. Unlike Pharrell Williams and Robin Thicke, though, Madonna’s appropriation wasn’t seen as such, at least during her first years of fame. Heck, I knew more than a few Black folk who though Madonna was either Black or biracial prior to the Like A Virgin (1984) album, likely because like me, they didn’t have cable to watch MTV ad nauseam.

I guess that Pharrell’s and Robin Thicke’s act has worn thin with the fickle public. This may well point to the larger fact that mainstream popular music and the artists that are creating today’s music are about as creatively collaborative and eclectic as a dunker in basketball with no jumpshot and no defensive skills. This isn’t your father’s White Soul, aka, Michael McDonald, Darryl Hall & John Oates, or even Kenny Loggins, working with Earth, Wind & Fire or Kool & The Gang. Today’s music artists can only do their music one way, and need “inspiration” to “create” a “new sound.” One that is too often lifted from the past, yet never placed in context, and sampled with and without permission.

Degrees of Fakery

17 Tuesday Mar 2015

Posted by decollins1969 in 1, Academia, Boy @ The Window, Carnegie Mellon University, culture, Eclectic, Jimme, Mount Vernon High School, Mount Vernon New York, My Father, New York City, Politics, Pop Culture, race, University of Pittsburgh, Upper West Side, Youth

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616 East Lincoln Avenue, Advanced Degrees, Ben Carson, Bill Cosby, Brian Williams, Chevy Citation, CMU, Cynicism, Doctor, Doctorate, Dr. Steve Perry, Expertise, Experts, Fake Degrees, Fakery, Father-Son Relationship, Hard Work, Henry Kissinger, Honorary Degrees, Lawyer, Maurice Eugene Washington, Michelle Malkin, Newt Gingrich, Obsequious, Opinions, PhD, William Kristol

Anne-Marie Johnson in Im Gonna Git You Sucka (1988), March 17, 2015. (http://cdn5.movieclips.com/). Qualifies as fair use under US copyright laws (low resolution and relevance to subject matter).

All too often, there are Americans high and low who believe they can say, “That’s just your opinion!” to anyone about anything. It doesn’t matter if the person they say this to is an expert in, say, climate change or American history or twentieth-century education policy. Or, for that matter, if the person they question is a total bullshit artist. All opinions are equal, and equally discountable.

But it does matter if the opinion comes from someone rich and famous. or at least, someone Americans see on TV and/or hear on the radio nearly every day, someone they like, someone they could see themselves sharing a laugh or cry with. That’s why opinions like those of Rudy Giuliani, Bill Cosby, Michelle Malkin, even Brian Williams seem to have mattered more over the years than the expert interpretations of many a scholar, scientist or public intellectual.

On the scale of those experts, those in the media likely view me as a middle-of-the-pack expert. I went to graduate school for five and a half years, earning two advanced degrees with a focus on twentieth-century US and African American history, with an even sharper focus on history of American education, African American identity and multiculturalism.

Front and left-side view of Chevrolet Citation II (1980-1985), Clinton, MD, August 28, 2008. (IFCAR via Wikipedia). Released to public domain.

Despite what my Mom, my dad and some of my more cynical former high school classmates may think, earning a PhD in history wasn’t nearly as simple as answering 1,000 Final Jeopardy questions correctly before getting a stamp of approval. Twenty-three masters and doctoral courses, more than forty paper assignments of twenty pages or more, two years as a teaching assistant, one year as an undergraduate student advisor, two summers as a research assistant, and twenty-seven months of single-minded focus researching and writing a 505-page dissertation with more citations than the number of Citations Chevrolet made between 1980 and 1985. Oh, and did I mention, nineteen months of burnout afterward?

Yet, when I take the years I’ve spent researching, writing, learning, teaching, publishing and working in the fields of history and education, and express views based on that, I get told what anyone else on the street could say. “That’s just your opinion!” Unbelievable!

I think, too, about those from a time not too long ago who could’ve and should’ve earned a doctorate, a medical degree, or a JD, yet the structures of socioeconomic privilege, racism and sexism prevent them from earning these most expert of degrees. Yet, at many an HBCU, in many a segregated classroom, in so many barbershops, we still called them “Doc,” a sign of respect, for their abilities, for their experience, for their — dare I say — expertise.

We still do this now, even for people who don’t deserve the nickname “Doc.” My father and my idiot, late ex-stepfather both at one point in their lives or another laid claim to being doctors and/or lawyers. For the first two years I knew my then stepfather Maurice, between ’77 and ’79, he carried a monogramed briefcase, always full of his “important papers,” telling me and anyone else he bumped into on the streets of Mount Vernon, New York that he was a “doctor” or a “lawyer.” When drunk, my father sometimes took it a step further, telling strangers on the Subway that he was a “big-shot doctor an’ a lawyer” on his Friday-evening paydays. Maurice drove a Reliable taxicab during his delusions-of-grandeur years, and my father was janitorial supervisor.

Given the history of education and our society’s denial of quality education to people of color and the poor in the US, though, I didn’t entirely hold it against them then, and I don’t now. What I do have much bigger problems with, though, are the people who should know better, and yet don’t do any better. Just in my lifetime alone, people with Dr. in front of their names without having earned a doctorate or a four-year medical degree. Like “Dr.” Henry Kissinger, “Dr.” Bill Cosby, and of late, “Dr.” Steve Perry (not to be confused with the former lead singer for Journey, I guess). And no, honorary doctorates for giving money to Harvard, Temple, or the University of Massachusetts don’t count! Nor does starting an outline for a dissertation without actually finishing one. Still, they insist on the “Dr.,” even when it’s obvious I could’ve sat on the stoop at 616 East Lincoln Avenue thirty years ago to get the same half-baked opinions from one of my hydro-smoking neighbors.

Stock photo of former NYC mayor Rudolph Giuliani, August 2013. (AP/New York Post).

Then again, numbskulls like William Kristol and Newt Gingrich have earned doctorates from Harvard and Tulane University respectively, and Ben Carson was once one of the most respected pediatric neurosurgeons in the world! Yet, for some dumb reason, our media and most Americans think that their opinions are somehow more valuable, more consumable, than those of people who’ve spent decades understanding education, American culture, racial, gender and socioeconomic inequality, and government corruption. Or maybe, we just like listening to fake opinions from people with fake degrees and/or fake expertise on a subject in which they know nothing. Because nothing is exactly what Americans want to hear.

Malcolm X, “Make It Plain”

21 Saturday Feb 2015

Posted by decollins1969 in 1, Academia, Boy @ The Window, culture, Eclectic, Mount Vernon New York, New York City, Pittsburgh, Politics, Pop Culture, race, Religion, University of Pittsburgh, Work, Youth

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Afrocentricity, Alex Haley, Assassination, Audubon Ballroom, Autobiography of Malcolm X, Bill O"Reilly, Contradictions, Cornel West, Dichotomy, Disillusionment, Geraldo Rivera, Malcolm X, Malcolm X Assassination, Manning Marable, MLK, Murder, Nation of Islam, Nonviolence, Pitt, Respectability Politics, Rev. Dr. Martin Luther King Jr., Rudy Giuliani, Self-Aggrandizement, Self-Defense, Self-Discovery, Self-Revelation, Tavis Smiley

Plain Conscious Chocolate, February 21, 2015. (http://www.ethical-treats.co.uk/).

I’d be a terrible historian to not comment on the fact that today marks fifty years since some Nation of Islam malcontents — with support from J. Edgar Hoover’s FBI — murdered Malcolm X at the Audubon Ballroom (now the Shabazz Center) in Washington Heights in Upper Manhattan. I wasn’t around for the event, or any of the tumultuous events that defined “The ’60s.” All I know was I didn’t learn about Malcolm Little or Malcolm X until the summer between my undergraduate and graduate years at Pitt, the summer of ’91. Although the year before, I’d gone to a Malcolm X birthday celebration at the Homewood-Brushton branch of Carnegie Library of Pittsburgh. There, I saw poets performing their work, got to listen to some good jazz and rap, and saw the Afrocentric set out in full force.

Audubon Ballroom, where Malcolm X was murdered (now the Shabazz Center, with the Columbia University Medical Center's Mary Woodard Lasker Biomedical Research Building in the background), Washington Heights, New York, June 4, 2014. (Beyond My Ken via Wikipedia). Release to the public domain via GNU Free Documentation License, Version 1.2.

Audubon Ballroom, where Malcolm X was murdered (now the Shabazz Center), Washington Heights, New York, June 4, 2014. (Beyond My Ken via Wikipedia). Release to the public domain via GNU Free Documentation License, Version 1.2.

You’d think after three years as a Hebrew-Israelite and years around children of Nation of Islam members as a kid that I would’ve heard all about Malcolm. Nope, hardly a peep about him growing up in Mount Vernon. Mostly, I got questions like, “Yo, you a “five percenter”?,” which for me translated into the chosen few living in the midst of the end times. Other than that, there was always the dichotomy trope of Martin versus Malcolm laid on us real thick through school and the newspapers. Dr. King was respectable, nonviolent, a true representative of the race. Malcolm was a street thug, a leading member of a heathen religion, a violent man who hated White people.

My Mom, who normally rejected mainstream White ways of thinking about Black folks, had bought this trope and tried to sell it to me and my older brother growing up. But as with so many things my Mom attempted to instill in me growing up, I wouldn’t make any decisions about Malcolm the person (as opposed to the icon) until I got around to reading, in this case about him and the Nation of Islam, as an adult.

The Five Percenter logo (apparently popular among the rapper set), January 8, 2013. (http://assets.vice.com)

The one thing I realized after reading the Afrocentric, mainstream and Alex Haley interpretations of Malcolm in the early ’90s is that just like with King, we could make Malcolm X represent whatever we wanted. He could be nonviolent and a militant at the same time, or a thug and an ambassador of peace at the same time. Yes, as the late Manning Marable’s book shows, Malcolm — like most of us — was a walking, breathing contradiction of convictions (literal and figurative) and beliefs. For the purposes of my post today, though, he was a social justice activist, acting on the part of those poor, Black and discarded, plain and simple.

Which is why I think anyone who thinks Malcolm X brought murder to his own pulpit in February 1965 is an idiot. The idea that teaching others self-defense in opposition to White mobs, lynching, and blatant police brutality deserved a violent death. Really, now? So, if that’s the case, then Dr. King should have died of natural causes about three or four years ago, since his was the path of nonviolence, right? Yet, you still hear the likes of Rudy Giuliani, Bill O’Reilly and Geraldo de Stupido slinging this shit (and similar crap playing on such respectability politics themes) as if it were McDonald’s hash browns on sale for half-price.

Manning Marable’s Malcolm X: Life of Reinvention (2011) cover (Marable died four days before his last book dropped), May 28, 2012. (Malik Shabazz via Wikipedia). Qualifies as fair use under copyright laws (relevant subject matter, low resolution).

Speaking of that lot, I don’t wonder what Malcolm X would say about our racist, plutocratic democracy these days. Anyone whose read his words would know what he’d say. That what happened with Michael Brown and Eric Garner and Rashida McBride and so many others should be resisted “by any means necessary.” That we should unmask those powerful people lurking in the shadows but pulling the strings that keep the systems of oppression working 24/7 in our world. He would’ve supported Occupy Wall Street when and where few Black leaders had in 2010 and 2011, called Islamic State or IS (that’s what they are called outside the US, where we can’t get our acronyms straight) a “chickens coming home to roost” scenario, and put Tavis Smiley and Cornel West in the same self-aggrandizing bag as Giuliani and Rivera.

I get why it took Malcolm Little so long to transform himself into Malcolm X, and still, until after his thirty-ninth birthday, for him to find himself and his purpose in the world. It’s taken me nearly four and half decades to do the same. It’s hard to “make it plain,” especially to ourselves. It’s scary to be in a constant state of disillusionment, about family and friends, about your identity, about your religion and beliefs. But it also allows you to see yourself and everyone around you fresh for the first time, to know who people really are.

Vicarious Valentine’s Day

14 Saturday Feb 2015

Posted by decollins1969 in 1, Boy @ The Window, Christianity, culture, Eclectic, Jimme, Mount Vernon High School, Mount Vernon New York, Movies, My Father, New York City, Politics, Pop Culture, race, Religion, Youth

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616, 616 East Lincoln Avenue, Capitalism, Christian Persecution, Commercialism, Crush #1, Interracial Relationships, JD, Love, Lust, Martyrs, Observation Mode, Rita Moreno, Romance, St. Valentine, The Contrarian One, Transactional Relationships, Valentine's Day, Vicarious Living, Wendy, West Side Story (1961)

Fringe Observer ‘September,’ played by Michael Cerveris, circa 2013. (John Milton via Pinterest.com).

A couple of alternate titles could be “A Little Ditty About ‘Jack and Diane’,” or “The Legend of Crush #1 and The Contrarian One.” Really, though, I’ve never given much thought to Valentine’s Day, even in dating and marriage, mostly because until I turned twenty-five, I never had money to waste on such an aimless, unbelievably overhyped and commercialized “holiday.”

Few understand that the Catholic holy day of St. Valentine was about a Christian martyred in the midst of a period of Roman persecution under the emperor Aurelian, outside Rome, on February 14, 273 CE. Or that when combined with the St. Valentine’s Day massacre on February 14, 1929, the only heart truly associated with the day has been one punctured by a sword or a bullet, a blood-soaked one. Plus, it’s not as if I need capitalism to tell me whom to show my romantic side, with cards and flowers and chocolate, no less. Still, as a married man, I participate, although not with Western ideals of masculinity and romance in my head, if only to ensure my wife doesn’t feel left out.

But I must rewind about three decades, because while I don’t appreciate the fakery that comes with celebrating some candy-coated version of romance without actually celebrating St. Valentine, I did learn a thing or two about watching relationships bloom from afar. It was around this time thirty years ago that I noticed that Wendy and the contrarian one were dating, whatever that term means in the context of high school. Both would tell me that their relationship only began in high school, but my own recollections dispute that somewhat, if only because they shared roughly the same level of dislike for me during seventh grade!

Bloody woodchipper scene from Fargo (1996), February 14, 2015. (http://youtube.com).

The main point is, while for most of my classmates, it would’ve only been obvious in our junior year that Crush #1 and JD were together, I sensed it by the middle of tenth grade. If I’d been the exact same person I’d been during seventh and eighth grade, one head-over-heels in love with Wendy, I would’ve put my heart in a woodchipper, shot it all over a field, gathered it up again, and then put it into a mortar shell to explode into the sky to rain down all over Mount Vernon.

But I wasn’t that person in 7S, and hadn’t been for quite a while. My focus for most of tenth grade had been on living a sin-free Christian life, a transactional relationship with God that consisted of making good things happen for myself by prayer, fasting, and reading my Bible everywhere I went. Between that and my routine of watching younger siblings, washing clothes, tracking down my father Jimme, surviving another year of Humanities, running to the store two or three times every day, and so many other tasks, romance and dating might as well have been in an alternate universe. Even if I did feel envious, it would’ve been over not having money or a car or good food in my belly. Pining over Wendy — or any other girl or woman, for that matter — didn’t fit with any coping strategy that I had to get out of Mount Vernon as soon as my high school diploma and a college acceptance would allow me. At least prior to Crush #2.

What was more interesting to me, and what I knew was more interesting to my classmates, was the fact that Wendy and the contrarian one were dating, and in fact, an interracial couple, one a Black female (or, as some classmates still believed, biracial), the other a White male. I was interested only as an observer of people, because by tenth grade I’d actually grown to like JD and could be around Crush #1 without being conscious of the fact that she used to be my crush. I was interested in that the reactions of the folks at MVHS varied from my own “no surprise here” to dagger-eyed intolerance or head-shaking shame expressed by students across all cliques and most racial lines.

Black and White shortbread (or what President Barack Obama coined a “Unity Cookie” in 2008), July 23, 2007. (Punkitra via http://commons.wikimedia.org). Released to public domain.

I’ve certainly known and know plenty of other people involved in interracial relationships and marriages since the spring of ’85. Some where only racial politics and stereotypes mattered, some where love and social justice mattered much more. In the case of my class’ Juliet and Romeo, maybe my crush took advantage of some of the racial politics involved with dating someone White, while my contrarian friend obviously doesn’t prefer blondes, and hasn’t in the years since. From my observer’s perch, though, there was much more to their relationship than racial preferences.

It was the first time I’d seen or heard about any interracial coupling beyond movies like West Side Story (I still love Rita Moreno, even at eighty-three) or in others telling me about them third-hand, after it was already over. To me, it was always a good fit and fitting, despite the racial politics playing out at school, not to mention the identity issues that had to be playing out between Wendy and JD, even unconsciously. What I gleaned from two and a half years of the two of them dating, though, was that they had found a world unto themselves, one which must’ve made MVHS a much easier hellhole to navigate, if nothing else.

Pictures and Records

11 Wednesday Feb 2015

Posted by decollins1969 in 1, Boy @ The Window, culture, Eclectic, eclectic music, Hebrew-Israelite, Jimme, Marriage, Mount Vernon New York, music, My Father, New York City, Pop Culture, race, Religion, Upper West Side, Youth

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"Method of Modern Love" (1984), "Roxanne, 45 Singles, 616, 616 East Lincoln Avenue, Brothers, Cassette Tapes, Darren, Doug E. Fresh, Father-Son Relationships, Hall & Oates, Jimme, Live Aid, Mother-Son Relationship, Nathan Hale Elementary, Photos, Pictures, Play Fighting, Polaroid, Record Player, Roxanne" (1984), Turntable, Vinyl Records, Walkman

Me & Darren at gate to Nathan Hale ES playground, Mount Vernon, NY, February 1975. [At 425 South Sixth, we lived just two doors down from Nathan Hale and its playground area/parking lot.] (My Mom).

There are some things that most folks — at least most in the US — take for granted that I had very little of growing up and into adulthood. Certainly love was one of those things, but I’ve told that story as a running theme many times over the past seven years and eight months. On a more materialistic note, the things that provide pleasant memories of childhood even in the midst of suffering and sorrow, like pictures and records, were also rarities for me as well. As I said in the Preface to Boy @ The Window, photos “are among those smallest and most awesome of things. Perhaps because so few of mine survived to childhood.” This lack of evidence of my existence and importance prior to college is a story of poverty, of course. But it’s also a story of what’s important to do and feel and say, even in the midst of poverty, abuse and domestic violence.

One of the five surviving photos in my possession from my childhood is a picture of me with my older brother Darren covering my mouth as we stood at the playground gate right next to Nathan Hale Elementary School. It was February ’75, and I was in the second half of kindergarten. We took this picture on a Saturday, with both our Mom and our father Jimme there. Believe it or not, we were on our way to play on the asphalt playground and basketball court, walking around the neighborhood that was Nathan Hale and South Sixth Avenue on Mount Vernon, New York’s South Side. This was a memorable event only because it was also a very rare event. That our Mom took us somewhere that didn’t have anything to do with grocery shopping, clothes’ buying or laundry washing. That our father was also along for the event, actually sober and not arguing with or threatening our Mom.

A better picture of Darren and me, taken in April 1975, Sears, Mount Vernon, NY, July 6, 2006. (Donald Earl Collins).

It was also an outing where Darren and I had been horsing around, calling each other names. Just before our Mom started snapping pictures with her old Polaroid, Darren had put me in a headlock and punched me in my forehead for calling him a “dummy.” He then covered my mouth as I kept calling him a dummy, all while our Mom snapped the first picture. “Y’all keep it up, you’re gonna get your asses whupped,” Mom said to get us to stop. And we did stop fighting just long enough to snap a better picture, although it didn’t survive very long.

As far as I can remember, this was the next to last time all four of us were out together as a family. The last time came in June ’76, when my Mom introduced me to basketball, only to tell me she would “never show me how to play basketball again” because I became frustrated with getting the ball high enough to the hoop. I was six years old at the time.

Ten years after we took the Nathan Hale playground picture, Darren and I had become enamored with music to begin consuming it. Darren had bought himself a turntable at the end of ’84, for the wonderful price of $15 (it would probably be $175 in today’s money because of today’s lopsided supply and demand for vinyl in an mp3 age). But we had zero experience buying records, and our Mom’s limited collection of Al Green, Diana Ross and The Supremes and Gladys Knight and The Pips had been destroyed long ago in the midst of her breakup with our father. Our idiot stepfather Maurice had 8-track and vinyl collections (especially The Commodores and The Ohio Players) that he had given away when he converted to the Hebrew-Israelite cult in 1980-81.

Darryl Hall & John Oates, “Method of Modern Love” 45, circa 1984-85, February 11, 2015. (http://www.thespacebar.co.uk/).

So we bought whatever we heard on WBLS-107.5 or WPLJ-95.5 FM, without the benefit of music videos or without the influence of parents and classmates. Darren bought Doug E. Fresh, Grandmaster Flash, UTFO’s “Roxanne, Roxanne,” and Lisa Lisa and Cult Jam. My first purchases were to support Live Aid’s anti-famine work in Ethiopia, via “Do They Know It’s Christmas.” The first 45 I bought for us to play on Darren’s turntable, though, was Hall & Oates’ “Method of Modern Love,” which reached number five on Billboard’s pop charts about this time thirty years ago. It was an interesting foray into music beyond the radio, at least for me. Darren would tell me how “wack” my music was, and I’d say, “you don’t even like rap. You’re just listenin’ to it because you like girls now!”

This first effort at consuming music didn’t last long. It took money and weekly trips to the city to find vinyl to support it, and in early ’85, we simply didn’t have enough money to shop at Tower Records and Crazy Eddie’s for the stuff we wanted every week. At least not yet. Plus, we broke the turntable that spring, and with the rise of the Sony Walkman and cheap cassette tapes, we were on our way to truly getting into the ’80s before the ’90s arrived.

I no longer have that Hall & Oates single (although I do have it on my iPod). But I do have memories of my brother Darren, memories where we were still actually brothers to each other. Memories of rivalry, jealousy, fighting, even love. All in the time of choking poverty and emotional neglect.

My Washington Mission

06 Friday Feb 2015

Posted by decollins1969 in 1, Academia, Boy @ The Window, Carnegie Mellon University, culture, Eclectic, High Rise Buildings, Mount Vernon High School, Mount Vernon New York, Movies, New York City, Pittsburgh, Politics, Pop Culture, race, Work, Youth

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"A Substance of Things Hoped For", Archives, CMU, Columbia Historical Society, Columbiana Division, DC Public Schools, DCPL, DCPS, Dissertation Research, Esme Bhan, Howard University, Joe Trotter, Laurell, Library of Congress, Living Arrangements, Marya McQuirter, Mission Driven, Moorland-Spingarn, Roxanna Dean, Shepherd Park, Single-Minded, Spencer Crew, Student Loans, Valedictorian

Martin Luther King, Jr. Memorial Library, DC Public Library’s main branch, Washington, DC, November 2013 (never looked this nice in 1995). (http://popville.com).

Twenty years ago this week I began the official phase of my doctoral thesis research. But it was much more than reading monographs and finding old papers at the Library of Congress and the Moorland-Spingarn Research Center at Howard University. It was also a long trip, where I would spend the next two months living in Washington, DC, to do my research on multiculturalism and multicultural education, and to find evidence of both in Black Washington, DC and in the segregated DC Public Schools. It was also the first time I’d lived away from Pittsburgh or the New York City area, meaning that I had a new city to get to know.

The trip truly involved my past, present and future, all at once. I spent my first five days visiting with my friend Laurell and her family in Arlington while looking for some temporary housing of my own. I’d eventually run into two Pitt friends and two Carnegie Mellon friends while in DC, and develop at least one new friendship between February 2 and March 24. I talked with my favorite teach in Harold Meltzer during that trip, learning more than I ever wanted to know about some of my classmates and Mount Vernon High School in the process.

7800 block of 12th Street, NW, Washington, DC, July 2014. (http://maps.google.com).

Mostly though, I split my Washington mission into three phases. Phase one was to find a cheap place to stay. After a day of dealing with Howard University professors-turned-slum-lords in LeDroit Park, I went through the Washington Post to find a series of rented rooms with shared bathrooms and kitchens. Finally, I found a place in Shepherd Park, two blocks south of the DC-Silver Spring, Maryland border. It was a three-story house in a decent neighborhood on 12th Street, NW, with Blair Park, the Silver Spring Metro, and a corner KFC within walking distance. The landlord seemed decent enough, and my basement room came to $95/week with a $100 deposit. Those were the days, before gentrification and the housing boom sent the cost of shelter through the roof!

Phase two of my trip began Wednesday, February 8. I organized my schedule based on going to a number of archives and collecting materials first. I started with the Moorland-Spingarn Collection, which had been picked pretty clean by Henry Louis Gates (via buying collections) and by other, less reputable researchers (many who stole materials). I got to meet and talk with the archivist Esme Bhan about my research, which was wonderful. Still, I wondered how much longer Moorland-Spingarn could stay a reputable venue for scholarly research, with its lack of funding and lack of security from vultures emptying records.

The following week I split between the Columbiana Division at DC Public Library’s main branch, Martin Luther King, Jr. Library between Chinatown and downtown, and the DC Public School Archives on 17th and M. The DCPL portion of my work was an experiment in filtering out the smells and the sights of the homeless and mentally disabled. Not to mention the ability to not use the bathrooms in the building for eight hours at a time. The men’s stalls didn’t have doors, by the way. I spent only three days there, and rushed through gathering background on interviews of Black Washingtonians that the library had conducted back in the early 1980s. It didn’t help I had to deal with a peeping Tom at the old Hecht’s department store, where the bathrooms were much nicer.

Charles Sumner School Museum and Archives, Washington, DC, February 6, 2015. (http://dc.about.com).

I found a gold mine of materials on formal and unofficial education policies regarding DC Public Schools during the Jim Crow period — especially between 1920 and 1950 — at the DCPS archives. But because they didn’t have a working copier, the archivist there allowed me to take original records going back seven decades to the Sir Speedy on M Street to make my own copies. This was in contrast to my three days Presidents’ Day week at the Madison Building of the Library of Congress, where security was tighter in ’95 than at most airports in 2015.

The Library of Congress part of my data gathering was intriguing. If only because their rubber chicken lunches were expensive ($7), and because I found more material on W.E.B. Du Bois, Carter G. Woodson, Kelly Miller, Alain Locke, Anna J. Cooper and Mary Church Terrell there than I did at Moorland-Spingarn. Finally, I ended phase two with the Columbia Historical Society in Dupont Circle and a two-day expedition of finding nothing at the National Archives in DC and in Greenbelt, Maryland.

I spent most of March figuring out what to do with two big boxes’ worth of new materials and writing what would be parts of Chapter 2 and Chapter 3 of my dissertation. In between, I did find time to hang out. With my new friend Marya, who was from DC, but was working on her history doctorate from the University of Michigan. In addition to being plied with vegan options for my delicate gastrointestinal tract and talking about our research, we did joke a bit about the idea of my Joe Trotter and her Earl Lewis actually being friends in any real sense of the word. There was also time to go out to dinner with Laurell, take in a couple of bad movies with my Carnegie Mellon friend Tracie (like Losing Isaiah), and even have a quick lunch with Trotter during his own quick visit to DC.

Terrell Owens hauls in ‘The Catch II’ from 49ers QB Steve Young, Candlestick Park, San Francisco, CA, January 3, 1999. (Getty files via Toronto Sun, January 10, 2013).

After seven weeks of living in DC, I took the train up to New York to go visit my family in Mount Vernon for a few days. What was great about those two months was how peaceful everything was. I was three weeks away from becoming a Spencer Fellow and somehow earning the ire of my doctoral advisor. My family was a month away from becoming homeless for the next two and a half years. My borrowing to cover the costs of this first major research trip, I’m probably still paying interest on today. But without this trip, I wouldn’t have begun the process of questioning the direction of my career and life, and I wouldn’t have had the opportunity to finish my doctorate. Being single-minded about a mission isn’t bad or good. It just means ignoring small stuff, some of which can occasionally turn into a festering cesspool.

The Comedy of a Tragic Upbringing

10 Saturday Jan 2015

Posted by decollins1969 in 1, Academia, Boy @ The Window, Christianity, culture, Eclectic, Hebrew-Israelite, Jimme, Mount Vernon High School, Mount Vernon New York, Movies, My Father, New York City, Politics, Pop Culture, race, Religion, Youth

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616, 616 East Lincoln Avenue, Alchemy, Alcoholism, Autobiography, Child Abuse, Comedy, D.L. Hughley, Dave Chappelle, Domestic Violence, Eddie Murphy, Evangelical Christianity, Father-Son Relationships, Fatism, Ghetto Klown (2014), John Leguizamo, Lewis Black, Mother-Son Relationship, Neglect, Physical Violence, Playwright, Poverty, Psychological Abuse, Respectability Politics, Richard Pryor, Rodney Dangerfield, Routines, Stand-Up Comedy, Tragedy, Transmutation

John Leguizamo playing ‘Abuelo’ in Tales from a Ghetto Klown, PBS Arts Festival, July 2012. (http://www.pbs.org).

Over New Year’s weekend, I watched John Leguizamo’s HBO comedy special Ghetto Klown (2014), based on one of his one-man autobiographical Broadway shows. I don’t think of Leguizamo as funny in the same way I think of Lewis Black or Dave Chappelle or Eddie Murphy. The sweet spot for me in terms of what is funny or not funny is a routine that makes me think for a second or two, not just laugh out of sheer expectations for a funny delivery or line. Otherwise, I’d think of D.L. Hughley as a great comedian, instead of as a vile one with equally vile opinions on race and culture.

Leguizamo’s hardly the funniest comedian. But then again, he’s always been more than one thing. He’s essentially a playwright, an actor, and comedian, which means Leguizamo’s a very elaborate storyteller. In most of his work, a nonfiction storyteller. I’ve seen some of his other one-man work before. With Ghetto Klown, though, I saw and felt the sense of tragedy and regret that I hadn’t seen in his other plays and specials. Especially when it came to his family — specifically his father — and his closest friends.

When Leguizamo went through his routine about how his mother and father were upset with him about he had portrayed them in his plays as somewhat selfish and oftentimes neglectful and abusive, I understood. I’ve only written one book about my life, and my Mom and dad have both been offended by the idea that I could write about them without their permission or blessings. Leguizamo used them as bits for his comedy and Broadway stage routines for years. That’s a lot of courage, and it’s a lot of tragedy to expose, too.

Transmutation of lead bars into gold, March 2013. (http://quazoo.com).

I’ve thought about it a few times over the past fifteen years. What if I decided to do a stand-up routine that included elements of my upbringing? How would I do that? How would I make domestic violence and child abuse and poverty funny?

I’d start with my father, who I’d call Jimme and my father interchangeably, since that’s been the nature of our relationship for forty-five years. I’ve been able to imitate his language, his drunken stupor, his evil meanness and off-kilter mannerisms since I was fifteen. It would be easy enough to do all of his “po’ ass muddafucka…” insults in bar scenes, all while getting robbed and beaten up by other alcoholics.

I could also do my now deceased ex-stepfather Maurice, especially his constant threats to put me in the hospital or kill me. “Watch dat base in yo’ voice, boy, ‘fore I cave yo’ chest in!,” he started saying to me once my voice changed with puberty. I could imitate Maurice when he weighed over 400 pounds and wore size-54 Fruit-of-the-Loom briefs around 616, with enough fat and dinginess to make me wanna puke.

I could even imitate my Mom, at least on the threatening front. If I argued with her too long about something important that she didn’t want to talk about (like paying bills, for instance), she’d tell me, “Shut up o’ I’ma gonna cut the piss out of you.” Or I could run around a stage singing at the top of my lungs to evangelical Christian music while also acting like my younger brothers, who’d get into knockdown fights in the living room while my Mom was in her spiritual zone.

The fact is, some of the best comedy grows out of tragedy. It may not be funny to the respectable middle class types or the respectability politics types. They both would prefer people “forget about” their pasts and “just move on,” as if these issues are taboo. But you can’t be a very good comedian or writer without confronting your upbringing in some way.

Richard Pryor doing stand up, posted August 11, 2014. (http://deadline.com).

I attempted at times in Boy @ The Window to inject some sarcasm or comedy in many of the tragic scenes in the book. Because they reflecting my thinking in the moments in which they occurred, whether in ’82 or ’88. The few people who commented on this aspect of the memoir didn’t like the comedy or the language. It was because they couldn’t reconcile the mild-mannered version of myself that I presented to the world in high school or in academia with the way in which I grew up.

Watching Leguizamo in Ghetto Klown reminded me of what I learned in watching Rodney Dangerfield (who himself was sexually abused and neglected by his parents growing up) and Richard Pryor (the son of an active and neglectful prostitute) over the years. We all have baggage and demons to deal with every day of our lives. We ignore that past and those evils at risk to ourselves and every person we’ve ever loved. We must turn the tragedy of our upbringing into something that isn’t just a cancer of pain. Be it through storytelling, autobiography, even the kind of comedy that those whose lives were much more stable growing up can appreciate but can never fully understand.