An “Acting White” Conversation

28 Monday Jul 2014

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

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"Not Black Enough", 616, 616 East Lincoln Avenue, Acting White, Authentic Blackness, Authenticity, Denial, Internalized Racism, Mother-Son Relationship, My Brother's Keeper Initiative, Nia-Malika Henderson, President Barack Obama, Racial Denial, Racial Stereotypes, Racism, Structural Racism, Whiteness

Two Oreo Cookies, February 6, 2011. (Evan-Amos via Wikipedia).

Two years ago, a conservative woman engaged me in what became an increasingly vitriolic conversation on “acting White,” blind loyalty and political ideology. The below only covers (for the most part) the “acting White” part of the conversation.

Apologies for commenting here but the Star Trek one [my blog post Why Ferengi Are Jewish & The Maquis Are Latino from 2011] had comments closed. In light of your thoughts on positive or negative stereotypes, how do you feel about the cultural phenomena of “acting white” term in Black community? (in case it needs explaining, that’s a derogatory term – by Black community – for a minority child who studies hard. See http://en.wikipedia.org/wiki/Acting_white)

To which I responded:

Given how my life has evolved over the past four decades, I think I understand what “acting White” means. But the fact is, African Americans have a diversity of opinions on this issue. There are some Blacks, though, who believe in the idea of an authentic Blackness, which I’ve written about as an educator, historian and from a personal perspective over the years. Part of this is generational, and part of this is socioeconomic in nature. And this issue of authenticity has been around since the days of slavery, so it’s not new. What’s new is the increasing push-back from Blacks of various backgrounds about this issue of “acting White.” Bottom line: those who use this phrase tend to be anti-intellectual, distrustful of higher education and as bigoted as any other group in American society toward “others.”

But my visitor to my blog wasn’t done, not by a long shot:

Sorry, Wasn’t too clear in my question. Do you feel that the fact of how widespread it is in the culture (both the use and the lack of disapproval) has any *material* consequences to the socioeconomic outcomes for Blacks as a group in the 1990-2020 period? It’s clear that you disapprove of it, but do you feel it is a problem that **must** be fixed for Blacks to succeed (beyond mere “bigotry is bad” angle)?

In response, I broke down the assumptions embedded in the previous comment:

Is your head in the sand?, July 28, 2014. (http://www.thelifecoach.co.nz/).

Your assumption here is troubling, as if 40 million African Americans all think alike on this topic. Sure, there’s a slice of Blacks who have a litmus test for “authentic” Blackness, and for them, those who can’t meet this test are considered “acting White.” But no, there’s no agreed upon definition for either in African America. Your premise supposes the sociological or psychological effect of this is a lower socioeconomic status for African Americans. Keep in mind that since the 1970s, more than 50 percent of Blacks have been middle or upper middle class, while the poverty rate for Blacks has varied between 25 and 33 percent over the past 40 years. Your question ignores other factors, including de-industrialization, expanding economic inequality, and structural racism as factors that have far more effect on social mobility than a cultural litmus test that a small slice of Blacks strictly adhere to.

There’s more, much more, and the comments section under About Me from the period August 30-September 3, 2012 has the rest. The assumption that I was protecting the race under a false sense of loyalty. The idea that Blacks who were otherwise equal in intelligence and from equally impoverished backgrounds were doing better than her because of affirmative action and other forms of alleged “reverse racism” (whatever this fiction is). My response was to treat her like one of my ideologically bull-headed student for whom facts and scholarly research matter about as much as ants inside an anthill.

President Barack Obama’s recent comments about the meaning and implications of “acting White” has made me think about this issue — again. The fact is, there may well be individuals who decide to not go to college or medical school, take certain jobs or listen to Pearl Jam because of their notions of “acting White” and “authentic Blackness.” I know there are — including a friend of mine who committed suicide sixteen years ago after deciding to not go to medical school over this whole issue. But the idea that large groups of Blacks in poverty or as practicing Afrocentrists are avoiding success and education because it may be too White for them? Absolute bullshit! Period. Anything to come up with a simple-minded excuse to cover up structural racism, residential segregation and poverty as the factors for lack of Black social mobility when compared to Whites.

“Acting White,” or at least, being “not Black enough,” comes out of the following (between my experience and thirty years of research):

1. The idea that “acting White” = not cool. That’s all. Not about intellect per se, but more about the constant expression of high intellect in casual situations, or at least, lacking the ability to switch up from high-brow to colloquial language. I’ve been in this situation many times, with neighborhood kids in Mount Vernon, New York, at MVHS, at the University of Pittsburgh and even in my own classroom.

2. “Acting White” = doing things that Blacks have only seen Whites do. In this case, beyond language, it could include forms of dress, having eclectic music tastes, or eating fried chicken with a fork and knife. Or, more seriously, taking a political position that others can easily perceive as being against the interests of African Americans. I can attest to the comments I’ve gotten for embracing “White” music as part of my overall repertoire over the years.

3. “Acting White” = not wanting to be around or like other Blacks. In my experience, this applies even more within African American families than it does to Black neighbors, classmates or friends. My Mom wanted me to go to college, but she also wasn’t comfortable with the idea that college would change the way I saw her and the rest of the world. She was especially not happy when I decided to go to graduate school, because it meant that I might no longer be able to relate to her and my brother.

I can honestly say that even with all this, I’ve never met anyone who deliberately practiced self-sabotage in their education or in any other area of their lives to avoid “acting White.” That this is a topic of conversation at all confirms that Americans love living in denial of all things connected to racial inequality. Especially the structural racism from which they draw a benefit — material and/or psychological — every single day. Calling “acting White” a theory is an insult to the scientific method and to all Blacks, including those who’ve used the term over the years.

Touré’s Post-Blackness ≈ I’ma Be Me?

01 Monday Oct 2012

Posted by decollins1969 in 1, Academia, Boy @ The Window, Christianity, culture, Eclectic, eclectic music, Hebrew-Israelite, Mount Vernon New York, Patriotism, Politics, Pop Culture, race, Religion, Youth

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"Pound Cake" speech, Acting White, American Identity, Authentic Blackness, Authenticity, Bill Cosby, Black Identity, Blackness, Boy @ The Window, I'ma Be Me (2009), Identity Issues, Intrarace Relations, Litmus Test, Post-Blackness, Post-Civil Rights Generation, Post-Racialism, Race, Racism, Reaching Youth, Self-Discovery, Self-Loathing, Self-Reflection, Touré, Wanda Sykes, Who's Afraid of Post-Blackness (2011)

Illustration of red wolf with dinner after a hunt, by Sandra Koch, September 29, 2012. (http://nc-es.fws.gov). In public domain.

I know, I know. Touré’s Who’s Afraid of Post-Blackness (2011) has been out for over a year, and I’ve finally, finally managed to read it in the past couple of weeks. I did not want to like this book. I found — and still find — the title to be pretentious and over the top, a perfect fit for Touré’s Twitter and TV persona. Touré values his ideas like they all are new finds of platinum or a form of safe and sustained nuclear fusion. Sometimes Touré can be cutting-edge, but many times, he goes over the edge (as was the case in August on MSNBC with his “niggerization” of Obama comment).

But in Who’s Afraid of Post-Blackness, Touré puts forward a variety of ideas and insights that I’ll be contemplating in my blogo-neighborhood off and on over the next few months. Touré’s is a very good book. It’s one that is both intellectual and yet revealing about the challenges Blacks face inter- and intraracially in the early twenty-first century.

The premise — once I got past the ridiculous term post-Blackness — is that African Americans and America has advanced just far enough in terms of race for all of our old conceptions of Blackness to have now become meaningless. That Blackness is fully infused in American — maybe even world — culture. That there was never one way to be Black in the first place. Touré himself says, “[t]here is no dogmatically narrow, authentic Blackness because the possibilities for Black identity are infinite. To say something or someone is not Black — or is inauthentically Black — is to sell Blackness short. To limit the potential of Blackness. To be a child of a lesser blackness.” (p. 5).

Litmus paper used in litmus tests, September 29, 2012. (http://chemistry.about.com).

Ironically, though, much of Touré’s book picks apart the notion that the US has become post-racial in the past couple of decades, as best exemplified by the election of President Barack Obama in 2008. Of course, Touré uses notions of Blackness and where it has expanded beyond the authenticity litmus test to show that race/racial bias/racism is still alive and well in America. At the same time, Touré shows how post-Blackness has also provided opportunities for millions of Americans White, Black and Brown to reach beyond their own misconceptions of race and themselves, to enrich our lives in politics, scholarship, the arts, not to mention through hip-hop.

One of my main criticisms of Who’s Afraid of Post-Blackness is that Touré uses a term like post-Blackness (mind you, I hate terms like post-structuralism, post-modernism, and post-racialism too) and doesn’t try in any way to provide a definition that distinguishes it from post-racial. For the purposes of this post, though, the main issue I have revolves around Touré virtually ignoring poor and struggling African Americans in his post-Blackness tour-de-force.

I get it when Touré says that he “never lived a typical Black experience.” (p. 53). At least, I think I do. That despite Touré middle class upbringing, middle-class neighborhood, private school experience, that his is but one representation of Blackness. And that Touré’s experience is as representative of Blackness as my experience of being a Hebrew-Israelite preteen in a working poor family while enrolled in Humanities in Mount Vernon, New York would’ve been thirty years ago (see my post “A Question of My Blackness, Sexuality and Masculinity” from September ’11). Or, for that matter, Wanda Sykes’ comedy special I’ma Be Me (2009) was for her.

That’s great for us, for anyone with enough intellectual power, outsider status, unusual amounts of wisdom, or just plain middle class standing to get the details of Who’s Afraid of Post-Blackness. But when Touré does bring up the twenty-five percent of Blacks who aren’t part of this post-Blackness elite, he talks at them, and not to them. Yes, I completely agree that Blackness isn’t to be defined in terms of poverty, prison, and projects. No, Blackness shouldn’t be defined by how “down” one is with an impoverished community or how “hard” someone is for beating the shit out of another person (see my “Raised on Hip-Hop?” post from April ’10).

Hakeem Olajuwon posting up Patrick Ewing, 1994 NBA Finals, June 1994. (http://rgj.com).

Still, while I stand with almost one hundred percent of what Touré says in Who Afraid of Post-Blackness in ’12, I don’t think that this book would’ve reached me thirty years ago. The way I would’ve seen it in ’82 or even ’87, a middle class Black guy telling me about how my poverty is insignificant to who I was would’ve been excommunicated from my life for eternity. It wouldn’t have helped me at all deal with the pressures I faced socially, academically and in my family (see my “The Silent Treatment” post from June ’10).

Touré wouldn’t have been able to provide for me a roadmap for how to be me and to ignore the crowd of those in my life — White and Black — who regularly told me that I wasn’t authentically Black or that I was “talkin’ White.” If mild-mannered me at twelve wouldn’t have been reached by Touré’s chapter on Black artists taking Blackness and standing it on its head, I imagine that young African Americans growing up in poverty or struggling with identity issues would find Who’s Afraid of Post-Blackness about as easy to embrace as Bill Cosby’s criticism of poor Blacks in ’04.

For me as a writer, the question of how to reach beyond the already converted is always an issue. Touré, as good as he is in his book, merely affirms the path I’ve traveled over the past thirty-one years. He doesn’t really reach those whose path of Blackness has barely begun.