Tag Archives: Black Migration

My Mom’s Migration Story, 50 Years Later

23 Tuesday Aug 2016

Posted by in 1, Boy @ The Window, Christianity, culture, Eclectic, Hebrew-Israelite, Jimme, Marriage, Mount Vernon New York, My Father, New York City, Pittsburgh, Politics, race, Religion, Work, Youth

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I would be a pretty terrible son and historian to not discuss the fact that this July and August marks fifty years since my mother moved to New York from little ol’ Bradley, Arkansas. For those who think fifty years on anything revolving around race and class is “a long time ago” or “ancient history,” consider the following. At the time Mom moved across the country to Gotham, the Civil Rights Movement had entered its northern, splintered phase, the Voting Rights Act of 1965 was barely a year old, and the very first episode of Star Trek with William Shatner and Leonard Nimoy would air that September.

Bus route my mother took from Bradley, Arkansas to New York City in late-July 1966, August 23, 2016. (http://maps.google.com).

Bus route my mother took from Bradley, Arkansas to New York City in late-July 1966 (highlighted in blue with yellow dots), August 23, 2016. (http://maps.google.com).

On balance, with any neutral but fair eye at all, I’d have to say that Mom’s transition has been more failure than success. Five decades of crisis after crisis, of having a handful of fleeting moments of peace and progress followed by years of abuse, misery, poverty, and sorrow. That could be the summary I’d write about Mom’s fifty years of post-migration experiences in New York and in Mount Vernon.

But, let’s start from the top, through Boy @ The Window:

After drifting a bit after her high school graduation, one of Mom’s first cousins came for a visit to Arkansas in the summer of ’66 and told her that there was good-paying work in New York City. Her cousin lived in the [170s, the Tremont section of the] Bronx, a hotbed of Black migration and West Indian immigration in those years. Without much thought, Mom took a four-day bus trip from Texarkana to New York to what she hoped would be a new life. Given the alternative of tenant farming and generational poverty, New York must’ve seemed like going to heaven.

Mom had it rough long before my father and my older brother Darren and I had come along to be a burden. She lived with her cousin for nearly a year in the Bronx, paying $15 a week for a one-bedroom flat, before good luck turned to bad and then back to wonderful. They had both lost jobs at some factory, but had heard through the other late Black arrivals in the Bronx and Mount Vernon about good paying jobs at Mount Vernon Hospital. When Mount Vernon Hospital hired Mom to be a cook in their dietary department, she and her first cousin went their separate ways living-together-wise. They’d stay in touch until ’78, when Mom’s first cousin moved to Virginia, presumably for work with the Navy.

In the interim, Mom met my father at a juke joint on Mount Vernon’s South Side. It was a place where only Southern Black migrants would be comfortable. They didn’t have to pretend to like the grime, the hustle, the noise, and the taunts that New York and New Yawkers threw at them every day. They could be themselves. They could be shy, apprehensive, even, about their time in a place where everyone joked about their Southern accents and their slow ways. I think that’s what made my father attractive to Mom. Here was someone who made Mom sound much less Southern by comparison. At the same time, my father worked in the city, had a job as a janitor with the Federal Reserve Bank, and knew the Subway better than she knew the route from her one-room flat on Adams Street to Mount Vernon Hospital.

My Mom at 48 years old, Yonkers, NY, December 23, 1995. (Donald Earl Collins).

My Mom at 48 years old, Yonkers, NY, December 23, 1995. (Donald Earl Collins).

Within a year of meeting, Mom gave birth to my older brother Darren. Mom often said that she “wasn’t a teenager” when Darren was born in December ’67, as she had turned twenty six weeks earlier. Yet as I finally pointed out during the intervention fourteen years ago, “But you got pregnant when you were nineteen,” all to let Mom know that the stigma of teenage pregnancy was more about her and her insecurities than it was about what White folks thought, especially back then.

I came along two years later, Mom married my father in ’70, and things started falling apart soon after. Mom never gave herself a chance to live the city, and not just work in it. Mom never gave herself time to grow beyond her insecurities and her vanity about her looks. She never really tried to make her aspirations for joining the Navy or going to college happen. The latter, at least until after I went off to the University of Pittsburgh in ’87.

As I wrote about Mom’s/our family’s fall into welfare poverty by ’83 in Boy @ The Window,

Sixteen years, a dead-end job and two abusive husbands later, Mom must’ve been thinking that Mount Vernon was a hellish pit that got hotter every time she tried to make her and our lives better. With a fourteen-year-old kid in a school for the retarded, a twelve-year-old getting beat up by the second husband, a three-year-old who all but refused to speak because of his abuse, a one-year-old and another one on its way, it was little wonder that she showed about as much affection as an NYPD police officer. The ‘I love you, Donald’ faucet, which was an occasional drip prior to the summer of ’82, was pretty much turned off after that.

Yes, this is all truly sad. There was way too much too soon for Mom. Family, marriage, abuse, poverty, and internalized issues around race, sexism, misogyny, Black masculinity, evangelical Christianity (and the whole Hebrew-Israelite debacle), and all in New York. It would’ve been overwhelming for anyone whose income never saw $20,000 in any year prior to temp work in ’99, and $30,000 until working for Westchester County Medical Center in 2003.

There are so many mistakes Mom made, with me, my siblings older and younger, in choosing mates, and with work. I’ve written about roughly half of them. But, awful or awesome, without Mom’s momentary hope and courage — often the very definition of Black migration, especially to New York — I wouldn’t be here to tell the tale.

This Is NOT Sparta!

11 Wednesday Nov 2015

Posted by in 1, culture, Eclectic, Movies, Patriotism, Politics, Pop Culture, race, Religion, Sports

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"If you live in a free country, thank a veteran" poster slogan, November 10, 2015. (http://facebook.com).

“If you live in a free country, thank a veteran” poster slogan, November 10, 2015. (http://facebook.com).

Just like with Memorial Day and with Independence Day, I often find myself conflicted about Veterans Day. Not because I think individual members of the military deserve praise or scorn. As usual, the vast majority of Americans think too simplistically about their country, its people, its intentions and history, even its holidays. Too many of us go along to get along. It’s as if we expect the contradictions and tensions that make up our times and days like today to simply melt away in some high-pitched display of blind patriotism. I have not — and likely will never be — that American, pumped up with pride and affection, shouting slogans as gospel truth, thanking every member of the military for every single breath of American air that I breathe. And that is because the narrative for days like today has never worked for me.

In some respects, the blind march of Veterans Day is with Americans every single day. The media covers the military and individual military members as if all of them have spent weeks on the front lines, as if all of them are patriots above reproach. Almost all of us have known someone who’s served, and we know that service for most was never as simple as wrapping the American flag around themselves in defense of American freedoms halfway around the world (or at a base a few miles from home). In recent months, we’ve learned that much of the constant drumbeat of military-fueled patriotism the military itself has bought and paid for, at NFL and college football and baseball games. Reinforcing one of America’s main values — profit.

Army National Guardsmen about to run on field with American flags with the New England Patriots, Super Bowl XLIX, University of Phoenix Stadium, Glendale, AZ, February 1, 2015. (http://latimes.com; Getty Images).

Army National Guardsmen about to run on field with American flags with the New England Patriots, Super Bowl XLIX, University of Phoenix Stadium, Glendale, AZ, February 1, 2015. (http://latimes.com; Getty Images).

Today is Veterans Day, created seventy-seven years ago in the aftermath of the Great War, the “War to End All Wars,” World War I. It was a terrible war, after all. Ten million soldiers and sailors on all sides died, twenty million found themselves ripped and torn apart, and eight million civilians died. But not for or in the US, where 120,000 soldiers and sailors died, a few hundred thousand were wounded, and few hundred civilians died. The US didn’t enter the war until April 1917, nearly three years into the raging Eurasian conflict. American weapons manufacturers and merchants profited greatly from the war even before the US declared war on Germany, selling arms and food to both sides.

War is never simple. Neither should be what we think of those who served or are serving. Veterans Day is about respecting those who have served or are serving. Like my youngest brother Eri, or my Uncle Felton, or my sister-in-law or my late uncle-in-laws. Thanking or respecting them, though, shouldn’t be tied directly to the idea that I “live in a free country.” I don’t believe that the US is a free country, not for me and for millions of others like me. Nor do I believe that the US military has played a role in preserving my individual freedoms and liberties historically. I am a Black man living in a society built in part on systemic racism, often maintained or reinforced by the US military. Except for some elements of the Union Army during the Civil War, the US military has played a very small role in making sure that I or anyone who looks like me — male, female or transgender — lives in a free country.

Not to mention, the US hasn’t been invaded in over 200 years (I don’t want to hear about Pancho Villa — that wasn’t an invasion). Since when does fighting North Koreans, the Viet Cong, or even Nazis equate to me and others and our “freedoms?” Seriously, every time someone says this, it’s as if you’re attempting to erase long civilian fights for civil rights, for the most basic of freedoms that the US purports to grant to every citizen. Folks who say that we should be grateful to the military for living in a free country completely make invisible Native Americans. The US military was what guaranteed their near annihilation, deculturalization and unyielding poverty, especially from 1865 on.

"This is madness!" with actor Peter Mensah, screen shot from 300 (2007), November 11, 2015. (http://youtube.com).

“This is madness!” with actor Peter Mensah, screen shot from 300 (2007), November 11, 2015. (http://youtube.com).

Yes, some of you will note that I can write my post without fear of retribution from the government. Then I will say in response, “How does serving overseas guarantee my rights?” It doesn’t. A lot went into putting me in a better position in my life. Black migration, the Civil Rights Movement (flaws and all), the sacrifices of Black and White civilian leadership (including their deaths). I am one generation removed from sharecropping and tenant farming in Georgia and Arkansas, one generation removed from the last years of the Jim Crow era. But somehow, the US military is responsible for me living “in a free country.” Sorry, but that’s a narrative I cannot get behind.

So, we should all thank individual veterans for their service. We should honor the dead and the broken among them. For whether they came to serve out of a deep sense of patriotism, because of the draft (prior to 1973), because there weren’t any jobs in their communities, or because they wanted a chance at today’s version of the GI bill, some of them have paid dearly in their service. But since we do not live in a military junta or in a totalitarian society, I dare say that I don’t have to go along with the narrative that without the military, I would be a slave. History contradicts every aspect of this false narrative.

This isn’t Sparta (Sparta wasn’t even Sparta). Nor should the US ever be Sparta.

Didn’t We Never Have It All

04 Thursday Jun 2015

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

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Whitney Houston, "Didn't We Almost Have It All" (released August 1987) Single 45rpm, from 2nd Whitney album (not exactly a favorite), June 4, 2015. (combined/cropped by Donald Earl Collins; http://musicstack.com and http://rapgenius.com).

Whitney Houston, “Didn’t We Almost Have It All” (released August 1987) Single 45rpm, from 2nd Whitney album (not exactly a favorite), June 4, 2015. (combined/cropped by Donald Earl Collins; http://musicstack.com and http://rapgenius.com).

I’ve been thinking about this for nearly a year. It started for me last August. Melissa Harris-Perry had a segment on her MSNBC show regarding the multiple hats women of color have worn over the years in taking care of their families, immediate, extended and non-biological. In response to Anne-Marie Slaughter’s July/August 2012 piece in The Atlantic about “Why Women Still Can’t Have It All,” Harris-Perry and her guests made the point that feminism for women of color has been about far more than having a successful, sexist-free career. That throughout American history, women of color have found themselves wearing multiple hats as primary breadwinners, primary caretakers and primary childrearers, often in ways that traditional feminists don’t discuss or recognize. All without fanfare and with many setback along the way.

What I’ve witnessed and been a part of in my own life reflects much of the conversation that Harris-Perry led on her show. The physical, mental and psychological scars from caring for family, friends and children, while struggling financially and dealing with racism and misogyny often manifests in disease and depression for so many women of color. There’s so much more, though, in terms of how my own mother’s multiple hats and habits led me to so many of my own. All initially to help her, but in the end, helping myself become self-sufficient. Not to mention making myself more understanding of where all the wear, tear and lack of care that wearing so much for so long can lead.

My Mom’s Hats and Habits:

The Anne-Marie Slaughter image of multitasking/wearing multiple hats (just think what this is like for poor, low-income, women of color), February 4, 2015. (ALAMY; http://telegraph.co.uk).

The Anne-Marie Slaughter image of multitasking/wearing multiple hats (just think what this is like for poor, low-income, women of color), February 4, 2015. (ALAMY; http://telegraph.co.uk).

Before I turned thirteen years old, my mother had been far more than my Mom. She’d been a dietary supervisor at Mount Vernon Hospital, just outside New York City, since 1968, the year before I was born. She had been a high school basketball player, a caregiver to her eleven brothers and sisters, and a cotton-picking breadwinner for her family in segregated southwestern Arkansas, an area located in the Red River Valley, part of the larger Mississippi Delta region. She had become our family’s primary breadwinner in the years after she gave birth to my older brother and me. Not to mention a married young woman now living a thirty-minute train ride from Midtown Manhattan, between the Hudson and Hutchinson Rivers, on the border between affluent Westchester County and the Bronx.

Life didn’t treat my Mom too kindly once she married my alcoholic father in 1971. And it actually went from bad to worse as she divorced him for my stepfather in 1978. By then, she had become a cigarette smoker, a one-time adulterer, and an abuse survivor. My Mom did everything she could to shield my older brother and me from her habits and the realities of our tough life in Mount Vernon in the 1970s and early 1980s. But by the end 1982, as I turned thirteen, all the hats my Mom had worn began to fall to the ground. In taking on the role of a strikebreaker, all of our lives would change forever.

In response to concessions made to the union, who left her unprotected, Mount Vernon Hospital cut her from full-time to part-time. My Mom became the besieged one. She was the old woman in the shoe, with six kids — including four under the age of five — and a cheating, abusive, unemployed, sometimes-at-home husband. It was my Mom’s job to take care of us all. Yet no longer was she a breadwinner. My Mom had become one of Reagan’s alleged welfare queens, pulling in $16,600 in AFDC payments per year from April 1983 until I left for college in August 1987. With all of that, I became a hat juggler myself.

Once Her Hats Became My Own:

For a while during my teenage years, my Mom had been my friend, one in which I could usually confide, albeit out of anger and frustration. All while taking on more and more of what had been her duties, including the brunt of her second husband’s rage and fists. I’d become an everyday grocery shopper, a frequent family cook, and a sometimes provider, the last mostly through tracking down my own father for a few extra dollars every Friday or Saturday at one of his favorite bars. Or, by the time I was sixteen, through working part-time. I provided childcare on afternoons, evenings and weekends. I washed clothes with my older brother on Saturdays or Sundays every week without fail from October 1982 on.

Hat stall at a Sunday fair, Amsterdam, The Netherlands, August 31, 2008. (Jorgeroyan via Wikipedia). Released to public domain via CC BY-SA 3.0.

Hat stall at a Sunday fair, Amsterdam, The Netherlands, August 31, 2008. (Jorgeroyan via Wikipedia). Released to public domain via CC BY-SA 3.0.

By the end of high school, I realized too who my Mom wasn’t, maybe for the first time. She wasn’t an encourager, a person who pushed her kids to pursue their dreams. With so many “Are you sure…?” questions my last two years of high school, it’s a wonder I applied to any colleges at all. Mom wasn’t a nurturer either, especially after I became a teenager. My Mom had only said “I love you” to me two times between my twelfth and nineteenth birthdays, including at my high school graduation ceremony in June 1987. She also wasn’t easygoing. Any mistake with money or my time would get a “Serves you right…” sermon about never screwing up.

The Toll Caring For Others Can Take:

All of this has made my Mom a conservatively cautious perfectionist, one living with depression and in constant denial about our shared past. I guess that it was all too much for her, like reaching the Jordan River, but not being allowed to cross it. Our shared experiences had also made me cautious and perfectionistic in my dealings with myself and the world, as I had to wear so many of my Mom’s hats and cross so many of those rivers with her. My mother tried to be all things to me and my older brother especially, and failed more than she succeeded in the process. For that and so many other reasons, despite her mistakes, I love her very much.

It’s been more than twenty-seven years since I moved away for the greener pastures of the University of Pittsburgh. Yet it’s only been in the past decade that I’ve learned to stop striving for perfection in all the things I say and do. It ultimately takes a lifetime to unlearn all the bad habits and prejudices and give up on juggling all the ideas and roles that our parents have put on us. My journey with and without my Mom has been no different. Now that my Mom’s in her late sixties, I just hope that the only hat she tries to wear these days is one to keep her head warm on the coldest of days.

Boy @ The Window Origins: Meltzer Conversations

14 Saturday Mar 2015

Posted by in 1, Academia, Boy @ The Window, Carnegie Mellon University, Christianity, culture, Eclectic, Hebrew-Israelite, Mount Vernon High School, Mount Vernon New York, Pittsburgh, Politics, Pop Culture, race, Religion, Youth

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X-Men Origins: Wolverine (2009) scene, where Wolverine frees mutants kept as experiments by Colonel William Stryker , March 13, 2015. (http://cdn.collider.com/).

X-Men Origins: Wolverine (2009) scene, where Wolverine frees mutants kept as experiments by Colonel William Stryker , March 13, 2015. (http://cdn.collider.com/).

Of all the tangents I took related to writing Boy @ The Window, the most direct path that got me to write a memoir about the most painful period in my life was through several conversations with my dear teacher, friend and mentor in the late Harold Meltzer. I’ve discussed bits and pieces of some of those conversations here and in longer form in Boy @ The Window. It’s still worth rehashing some of those conversations, at least in terms of what was and wasn’t good advice, as well as in explaining how some of the main themes of the memoir developed over time.

As I wrote in Boy @ The Window, though my “first interview with him was in August ’02,” the first time “we discussed the possibility of me doing Boy @ The Window went back to February ’95.” Meltzer had been retired from teaching about a year and a half, while I was beginning the heavy lifting phase of my doctoral thesis, “living in DC for a couple of months while hitting the archives and libraries up for dusty information. In need of a writing break, I gave him a call on one cold and boring Saturday afternoon.”

It was in response to a letter he sent congratulating me. I’d recently published an op-ed in my hometown and county newspaper, “Solving African American Identity Crisis.” I was writing about issues like using the n-word, hypermasculinity, and internalized racism in the short and, for me at least, dummied down piece. Somehow our discussion of that piece led to a discussion of my classmate Sam. Did I really want to spend an hour and a half talking with Meltzer about Sam and some of my other Humanities classmates and their possible identity issues, considering some of my own serious growing pains — the Hebrew-Israelite years, my suicide attempt, my Black masculinity and manhood issues? Absolutely not!

But I learned quite a bit about how I might want to approach writing Boy @ The Window through that phone call. Not because Meltzer had given me any sage advice, which he didn’t, or because he revealed things to me that I shouldn’t have come to learn during our conversation, which he definitely did.

Benetton ad, 1980s, January 2013. (http://fashionfollower.com/).

Benetton ad, 1980s, January 2013. (http://fashionfollower.com/).

No, it was the idea that a lot of the things that I had pursued as a historian and researcher were things that came out of my experiences growing up. Multiculturalism as a historical phenomenon (at least if one linked it to cultural pluralism)? Can anyone say Humanities Program, or, what I used to call “Benetton Group” when we were at A.B. Davis Middle School? Writing about African American identity issues? Obviously related to living in Mount Vernon, the land where any hint of weakness translated into me being called a “faggot” or a “pussy.”

And what about any scholarly concerns with racial and socioeconomic inequality and Black migration? Anyone ever meet my Mom and my father Jimme, 1960s-era migrants from Arkansas and Georgia/Florida respectively? An examination of the Black Washingtonian elite and their looking down upon ordinary Blacks because of their own colorism or the latter’s lack of education? Come on down, Estelle Abel and any number of well-established Black Mount Vernon-ites who never gave me the time of day! As much as academia had been an escape for me, into a world of rationalism and logic, a place of dispassionate scholarship, it was all personal for me, without realizing it until that phone conversation with Meltzer.

Fast-forward to November ’02, the last interview I did with Meltzer before his death two months later. We spent the last couple of hours on that brisk fall Thursday discussing the book idea that would become Boy @ The Window. Meltzer thought that it should be a work of fiction, “based on the real flesh and blood folks in my life, but with different names of course to protect me from any potential lawsuits. He did make me rethink the project from a simple research study of my high school years into narrative nonfiction or a memoir.” 

Screen shot of fictional character Harper Stewart's bestselling novel nfinished Business, from The Best Man (1999), March 14, 2015. (hitchdied via http://s785.photobucket.com/).

Screen shot of fictional character Harper Stewart’s bestselling novel Unfinished Business, from The Best Man (1999), March 14, 2015. (hitchdied via http://s785.photobucket.com/).

Was Meltzer correct? Should I have done a Harper Stewart — played by actor Taye Diggs in The Best Man (1999)? Should I have fictionalized all of my experiences and those of my family, teachers, administrators and classmates? I’m not sure if it would’ve made a difference. Stories of fiction tend to have a tight symmetry to them. Or, the theme of “what goes around comes around” is usually a big one in any novel. You can’t leave too many loose threads or unresolved issues, even if the novel is part of a series. For my purposes, since my life remains a work in progress, a story of relative — not obvious or absolute — success, telling it as fiction would hardly ring true to me, much less to any group of readers.

Whatever else anyone wants to say about the late Harold Meltzer, the dude got me to think about difficult things until I was no longer comfortable in leaving my uncomfortable experiences and assumptions unchallenged. The very definition of a mentor, the very purpose of Boy @ The Window.

Teaching Migration, In Song

17 Friday Oct 2014

Posted by in 1, Academia, Boy @ The Window, culture, Eclectic, eclectic music, High Rise Buildings, Jimme, Marriage, Mount Vernon New York, music, My Father, New York City, Politics, Pop Culture, race, Religion, Upper East Side, Upper West Side, Work, Youth

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Stevie Wonder and Wonderlove, live performance of "Living For The City," circa 1974. (http://youtube.com).

Stevie Wonder and Wonderlove, live performance of “Living For The City,” circa 1974. (http://youtube.com).

If I ever had the chance to teach a course specifically on the history of Black migration in America, I already know what books I’d use. Isabel Wilkerson’s The Warmth of Other Suns (2010); Nicholas Lemann’s The Promised Land (1991); James Grossman’s Land of Hope (1989); Mary Patillo’s Black Picket Fences (1999); even Richard Wright’s Black Boy (1945) and Maya Angelou’s I Know Why the Caged Bird Sings (1969). All have moved beyond the statistics of some seven or eight million Blacks moving from the rural Jim Crow South to America’s cities, North, Midwest, West and South for the first three-quarters of the twentieth century.

Falsas Promesas Broken Promises, taken by John Fekner, Charlotte Street Stencils, South Bronx, New York. 1980. (Liftarn via Wikipedia). Released to public domain via CC-SA-3.0.

Falsas Promesas Broken Promises, taken by John Fekner, Charlotte Street Stencils, South Bronx, New York. 1980. (Liftarn via Wikipedia). Released to public domain via CC-SA-3.0.

But that wouldn’t be near enough to communicate the range of emotions, the psychological states and the pressures that these people faced in leaving their homes for the not-so-bright lights of America’s big cities, not to mention what they faced in the days and years after they arrived. I should know. I’m the nearly forty-five year-old son of a mother originally from Bradley, Arkansas (population 500) and a father from Harrison, Georgia. They moved to New York City in the ’60s (specifically, the Tremont section of the Bronx), then to the South Side of Mount Vernon, New York (just outside the Bronx), hooked up, and sired me and my older brother Darren between December 1967 and January 1970.

That short summary is hardly the story, though. For me — like with so many other things in my life — music tells the story, emotions and psychology beyond what words on a page alone can approximate, but not fully duplicate. Music communicates the stories, emotions and psychology of those who migrated and stayed (or didn’t) in cities across the US better than Census data or a hypothesis on proletarianization. I wanted music from my own lifetime (or at least, within a few years of it) — not just folk songs or Blind Willie Johnson or Duke Ellington — music that fit my family’s transition from migration to our current times of racism and urban poverty.

Easily the top two songs on my list to play in class would be:

Trade ad for Otis Redding's single "Try a Little Tenderness," January 7, 1967. (Viniciusmc via Wikipedia/Billboard Magazine, page 7). In public domain).

Trade ad for Otis Redding’s single “Try a Little Tenderness,” January 7, 1967. (Viniciusmc via Wikipedia/Billboard Magazine, page 7). In public domain).

1. Otis Redding, “(Sittin’ On) the Dock of the Bay,” (1968), released after Redding’s death in a plane crash in Madison, Wisconsin; and

2. Stevie Wonder, “Living For The City,” (1973).

Both songs run the full emotional and psychological gamut. From hopefulness to oblivion, from delusion to despair, from rage and anger to resignation. The melancholy of Redding’s “It’s two thousand miles I roamed/Just to make this dock my home” (in reference to the distance from Georgia to San Francisco Bay) juxtaposed with Wonder’s bitterness and anger:

“His hair is long, his feet are hard and gritty
He spends his life walkin’ the streets of New York City
He’s almost dead from breathin’ in air pollution
He tried to vote but to him there’s no solution…”

It communicates so much beyond the lyrics and liner notes, a reminder for those of us who find America and its cities unforgiving today just how relentless it must’ve been for our parents and uncles and aunts and grandparents forty or more years ago.

There are other songs that I’d put on this playlist. Some are directly related to Black migration, some try to bridge the gap between the abundance of music on “the ghetto” and urban poverty and chaos and the lack of music from my own lifetime on migration.

3. Gladys Knight and the Pips, “Midnight Train to Georgia” (1973).
4. Marvin Gaye, “Inner City Blues” (1971).
5. Gil Scott-Heron, “95 South (All of The Places We’ve Been)” (1977).
6. Tracy Chapman, “Fast Car” (1987).
7. Nas (featuring Olu Dara, his father), “Bridging the Gap” (2004).

Pruitt–Igoe public housing projects, St. Louis, Missouri, circa 1967. This late-1950s "urban renewal" project was built, but failed and was razed in the 1970s. (Cadastral via Wikipedia/US Geological Survey). In public domain.

Pruitt–Igoe public housing projects, St. Louis, Missouri, circa 1967. This late-1950s “urban renewal” project was built, but failed and was razed in the 1970s. (Cadastral via Wikipedia/US Geological Survey). In public domain.

That most of these songs come from the period between 1967 and 1974 isn’t an accident. It was the height of the Civil Rights Movement, combined with the Black Power Movement and the “Black is Beautiful” campaign, the beginning of the White backlash against civil rights — including Dr. Martin Luther King, Jr.’s assassination — and the Anti-War Movement was in full swing. It was a good time to take a look at the present and recent past to reconnect with hopes and dreams in the midst of the nightmare of urban poverty.

After ’73 was the beginning of the dance and disco era, as well as a focus on the urban, on crime, on drugs, on poverty  — but not in a “let’s try to solve it” kind of way. This was where rap, hip-hop, some R&B and early forms of what we now call neo-soul picked up, with little reflection on this once prominent past.

Still, there would be some honorable mentions for this migration course, music that could evoke some aspect of the Black migration, of the hope that took a downward turn, of the poverty and joblessness that have permeated America, Black and White and Brown, since the ’70s.

8.  Arrested Development, “Tennessee” (1992).
9. Tina and Ike Turner (and Credence Clearwater Revival), “Proud Mary” (1970).
10. Nina Simone, “The Backlash Blues” (1967).
11. NWA, “Straight Outta Compton” (1989).
12. Tupac, “Cradle 2 the Grave” (1994).
13. John Mellencamp, “Pink Houses” (1983).
14. Bruce Springsteen, “Born In The U.S.A..” (1984). [the song’s release was thirty years ago this month, by the way]
15. Peter Gabriel and Kate Bush, “Don’t Give Up” (1986)

Nina Simone performs at a concert in 1964. (http://npr.org, via Hulton Archive/Stringer/Getty Images).

Nina Simone performs at a concert in 1964. (http://npr.org, via Hulton Archive/Stringer/Getty Images).

Through music, I’d hope to have a course and discussion about Black migration that reaches beyond the words origin and destination, that migration has merely been a physical manifestation of a difficult and seemingly unending cultural and spiritual journey in the US. That Black migration can also easily include the parallel journeys of those of the African or Afro-Caribbean diaspora, not to mention those from Latin America.

For me, though, a course like this would be a personal foray into all the things that have made me who I’ve been for nearly four and a half decades — a person better than the sum of America’s parts and racist, sexist, homophobic and evangelical assumptions.

Bow Down to Isabel Wilkerson

27 Thursday Mar 2014

Posted by in 1, Academia, Boy @ The Window, Carnegie Mellon University, culture, Eclectic, Jimme, Marriage, Mount Vernon New York, My Father, New York City, Politics, Pop Culture, race, Youth

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Isabel Wilkerson, The Warmth of Other Suns, front cover (2011), Random House.

Isabel Wilkerson, The Warmth of Other Suns, front cover (2011), Random House.

I’ve finally read Isabel Wilkerson’s book The Warmth of Other Suns (2011) this month, just as I finished teaching a mini-course in post-1865 African American history. If I ever have the opportunity again to choose my own books for a survey-level course in African American history, this would be one of my cornerstone books. I know I stand at the back of a very long list when I say this, but this is a wonderfully powerful and insightful book, with language and a writing style equally as tender.

This was what I wrote regarding my first impressions on Goodreads.com:

My God – this book is a masterpiece! Wilkerson has done what historians and writers as diverse and groundbreaking as Kenneth Kusmer, David Levering Lewis, Joe William Trotter, Jr., Nicholas Lemann, Thomas Sugrue and James Grossman couldn’t (and in a couple of cases, wouldn’t) do. She put flesh, blood and bones on the Black individuals and families who migrated “up North” and out West throughout the bulk of the twentieth century. She didn’t distract with neo-Marxist, post-modern, post-structural, proletarian, or other overly academic theories for understanding the “hows” and “whys” behind Black migration between 1915 and the 1970s.

Reading Wilkerson’s The Warmth of Other Suns (2011) was like reading into my own family’s pasts (my mother and father came to New York City — specifically, the Bronx (Pelham Parkway and Wakefield) — during the 1960s from Arkansas and Georgia/Florida before moving to Mount Vernon). She captured so well the aspirations, the inspirations and the trepidations of the people who migrated, and the things they faced upon arrival. Wilkerson, most of all, grounded herself in the scholarly, but weaved it into a story that was nothing less than literary. If you’re a US or African American historian, a Black Studies, Black Women’s Studies or American Studies scholar, you must incorporate in your curriculum if you haven’t already. If you’re a writer who aspires to tell an important story — one that educates as it entertains — then The Warmth of Other Suns is a great place to start and Wilkerson a great writer to emulate.

Wilkerson called the Great Migration one of the great events of the twentieth century. But it was more than that. It was one of the great events in American history, a silent and gradual revolution on par with westward expansion and more significant than the second wave of immigration from Southern and Eastern Europe to the US between 1870 and 1914. I and millions of others like me should know. I wouldn’t be writing at all if I wasn’t a child of two Black migrants who left farms in the South for New York City.

“The Dying of Black Women’s Children”

27 Wednesday Mar 2013

Posted by in 1, Academia, Boy @ The Window, Carnegie Mellon University, culture, Eclectic, eclectic music, music, Pittsburgh, Politics, Pop Culture, race, University of Pittsburgh, Youth

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Infant mortality rates by country (2004), March 27, 2013. (http://www.mchb.hrsa.gov/). In public domain.

Infant mortality rates by country (2004), March 27, 2013. (http://www.mchb.hrsa.gov/). In public domain.

That was the title of a research paper I wrote for an independent study course I did with my former Pitt advisor Larry Glasco. It was a paper I wrote during my last semester at the University of Pittsburgh, undergrad and grad school. It was the last paper I would write for any professor at Pitt. But it was a paper that would address a bunch of common themes about me as a historian and scholar knowingly, and a writer unknowingly.

I began this paper without a course and on my own time in the Fall ’92 semester (see my post “December Doctoral Decisions” from last year). I had to fulfill a quantitative methods requirement in order to take my PhD comprehensive examinations at the end of my coursework, which at my pace would’ve meant taking them in the fall of ’93 at Pitt. Why they never included a qualitative methods requirement, I’ll never know. Of course, this digital humanities movement of quantifying the heretofore unquantifiable was but an embryo in the early ’90s.

With my language requirement taken care of the year before, I had no choice but to build on my existing statistical knowledge. Luckily, I’d inadvertently minored in mathematics and had been a computer science major before switching to history. I’d already decided on the topic of comparing infant/child mortality rates among White and Black Pittsburghers between 1900 and 1920, coinciding with the Great Migration period for Blacks. This meant census data from 1900, 1910 and 1920. This meant public health records from the same twenty-year stretch. It meant looking at neighborhoods like the Lower Hill District and Bloomfield, the occupations of the men and (in the case of Blacks) women living in these communities.

And it meant that I had to learn how to use SPSS, the most powerful number-crunching statistical software package on the planet. At least as far as I was concerned. It took me from September ’92 until the end of January ’93 to get comfortable enough with SPSS to plot and correlate different points of data. By then, I could generate reports and make sense of them. I knew that race, poverty/neighborhood and occupation (in that order) correlated best to the 2.5 to 1 ratio between infant/child mortality (death between child birth and the age of five) rates for Black families versus White families.

I used Lotus 1-2-3 to construct the tables, charts and graphs for my statistical correlations and data. Why Lotus 1-2-3? Their charts and graphs looked like “arts and crafts,” to steal a phrase from David Letterman. SPSS’s visuals were boring. Between the numbers crunching, the translation of correlation data into Lotus, and the actual writing of this paper, I completed my work for this independent study and quantitative methods requirement at the end of February ’93.

By then, I had two issues. One, I didn’t know what to title my paper. Most of my titles were inspired by cultural references from music, sports, TV shows, catch commercial jingles. I’d titled one paper “‘Sittin’ On The Dock of The Bay’,” an homage to Otis Redding and in reference to the topic of Black migrants finding permanent economic degradation after leaving the Jim Crow South for places like New York, Chicago and L.A. Another one, which I’d presented at several conferences, was “‘The Evidence of Things Not Seen’,” a prelude to my “‘A Substance of Things Hoped For'” dissertation (thanks to Hebrews 11:1 and James Baldwin).

Pitt Honors Convocation program, (March 1, 1994), March 27, 2013. [Ironic, given that I received this honor when I was at CMU]. (Donald Earl Collins).

Pitt Honors Convocation program, (March 1, 1994), March 27, 2013. [Ironic, given that I received this honor when I was at CMU]. (Donald Earl Collins).

I solved this title problem while simultaneously dealing with the second issue, which was that I knew I was about to transfer to Carnegie Mellon to complete the doctorate. Joe Trotter had invited me to attend the job talks of a young professor who had recently earned tenure at the University of Chicago, I believe. I remember her being fairly attractive and found her work interesting, if not fascinating. While we walked up and down the factory floor, um, second-floor corridors of Baker Hall, I walked by a flyer for an upcoming talk on “The Dying of Young Women’s Children.” I decided that this would be the scaffolding for my paper’s title, right then and there. Only, I’d change “Young” to “Black” and give a footnote of credit to the flyer title.

I submitted my paper to Larry for my independent study, which I was now taking purely as pass/fail (or satisfactory/unsatisfactory), and not for a specific grade. After Larry learned of my departure, he never gave me feedback on the paper. As the end of the semester approached — and I became short on cash — I submitted the paper to the Women’s Studies Program’s Student Research (undergraduate and graduate) contest.

Pitt's Women's Studies Program Annual Prize for Student Research on Women and Gender, June 1993, March 27, 2013. (Donald Earl Collins).

Pitt’s Women’s Studies Program Annual Prize for Student Research on Women and Gender, June 1993, March 27, 2013. (Donald Earl Collins).

Two months later, in June ’93, I learned that I’d finished second in the graduate student category, and earned a check for $75, a week’s worth of groceries! My friend Matt, upon learning of my good fortune, said, “You won that prize because of that title,” adding that I “stole it” from a flyer.

Matt was right, of course. But I also learned something important through “The Dying of Black Women’s Children.” That all writers borrow from others’ words and ideas, and then make them their own.