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Notes from a Boy @ The Window

Tag Archives: Blackness

The Unbearable Whiteness of White Proximity Fuses, Part II

03 Saturday Jul 2021

Posted by decollins1969 in 1, Academia, Boy @ The Window, Carnegie Mellon University, culture, eclectic music, Pittsburgh, Politics, Pop Culture, race, University of Pittsburgh, Work, Youth

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Blackness, Colorism, Juan Mezzich, Pitt, Privilege & White Proximity, Publishing World, Rebecca Carroll, Self-Discovery, Surviving the White Gaze, Western Psychiatric Institute & Clinic, Whiteness


Front cover of my copy of Rebecca Carroll’s Surviving the White Gaze, July 3, 2021. (Donald Earl Collins)

The other and more direct parallel with Carroll’s journal in Surviving the White Gaze that comes to mind was someone I worked and went to school with at the University of Pittsburgh. For the sake of simplicity, let’s call her Heather, because I can no longer recall her name. She was a Black/biracial young woman from Erie, Pennsylvania, adopted by a white couple as a baby. I met her my third year at Pitt in 1989, when she was a freshman. We worked together for a while on a psychological epidemiology project that the great Juan Mezzich ran, as part of a larger project to revise the Diagnostic and Statistical Manual of Mental Disorders (turning the then-DSM-IIIR into the DSM-IV) and the International Classification of Diseases (turning the ICD-9 into the ICD-10). Aside from the fact that I thought Heather was cute, the first thing I noticed about her was her hair. It had been straightened, permed, and blown out beyond all recognition of a curl. Even at 19, I knew immediately that she was biracial, and didn’t have a Black woman who knew how to do her hair in her life.

I didn’t say a word. It wouldn’t have mattered if I did. Heather was very much standoff-ish, to me and the couple of other Black and Brown students who staffed up the project. She got along extremely well with the White students and staff, though. She rarely said hello when I saw her outside of Western Psych, on or off campus. Honestly, I felt sorry for her.

In the summer of 1991, when I became a full-time staff member on another of Mezzich’s projects, I worked with Heather for a few weeks. This was when I learned more about her upbringing and extremely limited exposure to Black folk. The questions she would ask about what I listened to on my Walkman, songs by Anita Baker, PE, Earth, Wind & Fire, even Phil Collins. She was maybe two years younger than me, and only knew ‘70s and ‘80s rock. Wow.

But, one day, Heather or another staff member had asked me a question — I don’t remember who asked, or what the question was. It one with a historical component, which I answered in typical granular exactitude, because, me. “Are you autistic or something?,” Heather immediately blurted out, as if I had some disease she had yet to see first-hand. “If by autistic, you mean the Rain Man movie? No, I just have a very good memory,” I answered back, rhetorically, with irritation and a bit of side eye. “Oh, I didn’t mean to offend you,” Heather continued, and then she went on for several minutes about why she thought I was autistic. 

I was gobsmacked by Heather’s entitled ignorance and by the racist and ableist implications of her questions and response. Seriously? I’ve been living on my own, mostly successfully navigating the world since I was 17, adulting since I was 12, and somehow I’m Dustin Hoffman with the most serious form of this neuro-social illness, all because my memory is stronger than a bank vault made of titanium and cobalt? And all this because I’m probably the first Black guy you’ve met with a bachelor’s degree from anywhere other than podunk Western Pennsylvania? All this and more ran like a chyron in my brain as I listened to Heather, now sensing my ire, stumbling over her words to make herself sound like she knew what she was talking about.

There were more than a few places in Carroll’s book where I saw the girl and the young woman that I saw in Heather, taking all of her assumptions about Blackness, about Black people, about whiteness and race, and applying them, often in damaging ways. I was absolutely disgusted at what Carroll and Tess did to her one-time English professor and advisor at the University of New Hampshire. I literally stopped reading Surviving the White Gaze for a week afterward. How could you?!?, I thought. Even with zero exposure to Black men, you had to know you put this man’s job in jeopardy over a minor utterance. You had to know that Tess’ vitriol toward him was about him not finding her intellectually interesting, or worse still, rebuffing potential flirtations. As a professor teaching mostly white students off and on for nearly three decades, I know this part all too well.

Carroll gradually embraced and uncovered her Blackness, over time, through years of alcoholism and eating disorders and fresh traumas from folks White and Black in her life. Her experience, though, is all too uniquely common from where I sit. There is the all too common story of someone the product of a Black-White relationship stumbling through life to discover their true selves and their Blackness, a story that is sadly still so easy to sell to a white-dominated book publishing industry and to a white-reading audience. But even for this sub-genre, Carroll’s willingness to reveal more than she conceals is really necessary, even as it feeds the beast, because she is still a work-in-progress at 52. 

There is also the all-too-common assumption that Black folk who aren’t raised by white parents or the product of a biracial pairing somehow don’t have any identity issues at all. Seriously? Anyone ever read Toni Morrison’s The Bluest Eye? We live in a white-dominant society, with white supremacy and white-ways as its main, everyday features. While most Black folk know and love their Blackness, it does not mean there isn’t a struggle to secure our identities as Black folk. Proximity to white people, class privilege, gender, age, and more play a role into the growing-pains-trajectory of how each of us gets to be comfortable in our own skin (or not). 

As for Wendy and Heather, it’s difficult to say where they are on their own trajectories. I haven’t spoken to either of them in years, decades in Heather’s case. But last time I saw Heather, it was May 1995 at a Pharmor store in the East Liberty section of Pittsburgh. I had just received my Spencer Fellowship award to write my dissertation. Heather was different, too. Her hair had gloss and curls, and her clothes fit better. We ended up talking for a few minutes, with me wishing her well. In thinking about this moment, I’ve wondered if Heather ever fully embraced her Blackness. In my imaginations, I think of her as having done so.

Songs in the Key of Life at 40

18 Friday Nov 2016

Posted by decollins1969 in 1, Boy @ The Window, Christianity, culture, Eclectic, eclectic music, Hebrew-Israelite, Jimme, Marriage, Mount Vernon New York, music, My Father, New York City, Pittsburgh, Politics, Pop Culture, race, Religion, University of Pittsburgh, Work, Youth

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"As", "I Wish", "Love's in Need of Love Today", "Sir Duke", Black Genius, Blackness, Elaine, Growing Up, Love, Pitt, Prescience, Songs in the Key of Life (1976), Stevie Wonder, Uplift, Wendy


Stevie Wonder's Songs in the Key of Life LP/CD cover and sleeve, 1976, 1999. (http://genius.com).

Stevie Wonder’s Songs in the Key of Life LP/CD cover and sleeve, 1976, 1999. (http://genius.com).

In all the nuclear meltdowns in the last weeks of Election ’16 and in the asteroid impact of Donald Trump becoming the 45th president of the United States, I almost completely forgot about one of the modern era’s greatest milestones. At the end of September, Stevie Wonder’s Songs in the Key of Life double-album turned forty years old!

My wife swears that this was Stevie Wonder’s last great production of genius, that virtually all the music he’s done since has either been merely “that’s nice” or complete schlock. But compared to Songs In The Key Of Life, at least 75 percent of the music produced since 1500 CE would be schlock! I mean, between “I Wish,” “Sir Duke,” “Love’s in Need of Love Today,” “Have a Talk with God,” “Village Ghetto Land,” and my all-time favorite, “As,” who could ask for anything more out of an album or an artist?

My fandom for Songs in the Key of Life has occurred over several stages since its release on September 28, 1976. I was nearly seven when the double-album dropped, and my life couldn’t have been messier. Between my Mom and my father Jimme’s rocky and violent divorce process, my own coping with sexual assault, and my Mom getting kidney sick and ending up at Mount Vernon Hospital as a patient for three months. Add to this having babysitters as primary caregivers during that time, and a second-grade teacher who wasn’t exactly sympathetic to Black kids who couldn’t settle down. It was a rough time, maybe even rougher than my Hebrew-Israelite years.

But songs from the double-LP were there, either thanks to WBLS-107.5 FM, or to people blasting songs off 8-tracks and cassette decks out of their cars in South Side Mount Vernon. Or, in the case of hanging out with my dad, because of his drinking buddies playing Stevie Wonder’s songs over and over again. For those first few years, “I Wish” and “Sir Duke” were my favorite songs from Songs in the Key of Life. That was probably because they were the only songs from the set I’d heard in full prior to 1982.

Then, with the Wendy crush/puppy love/mini-love of the spring and summer of ’82, one of the songs my mind conjured up was “As.” The song’s more than seven minutes long, and I barely knew the words “until the rainbow burns the stars out in the sky,” much less the entirety of the poetry of that song, much less its full meaning. But my heart knew how that song made me feel, and for matter, how Wendy made me feel, at least for a time. Once my stepfather Maurice began beating on me, my Mom lost her job, and we slipped into welfare poverty, though, Stevie Wonder’s greatest works slipped from my mind.

Nine years later, and it was my friend Elaine who reintroduced me to Songs in the Key of Life. It was during the spring and summer of ’91, when I both liked and loathed Elaine at the same time. It was also the summer before graduate school at the University of Pittsburgh, and it was like my mind and heart knew I needed to feed myself more than Phil Collins, Anita Baker, PE, and Salt ‘n Pepa. I borrowed Elaine’s set of cassette recordings from the genius’ 2-LP set, and spent parts of April, May, and June walking the 3.4 miles between my place in S’Liberty and my job at Western Psychiatric in Oakland listening to Stevie Wonder. I played Songs in the Key of Life straight through a half-dozen times. But of all the songs, “Love’s in Need of Love Today” and “Have a Talk with God” became two of my favorites. After the potential for a more serious relationship with Elaine faded, I gave her back her cassettes in August.

It would be another fifteen years before I finally got Songs in the Key of Life on CD. It was 2006, and I’d finally gotten me and my wife into the iPod era. Between that and my work on my memoir Boy @ The Window, I wanted to explore what made me me musically over the years. In remembering my Wendy-love days, I literally had to go through every song on Songs in the Key of Life again before I remembered “As” in full. I was shocked that after thirty years and so many other Stevie Wonder songs, that it had remained a melody in my heart and mind. It was in the summer of ’06 that “As” became my favorite song off this all-time great album(s).

Given what had occurred in the US over the past decade, and what has been happening to people of color in the US for as long as I’ve been alive, Stevie Wonder’s music from Songs in the Key of Life is always relevant, always uplifting, always life-affirming. Trust me, with Trump’s ascendancy to the White House, “the force of evil plans” will try “to make you its possession.” And yes, I did think “that love would be in need of love today,” because it wasn’t as if “hate” wasn’t going around “breaking hearts” and bodies during the Obama years.

But I’ll close with this, perhaps the most important stanza from “As.” This, to remind myself and all of you America’s may be in more trouble than ever before, but know that trouble has been with America longer than we’ve had the privilege of Stevie Wonder’s Songs in the Key of Life as genius. Thanks to Wendy, Elaine, my former Mount Vernon neighbors, and unknown New Yorkers, for playing these songs for me over the years, whether they meant to or not.

We all know sometimes life’s hates and troubles
Can make you wish you were born in another time and space
But you can bet you life times that and twice its double
That God knew exactly where he wanted you to be placed
So make sure when you say you’re in it but not of it
You’re not helping to make this earth a place sometimes called Hell
Change your words into truths and then change that truth into love
And maybe our children’s grandchildren
And their great-great grandchildren will tell
I’ll be loving you

My Muhammad Ali

05 Sunday Jun 2016

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

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"Impact", Blackness, Bonds, Boxing, Closed-Circuit TV, Death, HBO, Legacy, Life, Maurice Eugene Washington, Meaning, Muhammad Ali, Parkinson's Disease, Robert Farmer, Roots (1977), Self-Awareness, Self-Discovery, The Greatest (1977)


Meme of Muhammad Ali quote on "impossible" combined with iconic photo of Ali in 1st Round of first fight with Sonny Liston, February 25, 1964. (Getty Images via Twitter).

Meme of Muhammad Ali quote on “impossible” combined with iconic photo of Ali in 1st Round of first fight with Sonny Liston, February 25, 1964. (Getty Images via Twitter).

There is so much I could say about Muhammad Ali. His greatness. His contradictions. His imperfections and frailness. And all of them would be true. He was both a great man and a deeply flawed man at the same time. But, from 1964 through 1980, Muhammad Ali was the most recognizable person on the planet, with every aspect of his complicated onion on display in every corner of the world.

I have a few childhood memories of Ali’s headier days and nights. One was in ’74. It was the “Rumble in the Jungle” fight between Ali and George Forman. My father Jimme took me and my brother Darren over to his drinking buddy Robert Farmer’s house to watch the fight on closed-circuit TV (yep, Mr. Farmer spent good money on this fight). I do remember seeing bits and pieces of the fight, with Ali using the ropes around the ring like they were a trampoline. But mostly, I remember my dad and Farmer and Lo and others drinking and smoking away while watching the fight. October 30, 1974 was also the night that I learned my first colloquialism, the “rope-a-dope.” I know that the “dope” was Foreman, but I’ve seen lots of people as dopes in the four decades since that fight.

The Rumble in the Jungle poster, October 29, 1974. (Armbrust via Wikipedia). Qualifies as fair use because of low resolution for reproduction.

The Rumble in the Jungle poster, October 29, 1974. (Armbrust via Wikipedia). Qualifies as fair use because of low resolution for reproduction.

I remember watching the “Thrilla in Manila” nearly a year later between Ali and Joe Frazier, either at Mr. Farmer’s place or at a bar, I’m not sure. Again, smoke, drinks, beer cans, sunflower seeds and cigars, all in the midst of two fellas knocking the hella outta each other. My father sure knew how to show his two young sons (I was five and Darren was seven at the time) a good time.

These two fights became vague but embedded memories, perhaps two of the greatest bouts of all time. Although, Jack Johnson-James Jeffries, Joe Louis-Max Schmeling I and II, and Ali (née Cassius Clay)-Sonny Lister also come to mind in terms of historical significance.

But where I remember seeing Ali in a context beyond the right was in this movie The Greatest in May 1977. Believe it or not, my soon-to-be idiot stepfather Maurice took us to see this mediocre docudrama of a biopic on Muhammad Ali’s through 1974. (So I guess I was wrong when I said my stepfather had only done two good things for me growing up). At seven, there was no way I could know how bad the film was, between scenery chewers Ernest Borgnine and James Earl Jones. Still, the movie put those hazy memories from ages four and five in better perspective. After having seen Roots a few months earlier, I was really conscious of the wider world, of race, and of Muhammad Ali’s importance for the first time.

Muhammad Ali tweet re: Prince's death (pic is from their first meeting in 1997), April 22, 2016. (Twitter).

Muhammad Ali tweet re: Prince’s death (pic is from their first meeting in 1997), April 22, 2016. (Twitter).

Unlike Natalie Cole, David Bowie, Prince, and going back before 2016, Michael Jackson, I’ve been expecting Ali’s death for quite some time. His Parkinson’s wasn’t just Parkinson’s, but likely brain damage the likes of which NFL players have come to fear. That it took Ali until 1984 to announce what millions had suspected as far back as 1978 told us that he had taken a long time to come to grips with what would become his second act, his new reality. That Ali became a symbol of philanthropy, activism, and humanitarianism during this second act suggests that his strong will and support system deserves way more credit for the quality of his life than anything he did in the ring.

“Show me a hero, and I’ll write you a tragedy” comes from the 1920 mind of F. Scott Fitzgerald. If he were to write Muhammad Ali’s story, it would likely read as a tragedy. Luckily for us, Fitzgerald isn’t around to do so.

We have glossed over a few things in our millions of small eulogies for Ali this weekend. His sexism and occasional misogyny and abuse, both in words and deeds. His obvious colorism, calling Joe Foreman a “gorilla” and most of his somewhat darker skinned opponents “ugly” as a euphemism for their failure to pass the brown-paper-bag test. His rejection of Malcolm X at the very time when Malcolm needed him the most. Ali in the years between his biggest bouts and his mostly silent second life expressed regret about these -ism words and actions.

Despite this, Ali was still a father, a husband, a Muslim, a three-time heavyweight champion of the world, an author, a poet, an actor, an anti-war activist, a civil rights advocate, a social justice leader, a humanitarian, a hostage negotiator, and a Parkinson’s survivor. Ali was a fighter, in the most panoramic sense of the word. And yes, he was a Black man, in the narrowest and most intersectional senses of that two-word phrase. And all of that made him an icon. RIP.

Striking members of Memphis Local 1733 hold signs whose slogan symbolized the sanitation workers' 1968 campaign, March 1968. (Richard L. Copley/http://dlxs.lib.wayne.edu/).

Striking members of Memphis Local 1733 hold signs whose slogan symbolized the sanitation workers’ 1968 campaign, March
1968. (Richard L. Copley/http://dlxs.lib.wayne.edu/).

Black Power Generation

24 Wednesday Feb 2016

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

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Afrocentricity, Alondra Nelson, Angela Davis, Assata Shakur, Authentic Blackness, Authenticity, Black Freedom, Black Panther Party, Black Power, Black Studies, Blackness, Bobby Seale, Community Control, Eldridge Cleaver, Free Breakfast, Harold Cruse, Huey Newton, Kwame Touré, Michael Eric Dyson, Nathan Wright Jr., Peniel Joseph, Policy Brutality, Robin D. G. Kelley, Stokely Carmichael, Whiteness


Black Panther national chairman Bobby Seale, wearing a Colt .45 and defense minister Huey Newton with a bandolier and shotgun, poster, Oakland, CA, 1968. (AP via http://pbs.org).

Black Panther national chairman Bobby Seale, wearing a Colt .45 and defense minister Huey Newton with a bandolier and shotgun, poster, Oakland, CA, 1968. (AP via http://pbs.org).

This year marks a half-century since the official shift of the Civil Rights Era from the traditional Civil Rights leadership of the Black Church toward one of “Black Power.” Between Stokely Carmichael/Kwame Touré’s famous 1966 speech, Huey Newton and Bobby Seale’s founding of the Black Panther Party that October, and riots that began with Watts in L.A. the year before, this was a pivotal year in American and African American history. Of course, as historians and other scholars like Peniel Joseph and Alondra Nelson have illuminated in recent years, while 1966 was a pivotal year, it was not a departure from a long history of the Black freedom struggle, but part a continuity. For Joseph and Nelson (not to mention, Robin D. G. Kelley and Michael Eric Dyson), Black Power was a continuation of radical ideas and actions in order to stand in opposition to American capitalism and racism as an intertwined system of oppression. The roots of which go at least as far back as Black sharecroppers and their union organizing efforts during the Great Depression, if not in fact to the radicalism of Martin Delany of the 1850s.

These wonderful scholars are absolutely right to dump the simplistic narrative of Black Power as a symbol of/departure from the struggle for civil rights or as a philosophy that advocates violence against Whites, especially Whites in law enforcement. They are also more than right to point out how Black Power and the Black Panther Party did way more good on a policy level than most Americans would ever give their leaders credit for. Fred Hampton and Newton and the Free Breakfast for School Children Program that started in Chicago and Oakland between 1969 and 1972. The People’s Free Medical Centers (PFMC), Free Ambulance Service, and other direct community involvement to provide free access to health care and screenings for thousands of impoverished Black families. Free food programs for the destitute.

Angela Davis on Newsweek cover after 1970 arrest, October 26, 1970. (http://pinterest.com). Qualifies as fair use due to adjustments for low resolution.

Angela Davis on Newsweek cover after 1970 arrest, October 26, 1970. (http://pinterest.com). Qualifies as fair use due to adjustments for low resolution.

But more than that. The idea that Black communities could work to provide services and opportunities otherwise denied to them by American society was to be a major takeaway from this era of the overall Black freedom struggle. And of course, the idea that police served as an oppressive occupying force, and that Black citizens had every right to defend themselves against police brutality. Though direct armed struggle with law enforcement was in the Black Panther Party toolbox, the notion of policing the police, community control over schools, a community using its available resources, is still more positive than negative. These remain implementable ideas that have and do provide an outlet to the daily grind of racial discrimination and deep poverty in so many parts of the US.

Culturally, the freedom struggle as expressed through Black Power and the Black Panther Party, particularly by leaders like Angela Davis, Assata Shakur, Amiri Baraka, and Kwame Touré, was one of what we know would call Afrocentricity today. This was/is far more than wearing Afros, daishikis, sea shells and beads (or for that matter, black turtlenecks and tight pants). It would mean advocating for and getting universities (both predominantly White universities and HBCUS) to adopt Black Studies programs. It would mean influencing a whole generation of Black artists (the arts, music, and cinema) to adopt a “I’m Black and proud” stance in their work, from Marvin Gaye and the Lost Poets and Gil Scott Heron, to movies like Shaft and that first mainstream miniseries, Roots.

The Black Power Generation (kind of like Prince and The Revolution that tried to incorporate a mesh of messages between 1979 and 1986), for all of the elements that survived Huey Newton and his purges of the 1970s and early 1980s — not to mention their continuing influence in American pop culture, in Black intellectual thought, and in Black movements in general — was hardly perfect. Some, like the late Kwame Touré, promoted Black Power as a sort of authentic Blackness, a kind in which one had to buy all of the options on the table in order to be authentic. The “Uncle Tom” accusation or its equivalent was thrown at Martin Luther King, Whitney Young, Arthur Ashe, and others whose support of Black Power was less that full-throated. Not to mention, the tensions between leaders within the Black Panther Party and among African American intellectuals who attempted to ride the wave of Black Power, as nearly forgotten Black intellectuals Harold Cruse and Nathan Wright, Jr. noted in the late-1960s.

Gemasolar Thermosolar Plant (solar power concentration, converting solar energy to thermal turbine power generation), Fuentes de Andalucía, Seville province, Spain, June 22, 2014. (Wikipedia via http://vice.com).

Gemasolar Thermosolar Plant (solar power concentration, converting solar energy to thermal turbine power generation), Fuentes de Andalucía, Seville province, Spain, June 22, 2014. (Wikipedia via http://vice.com).

That lingering legacy of Black Power is part of its appeal and one of its limits — the ability to redefine ourselves and retell our history in a way that brings nuance and truth. But nuance and truth are not always absolutes. In many respects, Black Power over the generations shares a similarity with Marxist thought and action. Just as Marxism represents a dialectical opposition to capitalist oppression, Black Power has always represented a dialectical resistance to Whiteness and the racist/capitalist oppression that comes with Whiteness. It just doesn’t represent the only form of resistance there is, at least not as Newton, Touré, and others lived their resistance. Black Power is more than resistance, and more than just an amorphous idea standing in opposition to Whiteness. It’s just not the only form of Blackness there is. My own upbringing would be a further testimony to this (to be continued…).

My One Drunk Moment, An Un-Sober Mind

21 Saturday Nov 2015

Posted by decollins1969 in 1, Academia, Boy @ The Window, culture, Eclectic, High Rise Buildings, Jimme, Mount Vernon High School, Mount Vernon New York, My Father, Pittsburgh, Politics, Pop Culture, race, University of Pittsburgh, Youth

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Antisocial Behavior, Authentic Blackness, Black Masculinity, Blackness, Busch Beer, Coping Strategies, Crush #2, Disidentification Hypothesis, Drunk, Internalized Racism, Invisibility, Jealousy, Lothrop Hall, Misogyny, MVHS, Phyllis, Pitt, Self-Discovery, Self-Loathing, Self-Reflection, Sexism, Underage Drinking


16-ounce "Pounder" can of Busch Beer, November 19, 2012. (http://price2watch.com)

16-ounce “Pounder” can of Busch Beer, November 19, 2012. (http://price2watch.com)

As the son of an alcoholic father (the latter who’s been on the wagon for more than seventeen years now), I have almost always maintained control over my own alcohol intake. I’m always the designated driver, and rarely will I have three beers in one year, much less in one evening. My favorite drink is cranapple juice mixed with Disaronno, followed by Angry Orchard hard apple cider.

I have also always believed that I should be the same person, sober, buzzed, drunk and otherwise. If I’m generally a feminist on my best behavior in the classroom or at work, then I should be the same way at a dive bar on my second screwdriver. My low tolerance for bullshit — including and especially my own — should always be on display.

Both of these strands of how I’ve lived my life met a weekend of contradictions on this day/date twenty-eight years ago. In the wake of my Phyllis (Crush#2) crash-and-burn obsession and subsequent depression, I began hanging out with dorm mates at Lothrop Hall who were already dropping out of college socially by Week 11 of the Fall ’87 semester. That was a mistake of epic proportions.

Lothrop Hall (we lived on the fourth floor in 1987-88), University of Pittsburgh, June 8, 2008. (TheZachMorrisExperience via Wikipedia). Released to the public domain via CC-SA-3.0.

Lothrop Hall (we lived on the fourth floor in 1987-88), University of Pittsburgh, June 8, 2008. (TheZachMorrisExperience via Wikipedia). Released to the public domain via CC-SA-3.0.

My downward spiral was made worse a week earlier with a burglary on a Monday night at the end of October. While I took a bathroom break at the computer lab, someone stole my Calculus textbook. I felt violated, especially since it happened at work. It made me more distrustful of the people I worked with and of Pitt students in general. And after Phyllis’ wonderful response, I all but stopped going to class. I missed most of my classes the month of November, only showing up for exams or if my mood had let up long enough to allow me to function like normal. The weekend before Thanksgiving, I allowed my dorm mates to cheer me up by getting a couple of cases of Busch Beer. These were the Pounder type, sixteen-ounce cans. After getting Mike to get us the cases, we went back to Aaron’s room and started drinking. I downed four cans in fifteen minutes, and was drunk within a half hour. I started throwing around the word “bitch.” Anytime anyone mentioned Phyllis’ name — or any woman’s name for that matter — one of us said the B-word and we’d guzzle down some beer. I was drunk, but not so drunk I didn’t know what was going on around me. That night, my geeky acquaintances started calling me “Don” and “Don Ho,” since I was the life of that illegal party. I would’ve been better off smoking some cheap herb with Todd and Ollie. I recovered from my bender in time to go home for Thanksgiving, but I was in a fog for the rest of the semester.

This was how the end of my 2.63 first semester at Pitt unfolded. But that was hardly the only thing that came out of last weeks of ’87. For a long time, I was angry with myself. About Phyllis. About allowing Phyllis, my dorm mates — anyone, really — affect my emotions, my thinking, and actions over any significant period of time. So for about three months, I put everyone in my life into two categories. Men were “assholes, women were “bitches,” and I was done with humanity. And all by my eighteenth birthday.

I wasn’t just being sexist. I was being downright antisocial. I had internalized issues, about where I fit in this new world of college. I would never be man enough, Black enough, “White” enough, smart enough, athletic enough, or cool enough. At least that’s what I thought in late-November ’87.

Antisocial bumper sticker, November 21, 2015. (http://www.quotationof.com/).

Antisocial bumper sticker, November 21, 2015. (http://www.quotationof.com/).

I look back at that time and realize how stupid I was twenty-eight years ago. To think that I could go out in the world, attend a four-year institution, and not have my assumptions about the world, about people, and about myself challenged. That’s like going overseas to visit some ruins, but never meeting the people who live there (Or, in this case, like rich White Americans doing Sandals and other brown-skinned service-based vacations).

Phyllis and my dorm mates at Lothrop Hall weren’t even the first step of that process. They were the last step of a process of controlling and protecting myself from my years of living in the shadows in Mount Vernon, New York. The coping strategies I had honed for five years to survive 616 and Humanities and MVHS had barely worked. By the end of my first semester, they were completely useless. I came to realize that a strategy to seal myself up from all criticism and praise, to keep humanity out of my life, was doomed to fail. There was no way to keep the world from forming a first impression of me, no matter how many layers of invisibility I attempted to wear. But there was a way to reshape how I saw myself and the world.

Whiteness, Where “That’s So Raven” Meets “Real Time”

11 Saturday Oct 2014

Posted by decollins1969 in 1, Academia, culture, Eclectic, Patriotism, Politics, Pop Culture, race, Religion, Youth

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"New Black", African-American, American Narcissism, Atheism, Ben Affleck, Bill Maher, Black, Blackness, Claude Steele, Culture of Poverty, Culture of Violence, Daniel Patrick Moynihan, Disidentification Hypothesis, Islamophobia, Labels, Narcissism, Pharrell Williams, Racism, Raven-Symoné, Real Time with Bill Maher, Reza Aslan, Stereotype Threat, unspecial American, Whiteness, Xenophobia


Black square, or Black is the new Black, June 2014. (http://kennyali.com/).

Black square, or Black is the new Black, June 2014. (http://kennyali.com/).

Why we ever give voice to the vapid and vain I still don’t fully understand. In the past week, we’ve allowed Raven-Symoné (of The Cosby Show and That’s So Raven fame) and Bill Maher (host of HBO’s Real Time with Bill Maher and a mediocre stand-up political comedian) to determine our discourse on race, racism, Islam, atheism and terrorism. Proving once again the power of Whiteness in our racially narcissistic nation.

Raven-Symoné certainly isn’t the first Black celebrity or entertainer to declare herself “not African-American” or Black, to Oprah or to the rest of the world. Morgan Freeman’s been making statements rejecting labels like “Black actor,” the term “African American,” and even Black History Month, going as far back as interviews in support of Glory (1989) and Shawshank Redemption (1994) (of course, he also was making the point that he’s an American first). Raven-Symoné isn’t even the first Black entertainer to say they’re “not Black” or “not African American” in 2014. Pharrell Williams holds this distinction, as he allegedly represents the “New Black,” whatever colorblind racist nonsense this is.

Raven-Symoné on Oprah's Where Are They Now, October 5, 2014. (http://www.billboard.com). Qualifies as fair use - picture directly related to subject matter, and of low resolution.

Raven-Symoné on Oprah’s Where Are They Now, October 5, 2014. (http://www.billboard.com). Qualifies as fair use – picture directly related to subject matter, and of low resolution.

It all points to a phenomenon I’ve been calling the “unspecial American” over the past twelve years. The idea that we can discard labels, histories and cultures in an effort to make ourselves unique or special individuals. All of this is born out of a racial narcissism, one which afflicts the most vulnerable to this psychosis — the famous and the wannabe famous. Maybe there’s a bit of internalized racism to this, too — that’s clearly speculation to be sure. But that obsession to be unique, to declare oneself above constructs and labels, but then to latch on to the term “American” as if the world might forget? It reflects on some level stereotype threat, not to mention the defensive posture of someone like Raven-Symoné attempting to preserve their income and elite social status.

Maher’s take on religion, especially Islam, isn’t unique. The idea that he can claim this his Islamophobia has nothing to do with race — his own Whiteness/Jewishness or that of his brown-skinned Semitic cousins — is what makes Maher’s xenophobic argument a specious one. Maher’s is a culture of violence argument, one that attempts to combine the foundational tenets of Islam with the actions of terroristic jihadists in a sweeping indictment of at least half a billion people. HBO and Maher’s friends and fans have let him get away with this ridiculous line of thinly veiled racism and Islamophobia for years. Yet if Maher made the same kind of argument about Blacks, poverty and crime — the culture of poverty hypothesis proposed by the likes of the late Daniel Patrick Moynihan in the 1960s — he’d probably lose his show.

"Violence is not our culture," 2011. (Wendy Harcourt via http://http://www.ips.org/).

“Violence is not our culture,” 2011. (Wendy Harcourt via http://http://www.ips.org/).

That Maher has no sense of history or understanding of human nature isn’t surprising. He’s a stinking comedian, not a historian, political scientist, religious studies professor or philosopher. At this stage of his career, I’d make a better stand-up comic than Maher would a critic of any culture or religion. That Maher has found himself in arguments with Ben Affleck and Reza Aslan is telling. Maher in his late-fifties has become Ronald Reagan — an arrogant White male who firmly believes in the primacy of his brand of White culture above all others.

Both Maher and Raven-Symoné should take a long look at history and learn from it. Raven-Symoné should learn that Black celebrities who deny the existence of racial constructs tend to crash into a few barriers during their lifelong journeys. Maher should look at violent examples of atheism — the French Revolution, the Spanish Civil War, Stalinism, among others — and ask if these were the product of narcissism and violent repression or the product of a culture of violence based too heavily on the reliance on the scientific method for ultimate truths. And we should continue to ask ourselves why we ever take people like Raven-Symoné and Maher seriously at all.

Head Over Heels

03 Tuesday Dec 2013

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

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"Head Over Heels" (1985), Authenticity, Black Masculinity, Blackness, Crush, Crush #2, December, December to Remember, Phyllis, Self-Discovery, Snow, Snow Showers, Tears for Fears, Walking


December is both my most and least favorite month of the year. I was born at the end of this month, but only two days after Christmas. I’ve run away from home and been mugged, suicidal and inspired this month. Not to mention burned out and homesick and heartbroken. But I’ve found myself and experienced renewal on this least sunlit of months as well.

Twenty-eight years ago today was the day my crush on Phyllis, a.k.a. “Crush #2” began. It wasn’t a crush of epic love, but it would affect how I viewed myself and the young women in my life for the next two and a half years. As I wrote in Boy @ The Window:

It was the third of December, a cold and frosty Tuesday that would make someone think twice about going outside. It was after school, and I happened to be on my way to the library. I stopped home first to grab a bite to eat, to see if Mom wanted anything from the store after my time at the library, and to listen to some music. The last song I heard before walking out the door was Tears for Fears’ “Head Over Heels,” their third major hit in the US in ’85. The hard tones of their synthesized piano were hypnotic for me. “Head Over Heels” reminded me of my own failed attempts to get past myself when it came to saying more than “Hi” to any woman or girl whom I thought interesting. Besides having a family that I saw as an embarrassment, I simply didn’t have the tools of “cool” necessary to break through with any female. My voice usually cracked under the stress of not knowing what to say, and when it didn’t crack, the slow catch in my voice made everything I said sound like it was deliberately at half-speed. My ineptitude also included my automatically taking anything a girl did say about liking me as if it were a sick and twisted joke.

Snow covers trees in Central Park after a storm, New York City, December 28, 2013. (Emmanuel Dunand/AFP/Getty Images via http://www.nydailynews.com).

Snow covers trees in Central Park after a storm, New York City, December 28, 2013. (Emmanuel Dunand/AFP/Getty Images via http://www.nydailynews.com).

That’s what “Head Over Heels” had conjured up in my mind as I walked down East Lincoln toward Lorraine. For whatever reason my thoughts turned to Phyllis. I thought about her smile, her always-wearing-a-skirt style, her standing as a popular student at MVHS. She was always nice to me, always friendly, to the point of being coy about it. The brief flash of Phyllis’ face and smile put a smile on my own as I started singing to “Head Over Heels” out loud. “I wanted to be with you alone, and talk about the weather . . .” was coming out of my mouth in high falsetto as snow started to fall. My thoughts had turned to the cold, the snow flakes and the stark bareness of the wintry landscape as I reached the corner of East Lincoln and Darwood. I was singing “something happens and I’m head over heels . . . don’t break my heart, don’t take my heart, don’t, don’t, don’t throw it away.” Just as was I was about to cross the street, a black two-door Mercury Topaz, circa ’84 or ’85, pulled up, with Phyllis’ mother driving and Phyllis in the front passenger seat. Phyllis’ sister Claudia was in the back. Phyllis mouthed a “Hi” and waved at the same time as the light turned green for their car. What I remember as they pulled away was the smile that she flashed me. It didn’t seem fake. It looked like an I-really-like-you kind of smile to me. I was caught completely off guard!

I spent the rest of the walk to the library debating whether the smile was genuine or a nicety, what the smile meant for her, and how I felt about it. By the time I got to the library, I could only reach one conclusion. I liked Phyllis, and not in an “I like her but only as a friend way.” I liked the girl, simple as that. Those lips and that smile were worth at least a thousand kisses a day!

As I’ve noted in the book and here in the blog, my instincts about Phyllis’ smile turned about to be correct on both counts. Too bad I wasn’t listening to Alexander O’Neal’s “Fake” or Mr. Mister’s “Broken Wings” when I walked out the door to our 616 apartment at 4:30 that afternoon. Still, for that moment, at least, all seemed possible in my little world.

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Boy @ The Window: A Memoir

Boy @ The Window: A Memoir

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

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Barnes & Noble (bn.com) logo, June 26, 2013. (http://www.logotypes101.com).

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

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