Carnegie Mellon Stamp of Approval

17 Monday Mar 2014

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

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Advice, Barbara Lazarus, Book Reviews, CMU, Coursework, Doctoral Completion, Graduate School, Hazing, Joe William Trotter Jr., John Modell, Oral Comprehensive Exams, PhD, Pitt, Politics of Academia, Prayer, Stamp of Approval, Steve Schlossman, Sycophants, Torture

Approved rubbed stamp in green, March 17, 2014. (http://depositphotos.com).

Two decades ago on this date, I took my oral PhD comprehensive exam. It was on a cloudy Thursday, a day after a late afternoon shower had left a rainbow over the otherwise dreary campus. Like the day after that rainbow, the exam was anticlimactic, more indicative of what I’d learned in two years as a grad student at Pitt than in my two semesters at Carnegie Mellon.

Getting to this exam was sheer torture. Not because I didn’t understand historiography, or hadn’t read at least 230 books and countless articles since my first day of grad school. No, it was torturous because the powers that were had insisted to make my schedule more like the one of a first-semester grad student the previous fall.

I ended up with two courses that I didn’t want and didn’t need, especially since the History Department at CMU had told me that they had accepted all of my master’s and PhD credits from the University of Pittsburgh. Though I had taken four grad seminars in US history (not to mention CMU Professor Joe Trotter’s grad seminar in African American history the year before), I was taking a first-year student’s grad seminar in US history – again! I also had to take comparative working-class history seminar with a combination of anti-race Marxists and brown-nosing sycophants more interested in an A than in actual evidence-based historical interpretation.

Prostate exam from Family Guy (1999-2003, 2005-present) screen shot, July 17, 2013. (http://chattanoogaradiotv.com).

That, and being broke for most of the ’93-’94 school year — I took what amounted to a $2,000 stipend cut in my transfer from Pitt to CMU — made me pretty cranky my first six months at the home of elitist lily-Whiteness. There were days in those courses where I wanted to literally strangle some of my fellow grad students for being so dense (in the case of first-years) or for being so obviously fake in their praise of a given professor’s argument (in the case of two sycophants in particular). Only the late Barbara Lazarus and Trotter kept me grounded enough so that I didn’t spend every moment of Fall ’93 making voodoo dolls out of Steve Schlossman and John Modell for putting me through the hazing process.

Somewhere around the beginning of November ’93 — after some much-needed time in prayer — I began to realize a few things. One, that I’d already done so much reading on topics like immigration, industrialization, slavery and the connections between race and class (and race, class and gender). So much so that unless it was an author of major interest, I could skim or skip the reading, or even find a few book reviews and compare them to my extensive library of notes on the other authors in a given subfield or field.

Two, that my time outside of class was still my time. I knew that I wanted to do multiculturalism as a dissertation topic, and that I wanted to do it in the context of Black Washington, DC. So I began ordering microfilm of Black weekly newspapers like the Washington Tribune and Washington Bee (going back as far as 1915) to look at as much material as possible. It calmed me to know that I was working on my dissertation topic nearly a year before Trotter and my committee would official approve it.

Three, I knew by January ’94 that Schlossman, et al. had agreed that the Spring ’94 semester would be my last one in coursework. I still had to take Modell’s goofy Historical Methodologies course, but having to do things like my oral comprehensives made going to class just bearable enough.

Acting a part quotes from actors, March 17, 2014. (http://thepeopleproject.com/actors/quotes).

Finally, I took out a loan. I’d only taken out one student loan since finishing undergrad in ’91, but it was obvious I couldn’t live off of a $7,500-per-year stipend. Really, no one could, not without rooming with another student or having a spouse with a real income. The money came in at the beginning of March, making my march to become ABD that year that much easier.

By the time I walked into the second-floor conference room in Baker Hall to take my orals, I knew there wasn’t a question about what I knew and how well I knew it. It was about whether I could show the folks at CMU that I could play along with them in their version of grad school, which wasn’t any different from any other history doctoral program’s version. And I did play along, for two hours, more than long enough to move on to the dissertation proposal round.

When I said years later to my friend Laurell that Humanities and Mount Vernon High School had prepared me more for grad school than it did for undergrad at Pitt, this was what I meant!

Honorary Stupidity

09 Saturday Nov 2013

Posted by decollins1969 in 1, culture, Eclectic, Politics, Pop Culture, race, Sports

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Brandon Marshall, Bullying, Commodities, Cris Carter, ESPN, Fandom, Harassment, Hazing, Hostile Work Environment, Inhumanity, Jonathan Martin, Mark Schlereth, Miami Dolphins, N-Word, NFL, NFL Network, Ostracism, Racism, Richie Incognito, Ricky Williams, Warren Sapp

MLK’s “Sincere Ignorance and Conscientious Stupidity” saying, November 8, 2013. (http://bitterrealities.wordpress.com ).

There are so many things I could say about Richie Incognito and the vocal group of Miami Dolphins and ex-NFL players who’ve been supporting him versus Jonathan Martin over the past six days. That NFL players are Neanderthals. Or that Black players and ex-players like Cris Carter, Warren Sapp and Ricky Williams need their own education on what is and isn’t racism or harassment. Or that ESPN and the NFL Network have pushed this story without bringing a more critical lens to it.

There are two points that emerged this week, though, that bother me more than anything else. The idea that Incognito is more “Black” than Martin. Because Martin doesn’t sound “Black,” doesn’t act out of willful stupidity like “Black” NFL players, because he’s biracial, because he attended Stanford University, because his parents are Ivy League-educated. Last I checked, on and off the field, Martin’s treated as Black, regardless of his “unique” background. And Incognito’s still a White guy, one that threatened his teammate and his family, calling him the N-word on and off the field. Aside from the fact that the idea of a White guy being an “honorary Black” guy is offensive in general (see Maya Angelou’s idiotic praise of neo-conservative President Bill Clinton as “our first Black President” for Exhibit A) there’s this reality. No matter how “Black” Incognito can allegedly act, it’s an act, one which comes out of his Whiteness, and with it, an ultimate sense of cultural superiority.

Richie Incognito, Miami vs Oakland, Oakland, CA, September 16, 2012. (June Rivera via Flickr.com/Wikipedia). Released to public domain.

The other equally disturbing point is that because the NFL locker room is a unique place of hyper-masculinity, that what goes on there isn’t subject to public scrutiny. If that’s the case, why not go back to the days of alcohol in the locker room, where players could shoot up steroids and amphetamines? Or have strippers and groupies in the locker room as well? The NFL locker room, like other work sites, is not a static place, but an evolving one. If it wasn’t, then seventy to eighty percent of the players in it these days wouldn’t be Black, Latino or Samoan. It’s a stupid argument, one exactly like those made by NYPD and LAPD officers, construction workers and White supremacists.

Luckily, there are players and ex-players like Brandon Marshall and Mark Schlereth whose understanding of and sensitivity toward this issue has been exemplary. They are in the minority among the professional athlete and sports world set so far, unfortunately. Martin’s former teammates have unified in their portrayal of him as a villain and traitor and Incognito as the “real nigga” on the football field and in the locker room.

The reason for this should be obvious, at least for those of us with either uncommon sense or with a social justice core. Humanity apparently has no place in the world of sports, especially in football and even more specifically where Black football players are concerned. For owners, front office managers and fans alike, they are merely commodities. Ones that all often criticized for or envied over their salaries and torn down publicly for their sins and crimes. The players and ex-players see themselves as warriors and gladiators, or, in the case of the media savvy, as cut-throat businessmen. None of this allows for any sympathy or empathy for football players who have been genuinely harassed or abused.

Beef cattle on Eefie Hill. North Atlantic in the background, United Kingdom, August 18, 2005. (John Comloquoy via http://geograph.org.uk). Released to public domain via Creative Commons Share-Alike 2.0.

It has meant that players like Incognito — or in previous generations, Michael Westbrook and Bill Romanowski — have fellow players willing to stand up for their criminal behavior, for in fact creating a hostile work environment. Players who suddenly respond like human beings to a dehumanizing workplace have found and do find themselves shunned by the fraternity. And to quit and air out the dirty laundry? It may well be easier to quit La Cosa Nostra and continue to live than it has been for Martin to quit the Miami Dolphins.

I, for one, don’t expect NFL locker rooms to change as a result of the ongoing investigation of Martin’s harassment allegations, no matter how true they may actually be. But I do suspect that even in the Dolphins’ locker room, there are players who haven’t forgotten their humanity, whose understanding of race and masculinity goes beyond a rap video or the N-word. At the very least, there will be much more to come in the form of dirty laundry, and not just from the Dolphins, either.

Colorism and the Enduring Power of School Daze

11 Monday Mar 2013

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

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Brown Paper Bag Rule, Cafe au Lait, Color Struck, Colorism, Dark-Skinned, Fraternities, Giacarlo Esposito, Hazing, HBCUs, Hedonism, High Yellow, Internalized Racism, Intrarace Relations, Laurence Fishburne, Light-Skinned, Mo' Better Blues (1990), Pitt, Redbone, School Daze (1988), Shunning, Sororities, Spike Lee, Tar Baby, The Silent Treatment, Tisha Campbell, University of Pittsburgh, Wesley Snipes

School Daze (1988) movie poster, September 17, 2012. (QuasyBoy via Wikipedia). Qualifies as fair use under US Copyright laws, as depicts subject of blog, is scaled-down and is of low-resolution.

One of the few films I saw soon after it came out in theaters during my Boy @ The Window years was School Daze. It was in fact on this date twenty-five years ago that I went to the old theater in Pittsburgh that once was on Forbes Avenue near the Oakland Primanti Bros. sandwich place to see the film. It gave me some serious food for thought that Spring Break Friday evening, so much so that the lessons of School Daze have stayed with me to this day. Considering that I turned down a date with an upperclassman not interested in seeing the film in the process, School Daze was more than worth it.

The biggest lesson for me was on colorism. Not the macabre hazing of Q-dog frat boys and the cliquish AKA and Delta soros. Not the lack of care for the academic or the step-show battles. Not the hedonist behavior of Black middle class Gen Xers hell-bent on doing everything other than graduating from college. I already knew students like this at Pitt. Really, I already knew former classmates from Mount Vernon High School who attended HBCU’s like Howard, Morehouse, Hampton and Spelman, the kind of people who’d be perfect candidates for this Spike Lee joint. That they would psychologically and physically abuse each other in bed and on campus didn’t surprise me in the least.

“Good and Bad Hair” scene, School Daze (1988), March 10, 2013. (Donald Earl Collins via YouTube). Qualifies as fair use (see previous picture).

No, it was the issue of being color-struck that was truly eye-opening for me. For I think I always knew on a semi-conscious level that colorism was alive and well among Black folks I’d come to know in Mount Vernon and in my first year at Pitt. It was frequently subtle, but also occasionally out in the open. With terms like “café au lait,” “redbone,” “mocha,” “caramel,” light-skinned,” “high yeller,” “dark-skinned,” “tar baby,” “chocolate-brown,” “good hair,” “nappy head,” “paper-bag brown,” and “light, bright and almost White,” among others. With obvious preferences among my male and female counterparts for young Black women and (sometimes) young Black men who passed the brown-paper-bag rule. (For those unfamiliar, if a Black male or female’s skin color was lighter than a brown paper bag, they were light enough to be attractive and acceptable by others. In terms of beauty, sometimes in pledging to a sorority or fraternity, often in terms of being part of a popular and better connected circle of Black folk.)

I certainly saw it with my father Jimme, who threw around the word “redbone” in my last year of high school as if the only young women in my NYC-area universe were light, bright and almost White. But I also saw it in the cliquishness and popularity of some of my classmates and other MVHS attendees and alumni. The most prominent of them at the time was Albert Brown, aka, Al B. Sure. Despite the uni-brow and limited talent, he went a long way in terms of popularity with his Class of ’86 and in the years immediately after high school. But there were others, classmates with bit-role appearances on ABC’s All My Children, folks whose entire circle of so-called close friends met some internalized color line.

It’s safe to say that by the time I left the theater — about 9 pm that Friday — I was actually angry. I wanted to take Giancarlo Esposito behind a building and beat him into another world. But more than that, it put some of the issues I had with high school and my first year at the University of Pittsburgh in perspective. Obvious and subtle forms of bigotry, individual racism and institutional/structural racism are all things I expected to face. This internalized bigotry on the basis of skin color, though, explained some of the shunning that I’d faced in my last couple of years of high school (see my post “The Silent Treatment” from June ’11) especially.

Hazing scene from School Daze (1988), March 10, 2013. (http://tumbler.com). Qualifies as fair use (see previous picture).

Yeah, I was weird because I was in a weird place in terms of domestic violence, child abuse and welfare poverty in those years. I didn’t help matters by being down with Tears for Fears and Sting and Mr. Mister and by often walking at Warp Factor Three or higher to cover the twenty-acre school between classes. But being poor and looking poor and a darker shade of brown was the first thing the Rick James-Eddie Murphy “Party All The Time” set saw, even before I turned into a blur walking past them every day.

A few years after School Daze, I went to David Lawrence Hall to watch the Pitt Film Club’s showing of Mo’ Better Blues (1990) with Denzel Washington and Wesley Snipes. A decidedly light-skinned underclassman (who was in my easy-A Intro to Black Studies course – I was a senior at Pitt by this time) – let’s call her ‘R’ – saw me and decided to sit with me to watch the film. Every time Wesley Snipes was on the screen, she commented on how dark he was. Making me uncomfortable, to say the least.

I finally asked, “Well, what about me?,” given her obvious distaste for Snipes. “Oh, you’re fine. Wesley’s just too dark,” R responded. I did a double-take, realizing that her perspective on skin color was just too odd for words. A quarter-century later, and my guess is that there are Black folks (and Whites who love “dark”-skinned Blacks) who still need to “WAAAAKKKKKE UUUUUUPPPPPPP!”