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Fights and Friendships

05 Thursday May 2016

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

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My friendship with my one-time best friend Starling ended on this week thirty-five years ago. It was a friendship that “began with a fight and ended with a fight,” as I wrote in Boy @ The Window. The second fight had as much to do with inflated preteen egos as it did with intolerance and ignorance. But that couldn’t be helped, given the way we were, the way our families had been back in the first days of the Reagan Years.

We’d been friends since the last third of fourth grade at William H. Holmes Elementary Most of our conversations the first year or so of our friendship had been about music, politics, history, and other things related to school or pop culture. By the time we reached Mrs. Bryant and sixth grade, a good portion of our conversations turned to Christianity. I guess that this was inevitable. Starling was the “son of a preacher man,” a Southern Baptist pastor. Starling wanted to see me become an official child of God and brother in Christ. My search was one of truth and God, and if Jesus was the one who could get me there then so be it. I didn’t feel the same sense of urgency for water immersion and John 3:16 as Starling did for me.

Back area behind William H. Holmes ES (where my two fights with Starling occurred), Mount Vernon, NY, November 22, 2006 (Donald Earl Collins).

Back area behind William H. Holmes ES (where my two fights with Starling occurred), Mount Vernon, NY, November 22, 2006 (Donald Earl Collins).

The return of my prodigal stepfather Maurice Washington/Judah ben Israel and his bringing the whole Hebrew-Israelite thing to 616 put a temporary end to my Christian enlightenment in April ’81. Him and my Mom had been separated for about six months. During that time, my idiot stepfather had discovered the ways of Yahweh and Torah and alleged that he was a changed man. So we all had to change, to stop eating pork and bloody meats, to start wearing kufis, and to somehow see this fool as our dad.

Starling stopped speaking to me immediately and entirely when I showed up on a mid-April Monday with a white kufi on my head. on the last Friday in March. Our friendship was suddenly over. This was what our second fight was about, our friendship, my bizarre religion and my acceptance of it. At least it was for me.

As I wrote in the memoir,

I guess that Starling at twelve was definitely his father’s son. I could certainly understand Starling’s perspective on this. I’d betrayed him when I came to school and professed that I was a Hebrew-Israelite. Starling had been talking to me for months about becoming a Christian, a Baptist, and now here I was embracing Afrocentric Judaism, similar in many ways to the Nation of Islam and its variants in terms of its racial politics. The practitioners I’d been around tended to see Black Christians as “weak,” out of touch with “their heritage,” and as “worshiping the wrong God.” Starling couldn’t accept this. We ended up in our second and final fight. I was fighting for our friendship, literally. Starling beat me to end it.

I felt betrayed myself. Starling had turned his back on me at a time in which I needed his input the most. I still cared about the same things, thought about the same issues, and wanted someone whom I could banter with about music and politics and religion. But given Starling’s background, even back then I realized that he thought that I was well on my way to hell. Starling and I saw ourselves as adults in many ways, so he assumed that I had made a free-will adult decision for becoming a Hebrew-Israelite when I walked into Mrs. Bryant’s class with a kufi on my head. He had no idea how much I was struggling with my mother and stepfather’s decision to make our family a Hebrew-Israelite one.

Screen Shot from Michael Jackson and Janet Jackson's "Scream" (1995) video, May 5, 2016. (http://www.vidivodo.com).

Screen Shot from Michael Jackson and Janet Jackson’s “Scream” (1995) video, May 5, 2016. (http://www.vidivodo.com).

So I projected the outward appearance of supreme confidence and faith in Jehovah and this slant on the ten Lost Tribes of Israel, to protect myself from being hurt and to see if this whole Hebrew-Israelite thing really was for me. Not a good move going into middle school and the Humanities Program later that year. I had no idea how much worse my life was about to become in the two years between the end of my friendship with Starling and my family’s fall into welfare poverty, bumps, bruises, babies and concussions along the way.

It wasn’t until the end of eighth grade that Starling and I began exchanging “Hi’s” again. Even then, this was often forced. The only conversation I had with Starling after our fight was at the end of ninth grade, with him letting me know that he was moving with his family down South. Starling Churn left with his family for Wilmington, North Carolina in the summer of ’84, still believing I was well on my way to eternal damnation.

That friendship’s rise and fall has helped me understand who friends really are. Ultimately a friend is someone who isn’t a relative but you gravitate toward and have shared interests with, a person who has sympathy and empathy for you and your life. A person who isn’t afraid to tell you when you’re fucking up and who doesn’t shun you when you lose your way. That’s a real friend. I’ve had and still have, thankfully, a core group of ride-and-thrive friends who fit (or at least come close to it) this definition.

Starling and I couldn’t. We were tweeners, after all, and pseudo-intellectual ones with inflated egos from straight-As at that. And in a country that barely tolerates anything other than blind, unthinking Christianity and a false sense of patriotism, maintaining a friendship in the midst of a major religious shift — even a childhood one — was and is nearly impossible.

Pitt Graduation Day, +25 Years, +25 Hard Truths

26 Tuesday Apr 2016

Posted by in 1, Academia, Boy @ The Window, Carnegie Mellon University, Christianity, culture, earth, wind & fire, Eclectic, eclectic music, Hebrew-Israelite, Mount Vernon High School, music, Pittsburgh, Politics, Pop Culture, race, Religion, University of Pittsburgh, Youth

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Peterson Events Center (where they do all the commencements now) University of Pittsburgh, Pittsburgh, PA, circa 2008. (http://www.rosser.com/).

Peterson Events Center (where they do all the commencements now) University of Pittsburgh, Pittsburgh, PA, circa 2008. (http://www.rosser.com/).

I can’t believed that I’ve lived long enough to make a quarter-century since my end to undergrad at the University of Pittsburgh! It makes me sound old, at least to the twenty-one year-old I used to be. The one who couldn’t decide between a J.D. and an M.A./Ph.D. program. The person who worried that they would have an MA before their driver’s license. The young ‘in who believed that my advanced degree choices would define my career and life more than anything else.

That person was wise beyond his years, and yet stupid at the same time. He believed in the American meritocracy, in the triumph of hard work, talent, and a Christian faith over every obstacle. He believed that any costs incurred on the path to the MA — and later, the PhD — would be covered in the Bank of a Great Career. He believed, most of all, that professors as advisors and mentors would be there to guide his path every step of the way, the trustworthy individuals that most of them had proven themselves to be.

Me & Mark James (Cropped), Pan-African Graduate & Professional Student Association, University of Pittsburgh, February 27, 1993. (Lois Nembhard).

Me & Mark James (Cropped), Pan-African Graduate & Professional Student Association, University of Pittsburgh, February 27, 1993. (Lois Nembhard).

So much of that belief system was poisoned by the e. coli bacteria of academia and by the leaching lead pipes of American -isms. From my trials at Pitt to my tribulations with Joe Trotter, Dan Resnick, and Bruce Anthony Jones. The fact that my entire nineteen years of teaching, consulting, and nonprofit work has been cobbled together out of necessity and constantly changing circumstances, on which ground has rarely been solid. That after eighteen years and six months of payments, and I’m still a decade or so away from paying off student loans I began borrowing seventeen days after graduating from Mount Vernon High School in ’87.

If I had to talk to my twenty-one year-old self now, I’d say, get the MA in history, then get certified to teach at a high school somewhere. Spend the precious moments not in the classroom reaching high school-age students honing your craft as a writer. Jump headlong into putting down in words your experiences growing up, your times as a Hebrew-Israelite and in Humanities. Get that ms turned into a published work. Work hard at understanding the larger issues and contexts that make America the seething contradiction that it has always been, between racism and freedom, individualism and multiculturalism, social control and narcissism. Then, somewhere between the age of twenty-five and thirty, maybe, go back to school and earn that PhD in history, or in education, and take a few social psychology courses focused on personality disorders along the way.

That is the benefit of 20/10 hindsight (I’d say 20/20, but I still see most things at 20/15, and with warp speed at that!), of course. One big barrier I faced twenty-five years ago is a thorough and excoriating understanding of myself and the life I had to live. I remembered so much of my past that I never questioned the things that I’d forgotten. About abuse, physical and sexual. About deprivation, real and imagined. About people, the layers of yellow onions that most sheepishly are.

Unfortunately, I’d learn the most about what I’d forgotten in my forties, well after most people reconnect with the bitterest parts of their past (if any ever dare to). That I know what I know now is in the category of “better late than never.” Some things, though, I needed to know much sooner than 2014 or 2002. Like my discovery of my ambivalence toward academia. Not teaching or publishing per se. But the idea that I could only be taken seriously by publishing scholarly works that mostly would be read by a few dozen colleagues or when I assigned them to my students. I didn’t figure out how to make my ambivalence work for me until I was thirty-seven, and then, with me at mid-career, fighting to move forward.

Chris Farley facing a hard truth, being hit by a 2x4 in Tommy Boy (1995), April 26, 2016. (http://stream1.gifsoup.com/).

Chris Farley facing a hard truth, being hit by a 2×4 in Tommy Boy (1995), April 26, 2016. (http://stream1.gifsoup.com/).

The silver lining is, that if it weren’t for my time at Pitt, I simply wouldn’t be here to write these words at all. The pressures and pollutions of this world would’ve killed me. Or worse still, killed my inspirations and aspirations, rendering my imagination, my sense of what makes a just and wise world, dead. I’d be as bitter as a cup of Italian roast coffee mixed with vinegar and raw horseradish.

I’m sure that even among my more successful colleagues — and even more sure among my less successful ones — their journeys since the halcyon times of undergrad and even graduate school have been bittersweet. That is life. Especially in a nation in which others encourage us to have aspirations beyond the stars, a complete contradiction to that cracked concrete-reinforced reality that is America.

But even if all of the remaining highs in my career and life outnumber the lows by ten-to-one (who knows, right?), two truths are clear. One is that most people who experience any depth of success in their lives tend to remember the lulls and ruts more than their moments at the top of the mountains. Two is that without me having climbed that first mountain, the college degree mountain, I would have a story to tell, but would lack the words to tell it. I would still be living vicariously through the music of others, whether U2, Earth, Wind & Fire, Michael Jackson (RIP), Prince (RIP), or Mary J. Blige. And for me, at least, as genius as they are — alive and dead — I still need to tell my own story.

Prince, circa 2013 concert, April 26, 2016. (Ethan Miller/Getty Images).

Prince (1958-2016), circa 2013 concert, April 26, 2016. (Ethan Miller/Getty Images).

Aside

Cable, Anyone?

11 Friday Sep 2015

Posted by in 1, Boy @ The Window, culture, Eclectic, eclectic music, Jimme, Mount Vernon High School, Mount Vernon New York, music, My Father, New York City, Pop Culture, race, Youth

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1980s-style MTV logo, accessed September 11, 2015. (http://dogoodmediamix.weebly.com/).

1980s-style MTV logo, accessed September 11, 2015. (http://dogoodmediamix.weebly.com/).

The platform of multimedia access via paid cable subscriptions through the monopolies of Time-Warner, Verizon FiOS, and Comcast Xfinity is so normal that it would be hard for anyone under twenty-five to imagine the world that existed beforehand.

Yet on the first Friday in September ’85, my family at 616 didn’t have cable the morning I left for my second day of eleventh grade. We had the channels we always had: WCBS2, WNBC-4, WNEW-5 (which had just been bought by Rupert Murdoch via 20th Century FOX), WABC-7, WOR-9, WPIX-11, and WNET-13. The MTV revolution was more than six years old, and the hype from Michael Jackson’s classic Thriller album videos had come and gone. Though I was now current enough to be up with pop music, some rap, and some R&B — not to mention my Mets — so many cultural references went over my head at Mount Vernon High School that many of my classmates thought I was stupid and weird. (Don’t worry – I felt exactly the same way about many of them).

I came home from school that Friday afternoon to a platform I’d never seen before. A long, thick white wire and a couple of coaxial cables linking to a box next to our TV in the living room. The TV set was off, and my Mom was out picking up Maurice from Holmes Elementary (he had just started first grade). I turned it on, looked at the cable guide, and punched in the numbers to MTV for the very first time. Heart’s “What About Love” video had just started on the channel. To think that this would be my first direct experience with MTV, for the few moments I had to myself in the transition to yet another weekend of kids, laundromat duty, and hunting down my father Jimme at one of a dozen of his watering holes between Wakefield and The Bronx and Midtown.

It was actually, um, uplifting. I felt goofy. I didn’t mind hearing the overwrought band from the Pacific Northwest. I enjoyed the video that followed it, Mr. Mister’s “Broken Wings.” I even had time to flip over to BET to watch part of a Sade video (I think it was “Sweetest Taboo”) before my Mom and my four younger siblings came in, making me feel like watching these videos was really taboo. I didn’t want them to know what I was watching, so I dialed in either CNN or Headline News for the first time.

That afternoon would be one of only a handful of times I’d have clear access to cable TV without the cognitive dissonance of siblings and family and arguments and constant fighting and abuse. If first impressions really meant anything, then MTV and BET on September 6, 1985 pretty much reinforced my music eclecticism over a twelve-minute span. That was reinforced further in the coming weeks, with good, bad, and awful videos from a-ha, Eddie Murphy (with Rick James), Phil Collins, Billy Ocean, Journey, Lionel Richie, Lisa Lisa, and Run-D.M.C.

The great Bernard Shaw, CNN news anchor from 1980 to 2001, accessed September 11, 2015. (http://cnn.com).

The great Bernard Shaw, CNN news anchor from 1980 to 2001, accessed September 11, 2015. (http://cnn.com).

Getting news from beyond the local sources, Tom Brokaw, Peter Jennings and Dan Rather was pretty important too. Bernard Shaw, Lynne Russell, and Chuck Roberts became new news names for me that fall. Catching movies within six months of their release — instead of three to five years later (if ever) — like Aliens or Platoon was new to me. And getting more accurate data from The Weather Channel made me more aware of chilly spring mornings that would turn into summer-esque afternoons as ’85 turned into ’86 and then ’87.

It wasn’t until 1994 that I got cable on my own in Pittsburgh for the first time, otherwise having to go to bars or William Pitt Union’s TV room to catch moments that weren’t on network or independent television. To think that there was a time when information moved slower, when I listened to 1010 (AM) WINS, “you give us 22 minutes, we’ll give you the world” instead of watching BBC News or hitting Twitter for the latest news. Can’t wait for the streaming/mobile news and music revolution. Oh, wait a second…

Separating The Musical Wheat From The -ism/-phobic Chaff

25 Monday Nov 2013

Posted by in 1, culture, Eclectic, eclectic music, music, Politics, Pop Culture, race, Youth

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Separating chaff (left hand) from wheat (right hand), November 25, 2013. (http://www.colourbox.com/preview/).

Separating chaff (left hand) from wheat (right hand), November 25, 2013. (http://www.colourbox.com/preview/).

Back in April, I managed to get myself into a Twitter argument with @BlkLibraryGirl over Rick Ross and Lil Wayne’s releases and the misogynistic, gang-rape-advocating lyrics that came with them. The problem was, she was in the midst of a long rant (which I didn’t realize at the time), and you should never interject into someone else’s Twitter rant unless you’re nodding your head in agreement. At least without going through their entire Twitter timeline first.

In response to another luminary on Twitter, @BlkLibraryGirl tweeted

But it’s not just Rick Ross’s rape lyrics. The entire Hip Hop genre is rape culture. Is somebody going to talk about that?:)

I specifically said that this strain of rape as/is okay is one that has deep roots in American culture, and in African American notions of masculinity specifically, which led to a barrage of tweets from @BlkLibraryGirl about how Rick Ross’ lyrics + ten-year-old Black boys = Black boys thinking that raping Black women is perfectly okay. And that I was okay with these lyrics, too.

Rick Ross, absolutely disgusting, September 30, 2013. (http://cdn.stupiddope.com).

Rick Ross, absolutely disgusting, September 30, 2013. (http://cdn.stupiddope.com).

She obviously not only missed my point. She didn’t care what my point was in the first place. But that’s an issue of the limits of being able to communicate complex ideas and emotions on Twitter, not to mention the larger issue of etiquette. @BlkLibraryGirl is but one example of the steady and growing criticism of rap/hip-hip as the source of all our cultural ills, -isms and -phobias. It’s the idea that a kid will watch a video and listen to lyrics, and with zombie-like reactions, act out the lyrics and the video as if they don’t have a mind and guidance systems in their lives to stop them from being Rick Ross’ and Lil Wayne’s puppets.

For those of you who know me or this blog, the one thing that should be obvious is that while my music tastes are eclectic, my rap music list in particular is a small one. I didn’t like much of the little bit of rap I heard growing up, got into it a bit in the ’87-’97 years, and have liked almost none of it over the past decade. I’ve never liked Jay Z, found 50 Cent to be about a notch and a half above Biz Markie, and still think Eminem is the best lyricist in the game today, despite the fact he is as homophobic and (at times) misogynistic as they come.

So while these fools will never win the Social Justice Music Awards, they do have the right to put out their schlock, to write lyrics filled with hate and angst, to play with tired stereotypes and archetypes in their music and videos. And we have the right to critique, to not buy, to provide ourselves and our kids with the wisdom necessary to see through the smokescreen of big business making big bucks off of rap/hip-hop “artists” who present themselves as little more than stereotypical Bucks themselves.

But let’s also not get carried away here, either. Last I checked, didn’t the rap I listened to in college contain some similar themes? Geto Boys “Gotta Let A Ho Be A Ho” and PE’s “the parts don’t fit” line from one of their raps on their Fear of a Black Planet album (both from ’90) come to mind. What about “running the train” lyrics from the late Notorious BIG or Tupac’s (perhaps the greatest poet/rap lyricist ever) works? How come critics of today’s rap and hip-hop game don’t go after the moguls and producers that make Rick Ross and Lil Wayne possible, folks like Sean “Whatever his nickname is now” Combs, Jay-Z, Sony Music Group or BMI?

Or, given my eclectic tastes, why limit this strain of cultural ugliness to rap and hip-hop? Why not be historical for a moment and go after Prince’s and Rick James’ sexist lyrics of the early-’80s, or the Ohio Players and The Jammers of the ’70s? Or, for that matter, R. Kelly in the ’90s and early ’00s? Why should we even limit this to R&B or hip-hop, as music is a universal — and not a neatly separated — language? What about Jimi Hendrix’s “Hey Joe,” or the White male angst and violence embedded in honky-tonk, hard-core heavy metal and grunge?

Fans protest Michael Jackson's innocence in the child molestation scandal, Paris, France, December 17, 2003. (Rafael Rozendaal via Wikipedia). Released to public domain via Creative Commons 2.0.

Fans protest Michael Jackson’s innocence in the child molestation scandal, Paris, France, December 17, 2003. (Rafael Rozendaal via Wikipedia). Released to public domain via Creative Commons 2.0.

Oh, I get it. Hip-hop’s a globally-dominant cultural and musical phenomenon, which means it could bring tens of millions more folks outside the US into our -isms and -gynys. But, has there ever been an individual in the musical world more culturally transcendent than Michael Jackson? You know, the guy who faced two trials in the ’90s and ’00s over child molestation charges? The man who struggled with identity issues — racial ones  included — for the bulk of his adult life before dying in June ’09? What do we do about the couple of billion people Jackson influenced beyond his lyrics, especially since child molestation must be as common as the common cold?

We should critique and advocate as much as we can over the sexism and misogyny, homophobia and racism, colorism and ignorance contained in the lyrics and videos of artists from Rick Ross, Lil Wayne, Nelly and DMX and so many others. But let’s not act as if this is a new thing, a strictly hip-hop and rap thing. This is an American thing. So why act surprised when it shows up in rap music videos and in lyrics?

As for me, I chose to enjoy Michael Jackson’s music and PE’s other lyrics even in the face of the contradictions between their lyrics and behaviors. I think that most hip-hop lovers — even those impressionable ten-year-old Black boys — will do the same. If I’m wrong, then the Apocalypse has truly arrived.

Shawn of the Dead (2004) pic, as used in Philadelphia Daily News, June 4, 2012. (John Baer).

Shawn of the Dead (2004) pic, as used in Philadelphia Daily News, June 4, 2012. (John Baer).

Summer of Sound

05 Sunday Aug 2012

Posted by in 1, Boy @ The Window, culture, Eclectic, eclectic music, Mount Vernon New York, Movies, music, New York City, Pop Culture, race, Work, Youth

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Mary J. Blige’s What’s the 411? (1992) CD cover, August 5, 2012. (Donald Earl Collins).

One of the few great things for me about being back in Mount Vernon and New York City the summer of ’92 was that I was ahead of the slow pop cultural curve that was Pittsburgh two decades ago (although it’s still slow — just not as slow as it used to be). For one last summer, despite the turmoil of kids and my mother treating me like I was one (see my post “The Last 616 Summer” from June ’12) and the constant chaos at my job (see my “Working With Wackos, Part I” post from July ’12), I had access to all the immediate in music, movies and other forms of culture, pop or otherwise.

This was truly the summer that my tastes turned from randomly weird to eclectic. To think that just five years earlier, early Whitney Houston, Thompson Twins, Glass Tiger and ABC were all part of my regular cassette rotation for my Walkman! My tastes had grown up to the point where music had to have a mood or rhythm to it. It no longer needed to be quirky or silly in order to put me in a quirky or silly mood.

But those weren’t the only emotions available to me by the summer of ’92. I could actually feel sexy, romantic, generous, loving, caring, and not just angry, depressed and goofy in my normal life. A half-decade away from the crushing life of strife at 616 and in Mount Vernon, high school, Humanities and in general, had something to do with that. Dating off and on had brought others into my life, which meant that Crush #1 and Crush #2 had become somewhat repressed memories. The bottom line was, I no longer needed music or pop culture to block out the daily emotional pain that had been my life in the ’80s.

And that opened me up to new and more eclectic (if still occasionally goofy experiences) music experiences that year and summer. I became a big Jon Secada fan that summer (see my “Otro Dia Mas Sin Verte” post from August ’09), both in English and en Espanol. I was so glad he branched off from Gloria Estefan, as I’d had it with the Miami Sound Machine’s sound years ago.

I also became enthralled a bit with jazz and what we now call smooth jazz that summer, between Grover Washington, Jr., Ronny Jordan’s “After Hours”, John Coltrane, even some Miles Davis (who I did appreciate, but never quite understood). I had friend at Pitt who had exposed me to jazz over the previous five years, but it took graduate school for me to finally fully appreciate it. It also took working in an office with a woman who played all kinds of music all the time for me to actually go out and buy their stuff on CDs.

Boyz II Men’s “End Of The Road” (1992) singles cover, May 19, 2009. (Undermedveten via Wikipedia). Qualifies as fair use under US Copyright laws (low resolution picture).

The expansion of hip-hop and rap twenty summers ago to include new and fresh sounds ended up having an impact on my own music collection as well. Mary J. Blige’s What’s The 411? hit the stores and her songs the NYC-area airwaves that July and August, so raw and so new that even I the late-bloomer noticed. And who could forget Boyz II Men’s “End Of The Road.” I heard that song at least eight times a day nearly every day between the end of June and the middle of August, especially at my Mount Vernon Clinic job. I guess if I’d been divorced or in a bad relationship, I would’ve appreciated it more. As it was, any thought of buying Boyz II Men’s second album disappeared by the beginning of August. The same was true for me regarding Jodeci, the hip-hop screechers and beggars from the Upper South. They were like nails on chalkboard to me then.

Still, I incorporated music more typical of my earlier tastes into my collection that summer as well. Mariah Carey’s “I Don’t Wanna Cry” became the song I went to every time my sister Sarai started whining about me telling her to do chores at 616. Sounds of Blackness’ “Optimistic,” I discovered that summer (one summer after its release). U2’s Achtung Baby, Garth Brooks’ “The Thunder Rolls” and Michael Jackson’s “Remember The Time” rounded out my catching up to the current that summer, while Annie Lennox’s “Walking On Broken Glass” was, new, silly and serious at the same time.

There have been other times, other summer in which my tastes have taken leaps forward. I must admit, this has usually occurred after great pain or after having recovered from a major trial in my life. The summer of ’92, though, was a transition summer for me, from having to act like an adult due to stressful circumstances to just being an adult because I actually was.