Tag Archives: Multiculturalism

In·ter·sec·tion·al·i·ty

24 Monday Apr 2017

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Kimberlè Crenshaw quote, from “Whose Story Is It Anyway?: Feminist and Anti-Racist Appropriations of Anita Hill,” in Toni Morrison’s Race-ing Justice, En-gendering Power, 1992, p. 403. (http://azquotes.com).

In truth, I’ve considered the issue of intersectionality as a historian and writer since 1993, when I wrote my quantitative methods requirement-fulfilling paper, “The Dying of Black Women’s Children.” Except that, for me and for most of my colleagues, the term was barely in use. Matter of fact, in five and half years of graduate school and in my first three years after finishing the doctorate, I may have heard the term used only once or twice. It’s not like I didn’t think about the unique issues facing women of color — especially Black women — in the context of US history and African American history. Sometimes as a historian, how leading Black men and White women marginalized African American women in education movements, in the suffrage movement, and in the Civil Rights Movement was all I could think about. In the context of understanding American education and the role of Black women as teachers and education, it made me reconsider the notion of education as a form of social control versus it as a form of social liberation as an and-both, and not an either-or proposition.

But, as with all other issues, I’m not perfect. I remember getting into an argument with an African American women at a joint Carnegie Mellon-University of Pittsburgh conference on diversity in 1992. She was a second-year master’s student in the public policy program at CMU’s Heinz School (now Heinz College) to my second year as a grad student and first as a PhD student. I had talked about my initial research on multiculturalism and Black education, and what that research could mean in terms of diversity in higher education. Over lunch, I barely got three sentences out about the implications before this student pounced on me for not taking a more Afrocentric approach to my research, all but calling me an Uncle Tom. She also pointed out that while I had accounted for race and gender in my work, I hadn’t accounted for them together. I was already used to middle class Black folk who only radicalized at the ripe young age of twenty-two telling me that my research was too conservative and too White. But on the second part, not accounting enough for Black women in my research, I did take to heart.

In 1999, at my “Black Brahmins” presentation on W. E. B. Du Bois, Carter G. Woodson, and Alain Locke and their ideas around multiculturalism and connections to Harvard at the Organization of American Historians conference in Toronto, I got a cold shoulder from the panel’s moderator, Stephanie Shaw. She barely said a word to me the entire time, and barely commented on my paper. I figured that Shaw thought I should’ve found a way to make the paper more inclusive of Black women graduates of Harvard and multiculturalism, even though Harvard didn’t allow any women to attend. I could’ve included Black women who attended Radcliffe College around the turn of the twentieth century, but even then, those women did not earn graduate degrees or become proponents of pluralism or what we’d call multiculturalism today. I followed up at OAH in Los Angeles in 2001 with my “Multicultural Sisters” paper, but by then, I no longer had an interest in multiculturalism as a historian.

Times Square intersection time-lapse, August 2014. (http://shutterstock.com).

On this day and date in 2000, though, was the argument I had with a colleague at Presidential Classroom, one that would keep me conscious about intersectionality and womanism from that point on. Sev had been brought on by my racist boss Jay Wickliff to help out with the international recruitment for the weekly civic education programs we had for high school juniors and seniors. Sev was Canadian, had been an intern with the program the summer before, and had recently finished up a master’s in history. She had stopped by my office to ask about some revisions I’d been making to parts of our upcoming summer programs, especially the one on media and democracy, which was a new program for Presidential Classroom. Somehow the conversation swung toward women’s rights and issues that Sev thought were important to women. I kept correcting her, saying that some of these issues were “only important to White women.” She took offense, telling me that I shouldn’t be correcting her, that her master’s made her as much an expert on the topic as me. I remember actually chuckling at that assertion, which miffed Sev even more. The common refrain, “Just because you have a PhD…,” was how she responded.

But I did take a few minutes to break down the differences between second-wave and third-wave feminism (or womanism). I went on about the history of exclusion that Black women in particular had faced from Black men in civil rights movements and White women around suffrage and reproductive rights. I said, “maybe it’s because you’re Canadian, but here in the US, these issues you’re bringing up mostly concern middle class White women.” She didn’t like that at all. Before Sev responded, Wickliff, having overheard our argument, came by and said, “Slavery was a hoax” as a joke. That was the moment I knew my days working for this group of Whiteness folks were numbered.

A few months later, in my new job at AED with New Voices, I picked up and read Kimberlè Crenshaw’s essay “Demarginalizing the Intersection of Race and Sex” (1989) for the first time. I knew that I already understood intersectionality for Black women, how misogyny, sexism, and racism constantly confer a double marginalization, discrimination, and violation on Black women. Now, between Crenshaw and my own experiences, I also realized that I could experience intersectionality as a Black man, between White men and White women. Especially middle class ones, where their well-meaning color-blind racism had served to put me in a box as well. It was an and-both box, where I was a historian who didn’t write about intersectionality enough and a professional who had also experienced race and gender-based marginalization, albeit differently from women or color. What I did learn, finally, was that the intersection of race, class, and gender made Times Square look like Walden Pond by comparison.

Marya’s World

28 Sunday Feb 2016

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Marya McQuirter, circa 2011. (http://twitter.com).

Marya McQuirter, circa 2011. (http://twitter.com).

The most fun part of grad school for me was once I officially began my dissertation research and writing. Especially when I was on the road, or stuck in at the Library of Congress, or meeting folks at conferences or other events. Otherwise, as I’ve written about here many times, it was a single-minded, often solitary pursuit, with known and unknown enemies either trying to put me in a box or rooting for my failure. Really, if a university as a whole could be any less supportive of their students’ success than Carnegie Mellon University, it’s probably a for-profit institution with a nine (9) percent graduation rate.

That’s how my CMU experience had been even before the Spencer Foundation had awarded me my dissertation fellowship in April ’95. But I did take advantage of one generous dispensation by my department chair Steven Schlossman. My becoming ABD within a year of transferring from Pitt to CMU made me eligible for a one-semester sabbatical from teaching to pursue my dissertation research while still on my $4,000-per-semester stipend, starting in January ’95. I made sure to use it, borrowing $4,000 in student loans for that semester as well, so that I could live in DC without living in a box on a corner for a month or two.

That fall, my advisor through one of his colleagues at the University of Michigan had given me the name of a promising doctoral candidate, one who was from DC and also doing her dissertation research on Black DC. I had first called her in October ’94, to learn that her research was on leisure activities and public history in Black Washington, DC in the first half of the twentieth century. It sounded more interesting than my own research on multiculturalism in Black DC, but there were parallels. So many leisure opportunities for Blacks who lived in Uptown communities like U Street and Le Droit Park included public works on Black history, on the connections between Black history and US history. It meant that our projects were actually more connected than not.

Saab 900 GLE, 1st generation (made between 1983 and 1993), UK, May 3, 2012. (SilkTork via Wikipedia). Released to public domain via CC-SA-3.0.

Saab 900 GLE, 1st generation (made between 1983 and 1993), UK, May 3, 2012. (SilkTork via Wikipedia). Released to public domain via CC-SA-3.0.

So once I came down to DC to work like a monk in archives scattered across the area in February ’95, I contacted her. I’d meet her for the first time about three weeks into my eight-week stay in the area, near the end of February. Between my first few days staying with a former high school classmate and meeting a stranger-peer, I had nearly two-and-a-half weeks of eating, sleeping, and drinking dissertation, with a few moments in a shared kitchen listening to older men talk like we were in a barber shop about exploits and life’s lessons.

When we finally met that last Saturday in February, it was a welcome change. It helped that the doctoral candidate had her own car, a used any pretty worn blue-gray, two-door, stick-shift Saab 900 that had seen better days in the 1980s. For her part, despite grad school, the twenty-nine year-old looked younger than my twenty-five years. At five-eight and change, I wouldn’t have to look down at her in order to see the top of her head.

What impressed me the most about Marya, though, was that I could have a conversation with her about my dissertation research without her eyes glazing over, knowing full well that she understood every word coming out of my mouth. Even most of my fellow grad students at CMU and Pitt didn’t really understand my approach to multiculturalism, Black DC and African American history, and education policy. But she got it immediately.

I loved talking to Marya about her research, though. Looking at leisure and the use of space in Black communities for leisure, for everything from reading newspapers and used libraries, to literally how people walked and conversed in public. I found her work, and the way she talked about her work, fascinating. I wondered if I could ever be in love with a topic as much as her. It wasn’t that I didn’t like writing about multiculturalism. I just wasn’t star-crossed over it.

I learned so much not only during my first time hanging out with Marya, but over the next few years. I really didn’t know DC’s neighborhoods and the history of individual neighborhoods until she came along. She introduced me to the Smithsonian’s Anacostia Museum on local Black DC history. She took me to the Washington Historical Society off Dupont Circle, where I found additional materials on Black activities that were educational but outside the formal structure of Howard University and the segregated DC Public Schools.

Smithsonian Anacostia Community Museum, SE Washington, DC, February 28, 2016. (http://www.thecapitalnews.com).

Smithsonian Anacostia Community Museum, SE Washington, DC, February 28, 2016. (http://www.thecapitalnews.com).

She also introduced me to a vegan lifestyle, one that actually seemed sustainable. Matter of fact, when I stayed with Marya for three days in August ’95, I was on a vegan diet. I saw the appeal, but my gastrointestinal tract, well on its way to IBS-land, could only handle but so much in raw fruits and vegetables. Still, Marya introduced me to so many neighborhoods and restaurants, to Ethiopian food in Adams Morgan, to vegan Chinese food in Rockville, to fellow grad students worked on public history dissertations, to young, intellectual DC in general.

Marya also unintentionally helped me see a side of Black thought that I hadn’t seen before. That she survived the Afrocentricity wars at Temple University while earning her master’s there made her tough but also made me weary of discussing my many criticisms of Molefi Asante and his grand entourage of followers. I was so relieved to learn that though she liked some aspects of Afrocentricity, Marya didn’t follow it blindly like so many others I knew in the ’90s. I’d met someone who also marched to the beat of her own drum.

Maybe I would’ve met these folks, made these connections, and gone to these places anyway. Maybe not. But if the former, it would’ve happened much more slowly and cautiously. Marya, for better and for worse, might have been one reason I thought of the DC area as a potential home after more than a decade living and earning degrees in Pittsburgh. Marya McQuirter, though, enriched my life in the years in which I needed it most. I’ve always admired her and her work, and will always see her as a friend.

 

On Anachronistic Bullshit

12 Monday Oct 2015

Posted by in 1, Academia, Carnegie Mellon University, Christianity, culture, Eclectic, Movies, Patriotism, Politics, Pop Culture, race, Work, Youth

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Kirsten Dunst and Jason Schwartzman get anachronistic between shots on set of Marie Antoinette (2006), September 2012. (Pinterest via http://buzzfeed.com).

Kirsten Dunst and Jason Schwartzman get anachronistic between shots on set of Marie Antoinette (2006), September 2012. (Pinterest via http://buzzfeed.com).

It’s that time of year in academia, folks. The heart of the fall scholarly conference schedule, between the beginning of October and mid-November (American Political Science Association conference as an exception, though). For the first time in a few years, I’m part of the schedule, as part of a panel on American imperialism and narcissism this weekend at the Society of U.S. Intellectual Historians conference here in DC.

The topic is a departure for me. In the couple of dozen or so conference presentations I’ve done since the mid-1990s, I have discussed two interrelated topics. Multiculturalism in the contexts of US history, African American history, and education policy was one, and covered every presentation I did between 1992 and 2003. Education reform in the context of college access, retention, and diversity was the other, and covered every conference presentation or other talk I did from 2004 through 2009.

Bokeem Woodbine, October 12, 2015.

Bokeem Woodbine, October 12, 2015. (http://imdb.com)

I never wanted to be wedded to one topic my whole career. It was the academic equivalent of being typecast, like Bokeem Woodbine (thug) or Anthony Azizi (terrorist). But in the spring of 2003, there I was, doing conferences as “Dr. Multiculturalism,” either for the benefit of eager grad students or to the chagrin of more senior scholars.

No one really discusses this issue in academia. The idea that any of us can decide to move on to a completely different topic as a scholar, become engrossed in it, even become an expert and present and write on that topic, and then move on to the next one (yes, there are consequences, but…). At best, most scholars in academia have variations-on-a-theme careers, covering sports history and society, moving from baseball to football to tennis. Or from Black migration in the early 20th century to gentrification and its impact on Black families in the ’90s and ’00s. (It’s not as if many academicians can’t find the time to pick up another idea!)

What’s even worse are the ways in which we in academia beat up on each other’s work at conferences, and not in a constructively critical way, either (that would be refreshing). The key for me moving on from multiculturalism began at the 1999 Organization of American Historians conference in Toronto. I presented on “The Black Brahmins of Harvard: W. E. B. Du Bois, Carter G. Woodson, and Alain L. Locke on
Multiculturalism, 1890-1940.” Admittedly, there were a few issues with the paper. I didn’t include any Black women in my consideration (although, given Harvard’s institutional racism and sexism in this period, Black women were almost nonexistent, including at the doctoral level). I had to deal with the Afrocentricity sect, who didn’t see multiculturalism as a fellow traveler, but instead as a Eurocentric “feel-good” understanding of US and Black culture.

Most importantly, I was being “anachronistic.” I had applied a term that hadn’t become commonplace until the 1970s to a previous period in history, one in which the term hadn’t been conceived. It didn’t matter that cultural pluralism had existed as a term since the 1890s and that many in the philosophy and education fields had used cultural pluralism and multiculturalism interchangeably. For this group of cultural and education historians, multiculturalism in my work equalled a no-go zone.

Jesus was a Socialist bumper sticker, an anachronism, October 12, 2015. (http://plus.google.com).

Jesus was a Socialist bumper sticker, an anachronism, October 12, 2015. (http://plus.google.com).

Though I managed a few short articles and a chapter on multiculturalism, time and time again, the question of anachronism came up. And despite all of my documented evidence, more senior scholars at journals refused to accept multiculturalism and Black history in the same sentence. “Surely you must be referring to Afrocentricity or Black Nationalism,” one reviewer for the Journal of American History wrote on a manuscript that he rejected in 2002.

It never occurred to me to call them directly on this bullshit. These same folks will write articles with titles like, “Was Jesus a Socialist?” or “a Marxist?,” or “Nat Turner’s Rebellion and the Birth of Black Nationalism.” Talk about anachronistic! Jesus and Karl Marx are roughly 1,800 years apart, and Black Nationalism is a specifically mid-to-late-twentieth century term. Yet this was much more all right than my early-thirties-self yammering about something as complex as multiculturalism and its role in the thinking and education of African Americans.

Beating a dead horse cartoon, September 2012. (Marc Cortez, http://marccortez.com).

Beating a dead horse cartoon, September 2012. (Marc Cortez, http://marccortez.com).

I’m hardly arguing that academicians who didn’t like my work should have seen my brilliance and allowed me to publish or present more on multiculturalism. Heck, by 1999, I was tired of my former dissertation topic already! A bit more honesty about what really bothered them, though, would’ve been helpful. The idea that ordinary people could be unconsciously participating in multiculturalist activities, in this case, ordinary Black folk, some academicians found unacceptable. The idea that I could write this was unacceptable to quite a few. The fact that my former patron in Joe Trotter wasn’t out there opening up doors for me on my topic left me in a bad place politically as well. I wasn’t supposed to be in academia, after all, at conferences or in scholarly journals. I know now that part of the point was to thin out the herd of competition, to anoint some and shun so many others, me included.

The constant rejection on fairly hypocritical grounds just made it easier for me to publish Fear of a “Black” America in ’04 and move on. Since I am at the beginning of the process of thinking through a new topic, I don’t have mental exhaustion as an excuse for crumbling in the face of soul-destroying, narcissistic opposition. I also have at least one thing going for me these days. I feel I’m old enough now to call numbskulls on their bullshit.

Montgomery County Public Schools’ World Studies Mythology

29 Tuesday Sep 2015

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Satirical cartoon of Rudyard Kipling's The White (?) Man's Burden ("white" colonial powers being carried as the burden of their "colored" subjects), Life Magazine, March 16, 1899. (Travb via Wikipedia). In public domain.

Satirical cartoon of Rudyard Kipling’s The White (?) Man’s Burden (“white” colonial powers being carried as the burden of their “colored” subjects), Life Magazine, March 16, 1899. (Travb via Wikipedia). In public domain.

My son is taking Advanced World Studies in seventh grade this year. As a historian — and one that’s taught World History fifteen times over the years — I thought it was a good thing that he would have exposure to world history and cultures before engaging in US history in eighth grade and in high school. Once again, the technocrats in K-12 education have proven me dead wrong. While there may be some exposure to the rest of the world, the frame for the curriculum is one that not-so-subtly implies that world studies, advanced or otherwise, cannot exist without a European or Western frame to tell students how to think about the non-Western part of the globe.

I noticed it the first week, but didn’t pay much attention to the brief synopsis (what teachers call their “syllabus”) of the course until Back to School Night last week. The four units for my son’s course are

  • Unit One: The Foundation of Modern Political Systems: Europe in the Middle Ages
  • Unit Two: The Influence of Culture in Africa: The Middle Ages and Today
  • Unit Three: Geography Shapes Latin America
  • Unit Four: The Impact of Economics: One World Past and Present

When I finally read through it, I was incensed. It sunk in with my experiences with AP World History and with World History at the college level why so many of my own students were almost completely ignorant of world history that wasn’t about ancient Greece, the Roman Empire, or Western Europe. School districts, even ones as above par as MCPS, have helped lull students into a false sense of security through the exchange of knowledge as comfort food, rather than a higher protein diet of actual history.Screen Shot 2015-09-29 at 7.12.09 AM

Unit One is fine, for the most part, although the idea of a nation-state or some sort of constitutional democracy doesn’t entirely come from Europe. But it’s downhill from there. Culture, Africa and the Middle Ages for Africa? Really? The Middle Ages is a specifically Western and Central European experience, as no civilization from the classical world experienced a greater decline or collapse than Rome in the fifth century CE. To just take that term and paste it unto another continent, another group of people, and their different history is just plain wrong. How about Culture and Africa, 1000-1500 CE? You don’t need the frame of Europe’s Middle Ages to discuss Africa, unless your point is to embed some sense of Western dominance as a subliminal theme within the curriculum.

Or unless the curriculum developers in Rockville were thinking about making the Age of European Discovery and the Transatlantic Slave Trade Africa’s “Middle Ages.” The period between 1450 and 1800, in which the Portuguese, the Dutch, the Spanish, the English, and the French helped stoke the fires of intertribal and cross-kingdom warfare to obtain millions of slaves for their colonies in the Western Hemisphere. That’s probably too much for the advanced twelve-year-old, though, no?

Storming of the Teocalli by Hernán Cortez and His Troops (1848), painting by Emanuel Leutze, January 11, 2012. (Penelope37 via Wikipedia). In public domain.

Storming of the Teocalli by Hernán Cortez and His Troops (1848), painting by Emanuel Leutze, January 11, 2012. (Penelope37 via Wikipedia). In public domain.

Unit Three and the term “Latin America?” Seriously? It covers the Maya, the Mexica (or rather, Aztecs), and the Inca, all prior to European contact in the sixteenth century. So technically, there’s no Latin in the Americas before 1500. MCPS, ever heard of the Americas, the Western Hemisphere, Mesoamerica, and Andean civilizations, all terms that are more accurate alternatives to Latin America in the time before Columbus and conquistadors? Unless, again, the point of curriculum designers here was to bake into the recipe for this course a sense of inevitability. That is, that the pre-Columbian cultures of the Western Hemisphere, no matter how sophisticated, were doomed to fall by the wayside in the wake of Western dominance over the globe.

Unit Four and “One World Past and Present” in the context of trade, economic systems, and communication bring the themes of European dominance together in the period since 1450. The MCPS curriculum designers do hint that “the cultural diffusion between many ‘worlds’ had both positive and negative consequences.” But for the most part, the technocrats provide a sense of progress to market-based economies and positive globalization in this unit, as Europeans led the charge to make the world one and whole.

Stainless steel Crock-Pot, September 29, 2015. (http://amazon.com).

Stainless steel Crock-Pot, September 29, 2015. (http://amazon.com).

This is a crock of a curriculum, MCPS, a shameful attempt at world studies. The course might as well be called, Advanced and Expanded Western Civilization, How Europeans Went From the Middle Ages to Dominating the World. The point of any world history or world studies course is supposed to be the study of specific bits of history of the world, without imposing a Western model, frame, or sense of progress and comparison on the rest of the world in the process. Otherwise, what’s the point? You might as well teach Western Civ in middle school, then, and save world history to teachers and curriculum designers who understand that the world is a bigger place than Western-culture-navel-gazing.

Though the pressures of Common Core may have birthed this new curriculum as part of MCPS’s Curriculum 2.0 efforts, it’s not specifically a Common Core-inspired curriculum. One of the problems with Common Core State Standards and PARCC assessments is that they mask the problems that existed in America’s K-12 education long before. One of which is fake efforts at diversity and a multicultural curriculum, of which MCPS’s World Studies is but one example. It may well be true that virtually all world history curriculum is bs, however. But that is an article for another day.

Before and After Spencer

14 Tuesday Apr 2015

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Seattle Seahawks' Jerome Kearse making great catch off tipped ball while on the ground on final drive of Super Bowl XLIV, Tucson, AZ, February 2, 2015. (http://reddit.com).

Seattle Seahawks’ Jerome Kearse making great catch off tipped ball while on the ground on final drive of Super Bowl XLIV, Tucson, AZ, February 2, 2015. (http://reddit.com).

This week marks twenty years since the now-retired Catherine Lacey called me up on a Friday morning while I was brushing my teeth to tell me that I’d been selected to be a Spencer Foundation Dissertation Fellow for the 1995-96 year.  I’d hoped and prayed for that day for more than twenty months, after my fellowship and teaching plans for the summer of ’93 fell through. But I’ve talked about Catherine Lacey and some of my Spencer experiences already, as well as about the reaction of Joe Trotter and some of my Carnegie Mellon grad school mates to this news.

This post is about the days before I received Lacey’s call, before I knew that I would be on the fast track to a doctorate. Because before I’d been selected for the Spencer Dissertation Fellowship, the selection committee had rejected me, with a 6-1-1 vote (that’s six in favor, one not in favor, and one abstaining). I knew this because Catherine had sent me a rejection letter with a handwritten note at the bottom of it, one that I received after two months away in DC doing my dissertation research. My suspicion was that most of the Fellows had received an 8-0 or 7-1 selection vote.

That was all on March 31, ’95. Catherine’s note, though, was encouraging. She said to “stay tuned,” that she was “looking into other alternatives.” So there was still a chance that I’d get the fellowship. Still, I didn’t want to do what I did two years earlier, when assumptions and hope led me to six weeks of joblessness and an eviction notice.

John Hancock Center, Downtown Chiicago - The Spencer Foundation is on the 39th Floor, April 14, 2015. (http://milenorthhotel.com).

John Hancock Center, Downtown Chiicago – The Spencer Foundation is on the 39th Floor, April 14, 2015. (http://milenorthhotel.com).

So I did what I’ve done best throughout my work experiences. I scrambled to make sure I had work during the summer and upcoming school year. I didn’t want to be stuck borrowing more in student loans or teaching more of Peter Stearns’ version of World History courses — really, World Stereotypes — for entitled CMU freshmen.

I talked with both then associate provost (and also an eventual) mentor) Barbara Lazarus and fellow but further along grad student in John Hinshaw about me taking his job as a part-time assistant to Barbara. John really wanted to finish his dissertation and move on (who could blame him, given that Trotter was his advisor as well), and Barbara would’ve liked me for the job. So I gave them both a tentative yes, knowing that the job was contingent on John’s timetable for leaving it and finding an academic job elsewhere, all while completing his dissertation.

The thought occurred to me, though, that I may need more than a 15-20-hour-per-week job to get through the dissertation stage. Especially if I was to avoid teaching for the mercurial Stearns again. So I scheduled a meeting with Trotter to see if he any research project he needed help with.

We met at 2 pm on Thursday, April 13. Trotter was as excited about us meeting as he had been when I first decided to transfer to Carnegie Mellon to work with him as my advisor two and a half years earlier. He had at least three migration studies projects with which he wanted my labor. All the projects were about extending his grand proletarianization thesis. All would be dreadfully boring drudgery compared to my dissertation, but would keep me in additional pay checks for a year or two. I faked a smile, and tentatively said yes to Trotter as well.

Dikembe Mutumbo putting the wood to the. LA Laker Andrew Bynum, April 14, 2015. (http://fortheloveofgif.tumblr.com).

Dikembe Mutumbo putting the wood to the. LA Laker Andrew Bynum, April 14, 2015. (http://fortheloveofgif.tumblr.com).

Eighteen hours later came Catherine’s call about me being offered the Spencer Fellowship! I took it as a sign from God, that at the very least, I’d finish my dissertation and my doctorate without the need for working on it an extra two or three years. Unfortunately, neither John Hinshaw nor Joe Trotter saw my great fortune the way I did. When John found out, which was a week later, he didn’t talk to me for nearly three years. And from reading my previous blog posts, you all already know how my work with Trotter devolved after the Spencer award announcement.

The one thing that fellowship did for me as a person — and not just as an academician, researcher or education — was to give me the space to question academia and my role in it. Even two decades later, I’m still ambivalent about the academic method of obtaining tenure, of the publish-or-perish paradigm, of the hypocrisy that exists in such a cloistered world. Even as I still hold a job and play a role in this world.

What I’ve come to learn is that hypocrisy is everywhere, in the nonprofit world, in romance, and in academia, too. We could all start with, “Did you hear the one joke about how merit and hard work alone can lead to a prosperous life?” That’s the hypocrisy that I had to learn to see in academia, and began to, thanks to the space that the Spencer Dissertation Fellowship gave me that year. More on that later.

Copying, Lifting, and Cultural Appropriation

19 Thursday Mar 2015

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Pharrell Williams and Robin Thicke at the 56th Annual GRAMMY Awards, Beverly Hills, CA, January 25, 2014. (Larry Busacca/Getty Images, via http://images.musictimes.com/). Qualifies as fair use under copyright laws, via Getty Images agreement with CC-SA-3.0.

Pharrell Williams and Robin Thicke at the 56th Annual GRAMMY Awards, Beverly Hills, CA, January 25, 2014.
(Larry Busacca/Getty Images, via http://images.musictimes.com/). Qualifies as fair use under copyright laws, via Getty Images agreement with CC-SA-3.0.

I’m sure all of you have heard about the recent court decision that gave Marvin Gaye’s estate a $7.3 million award, finding that Pharrell Williams and Robin Thicke committed copyright infringement stemming from their 2012 hit single “Blurred Lines.” They lifted the melody and rhythm for their song from Marvin Gaye’s 1977 single “Got To Give It Up.” The two songs do sound similar enough, and interviews with Williams do show that he was heavily influenced by Gaye’s work. I find myself agreeing with the jury on this because of Williams’ Whiteness rhetoric about being the “new Black” last year, as well as Thicke’s constant cultural appropriation in his videos and music.

The decision, though, made me think about how much copying has gone on in music over the years. It made me think about the first time I heard Madonna, off her first self-titled album, on the airwaves in the fall of ’83. It was her first Billboard Top 40 single “Holiday.” Except that the first dozen or so times I heard it, I thought at first it was “And The Beat Goes On,” a late ’79/early ’80 disco hit from the group The Whispers.

It was the first time I realized that music artists could copy each other, or at least, have similar sounds, rhythms, tones and other musical arrangements in their songs. The lyrics were obviously different, but both “And The Beat Goes On” and “Holiday” were “forget-the-cares-of-this-world” dance-pop songs with heavy R&B influences.

I’d wondered for years whether Madonna ever gave The Whispers any formal credit for sampling their music for one of her very first tracks. I did find an answer in the Madonna (1983) album’s liner notes. Nope, not a single mention, not a word of acknowledgement. But John “Jellybean” Benitez was mentioned as producer. There’s no way in this world that he and the other folks who worked on “Holiday” didn’t know who The Whispers were or hadn’t heard their song “And The Beat Goes On.” It’s possible that Madonna herself didn’t know, but given her constant credits to the disco era, I seriously doubt that, too. Take a gander below, folks, and tell me how similar the two songs were/are:

Keep in mind, though, this was before Madonna had become “Like A Virgin” Madonna, “Material Girl” Madonna, and “Vogue” Madonna. And copying, sampling, and lifting was more acceptable in the early 1980s than it is today. Especially since at the time, neither The Whispers nor Madonna were music icons. Of course, lifting from relatively obscure Black artists to mainstream a song or music genre is nothing new. Just ask Al Jolson and Elvis Presley!

Thirteen years later, The Fugees released their big hit, “Ready Or Not” (1996). As soon as I heard it, I knew they had sampled Enya’s “Boadicea” (1987), because I’m that kind of eclectic music enthusiast. They didn’t give Enya credit in their initial liner notes, either, and hadn’t obtained permission to use her music in their song. Enya threatened to sue over this rather obvious copyright infringement, and The Fugees and Enya settled the issue out of court.

By ’96, the rules for sampling other music artists’ work had become tightened, and Enya herself was a well-known, if not iconic, new age music artist. The up-and-coming Fugees picked the wrong Irish singer to copy without permission or acknowledgement.

What does all of this mean? For starters, you should never plagiarise someone whose work is well-known. Vanilla Ice, meet Queen and David Bowie. The Verve and “Bittersweet Symphony” from ’97? Let me introduce you to The Rolling Stones!

But the “Blurred Lines” decision means much more than the message that one should steal from an unknown without a major music contract instead of stealing from Marvin Gaye. The legal decision blurs the distinction between illegal sampling and inappropriate cultural appropriation. Really, Madonna’s use of The Whisper’s “And The Beat Goes On” is just as blatant, and so was her appropriation of disco, R&B and other Black and Latino dance rhythms between ’82 and ’93. Unlike Pharrell Williams and Robin Thicke, though, Madonna’s appropriation wasn’t seen as such, at least during her first years of fame. Heck, I knew more than a few Black folk who though Madonna was either Black or biracial prior to the Like A Virgin (1984) album, likely because like me, they didn’t have cable to watch MTV ad nauseam.

I guess that Pharrell’s and Robin Thicke’s act has worn thin with the fickle public. This may well point to the larger fact that mainstream popular music and the artists that are creating today’s music are about as creatively collaborative and eclectic as a dunker in basketball with no jumpshot and no defensive skills. This isn’t your father’s White Soul, aka, Michael McDonald, Darryl Hall & John Oates, or even Kenny Loggins, working with Earth, Wind & Fire or Kool & The Gang. Today’s music artists can only do their music one way, and need “inspiration” to “create” a “new sound.” One that is too often lifted from the past, yet never placed in context, and sampled with and without permission.

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.