Music of the Dystopia

25 Wednesday Nov 2020

Posted by decollins1969 in 1, Academia, Boy @ The Window, earth, wind & fire, Eclectic, eclectic music, Mount Vernon High School, music, New York City, Politics, Pop Culture, race, Religion, Youth

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"Cry Freedom" (1997), "Fantasy" (1978), "Land Of Confusion" (1986), "Silent Running" (1985), "Welcome To The Terrordome" (1990), "Zombie" (1995), Afrofuturism, American Dream, Dave Matthews Band, Delusions, Dystopia, Dystopian, Genesis, Mike + The Mechanics, Narcissism, PE, Public Enemy, Self-Reflection, Silent Running (1972), Subversive Music, The Cranberries, The Matrix (1999)

Screen shot, Silent Running (1972) poster, November 24, 2020. (https://www.imdb.com/title/tt0067756/mediaviewer/rm3505217792/).

Music has nearly always been a dreamscape from which I could envision alternative histories, sense multiple futures, uncover possible presents, feel and find my best self.

It has also been a place for revealing the naked, uncomfortable truth of humanity’s existence in real life. If one were to take the music of the late 1960s and first half of the 1970s, the R&B that clearly outlined the combination of migration, poverty, heroin addiction, the Vietnam War, police brutality, unemployment, miserly government social welfare and urban living would be one way to go. If one were to take the eclectic British and Irish pop and rock of the 1980s, those folks illuminated the connections between rising conservatism, austerity meant to cut the social safety net, and the normalization of government oppression, corruption, and infiltration into the private lives of everyday people.

It all adds up to one simple yet very scary truth. Our world, the one in which my mother birthed me, the one in which I have grown up and grown older, has always been a dystopia. That’s it. All this talk of technological innovation, of moral and philosophical advancements, of a post-World War II, West-led democratized, globalized, capitalist meritocracy is simply The Real-Life Matrix pulling the dystopian world over our deluded, narcissistic eyes. And nearly everything in the world of mainstream news and journalism, in everyday national and international politics, in formal education systems, and in every single iota of American and global popular culture.

Except in the occasional and deliberate attempts made by artists and authors to expose the underworkings of this Matrix. I have written far too much about those authors of late, from Sarah Kendzior, Mona Eltahawy, and Leta Hong Fincher to Kiese Laymon, Ta-Nehisi Coates, and Derrick Bell. Truth is, I felt and sensed this truth in music even before I had read Aldous Huxley, George Orwell, or William Faulkner’s short stories about racist White men sleeping in beds for 20 years with the dead bones of their incestuous mothers. Marvin Gaye’s “Inner City Blues {Make Me Wanna Holler),” Stevie Wonder’s “Living For The City,” and Donny Hathaway’s “The Ghetto” brought the dystopian of Black life in the US to my attention long before I knew what the prefix dys- even meant. The contrast between this and the Afrofuturism of Earth, Wind & Fire’s “Fantasy” and “Boogie Wonderland” of the late-1970s wasn’t lost on me, even though it would be nearly 15 years between these songs and my reading of Octavia Butler’s Kindred.

But the 1980s hit me and my family as hard and fast as a government coup in Brazil or in Trump’s version of the US. It’s wasn’t just that it was our apocalypse. It revealed that the American Dream was a nightmare for so many people. It opened up my 100 billion neurons to the possibility that there could be no American Dream, no rise of the West, no Euro-American hegemony over the world without it being a dystopia for billions of people in the US, in Europe, and around the world.

It was also the decade of the Ethiopian famine of 1983-85, “We Are The World,” Bob Geldof and Live Aid, Farm Aid, and protests for South African divestment. So it seemed normal for groups of White guys in bands to write music, play instruments, and belt out lyrics like the ones below from Mike + The Mechanics’ “Silent Running” (1985).

Don’t believe the church and state
And everything they tell you
Believe in me, I’m with the high command

The post-apocalyptic movie of the same title from 1972 was apparently on Michael Rutherford (guitarist of Genesis), et al.’s minds when they decided to work on the lyrics for this song. The idea that someone from the future would communicate with their ancestors in the past to resist the forces of totalitarianism and propaganda in order to preserve the path to a better future? Boy does that sound like the stuff of Octavia Butler, Derrick Bell, Kiese Laymon, and Colson Whitehead (not to mention, Tomi Adeyemi in her Children of Blood and Bone), where ancestors and descendants can somehow have confabs in real life! All in an effort to swap ideas, to conjure up solutions before we understood the problems, to recognize that time is nonlinear, and so are we.

As a teenager who saw more than most that the Reagan Years were part of the dystopian present, and not a return to American greatness, “Silent Running” was refreshing, if also incredibly scary. I was like, if these White guys from the UK and Ireland get it, then why don’t folks in America get it? At least, the folks I saw at school and in running my errands every day.

But it wasn’t just Mike + The Mechanics. A lot of music from the 1980s and 1990s was subversive, including the more obvious Springsteen and the E Street Band’s “Born In The U.S.A.” and John Mellencamp’s “Pink Houses” to KRS-One and Boogie Down Productions, Alanis Morrisette, and The Cranberries. It was just that the less subtle, the Billboard Top 40 hits and the B-side non-hits stood out for their double-meanings. When I stripped away the male bravado, the love and the lust and the loneliness from the repertoire of rap, R&B, hip-hop, and ’80s pop I listened to, the subversive was the remainder.

In my family-level apocalypse and resistance against my stepfather, the subversive helped. In the disconnect between the normalcy of magnet-program-learning among a cabal of Benetton-commercial-wannabes, the undercurrent understanding that this fakery belied a world very much like the one in The Matrix. The lyrics, the synthesizers, the heavy guitar strums and the drum rolls meant something different to me than anyone I knew growing up could imagine.

It wasn’t just “Silent Running” for me, nor something that hit like a sledgehammer like Genesis’ “Land of Confusion” that hit the radio waves my senior year of high school. There were others. For more than a decade, there were others, including:

PE, “Welcome to the Terrordome“
Sting, “Love Is The Seventh Wave”
Dave Matthews Band, “Cry Freedom“
The Cranberries, “Zombie“
Peter Gabriel, “Biko” and “Shaking The Tree”
Des’ree, “Crazy Maze“
James Blake, “No Bravery”
Seal, “Future Love Paradise” and “People Asking Why”
U2, “Bullet The Blue Sky”
Arrested Development, “Tennessee”

In the years after I finished my doctorate, I didn’t forget these songs, and may have taken on some more obscure ones by Floetry, Coldplay, U2, Bryan Ferry, Pharcyde, The Fugees, among others, along the way. Popular music has become more vapid and craven and corporate as the leaders in our world have made their taste for a dystopia that advantages them more and more obvious. This position is probably why I can’t find a nod to the dystopian in Rihanna, Cardi B, Chance the Rapper, Rick Ross, Beyoncé, Gary Clark, Jr., or Chris Stapleton (although Solange’s and Missy’s music videos at least contain subversive and dystopian wisps).

This world is the dystopia that has always been. And those of us who talk to ourselves while speaking out at the same time have been trying to get everyone else to see it and sense it all along. I should know. I’ve been talking to myself since my week of homelessness at 18, and speaking out as the world has lurched itself toward calamity for nearly as long.

Constantine’s, No Longer Around, Missed Anyway

19 Wednesday Aug 2020

Posted by decollins1969 in 1, Academia, Boy @ The Window, culture, Eclectic, eclectic music, music, Pittsburgh, Pop Culture, race, Religion, University of Pittsburgh, Youth

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1990s Hip-Hop/R&B, 1990s Rap, Coming-of-Age, Constantine's, Dance, Dancehall, East Liberty, Fights, Grad School Days, Graduate School, Hypermasculinity, Misogyny, Observation, PE, People-Watching, Pitt, Public Enemy, Reggae, Self-Reflection, Sexuality, Voyeurism

The East Liberty CVS on Penn Avenue (where Constantine’s once stood), August 2017. (Itay Gabay via Google Maps).

“Last call for the alcohol!,” the half-bartender, half-bouncer would yell about 20 minutes before the two o’clock closing of the hole-in-the-wall joint that spend a few too many Wednesdays, Fridays, and Saturdays in between the summer of 1991 and January 1995. It was my time “bein’ around my peeps,” sitting around to nurse two or three drinks, dance, people-watch, and occasionally go back home with a patron. It was my time to not think about what I feared, especially God and graduate school. It was my time to forget that I was the second of six kids who had the triple responsibility of father figure, oldest brother, and caregiver. Mostly, it was just a place to allow my horny and bored-with-the-world ass hang out and not be so intellectual and weird all the time.

Constantine’s was where the East Liberty CVS on Penn Avenue in Pittsburgh now sits. It was less than two blocks from where I lived on Penn Circle South, my first on-my-own flat that I didn’t have to share with no one. I have no idea what was there in that rickety and beaten up old one-floor building before Constantine’s. Maybe it had always been a bar or a club, one that had seen better days in the decade or two before I was born. Maybe it was once a hardware store or a dry cleaners. Who knows?

All I knew was, in the month or two after I moved into my Penn Circle South studio apartment, I stumbled onto the place. It would’ve been October 1990, just cool enough for Pittsburghers to start wearing winter gear, Steelers jerseys, and enough Steelers and Pirates pleather and leather to scare a herd of charging bulls. A group of 20-somethings were packing their way through Constantine’s front door. There was a bouncer, I guess, checking IDs to make sure everyone was over 21. Judging by the way some of the youngest women were made up, though, I didn’t think the bouncer was consistently checking folks.

I didn’t go in that day. Too many bills, not enough money, and too many thoughts about What would Mom think? and What temptations would harm my soul? So I forgot about the place for the remainder of my senior year at Pitt.

It wasn’t until I started having problems with my friend E during my first full summer living in the ‘Burgh in ’91 that I started carving out me-time at Constantine’s. I went in on a sweltering mid-June Wednesday, and as would become ritual over the next 3.5 years, the so-called bouncer didn’t check me for ID. The joint was tacky as hell. The tables and chairs on the left were either plastic or plywood, Kelly green or harsh white.

Ving Rhames in Dave (1993), Screen Shot, August 17, 2020. (https://MovieActors.com).

The barstools on the right were of better quality, up against a bar with a prickly middle-aged-looking Black dude who maintained his fresh Ving Rhames-in-Dave (1993) haircut under any and all circumstances serving drinks. He was so mercurial. He could be, “Wassup man? How you be?” one Saturday, and “We don’t serve your kind!” another. One Friday, I ordered a screwdriver (Vodka and O.J.) without any pushback. The next Friday, he was all like, “Muthafucka, just call it a vodka and orange juice! I don’t mix screwdrivers here!”

There was a well-proportioned Black woman who always, always, always, sat in the middle of seven barstools, just to the right of the cash register. She was maybe about five-two, skin the color of mahogany, her hair in a ’90s-style perm or in ruffles. She either wore skin-tight dresses or jeans with a revealing blouse, never danced, and rarely greeted anyone. I figured she was either the gruff bartender’s girlfriend or that Constantine’s was her favorite watering hole. Whatever. She probably could drink the entire group of men (and sometimes women) who hit on her every night under the table and under the concrete foundation, too.

Much of what remember from my Constantine’s outings were the fights. There were so many fights. Fights between two guys over a woman would break out in the middle of the dance floor one Friday or Saturday after another. I once saw a guy beaten until there was a pool of blood in the center of the floor, with a trail of blood leading into the alleyway that led to the side entrance of my apartment building. It wasn’t unusual for women to throw down either, knocking each other out somewhere between PE’s “Can’t Truss It” and Daddy Freddy’s “We Are The Champions.”

Speaking of the music, it was the early ’90s, so the vibe went from New Jack Swing, Babyface and Tony! Toni! Toné! to Jodeci, MJB, and PE, with bits of Kriss Kross, Tribe Called Quest, Naughty By Nature, TLC, Dre, MC Lyte, and LL Cool J thrown in. But it was reggae — specifically dancehall — and gansta rap that was mostly in our ears at Constantine’s for most of my time attending. Shabba Ranks was so big at Constantine’s. So was Patra and Buju Banton and fake raggamuffin Shaggy. Outside of Pitt, I didn’t know African Caribbeans lived in Pittsburgh until I started sipping drinks at Constantine’s.

I also didn’t really know how to dance until I started hanging out at this smoked-filled and slick-floored destination. I went on the floor maybe once every three trips. Sometimes I was more interested in observing than in participating. Sometimes I was too stressed and horny to do anything else but stare at faces, breasts, hips, and asses for a few hours. But I did dance, at least, as best as I could. I used my halfway decent post-up moves from the basketball court as the basis for decent footwork. But, as I began realizing that some of the women wanted to grind, I learned how to do that too.

I had some awkward moments. Like the time my Swahili instructor and I found ourselves at Constantine’s one really warm Wednesday night in the fall of ’91. He had a woman on each arm. All three of them were from Tanzania, not the typical group of Constantine attendees. We greeted each other, and proceeded to ignore each other the rest of the night. Class the next afternoon was pretty much about my and his after-hours habits.

Sometimes I almost got into it with a guy here or a woman there because I looked at them the wrong way, said the wrong thing, sounded too educated or “White,” or because someone’s conversation with me ran on too long. In 1992, one woman laughed at me and kicked me in my rear on my way out the door after I revealed that I was “also working on my master’s” — she obviously didn’t believe me. Until she saw me on campus a week later. After that, I lied, and told folks who asked that I was a “part-time college student.”

I was too young, stressed about grad school and life, and excited and aroused to be scared. I should’ve been. On two occasions, someone threw a large liquor bottle in my direction when I was on my way out of Constantine’s. One other time, I swear, a bullet whizzed past me and into the window of a parked car.

The last time I went to Constantine’s was the beginning of February ’95. I kid you not, they were running the place with a portable electric generator plugged into an outdoor outlet — someone hadn’t paid their Duquesne Light bill. It kept the lights even dimmer than normal. There was no heat. This is a bar in Pittsburgh, before climate change made American winters into the wet season in Guyana. It was 15 degrees Fahrenheit that day, and it felt like it at Constantine’s that night, even with nearly 30 dumbasses like me in the bar that night. I left after 45 minutes.

Three days later, I was in Washington, DC, working on my dissertation project. When I returned at the end of March, Constantine’s was gone, bulldozed to make way for East Liberty’s first CVS.

Truly, if my field had been sociology, cultural anthropology, or social psychology, creative nonfiction writing, my times at Constantine’s would’ve made a great project, with me as subject, too. The misogyny, transphobia, homophobia, and hypermasculinity on display, side-by-side with intersectionality, feminism, sexuality, all in the midst of the beginning of this neighborhood’s gradual shift toward gentrification. It was, well, fascinating. Thankful, though, to not feel that awkward at this stage of life.

Aside

“Back In The Summer of ’85”

04 Saturday Jul 2015

Posted by decollins1969 in 1, Boy @ The Window, culture, Eclectic, eclectic music, High Rise Buildings, Jimme, Mount Vernon New York, music, My Father, New York City, Pop Culture, race, Sports, Upper East Side, Upper West Side, Work, Youth

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"Summer of '69" (1985), All-Nighter, Atlanta Braves, Back To The Future (1985), Bryan Adams, Darryl Strawberry, Davey Johnson, Dwight Gooden, Eleanor Bumpurs, Escapism, Fireworks, Gary Carter, Howard Johnson, Independence Day, It Takes A Nation of Millions To Hold Us Back (1988), Jesse Orosco. Cy Young Award, Keith Hernandez, Lenny Dystra, Michael Stewart, Mookie Wilson, New York Mets, Public Enemy, Rafael Santana, Ron Darling, Tom Gorman, Wally Backman

Dwight Gooden in 1985, 24-4, 1.53 ERA, 268Ks, Cy Young Award winner, intimidator. (Ronald C. Modra/Getty Images; http://espn.go.com).

Michael Stewart (1958-1983) and Eleanor Bumpurs (1918-1984) had me thinking about police brutality long before my first Walking While Black encounter, July 4, 2015 (via Adobe Photoshop).

Since this is Independence Day Weekend, it makes thirty years since the official release of Back To The Future. And with me beyond the forty-five-and-a-half year mark, I am officially middle-aged. Funny, though. I don’t feel that different. My knees ached when I was fifteen sometimes, and so also did my feet. We had gas-guzzling cars in ’85, and we still have plenty of them on the road in ’15. White Americans treated Black lives cheaper than manure in ’85 (e.g., Michael Stewart in ’83 and Eleanor Bumpurs in ’84), and evidence from the police shootings and acts of White terrorism — especially in South Carolina — in recent years/days show that it still “takes a nation of millions to hold” Blacks back because of their indifference in ’15.

Rafael Santana, Mets shortstop from 1984-87, 1986 World Series, Boston’s Fenway Park. (AP; http://www.newsday.com/ ).

One thing that has changed in the past three decades has been me as a fan. I loved — I mean, LOVED — the New York Metropolitans in ’85. I was a baseball fan through and through, and had become a diehard Mets fans by the time I finished my first stage of pubescent growth in the spring of ’84. I read the Daily News for box scores. I would get peeved hearing bad commentary on WABC-AM 770 — from listening to the late Art Rust, Jr.’s show — about the terrible hitting of shortstop Rafael Santana or the constant criticism of Darryl Strawberry (they were the Yankees radio station). I’d schedule my spring and summer afternoons and evenings around whomever the Mets played that day.

The summer of ’85 didn’t truly start for me until June 11, when the Mets proceeded to lose a game to the Phillies by the score of 26-7. I’d been working with my older brother Darren for my father down in the city, and was on the 2 Subway and on my way home before I learned of the news. They were down 16-0 after two innings, with Mike Schmidt, Juan Samuel, Von Hayes and company having had as many as three or four at-bats in those couple of innings. The Mets managed seven runs in the third, fourth and fifth innings but with our then weak bullpen, had no chance to hold the Phillies the rest of the way. “If only I’d been home to listen to the game from the beginning,” I thought. “Then maybe they wouldn’t have been down so many runs.” Those are the thoughts of a fan whom lived and died with his team. I’m sure my blood pressure went up to 135/80 (mind you, I was fifteen, still a teenager) on days like that day.

But as I wrote in Boy @ The Window, that was hardly the end of my second full summer of Mets, Mets, and more Mets.

After the hungry end to tenth grade and three weeks of torture with my father, I had more important things to do. Watching Dwight Gooden pitch the Mets into a pennant race they’d almost fallen out of, for starters. I either listened to or watched Gooden win sixteen straight decisions between May and the end of August. And the Mets…made the ’85 season one to remember. Despite working nights, I managed to watch a rain-delayed Independence Day game with the Mets playing the Braves in Atlanta at the old Fulton County Stadium. The Mets won in nineteen innings, 19-16. The game ended at 4:05 am on the fifth of July, and the Braves still set off their fireworks at the end of the game.

Actually, the final score was 16-13 in nineteen innings (will correct in an eventual new edition). Originally scheduled for a 7:35 pm start, the game had been delayed by thunderstorms in Atlanta for nearly an hour and a half. There were at least two other rain delays during the game. Gooden was the Mets original starter that Thursday, but after two and a third innings, had stiffness in his throwing arm, had left some runners on, and left the game. The rest of the game was a roller coaster ride, as the Mets jumped out to a 7-4 lead thanks to Keith Hernandez’s cycle, then Jesse Orosco, our shutdown closer, gave up four runs in the bottom of the eighth to yield the lead to the Braves. Then the Mets scored a run in the top of the ninth to send the game to extra innings.

Scoring runs in the 13th and 18th innings didn’t help, as the Braves matched the Mets run for run, thanks in part to a pitcher with a .060 career batting average who hit a home run. When I saw Ron Darling (whom had started two nights earlier) warming up in the bullpen around 3:30 am, I knew this game had been on too long. I stayed up just long enough to watch the Mets score five more runs in the 19th inning, then dozed up until the fireworks went off at the end of the game.

(Note: just watch the first four minutes, including Marv Albert’s ’80s hair while still doing sports anchor work for WNBC-4 in New York)

Bryan Adams, “Summer of ’69” (1985), December 6, 2006. (Purdy via Wikipedia, originally A&M Records). Qualifies as fair use, as image is low-resolution and for illustrative purposes only.

I’d never been up that late into the next day before. Since no one at 616 was up with me, I’d been able to do for once what I’ve done most nights as an adult in the nearly three decades since. I thought about the future, and laid down some plans to ensure it. In this case, I planned to keep working for my father so that I could escape more into the world of the diehard Mets fan. I hoped that Bryan Adams was wrong, that the days of my Mom’s second trimester with me, the “Summer of ’69,” (a bit hit in the summer of ’85) weren’t “the best days of my life.”

But, as I correctly wrote in the memoir

Yeah, you could say that my summer was going better than expected, having worked and watched my Mets play quality baseball in July and into August. I had my usual set of chores to be sure, runs to the store, weekly washings of clothes and watching after the kids. I took Maurice and Yiscoc out for walks, would sometimes respond to the occasional bill collector on Mom’s behalf, would check the mail and give Sarai and Eri baths. I’d cook weekend brunches of fried beef bologna, scrambled eggs and grits and occasional spaghetti and broccoli dinners for my siblings. I’d long since known that I’d become the first-born of the family, in that I was filling Darren’s role on so many levels.

Hence, the welcome relief of Gary Carter, Keith Hernandez, Howard Johnson, Gooden, Strawberry, Fernandez, and the rest of the ’85 Mets crew. While I may not like everything going on in my life and world now, I don’t need to escape it through baseball — or any other form of entertainment, really — to deal these days. At least there’s that.

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

25 Monday Nov 2013

Posted by decollins1969 in 1, culture, Eclectic, eclectic music, music, Politics, Pop Culture, race, Youth

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50 Cent, @BlkLibraryGirl, Biz Markie, Contradictions, Correlation vs. Causation, Freedom of Expression, Freedom of Speech, Geto Boys, Hip-Hop, Hip-Hop Culture, Homophobia, Lil Wayne, Lyrics, Michael Jackson, Misogyny, Music Videos, Ohio Players, PE, Public Enemy, R. Kelly, Racism, Rap, Rape Culture, Rick Ross, Sexism, Twitter, Violence

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).

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.

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).

The Road to Boy @ The Window, Part 4: Fear of a “Black” America

26 Thursday Sep 2013

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

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Academia, Afrocentricity, Authentic Blackness, Authenticity, Emotion, Estelle Abel, Fear of a "Black" America, Fear Of A Black Planet, Fear of Black Males, Joe Trotter, Multicultural Education, Multiculturalism, PE, Personal Vignettes, Politics of Academia, Politics of Education, Politics of Fear, Public Enemy, Rage, Richard Altenbaugh

Given that Fear of a “Black” America was my first book, but one based on my doctoral dissertation, and that Boy @ The Window is a memoir, the road from one to the other may not be that obvious with an initial glance. But despite the intellectual, semi-scholarly nature of my book on Blacks and multiculturalism, there are parallel themes that run between Fear of a “Black” America and Boy @ The Window. Perhaps none are more important, though, than the challenge of authenticity, of fitting in, of being able to mesh the complicated onion that I’ve found myself to be over the years.

I think that was why I decided in November ’98 to turn my dissertation “A Substance of Things Hoped For” into a more readable book. Yes, after all that work to write a 505-page thesis, it would’ve been a shame to just let it sit on my then girlfriend’s coffee table, to be used either as a door stop or a base for her doing her nails. Yes, I still had something to prove to academia. That my scholarship as a historian and educator on the issue of multiculturalism was sound. That the conventional academic wisdom around Blacks, people of color and multiculturalism was paternalistic fear-mongering.

Public Enemy, Fear Of A Black Planet (1990) Album Cover

And in thinking that last part through, I came up with my Public Enemy-inspired title and thread for the first book. It was about fear in many forms. Elite White fears of a majority-people-of-color US within their own lifetimes. Conservative fears of a K-16 education system that included the cultural and historical perspectives of peoples of color, of the poor, of women, of the LGBT, of so many others they’d rather discard. General American skepticism that any Blacks had ever given any thought at all to cultural pluralism, intercultural education, or multiculturalism/multicultural education, at least before White theorists had thought through these ideas first.

Afrocentrists and nationalists who thought of multiculturalism as soft and utterly unrepresentative of the Black experience — or, at least, what they considered an authentic version thereof? That was as difficult a challenge as any I faced in writing both my dissertation and Fear of a “Black” America. So much so that I made a few interesting decisions along the way. I sought out an agent — yes, a literary agent — for the first book, and found one, too (things were so much easier in ’99). I wanted the book to have an impact beyond academia.

In the writing process, I decided to weave the theme of fear, skepticism, willful and inadvertent misunderstandings throughout the 200-page book. All while covering Black intellectual thought about what we now call Afrocentricity and multiculturalism, Black activism and activities around education and Negro History Week, and the so-called Culture Wars of the 1980s and 1990s. All to show that multiculturalism was/is a part of America’s evolution, even if some folks are gnashing their teeth and wearing sackcloth and ashes along the way.

One thing was missing, though, from my six chapters. Me, in a word. Yes, my argument was crystal clear, my evidence was sound, my notes and analysis lined up well enough by the summer of ’00. Yet, as my one-time agent noted, “there’s not enough of you in this manuscript.” Bottom line: folks weren’t going to buy the book unless I made it more compelling, which meant putting something of me or about me in it.

So I did. I wrote mostly about my experiences in academia and how they paralleled with some of the critical issues in Fear of a “Black” America. I talked about my Duquesne University students in the College of Education in ’98 and ’99, most of whom were cultural conservatives. I brought up conversations I had with professors skeptical about my scholarship, like Richard Altenbaugh in March ’98 or my former dissertation advisor Joe Trotter in April ’96. I also wrote about my conversation with Estelle Abel over my lack of authenticity as a young Black man in June ’87, having thought about it for the first time in thirteen years. I wasn’t sure if that made Fear of a “Black” America any better, but it made me feel better about my first book.

By the time I’d given my agent the final draft of Fear of a “Black” America in October ’00, I was ready — maybe for the first time in years — to take a look at my life before Pitt, grad school, Spencer Fellowship and becoming Dr. Collins. I wasn’t sure if I wanted to open up the emotional side of that Pandora’s box just yet. But in some ways, I really needed to, precisely because of my experiences with people in grad school at Pitt and Carnegie Mellon. And precisely because of my occasional moments of rage and overreaction, if only because Fear of a Black “America” helped me tap into emotions I didn’t know I had.

Time, Love & Goofy-ness

21 Thursday Jul 2011

Posted by decollins1969 in 1, Boy @ The Window, culture, Eclectic, eclectic music, music

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"Time, Coming-of-Age, Eclectic, Eclectic Music, Goofy, Heavy Metal, Jazz, Jon Secada, Lenny Kravitz, Love & Tenderness", Mariah Carey, Michael Bolton, PE, Public Enemy, R&B, Rap, Seal, Smooth Jazz, Vanessa Williams

Time, Love & Tenderness Album Cover, July 18, 2009. (Source/Donald Earl Collins)

Sometimes I have no choice but to confirm how weird I am. Especially when it comes to what moves me, including in my choices of music. It wasn’t hard for me to become a Michael Bolton fan when his first solo album dropped in ’87. “That’s What Love Is All About,” a minor hit, was something I enjoyed then, but appreciate much more now as a married man than I possibly could’ve as a freshman at Pitt. “Sittin’ on the Dock of the Bay,” well, that’s another story. It’s a fine cover version (something that Bolton grew all too fond of doing in the late-’90s), but nothing will ever replace the Otis Redding original.

The summer of ’91 was the clincher for me regarding Bolton and other artists from that period. I was in the midst of getting over myself getting over E (see “The Power of Another E” posting from April 2009) when I first heard Bolton’s “Time, Love and Tenderness.” 02 Time, Love and Tenderness.wma I was on my way home from work at Western Psych that hot and sweaty July evening, walking at Warp 3 like I always did back then when the local pop station began playing the song. I also knew the moment I heard it how schmaltzy it was. But it was exactly what I needed to hear and at the time I needed to hear it. I fell in love with the song immediately, and would eventually by the album. “Time, Love and Tenderness” remained one of my pre-iTunes playlist songs for the next three years.

Thus began a year-long odyssey of inviting new music into my life, music that would represent the more adult, contemporary, cool, eclectic and schmaltzy graduate school me. Bolton’s Time, Love and Tenderness album was just the first step. The months of July and August ’91 included music from Seal

My iPod, July 21, 2011 (Source/Donald Earl Collins). Every song named here is on it, but rarely do I play them consecutively.

(“Crazy” — I’ll talk about more in another post), Lenny Kravitz (“It Ain’t Over ‘Til It’s Over”), Vanessa Williams (“Comfort Zone”), and Mariah Carey (“Make It Happen”). Not to mention PE (“Can’t Truss It”), Naughty By Nature (O.P.P.), and Boyz II Men. It was the beginning of a new period of music experimentation for me, all caused by me tiring of being the odd wheel in a sea of dating friends.

It was the early ’90s, and I could already see how much music was changing. Fewer synthesizers, a faster more rhythmic pace, a much greater fusion of genres and styles. Heavy metal was morphing into grunge and White booty-call songs were turning into passion tales of White male (and female) angst. Whitney Houston’s music was becoming hip, and Michael Jackson was steadily making himself less popular. With me weeks away from beginning grad school, I felt like I’d found theme music that would fit nicely with my times.

Within a year and a master’s degree of “Time, Love and Tenderness,” I would add Grover Washington, Jr. and Jon Secada to my growing and eclectic music collection. Jon Secada? For many fans of the Miami Sound Machine (Gloria Estefan, et al.) not to mention various subgenres of Latino music and Latino fusion, Secada might as well have been Neil Diamond or Michael Bolton. But for me, it gave me a window into other forms of music that I didn’t have or understand before. The dogged and soaring passion with which Secada sang his “Just Another Day” I’d only heard in gospel or with divas like Patti LaBelle, Chaka Khan, Whitney Houston and — in the first two years of the ’90s — Mariah Carey. Men didn’t sing like that, certainly not in pop music!

I became enthralled with Secada and Bolton, Grover and Mariah, so much so that I continued to branch out. Coltrane, Celine Dion, The Cranberries, Sarah McLachlan, Pearl Jam, Tupac, grunge, world music, New Age — Deep Forest, Enya, Enigma — along with neo-soul — Maxwell and Erykah Badu — were all in my collection by the time I finished grad school.

Still, I needed my schmaltz, and I still do. Michael Bolton, for all of his vanity and overestimation of his voice (he’s done duets with Patti LaBelle and Celine Dion, for goodness sake’s), has been a part of my musical memory for twenty-two years. “Time, Love and Tenderness,” for all of its ’80s-esque quirks, is by far my favorite song by Bolton. It made the second half of the summer of ’91 not only bearable, but fun. It reminded me of how innocent I still was, of how it was a must that I keep my heart open to the possibility of love, even though I would undoubtedly get hurt from time to time.

Life is like that sometimes, and in my case, most of the time. I find myself learning more from loss, more determined because of betrayal and more committed when others tell me I can’t do something, like earning an advanced degree or doing a job successfully. For those times, schmaltzy music is often where I revert to for strength and encouragement, for the ability to move forward.

GOP/TPers’ Theme Music for Election 2012

30 Monday May 2011

Posted by decollins1969 in 1, culture, Eclectic, eclectic music, music, Patriotism, Politics, Pop Culture, race

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ABC, Al Green, Bruce Springsteen, Climate Change, Conservatives, Creed, Donald Trump, Election 2012, Gay Rights, Genesis, GOP, Grover Washington Jr., Herman Cain, Human Rights, Immigration Reform, James Blunt, John Mellencamp, Lower Taxes, Maxwell, Michelle Bachmann, Mike Huckabee, Mitt Romney, Newt Gingrich, Patriotism, PE, Political Messages, Presidential Candidates, Protest Songs, Public Enemy, Racial Justice, Republicans, Sade, Sarah Palin, Tea Party, Ted Nugent, The Cranberries, Theme Songs, Tim Pawlenty, TPers, U2, unemployment, Usurping Messages

Huckabee with Ted Nugent on guitar, Huckabee Show, FOX News Channel, May 14, 2011. Source: http://dailymail.co.uk

Ever since Mike Huckabee announced that he wasn’t running for POTUS in the Election ’12 cycle (after playing chords with Ted Nugent), I’ve been thinking about an appropriately snarky and sarcastic way to understand the GOP/Tea Party candidacy process. It’s been a bit confusing. Between Trump and Huckabee, Newt Gingrich and Herman Cain, Pawlenty and Romney, Palin and Bachmann, I’d have a hard time finding a candidate I’d vote for even if I were a true American conservative.

But I do know what would help. Theme music to get our juices flowin’, to rile us up about how excited we should be that among these candidates is a challenger worthy of President Barack Obama. Heck, it’s worked before. Ed Meese and Don Regan used Bruce Springsteen’s “Born In The U.S.A.” and John Mellencamp’s “Pink Houses” as theme music in ’84. This despite the fact that these were protests songs of an America anti-common man and pro-war.

GOP/TPers can do the same in ’12. Here’s a list of songs to usurp — oops, I mean use — between now and November 6 of next year.

1. Genesis, “Illegal Alien” (1983), as in, “It’s no fun/being an illegal alien” — especially if the GOP/TPers take over in ’12.

2. James Blunt, “No Bravery” (2005), a truthful description of what it takes to run on the GOP/TP ticket, i.e., no independent thought.

3. ABC, “How To Be A Millionaire” (1985), which should be retitled, “How To Be A Billionaire,” since that’s the ultimate goal of the leaders of the GOP – “a million is not enough” could be the party’s new slogan.

4. U2, “Crumbs From Your Table,” (2004), which, if these folks are elected next year, will be all we’ll have to eat by the ’16 election cycle.

Crumbs on my table, courtesy of Noah's old elephant and a Lipton tea bag wrapped around trunk, May 30, 2011. Donald Earl Collins.

5. Chicago, “Hard Habit To Break,” (1984), especially in the refrain, “I’m addicted to you,” meaning easy money from top 1%, debt and low taxes, and oil, oh, sweet crude oil!

6. The Cranberries, “Zombie,” (1994), the sincerest hope of the GOP/TPers when it comes to what’s left of our voting populace.

Herman Cain, They Think You're Stupid Book Cover (more like We Think You're Stupid), 2009. Source: National Black Republican Association, http://nbra.info

7. Al Green, “One Of These Good Old Days,” (1972), a tribute to the way the Party of Corporations wants things to be for rich – it’s their climax song!

8. Prince, “1999,” (1983), except they would definitely change it to “1899,” the height of affluent largesse, corporate greed and monopoly-building (until the ’00s), and acceptable racism.

9. Creed, “My Own Prison,” (1997), one of the ultimate dreams of the GOP/TPers, that we’d build our own prisons and then put ourselves in them so they don’t have to worry about job creation.

10. Grover Washington, Jr., “Summer Chill,” (1992), what the party hopes their paid-off scientists can “prove” in a new study funded by the John M. Olin Foundation, the Heritage Foundation, and the Scaife Foundations, making “Drill, baby, drill” a reality in ANWR.

11. Public Enemy, “Welcome To The Terrordome,” (1989), most likely would be used by the GOP/TPers to promote gladiator-like games as a way to bring the unemployment rate down for those they can’t get to build their own prisons.

12. Sade, “The Sweetest Taboo,” (1985), a tribute to all of their in the closet and anti-gay party members willing to sacrifice the civil and human rights of LGBT Americans everywhere for a seat in Washington.

13. Maxwell, “…Til The Cops Come Knockin’,” (1996), the general plan for all elected GOP/TPers until they’re caught in illegal activities.

In addition, there’s Alexander O’Neal’s “When The Party’s Over” (1987), another example of what would happen to us, our country and our world if the GOP/TPers reclaimed and remained in charge. They’d suck the bottom ninety-nine percent of us dry until the good times are over, and then blame us for not letting them steal the plumbing, too. Please add to this list. I could’ve created an iPod list of a hundred appropriate songs, but fourteen’s just a start. Eat your heart out, Ted Nugent!