Tag Archives: Rage

The End of Peanuts Land

14 Tuesday Aug 2018

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

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Six Flags New Orleans, abandoned post-Katrina, 2017. (http://www.destinationamerica.com/).

I’ve told the story of how my imaginative version of Peanuts Land began, in the wake of my six weeks of punishment for running away from home the month of my ninth birthday in December 1978. The inclusion of so many World Book Encyclopedia and Scholastic Weekly Reader facts to create this alternate reality, one in which Charlie Brown was very much of flesh and bone. The creation of a utopia with few of the world’s deeply entrenched problems, one in which nuclear war wasn’t a worry. From roughly January 1979 until August 1981, I continued building on my knowledge of history, technology, geography, topography, economics, sociology, psychology, sexuality, and militarism to construct this land that never was and never will be.

This was also a time, though, in which my older brother Darren and I read comics. The Marvel and DC universes were a part of my reading in 1980 and 1981 as well. Whether it was Justice League or Spider-Man or The Incredible Hulk or The Avengers, all of them gave me ideas for potential bad guys to have on the streets of Peanuts Land City (the chief of police in this scenario was Snoopy, by the way), or enemies for Peanuts Land’s military to fight.

That world of child-like imagination with real world and comic book elements got warped like a vinyl album on a hot radiator the summer of ’82. Maurice beating me up or whuppin’ my ass once every three days between July 6 and August 1 might have had something to do with the rage and loss of any sense of control I had during my summer of abuse. My mom’s role as strikebreaker at Mount Vernon Hospital in the middle of all that abuse didn’t help. Nor did the weeks throughout July where my toddler siblings had more food to eat than me or my mom.

But that wasn’t all. One day, in between my idiot stepfather’s beatdowns, I had come from the store with a small bag of groceries. This time around, instead of walking up the fourth flights of stairs to our 616 apartment, I took the elevator. 616’s A-section elevator was and remains one of the slowest and noisiest elevators I’ve ever ridden. Guys pissed on its floor regularly. I’d seen everything from cigarette butts to dog shit on this elevator over the years. As a result, I only took this elevator whenever the groceries had gotten to be too heavy or because I was simply too tired to walk up the stairs yet again.

A broken pencil (cropped), January 2014. (http://associationsnow.com)

On this day near the end of my ordeals with Maurice, a teenage neighbor from across the hall from our third-floor flat joined me on the elevator on the first floor. As soon as the elevator door closed, she pushed me up against the elevator’s back wall and then attempted to reach into my pants for my penis. I dropped the groceries, and with my right hand, grabbed her arm while shoving her to the other side of the elevator with my left arm in a criss-cross sort of motion. It didn’t dawn on me until that moment that I was now a few inches taller than her. She couldn’t have been more than five-foot-four at the time.

“What are you doing?,” I remember yelling, just as the elevator reached the third floor.

“I was just playin’. Why you gotta be a faggot?,” I remember her responding with her fake grin.

I was already emotionally out of sorts. But this was a neighbor, someone I actually did find attractive. She was either sixteen or seventeen at the time, and I was twelve. As a result of the spring that was all about Wendy, I really didn’t find anyone even emotionally arousing. Sexual arousal was so new to me I couldn’t have described it in 1982 if the dictionary definition had been stamped on my penis.

So I did what I always did when I got really, really stressed, at least since I was three. I went into my and Darren’s bedroom, with my idiot stepfather snoring away, my mom at work, Darren in summer camp, and my younger siblings taking afternoon naps, and I humped a pillow. In this case, Darren’s brown stop-light pillow, one that he had made in art class at The Clear View School a year or two before. Except, for the second time in eight months, instead of stopping because I simply tired out, semen shot out unexpectedly from my penis, and onto the side of Darren’s artwork. Boy did I do my best to clean up the pillow, at least this time around!

Out of that experience came my last Peanuts Land run. Off and on over the next three weeks, I had created a story in which a serial rapist was on the loose. The rapist was a Black woman, an older version of my 616 neighbor. She raped men at gun point or knife point. Her signature was her super-powered vagina (think She-Hulk here). When she sensed physical arousal from the men after she forced them to penetrate her, she used her vaginal muscles to rip off their penises. A number of the men she raped had bled to death as a result.

Detective Snoopy, Woodstock and pal birds attempting to solve a crime (cropped), August 14, 2018. (http://pinterest.com.au).

Despite weeks of searching Peanuts Land’s capital, Snoopy and an army of police couldn’t find the rapist. She managed to get away with killing at least a dozen men in this way.

By the time I reached the end of this story, I was in trouble again, this time with my mom. The stuffing from Darren’s stop-light pillow had started spilling out, with big rifts in at least two places. Between that and the damage from me drowning it in water to wipe up my semen stains, I’d ruined Darren’s artwork. Of course I got an ass-whuppin’! Compared to Maurice, my mom’s use of the belt might as well have been a compassionate smack on the butt for a two-year old, though.

After that, I decided to give up Peanuts Land once and for all. Even then, I knew I wanted to slice my stepfather’s balls off, and that I despised the fact that felt any attraction to anyone besides Wendy at all. Especially to someone willing to molest a preteen.

Looking even further back, I know now that some of my reaction was a residue of the sexual assault I experienced when I was six. But since that memory was a buried jumble in the summer of ’82, all I could think of to do was to do a better job of hiding my masturbatory episodes in the future.

Lit on Moonlight

16 Monday Jan 2017

Posted by in 1, Boy @ The Window, culture, Eclectic, Hebrew-Israelite, Jimme, Marriage, Mount Vernon High School, Mount Vernon New York, Movies, My Father, New York City, Politics, Pop Culture, race, Religion, Sports, Youth

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Moonlight (2016) poster, October 2016. (Film Fan via Wikipedia; orig. A24). Qualifies as fair use under US copyright law as illustration of subject/review of film.

Moonlight (2016) poster, October 2016. (Film Fan via Wikipedia; orig. A24). Qualifies as fair use under US copyright law as illustration of subject/review of film.

I finally, finally saw Moonlight with the wife and son at AFI Silver Spring yesterday, months after the in-crowd had already seen it and attempted to spoil it for the rest of us. It was excellent. The cinematography, the loud and incredible silences, the small moments, when actors just being in the moment with their facial expressions did more than any dialogue could to move me and anyone else watching. Mahershala Ali was only in five scenes. But his first scene set the tone for the whole movie. As Juan, Ali channeled both the need for hard hypermasculinity and the vulnerable fragility of such in just one scene. His time with the youngest version of Chiron made me laugh, cry, sad, and angry, and left me wondering if I’ve seen this much intimacy between Black man and Black boy on screen before. I know I have (Antwone Fisher, The Wire, even Roots comes to mind), but on-screen doesn’t reflect this anti-stereotypical slice of truth nearly as often as it should.

Moonlight snap shot (cropped), Mahershala Ali and Alex Hibbert, October 23, 2015. (http://variety.com).

Moonlight snap shot (cropped), Mahershala Ali and Alex Hibbert, October 23, 2015. (http://variety.com).

Yet I was also not as impressed as I expected to be. Not because I didn’t like the performances — I loved them. I thought every actor in the film was legit, every scene was moving in some way. Naomie Harris I’ve been fond of for years, André Holland and Janelle Monáe’s work I already knew, and Trevante Rhodes and Barry Jenkins, well, the two need bigger platforms for doing more great work. Moonlight wasn’t a film. It was a collage, a kaleidoscope of precious moments, blood-churning episodes, and tender images. Jenkins’ treatment of coming-of-age, Black boyhood into manhood, and Black masculinity, hypermasculinity, and vulnerability was avant-garde.

Still, I felt like I’d seen Moonlight before. Or, really, lived parts of Moonlight in my own past. No, I did not befriend an older, Afro-Cuban crack dealer in 1990s Miami, have a drug-addicted, abusive mother, or have a group of kids chase me around and beat me up off and on for ten years. But I didn’t look at the world the same way as my peers. I didn’t sound like a Noo Yawker, walk and talk and code switch like Denzel Washington, or try to fit in like so many of my 616 neighbors and my Mount Vernon school mates during my growing up years. And I paid for it, dearly, with few friends before I turned eleven, and no friends in the six years before I went off to the University of Pittsburgh.

But on Chiron and that most pernicious issue of hypermasculinity, the need to be hard all the time, I’ve been there too. I’d been called “faggot” (or in my father’s case, “faggat”) enough times to occasionally question my own sexual orientation growing up. My senior year at MVHS one day, I hit a three-run homer during a softball game in gym class. It wasn’t the first time I’d done that. But for one Jamaican dude, me drilling a ball 350 feet off his slow fastball was an affront. He called me a “faggot” after the game, and threatened to wait for me after school with a machete to chop me, adding “bumbaclot mon” at the end of his threat. I left school as normal and waited for him. He was lucky he didn’t show up that day.

Me at 16, Mount Vernon High School ID, Mount Vernon, New York, November 1985, March 21, 2012. (Donald Earl Collins).

Me at 16, Mount Vernon High School ID, Mount Vernon, New York, November 1985, March 21, 2012. (Donald Earl Collins).

You see, my rage didn’t need years to build up. All before I’d finally lose it one day, and take out a bully with a wooden chair and break it across his back, like the way Chiron did at the end of II of Moonlight. I didn’t have bullies at school per se. There were a couple I dealt with at 616, but they weren’t regular. Many folks would make a crack, but generally left me along. Any bullying I faced in high school was completely random and momentary, because I stood up for myself. Because if I could face down a six-foot-one, Isshin-ryn black belt of an abuser in my idiot stepfather Maurice, a stupid football player was gonna get hurt trying to hurt me.

No, the bullying I faced was in middle school, from a bunch of overwhelmed and racist Italian classmates in Humanities. I’ve named them in Boy @ The Window and here in this blog before. Alex, Anthony N., Andrew, Anthony Z., etc, the Italian Club. That things were much, much worse at home meant that I saw them as background noise. There was always a part of me, though, that had enough rage, even in seventh grade, to take a desk and smash Anthony N.’s head in with it until his fuckin’ Italian brains spread out all over the floor and walls!

I ended up beating up a wannabe bully in JD that year instead. I won kufi battles in eighth and ninth grade. I wore a blank face that most of my more dumb ass classmates interpreted as a smile. I made plans to get out, because I never wanted to fit in. I was already awake, coping with the day-to-day, but in it for the long-term. I had that President Barack Obama, audacity-of-hope-beyond-failure, beyond reality thing goin’. When I saw Chiron as played by Ashton Sanders, I wanted to hug him, beat up his bullies for him, and tell him that you can love who you want to love, even if they never love you back. And to always, always be your best self, and not some “I don’t want to feel pain again” version.

Aside

Past Labor’s Opportunities Lost

07 Monday Sep 2015

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

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Title page of the first quarto of William Shakespeare's Love's Labour's Lost (1598), uploaded May 2, 2011 (Tom Reedy via Wikipedia). In public domain.

Title page of the first quarto of William Shakespeare’s Love’s Labour’s Lost (1598), uploaded May 2, 2011 (Tom Reedy via Wikipedia). In public domain.

One of the more gut-wrenching periods of my career began right after Labor Day 1995. In some respects, that period of my career has left a stain over the past two decades. Not so much in terms of what I have done or in what I’m doing now, as much as in setting limits on the range of possible outcomes with which I could’ve begun my career.

Right after Labor Day, I saw an ad in The Chronicle of Higher Education for an open-ranked (tenured or tenure-stream) position at NYU’s school of education in US education history. I hadn’t thought about teaching in a school of education before, but after meeting my friend Cath and having received my Spencer Foundation fellowship, I understood that this was likely a better choice for me than a history department. I wasn’t the only one who thought so. My department chair Steven Schlossman had received a letter and a telephone call from his equivalent peer at NYU asking if there were any graduate students in the pipeline who could apply for the position. Schlossman apparently told that department chair about me and my multiculturalism dissertation, and caught up with me that same week to give me a copy of the letter and encouraged me to apply for the job.

I was two-and-a-half chapters into my planned eight-chapter dissertation, and I still had some US Census data to look at and interviews to conduct as part of the process. I knew that my advisor Joe Trotter wouldn’t be happy about the idea of me applying for a job so soon into the process, but Schlossman and I also knew that the job — if I somehow got it — wouldn’t start for eleven months. That was more than enough time for me to write, revise, revise again, polish up and defend my dissertation. I was on a Spencer fellowship, after all!

A defensive pass interference penalty not called, Detroit Lions v. Dallas Cowboys Wildcard Game, January 4, 2015. (http://bleacherreport.com/articles/2319198-refs-pick-up-flag-after-pass-interference-on-cowboys-in-4th-quarter; FOX Sports).

A defensive pass interference penalty not called, Detroit Lions v. Dallas Cowboys Wildcard Game, January 4, 2015. (http://bleacherreport.com/articles/2319198-refs-pick-up-flag-after-pass-interference-on-cowboys-in-4th-quarter; FOX Sports).

Of course Trotter thought otherwise. He was incensed that Schlossman had discussed the NYU job with me, that I hadn’t talked with him about the position first. Of course Trotter said that he needed to “run interference” on my behalf, to protect me and my career. By “running interference,” Trotter meant that he would not write a letter of recommendation on my behalf. He told me to put the job out of my mind, to focus on my dissertation, and that we could revisit the prospect of apply for jobs when I was much further along.

A few months later, in February ’96, I saw another job ad in the Chronicle, this one for a history of education assistant professorship at University of Wisconsin-Milwaukee. Schlossman saw that ad as well, but I was still the dutiful ABD student with Trotter as my patron. I decided this time to approach Trotter before meeting with Schlossman about the job. Trotter flipped out again, telling me, “you’re not ready,” that he had seen too many of his own peers not finish dissertations when taking jobs, only to end up unemployed. Keep in mind, I had written six of my eight chapters at this point, and had started working on number seven that month.

Trotter’s “you’re not ready” pronouncements rang even more hollow in March, when I requested a letter from him to apply for a post-doctoral fellowship in African American Studies at University of Maryland, College Park. He refused at first, then agreed, with the caveat that he would write in his letter his belief that  I wouldn’t complete my dissertation in time to begin the fellowship at the end of August ’96. With that kind of endorsement, of course I didn’t apply!

When we finally had our blow-out argument that April 4th, I was frustrated, he was actually angry, for reasons I didn’t put together until I considered my age and his HNIC status and age later on. Most of Trotter’s stonewalling occurred after he found out that I was still only about to turn twenty-six at the time of the NYU job prospect. Between that and the limited mileage remaining in his proletarianization hypothesis, I was working for and with an advisor who was giving me mixed signals and mediocre advice. Both were based in part on jealousy, and in part on Trotter’s own bad experiences at University of Minnesota and on the job front in the 1970s and early 1980s.

Danger Bad Advice Ahead fake sign, September 7, 2015. (http://wordspicturesweb.com).

Danger Bad Advice Ahead fake sign, September 7, 2015. (http://wordspicturesweb.com).

Trotter didn’t understand that in blocking my first attempts to begin my career, he had helped set up a struggle for me to have even a semblance of a career before I had completed the first draft of my dissertation. As it was, I finished the first draft in June ’96, the second at the end of July, and polished it up before Labor Day Weekend ’96. That fact that I was done with all major revisions to my dissertation in time for any job that year made ready to strangle Trotter at that point.

Still, it would be only fair to say that my career moves — good and bad, smart and stupid — have mainly been of my own making. It would also be unfair to blame Trotter for any moves that I have made or didn’t make that didn’t work out after 1996-97. But every career has a beginning. And in the beginning, Trotter was there, making a mess of my first steps. It took until the spring of 2000 before Howard University offered me a tenure-track position in Afro-American Studies, to which I did say no. I didn’t need any more Joe Trotter’s in my life at that point, and working in the nonprofit world paid my bills better than teaching at that time.

My overall advice would be to make damn sure that you choose an advisor who cares about your whole career and about you as a person. Don’t choose someone to advise and mentor you out of convenience, and make sure that your advisor isn’t someone who just wants to mold you into a mediocre version of themselves. After all, it’s not their career trajectory or reputation that’s on the line. It’s yours.

Where’s Giancarlo Esposito’s “Breaking Bad” Emmy?

31 Sunday Aug 2014

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Gustavo "Gus" Fring, screen shot from Breaking Bad episode, Season 3, August 30, 2014. (http://geeknation.com). Qualifies as fair use under US copyright laws - lower resolution and relevance to subject matter.

Gustavo “Gus” Fring, screen shot from Breaking Bad episode, Season 3, August 30, 2014. (http://geeknation.com). Qualifies as fair use under US copyright laws – lower resolution and relevance to subject matter.

Last Monday, Breaking Bad, a drama series that finished its final season ten months ago, took away six Primetime Emmy Awards out of its sixteen total nominations. Despite the fact that the producers had stretched the show’s fifth season over two years (2012 and 2013), Breaking Bad‘s Bryan Cranston, Aaron Paul and Anna Gunn all took home Emmys for lead actor and supporting actor/actress in a drama series —  again, in Cranston’s and Paul’s case. And all I kept thinking was, “Where’s Giancarlo Esposito’s Emmy?”

Aaron Paul as Jesse Pinkman in Breaking Bad, Season 5, September 2, 2013. (http://www.businessinsider.com).

Aaron Paul as Jesse Pinkman in Breaking Bad, Season 5, September 2, 2013. (http://www.businessinsider.com).

Giancarlo Esposito, for those of you who still remember, played Gustavo “Gus” Fring, a mastermind of a drug lord and pillar of the Albuquerque, New Mexico community. His character was on for a few episodes at the end of Season 2 of Breaking Bad, and for all of Seasons 3 and 4. His character was so serene yet so single-minded, full of rage like Walter White. Yet Fring’s was a rational, focused, disciplined rage, handed out and practiced, like an usher handing out programs at a Sunday church service. Esposito’s Gus Fring was the character upon which Cranston’s Walter White pivoted, rising and falling like a pirouetting ballerina on a spin top. Without Fring, Walter White and Breaking Bad doesn’t make it past Season 2. The character’s dead or in jail long before he has a chance to truly make his mark.

Joel Kinnaman as Det. Stephen Holder in The Killing (2011-14), Vancouver, BC, Canada March 29, 2012. (http://www1.pictures.zimbio.com/). Qualifies as fair use under copyright laws -- relevance to subject matter.

Joel Kinnaman as Det. Stephen Holder in The Killing (2011-14), Vancouver, BC, Canada March 29, 2012. (http://www1.zimbio.com/).

But I guess the Emmy voters didn’t see how central Gus Fring was to the Walter White story. I mean, why else give multiple Emmys to a five-foot-four-inch version of Eminem in Aaron Paul instead? Yes, Paul as Jesse Pinkman is pretty good at being a conflicted affluent hip-hopster, but his Pinkman isn’t even on par with Joel Kinnaman, the taller Eminem-esque reject-as-cop on the series The Killing (which came to a conclusion earlier this month on Netflix). The idea that Paul and Esposito competed for the same award in 2012 was an insult to the acting profession, like comparing fresh squeezed, no-pulp orange juice to Orange Kool-Aid made with high fructose corn syrup.

Really, in thinking about Cranston’s Walter White and the arch of the character, one cannot do it without a serious consideration of Esposito’s Gus Fring. Without Esposito’s Fring, the show is what the Emmys and Hollywood says it is, a story of a man at fifty, a “brilliant yet foolish has-been-who-really-should’ve-been-somebody high school chemistry teacher.” One who became a desperate crystal meth maker and dealer while going through chemotherapy for Stage 4 or Stage 5 lung cancer. A man who turns bad, first in a dark comedic way, then later, as a just plain macabre and dangerously sad character, leaving a trail of bodies along the way.

That version of Breaking Bad, though, doesn’t become the most watched TV series of all time. The real version, with Esposito’s Fring, gave us the full complexity of Cranston’s Walter White, especially his White male angst. Though not as obvious as the White male angst of ’90s grunge as exhibited in Pearl Jam, Nirvana or Live, Cranston’s Walter White is one that until his cancer had lived a life of quiet but smoldering rage, a rage that found its outlet in making and dealing methamphetamine so pure that Ivory Soap and Nazi Germans would be jealous. Only to be second fiddle to an Afro-Latino who’s in control of a billion-dollar drug ring? If that doesn’t bring issues of White entitlement and White resentment to the fore, then we’re in an alternate universe.

2013 Emmy trophy, January 29, 2014. (http://radiodelta.fm).

2013 Emmy trophy, January 29, 2014. (http://radiodelta.fm).

That’s why Breaking Bad‘s Seasons 2-4 were so worth watching, and the extended Season 5 so anticlimactic. The very reason it was inevitable Cranston’s Walter White would get caught and lose everything is the reason why Esposito’s Fring never did while he was alive. Fring knew that he had to always be in control, to always look as if he was a part of an illusion of suburban White Americana, even though in reality his was a world of constant duality. Fring could never risk being as unabashedly arrogant as Cranston’s Walter White precisely because Fring lacked the protections that came with racial entitlement. As Fring knew, the assumption that Black and Brown skin equated with criminality was ever present, and Fring would never confirm that stereotype, even as he personified it.

Walter White, his resentment about how his career and life turned out, this sense that though he was part of the Whiteness club, he hadn’t reap the material benefits of it, left him hopelessly in search of wealth and respect. But more than that. Cranston’s Walter White couldn’t carry that wealth and respect quietly like Esposito’s Fring, at least once White obtained them both. No, White had to let the world know that he was Heisenberg, that he was in charge. That was one of the reasons why he came to resent Fring in the first place.

To play a character like Gustavo Fring as well as Giancarlo Esposito did, to camouflage as much as he revealed, to juxtapose Fring’s humanity and callous disregard for such was what earned Esposito an Emmy nomination in 2012, at least. To also juxtapose his sense of quiet triumph and control in the midst of the world of Whiteness against Cranston’s Walter White and the White resentment and rage that could explode at any moment? That’s Breaking Bad even in Season 5, even minus Esposito’s Fring being present.

Once again, a person of color’s genius has gone unrewarded, and others received rewards on the backs of our work, while we are to be forgotten by most, after being killed off. It’s such a shame.

Aside

Caught Between Rage and a Working Faith

21 Thursday Aug 2014

Posted by in 1, Academia, culture, Eclectic, New York City, Politics, Pop Culture, race, Work, Youth

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"Officer Go Fuck Yourself" aiming rifle at protestors and journalists, Ferguson, MO, August 19, 2014. (http://www.deathandtaxesmag.com/).

“Officer Go Fuck Yourself” aiming rifle at protestors and journalists, Ferguson, MO, August 19, 2014. (http://www.deathandtaxesmag.com/).

We can add Tamir Rice, Sandra Bland, Walter Scott, Freddie Gray, Kindra Chapman, Samuel DuBose, Joyce Curnell, Ralkina Jones, Raynette Turner and Christian Taylor to the list I started the post below with nearly a year ago. You could add Zachary Hammond to it as well, as structural White supremacy kills Whites dead, too (police state). There’s The Guardian‘s “The Counted” webpages on deaths at the hands of law enforcement. There’s also the Killed By Police website and via Facebook, and Fatal Encounters, among others, that track these death back much further (since The Guardian only began their webpages in June 2015).

The post I wrote last year was about what we could do, what I could or can do in light of living in a racist police state, otherwise known as living with the Gestapo. It’s still an open question, especially with reporters shoving microphones in the faces of the aggrieved asking them to forgive police officers who murder five seconds after learning the news. We’re supposed to be nonviolent, to forgive and turn the other cheek. Long before Malcolm X said during a radio interview in Boston in 1964, “In fact, it’s a crime for any Negro leader to teach our people not to do something to protect ourselves in the face of the violence that is inflicted upon us by the white people here in America,” this has been an issue. Martin Delany, Frederick Douglass, Ida B. Wells (before she became Wells-Barnett) Booker T. Washington, W. E. B. Du Bois, Nannie Burroughs, Marcus Garvey, among many others, raised this issue of what to do about state-sanctioned racism-based violence and murder years ago. We still don’t have any good answers, but we do have options. (A revolution, though, may well be necessary…)

+===================================================+

After the events of the past month — between Eric Garner and the NYPD, Michael Brown and the Ferguson, Missouri PD — I find myself of two minds. My primal mind says, “Fuck the fucking police!” Resist with rocks, with bricks, with bombs and grenades. Go buy a composite bow with composite arrows. Go buy a rifle with a scope, and take out as many of these motherfuckers as I can. Maybe they’ll think twice about putting someone like me in a choke-hold or shooting us with our hands up if they knew we could organize ourselves into vigilante groups, well armed and well adept at escape and stealth, ready to put the likes of Sunil Dutta out of their racist-ass misery!


– What we should be able to do to any corrupt cop or vigilante killing unarmed people of color…

Eric Garner in midst of dying from choke-hold via NYPD's finest, Daniel Pantaleo and (not pictured) and Justin Damico, Staten Island, NY, July 17, 2014. (http://www.thegrio.com).

Eric Garner in midst of dying from choke-hold via NYPD’s finest, Daniel Pantaleo and (not pictured) and Justin Damico, Staten Island, NY, July 17, 2014. (http://www.thegrio.com).

The mind I live in and with every day, though, puts the kibosh on such evil yet well deserved plans of action. Because in light of so much police harassment, brutality and state-sanctioned murders, to say that this shouldn’t be a response belies everything all of us know about human nature. Yet my mind says, “No. This isn’t the way to fight. You’re a writer. You’re a teacher. You’re a believer. Use your tools!” So I pray, I always pray, for people to seek and find the light, to forgive and be forgiven, for peace.

But as the New Testament in James says, “Faith without works is dead” (look that one up, evangelical Christians committed to White privilege!). None of us can hope to change our own lives — much less something as intractable as structural and institutional racism — on prayer and faith in God, the federal government and/or science alone. We have to do, too. In my case, writing and teaching is what I do. Posting to my blog about the palpable rage that I know exists within me and many others who have faced brutality because of racism, misogyny, poverty, homophobia, Whiteness and fear. Teaching about “the physical and psychological wages of Whiteness” (thanks, W.E.B. Du Bois via Black Reconstruction [1935]). Being part of the social media crowd demanding humanity and justice for Michael Brown. This is who I am and what I do.

Me the Evil Blogger at home, Silver Spring, MD, August 1, 2010. (Donald Earl Collins).

Me the Evil Blogger at home, Silver Spring, MD, August 1, 2010. (Donald Earl Collins).

Is it enough to assuage my rage, my guilt for not being able to do more? Yes, most of the time. But I have to remind the perfectionist that remains within me, I can’t do much, but I can do something. And, that this isn’t about me, even with as much as I’ve experienced in racial profiling and abuse of power, at home and with police. It’s about all of us. So, if I do buy a composite bow with arrows, I will train to use it well. Just not on other humans, no matter how reprehensible.

My First Adult Job Interview, Teachers College

12 Monday May 2014

Posted by in 1, Academia, Boy @ The Window, Carnegie Mellon University, culture, Eclectic, eclectic music, Mount Vernon New York, New York City, Pittsburgh, Politics, Pop Culture, race, Upper West Side, Work, Youth

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Teachers College today, West 120th (between Broadway and Amsterdam), New York, NY, April 15, 2014. (http://ccnmtl.columbia.edu/).

Teachers College today, West 120th (between Broadway and Amsterdam), New York, NY, April 15, 2014. (http://ccnmtl.columbia.edu/).

Seventeen years ago this week (check the calendar – the days and dates coincide with the week of May 12-18, ’97) was perhaps one of the most euphoric and bitterly disappointing weeks in my entire adult life. It was such a strange week that it forced me into second guessing myself and my path in life for many years afterward.

But it didn’t start out that way. On Monday, May 12th, I did my very first post-doctoral interview, for an assistant professor position at Teachers College (Columbia’s school of education) in Morningside Heights (West Harlem, really). I’d flown in from Pittsburgh the evening before, and stayed at the Hotel Beacon at Teachers College’s expense, because Monday was going to be a very long day. It was loud that Sunday night, as there was some event at the Beacon Theater. But somehow, I had just enough discipline and memories of New York’s smells and sounds to fall asleep comfortably.

My day started at 8:30 am, so of course, I was up before seven. I put on my one and only suit — at least, the only suit I owned that fit my six-three, 215-pound frame — went over my job talk on multiculturalism, and went on my pensive way to the 72nd Street Subway entrance on Broadway. It was a meat-packed ride to 125th Street, where I had to get off (I had forgotten to walk down to 66th Street to catch the local 1 instead of the express 2 train) and walk the six or so blocks to Teachers College.

Original control house (left) and newer control house, on opposite sides of 72nd Street (IRT Broadway – Seventh Avenue Line), New York, NY, April 13, 2010. (Gryffindor via Wikipedia). Released to public domain via CC-SA-3.0.

Original control house (left) and newer control house, on opposite sides of 72nd Street (IRT Broadway – Seventh Avenue Line), New York, NY, April 13, 2010. (Gryffindor via Wikipedia). Released to public domain via CC-SA-3.0.

After that, my day was an eight-hour blur, meeting with faculty, grad students and deans. Making sure not to eat too much while being grilled with questions over lunch. Giving my job talk and making sure to tell jokes, to bring up facts relevant to this history of education job, and, of course, to smile. Talking with grad students about how I finished my 505-page dissertation in twenty-seven months, about my teaching style and about growing up in Mount Vernon. It was as intense a process as I had expected it to be, but I felt at the end that I’d done everything possible to get the job.

I knew that I was one out of only five candidates invited to interview, out of over 500 applicants. I even had the chair of the History Department, Steve Schlossman, lobby on my behalf for the job, prior to my interview. And, despite my former advisor in Joe Trotter, I’d managed to put together a group of letters from folks that should’ve passed muster. All I could do after the interview was wait.

But life didn’t wait to intervene. After leaving the interview for the hotel, I changed into my more casual clothing, jeans and a long-sleeve t-shirt, and went off to Tower Records and Barnes & Noble on 66th and Broadway, and later, Haagan Dazs (that last one was a big gastrointestinal mistake!).  

From the moment I walked in the door at Barnes & Noble until I left a half-hour later, a Latino security guard tailed me as I perused books in the African American nonfiction, Cultural Studies and Music sections of the store, across three floors. As I walked out, I walked up to the guard and said

“While you were stalking me, you probably let half a dozen White folks slip out of here with books and CDs. Did you learn anything while you were watching me?”

“I was just doing my job,” the dumb-ass security guard said in response.

“Well, if following a Black guy around for thirty minutes is part of your job, you deserve to lose your job,” I said to him as I walked out.

It was a bit of a harbinger of things to come. I was more pissed off about these everyday slights — or, rather, microaggressions — than I’d been before Trotter and my doctorate. And I was less patient about waiting for what I wanted than I’d been as a grad student.

What your second-place prize often looks like, May 12, 2014. (http://www.wmciu.org.uk/).

What your second-place prize often looks like, May 12, 2014. (http://www.wmciu.org.uk/).

Three weeks later, I received a reimbursement check for my travel and other expenses, and within twenty-four hours, a call from the search committee chair. I’d finished second for the job. Second! To whom, I still don’t know. The chair kept telling me, “you didn’t do anything wrong…you did a very good set of interviews,” as if those compliments would pay my rent next month. I was disappointed, hopeful, but disappointed. It was my first shot, my best shot, and I’d given my best effort. “What now?,” I thought.

It’s a question that I still must ask seventeen years, two books and two careers later. I’ve long since realized that the question of what my life would’ve been like if I’d gotten the Teachers College job was moot, because my issues were about more than finding work. I still would’ve been unhappy, with a New York-esque rage to go with it.

So I counted my blessings, and I count them still. Not getting this particular job bought me the time and energy I needed. I needed that time, to see myself as the writer I also wanted to be, not just the educator and thinker I already knew I was. A better, more personable, more revealing and feeling writer than the cold and metallic one that grad school and Trotter helped turn me into by the end of ’96.

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

26 Thursday Sep 2013

Posted by 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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FearBookCover3copy

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

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.