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Notes from a Boy @ The Window

~

Notes from a Boy @ The Window

Tag Archives: Sade

Aside

Cable, Anyone?

11 Friday Sep 2015

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

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"Broken Wings" (1985), "Sweetest Taboo" (1985), "What About Love" (1985), 1010 WINS, 616, 616 East Lincoln Avenue, Aliens (1986), Bernard Shaw, BET, Cable, Cable TV, CNN, Heart, HLN, Lynne Russell, Michael Jackson, Mr. Mister, Platoon (1986), Sade, Thriller (1982)


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

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

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

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

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

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

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

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

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

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

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

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!

Never As Good As The First Time

12 Tuesday Apr 2011

Posted by decollins1969 in 1, Boy @ The Window, culture, Eclectic, eclectic music, Jimme, Marriage, music, New York City, race, Religion, Youth

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"Never As Good As The First Time", 616, 616 East Lincoln Avenue, Abuse, Ass-Whuppin', Child Abuse, Corporal Punishment, Drop-Kick, Ex-stepfather, Hebrew-Israelites, Isshin-ryu Karate, Judah ben Israel, Karate, Maurice Eugene Washington, Mount Vernon New York, Religion, Sade, Stepfather


I know. Today marks 150 years since a bunch of rebel rednecks besieged a fort in South Carolina after months of talk of civil war across the South and North, beginning the bloodiest conflict to date in American history. I’ll get to this in the next couple of days. Today, though, marks a more personal and bloody anniversary for me. You see, today’s the twenty-ninth anniversary of experiencing unadulterated child abuse for the first time.

Although much of what I’d gone through prior to April ’82 in terms of my parents’ and stepfather’s use of discipline would be considered abusive now, I wouldn’t have seen it that way when I was twelve. You run away from home, you get an ass-whuppin’. You tell a lie about your brother, you get whupped with a belt. You don’t clean up the kitchen properly, you stand in a corner of your room with the lights off, with one leg up in the air and your two arms balancing books for an hour.

Yeah, that was life at 616 before Maurice, Judah, whatever you want to call the man, became almost psychotic (based on my experience, actually bipolar) after becoming a Hebrew-Israelite in ’81. And, in the process, also making us Black Jews. Poor, misguided, conflicted Hebrew-Israelites we were. But not him.

Suge Knight Mugshot. Face and beard of my ex-stepfather from 30 years ago.

My idiot stepfather’s ego was stoked in this religion.

And it came out in the worst way on this second weekend in April ’82. It was a week after a freakish late winter/early spring storm had dumped 12-18 inches of snow on the New York City area — Mount Vernon included — and kept the schools closed for a few days. In the previous couple of months, Maurice had become a hanger-on at a newly opened Karate studio down the street from 616, next door to the old dry cleaner business on East Lincoln Avenue. He made me come to the studio because he wanted to show me “how to be a man.”

But when I’d see him on my almost daily runs to the grocery store, he mostly hung out with young Turks and wannabe thugs from the Pearsall Drive projects across the street. Maurice smoked up a storm of Benson & Hedges Menthol while talking about women, being a Hebrew-Israelite, and about me as his “book-smart kid,” at least when I happened to walk by.

I knew what that meant. My stepfather was making it known that he thought of me as soft. This would have disastrous consequences for me later on in ’82, as I’d come to be robbed by a guy called “Pookie.” But as far as this part of Mount Vernon was concerned, it was nothing like the poorer, almost exclusively Black South Side. At least where we lived, people didn’t go into parks with baseball bats attempting to put people’s heads in orbit, like with my father Jimme the year before.

Maurice had tried to teach me and my older brother Darren Isshin-ryu Karate two years earlier. Beyond that, he’d been showing us a variety of basic moves since ’77. Despite myself, I did pick up a few moves. Now he decided that I would learn how to fight no matter the consequences. It was all about breaking bones and inflicting maximum pain. When I told Maurice that I didn’t want to learn, he said “You will

D'Angelo Mugshot, circa 2010. A slightly better doppelgänger for idiot Maurice Washington from '82.

learn because I’m your father” as he started to throw hard punches into my midsection.

After I yelled “You’re not my father!,” he drop-kicked me to the floor. Maurice, all six-foot-one and 270 pounds of him, then pulled me up by my arms, slammed me back-first into a mirrored wall, and punched me several times in the head, chest, and stomach until several of the men in the studio surrounded him. My stepfather, completely exasperated and winded, yelled “Don’t you EVER say that again, muthafucka! I’ll kill you next time!” I ran for home with a knot on my forehead that didn’t go down for almost a week.

By the time that knot on my forehand began to shrink, I’d been feeling lonely and betrayed for nearly a year. It’d been exactly fifty-two weeks, a full year, since the asshole had come back into our lives with this earth-shattering religion. Now we were more broke than ever, I had lost my best friends, and in fact, had no one I could call friend. With this latest karate episode, I knew I was cursed, at least, that’s how I felt back then.

I wasn’t a normal kid before the Hebrew-Israelite period in my life. So I didn’t have a natural progression toward adulthood — I was struggling to remain a kid but succeeded at only having adult issues by the time a drop-kick knocked me to the floor of a karate studio. So, because of my virtually photographic memory and those terrible times, I often flip one of Sade’s refrains from “Never As Good As The First Time.” The thorns I remember, the roses, I forget (except for Crush #1). And Maurice second stint as a husband and father “didn’t live up to the dream,” ‘cuz his second time with us was “not quite what it seemed.”

On Women and Wired Weirdness

05 Saturday Mar 2011

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

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"Cherish The Day", 616, 616 East Lincoln Avenue, A.B. Davis Middle School, Brandie Weston, Crush #1, Damsel-in-Distress, Domestic Violence, Feminism, Fights, Humanities, Marriage, Mount Vernon New York, Mrs. Sesay, Puberty, Relationships, Sade, Sexism, Womanism



[Why Sade? Closest I could find to my dream-life muse, and most appropriate video I could find]

Getting a bit long in the tooth to be rattling off about Crush #1 again, right? After all, yesterday was the twenty-ninth anniversary of the fight that led to a crush that led to some sort of falling in love for the first time. The three-month period between March 4 and May 30 of ’82 shaped the ways I saw girls and women from the age of twelve until my early thirties. The crush on Crush #1 and its inevitable side-tracking as my then stepfather knocked my mother unconscious in front of me helped shaped my feminism, my womanism and my sexism.

In all of that, I’ve learned that I was wired for this weirdness. Because as a person of deep thought, a boy surrounded by sexism and misogyny, and a lonely and semi-ostracized preteen, the sum was much greater than these contradictory parts.

To think that this all pretty much started because I picked a fight with Crush #1 at the end of class in seventh grade. Almost all of my extracurricular incidents that year began or ended in our homeroom with our homeroom/English teacher Mrs. Sesay. I know that she’s a principal somewhere these days, but back then, her lack of behavioral leadership skills in the classroom led to more verbal abuse and fighting than a group of gifted-track kids should’ve stood for. Anyway, the incident began because Crush #1 asked a question about a subject that Mrs. Sesay had spent the entire week going over, a concept that Sesay would test us on that Friday. I laughed out loud — thinking that I was only snickering — after Crush #1 asked that question.

Thinking nothing of it, I began to pack up after the 2:15 pm bell rang. Crush #1 came up to me and pushed me from behind.

“You’re an ugly, arrogant asshole!” she said with the distaste of a ballerina being asked for money by a junkie.

I called her “stupid” and then said something else stupid. “You’re an idiot!,” Crush #1 yelled as she threw two punches into my chest and a third at my jaw.

The fight lasted about fifteen or twenty seconds, but after landing a punch on her left boob and nipple, I stopped fighting, already descending into the land of the idiot romantic. All while Crush #1 kept hitting me, then being pulled away from me by a couple of her friends. One of them, the recently deceased Brandie Weston, called me a “pervert” as they exited the classroom.

I know that I wasn’t the first boy in history to start a fight with a girl who I’d come to like or love, but I do think that boys who do that have a lot of weird in them. Mind you, I hadn’t quite hit puberty yet, so my testosterone levels weren’t high enough yet to be the cause of my brain malfunction. No, my very sexism and her fierce sense of tomboyish feminism was why I liked her in the first place, and drank deep from that well for the next three months.

The Memorial Day ’82 incident with my mother changed what was an otherwise innocent crush and love into something weirder and more meaningful. I think that’s why it has so clearly affected how I’ve seen girls and women over the years. Crush #1 defended herself, my mother tried and couldn’t. Crush #1 was cranky and usually personable, my mother polite and as close-minded as a clam in deep water. Crush #1 would be fine whether she knew I liked her or not, my mother a damsel-in-distress that needed someone with sense and care to help her.

The weeks following that Memorial Day I made a decision to put my mother first. The side effect of that decision was that I’d spend the next fifteen years or so using Crush #1 as my template — and my mother as the anti-template — for understanding women, for befriending, dating or not dating women, for women I’d put on a pedestal from afar and for women I’d merely sleep with. In the end, I’d resent myself and my mother for that decision. And another six years trying to understand why.

Thinking about it now, it still amazes me how much of what occurred between ’82 and ’96 was part of an unconscious decision process. But since the end of ’89, I’ve gotten a reminder about once every six weeks. Crush #1 has been a part my dreams and nightmares, a muse that would surface some of my wiser thoughts. She’s a reminder that the twelve-year-old in me isn’t dead, just dormant.

The muse reminds me of how little I do know about women and romance, even after eleven years of marriage and more than two decades of various relationships overall. And that the struggle between the various strands of feminist, womanist and sexist thought in me remains just that.

The Eclectic, Authentic Donald

04 Saturday Sep 2010

Posted by decollins1969 in 1, Boy @ The Window, culture, earth, wind & fire, Eclectic, eclectic music, Mount Vernon High School, Pop Culture, race, Youth

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"Broken Wings", "What About Love", 616 East Lincoln Avenue, Authenticity, BET, Cable, Heart, Humanities, Mount Vernon High School, Mount Vernon New York, Mr. Mister, MTV, Music, Race, Sade, VH1


Maxwell's Embrya (1997) Album Art

I am, and will always remain, a goofy oddball. I’ve known that for at least twenty-five years, probably closer to thirty. For it was this week in ’85 that we finally got cable at 616. More than four years after MTV, and a few months into VH1, we finally no longer needed antennas to watch TV. My fat, greasy slob of a stepfather hogged the gigantic wood-framed hand-me-down of a nineteen-inch Zenith, along with the living room, most of the time. But I came home from the beginning of the school year — my junior year of Meltzer and AP US History at MVHS — at the end of the first week, with no one home.

I turned on the TV, found MTV, and boom, I was in the heart of the ’80s. As soon as I hit the channel, a new video began, heavily synthesized and very much over the top. It turned out to be Heart’s “What About Love,” the first release off of their new album. I liked the song immediately. But more importantly, I liked

Heart, 1985. (Look at that hair!?!)

the fact that I could now also put faces and styles to voices and lyrics. I was late, four years too late in understanding the jokes, the fashion motifs and consumerism concerns of my more socioeconomically- blessed classmates. As the saying goes, though, better late than never.

That afternoon, I ended up seeing videos from Sade, Tears for Fears, Dire

Mr. Mister (1985) Welcome To The Real World

Straits, Sting, and Mr. Mister’s “Broken Wings.” The last one was a weird video, but very heartfelt, and one that has stayed with as long as any song I’ve heard or video I’ve seen since (more on that in December). I eventually checked out some boring Alexander O’Neal videos on BET before my mother and younger siblings came home from school and grocery shopping.

It wasn’t as if I hadn’t listened to music before September ’85. I was already well aware of the fact that my music tastes weren’t stereotypically Black, weren’t all that White, and certainly weren’t all that old and mature. Having played the trombone in fifth grade, the fife for Hebrew-Israelite stuff all through ’82, and sang in school choirs sixth, seventh and eighth grade (until my voice started cracking), it wasn’t as if I didn’t know when someone was off key or timing their drum sequences.

Still, I found music that didn’t have the voice of Luther (Vandross) or Patti (Austin or LaBelle) or the beats of Doug E. Fresh, Grandmaster Flash or Run-D.M.C. appealing. It reached me because I had moments I needed to be reached, to be serious, to focus on the pain that was my life in the mid-80s, a pain that few artists sang or wrote about in any direct way. I could relate to the lyrics of rejection, redemption and

The Best of Sade (1992) Album Art

resolution more than I could relate to someone stepping on my brand new sneakers and getting attitude. Songs that could reach me because I had moments I needed to feel and be goofy, to laugh at myself for feeling as pathetic as I did back then. Nothing, and I mean nothing, in the R&B and early hip-hop repertoire of ’85 did that for me.

So I branched out, almost immediately after that MTV afternoon in early-fall early-September. I became even more interested in what some of my classmates called “that White music,” even deliberately listening to WPLJ and Z-100, adding that to WBLS. I also took the occasional turn to WCBS-101 (oldies station of Sinatra, Nat King Cole and Dean Martin), had a brief foray into Phillip Glass and ’80s new age, a rare stumble into jazz, and yes, for those who believe I embody the rejection of all things “Black,” found my need for R&B and some rap in my eyes and ears.That first week in September ’85 pretty much sealed my fate as an eclectic music listener. Many who know me and my Mount Vernon past would say that Humanities and being around all those White kids had something to do with this. Some, including my mother, would say that my education has led to some sense of racial self-loathing, that I deliberately gave up my heritage to chase some false sense of Whiteness — or,

Seal (1994) Album Art

that I’m “acting White.”

I’d say that I was a goofy and serious late-bloomer, who listened to music and lyrics for meaning, for a kernel of wisdom and hope. Some or all of those things can be found in any genre of music, anywhere, anytime, under any circumstance. Music, like people, can’t be separated into races unless people choose to be separate, a truth I understand now and guessed at intuitively then.

Boy @ The Window: A Memoir

Boy @ The Window: A Memoir

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