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Archive for the ‘1980s’ Category

Howard Zinn


Howard Zinn (1922-2010) was an American professor and historian, best known for his book “A People’s History of the United States” (1980). It is not a story of presidents and generals but instead “a history disrespectful of governments and respectful of people’s movements of resistance.” He was to the left of Mao and proud of it.

He did not just teach history, he took part in it, like marching at Selma and hiding the Pentagon Papers. He was brave, doing what was right even though it meant that Spelman fired him and the Boston police beat him.

He grew up in the poor parts of Brooklyn. When the Second World War came he joined the Air Force to fight the good war against Hitler and fascism. He bombed towns in France and Germany. From his plane, six miles up in the sky, he could not hear the screams or see the blood.

TheThere is no flag large enough to cover the shame of killing innocent people.He came home and went to university on the G.I. Bill. There he read John Hersey’s “Hiroshima” (1946) and began to think about the people he killed, many of them children. He began to see that America was an empire no different from all the other empires in history.

In 1956 he became a history professor at Spelman College. He found himself teaching American history to black women from books that said little about blacks. He began to question the way American history was taught.

Then came the civil rights movement, the fight for equal rights for blacks. He joined SNCC and the sit-ins. He urged his students to protest too. Spelman fired him. Writer Alice Walker, one of his students, puts it this way:

Well, he was thrown out because he loved us, and he showed that love by just being with us. He loved his students. He didn’t see why we should be second-class citizens. He didn’t see why we shouldn’t be able to eat where we wanted to and sleep where we wanted to and be with the people we wanted to be with. And so, he was with us. He didn’t stay back, you know, in his tower there at the school. And so, he was a subversive in that situation.

In 1964 he went to Boston University where he taught till he retired in 1988. There he took part in the protests against the Vietnam War and became friends with Noam Chomsky.

In 1971 Daniel Ellsberg gave him one of his copies of the Pentagon Papers, which held the government’s secrets about the Vietnam War. The big secret was that it knew the war was hopeless but lied to the people about it. Zinn found out that the war was not about freedom and democracy but about tin, rubber and oil. America in the 1960s, it turned out, was no different than Japan in the 1940s.

In 1980 he came out with “A People’s History of the United States”. The first printing was only 4,000 copies, but in 2003 the millionth copy was sold! The latest, and now last, revision comes out in July 2010.

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Remarks:

Classic Sade. Always good. This song charted in 1986 at only #49 in Britain and  #55 on the American R&B charts. It did not even make the American pop charts.

Lyrics:

This may come, This may come as some surprise
but I miss you
I can see through all of your lies
but still I miss you
he takes her love, but it doesn’t feel like mine
he tastes her kiss, her kisses are not wine, they’re not mine

he takes, but surely she can’t give what I’m feeling now
she takes, but surely she doesn’t know how

Is it a crime
Is it a crime
that I still want you
and I want you to want me too

My love is wider, wider than Victoria Lake
My love is taller, taller than the empire state

It dives and it jumps and it ripples like the deepest ocean
I can’t give you more than that, surely you want me back

Is it a crime
Is it a crime
that I still want you
and I want you to want me too

My love is wider than Victoria Lake
Taller than the empire state

It dives and it jumps
I can’t give you more than that, surely you want me back

Is it a crime
Is it a crime
that I still want you
and that I want you to want me too

It dives and it jumps and it ripples like the deepest ocean
I can’t give you more than that, surely you want it back.

Tell me, is it a crime?

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Nezua the Unapologetic Mexican (1969- ) grew up in Bethesda, Maryland and other places all across America, half Mexican and half white by blood. On his blog he writes beautifully about the not-so-beautiful experience. What follows is merely my overview. Links to his blog follow.

He looks white but not quite. Like in the summer he was afraid to go outside because he would turn dark in no time.  But most times only other Mexicans could tell what he was – and try to speak to him in Spanish!

White people told him he could pass for white – as if he never tried that, as if it were that easy. He did try it, from age 8 to 19. His name was even changed to an Anglo one everyone could say when his white, Irish American stepfather signed all the papers to make him his son in the eyes of the law: he went from Joaquín to Jack. For a while he even lightened his skin, shaved off all his hair and changed his eye colour with contact lenses. His English was perfect, better than most. He tried to be “universal”.

… nobody has tried harder than I to be “white.” Nobody knows as well as I that despite how many moments you think you pull it off, unless it’s what you really are, then in the end, being WHITE means erasing yourself until there’s nothing there.

Trying to be white, “the Bestest thing ya could be”, led to anger, confusion and self-hatred. He was denying his true self. It took him years to undo the damage. Telling his story is part of the undoing.

No matter how you make yourself look on the outside there is still your heart on the inside. The heart that, for example, has to listen to the racist jokes white people will tell with you sitting right there – because, ha ha, it is just a joke, so lighten up already.

His mother was a good mother, but she was white. She could not undersand what being Mexican meant. His Mexican father was out of the picture by age five. So all he knew about Mexico came from white people – from their racist jokes,  television shows, Hollywood films,  books and, most of all, from their faces:

… what did “Mexican” mean to me? It meant weird pauses. Wrinkled brows. Forced smiles. Awkward transitions that even as a child I was very aware of.

In high school he looked more and more like his father. The mirror laughed at his attempts to become white.

His mother searched for his birth father and found him at long last in Iowa. He spent a summer there with his father’s family when he was 19. They regarded him as Mexican and it felt good – right there in Iowa City in the middle of America.

… the acceptance I get from the brown world is always nourishing, always empowering. And the acceptance from the white world, when it thinks I am not brown, is always degrading, debasing. If you can understand that, then you understand a lot.

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Remarks:

I had completely forgotten about this song because it does not appear on any of my Janet Jackson albums. Lisa Keith is the lead singer. It “sounds” like a Janet Jackson song – like maybe something towards the end of “Rhythm Nation 1814” (1989) – because it was produced by Jimmy Jam and Terry Lewis at about the same time.

This song reached #7 on the R&B charts in 1987. You may have heard it being sampled in other songs.

Lyrics:

Making love
in the rain,
I can’t believe the joy it brings me.

Making love all alone,
I hear the rain on my window.

It’s just a little thing,
but it means so much to me.

Our bodies together,
while the rain plays a melody.

Every raindrop makes think of you.
(Wishing you were close to me)

There is nothing that I’d rather do than…
Making love in the rain,
I can’t believe the joy it brings me.

When we’re done – all alone,
I hear the rain on my window.

When it’s stormy outside,
It’s warm in my heart,
with you in my arms.

And when your away from me,
I wish it would rain,
’cause its always the same

Every raindrop makes think of you.
(Wishing you were close to me)

There is nothing that I’d rather do than…
Making love in the rain,
I can’t believe the joy it brings me.
(I can’t believe)

When I’m here all alone,
I hear the rain on my window.
(On my window)

Making love in the rain,
I can’t believe the joy it brings me.

Making love all alone,
I hear the rain on my window.
(On my window, I hear the raindrops fall)

Every raindrop makes think of you.
(Wishing you were close to me)

There is nothing that I’d rather do than…
(Nothing that I’d rather do than)
Making love in the rain,
I can’t believe the joy it brings me.
(Making love. oohh making love)

When we’re here all alone,
I hear the rain on my window.
(On my window, I hear it rain)

Making love in the rain,
I can’t believe the joy it brings me
(ooohhhh, yeah)

All alone I hear the rain.
(I hear the rain)

My love here comes the rain.
My love here comes the rain.
My love here comes the rain.
My love here comes the rain.

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Remarks:

This is my favourite Anita Baker song.  Even when I first heard it it seemed like a song I had known for years. It only made it to #8 on the R&B chart.

At the very beginning of the video you can see Donnie Simpson, the host of “Video Soul” on BET in the 1980s and 1990s. The video shows scenes of Detroit.

Lyrics:

Flashbacks of the times we’ve had
Some made us laugh some made us sad
We used to break up to make up
All the fun that came from those love games
Oh well, I think I need someone new
Oh, it just won’t do, because I think about you baby

From beginning to end 365 days of the year
I want your same ole love
All I want to do is keep on loving you
I want your same ole love

There’s a reason I feel this way
All the things you do, well it might be the things that you say
Your love never changes
It’s like a picture in a frame, and it remains the same

Your undying love for me
Oh it keeps me strong, keeps me holding on

From beginning to end 365 days of the year
I want your same ole love
All I want to do is keep on loving you
I want your same ole love

Slowly, love me
All is forsaken, I love the love we’re making
Cause it’s truly lovely
I’ll never leave you, you’ll know I need you baby

From beginning to end 365 days of the year
I want your same ole love
All I want to do is keep on loving you
I want your same ole love

From beginning to end 365 days of the year
I want your same ole love
All I want to do is keep on loving you
I want your same ole love

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Prince: Scandalous

Remarks:

This is my favourite Prince song. Despite that for a long time I could not find it on YouTube because I forgot the name of it! Instead I found it through the YouTube channel of Mackaveli420, whose musical tastes are close to mine, at least when it comes to the 1980s.

Lyrics:

Come. Closer.
Feel what U’ve been dyin’ 4
Don’t be afraid, baby
Touch it and explode
Understand, understand that I love U
But more than that – I want U
Everybody always told me
“Good things come 2 those who wait”
But I’ve got so much on the menu
I just can’t wait, I just can’t, I can’t wait baby
I can’t wait baby
I can wrap my legs around U girl
Cuz sugar, U know U’re just the kind of lover
That I’ve been looking 4
2 night why don’t we skip all the 4 play, mamma
And just get down here on the floor

Scandalous
I’m talkin’ about U and me
Marvelous – baby, baby, can’t U see
Anything U’ve ever dreamed of
I’m willing 2 be
2 night it’s gonna be scandalous
Cuz 2 night I’m gonna be your fantasy

My dearest, my dearest

(Whisper) Whisper a question
With my body (body) I’ll scream a reply
Anything’s acceptable
Just ask me and I’ll try it
2 hell with hesitation
2 hell with the reasons why

Scandalous
I’m talkin’ about U and me
Marvelous – baby, baby, can’t U see
Anything U’ve ever dreamed of
I’m willing 2 be
2 night it’s gonna be scandalous
Cuz 2 night I’m gonna be your fantasy

Baby, baby, baby

Oh girl, the things U make me do!
Genius is the only way 2 describe U
Anything U’ve ever dreamed of baby
Just ask me – I’ll do, I’ll do,
I’ll do it 4 U baby

Anything at all
Spirits rise and spirits fall
Anything U ever dreamed off, I’m willing 2 be
2 night is gonna be scandalous
Cuz 2 night I’m, 2 night I’m gonna be your fantasy!

Scandalous
I’m talkin’ about U and me
Marvelous – baby, baby, can’t U see
Anything U’ve ever dreamed of
I’m willing 2 be
2 night it’s gonna be scandalous
Cuz 2 night I’m gonna be your fantasy

Scandalous, marvelous

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Remarks:

This song was later covered by Kelly Price in 2000, but I  like this version better. It is the original, going to #5 on the R&B charts in 1986. Zapp’s Roger Troutman hired Murdock as a backing singer. His brother Larry and Zapp guitarist Billy Beck wrote the song. Troutman appeared in this space last month with “I Want to be Your Man” (1987).

Lyrics:

It’s morning,
and we slept the night away~
It happened,
now we can’t turn back the hands of time
(oh no)

Yes we’ve stolen this moment,
We forgot to face, one simple fact
We both belong~ to someone else
As we slept, the night away

It’s morning,
sunlight shines across your sleeping face (uh huh)
A new~ day,
brings reality that we must go our
Se~parate way
What a lovely night, we had (yeah yeah)
As we shared each other’s love
We forgot about all the pain we’d cause
as we slept the night away

As we lay
We forgot about tomorrow as we lay (mmhmm, hey hey)
As we lay
We didn’t think about the price we’d have to pay( oh no, no no no no no no no)

It’s morning
And now it’s time for us to say goodbye
Goodbye baby
you’re lea~ving me,
I know you got to hurry home to face your wi~fe, whoa
I would never never want to hurt her no
She would never understand
You belonged to me for
just one night
as we slept the night away

(whoa) (mmmmm) (whoa)

I would never never want to hurt her no
She would never understand
You belonged to me for
just one night
as we slept the night away

As We Lay
We forgot about tomorrow
As we lay
We didn’t think about the price we’d have to pay…oh no hey

We should have counted up the cost
but instead we got lost
in the second, in the minute, in the hour
hey hey, hey as we lay
we forgot about tomorrow, as we lay
whoa~~~

It’s morning (it’s morning) (oo oo)
It’s morning (it’s morning) (whoa~~)
It’s morning (whoa~~)

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purplepeople

Purple people (1974?- ) are creatures from the moral universe of white racists – along with Arab traders, black best friends, Rented Negroes and Will Smith. Purple people come up whenever a white person (and on occasion even a black person) wants to show how colour-blind he is, how race does not affect his judgement. You hear about them in statements like this: “I don’t care if you’re black, white, purple or green, it’s the person that counts.” Sometimes polka dots and stripes are thrown in too.

On the face of it, it does sound colour-blind. But then why is it that it comes across as a put-down to people of colour? And why does it seem to be said mostly by the very people who are anything but colour-blind?  Why is it you cannot imagine Tim Wise or Martin Luther King saying something like this?

Take the last question first because it answers the others: an anti-racist like Tim Wise would never bring up purple people (except to talk about them like I am) because he takes colour and race too seriously. It is not something to be made light of by putting it in the same sentence with polka dots and stripes, not something to be compared to science fiction creatures from another world like purple people.

Why it seems that white people do it:

  1. Their colour is not a serious issue because it does not directly affect them in a bad way.
  2. They do not want to talk about colour. They want to wave the whole thing away instead of face it and deal with it seriously – another piece of racist deflection.

Compare:

  • I don’t care if you’re black, white, purple or green, it’s the person that counts.
  • I don’t care if you’re black or white, it’s the person that counts.

The second statement is more serious and also harder to defend. Even worse, it can lead into uncomfortable talk about race.

Throwing in purple, green, polka dots and stripes makes colour seem less serious than it is. It does that by making it just about physical description and not culture, history, pain, identity, injustice, divided cities, bad schools, unemployment and all the rest.

I leave it as an exercise for the reader to determine just how innocent these statements about purple people are.

Just so you know, I did an Internet search: those who bring up purple people the most these days are Republicans who are against Obama – trying to prove that race has nothing to do with it.

And just so you know, white people are racist against purple people, so even on that level the thing is a lie. How do we know? Because of Second Life, an online world where you can make yourself look anyway you want. One women on Second Life made herself white and people were friendly, but when she made herself purple the very same people would not talk to her, even if she said, “Hi!” first. Even cyborgs got more love.

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mcdull02

McDull (1988), or Mak Dau (麥兜) as he is called in Cantonese, is a cartoon character from Hong Kong, a boy pig with a brown round patch over his right eye. In China his films can stand their own against the likes of Harry Potter.

America has Mickey Mouse, Japan has Hello Kitty and Hong Kong has McDull.

McDull does not have beauty, brains, wealth or even good luck. He is slow and fat. His father has disappeared and his mother is bringing him up on her own in some poor part of Hong Kong that is dirty and falling apart. She is stern and expects too much of him. Yet he has a big heart and big dreams.When one thing fails, he tries another,never giving up, never losing heart. His hero is Lee Lai-Shan, the only person from Hong Kong ever to win an Olympic gold medal. McDull’s head may be in the clouds but his heart is in the right place – even if his bowels are always getting him into trouble!

His stories are heartwarming, somewhat sad but full of laughs – even if you do not get the tongue-in-cheek satire on Hong Kong life and the play on Cantonese slang. The stories show a deep, bittersweet love for Hong Kong. Told through the eyes of a boy, they have the wisdom of years.

Unlike Disney, nothing is cleaned up and made to seem better than it is; no smiley face is pasted over life’s troubles. Its sense of the world is urban whereas Disney’s is suburban.

McDull is the creation of artist Alice Mak and writer Brian Tse. McDull started out as a character in the comic books of his distant cousin, McMug. By the 1990s he had his own comic books. In the 2000s he had his own films.

The first film was “My Life as McDull” (2001). The fourth and latest one came out just last summer, “McDull Kungfu Kindergarten” (2009). The films mix together drawings with computer animation and live action shots.

McDull’s teacher is Ms Chan. She looks like a white woman with wavy brown hair but acts like she is Chinese. The same with the school’s headmaster. Even strangers in the streets of Hong Kong look like them. Curious.

One night McDull makes a little man named Excreman out of his dung (there is quite a bit of bathroom humour in these stories). He gives him a scarf of toilet paper and a small cup for a hat. Together in the middle of the night they go to Dung World. There Excreman tells him of his dream of helping flowers to grow. Before he brings McDull back to his room he says:

Remember us whenever you see the humblest, the deserted and the despised.

I found out about McDull while reading about Lou Jing, the half-black singer from Shanghai. People called her “Stupid” when she was growing up. She said that McDull would tell them that she is not stupid but kind.

See also:

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Remarks:

Ah, the 1980s: Jheri curls, cheap-sounding electronic music, all of it. I had completely forgotten about this song till I heard it the other day on AOL Radio. But because I had forgotten it, it brings up memories and feelings from that time more perfectly than better, more famous songs. Like a fly in amber. Like “Ice Cream Paint Job” in 22 years, no doubt.

I remember this line better than the song itself: “Those other girls don’t matter no they can’t spoil my view.”

The song went to #1 on the American R&B charts in 1987. It is used as period music in a great scene in “Love and Basketball” (2000).

Lyrics:

Hey lady let me tell you why,
Icant live my life without you,oh baby
everytime I see you walking by i get a thrill
you dont notice me but in time you will,I must make you
understand…..

I wanna be your man (I wanna be your man)
I wanna be your man (I do yeah,yeah)
I wanna be your man (I wanna be your man)
I wanna be your man (I wanna be your man)

Better not pass me by,cause if you do you’ll lose a good
thing, (oh baby) Cause what I got to say is sealed with a kiss
and a wedding ring
(wedding ring)
My mind is blind at times
I can’t see any one but you
Those other girls don’t matter no they can’t spoil my view
I must make you understand…..

I wanna be your man (I wanna be your man)
I wanna be your man (I do yeah,yeah)
I wanna be your man (I wanna be your man)
I wanna be your man (I wanna be your man)

I wanna be your man (I wanna be your man)
I wanna be your man (I do yeah,yeah)
I wanna be your man (I wanna be your man)
I wanna be your man (I wanna be your man)

Words can never say what I feel, (it’s too intense)
oh oh oh oh. I tried I tried I tried I tried to tell you
how I feel,but I get mixed up (soo mixed up)
my mind is blind at times I cant see anyone but you,those other
girls dont matter no they cant spoil my view,I must make you
understand…..

I wanna be your man (I wanna be your man)
I wanna be your man (I do yeah,yeah)
I wanna be your man (I wanna be your man)
I wanna be your man (I wanna be your man)

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childrearingMost white parents and some black parents in America believe in bringing up children in a colour-blind way: they never talk about race but just say stuff like “Everybody’s equal”, “God made all of us” and “Under the skin, we’re all the same”. Some go even further and make sure their children have a chance to regularly meet people of other races, like at school.

It sounds great, but in practice it does not work in most cases.

There was an article in Newsweek a few weeks ago called “See Baby Discriminate” by Po Bronson and Ashley Merryman. Supported by the latest studies, they say that children will still see colour anyway. All they learn from their parents’ silence is that they are uncomfortable talking about race. As one six-year-old white boy put it:

Parents don’t like us to talk about our skin, so don’t let them hear you.

Some interesting findings:

  • In one study five and six-year-olds (100 white, 100 black) were given a pack of cards with drawings of people on them. The children were told to sort them into two piles any way they wanted. Only 16% sorted them by sex, while 68% sorted by them by race – without being asked!
  • In a twist on the blue-eyed/brown-eyed exercise, four and five-year-olds at a preschool were given T-shirts, half of them red, half of them blue, given out in no particular order. They were told to wear them every day for three weeks.  That was it. The teachers said nothing more about it, they did not divide the children according to their T-shirt colour or anything. Yet after three weeks the children who wore blue T-shirts thought the blues were nicer and had more intelligence than the reds, while the reds thought they were the better ones.
  • Going to a mixed-race school does not necessarily make one any less racist. It seems to work for six-year-olds, but not for anyone eight or older. If anything it seems to have opposite effect: the more evenly balanced the races in a high school are, the less likely one will have a best friend from another race. And, mixed school or not, only 8% of white high school students have a best friend from another race. For blacks it is 15%.

Bronson and Merryman say it is better to talk to your children about race than not. Most parents of colour do, but 75% of white parents do not. In fact it makes them very uncomfortable.

Yet no one brings up their children in a gender-blind way, as if there were no such thing as boys and girls, men and women. Not only do parents freely talk about gender, they even make sure to talk about how gender stereotypes are bad and unfair. Why should race be any different?

As to black children, colour-blind child rearing will leave them unprepared for the racism they will face. Studies show it is best to feed them with good images of blacks and not with too much doubt and suspicion about whites.

See also:

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PhyllisHyman02

Phyllis Hyman (1949-1995) was an American R&B and jazz singer. Nancy Wilson says she is one of the two best singers she has ever known, the other being Sarah Vaughan. Phyllis Hyman had a very unhappy love life and sang about it honestly. She never had a gold record, yet she had a strong following among her fans.

These songs made it into the top 20 on the American R&B charts:

  • 1978: Somewhere in My Lifetime (#12)
  • 1979: You Know How to Love Me (#12)
  • 1981: Can’t We Fall in Love Again (#9)
  • 1986: Old Friend (#14)
  • 1986: Living All Alone (#12)
  • 1991: Don’t Wanna Change the World (#1)
  • 1991: Living in Confusion (#9)
  • 1992: When You Get Right Down to It (#10)

These are the songs she liked best:

  • Be Careful (How You Treat My Love)
  • Somewhere in My Lifetime
  • Meet Me on the Moon
  • When I Give My Love (This Time)

They made her think about the past and the future, about love and pain and happiness.

She was born in Philadelphia but grew up poor in the housing projects of  Pittsburgh, in St Clair Village. Even as a girl her singing talent and stage presence were apparent. She said it was a gift from God: she did not grow up singing in church, she did not even have a record player to listen to music on. She stood 6 foot 1 (1.85 m).

The three singers who had the biggest effect on her:

  • Nancy Wilson, who she modelled herself after and who later helped her;
  • James Brown, whose business sense she liked; and
  • Minnie Riperton, whose way of putting her feelings into her singing she copied.

After performing with some bands in the early 1970s, she came to New York in 1975 to sing in the jazz clubs there. She soon came to the attention of producer Norman Connors. She recorded a cover of the Stylistics song, “Betcha By Golly Wow”. It got to #29 on the R&B charts.

In time she found herself at Arista working with Clive Davis. He favoured Angela Bofill over her and then along came a new girl named Whitney Houston. Arista told her it was over.

She went to sing on Broadway in the Duke Ellington tribute, “Sophisticated Ladies” for a few years and sang on other people’s songs. She even sang on television ads: “Aren’t you hungry for Burger King now?”

In 1985 she joined Gamble & Huff at Philadelphia International Records. They gave her complete freedom to sing the songs she wanted in the way she wanted.

Even though she was loved by a million people and was at the height of her talent, she was sad and alone. She had no man to love her. She also feared losing her beauty as she gained weight. She drank too much and missed concert dates. In 1993 her mother, grandmother and a close friend all died in the same month.

Then on a Friday afternoon, June 30th 1995, she took her life in an apartment in New York just hours before she was to appear at the Apollo Theatre. Her funeral was held on her 46th birthday.

See also:

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DanyelSmithDanyel Smith (1965- ) is an American writer, best known as the former editor-in-chief of Vibe magazine. Yesterday she started work as executive editor of theroot.com. She has written two books: “More Like Wrestling” (2002) and “Bliss” (2005). She is married to Elliott Wilson, former editor-in-chief of XXL magazine!

I know I have read her stuff because her name is familiar, but I could not tell you what. She has written for Vibe, the New York Times, The Rolling Stone, Spin, The New Yorker, the San Francisco Guardian and others, writing mostly about music, particularly hip hop.

She was born in Oakland, California. At seven she started writing. At ten her family moved to Los Angeles, There she went to an all-black Catholic high school for girls. She got into Berkeley and went there for a few years but then dropped out without telling her parents.

She lived with her sister in Oakland and started writing. This was the 1980s when hip hop was something new:

When I first heard hip-hop, there’s no way to describe how it affected my life . It was such a great conversation, and no one was writing about it. I was happy to.

Then her stepfather appeared, driving up from Los Angeles, and asked what was going on. He took her to the offices of the San Francisco Bay Guardian and made her show her work to someone who could gainfully employ her. She met Tommy Tompkins: “Danyel was a remarkable individual, strong-willed, interesting, and cantankerous.”  He saw her talent and hired her. His advice to her about writing: “Just tell the truth. Tell your truth and you will be fine.”

Her articles started appearing in Rolling Stone, Vibe and others. In 1993 she took an offer to work for Billboard in New York. That did not work out but soon she landed at Vibe. In 1997 she became its first black editor-in-chief. Then in 1999 she left.

Over the next three years she wrote “More Like Wrestling” about two sisters living in Oakland in the 1980s in the age of crack. It is one of the first novels by and about black Oakland.

One editor saw the book and told her that she had to make a decision whether or not she was writing for black people or white people. And that she needed to have clearer heroes and heroines in the book.

The New York Times said her prose was “lyrical if sometimes rocky”. Michael Eric Dyson said it was “a work of beauty and moral complexity about love in its resplendent and damaging incarnations.”

The writers she looks to are Zora Neale Hurston, Terry McMillan, Toni Morrison, Gloria Naylor, Joan Didion, Cristina Garcia, Sister Souljah and Ernest Hemingway.

“Bliss”, came out in 2005. It gives an inside view of the music industry. She says it is about “living with pain – not about forgiving or forgetting it”.

In 2006 she returned to Vibe. It was troubled and under new owners. In 2009 it went broke.  Now she is at The Root.

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actingwhite02“Acting white” (1980s- ) is the idea that acting too much like white people is a bad idea. It is found particularly among Black American teenagers who use it as a put down. It takes in not just clothes and music but even speaking proper English and doing well at school!

It has been the subject of several studies since the 1980s, particularly with a view to how it affects school performance. Black students overall underperform compared to whites to a troubling degree, so maybe this is why. The latest and probably the best study on acting white was done by Harvard professor Roland G. Fryer. It came out in 2006.

In 1999 Fryer asked students what were some of the ways you can act white. Among other things they said:

  • speaking Standard English
  • taking Advanced Placement or honours courses
  • wearing clothes from the Gap or Abercrombie & Fitch (instead of Tommy Hilfiger or FUBU)
  • wearing shorts in winter

Who wears shorts in the winter?

Fryer took the National Longitudinal Study of Adolescent Health (AdHealth) of 90,000 students and looked at how one’s race, grades, popularity and the sort of school one went to all affected each other.

Past studies asked students to rate their own popularity. Fryer did not trust that. Instead he looked at how many times a student was listed as a friend by other students.

He found that acting white was mainly an issue only at certain kinds of schools: at public (government-run) schools that were less than 80% black and where most people had at least one friend from another race.  At the most integrated schools, inotherwords.

For whites at these schools the better your grades the more popular you were. For Hispanics it was the complete opposite! For blacks it was in the middle: your popularity only suffered if you got top marks. No word on Asian Americans.

Here is the chart that shows that. At the left are the D students, at the right the A students. It shows how your popularity rises and falls according grades for the three races (Hispanics count as a race in this case):

Fryer-Low-Segregation-773136For most people their popularity comes almost completely from within their own race. A drop in popularity is rarely made up by having more friends from other races.

Fryer sees three possible reasons for why acting white becomes such an issue:

  1. Oppositional culture: blacks teenagers, in trying to make sense of who they are as blacks, find the answer in being the opposite of whites.
  2. Crabs in a barrel: black society is so screwed up that it punishes those who try to succeed.
  3. Defence against brain drain: blacks are afraid of losing their best and brightest to white society so they punish those who seem to be moving in that direction.

Fryer says it is the last one: it is the only one that makes sense of why it seems to be an issue mainly at the most integrated schools – because there whites are a bigger threat to keeping blacks together.

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Remarks:

This song has been done at least four times but this is the version I am most familiar with. It would easily make my top 20 songs of all time. It went to #2 on the American R&B charts in 1981.

Lyrics:

I found love on a two way street and lost it on a lonely highway
Love on a two way street and lost it on a lonely highway

True love will never die, so I’ve been told, but now I must cry
It’s finally goodbye, I know

With music softly playing, his lips were gently saying : “I love you”

He held me in desperation, I thought it was a revelation
And then he walked out

How could I be so blind, to give up love for the very first time
To be fooled is a hurting pain, to be loved and fooled
Is a crying shame, while I bear the blame as he laughs my name

With music softly playing, his lips were gently saying: “Honey, I love you.”
He held me in desperation, I thought it was a revelation,
And then he walked out

I found love on a two way street and lost it on a lonely highway
Love on a two way street and lost it on a lonely highway

I found love on a two way street and lost it on a lonely highway
Love on a two way street and lost it on a lonely highway

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