Tampilkan postingan dengan label Bronx. Tampilkan semua postingan
Tampilkan postingan dengan label Bronx. Tampilkan semua postingan

Selasa, 25 Oktober 2011

Coming Home: On Returning to A Parent’s Final Place of Rest


Coming Home: On Returning to A Parent’s Final Place of Rest
by Mark Anthony Neal | NewBlackMan

In my mind home had always been that place where my parents resided.  This is not to say that I don’t have a home that I share with a wife and two daughters, but that the very idea of going home—to some mythical, long past moment—was always concretely related to the place where my parents resided.  I can’t say that my home as a child was particularly warm; more functional than anything, and that is not to say that I didn’t know that I was loved, since I was indeed Arthur and Elsie’s baby-boy and only child.  My father’s matter-of-fact way of going to work, six days a week, without comment or complaint (and in the shadow of my mother’s out-sized personality) continues to color my workman-like approach to everything from writing, to cooking Sunday morning breakfast (as he did), parenting and marriage. 

The sensibility that my father bequeathed to me, his son, may have been his greatest gift in the months immediately after his death.  He died in his sleep one February night, with his 73rd birthday a few months on the horizon, as matter-of-factly as he lived, with little fuss.  In the spirit of my mother and father’s ying and yang, meant that I was left with ying, unhinged by the death of her mother and husband a month apart that winter.   And unhinged is how I might have described my own state in those months following my father’s death, my untreated hypertension out-of-control, closing out what had been nearly three-years of sleeplessness, in which I slept no more than four hours of sleep a night. 



The closeted demons in my head that I kept at bay, by staying awake as often as physically possible—and by always punching the keys—were loosed sometime in the spring after my father’s death, when the reality hit, that my mother could not take care of herself anymore; the demons have not returned to their closets. Even when I slept, I cried, lamenting my inability to care for my own mother, putting her in a nursing home, with the faint voices of elders suggesting that Black folk don’t do that.  It was all that I could do to keep my sanity.

My penance would be having to destroy my home—the Bronx apartment that my parents shared for the final thirty-two years of their marriage and that my mother barely survived five months in without her husband.   That home had become the site of a few bad memories, baby-boy spreading his wings in a career and life, that nobody in that little project apartment could have imagined when the three of us moved there in the spring of 1976, from our tenement building in the South Bronx that happened to also house a yet unknown Hip-Hop feminist.   I suspect that my mother expected that I would always have a presence in that apartment, she wanted to keep me as close to her, with the same force, that she fled her own mother’s home, at age sixteen, leaving Baltimore and settling in New York City, returning occasionally for short family trips, almost always without my father who was, of course, working. 

When I chose to fly or flee, my mother laid the blame initially at the feet of the woman who would marry her son and finally at the feet of that son and his ambition, an ambition that she indeed cultivated, not quite knowing it would reproduce in me (and later her grand-daughters) the very independence that kept her and her own mother at arms length until that last phone-call, literally on the eve of my grand-mother’s passing.  I have also come to understand that the dementia that would ravage my mother’s mind like wildfires in August, might have already been at play; I was too ambitious to notice.

And so in the spring of 2009, thirty-three years after I first walked into that Bronx apartment, it became my punishment to throw away the life that my parents had built for a son (and perhaps his family), who had little interest in coming home.  It was a sad joke to hear the unknowing and the never knowing, ask if I was gonna hold an estate sale, not quite understanding that my parents stuff—piles and piles of shit really—were the kinds  things that no one wanted, even their son.  Even the stacks of vinyl records that were once the greatest bond between a father and a son, had given way to new technologies. My father was never gonna listen to those Mighty Clouds of Joy albums that I had digitized two years earlier.  Piece by piece, over several months, and with a little help from my wife and a best-friend, whose friendship was even older than the time my parents spent in that apartment, I gutted that apartment; gutted my home.

I periodically dream that I am back in that apartment, aged 16, my wings about to take flight, windows wide open and both my parents are there with me, and Isaac Hayes’s Black Moses in playing in the background.  There are also dreams of some breezy future that will never happen, where we are all wearing white, their grand-daughters bringing them scones and real cream for their coffee, sitting in a house that looks quite like the one I live in now.

Truth is, when my mother finally went home in the summer of 2009, I matter-of-factly marked the occasion, as my father might have, had he been as ambitious as me.  My blood pressure dropped twenty points the day after. I had been mourning the woman that had been my mother since my father’s death; the last time she remotely resembled that woman.  Fittingly, my mother died and was buried in Baltimore, the very place she fled from  as a teen-ager exactly fifty-years earlier, only to be buried next to the woman she had fled from in the first place, along with my father’s remains.  I had stopped calling New York—The Bronx—my home, I had no home, and no parents to return to, something the younger, more ambitious version of myself could have never fathomed.

On a recent October morning, I returned to that cemetery for the first time since my mother was lowered into the earth.   Though my trip to Baltimore had been planned months in advance and I had already made arrangements to spend some time with one of my aunts, the thought of visiting my parents’ gravesite  never once crossed my mind. Yet as I drove into the city from the airport, I could hear my parents calling to me; they wanted me to visit.  As if choreographed in advance, I spent several minutes trudging in the wet grass, searching for their stone markers.  It was only as I complained out-loud that it was typical of them to put me through such changes—I was checking my watch for a presentation that I would never make—that I stumbled over their marker. 

It was a matter-of-fact reunion—reinforced by the auntie, who later in the car asked me more than a few times if I was okay—as I told them how proud they would be of their grand-daughters, both of whom possess their grandmother’s spirit, to my daily dismay.  I thanked them, for imagining a future for their baby-boy, that none of us could have ever expected, but that they had indeed planned for, not with money, but rather matter-of-factly.  I cleared their stones of cut grass and that of my grandmother, and was back in the car minutes later;  back to my ambition.

Senin, 11 Juli 2011

A Bronx Tale: Putting a Context to Failing Schools and Urban Decay




















A Bronx Tale:  
Putting a Context to Failing Schools and Urban Decay 
by Mark Nasion | special to NewBlackMan 

It has become fashionable for the Right Wing of the School Reform Movement, along with some progressives, to argue that failing schools are a major cause of the decay and stagnation in inner city neighborhoods.

As a  historian of the Bronx, who has traced the borough’s development from the 1930’s through the present, I would like to raise a few questions about this formulation, based on important episodes in the Bronx history.

First, when factory owners in the Bronx began closing their operations in 1950’s and 1960’s, or moving them to other states or other countries, did they do so because the schools of the Bronx were failing and the places they were moving their operations to ( e.g. South Carolina, Alabama,  Haiti, the Dominican Republic)  had  better schools and a better educated labor force?   The resulting job losses devastated the Bronx’s economy, but they were the result of factory owners quest for cheaper labor, not for  a better educated labor force.


Second, when banks and insurance companies began redlining the Bronx, and landlords in the borough started burning their buildings to collect insurance money ( a phenomenon which reached epidemic proportions from the late 60’s through the late 70’s) did they do so because the Bronx public schools were performing poorly or did they do so because the job losses referred to in Question 1 made it difficult for South Bronx tenants to pay their rent?

Third, when the city of New York during the 1975 fiscal crisis, decided to eliminate music programs in the public schools, and shut down the after school centers and night centers which had been fixtures in every public school in the city since the early 1950’s, did they do so to punish the public schools for failing to educate their students properly, or because banks refused to lend money to keep the city government afloat unless they made drastic reductions in youth services no longer deemed “essential?”

Fourth, when a crack epidemic swept through the Bronx from the mid 1980’s through the mid 1990’s, did it do so because the schools were failing to do their job, or because young people in the Bronx gravitated to the underground economy because there were no legal job opportunities available and because youth recreation programs had been devastated by budget cuts?

Presented in chronological order, these were the four great tragedies that led the Bronx, once a place where upwardly mobile Black and Latino families moved to in search of better housing, better schools and safer communities ( from the 1930’s through the 1950’s) become a international symbol of urban decay and urban violence.

Can anyone seriously argue that” failing schools” were the major cause for this chain of disasters, or were  the causes to be found in global movements of capital,  investment decisions by banks, landlords and local businesses, and government policies that took resources and services out of Bronx neighborhoods and Bronx institutions, including public schools.

***

Mark Naison is a Professor of African-American Studies and History at Fordham University and Director of Fordham’s Urban Studies Program. He is the author of two books, Communists in Harlem During the Depression and White Boy: A Memoir. Naison is also co-director of the Bronx African American History Project (BAAHP). Research from the BAAHP will be published in a forthcoming collection of oral histories Before the Fires: An Oral History of African American Life From the 1930’s to the 1960’s.

Senin, 04 Juli 2011

So What is 20 Years in 27 Days: A Marriage in Music?

1989 in Philadelphia, PA





























So What is “20 Years in 27 Days: A Marriage in Music”?
by Mark Anthony Neal

Part love story, part social history and part music criticism (like all of my work), “20 Years in 27 Days” is a celebration of a committed relationship; July 27, 2011 marks the 20th Wedding Anniversary of my marriage to Gloria Taylor-Neal.

So for 27 days I will reminisce, through music about our relationship, the worlds we lived in that helped forge that relationship and the radical importance of staying together at a time when so many don’t. 

In short this is the story about a couple of Bronx kids, who group up five minutes from each other, met for the first time miles way in a  Brooklyn high school and managed over time and space to reconnect years later on Broadway and Astor Place, fall in love and raise two beautiful and challenging Brown girls.

Truth be told, I rarely get the opportunity to let my partner know how much this has all mattered to me, and “20 Years in 27 Day: A Marriage in Music” is just my little opportunity to let her know, share it with the world,  and tribute the combined 90-plus years that our parents spent together.

In case you've missed days 1-3:

20 Years in 27 Days: A Marriage in Music | Day #1: Stevie Wonder's “That Girl”

20 Years in 27 Days: A Marriage in Music | Day #2: Secret Weapon—“Must Be the Music”

20 Years in 27 Days: A Marriage in Music | Day #3: The Doobie Brothers—“What a Fool Believes”