Mixed Race Studies

Author Danzy Senna on Finding Inspiration After Leaving Brooklyn

Vulture
2017-07-27

Joy Press

Photo: Lauren Tamaki

“When you are writing a novel, you are always trying to submerge yourself in a dream state, and New York was constantly waking me up from that state,” says Danzy Senna. She’s sitting outdoors at a shady café in South Pasadena, California, roughly 2,400 miles from Brooklyn, where she once lived and from which she drew inspiration for her propulsive new novel, New People.

South Pasadena, the sweet and sleepy town where we both currently reside, is not Brooklyn — it’s more like a Southern California hallucination of Mayberry. Its leafy streets and Craftsman houses regularly stand in for a middle-American idyll in movies, TV shows, and commercials. (The swaying palm trees reliably get cropped out of the frame.) Suburban L.A.’s low-stimulus environment has proved far more conducive to Senna’s writing than the boho hyperactivity of New York. Senna is the 46-year-old author of five books, including her celebrated 1998 debut novel, Caucasia, and all of her work explores the nuances of being mixed race in America with stinging humor and acuity. But, in some ways, “the central identity conflict in my life has been New York versus L.A.,” she says. “I became an author in New York, but it was like a book party that never ended. I became someone who had written something once. In Brooklyn, I’d walk out my door and bump into someone at seven in the morning at the dog park who would tell me about their six-figure book advance.” Los Angeles, by comparison, she jokes, is “so boring that your imagination becomes your life.”…

Read the entire article here.

Documentary ‘Rumble’ explores Native Americans’ influence on music

Christian Science Monitor
2017-07-27

Peter Rainer, Film critic

Link Wray appears in the documentary ‘Rumble.’ Bruce Steinberg/Courtesy of LINKWRAY.com/Kino Lorber

The alchemy of American music as it relates to Native Americans is such a voluminous subject that, inevitably, the fascinating “Rumble” can’t do it justice.

July 27, 2017 —In the fascinating documentary “Rumble: The Indians Who Rocked the World,” the great jazz critic Gary Giddins says, “The one group that hasn’t really been investigated in terms of their contribution [to music history] is the Native Americans.”

This new film, co-directed by Catherine Bainbridge and Alfonso Maiorana, the former of whom previously co-directed the documentary “Reel Injun,” about Native American stereotypes in Hollywood movies, aims to rectify that omission. (Those who made the movie were inspired by the Smithsonian’s National Museum of the American Indian’s exhibit “Up Where We Belong: Native Musicians In Popular Culture,” which was co-created by Stevie Salas, a veteran Apache guitarist, and Tim Johnson.)

Why was such an integral swath of musical culture neglected for so long, in a field where it seems as if every last bit of academic arcana has already been tilled?

One of the problems, as the film points out, is that, up until at least the 1960s, it was commercially even less advantageous to be an Indian (the term is often used throughout the movie) than an African-American. Native American singers, musicians, and songwriters did not announce their heritage (which was often of mixed blood). They “passed” as white, or in some cases, as solely African-American or Hispanic.

Robbie Robertson, the lead guitarist for the legendary group The Band, who grew up in Canada’s Six Nations Reserve, remembers a saying from the 1950s, when he was starting out: “Be proud you’re an Indian, but be careful who you tell.”…

Read the entire article here.

Documentary Team Covers the Mixed-Race Experience in “Mixed Up”

Westword
Denver, Colorado
2017-07-13

Laura Shunk, Food Critic

Filmmaker and librarian Rebekah Henderson will tackle mixed-race identity in her forthcoming documentary. Courtesy Rebekah Henderson

Rebekah Henderson works as a Ross-Cherry Creek librarian. Trish Tolentino makes movies and owns Stories Not Forgotten, a video production company that archives family memories. The two had never worked together before they partnered on “What Makes a Mother,” a short interview-driven documentary about the hills and valleys of motherhood, which was released this year. But they found that they collaborated well, and now they’ve regrouped to start work on a second film, “Mixed Up,” which will delve into the experience of being a mixed-race person in the United States.

After seeing another film about a mixed-race family that she says downplayed the challenges of navigating U.S. culture and systemic racism, Henderson, who is half black and half white and is married to a man who is also of mixed race, felt driven to share stories of others like herself, who may not fit any particular check-box of racial identity. She also felt compelled to share her experience with her son, who looks white. “It’s hard to say this publicly, but I was disappointed that my son turned out so white,” she says. “On one hand, I think it’s just that mom thing that you’re disappointed that he doesn’t look like you. But it brought up all these things. I’ve always identified as black, because I grew up in the ’80s: If I checked white, they would erase it and say, ‘No, you’re black.’ That was my experience growing up as mixed race. My husband is also mixed race, but he looks white, so he identifies as mixed race.”…

Read the entire article here.

Misty Copeland’s latest Under Armour ad reminds us that ballet is a sport

USA Today
For The Win: USA Today Sports
2017-07-19

Maggie Hendricks

Under Armour has a new ad out featuring Misty Copeland, guaranteed to both make you want to work out and perhaps pick up a poetry book. Saul Williams provides the backing poem, For Misty, with words as lyrical as her movements…

The systemic structure built to keep me in place
is the stage I dance on
Black and woman
Mothership’s my mother’s hips beheld deep space
Astronaut of corporal grace…

Read the entire article here.

Review: Vic Mensa, ‘The Autobiography’

First Listen: Hear Upcoming Albums in Their Entirety
NPR Music
National Public Radio
2017-07-20

Rodney Carmichael, Hip-Hop Reporter

Vic Mensa’s new album, The Autobiography, is out July 28. Courtesy of the artist

When history ranks 2017 among hip-hop’s wonder years — and from the sounds of the previous six months it certainly qualifies — Vic Mensa’s long-awaited full-length debut will be a big part of the reason why. The Chi-town native has created a work in The Autobiography that’s equal parts confessional and confrontational, gut-wrenching and uplifting. Steeped in a personal story arc that envelopes Mensa’s hometown, it echoes with the pain of a generation.

Courtesy of the artist

It only makes sense that the LP is executive produced by No I.D., who’s already responsible for another of the year’s more revelatory LPs in Jay-Z’s 4:44…

Read the entire review here.

Clyde Ensslin Explores Thomas Jefferson’s Secret, Unflattering History in his Fringe Debut

Washington City Paper
2017-07-06

Caroline Jones, City Lights Editor

Clyde Ensslin (Darrow Montgomery)

Clyde Ensslin’s journey to the Capital Fringe Festival began, of all places, in an Uber. Ensslin has driven for the rideshare company since 2014, and one night in the fall of that year he received a message to pick up a passenger at the bar Showtime in Bloomingdale. That passenger turned out to be Capital Fringe CEO Julianne Brienza.

As they rode, she told him she’d just closed on Fringe’s new headquarters on Florida Avenue NE. When Ensslin revealed he had never heard of the arts festival, Brienza gave him a crash course in the world of Fringe, from its roots in Edinburgh to her plans to build Trinidad into an arts district. “She just kind of blew me away,” he says of his first impression. She encouraged him to see shows when the festival returned in the summer. He bought an eight-pack of tickets.

“At the time, I did not think this was anything I’d want to do,” he says now. But after seeing pieces he loved, like Cara Gabriel’s I Am the Gentry, he bought another eight-pack the following year. By the end of the 2016 festival, he was hooked. At the same time, Ensslin’s passengers were regularly telling him how much he sounds like former president Bill Clinton, so he started thinking about constructing a play that would coincide with the 20th anniversary of the 42nd president’s impropriety and subsequent impeachment…

…Early on in the process, he discussed his plans with Ibe Crawley, the operator of IBe’ Arts, a small gallery in Historic Anacostia, who pushed him to not focus directly on Bill and Monica and instead tell the story of another lecherous commander-in-chief: Thomas Jefferson. The resulting play, a monologue called Thomas Jefferson: Hoochie-Coochie Man, is presented as a college lecture, taught by professor William Jefferson Clinton, that breaks down the relationship between Jefferson and Sally Hemings and the ways that story has evolved over time.

To begin his research, Ensslin consulted the authoritative text on the subject, historian Annette Gordon-Reed’s The Hemingses of Monticello: An American Family. Gordon-Reed tells the stories of multiple generations of the Hemings family, who became Jefferson’s property when he inherited them from his father-in-law. She chronicles the hard labor they did on his plantation and follows members of the family after they were freed upon Jefferson’s death. After hearing her speak at the 2016 National Book Festival, Ensslin dove deeper into the historiographical archives, reading Christopher Hitchens’ Thomas Jefferson: Author of America and titles by Michelle Alexander, Michael Eric Dyson, and Eddie S. Glaude Jr. as he tried to understand the paradox that Jefferson occupies in American history.

Ensslin’s show arrives at a time of renewed interest in Jeffersonian scholarship. After DNA evidence conclusively proved Jefferson fathered a child with Sally Hemings, historians and curators were forced to deal with that aspect of Jefferson’s life for the first time. A large donation from philanthropist David Rubenstein in 2013 allowed curators at Monticello, Jefferson’s home in Charlottesville, Virginia, to build replicas of the cabins slaves lived in on the plantation. Visitors can now go on tours that specifically highlight the experiences of slaves and the Hemings family. But even Hamilton, every woke theater nerd’s guide to early American history, paints Jefferson as a politically savvy bon vivant, only mentioning Sally in a winking reference for history buffs…

Read the entire article here.

‘Krazy Kat,’ and all that jazz

The Boston Globe
2017-06-23

Matthew Guerrieri, Globe Correspondent

This Sunday is the anniversary of the end of one of the greatest comic strips of all time. On June 25, 1944, the final installment of “Krazy Kat” was published, two months after the death of its creator, George Herriman. In various forms since 1910, the strip’s essential paradox — Ignatz, a mouse, forever beans Krazy with bricks, who nevertheless loves him back — yielded seemingly inexhaustible variations.

In its day, “Krazy Kat” was more a critical than a popular favorite, though publisher William Randolph Hearst, a fan, continued to give Herriman carte blanche despite the strip’s sometimes meager readership. But its dreamlike artwork, linguistic fantasy, and self-referential tinkering with comic-strip form influenced numerous other art forms — music included.

The dense, idiosyncratic argot of Herriman’s dialogue and his precisely-dashed linework and zig-zagging scenery (a stylization of Herriman’s beloved southwestern landscapes) found its musical counterpart in syncopation. As early as 1911 — only a year after Krazy and Ignatz first appeared in the margins of Herriman’s strip “The Dingbat Family” — a New York composer-pianist named Ben Ritchie published “Krazy Kat Rag,” with a Herriman illustration on the cover. In later years, saxophonist Frankie Trumbauer’s Orchestra (which included such jazz luminaries as Bix Beiderbecke, Eddie Lang, and Joe Venuti), expatriate bandleader Sam Wooding, and clarinetist Artie Shaw all recorded “Krazy Kat” tributes.

Most ambitious was composer John Alden Carpenter’s “Krazy Kat” ballet, subtitled “A Jazz Pantomime.” First performed by the Chicago Symphony Orchestra in 1921, and first staged in 1922 — choreographed by Russian-born Adolph Bolm, with scenery designed by Herriman himself (he also illustrated the sheet music) — the ballet was well-received, but Carpenter’s score (possibly the first concert work to include the word “jazz” in the title) was soon overshadowed by more overt rapprochements between jazz and classical music. Carpenter’s version of jazz was tame, owing more to the “sweet” jazz of white dance bands than the “hot” jazz of their African-American counterparts. But the composer effectively mined jazz’s capacity for charm and whimsy…

Read the entire article here.

Meet South Korea’s first black model Han Hyun-min

BBC News
2017-07-11

In South Korea, children of mixed race can be called “mongrels“. But Han Hyun-min didn’t let racism stop him.

Watch the video here.

My Skin Is Black, My Name Is Latino (AfroLatinidad As a Layered Blackness)

Medium
2017-07-06

Jose Vilson
New York, New York

A younger me during one of my last visits to the Basílica Catedral Nuestra Señora de la Altagracia, Dominican Republic

I love jumping into cabs in Washington Heights for two reasons: the driver is almost always Dominican (as in Dominican Republic) and the driver is almost always surprised I can speak Spanish. He can have similar facial features, see the waves in my curly hair, and listen to the same music I have on my smartphone. It never matters. The second question is, “Wait, you’re Dominican? What barrio is your mom from?” I tell them the barrio and the cross-streets, and they get vexed. We exchange pleasantries, barbs about the way our music used to be, and elongated vowels before they finally drop me off at my destination.

Something about my blackness wouldn’t allow them to embrace theirs…

Read the entire article here.

Hip Chick Alert puts the spotlight on Tessa Souter

Hip Chick Alert
2017-03-02

Perez

Tessa Souter was born in London to a Trinidadian father and an English mother. She studied piano from the age of 8 until, at 12, her piano teacher heard her voice and encouraged her to take up singing. She learned guitar by ear to accompany herself and began writing songs. She graduated with a degree in English literature from London University and got her first job in journalism at Parents magazine, before going on to freelance as a features writer for, among other British press The Independent, The Times, Elle, Vogue, as well as Australian Elle, Sydney Morning Herald and HQ….

Read the entire article here.