Mixed Race Studies

‘Barry’ director on race, identity and why the young Obama matters

Mashtable
2016-12-20

Proma Khosla

Vikram Gandhi didn’t direct the Netflix biopic Barry because he cared about Barack Obama. He made it because he cared about a kid named Barry.

Gandhi set out to discover who Barack was before he was Barack, back in 1981. The film follows a portion of Obama’s life then as a student at Columbia University, and how it shaped who he would grow up to be.

“I don’t know who Barack Obama is,” Gandhi told Mashable in a phone interview. “I didn’t study that. I studied who Barry was. I related with Barry. The things that he’s struggling with are things that people around me have struggled with, I’ve struggled with, and I think that I still struggle with. Barack Obama’s the president; I have no idea what that’s like, but I know what it’s like to be a confused kid, a 20-year-old kid in New York City trying to figure out where you belong.”

The 1981 iteration of Barack Obama held particular resonance for Gandhi, who studied at Columbia some 17 years later. He remembered the classes, the bars, the diners — he even lived next door to the building that once housed a future president. The film is an intersection of two identity crises: What it means to grow up and what it means to be mixed race in America…

Read the entire article here.

A Comic’s Secret Southern Story

Below The Line
Garden & Gun
2016-12-13

CJ Lotz

A panel from “Krazy Kat.” Courtesy Krazy

Before “The Far Side,” “Calvin and Hobbes,” or even Mickey Mouse, one cartoon stole the show. From 1913 to 1944, a panel called “Krazy Kat” ran in newspapers across the country and counted “Peanuts” creator Charles Schulz and the poet E.E. Cummings among its fans. The strip featured beautiful backgrounds and simply sketched cat and mouse characters that switched between philosophical dialog and slapstick situations—the mouse was forever trying to hit the cat with a brick. But the New Orleans-born artist behind the drawings, George Herriman, was a private man whose life was a mystery. That is until now, with the release of the illustrator’s biography, Krazy: George Herriman, a Life in Black and White.

Author Michael Tisserand (also a New Orleanian) spent ten years researching this thorough work that chronicles not only the career of the twentieth century Southern artist, but Herriman’s big secret: He was born to a prominent Creole family in New Orleans and spent his adult years “passing” for white at the newspapers where he worked in New York and Los Angeles. At the time, living as a black man would have threatened his livelihood, his home, and his relationships. We spoke with Tisserand about Herriman’s complicated story and what it means to honor the artist’s legacy today…

Read the entire interview here.

When Labels Don’t Matter: George Herriman and Krazy Kat

The Beat
2016-12-14

Heidi MacDonald, Editor-In-Chief

We’ve been writing a bit about Michael Tisserand’s comprehensive new biography of George Herriman, Krazy: A Life in Black and White, but last night I got to hear him talk about it at one of the stops on his mini tour. Tisserand presented a slideshow on the book for the first time, and it will be presented again on Thursday at Princeton’s Labyrinth Books with Patrick “Mutts” McDonnell along for the ride – an event I highly recommend if you are into Herriman, Krazy Kat or comic strip history. Or really, just history…

…Tissarand has done a ton of research on the book, but the key element is defining Herriman’s own heritage as a Creole man from New Orleans whose family moved to Los Angeles when he was only 10 so that they could pass for white in a world of Jim Crow laws and blatant racism. Tisserand suggests that Krazy Kat’s gender fluid subtext was his own commentary on race, and in the talk he quoted several strips that allude to Krazy’s never pinned down gender and color swapping – “inferiority complexion” Krazy says in one strip…

Read the entire article here.

What was the source of Krazy Kat’s comic genius?

The Washington Post
2016-12-06

Glen David Gold

Michael Tisserand, Krazy: George Herriman, a Life in Black and White (New York: HarperCollins, 2016)

Genius is simplicity. A dog, who is a policeman, loves a cat, who loves a mouse. The mouse throws bricks at the cat, and the policeman jails him. Some aspect of this, more or less every day, for more or less 30 years, was the comic strip Krazy Kat. In isolation it seems as though it dropped out of the sky, and when its creator died in 1944, to the sky it returned. It has since been recognized as one of the greatest American comic strips, a mix of surrealism, Socratic dialogue, low-rent vaudeville, jazz improvisation, Native American motifs and, as it turns out, a subtle — so subtle no one seems to have noticed at the time — commentary on the peculiar notion of race.

“Krazy: George Herriman, a Life in Black and White,” by Michael Tisserand, skillfully returns context to “Krazy Kat,” revealing that it could have come from no other time or place than during the accelerated rise of the American media empire. To his peers, Herriman claimed to be French or Greek, among other things, to explain away his kinky hair and dark skin. But his New Orleans birth certificate called him “colored,” and Tisserand is especially good at parsing the politics of passé blanc, or “passively passing for white” in Creole culture.

Herriman had a longer apprenticeship than most, working on dozens of strips that never caught fire during the spectacular publication battles between Hearst and Pulitzer that led to the birth of full-color comics such as “The Yellow Kid” and “Little Nemo. ” He was learning his form at the same time that jazz, animation and slapstick comedy were likewise getting their cultural feet under them. Also boxing. Boxing had obeyed “the color line” until 1910, when, in defiance of racist attitudes, the country demanded that black Jack Johnson and white Jim Jeffries finally take the ring. (It’s of course ironic that overcoming racism involved allowing people of different races to beat each other up, but such is our way.)…

Read the entire review here.

Event Review: Salena Godden’s #LIVEwire Album Launch

Welcome to the MA in Black British Writing
The world-first Masters programme in Black British literature at Goldsmiths, University of London
2016-12-09

Heather Marks

Soho holds many secrets, and last night revealed one of them to be Salena Godden’s spoken word album launch at Carnesky’s Finishing School. Descending the steps into the basement of the old Foyles, I was met by the gaze of pop art portraits at every turn, until I entered the intimate setting for the evening’s entertainment. Against the brightly lit stage, I slunk into the oh-so-Soho dimly lit claret background to watch the evening unfold…

…Salena Godden took to the stage to perform some of her poems to an eagerly awaiting audience. Godden delved into The Good Immigrant to read her excerpt ‘SHADE’. Lines such as “Some days I look like Beyoncé, some days I look like Rihanna” touched on colourism and its exotification of light skinned black women. Other lines like “It all depends on the filter and the time of year…it depends on what point people are trying to make” spoke to the oft-touted lie of ‘not seeing people’s colour’ as Godden listed the world events which do and do not make the news – “oh, Boko Haram black? No, not today”. Godden spoke to the world around her and kept her work current, making reference to the refugee crisis in Calais in her readings from ‘SHADE’, and Can’t Be Bovvered from her album LIVEwire. Godden threw punches at colourism and political inaction,  and the frustration one could sense in her words landed well with the audience…

Read the entire article here.

From Her Dad To Her ‘Jamish’ Roots, A Poet Pieces Her Story Together

All Things Considered
National Public Radio
2014-12-28

Arun Rath, Host

Growing up in 1970s England, Salena Godden stood out. Her mother was Jamaican and her father was an Irish jazz musician who mysteriously disappeared from her life when she was very young.

In her memoir, Springfield Road, the writer, poet and musician tells the story of finding her personal identity, beginning with the word she made up to describe her race: Jamish.

“It’s kind of … a mix of being Jamaican, Irish, English,” she tells NPR’s Arun Rath. “It’s the name I gave myself.”…

Read the story here. Download the interview (00:06:15) here. Read the transcript here.

Family Business

Complex
December 2016/January 2017

Written by Rebecca Haithcoat
Photography by Sasha Samsonova

Sofia Ritchie

Sofia Richie has been known to the world as Lionel Richie’s daughter, Nicole Richie’s half-sister, and Justin Bieber’s BAE. Now, the aspiring model is ready to make her solo debut—Without Losing her Privacy.

Sorry—Sofia Richie does not want to talk about Justin Bieber.

Sitting in an outdoor booth at the Beverly Hills Hotel’s luxurious Polo Lounge, Richie’s manager, Alex Avant, is setting the terms of her impending interview. Hollywood handlers are typically overprotective, but his chaperoning will prove to be extra oppressive: He’s a longtime family friend and has been personally tasked by Richie’s father, Lionel, to take care of his baby.

Whatever Richie wants, she gets. And what she wants is no Bieber questions.

“There are just so many rumors and lies,” Avant says. He waves at Russell Simmons across the room.

Avant is told this interview is a great way to clear up those rumors and lies.

He shakes his head.

So, Sofia and Justin, are they still…?

He nods, then shakes his head, somehow confirming and denying at the same time. “Just no questions,” he says finally.

This is unfortunate, because at the present time, Sofia Richie, 18, is known for three things: her famous family (singer and father Lionel and former reality star/current fashion-plate sister Nicole), walking in Kanye West’s most recent Yeezy Season fashion show (the one whose casting call was for “multiracial women only”), and, yes, dating Bieber…

Read the entire interview here.

Lionel Richie’s Daughter Sofia Says People Say Racist Stuff Around Her Not Knowing She’s Black

The Root
2016-12-06

Yesha Callahan, Senior Editor

Sofia Richie during New York Fashion Week on Feb. 11, 2016 Gustavo Caballero/Getty Images

The model spoke about the racism she’s subjected to because people don’t see her as a black woman.

Lionel Richie’s daughter Sofia has made a name for herself in the fashion industry, but that doesn’t mean she isn’t subjected to everyday racism. Especially when people forget that she’s actually black.

“I’m very light, so some people don’t really know that I’m black,” Sofia Richie, 18, said in an interview with Complex. “I’ve been in situations where people will say something kind of racist, and I’ll step in and they’ll be like, ‘Oh, well, you’re light.’”

And it’s those statements that might cause her to go off…

Read the entire article here.

Afro-Latinos: a vision of Houston’s mixed-race future

The Houtson Chronicle
Houston, Texas
2016-11-19

Olivia P. Tallet, Reporter

Afro-Latinos embody Texas’ mixed-race future

It happens all the time. At the taco truck, Raul Orlando Edwards placed his fajita order: “Señorita, por favor, póngale la cebolla bien cocida” (“I’d like the onions well-done.”)

“Man,” said the African-American behind him in line, “how did you learn to do that?” Meaning: Why, for a black man, is your Spanish so good?

“I’m Latino,” Edwards answered. The director of the Strictly Street Salsa Studio and founder of the Afro-Latino Festival of Houston, he’s a Panamanian-Jamaican immigrant.

The guy stated the obvious: “I thought you were black!”

“I’m blacker than you are!” Edwards replied. And, he says, they laughed.

These days, in both Texas and the U.S. at large, skin color is an ever less reliable indicator of identity. According to a 2015 Pew survey, about a quarter of U.S. Hispanics identify themselves as Afro-Latino. Like Edwards, the vast majority (70 percent) are foreign-born.

Afro-Latinos generally are descendants of African slaves brought to Spanish and Portuguese colonies in Latin America and the Caribbean. Most are biracial or multiracial. Being Afro-Latino, says Alain Lawo-Sukam, professor of Hispanic and Africana Studies at Texas A&M University, is less about skin color than about identity and a sense of belonging.

By their very existence, Afro-Latinos challenge the traditional “one-drop” view of race in the United States: the idea that one drop of African blood makes a person black. Afro-Latinos like Edwards aren’t simply black, white or Hispanic. They’re a combination – and as such, a vision of the United States’ racially and ethnically complex future. They’re a minority inside a minority; a melting pot within the melting pot…

Read the entire article here.

Between Two Worlds – A conversation with Rain Pryor

Connecticut Jewish Ledger
2016-11-22

Cindy Mindell

Rain Pryor was born and raised in Los Angeles, the daughter of comedian Richard Pryor and Shelley Bonis (later changed to Bonus), a Jewish go-go dancer. After her parents divorced, Pryor spent time with both grandmothers and in both cultures, forging a unique identity that combined elements from her Black and Jewish legacies.

In 2004, Pryor created and toured in “Fried Chicken and Latkes,” an award-winning solo show based on her life that played to sold-out crowds and standing ovations across the country and in the UK. In 2005, the show won an NAACP Theatre Award for Best Female Performer Equity, and the Invisible Theatre’s Goldie Klein Guest Artist Award. The 2012 New York Times review of the “effervescent” show described Pryor as “a robust, ebullient performer.”…

…Recently, she spoke with the Ledger about the evolution of her “Fried Chicken and Latkes” and the influences that shaped it…

…Q: How do you express your dual identity today?

A: For High Holidays, my mom and I go to the Pico Union [formerly Sinai Temple], the oldest synagogue building in Los Angeles. They do a lot of outreach. I also embrace my Black African-centric heritage and practice Ifá, an ancient and mystical Yoruba tradition honoring the ancestors, which to me went beautifully with the High Holiday services. I embrace culture and tradition and I would say I’m a spiritual being more than I’ll ever be a religious being…

Read the entire interview here.