Mixed Race Studies

My Name is Cool: Stories from a Cuban-Irish-American Storyteller

Familius
2013-08-05
170 pages
Paperback ISBN: 9781938301568
eBook ISBN: 9781939629029

Antonio Sacre

“In 1960 my father got into a rowboat from Havana, Cuba and rowed 90 miles to the United States to start his new life. By the time I got into seventh grade, I was telling my friends that my father saved all of his family, all of his friends, piled everyone into that boat and rowed everybody over to America. By the time I got into high school, I was telling my friends that my father stole five boats from Castro’s navy, saved all of his friends, all of his family, all of his first, second, third, fourth, and fifth cousins, everyone on his block, all of the pets, and everybody on his baseball team. He piled them into the boat. There was no room for him in the boat, so he tied those boats together with a big rope, put that rope around his shoulders and he swam everybody over to the United States. . .”

Born in Boston to a Cuban father and an Irish-American mother, Antonio Sacre is one of the few leprecanos on the national speaking circuit. Using his own personal history and telling the stories that audiences across the nation have found so captivating and wonderful, this award-winning storyteller and author weaves the Spanish language, Cuban and Mexican customs, and Irish humor into an unforgettable book of humor, inspiration, tradition, and family.

My Name is Cool is a classic story sure to transcend, like the author himself, cultures and boundaries.

The black president some worried about has arrived

The Washington Post
2015-07-15

Janell Ross, Reporter

There’s this thing people sometimes say down South.

So-and-so is “acting brand new.” Sometimes that’s a reference to people behaving like they don’t know old friends and family — that they have evolved past their old crowd. Sometimes that’s Southern-speak for the emboldened, people behaving like they either don’t know the rules or have outright decided to disregard them.

In the past four weeks, we’ve seen President Obama take up residence in a place that sits somewhere in-between.

He’s spoken off the cuff about race relations on a widely circulated podcast (even using the n-word) and then eloquently followed that with what can only be described as a sermon on race relations in America before breaking into song. He’s challenged America to go deeper in its support of equality than retiring symbols of slavery (such as the Confederate flag) and impolitic words (such as the n-word).

While eulogizing a slain minister and state lawmaker allegedly killed by a white supremacist in Charleston, S.C., he outlined a whole raft of ways in which discrimination remains and inequality continues to grow. And now, in the span of two weeks, he has announced two major reform packages — housing last week and criminal justice on Tuesday — that could, if ultimately implemented, be of particular benefit to people of color in the United States.

Here’s the thing: This Obama might look or sound “brand new” to some Americans. He might even sound a little something like the black president some white Americans across the political spectrum feared (or hoped for). But to people who watch the White House closely, this is the President Obama who has been developing for some time…

Read the entire article here.

In The Writer’s Room, One Woman Quietly Makes Late Night History

Code Switch: Frontiers of Race, Culture and Ethnicity
National Public Radio
2015-07-12

Eric Deggans, TV Critic

How do you write jokes for a TV comedy about race and culture when there are riots over how police treat black suspects, and a gunman just shot down nine people in a black church?

If you’re Robin Thede, head writer for The Nightly Show with Larry Wilmore, you think carefully about where you focus the joke.

“The thing about tragedy, is that it causes people to react in a myriad of ways … [and] some of them are very hilarious,” Thede says, laughing. “You don’t make fun of the actual tragedy. You make fun of the ridiculous ways people react to it.”

Her example: The way some news outlets focused on the involvement of the gang Black Guerilla Family when rioting broke out in Baltimore last April.

“You’ve got people on the news saying ‘Black Guerilla Family’ 4,000 times because they get a kick out of saying ‘gorilla’ when connected to black people,” she says…

…That voice first emerged in January, when Wilmore’s Nightly Show debuted in the timeslot originally held by Stephen Colbert’s Colbert Report.

Wilmore made a bit of history then as the only black man hosting a major late night talk show.

And Thede also made history: She’s the first black woman to serve as head writer for such a show. But she’s quick to counter the notion that The Nightly Show is just a parody of Meet the Press centered on jokes about race…

Read the entire article here. Listen to the story (00:04:09) here. Download the story here. Read the transcript here.

The sweetness of forbidden fruit: Interracial daters are more attractive than intraracial daters

Journal of Social and Personal Relationships
Volume 32, Number 5 (August 2015)
pages 650-666
DOI: 10.1177/0265407514541074

Karen Wu
Department of Psychology
University of California, Irvine

Chuansheng Chen, Chancellor’s Professor of Psychology & Social Behavior and Education
University of California, Irvine

Ellen Greenberger, Recall-Faculty and Professor Emerita of Psychology and Social Behavior
University of California, Irvine

Past research on interracial dating has focused on demographic and adjustment factors while ignoring the traits most valued in romantic partners. We examined whether interracial and intraracial daters differ in the extent to which they possess various desirable attributes. In Study 1, undergraduates estimated their partners’ ratings of them on 27 attributes. A factor analysis yielded attractiveness (e.g., physically attractive), cerebral (e.g., intelligent), relational (e.g., compassionate), and vibrancy (e.g., confident) attributes. Compared with intraracial daters, interracial daters reported that their partners saw them more positively on attractiveness, cerebral, and relational attributes (Study 1), rated their partners more positively on attractiveness and cerebral attributes (Study 2), and were rated by independent coders as more physically attractive (Study 3). Implications are discussed.

Read or purchase the article here.

Black Dancers, White Ballets

The New York Times
2015-07-15

Laurie A. Woodard
New York University

MISTY COPELAND’S elevation to principal dancer with American Ballet Theater is a tremendous accomplishment for her as a ballet dancer and as an African-American ballerina. Neither her talent nor her achievement should be underestimated. But even as she reaches the apex of her art in the role of Odette/Odile in “Swan Lake,” her promotion poses complicated questions about black artists in classical ballet.

This country has a long history of embracing exceptional African-Americans decades before we will fully admit their equal talent and abilities. Whether it was Jackie Robinson, Halle Berry or Barack Obama, somebody had to go first. The world of classical ballet is no different.

Since ballet was developed in the court of Louis XIV in late 17th-century France, it has proved resistant to evolving beyond its roots as an elite, rigidly European art form. Balletomanes, choreographers and directors generally concurred that black bodies were unsuited to the lines of classical technique. Racism and discrimination continued to plague ballet, and throughout most of the 20th century, African-Americans were largely barred from quality training and professional careers.

Largely, but not completely. Although Ms. Copeland is the first African-American ballerina to attain the rank of principal dancer with the historically white A.B.T., she is not the first African-American professional ballerina. In fact, the line is long and illustrious, including Janet Collins, who danced with the Metropolitan Opera House in the early 1950s; Raven Wilkinson, who joined the Ballet Russe de Monte Carlo in 1955; Nora Kimball, one of the first African-American soloists (a rank below principal) with A.B.T.; and the legendary Virginia Johnson of the Dance Theater of Harlem…

Read the entire article here.

The Global African – Mexican Afro-descendants

The Global African
2014-12-03

Bill Fletcher, Host

Randal Archibold, Bureau Chief for Mexico, Central America and the Caribbean
The New York Times (Author of the article “Negro? Prieto? Moreno? A Question of Identity for Black Mexicans”)

William Loren Katz
Author of: Black Indians: A Hidden Heritage

Each week on “The Global African” host Bill Fletcher, Jr. addresses issues facing Africa and the African Diasporas.

Mexico’s Afro-descendant population for years has been virtually invisible; now, for the first time ever, the next national census will include the category of Afro-Mexican. Fletcher interviews NY Times Bureau Chief for Mexico, Central America, and the Caribbean Randal Archibold about Mexico’s Afro-descendant population. The next segment of the program deals with a fascinating yet virtually unknown chapter of US history, the biological and cultural bonds established between African slaves and Native Americans. Professor William Loren Katz, author of Black Indians-A Hidden Heritage and 40 other books on African-Americans and Native Americans, describes his research on relations between Africans and Afro-descendants and Native Americans.