Mixed Race Studies

‘Las Caras Lindas’: To Be Black And Puerto Rican In 2013

Code Switch: Frontiers of Race, Culture and Ethnicity
National Public Radio
2013-05-25

Jasmine Garsd

I am a black man
Who was born café con leche
I sneaked into a party, to which I had not been invited.
And I got kicked out. They threw me out.
When I went back to have fun with the black girls
All together they said ‘Maelo, go back to your white girls’
And they kicked me out. They threw me out.”

– Ismael Rivera, “Niche“

In “Niche” (“Black Man”), iconic Puerto Rican singer Ismael Rivera navigates the labyrinth of race and ethnicity in the Caribbean. A light-skinned “café con leche” black man, he wanders through his island like a ghost of a colonial Spanish past, shooed off by both blacks and whites uncomfortable with his presence and what he represents.

In another iconic and deeply melancholy song, “Las Caras Lindas” (or “The Beautiful Faces”), Rivera sets aside the discomfort and pens an ode to his people: “The beautiful faces of my black race, so much crying, pain and suffering, they are the challenges of life, but inside we carry so much love.”

I was recently in Puerto Rico reporting on the island’s troubled economy and reignited diaspora. During that time, I had the chance to visit legendary rapper Tego Calderón. In his studio in Santurce, Puerto Rico, I found the entire place wallpapered with photographs of Ismael Rivera…

Read the entire article here.

‘Show Boat’ Steams On, Eternally American

All Things Considered
National Public Radio
2013-05-07

Nina Totenberg, Legal Affairs Correspondent

It’s been more than eight decades since Show Boat — the seminal masterpiece of the American musical theater — premiered on a stage in Washington, D.C. Now the sprawling classic is back, in a lush production put on by the Washington National Opera.

Based on Edna Ferber’s epic best-selling novel, Show Boat was nothing like the frothy musicals and scantily clad Broadway revues of its time. Sure, the story is about a traveling showboat that plays to audiences along the Mississippi River, but the plot focuses on serious subjects: racial injustice, alcoholism, abandonment.

Panoramic in scale, the show spans 40 years, from 1885 in the South — not long after the Civil War — to the Roaring ’20s in Chicago. And displayed in all their glory are some of the most beautiful love songs of the 20th century: “Can’t Help Lovin’ Dat Man,” “Make Believe,” “Bill.”

Show Boat made musical-theater history, pioneering the merging of music and plot, integrating them for the first time to provide a seamless transition from scene to song. Lyricist Oscar Hammerstein II, just 31 years old, worked closely with composer Jerome Kern to replicate Ferber’s sweeping narrative. In a 1958 interview released on vinyl by MGM Records, he explained how he used the Mississippi itself as the thread that would hold all the plot elements together.

“I thought that we lacked something to make it cohesive,” Hammerstein told interviewer Arnold Michaelis. “I wanted to keep the spirit of Edna’s book, and the one focal influence I could find was the river, because she had quite consciously brought the river into every important turn in the story. The Mississippi. So I decided to write a theme — a river theme.”

That theme, of course, became “Ol’ Man River,” one of the most primal American melodies ever sung.

‘Misery’ Restored, And Threaded Throughout The Show

Director Francesca Zambello, who pushed and prodded to get the current revival staged at the Kennedy Center, says she was drawn to the show because of the timeless issues it dramatizes — not least that key underlying theme of race, embodied in the show by Julie, the showboat’s star performer.

“Julie is the fulcrum of the show, because she brings the dramatic issue that changes everything,” Zambello says.

Secretly biracial, but “passing” — living publicly as a white woman — Julie has married a white man. That makes their relationship a crime in Mississippi, and in much of the rest of the country besides.

No surprise, then, that even before Julie is found out and forced to leave the showboat, the company’s mother figure, who’s in on her secret, senses trouble. “Misery’s comin’ around,” sings Queenie, the showboat’s cook, in a gorgeously melancholy melody that was cut from the original production for time.

“The theme of ‘Misery’ you hear not only with Queenie and all the women working, but it also weaves its way underneath the dialogue every time Julie speaks after that,” Zambello points out. “It becomes her sadness, and her secret.”

There are no U.S. laws against interracial marriage anymore; they were struck down in 1967 by the Supreme Court’s . But as Show Boat plays at the Kennedy Center this month, the court — just a couple of miles away — is considering questions of same-sex marriage, affirmative action and voting rights, while Congress focuses on how we as a nation treat immigrants.

“To do this kind of work that has such deep social underpinnings to it, and really speaks about social change, is I think rare in music theater,” Zambello says. “If you wrote this musical today, I’m not sure that it would get on.”…

Read the entire article here.  Listen to the story here.  Download the audio here.

A White Face With A Forgotten African Family

All Things Considered
National Public Radio
2012-11-24

Jacki Lyden, Host

Growing up blond-haired and blue-eyed in Southern California, Joe Mozingo always thought his family name was Italian.

But as an adult, Mozingo became skeptical of that theory when friends and co-workers began to ask him about his unusual-sounding last name.

The journey to discover the truth about the Mozingo name took him from the libraries of Los Angeles to the courthouses and plantations of Virginia and, finally, to Africa.

Mozingo spoke with weekends on All Thing Considered guest host Jacki Lyden about his first book, The Fiddler on Pantico Run: An African Warrior, His White Descendants, A Search for Family, which chronicles that journey…

Listen to the interview here. Download the interview here. Read the transcript here.

When You’re Mixed Race, Just One Box Is Not Enough

The Race Card Project: Six-Word Essays
National Public Radio
2013-04-02

NPR continues a series of conversations about The Race Card Project, where thousands of people have submitted their thoughts on race and cultural identity in six words. Every so often NPR Host/Special Correspondent Michele Norris will dip into those six-word stories to explore issues surrounding race and cultural identity for Morning Edition. You can find hundreds of six-word submissions and submit your own at www.theracecardproject.com.

Since The Race Card Project is about identity, it’s not surprising that many submissions deal with the question of how people choose to identify themselves. That can be more complicated for those who have two parents who do not share the same race — especially when asked to choose a particular box for race or ethnicity on an application or government form.

George Washington III is familiar with this quandary. An African-American voice-over artist, Washington has been married twice, both times to women who are white. When he heard about The Race Card Project, his thoughts went immediately to his children. His six words: “My mixed kids have it differently.”…

Read the article here. Listen to the story here.

Census Bureau Rethinks The Best Way To Measure Race

National Public Radio
2012-12-27

Corey Dade, National Correspondent, Digital News

Possible revisions to how the decennial census asks questions about race and ethnicity have raised concerns among some groups that any changes could reduce their population count and thus weaken their electoral clout.

The Census Bureau is considering numerous changes to the 2020 survey in an effort to improve the responses of minorities and more accurately classify Latino, Asian, Middle Eastern and multiracial populations.

Potential options include eliminating the “Hispanic origin” question and combining it with the race question, new queries for people of Middle Eastern or North African heritage, and spaces for Asians to list their country of descent. One likely outcome could be an end to the use of “Negro.”

The stakes surrounding population counts are high. Race data collected in the census are used for many purposes, including enforcement of civil rights laws and monitoring of racial disparities in education, health and other areas…

…Broadly, the nation’s demographic shifts underscore the fact that many people, particularly Latinos and immigrants, don’t identify with the American concept of race…

Read the entire article here.

In ‘Red Pyramid,’ Kid Heroes Take On Ancient Egypt

Backseat Bookclub
All Things Considered
National Public Radio
2012-12-19

Melissa Block, Host

Robert Siegel, Senior Host

If there was a recipe for the best-selling writer Rick Riordan, it would go something like this — start with a love of storytelling, fold in more than a decade of teaching middle school English, combine that with two sons of his own who don’t quite share their dad’s love of literature, and marinate all of that with a deep passion for mythology.

Riordan has sold tens of millions of kids’ books. He hit pay dirt with the Percy Jackson series — it’s about an everyday kid who has superhero powers because he’s the secret son of Poseidon, the Greek god of the sea.

Egyptian gods reign supreme in our latest book for NPR’s Backseat Book Club. It’s The Red Pyramid from Rick Riordan’s Kane Chronicles. It tells the story of a brother and sister — Carter and Sadie Kane — who have lived apart most of their lives. One Christmas Eve, their father brings them both together for a trip to the British Museum, and a terrible, magical accident happens that unleashes the gods of ancient Egypt into the modern world.

Carter and Sadie learn that they are descended from ancient Egyptian magicians. This means they are the only ones who have the magic that might be able to put the gods back where they belong — before the world spirals out of control.

Riordan is an author who knows his audience — and that has influenced his writing. “I imagine myself in front of my own class,” he tells NPR’s Michele Norris. “I don’t teach anymore, but I can still clearly see fifth period after lunch — that’s a real tough time to teach. And I tried to imagine writing a story that would appeal to those kids — even when they’re tired, even when they’re bouncing off the walls. … If I could find a way to tell a story that would resonate with them, then I had something going.”

Carter and Sadie are biracial characters, but Riordan doesn’t dwell on this in the book. He is more interested in the idea of kids being caught between two worlds, a concept to which he says his readers can relate…

Read the entire article here. Read the transcript here. Download the interview here.

‘Master’ Jefferson: Defender Of Liberty, Then Slavery

Fresh Air from WHYY
National Public Radio
2012-10-18

Maureen Corrigan, Book Critic

His public words have inspired millions, but for scholars, his private words and deeds generate confusion, discomfort, apologetic excuses. When the young Thomas Jefferson wrote, “We hold these truths to be self-evident, that all men are created equal,” there’s compelling evidence to indicate that he indeed meant all men, not just white guys.

But by the 1780s, Jefferson’s views on slavery in America had mysteriously shifted. He formulated racial theories asserting, for instance, that African women had mated with apes; Jefferson financed the construction of Monticello by using the slaves he owned — some 600 during his lifetime — as collateral for a loan he took out from a Dutch banking house; and when he engineered the Louisiana Purchase in 1803, Jefferson pushed for slavery in that territory. By 1810, Jefferson had his eye fixed firmly on the bottom line, disparaging a relative’s plan to sell his slaves by saying, “It [would] never do to destroy the goose.”

Faced with these conflicting visions of Jefferson, scholars usually fall back on words like “paradox” and “irony”; but historian Henry Wiencek says words like that allow “a comforting state of moral suspended animation.” His tough new book, Master of the Mountain, judges Jefferson’s racial views by the standards of his own time and finds him wanting. Unlike, say, George Washington, who freed his slaves in his will, Jefferson, Wiencek says, increasingly “rationalized an abomination.”…

…Wiencek also evocatively describes Jefferson’s morning routine — how he would walk back and forth on his terrace every day at first light and look down on a small empire of slaves — among them, brewers, French-trained cooks, carpenters, textile workers and field hands. Many of those slaves were related to each other; some were related — by marriage and blood — to Jefferson himself. Jefferson’s wife had six half-siblings who were enslaved at Monticello. To add to the Gothic weirdness, Jefferson’s own grandson, Jeff Randolph, recalled a number of mixed-race slaves at Monticello who looked astonishingly like his grandfather, one man “so close, that at some distance or in the dusk the slave, dressed in the same way, might be mistaken for Mr. Jefferson.” According to this grandson, Sally Hemings was only one of the women who gave birth to these Jeffersonian doubles.

Wiencek’s scholarship infers that the potent combination of the profits and sexual access generated by slavery made the institution more palatable to Jefferson. As the years went by, Jefferson was called to account by his aging revolutionary comrades — among them the Marquis de Lafayette, Thomas Paine and Thaddeus Kościuszko. All of them pressed Jefferson on the question of why this eloquent defender of liberty would himself be a slave owner. Kościuszko even drew up a will in which he left Jefferson money to buy his slaves’ freedom and educate them, so that, as he wrote, “each should know … the duty of a cytysen in the free Government.”…

Read the entire review here. Listen to it here (00:06:44). Download it here.

Jazz, Race Collide With War In 1930s Europe

Tell Me More
National Public Radio
2012-03-26

Jacki Lyden, Host

The novel Half Blood Blues explores an often overlooked slice of history: black jazz musicians in Germany on the eve of World War II. The book moves from 1992 to 1939, from Baltimore to Berlin to Paris. It’s told by an elderly black jazz musician and his friend who survived the war. Guest host Jacki Lyden speaks with author Esi Edugyan.

Transcript:

This is TELL ME MORE from NPR News. I’m Jacki Lyden. Michel Martin is away this week. Now we’re going to take a trip back in time with the help of a prize-winning novelist.

The novel, “Half Blood Blues,” considers a slice of history that often gets overlooked: black jazz musicians and their fate in Germany just before World War II. The novel moves back and forth from 1992 to 1939, from Baltimore to Berlin, Berlin to Paris and it’s told through the eyes of an elderly Baltimore black jazz musician, Sid Griffiths, and his lifelong friend, Chippewa Jones, all in invented period slang.

The novel was short-listed for the Booker Prize this year and won the Giller Prize in Canada and its author, Esi Edugyan, joins us now from member station KUOW in Seattle. Welcome.

ESI EDUGYAN: Thank you.

LYDEN: Esi, just to establish, you are a Canadian author.

EDUGYAN: I am.

LYDEN: And you live in…

EDUGYAN: I was born and raised in Calgary.

LYDEN: Born and raised in Calgary, of Ghanaian parents and you live in Victoria?

EDUGYAN: Yes.

LYDEN: Well, please tell us about this novel, which has had so much success. Tell us about the men at the center of your story. They’re jazz musicians from a group called the Hot Time Swingers. We meet them in Paris. They already have escaped from Berlin. They’ve met Duke Ellington and at the center of the group is this really intriguing character you’ve invented called Hieronymus Falk. And he is eventually picked up by the Gestapo in June of 1940. Tell us about these fellows and Hieronymus.

EDUGYAN: Well, essentially, the novel is told in two parts and the first part centers around the Hot Time Swingers who, you know, are a jazz band who’s had quite a bit of success playing in Berlin. And, you know, now the Third Reich has been ushered in and they’re trying to decide exactly how to proceed now that they’ve been prohibited from playing in public.

And so the band consists of two African-American players, Sid and Chip from Baltimore, as well as the German players, Paul, who’s a pianist who has a Jewish background, and Ernst. And then Hieronymus Falk, who is an Afro-German, the child of a French colonial soldier and a German mother, and he’s the trumpet prodigy.

LYDEN: Hieronymus Falk really intrigued me, Esi Edugyan. He is, you say in the novel, the German word was mischling. He is of mixed race and there really were such Afro-Germans prior to the Nazis taking power…

Read the entire transcript here. Listen to the interview here. Download the interview here.

Racial Labels Have Limited Use In Personalizing Medicine

Shots: NPR’s Health Blog
2011-05-09

Eliza Barclay

For all the fanfare around personalized medicine, the idea has been fairly slow to take off.

Boosters have said if doctors had a patient’s DNA information it would be revolutionary: They could look for genetic risk of certain diseases or mutations that determine whether certain drugs are likely to work or not.

The cost of DNA sequencing keeps falling, yet genetic sequencing for medical use isn’t commonplace. In the meantime, doctors can, in theory, consider a patient’s race in anticipating health conditions that could pose a higher risk.
 
But a study published recently in PLoS One suggests that using race as a stand in for truly personalized genetic information may not work, especially in the most diverse cities (like New York and Los Angeles) that attract immigrants from around the world.

There’s a lot of genetic variability among races. And the genetic risk profiles for many people with mixed ancestry don’t fit neatly into any category…

Read the entire article here.

‘The Black Count,’ A Hero On The Field, And The Page

Weekend Edition Saturday
National Public Radio
2012-09-15

Scott Simon, Host

Tom Reiss, Author

The Black Count: Glory, Revolution, Betrayal,and the Real Count of Monte Cristo. By Tom Reiss, 432 pp. Crown Publishers. Hardback ISBN: 978-0-307-38246-7.

Gen. Thomas-Alexandre Dumas was one of the heroes of the French Revolution — but you won’t find a statue of him in Paris today.

He led armies of thousands in triumph through treacherous territory, from the snows of the Alps to the sands of Egypt, and his true life stories inspired his son, Alexandre Dumas, to write The Count of Monte Cristo and The Three Musketeers.

How did the son of a Haitian slave and a French nobleman become Napoleon’s leading swordsman of the Revolution, then a prisoner, and finally almost forgotten — except in the stories of a son who was not even 4 years old when his father died?

“I like to think of him as history’s ultimate underdog,” says author Tom Reiss. His new book, The Black Count: Glory, Revolution, Betrayal and the Real Count of Monte Cristo, uncovers the real life that inspired so many fictional heroes.

“He’s a black man, born into slavery, and then he rises higher than any black man rose in a white society before our own time,” Reiss tells NPR’s Scott Simon. “He became a four-star general and challenges Napoleon, and he did it all 200 years ago, at the height of slavery.”…

Read the entire article here. Listen to the interview (00:06:56) here.