Mixed Race Studies

Midnight at the Barrelhouse: The Johnny Otis Story

University of Minnesota Press
2010
272 pages
23 b&w plates, 6 x 9
cloth ISBN: 978-0-8166-6678-2

George Lipsitz, Professor of Black Studies and Sociology
University of California, Santa Barbara

Considered by many to be the godfather of R&B, Johnny Otis—musician, producer, artist, entrepreneur, pastor, disc jockey, writer, and tireless fighter for racial equality—has had a remarkable life by any measure. In this first biography of Otis, George Lipsitz tells the largely unknown story of a towering figure in the history of African American music and culture who was, by his own description, “black by persuasion.”

Born to Greek immigrant parents in Vallejo, California, in 1921, Otis grew up in an integrated neighborhood and identified deeply with black music and culture from an early age. He moved to Los Angeles as a young man and submerged himself in the city’s vibrant African American cultural life, centered on Central Avenue and its thriving music scene. Otis began his six-decade career in music playing drums in territory swing bands in the 1930s. He went on to lead his own band in the 1940s and open the Barrelhouse nightclub in Watts. His R&B band had seventeen Top 40 hits between 1950 and 1969, including “Willie and the Hand Jive.” As a producer and A&R man, Otis discovered such legends as Etta James, Jackie Wilson, and Big Mama Thornton.

Otis also wrote a column for the Sentinel, one of L.A.’s leading black newspapers, became pastor of his own interracial church, hosted popular radio and television shows that introduced millions to music by African American artists, and was lauded as businessman of the year in a 1951 cover story in Negro Achievements magazine. Throughout his career Otis’s driving passion has been his fearless and unyielding opposition to racial injustice, whether protesting on the front lines, exposing racism and championing the accomplishments of black Americans, or promoting African American musicians.

Midnight at the Barrelhouse is a chronicle of a life rich in both incident and inspiration, as well as an exploration of the complicated nature of race relations in twentieth-century America. Otis’s total commitment to black culture and transcendence of racial boundaries, Lipsitz shows, teach important lessons about identity, race, and power while encapsulating the contradictions of racism in American society.

Event: Joe Bataan, the Afro-Filipino King of Latin Soul

Smithsonian Asian Pacific American Program
National Museum of Natural History
Baird Auditorium
10th & Constitution Avenue, NW
Washington, D.C. 20530

Friday, 2012-10-19, 18:30-21:00 EDT (Local Time)

“Latin soul comes straight from the streets of Harlem. It’s a cha-cha backbeat with English lyrics and a pulsating rhythm that makes your feet come alive.”
 — Joe Bataan

Come learn about the power of music to move people—to get us on our feet and across borders of race, geography, class, language, and culture. The intersecting lines of heritage in Joe Bataan’s music and identity offer a unique entry point into the lives and community commitments of the civil rights movement and a deeper understanding of the American experience. Born and raised in Spanish Harlem to a Filipino father and an African American mother, Joe Bataan symbolizes the dynamic intersections between Afro-Asian-Latino histories and cultural forms.
 
Join us for a public discussion featuring Joe Bataan, activist and performer Nobuko Miyamoto, and African American Studies scholar Dr. Jeffrey O.G. Ogbar. With them we revisit the political and cultural ferment and collaboration of the late 1960s and 1970s in New York City when groups such as the Black Panther Party, the Young Lords Party, Asian Americans for Action, and El Comité contributed to dynamic social justice movements, catalyzed largely by young people, which inspired cultural pride, creativity, and activism. Miguel “Mickey” Melendez, author and former member of the Young Lords, will moderate the discussion.

For more information, click here.

The Politics of Samba

Georgetown Journal of International Affairs
Volume 2, Number 2 (Summer/Fall 2001)

Bruce Gilman

Samba, which was created in its present form in the 1910s, yet whose roots reach back much farther and tie Brazil to the African continent, has played an integral part in Brazil’s conceptualization as a nation. Originally despised by Brazil’s elite, samba’s message of racial integration was eventually used by both progressive reformers and authoritarian dictators. Despite samba’s image abroad as a catalyst for racial miscegenation, its political message never took hold in Brazilian society. Today, samba continues to be as much a source of social integration as a prism of Brazil’s racial fractures.

Historical Roots.

It is probable that the word “samba” originated in Angola, where the Kimbundu word semba designated a circle dance similar in choreography to the west African batuque that Bantu slaves brought to Brazil. While the exact number of blacks entering Brazil during its period of slavery is unknown, it is commonly estimated that at least eigh- teen million Africans were “imported” between 1538 and 1828. The primary center from which the Portuguese disseminated slaves into the Brazilian interior was Salvador, Bahia. It was the second largest city in the Portuguese Empire after Lisbon, and famous for its sensuality and decadence expressed in its beautiful colonial mansions and gold-filled churches. In Bahia, African culture took root to such an extent that today many African traditions are better preserved there than any-where else in the New World. Sambas rhythm is rooted in the rich musical heritage that Africans took with them in their forced migration to Brazil.

Although sambas rhythm is of African origin, its melody, harmony, form, and instrumentation are influenced by European traditions. The licentious lundu dance, derived from the rhythm of the batuque, became increasingly popular in Brazil in the late eighteenth century. At the same time, the flute, guitar, and cavaquinho, which initially accompanied the modinha the Brazilian way of playing the lyric song style of the Portuguese elite, would come to play an important role in samba. Brazilian poet and priest Domingo Caldas Barbosa (1740-1800), whose mother was a slave from Angola and whose father was a Portuguese businessman, broke with the tradition of the court style by substituting guitar for the harpsichord and introducing risqué lyrics in the most aristocratic salons of Lisbon. While Barbosa was indignantly criticized for his sensuous poetry, erudite Portuguese composers soon began producing their own modinhas. Both the lundu and the modinha crossed the boundaries between popular and elite, yet gained acceptance at the Lisbon royal court in an early instance of the fusion of African and Iberian styles. Brazil’s African-inspired musical traditions also merged with other non-Portuguese, European styles. In the mid-1840s, French traveling musical theater companies introduced the polka to Brazil. As the lundu fused with the polka, it turned into the maxixe, a Brazilianized version of the polka. The maxixe became the first genuinely Brazilian dance and decisively influenced the creation of samba as a specific genre, eventually finding acceptance among the elite of Rio de Janeiro.

…Racial marginalization was also fostered by the growing conviction among nineteenth-century intellectuals that true Brazilian nationhood required ethnic homogeneity. Influential scientists regarded people of mixed race as indolent , undisciplined, and shortsighted. They argued that Brazil’s racial composition did not exemplify cultural richness or vitality, but rather constituted a singular case of extreme miscegenation; consequently, the person of mixed race evolved into a symbol of Brazilian backwardness. Blacks were seen as a major factor contributing to Brazil’s inferiority because they would never be able to absorb, and could only imitate, “Aryan” culture. Racial mixing thus furnished an explanation for the defects and weaknesses of Brazilian society and became a central issue in Brazil’s conceptualization as a nation.

Most Brazilians believed that national homogeneity could be achieved through assimilation and miscegenation, but only if this guaranteed evolutionary superiority through a general “whitening” of the population. Thus, the most welcomed immigrants were southwestern Europeans who mixed readily with the rest of the Brazilian population; Africans were never considered among” possible candidates for immigration…

Read the entire article here.

Portuguese and Luso-Asian Legacies in Southeast Asia, 1511-2011, Volume 2: Culture and Identity in the Luso-Asian World: Tenacities & Plasticities

Institute of Southeast Asian Studies
2012
368 pages
Soft cover ISBN: 978-981-4345-50-7
See Volume 1 here.

Edited by:

Laura Jarnagin, Visiting Professorial Fellow
Institute of Southeast Asian Studies in Singapore
also Associate Professor Emerita in the Division of Liberal Arts and International Studies at Colorado School of Mines (Golden, Colorado)

“In 1511, a Portuguese expedition under the command of Afonso de Albuquerque arrived on the shores of Malacca, taking control of the prosperous Malayan port-city after a swift military campaign. Portugal, a peripheral but then technologically advanced country in southwestern Europe since the latter fifteenth century, had been in the process of establishing solid outposts all along Asia’s litoral in order to participate in the most active and profitable maritime trading routes of the day. As it turned out, the Portuguese presence and influence in the Malayan Peninsula and elsewhere in continental and insular Asia expanded far beyond the sphere of commerce and extended over time well into the twenty-first century.

Five hundred years later, a conference held in Singapore brought together a large group of scholars from widely different national, academic and disciplinary contexts, to analyse and discuss the intricate consequences of Portuguese interactions in Asia over the longue dure. The result of these discussions is a stimulating set of case studies that, as a rule, combine original archival and/or field research with innovative historiographical perspectives. Luso-Asian communities, real and imagined, and Luso-Asian heritage, material and symbolic, are studied with depth and insight. The range of thematic, chronological and geographic areas covered in these proceedings is truly remarkable, showing not only the extraordinary relevance of revisiting Luso-Asian interactions in the longer term, but also the surprising dynamism within an area of studies which seemed on the verge of exhaustion. After all, archives from all over the world, from Rio de Janeiro to London, from Lisbon to Rome, and from Goa to Macao, might still hold some secrets on the subject of Luso-Asian relations, when duly explored by resourceful scholars.”

—Rui M. Loureiro
Centro de Historia de Alem-Mar, Lisbon

“This two-volume set pulls together several interdisciplinary studies historicizing Portuguese ‘legacies’ across Asia over a period of approximately five centuries (ca. 1511-2011). It is especially recommended to readers interested in the broader aspects of the early European presence in Asia, and specifically on questions of politics, colonial administration, commerce, societal interaction, integration, identity, hybridity, religion and language.”

—Associate Professor Peter Borschberg
Department of History, National University of Singapore

Table of Contents

• Preliminary pages with Introduction
• PART I: CRAFTING IDENTITY IN THE LUSO-ASIAN WORLD
  • 1. Catholic Communities and their Festivities under the Portuguese Padroado in Early Modern Southeast Asia, by Tara Alberts
  • 2. A “Snapshot” of a Portuguese Community in Southeast Asia: The Bandel of Siam, 1684-86, by Rita Bernardes de Carvalho
  • 3. The Colonial Command of Ceremonial Language: Etiquette and Custom-Imitation in Nineteenth-Century East Timor, by Ricardo Roque
  • 4. Remembering the Portuguese Presence in Timor and Its Contribution to the Making of Timor’s National and Cultural Identity, by Vicente Paulino
• PART II: CULTURAL COMPONENTS: LANGUAGE, ARCHITECTURE AND MUSIC, by Alan Baxter
  • 5. The Creole-Portuguese Language of Malacca: A Delicate Ecology
  • 6. Oral Traditions of the Luso-Asian Communities: Local, Regional and Continental, by Hugo C. Cardoso
  • 7. Verb Markings in Makista: Continuity/Discontinuity and Accommodation, by Mario Pinharanda-Nunes
  • 8. From European-Asian Conflict to Cultural Hertiage: Identification of Portuguese and Spanish Forts on Ternate and Tidore Islands, by Manuel Lobato
  • 9. The Influence of Portuguese Musical Culture in Southeast Asia in the Sixteenth and Seventeenth Centuries, by Christian Storch
• PART III: ADVERSITY AND ACCOMMODATION, by Roderich Ptak
  • 10. Portugal and China: An Anatomy of Harmonious Coexistence (Sixteenth and Seventeenth Centuries)
  • 11. “Aocheng” or “Cidade do Nome de Deus”: The Nomenclature of Portuguese and Castilian Buildings of Old Macao from the “Reversed Gaze” of the Chinese, by Vincent Ho
  • 12. Enemies, Friends, and Relations: Portuguese Eurasians during Malacca’s Dutch Era and Beyond, by Dennis De Witt
• Appendix: Maps
• Bibliography
• Index

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.

The L.A. Scene: Teaching Race and Popular Music in the 1950s

Organization of American Historians Magazine of History
Volume 26, Issue 4
pages 17-20
DOI: 10.1093/oahmag/oas030

Luis Alvarez, Associate Professor of History
University of California, San Diego

In 1956, Little Julian Herrera had one of the biggest rhythm and blues hits of the year in Los Angeles. His soulful, doo-wop style ballad, “Lonely Lonely Nights,” turned Herrera into an overnight sensation. He was soon known across the city for spectacular live performances that later drew comparisons to a young James Brown. He became a teen idol and heartthrob among Mexican American girls on the Eastside. What many of his fans may not have known, however, was that Herrera was neither Mexican American nor from L.A. He was an East Hungarian Jew who had run away from his Massachusetts home at age eleven. His given name was Ezekiel, though his probation officer knew him as Ron Gregory. After hitchhiking to Southern California, he was taken in by a Mexican American family in the Boyle Heights neighborhood of East L.A. and eventually took their surname as his own.

“Lonely Lonely Nights” was produced by the legendary Johnny Otis. Born the son of Greek immigrants in Vallejo, California, Otis came of musical age as a drummer and bandleader playing African American jazz and blues joints along Central Avenue in L.A. By the mid-1950s when he helped launch Little Julian Herrera into local stardom, Otis already was a formidable figure in the L.A. music scene who soon became known as the “Godfather of Rhythm and Blues.” He produced records, hosted radio and television programs, and organized dances and concerts. He was also regularly harassed by local authorities for creating and promoting music whose performers and audiences often crossed racial lines. Otis, in fact, considered himself “black by persuasion.” He once remarked, “Genetically, I’m pure Greek. Psychologically, environmentally, culturally, by choice, I’m a member of the black community”. In a scenario emblematic of the racial diversity of L.A.’s 1950s…

Read or purchase the article here.

Theater; On Hearing Her Sing, Gershwin Made ‘Porgy’ ‘Porgy and Bess’

The New York Times
1998-03-29

Barry Singer

In his tragically short life, George Gershwin knew only one Bess, and this bittersweet fact has framed Anne Wiggins Brown’s life. She was that Bess in the original production of Gershwin’s operatic masterwork based on Dorothy and DuBose Heyward’s theatrical adaptation of Heyward’s novel “Porgy.”

More than 60 years have passed since Gershwin’s death in 1937 from a brain tumor. Though singers of every race and nationality have by now assayed the role, Ms. Brown will always be the first, the Bess Gershwin himself chose in 1934.

“Bess is slender but sinewy; very black,” wrote the Heywards. “She flaunts a typical but debased Negro beauty.”

At 85, Ms. Brown still possesses the vibrancy and unaffected elegance that must have first inspired Gershwin. She is not, however, “very black.” For Gershwin that was never a problem. “I don’t see why my Bess shouldn’t be cafe au lait,” he told Ms. Brown before offering her the role.

Yet color has haunted Ms. Brown’s career. In the segregated America of the 1930’s and 40’s, where could a classically trained African-American soprano hope to have a career? The only answer was abroad…

…She was born Annie Wiggins Brown in Baltimore in 1912. Her father, a doctor, was the grandson of a slave; her mother’s parents were of Scottish-Irish, black and Cherokee Indian descent. At 23, Ms. Brown was introduced to the world as an opera singer and an African-American in “Porgy and Bess.” Thirteen years later, in 1948, after more than a decade of concertizing and frustrated ambitions, she left America for Norway…

…”To put it bluntly, I was fed up with racial prejudice,” she explained, her English accented with Scandinavian inflections. “Though there is no place on earth without prejudice. In fact, a French journalist wrote an article during one of my tours there asking: ‘Why does she say she is colored? She’s as white as any singer. It’s just a trick to get people interested.’ Can you imagine? Of course I was advertised as ‘a Negro soprano.’ What is ‘a Negro soprano’?”…

…When the show’s closing notice was posted after 124 performances, the producers announced a tour with stints in Philadelphia, Pittsburgh and Chicago, to be followed by a week at the National Theater in Washington. Ms. Brown was livid. The National Theater, she knew, was a segregated house.

“I told them: ‘I will not sing at the National. If my mother, my father, my friends, if black people cannot come hear me sing, then count me out.’ I remember Gershwin saying to me, ‘You’re not going to sing?’ And I said to him, ‘I can’t sing!’ ”

After protracted negotiations, the National, for one week only, became an integrated house. When the curtain came down on the final performance of “Porgy and Bess,” segregation was reinstated…

Read the entire article here.

Anne Brown, Soprano Who Was Gershwin’s Bess, Is Dead at 96

The New York Times
2009-03-16

Douglas Martin

Anne Brown, a penetratingly pure soprano who literally put the Bess in “Porgy and Bess” by inspiring George Gershwin to expand the character’s part in a folk opera that was originally to be called “Porgy,” died Friday in Oslo. She was 96.

Her daughter Paula Schjelderup announced the death.

“Porgy and Bess” burst onto the American scene in 1935 as a sophisticated musical treatment of poor blacks. Critics could not make out whether it was a musical comedy, a jazz drama, a folk opera or something quite different. Time told: it became part of the standard operatic repertory, including that of the Metropolitan Opera.

Drawing from the gritty experiences of South Carolina blacks, “Porgy and Bess” introduced songs that came to be lodged in American culture. Ms. Brown was the first person Gershwin heard singing the part of Bess, a morally challenged but achingly human character who was relatively minor in the original 1925 DuBose Heyward novel and the 1927 hit stage play by DuBose and Dorothy Heyward.

As he composed the opera, often with Ms. Brown at his side, Gershwin added more and more music for her. Her voice was also the first he heard singing several other parts in the opera…

Read the entire obituary here.

‘I don’t believe in Negro symphony conductors’

On An Overgrown Path
2011-07-25

John McLaughlin Williams

‘Oh, come in, young man. I’m reading these reviews. They are out of this world. You really have something. But I might as well tell you, right now, I don’t believe in Negro symphony conductors. No, you may play solo with our symphonies, all over this country. You can dance with them, sing with them. But a Negro, standing in front of a white symphony group? No. I’m sorry.’

That is the impresario Arthur Judson discussing career opportunities with African American conductor Everett Lee, seen above, [also here (1948)] in the early 1950s. Judson headed Columbia Artists Management Inc and for twenty-five years was the power broker of musical America with a stable of artists that included Eugene Ormandy, Jascha Heifetz and African American contralto Marian Anderson, and at the time of the discussion he also managed the New York Philharmonic Orchestra.

In 1940, together with fellow African American Dean Dixon and Canadian Benjamin Steinberg, Everett Lee attempted to circumvent the institutionalised racism in American classical music by forming an orchestra of black musicians. But the project failed for financial reasons and both Lee and Dixon went on to pursue their careers outside America, although Steinberg succeeded in establishing an orchestra of predominantly black players when he formed the New World Symphony in 1964…

…History was made in 1953 when Lee became the first black musician to conduct a white symphony orchestra in the south of the States, this happened at the concert in Louisville, Kentucky see in the photo below. There was another milestone in April 1955 when he became the first musician of colour to conduct a major opera company in the US with a performance of La Traviata at the New York City Opera in April 1955…

Read the entire article here.

Mosley Wotta releases new album

The Bulletin
Bend, Oregon
2012-09-14

Ben Salmon

Bend hip-hop artist performs in Bend tonight

Anyone who knows local artist, musician and educator Jason Graham—aka MOsley WOtta, leader of the hip-hop band of the same name—knows that his relocation to Bend at age 9 from Chicago’s north side has had a profound and longstanding effect on his worldview, and thus, his art.

Get Graham, 29, talking (not a difficult task at all), and you’re likely to eventually hear about his experience as a mixed-race kid moving from an ultra-urban environment to the lily-white Bend of a decade ago. And he won’t hesitate to point out that his own stereotypes about “the country” were as deeply entrenched as those he encountered in others.

The collision of race and culture is a subject Graham has always touched on in his music, going back to his time in the local rap collective Person People, up through his first solo album, 2010’s “Wake.”

But tonight, Graham will celebrate the release of the second Mosley Wotta album, “KinKonK,” at the old PoetHouse Art space in Bend (see “If you go”), and at the same time, he’ll unveil a more direct, more forceful and more thoughtful set of songs on the subject than he ever has before. It’s also material that may surprise some of the folks who’ve come to love the Mosley Wotta band that, since winning Bend’s inaugural Last Band Standing competition two years ago, has dominated local festival stages with its upbeat funk-hop and positive message of unity through music…

Read the entire article here.