Mixed Race Studies

Yellow Rose of Texas

The Handbook of Texas Online
Texas State Historical Association
2012-01-21

Jeffrey D. Dunn

James Lutzweiler

“The Yellow Rose of Texas,” one of the iconic songs of modern Texas and a popular traditional American tune, has experienced several transformations of its lyrics and periodic revivals in popularity since its appearance in the 1850s. The earliest published lyrics to surface to date are found in Christy’s Plantation Melodies. No. 2, a songbook published under the authority of Edwin P. Christy in Philadelphia in 1853. Christy was the founder of the blackface minstrel group known as the Christy’s Minstrels. Their shows were a popular form of American entertainment featuring white performers with burnt cork makeup portraying caricatures of blacks in comic acts, dances, and songs. The plaintive courtship-themed 1853 lyrics of “The Yellow Rose of Texas” fit the minstrel genre by depicting an African-American singer, who refers to himself as a “darkey,” longing to return to “a yellow girl,” a term used to describe a mulatto, or mixed-race female born of African-American and white progenitors. The songbook does not identify the author or include a musical score to accompany the lyrics:

There’s a yellow girl in Texas
That I’m going down to see;
No other darkies know her,
No darkey, only me;
She cried so when I left her
That it like to broke my heart,
And if I only find her,
We never more will part.

Chorus: She’s the sweetest girl of colour
That this darkey ever knew;
Her eyes are bright as diamonds,
And sparkle like the dew.
You may talk about your Dearest Mae,
And sing of Rosa Lee,
But the yellow Rose of Texas
Beats the belles of Tennessee.

Where the Rio Grande is flowing,
And the starry skies are bright,
Oh, she walks along the river
In the quiet summer night;
And she thinks if I remember
When we parted long ago,
I promised to come back again,
And not to leave her so.

Chorus: She’s the sweetest girl of colour, &c

Oh, I’m going now to find her,
For my heart is full of woe,
And we’ll sing the songs together
That we sang so long ago.
We’ll play the banjo gaily,
And we’ll sing our sorrows o’er,
And the yellow Rose of Texas
Shall be mine forever more.

Chorus: She’s the sweetest girl of colour, &c.

“Dearest Mae” and “Rosa Lee,” the only named females in the song, are the titles of two songs also appearing in Christy’s Minstrels songbooks. These songs were published earlier (1847–48) and are similar in style. Both are sung by a black man in a courtship setting with lyrics similar to those found in “The Yellow Rose of Texas.” Dearest Mae, who was from “old Carolina state,” was described as follows: “Her eyes dey sparkle like de stars, Her lips are red as beet,” and “She cried when boff [both] we parted.” Rosa Lee lived in Tennessee and had “Eyes as dark as winter night, Lips as red as berry bright.”

…In 2011 Yale Divinity School Library archivist Joan Duffy uncovered material indicating that the song’s composer might have been John Kelly, a famous minstrel banjoist, comedian, and composer who took the stage name “J. K. Campbell” in 1851 at the request of a fellow minstrel performer. According to Edward Le Roy Rice (1911), in 1859 and 1860 Campbell was working with George Christy’s Minstrels at Niblo’s Saloon in New York City under name of J. K. Edwards before changing his stage name back to J. K. Campbell. A minstrel “comic song” composed circa 1861 by “J. K. Campbell,” entitled “Ham Fat,” is similar in style to “The Yellow Rose of Texas.” One of the lines reads: “You may talk about your comfort, But Massa is the man…”…

Read the entire article here.

50 African Americans Who Forever Changed Academia

Online College
2012-01-24

Black History Month is celebrated every February as a time to recognize and honor African-Americans who made great contributions to some aspect of life in this country. Major figures like Martin Luther King Jr. and Rosa Parks are often honored, but many lesser-known men and women made impacts on society by working through the channels of academia, breaking barriers for future African-Americans, or creating opportunities for children that they never had before. Here are 50 of those men and women to remember this February…

Read the entire article here.

‘MOsley WOtta’ Transcends Boundaries Of Music, Poetry And Art

OPB News
Oregon Public Broadcasting
2011-12-30

David Nogueras, Central Oregon Correspondent
Bend, Oregon

Note from Steven F. Riley: I will be the co-host on the February 22, 2012 podcast of Mixed Chicks Chat with featured guest Jason Graham.

It’s been a good year for Bend’s MOsley WOtta.  The hip-hop group played shows around the state, opening for acts such as Ice Cube and Tricky.  The band plans to close out this year with a New Year’s Eve show in Bend. That’s where the band will unveil its third official release, titled Amalgum X. Bend isn’t typically thought of for it’s hip hop scene. But MOsley WOtta isn’t your typical hip hop group.

“No matter where you come from, what era you come from, there is some kind of music inside of hip hop that will grab you,” says Bend artist MOsley WOtta.

“Light skin, blue blood, gentlemen and ladies, girls and boys, this is that love, pain, grow, if you are living and breathing right now.  You know exactly what I’m talking about.” MOsley WOtta is the alter ego of 28 year old Jason Graham.  It’s also the band that Graham fronts…

…“I think he’s a classic artist, a classic creative brain.  You might meet artists and creative people who are introverted or socially awkward.  This is not that case,” says Salmon. Up on stage, Jason Graham is in his comfort zone.   But growing up biracial in the 1980 he says he’s always kind of felt as if he lived between worlds.  He was born in what he describes as a somewhat rough neighborhood in Chicago and moved to Bend at age 9.  These days he’s tough to miss.  He’s tall, lanky and exudes energy.   Graham says sometimes people don’t quite know what to make of him.

“Maybe people come up and they’re like so are you Mexican?  Are you Filipino?  Indian right?  That is just like with the music, I do see a total correlation there.  Between it’s like well it’s not exactly one thing.  And it never will be one thing, cause I’m not one thing,” says Graham…

Read the entire article here.  Listen to the audio here (00:04:54).

The Brazilian system of racial classification

Ethnic and Racial Studies
Published Online: 2011-12-05
6 pages
DOI: 10.1080/01419870.2011.632022

Antonio Sérgio Alfredo Guimarães, Professor of Sociology
Universidade de São Paulo, Brazil

Michael Banton’s text belongs to the long tradition of European social sciences which rejects the conceptual use of the lerm ‘race’ in sociological analyses. His work is also linked to the school—this time a minority—that uses individualist and logico-analytic methodologies, largey shunning historical, structuralist or holistic analyses. The real novelty of his approach, though, resides in bringing the natural concept of ‘colour’ to the centre of sociological analyses of the kinds of social differentiation and hierarchization that arise from the encounters between distinct peoples and cultures.

However my comments in this short text will not address any of these aspects head on. Instead I shall concentrate on clarifying what seems to me to be the weak point of the empirical example used by Banton in his argument, namely, the Brazilian system of racial classification, which, according to the author, is based not on race but on colour, by which he means skin colour or tone.

To allow the reader to follow my comments, it is worth briefly recalling what we know about the Brazilian system of racial classification, a topic systematically studied by sociologists and anthropologists between the 1940s and 1970s (Frazier 1944; Pierson 1945; Hutchinson 1952; Wagley 1952; Zimmerman 1952; Azevedo 1953: Fernandes 1955; Bastide and Berghe 1957; Harris and Kottak 1963; Harris 1970; Sanjek 1971; Nogueira 1985), with the aim of deciphering its classifieatory principles. From 1872 onwards the Brazilian census classified the ‘colours’ of Brazilians on the basis of the theory that mestiços ‘revert’ or ‘regress’ to one of the ‘pure races’ involved in the mixture an ideology that shaped both common-sense and academic knowledge at the end of the nineteenth century. The 1872 census, for example, created four ‘colour groups’: white, caboclo, black and brown (branco, caboclo (mixed…

Read or purchase the article here.

President Alexandre Pétion: Founder of Agrarian Democracy in Haiti and Pioneer of Pan-Americanism

Phylon (1940-1956)
Volume 2, Number 3 (Third Quarter, 1941)
pages 205-213

Dantès Bellegarde (1877-1966) [Biography in French]

The history of Haiti is dominated by four great men who fought and worked for its independence: Toussaint Louverture, Dessalines, Christophe and Pétion. Toussaint is the best known of them all because his extraordinary genius and spectacular career have engaged the attention of numerous authors. From a variety of angles they have related the story of this one-time slave who became the governor-general of the French colony of Santo Domingo only to die a captive in a dungeon of the Jura Mountains.

The career of Dessalines was scarcely less dramatic than that of Toussaint, for it was he who led to decisive victory the Negroes and mulattoes, united in the sacred struggle for freedom. Christophe, who became King of Haiti and revealed great administrative powers, is principally known in the United States by the public works which he constructed in the Northern Kingdom. The most remarkable of these is the Citadelle Laferrière, which has justly been called one of the wonders of America.

Of these four remarkable men Alexandre Pétion is the least known in the United States, but his name is revered in Latin America. In fact, he has played a role of first importance in the history of the New World, as I hope to demonstrate in this short biography, which I am writing for Phylon.

Alexandre Pétion was born at Port-au-Prince, April 2, 1770, the son of a mulatto woman and a white man, Pascal Sabès, who, considering his son too dark of skin, refused to recognize him. His elementary education was very inadequate because the whites had not established schools in the colony of Saint Domingue. He learned the trade of silversmith from one of his father’s old friends, M. Guiole, a native of Bordeaux, whose wife showed much solicitude for the young boy. She called him Pichoun, which in her southern patois meant mon petit, “my little one,” whence the name Pétion, by which he continued to be known and which he finally adopted as his own…

Read the entire article here.