Mixed Race Studies

Lost Boundaries (1949)

Turner Classic Movies
February 2016

David Kalat

This is not a joke, but it starts like one: two men walk into an office. They have come to pitch an idea to a Hollywood mogul, an idea for a blockbuster movie. Sort of. Their idea is a docu-drama on George Washington Carver.

Perhaps the idea doesn’t strike you as a winning one. But this was no ordinary mogul. His name was Louis De Rochemont, and he was the Academy Award-winning documentarian responsible for the March of Time newsreel series. He’d segued that success into an unprecedented contract with MGM giving him creative freedom to make whatever projects he wished, on his own turf. As a New Hampshire native, his own turf meant that state — and the projects he wished were ones rooted in reality. “The aim of any drama is to give the illusion of real things,” he explained, “So why not use real things in the first place?” These were not idle words, either–he was prepared to put his money where his mouth was, and always had. At the age of twelve, he’d sent away to Popular Mechanics for the blueprints of a motion picture camera, and then built his own according to the plans. With that, he then shot some film around his hometown and sold it to theaters. This hobby found him one day shooting footage of a submarine launch in Portsmouth, which was purchased by a newsreel company. The delighted kid took his earnings and used it–get this–to go to a New York theater and see his film on the big screen. Mr. De Rochemont was an earnest fellow, and that made him an ideal producer for a Carver bio-pic.

So, he sat and listened to the pitch, unconvinced but polite enough to not kick these two equally earnest kids out of his office, like so many other movie people would have done. De Rochemont looked at the two boys in front of him, one black and one white, and asked, “I understand why you want this film made… but what about you?” The white boy, an aspiring composer named Albert Johnston, Jr., smiled at the older man’s misapprehension. He explained that although many people mistake him for white, in fact he had been passing for years. Actually, he’d been passing his whole life, and only just learned the truth.

For contemporary readers, that term “passing” may cause some puzzlement. In the late 1940s, when this took place, however, it’s another matter. It was a time of rigid racial segregation, when even “one drop of Negro blood” was enough to consign a person to a permanent second-class status. Of course, “one drop of Negro blood” is a biologically ridiculous notion. I said it wasn’t a joke, but this part certainly is. There is no scientific way to distinguish one race from another–it isn’t a biological difference, merely a cultural illusion. And as a cultural illusion, it is built entirely atop what people look like. There are people whose lineage would identify them as “black,” but who do not look it. In the absence of some external proof of “Negro blood,” then, it becomes a question of the honor system whether these straddlers would choose to opt into the second class life that their racist society demanded. Little wonder, then, that there were some who were willing to be accepted as white…

Read the entire article here.

“Passing” “Presenting” & the Troubled Language of Mixed Race

Multiracial Asian Families: thinking about race, families, children, and the intersection of mixed ID/Asian
2016-04-21

Sharon H. Chang

I’m a light-skinned mixed race Asian/white woman. I don’t deny it. On my lightest day, in the deep of winter, under cover of endless Seattle clouds, I could definitely hold my arm next to some white people and almost match (though the tinting never seems quite right). Because I’m non-Black and light-skinned I am not vulnerable to police brutality, housing discrimination, hate crimes, excessive surveillance, racial bullying and assault, and the many, many forms of violent oppression acted upon visibly Brown and Black peoples every day. This is undoubtedly a privilege, one that I actively acknowledge and try to hold in constant consciousness and conscientiousness as I write about race and am involved in social justice work. My main responsibility is often going to be de-centering myself to make room for the voices of others most impacted; to listen, not lead; support and even sometimes leave spaces entirely because my presence may interrupt safety and sacredness.

And yet, these are the things that have been said to me recently by whites and people of color (POC), men and women, young and old:

What are you? Because if you had said you were white – I would’ve believed you.

Man! How do you people do that international thing??

Excuse me, I’m sorry, but can I ask what your mix is?

There is no pure Asian anymore.

You Asian? I need help with my gardening.

So what do you do?

Are you a flight attendant, stewardess?

While I always need to be aware of my light-skinned privileges, I also have to hold being read by others as “definitely not white” a lot of the time. That matters. I, like everyone else, am a racialized body in a racialized/racist place. I am not Brown or Black and it’s incumbent upon me to be eternally thoughtful about this. But I am not often seen as white either. Could I describe myself as white? I could try. But does that reflect who I am? Or how the world sees me? Or, more importantly, does it prepare me to deal with the racial-boundary policing I butt up against? Absolutely not.

So why am I starting to see so many mixed race peoples foreground their whiteness as more significant than their color – when the world around them doesn’t actually allow that?…

Read the entire article here.

The Myth of Transracial Identity

The Humanist
2016-04-18

Sincere Kirabo

Ninety years ago, writer Carl Van Vechten published a novel intended to be a celebration of Harlem, which at the time was experiencing a budding literary, artistic, and intellectual movement that sparked a new cultural identity for Black America.

Van Vechten’s vivid and nuanced tale granted white America a voyeur pass to “the great black walled city” of Harlem. There was only one problem: Van Vechten was a white man. Worse, to further inspire exposure over this willful exploit, which he referred to as his “Negro novel,” Van Vechten decided to name his roman à clef after an expression used to describe the balcony seating of Blacks in the era of overt segregation: Nigger Heaven.

Juxtapose this unauthorized thievery of select cultural expressions of an oppressed minority group with a present-day example. Last summer, educator and NAACP chapter president Rachel Dolezal was exposed as a white woman portraying herself as being Black. A torrent of media coverage and interviews ensued. Seemingly for the first time, the US was obsessed with the plight of a Black woman, except that the attention centered on a white woman who donned blackface and frizzy hairpieces…

Read the entire article here.

We MUST Understand: Where is the ‘One-Drop Rule’ When We Need It Most?

African-American News&Issues
Houston, Texas
2016-03-04

Roy Douglas Malonson, Publisher

In regards to ‘race matters’ I remember a much simpler time when we knew who was Black. Now I am aware that we have always had a few of us that have ‘passed’ as White, however, I am not thinking about them at this moment.

There was a time in America where there were basically only two populations that mattered, Black and White. When I look at the present situation, I am left with one major question, “Is Blackness on the verge of being extinct?”…

Read the entire article here.

Movie of the Week: Lost Boundaries

LIFE
1949-07-04
pages 64-66

THE DOCTOR’S SON, who has just learned he is part Negro looks at the half-moons on his nails for telltale shadows–a widely believed but completely inaccurate test of Negro blood.

Film tells real-life story of Negroes “passing” as whites

Dr. Albert Johnston (below) of Keene, N.H. is a prosperous New England physician who was a Negro for the first 28 years of his life, lived as a white man for 20 more and became a Negro again when the U.S. Navy, having investigated his past, refused him a commission for “inability to meet physical requirements.” The story of what Negroes call his “passing” is not too different from that of thousands of other technically “colored” Americans who have passed over the invisible boundary to the white race. Told by William L. White in a widely read Reader’s Digest article in 1947,  it has now been made into an honest and affecting movie by Louis de Rochemont. Using the documentary technique he popularized in Hollywood (The House on 92nd Street, Boomerang!), De Rochemont filmed Lost Boundaries against the real background of New England towns. As fictionalized for the screen, it tells of a light-skinned Negro couple (played by white actors) driven to cross the color line by poverty and the advice of friends, and of the vexations of discrimination. They build a happy but insecure life in a small town, gaining the respect and friendship of their neighbors and bringing up children in ignorance of their past. Their lives are disrupted when they have to admit the truth, but finally patched together again by tolerance and courage and good sense. Related without melodrama, acted with conviction and force, Lost Boundaries is a direct and honest account of one shadowy sector of American life where unknown thousands live today in secret conflict of loyalties and fears…

Read the entire article here.

White America’s Obama-era freakout: What research can tell us about racial animus since 2008

Salon
2016-04-17

Sean McElwee

The election of America’s first black president somehow led even more conservative whites to change parties

Racism may be the single most important feature of contemporary American politics and the key to understanding the Obama Presidency. This is not to say that other things don’t matter: class, gender, religion, region all certainly affect political views. But if you want to understand the broad contours of American politics today, you need to examine race. Previously, I’ve argued that whites are rapidly leaving the Democratic Party because of racism. But in his new book, “Post-Racial or Most-Racial,” political scientist Michael Tesler makes a powerful argument that race has affected even seemingly non-racial parts of American society…

Read the entire article here.

With ‘Keanu,’ Key & Peele Break Into Feature Films — With Kittens in Tow

The New York Times
2016-04-20

Dave Itzkoff, Culture Reporter

There is no longer “Key & Peele,” the razor-sharp Comedy Central sketch series that ended in September. There are only Keegan-Michael Key and Jordan Peele, the comic actors and writers who used the five seasons of that show to shine a satirical spotlight on racial stereotypes and injustice (not to mention the increasingly distinctive names of college football players). And so the two men started pursuing their individual career paths.

A few months later, those paths have brought Mr. Key and Mr. Peele back together on their first movie, “Keanu,” which Warner Bros. will release on Friday, April 29. In this comedy, they star as cousins in Los Angeles who take in an adorable kitten they name Keanu. (It can mean “cool breeze,” too, you know.) But, unaware that Keanu once belonged to a notorious drug lord, the strait-laced pair must navigate the city’s criminal underbelly to reclaim Keanu when he is stolen from them.

…There’s a running idea in “Keanu” about black men who don’t fit traditional stereotypes having to navigate a world of stereotypical characters. Is that drawn in any way from your real-life experiences?

PEELE Part of it is a commentary on the lack of representation in movies. Certainly, there’s an overwhelming amount of stereotypes in movies. We’ve placed ourselves in a more typical world of Hollywood stereotypes.

KEY African-American culture’s not a monolith. You could take 56 pictures, and there’s one picture where you make this face [contorts his features], and that’s the picture they pick. “He loves to make that face!” No, dude, you didn’t look at the other 55 pictures. If we’re black nerds, we write from a point of view being black nerds. But we’re still African-American. In my life, it’s been frustrating when someone says, “You’re not black enough.” And I’m going: I’m black enough to not get that cab you also didn’t get. They didn’t pick me up either…

Read the entire article here.

How poet Ariana Brown became the Afro-Latina role model she needed

Poetry
PBS NewsHour
2016-02-08

Corinne Segal, Online Arts Reporter/Producer

Poet Ariana Brown. Photo by Christopher Diaz

Poet Ariana Brown is the role model she needed.

Growing up in San Antonio, Brown said she struggled to find other representations of herself — an Afro-Latina woman from a working class family — both in her community and literature.

“I remember reading books and being so invested in the characters and the story, and then I would get to a certain line in the story where it would describe what the character looked like. And then I would realize, this book is not talking about me,” she said. “Part of my work is to always go back for little girl Ariana and figure out what it is she needed that she didn’t get.”

In high school, Brown picked up the autobiography of Malcolm X. He was “someone who was also working class, from a poor family, a family of color, who didn’t have access to opportunities, who came from a neighborhood where you weren’t expected to excel,” she said.

Reading about the way Malcolm X used language to command attention gave her a road map for her own future, she said…

…Brown’s poem “Inhale: The Ceremony” speaks to her relationship to her ancestors, a history that she said is often unacknowledged or disrespected. “I’m never racialized as Latina. I’m always racialized as black. My whole identity isn’t acknowledged [and] I’m assumed to be an outsider in almost every space I enter. That is a very isolating feeling,” she said…

Read the entire article here.

Colorism

The Podcast
Stuff Mom Never Told You
2016-04-13

Cristen Conger, Co-host

Caroline Ervin, Co-host

Why does lighter skin improve women’s chances of getting through school, getting a job and getting married? Cristen and Caroline explore the historical roots, repercussions and cross-cultural shades of colorism around the world.

Listen to the episode (00:48:48) here. Download the episode here.

Our love was colour blind… but our families weren’t

The Daily Mail
London, United Kingdom
2016-02-05

Diana Appleyard and Clare Goldwin

Deeply moving, and exposing tensions that still blight Britain today, mixed-race couples from four generations tell their stories

‘MY FATHER THREW ME OUT OF THE HOUSE’: 1940s MARY AND JAKE JACOBS

Mary, 81, is married to Jake, 86, and lives in Solihull in the West Midlands. They have no children. Mary is a former deputy head teacher, and Jake worked for the post office before retiring. Mary is white and Jake is black, originally from Trinidad.

MARY SAYS: When I told my father I was going to marry Jake he said, ‘If you marry that man you will never set foot in this house again.’

He was horrified that I could contemplate marrying a black man, and I soon learned that most people felt the same way. The first years of our marriage living in Birmingham were hell — I cried every day, and barely ate. No one would speak to us, we couldn’t find anywhere to live because no one would rent to a black man, and we had no money. …

Read the entire article here.