Mixed Race Studies

Juxtaposed, “Mexican Chef” and “Black Stars” speak volumes about the ongoing evolution of [Xenia] Rubios’ identity. While she identifies as Afro-Latina, she tells Colorlines that she does not identify as Black. “My family history is complicated, and I still don’t fully know the extent of it,” she says after describing her Black maternal great grandmother, her Puerto Rican family’s Taino heritage and her paternal grandfather’s emigration from Spain. “I started reading on the Afro-Latina diaspora two years ago, and I’m still ignorant to a lot of that, but I started seeing myself in that term. I explore the ‘Afro’ part of my cultural identity, and how I do or don’t fit into that, on ‘Black Terry Cat.’” She says that’s a big part of why hip-hop permeates this album.

Sameer Rao, “‘Breaking’ Presents: Xenia Rubinos, a Powerhose Singer/Songwriter Unafraid to Learn Out Loud,” Colorlines, June 10, 2016. http://www.colorlines.com/articles/breaking-presents-xenia-rubinos-powerhose-singersongwriter-unafraid-learn-out-loud.

I’m Filipino too: Filipino-ness and Multiraciality

gal-dem
2016-06-01

Amena Conopio-Ziard

When I first participated in an online Austronesian community group, a member questioned me, in Tagalog, if I was Filipino. He thought by messaging me in Tagalog he could cleverly catch me out in an autonomous space he believed I shouldn’t be in…

Read the entire article here.

‘Breaking’ Presents: Xenia Rubinos, a Powerhose Singer/Songwriter Unafraid to Learn Out Loud

Colorlines
2016-06-10

Sameer Rao, Culture Reporter/Blogger

Xenia Rubinos in concert Photo: John Felix Shaw/Anti- Records

On her funky second album, “Black Terry Cat,” the genre-bender explores identity, police violence and the hidden labor of Latino/a restaurant workers.

For our latest Breaking, we’re highlighting singer-songwriter Xenia Rubinos. The multi-instrumentalist, who hit the national scene with 2013’s “Magic Trix,” continues her personal and creative development on the funky, frenetic “Black Terry Cat.”

Hometown: Hartford, Connecticut

Based In: New York City

Sound: A chaotic mix of R&B, rock, hip-hop and jazz that underscores Rubinos’ robust mezzo-soprano. Her lyrics are sometimes wry, sometimes incorporating Spanish-language passages,

Why You Should Care: Depending on your background and worldview, Xenia Rubinos’ music sounds either like modern-day Latin pop, avant-garde R&B or a tapestry from an indie artist with too many influences to count. Either way, it sounds like nothing you’ve heard before—which, as she told us, is kind of the point.

…Juxtaposed, “Mexican Chef” and “Black Stars” speak volumes about the ongoing evolution of Rubios’ identity. While she identifies as Afro-Latina, she tells Colorlines that she does not identify as Black. “My family history is complicated, and I still don’t fully know the extent of it,” she says after describing her Black maternal great grandmother, her Puerto Rican family’s Taino heritage and her paternal grandfather’s emigration from Spain. “I started reading on the Afro-Latina diaspora two years ago, and I’m still ignorant to a lot of that, but I started seeing myself in that term. I explore the ‘Afro’ part of my cultural identity, and how I do or don’t fit into that, on ‘Black Terry Cat.'” She says that’s a big part of why hip-hop permeates this album…

Read the entire article here.

On Her Second Album, Xenia Rubinos Finds a New Language to Talk About Latinidad

Remezcla
2016-06-01

Isabelia Herrera

At a time when the political utility of the Afro-Latino label is as urgent as ever, it’s easy to forget that the journey to embrace that identity isn’t always immediate. Before recording her sophomore album Black Terry Cat (ANTI- Records), Boricua-Cuban artist Xenia Rubinos did not identify as Afro-Latina. So when she embarked on the recording process this time around, Rubinos envisioned the album as a vehicle to explore her brownness and blackness, to rediscover her place in the African diaspora.

That’s why hip-hop is Black Terry Cat’s lifeblood. “I was listening to a lot of hip-hop at the time. It was a new exploration for me, getting into Slum Village and KRS-One, as well as going back to Erykah Badu, which was starting to become my daily diet,” she explains. Rubinos lays those influences bare on Black Terry Cat; the record vibrates with clanging percussive interludes, stream-of-consciousness lyrics, and deep pocket backbeats. It’s a clattering, experimental triumph that leaps from thick funk basslines to spooky horn sections and then to broken-down hip-hop beats, like a kid playing with Legos. Above it all, Rubinos’ warm, smoky voice flutters about, revealing a vocal dexterity and a slew of alter egos the listener is constantly trying to catch up with…

Read the entire interview here.

Decoding Racial Ideology in Genomics

Lexington Books (an imprint of Rowman & Littlefield)
May 2016
190 pages
Size: 6 x 9
Hardback ISBN: 978-0-7391-4895-2
eBook ISBN: 978-0-7391-4897-6

Johnny E. Williams, Associate Professor of Sociology
Trinity College, Hartford, Connecticut

Foreword by Joseph L. Graves Jr.

Although the human genome exists apart from society, knowledge about it is produced through socially-created language and interactions. As such, genomicists’ thinking is informed by their inability to escape the wake of the ‘race’ concept. This book investigates how racism makes genomics and how genomics makes racism and ‘race,’ and the consequences of these constructions. Specifically, Williams explores how racial ideology works in genomics. The simple assumption that frames the book is that ‘race’ as an ideology justifying a system of oppression is persistently recreated as a practical and familiar way to understand biological reality. This book reveals that genomicists’ preoccupation with ‘race’—regardless of good or ill intent—contributes to its perception as a category of differences that is scientifically rigorous.

• Foreword, Joseph L. Graves, Jr.
• Chapter 1: Genomics’ ‘Race’ Legacy
• Chapter 2: Socialized Interpreters
• Chapter 3: Racialized Culture—Genomic Nexus
• Chapter 4: Racialization via Assertions of Objectivity and Heuristic Practice
• Chapter 5: ‘Bad Science’ Discourse as Covering for Racial Thinking
• Chapter 6: Reorienting Genomics

Piers Morgan shot down after trying to justify comments about ‘racist’ Muhammad Ali during GMB

The Daily Mirror
London, England
2016-06-06

The host previously tweeted that Ali was responsible for a number of ‘inflammatory’ and ‘racist’ comments

Piers Morgan was shot down as he discussed Muhammad Ali during Good Morning Britain.

Over the weekend the outspoken host was met with a backlash when he claimed Ali was responsible for a number of ‘racist’ comments following his death on Friday.

He tweeted: “Muhammad Ali said far more inflammatory/racist things about white people than Donald Trump ever has about Muslims. #fact.”

Piers looked to be trying to justify his comments about the boxer when he presented Good Morning Britain on Monday.

Speaking to barrister Miranda Brawn, he said: “There was another side to Ali, he was incredibly controversial.”…

…But guest Miranda didn’t let Piers’ comments go uncontested as she set the record straight about Ali’s racial agenda.

She instead reminded Piers that Ali was integral in helping improve self-pride amongst black people…

Read the entire article here.

National Women’s History Museum presents Chinese American Women: A History of Resilience and Resistance

National Women’s History Museum
2016-06-08

Joseph, Emily, Mamie, Frank, and Mary Tape.

Tape v. Hurley

Mary Tape was a biracial Chinese American woman who believed that her daughter, Mamie, should have the same access to education as white children in San Francisco. In particular, Mary Tape wanted her daughter to be able to attend public school. When the local school principal, Jennie Hurley, stood in the schoolhouse door to bar Mamie’s entrance on the sole grounds that she was Chinese, Mary Tape took Jennie Hurley to court.

In 1885, almost seventy years before the famous Supreme Court Decision Brown v. Board of Education desegregated American public schools, Mary Tape sued the San Francisco School District to offer public education to all Chinese children. Tape v. Hurley was one of the most important civil rights decisions in American history. In this ground breaking case, Superior Court Judge James Maguire ruled that Chinese children must have access to public education: “To deny a child, born of Chinese parents in this state, entrance to the public schools would be a violation of the law of the state and the Constitution of the United States.”…

Read the entire article here.

“Slow Jam the News” with President Obama

The Tonight Show Starring Jimmy Fallon
NBC
2016-09-06

Jimmy Fallon and President Obama slow jam the news, discussing Obama’s legacy, accomplishments and thoughts on the 2016 election.