Mixed Race Studies

Sugar Pie DeSanto: After 50 Years, ‘Go Going’ Strong

Fresh Air from WHYY [Philadelphia]
National Public Radio
2010-07-29

Terry Gross, Host

Ed Ward, Rock Music Commentator

Ace Records

Sugar Pie DeSanto was born in Brooklyn in October 1935, and was christened Umpeleya Marsema Balinton. Her father was Filipino, her mother African-American. Her mother had been a concert pianist, but DeSanto says her father couldn’t carry a tune in a bucket. He moved the family to San Francisco when Peliya, as they called her, was 4, and soon enough, the young girl discovered dancing and singing and made a fast friend with a neighbor named Jamesetta Hawkins, who was a member of a girl gang called the Lucky 20’s.

Hawkins wound up in jail for her gang activities, and when she got out, she formed a singing group with one of Peliya’s younger sisters. Peliya looked on in envy as Hawkins was discovered by bandleader Johnny Otis and re-christened Etta James. She started entering talent contests in San Francisco, and won so often, they told her to stop entering. At another talent contest in L.A., Otis saw her again and offered to record her. He made good on his offer, and gave her a stage name, too: Little Miss Sugar Pie…

Read the story here. Listen to the story here. Read the transcript here.

A Family Tree That Includes Slaves — And Slave Owners

Tell Me More
National Public Radio
2013-08-15

Celeste Headlee, Host

Part of our summer reading series Island Reads, highlighting authors from the Caribbean

Andrea Stuart was curious about her family’s history in Barbados. And through years of careful research, she found that her bloodline includes both slave owners and slaves. She has written about her own family, as well as a detailed history of slavery in the Caribbean, in her book Sugar in the Blood. Guest host Celeste Headlee talks with Stuart about her family history, the moral complexity of slavery and finding roots in the past.

Interview Highlights

On the founder of a mixed-race dynasty:

“When I read about George Ashby, or rather, wrote about him, I remember thinking, ‘My goodness. What bravery it must have taken to take this huge step to leave England, in his case, to go to the New World.’ I mean, in those days the journey itself was so traumatic and long, the chances of being killed by raiders or pirates — everything was so difficult about this journey, and then to kind of confront this untrampled land, where at least half of the early settlers died just because things were so difficult. It seemed to me that he was extraordinarily brave. But then his generation and the subsequent generations make this terrible mistake. They become slave owners, and therefore become part of the whole institution of slavery. So I am deeply ambivalent about him. I admire him on one hand, and I lament him on the other.”…

Listen to the story here. Download the audio here. Read the transcript here.

Obama Warms To Speaking Personally About Race

Weekend Edition Saturday
National Public Radio
2013-08-13

Linda Wertheimer, Senior National Correspondent and Host

Ari Schapiro, White House Correspondent

On race, Barack Obama often says he is not president of black America, but of the United States of America. Though he has not avoided the subject during his time in office, he tends not to seek out opportunities to discuss racial issues.

“He wanted to address them in a time and a way that accomplished specific objectives,” says Joshua Dubois, who ran the White House’s faith-based initiatives during Obama’s first term.

Obama addressed race most comprehensively in a Philadelphia speech during his first presidential campaign, after incendiary sermons by the pastor Jeremiah Wright came to light. “Race is an issue that I believe this nation cannot afford to ignore right now,” he said.

A handful of other events followed in the next four years, including a White House “beer summit” between a black Harvard professor and a white police officer; and the occasional commencement address at a historically black college.

Sherrilyn Ifill, who leads the NAACP Legal Defense Fund, believes Obama’s posture is typical for African-Americans who lead racially diverse groups. “It’s not as though many of us relish wading into issues of race,” she says. “We often feel we must, or we feel compelled to, but very few of us are eager to do it, and certainly I think the president was not eager to do it.”…

…During his recent travels through Africa, Obama talked repeatedly and explicitly about the significance of his skin color. “As an African-American president, to be able to visit this site I think gives me even greater motivation in terms of defense of human rights around the world,” he said at a slave port in Senegal…

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

‘Americanah’ Author Explains ‘Learning’ To Be Black In The U.S.

Fresh Air from WHYY
National Public Radio
2013-06-27

Terry Gross, Host

When the novelist Chimamanda Ngozi Adichie was growing up in Nigeria she was not used to being identified by the color of her skin. That changed when she arrived in the United States for college. As a black African in America, Adichie was suddenly confronted with what it meant to be a person of color in the United States. Race as an idea became something that she had to navigate and learn.

The learning process took some time and was episodic. Adichie recalls, for example, an undergraduate class in which the subject of watermelon came up. A student had said something about watermelon to an African-American classmate, who was offended by the comment.

“I remember sitting there thinking, ‘But what’s so bad about watermelons? Because I quite like watermelons,’ ” Adichie tells Fresh Air’s Terry Gross.

She felt that her African-American classmate was annoyed with her because Adichie didn’t share her anger — but she didn’t have the context to understand why. The history of the trans-Atlantic slave trade was not taught to students in Nigeria. Adichie had yet to learn fully about the history of slavery — and its continuing reverberations — in the U.S.

“Race is such a strange construct,” says Adichie, “because you have to learn what it means to be black in America. So you have to learn that watermelon is supposed to be offensive.”

Adichie is a MacArthur Fellowship winner and author of the novels Purple Hibiscus and Half of A Yellow Sun. Her new novel, Americanah, explores this question of what it means to be black in the U.S., and tells the story of a young Nigerian couple, one of whom leaves for England and the other of whom leaves for America.

The title, she says, is a Nigerian word for those who have been to the U.S. and return with American affectations.

“It’s often used,” she says, “in the context of a kind of gentle mockery.”…

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

Coming Out As Black, When You Were Hispanic

Tell Me More
National Public Radio
2013-06-06

Celeste Headlee, Guest Host

High school senior Elaine Vilorio wrote that she started seriously contemplating her blackness when she stopped straightening her hair.
Elaine Vilorio

Teen Elaine Vilorio spent years trying to make sense of her racial identity. She describes herself as Hispanic, but other people see her as black. Vilorio speaks to guest host Celeste Headlee about her recent HuffPost Teen blog, ‘Coming Out As Black.’

This is Tell Me More from NPR News. I’m Celeste Headlee. Michel Martin is away. Coming up, a celebrity chef shares some tasty summertime recipes and juicy stories about his clients. But first, we’ll turn to the issue of race and identity. The question of, what am I, is one that a lot of teens ask themselves and the answer can be quite complicated for multiracial kids.

It’s something that Elaine Vilorio has thought a lot about. She’s a high school senior, originally from the Dominican Republic. Over the course of her life, people assumed she was black and that bothered her. But two years ago, after she stopped chemically straightening her hair, the change in her appearance made her rethink her roots. She wrote about that in a Huffington Post piece titled “Coming Out as Black,” and Elaine Vilorio is now here to tell us more. Welcome to the program, first of all.

ELAINE VILORIO: Thank you, I’m happy to be here.

HEADLEE: First of all, let me ask you, why did you phrase it that way, coming out as black?

VILORIO: Well, people have always asked me, you know, like you said, you know, if I was black consistently, and I’ve always denied that. So I thought that was a very fitting way, a very dramatic way to say that I finally have admitted, you know, this Afro identity, so to speak, when it’s always been there. Coming out, I finally can say it out loud, and I can finally explain to people, yes, I have African roots in me and that’s okay.

HEADLEE: Well, when you talk about racial identity, it’s something you’ve written about quite a bit as well.

VILORIO: Yes.

HEADLEE: What is racial identity for you? Is it about the way you see yourself or how others see you?

VILORIO: I mean, it’s a combination of both. I think people perceive me and they separate Afro-descendancy from, you know, the Hispanic identity. Hispanic identity doesn’t really take into account that African racial root. You know, I see myself as a predominantly black Hispanic. And then other people, you know, they just see a mixed person, just mixed. Blackness isn’t really, you know, acknowledged…

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

‘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.