Mixed Race Studies

62 Mixed-Race Celebrities Who Have Actually Talked About Their Multiracial Identity

BuzzFeed
2021-12-23

Victoria Vouloumanos, Associate Editor

“I am who I am. I’m good with it. You might need to figure it out, but I’m fine with it.”

Read the entire article here.

How Not To Talk About Race And Genetics

BuzzFeed
2018-03-30

Micah Baldwin / Via Flickr: micahb37

Race has long been a potent way of defining differences between human beings. But science and the categories it constructs do not operate in a political vacuum.

This open letter was produced by a group of 68 scientists and researchers. The full list of signatories can be found below.

In his newly published book Who We Are and How We Got Here, geneticist David Reich engages with the complex and often fraught intersections of genetics with our understandings of human differences — most prominently, race.

He admirably challenges misrepresentations about race and genetics made by the likes of former New York Times science writer Nicholas Wade and Nobel Laureate James Watson. As an eminent scientist, Reich clearly has experience with the genetics side of this relationship. But his skillfulness with ancient and contemporary DNA should not be confused with a mastery of the cultural, political, and biological meanings of human groups.

As a group of 68 scholars from disciplines ranging across the natural sciences, medical and population health sciences, social sciences, law, and humanities, we would like to make it clear that Reich’s understanding of “race” — most recently in a Times column warning that “it is simply no longer possible to ignore average genetic differences among ‘races’” — is seriously flawed…

Read the entire letter here.

But contrary to popular narratives, interracial heterosexual relationships and their result, multiracial children, are not the antithesis of white supremacy, but can be easily co-opted as the glittery mask behind which racism and antiblackness continue to thrive. To be clear, though, interracial relationships themselves are not under critique here. The danger, rather, is in how we value interracial couples as something radical and disruptive to our current racist environment. The future, we assume, can all too easily elide necessities in the present. As Tahirah Hairston writes for Fusion on the subject, “no matter what America will look like in the future, we will still have to address these issues head-on.” If we could fuck away white supremacy, wouldn’t it be gone by now?

Lauren Michele Jackson, “Why A New Mixed Race Generation Will Not Solve Racism,” BuzzFeed, February 10, 2017. https://www.buzzfeed.com/laurmjackson/multiracial-families-cant-save-the-world-from-racism.

Why A New Mixed Race Generation Will Not Solve Racism

BuzzFeed
2017-02-10

Lauren Michele Jackson, BuzzFeed Contributor
Chicago, Illinois

A promotional still from A United Kingdom. Fox Searchlight Pictures

Love may trump hate, but it can’t cure white supremacy.

On January 23, Chrissy Teigen — model, “domestic goddess,” and number one John Legend troll — decided to have some fun with Richard Spencer on Twitter. Now best known as the neo-Nazi who got punched at the January 20 presidential inauguration, Spencer was salving his wounded pride with a “selection of Nelson Mandela quotes. 😉”. The tweet to which Teigen responded, however, was actually a quote from Swiss psychoanalyst Carl Gustav Jung. “I am not what happened to me. I am what I choose to become,” Spencer tweeted. Teigen’s @reply: “you became someone who was punched in the face.”

When Spencer attempted to embarrass Teigen, implying she was not educated enough to recognize a quote from Mandela (while, again, the quote in question was not from Mandela), Teigen responded with “you are a literally a nazi. I don’t even need to come up with a comeback. Thanks, nazi!” Teigen meanwhile tweeted to her followers sans @reply, “Hey guys, just conversing with a literal nazi over here wyd,” followed by “Nothing I could say will piss him off more than the fact I have a black/asian/white baby. Life is grand.”.

A month prior, Ellen Pompeo of Grey’s Anatomy summoned her black husband and mixed children in a similar maneuver, if under slightly different circumstances. Against criticism she received for her usage of brown emojis in a tweet applauding A&E’s decision to revamp its (now canceled) docuseries on the KKK, Pompeo told followers, “You do realize…being married to a black man and having black children can make you a target from racist white people right? That’s a thing.” In response to one user’s taunt (“SHUT UP, WHITE LADY”) she tweeted, “That’s white lady with a black husband and black children to you babe.”

In their respective contexts, the tweets from Teigen and Pompeo look very different if not completely contradictory. Chrissy Teigen snubs the nose of a professed white supremacist and flounces away with her superstar black husband and multiracial child; Pompeo calls up her black husband and children to deflect criticism. And yet, very similarly, both position interracial relationships — implied in Teigen’s case — and multiracial children as the antidote to racism. That they are both able to invoke this rationale so congruently points to a culture-wide infatuation with interracial relationships and their heteronormative outcome, multiracial children. In advertising, on film, and on TV, there is a common preference for multiracial-looking people, along with the belief that they represent a utopian political future. Why do multiracial children so often function as the antonym for racism? What is the political value of an interracial relationship? The notion that cream-colored babies will save the world is a popular one. Unfortunately, it’s a myth…

Read the entire article here.

Trevor Noah Still Doesn’t Get It

BuzzFeed
2016-12-06

Tomi Obaro, BuzzFeed News Reporter

Trevor Noah (Paul Zimmerman / Getty Images)

The Daily Show host and biracial South African comic’s recent comments suggest a profound misunderstanding of the way racism works in America.

“There’s many assumptions I’ve made about America that I’ve realized were wrong,” said Trevor Noah toward the beginning of his 2013 stand-up special, African in America. Slightly heavier than he is now and sporting a leather jacket and baggy jeans, this was Trevor Noah before he became the third host of Comedy Central’s The Daily Show and, by extension, the latest purveyor of a pervasive, noxious type of moderate liberalism.

“For one,” Noah said in the special, “I thought people spoke English here.” He paused, allowing for a few bouts of laughter. Then he flashed a smile. “Far from it. It’s just what Americans have done with the language you guys have, just, wow. You’ve done something, you’ve put 22’s on the English language. It’s got rims — it’s pimp my language.”

Then Noah launched into an anecdote about meeting a woman who wanted him to look at something. “She was like” — here Noah began wagging his head from side to side — “Oh my god, look over thurr!” he exclaimed, using African-American vernacular. It was a cringeworthy moment, indicative of a troubling reflexive tendency toward anti-blackness that Noah often seems blithely unaware of. And although he has moved away from this sort of overtly racist humor, his recent work as host of The Daily Show has shown that Noah still doesn’t quite grasp the reality — the frustration, the difficulty, the literally life-and-death stakes — of the black American experience…

…Trevor Noah’s American breakthrough happened rapidly. He had appeared on Jon Stewart’s Daily Show only three times before he was tapped to replace him in March 2015. Before Noah even began the job, he was roundly chastised for some old, unfunny tweets about fat women and Jews, among others. But Noah was quick to put those things behind him: “To reduce my views to a handful of jokes that didn’t land is not a true reflection of my character, nor my evolution as a comedian,” he tweeted later that month. Instead, he decided to embrace his perspective as an outsider. As the biracial child of a Xhosa mother and a Swiss-German father, he occupied a liminal space in his home country. “I’ve lived a life where I’ve never really fit in anywhere,” he told an interviewer in a 2011 documentary about his life, Born to Walk. And so his foreignness and his biracial identity became the primary lens through which he would approach his comedy in America…

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How Tessa Thompson Became A Modern Marvel

BuzzFeed
2016-07-20

Anita Badejo, Associate Features Editor

At a time when Hollywood is finally developing the kinds of projects for actors of color that had traditionally been out of reach, Tessa Thompson’s ascent to the A-list isn’t just welcome — it’s necessary. How can she embody this pivotal cultural moment without being defined by it?

Tessa Thompson has a problem. “I really like to be good at things,” she says, reclining in a rich brown leather chair in the Library bar of Manhattan’s NoMad Hotel. It’s a Sunday afternoon in March, and Thompson is wearing a sheer black blouse with gold-chained collar pins and high-waisted acid-wash jeans. “It’s an impediment sometimes.”

The idea that the 32-year-old could be impeded by anything seems unlikely. In the past two years, she has been touted as Hollywood’s Next Big Thing based on performances in films such as the indie darling Dear White People, the historical drama Selma, and November’s box office hit Creed, and she has parlayed those successes into at least three potentially life-changing upcoming roles. “To be really bad in the beginning and to risk being bad every time and just continually be compelled to want to be good and better?” she says, her Ts aspirated in the manner of a lifelong performer. “Acting is the only thing I was able to push through that.”

And, as Thompson acknowledges, the roles she’s had a particular knack for so far have tackled complicated issues of race and gender — all befitting the multiracial actress, who peppers her musings with references to everyone from bell hooks to Laurence Olivier. “Whatever alchemy it is, those are the kind of parts that I’m going to be better at.”…

Read the entire article here.

The Terrible Tale Of My Racist One-Night Stand

BuzzFeed
2015-10-24

Ella Sackville Adjei, BuzzFeed Contributor

Tom Humberstone for BuzzFeed

This is the tale of how I accidentally slept with a racist, and the laughably horrible things he said to me while I lay in his bed.

In July I travelled around the Cyclades with two friends, reunited after spending a year apart at different universities, and re-learning who we might have become in the time away. We’d met Australian Sam and his friend in Athens and, excited at seeing a familiar face in a Mykonos club, dragged them across the dance floor. What we took for enthusiasm at mutual recognition turned out to be more prosaic; Australian Sam and co had no memory at all of our previous meeting and clearly thought their irresistible physical magnetism was what made us pluck them out of the crowd. When you’re determined to get over an ex – even if it has been the best part of a year since the breakup – and let’s be real, prove that “still got it!” attractiveness to yourself, bad things can happen…

…A classmate I spoke to, who is of mixed black and white Southeast African origin, had slept with a white South African who insisted on discussing apartheid, her “tribe”, and his exhilaration at “breaking the rules”. The rhetoric and mentality of colonialism is so often still painfully present for so many of us – and not just in our institutions and systems. And unfortunately, racists don’t tend to wear badges to identify them: It would be a lot easier to work out who to avoid on a sweaty dance floor if they did, and whose bright blue eyes to ignore…

Read the entire article here.

12 British Poets Share Their Favourite Poems For #NationalPoetryDay

BuzzFeed
2015-10-08

Fiona Rutherford, BuzzFeed News Reporter
London, England

…3. Rachel Long

Amaal Said

Age: 26

Themes in your work: Sexuality, growing up, hurt, mixed parentage, love, eating disorders, death, dreams.

Favourite poem: Impossible to choose. I’ve sat here for a half hour with fingers over keys or in my hair. I can’t call it between: “In The Book of The Disappearing Book” by John Gallaher, “The Ugly Daughter” by Warsan Shire, “Snow” by David Berman, “Sex Without Love” by Sharon Olds, and “Of August” by Karen McCarthy Woolf.

What comes to mind when you think of the word “light”? Marlboro, that sunrise, a macro photograph of oestrogen taken by science photographer Lennart Nilsson that looks like a firework. It was stunning to see, and to know that we have this exploding, all the time, on the inside of our bodies…

…5. Hannah Lowe

Tim Ridley

Age: 39

Themes in your work: Working-class lives, multiculturalism, London, migration, diaspora.

Favourite poem: “The Mercy” by Philip Levine – one of many favourites.

What comes to mind when you think of the word “light”? Funnily enough, electric lights come to mind rather than daylight. I’m thinking of the way we light the night. It must be living in London… street lights, neon signs, security lights. From my back window I look out over Wood Green and Tottenham, all the way to Walthamstow, and there’s a real clatter of light out there, from houses and flats, office blocks, sometimes a star or two…

Read the entire article here.

They Pretend To Be Us While Pretending We Don’t Exist

BuzzFeed
2015-09-11

Jenny Zhang, BuzzFeed Contributor

Will Varner / BuzzFeed

White poet Michael Derrick Hudson’s use of the Chinese pen name Yi-Fen Chou was an act of yellowface that is part of a long tradition of white voices drowning out those of color in the literary world.

To be Other in America is to be coveted and hated at the same time. It’s never been enough to know that I feel it, but I know I am often asked to prove it before I am allowed to speak on it. When I was a graduate student at the Iowa Writers’ Workshop for fiction writing, I felt both coveted and hated. My white classmates never failed to remind me that I was more fortunate than they were at this particular juncture in American literature. “No one is going to pay attention to a name like mine,” a white dude who exclusively wrote stories about white dudes said to me one time when I was feeling particularly low about my writing. I couldn’t enjoy a scrap of validation or wallow in a sliver of self-doubt without someone interjecting some version of “You’re so lucky. You’re going to have an easier time than any of us getting published.” They were shameless about their envy, not shy or coy at all about their certainty that my race and gender were an undeniable asset, which, in turn, implied that I could be as mediocre and shitty as I wanted and still succeed. This was how some of my white classmates imagined the wild spoils of my literary trajectory. This was how they managed to turn themselves into the victims.

…I won’t be scandalized because what Hudson is doing isn’t anything that white male writers haven’t already been doing since the first recorded instance of our culture embracing any kind of excellence that did not include them: scramble to come up with ways to keep the playing field uneven, to keep the odds stacked in their favor. The scandal of Hudson performing the laziest act of yellowface (co-opting a Chinese name) to get his poem published and accepted into the Best American Poetry anthology is lurid fodder for our cultural conversation because of its explicitness, but it should not be strange or unbelievable. White people have always slipped in and out of the experiences of people of color and been praised extravagantly for it. After all, 50 years ago, when black voices were fighting to be heard, when their stories of trauma and abuse were struggling for legitimacy, it took John Howard Griffin, a white man who dyed his skin black and wrote about his experiences as a “black” man in his book, Black Like Me, for white Americans to believe that yes, black people were telling the truth about their lived experiences in the Jim Crow South. He was hailed a singular hero. Studs Terkel once said, “Griffin was one of the most remarkable people I have ever encountered. He was just one of those guys that comes along once or twice in a century and lifts the hearts of the rest of us.” It may seem totally nuts now, but as far as who gets credit for simply being affected by black pain, it doesn’t seem very removed from our current world where we heap lavish praise on someone like Jon Stewart for announcing on the Daily Show that he was too heartbroken to make jokes after the Charleston church shooting, as if all throughout this country’s present and past, black people and people of color have not been so heartbroken and so violated that we were left humorless, or worse, dead. To praise Stewart as excessively as he was praised is to say to black people: Your pain is unexceptional and does not matter until a white man feels it too…

Read the entire article here.

Why Rachel Dolezal Needed To Construct Her Own Black Narrative

BuzzFeed
2015-06-13

Adam Serwer, BuzzFeed News National Editor

In order to pass as black, Dolezal took advantage of the black community’s long tradition of inclusion regardless of skin tone.

In 1895, when Justice Henry Billings Brown ruled that Louisiana’s law segregating train cars was constitutional, he didn’t want to get into the messy business of determining whether or not passenger Homer Plessy was actually black. Though only possessing “one eighth African blood,” with “the mixture of colored blood” not “discernible in him,” whether Plessy was black was a matter for the state to decide.

“[T]here is a difference of opinion in the different States, some holding that any visible admixture of black blood stamps the person as belonging to the colored race,” wrote Brown, “others that it depends upon the preponderance of blood; and still others that the predominance of white blood must only be in the proportion of three-fourths.”

Plessy v. Ferguson became the legal cornerstone of Jim Crow even though Homer Plessy was so light-skinned he could probably drive through Ferguson, Missouri, today without getting a ticket. In other words, who is black is a complicated question, one that remains fraught more than a hundred years after Brown’s ruling blessing racial apartheid in a country founded on the premise of equality under the law. But the long tradition of African-American resistance is one that excels in turning efforts to subjugate black Americans into advantages. One of these is the reversal of the infamous “one-drop rule,” which allows anyone who was a descendant of enslaved black Americans to identify as a member of the African-American community, which is why the NAACP’s Walter White used his racial ambiguity to report on lynchings in the South while passing as white. To claim is to be claimed; to love is to be loved in return. It is that very tradition of love and acceptance that Rachel Dolezal, the NAACP leader in Spokane, Washington, who for years passed as a light-skinned black woman, took advantage of by manufacturing a biography that reads like a racial caricature of a dystopian young adult novel.

Dolezal knew it wasn’t enough to perm and dye her hair and do whatever it is she did to her skin, and to tell everyone she was black. She also had to invent a history in which she and her family had borne the scars of racism, one in which she was born in a “tepee in Montana” and went hunting for food with bows and arrows. One in which she and her siblings endured beatings according to skin tone, and were lashed with “baboon whips” that were “pretty similar to what was used as whips during slavery,” to say nothing of the years she spent filing questionable reports with police about hate crimes. With that connection, even someone as light as her could be black.

The irony is that racial barriers in America have always been permeable and ambiguous, even when they have been most violently enforced…

Read the entire article here.