Mixed Race Studies

Georgia Louise Harris Brown (June 12, 1918 – September 21, 1999)

Pioneering Women of American Architecture
October 2017

Anat Falbel
University of Campinas, Brazil

Roberta Washington, Principal
Roberta Washington Architects, New York, New York

Georgia Louise Harris Brown (1918–1999), a pioneering African American architect practicing in Chicago and Brazil from the 1940s to the 1990s, is recognized as the second African American woman licensed as an architect in the United States.¹ She forged an impressive career in industrial architecture in Brazil, where she may have immigrated in the hope of escaping racial prejudice, though she was rarely credited as the designer in publications about these works. (Generally, it was the engineering firms that received the credit.)

EARLY LIFE AND EDUCATION
Georgia Louise Harris Brown was born in Topeka, Kansas, on June 12, 1918, only six years after the extension of equal voting rights to women in the state.² Her family’s genealogy of strong women of mixed ancestry included former enslaved African Americans who arrived from the South to the Union’s slavery-free state after 1861, Native Americans, and German settlers…

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Jazz à la Creole: French Creole Music and the Birth of Jazz

University Press of Mississippi
November 2022
248 pages
1 table; 29 b&w figures; 20 musical examples
Hardcover ISBN: 9781496842404
Paperback ISBN: 9781496842428

Caroline Vézina
Montréal, Quebec, Canada

The first scholarly volume dedicated to French Creole music and its contribution to the development of jazz in New Orleans

During the formative years of jazz (1890–1917), the Creoles of Color—as they were then called—played a significant role in the development of jazz as teachers, bandleaders, instrumentalists, singers, and composers. Indeed, music penetrated all aspects of the life of this tight-knit community, proud of its French heritage and language. They played and/or sang classical, military, and dance music as well as popular songs and cantiques that incorporated African, European, and Caribbean elements decades before early jazz appeared. In Jazz à la Creole: French Creole Music and the Birth of Jazz, the author describes the music played by the Afro-Creole community since the arrival of enslaved Africans in La Louisiane, then a French colony, at the beginning of the eighteenth century, emphasizing the many cultural exchanges that led to the development of jazz.

Caroline Vézina has compiled and analyzed a broad scope of primary sources found in diverse locations from New Orleans to Quebec City, Washington, DC, New York City, and Chicago. Two previously unpublished interviews add valuable insider knowledge about the music on French plantations and the danses Créoles held in Congo Square after the Civil War. Musical and textual analyses of cantiques provide new information about the process of their appropriation by the Creole Catholics as the French counterpart of the Negro spirituals. Finally, a closer look at their musical practices indicates that the Creoles sang and improvised music and/or lyrics of Creole songs, and that some were part of their professional repertoire. As such, they belong to the Black American and the Franco-American folk music traditions that reflect the rich cultural heritage of Louisiana.

Running from Race

On Wisconsin
Wisconsin Foundation and Alumni Association (alumni and friends of the University of Wisconsin, Madison)
2021-03-01

Harvey Long MA’16, Librarian, Assistant Professor
North Carolina Agricultural and Technical State University, Greensboro, North Carolina

Ethelene Whitmire, Professor
Departments of Afro-American Studies; German, Nordic, and Slavic; andGender & Women’s Studies
University of Wisconsin, Madison

Librarian Louise Butler Walker ’35 took desperate measures to survive in a racist society.

During the Great Depression, Louise Butler Walker ’35 completed her bachelor’s in French and earned a library diploma from what is now UW–Madison’s Information School. Walker had been an outstanding student, graduating Phi Beta Kappa, and completed a prestigious internship at the American Library Association (ALA) headquarters in Chicago. The school’s career placement office said her assets were her “brilliant mind” and “excellent academic background.” Her limitations, they said, were “racial (she is a mulatto).”

Although Walker was not privy to the egregious behind-the-scenes machinations and handwringing about her being Black, she knew that her race was detrimental to her career, so she eventually passed as white to work as a librarian in rural Wisconsin. Her story reveals the extraordinary pressures that African Americans faced…

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Their interracial romance ended painfully after college. They reunited 42 years later — and now live together.

The Washington Post
2021-10-04

Sydney Page, Freelance Reporter

When Jeanne Gustavson spontaneously booked a trip to Chicago last summer, she had no idea what to expect. She was going to visit her first love — whom she had not seen in 42 years.

The last time Gustavson, now 68, spoke to Steve Watts was in the spring of 1979. They were young and in love, but there was one persistent issue: Watts was Black, and Gustavson’s family forbade her to see him.

“They had this mentality that Blacks and Whites don’t belong together,” said Gustavson, who was raised in the northern suburbs of Chicago, and now lives in Portland, Ore. “In my heart, I knew it wasn’t right.”

So, she flouted her family’s strict rule and dated Watts in secret.

Although she did not like disobeying her parents, “I couldn’t let him go,” Gustavson said…

Read the entire article here.

The Rediscovery of Florence Price

The New Yorker
2018-01-29

Alex Ross

How an African-American composer’s works were saved from destruction.

In 2009, Vicki and Darrell Gatwood, of St. Anne, Illinois, were preparing to renovate an abandoned house on the outskirts of town. The structure was in poor condition: vandals had ransacked it, and a fallen tree had torn a hole in the roof. In a part of the house that had remained dry, the Gatwoods made a curious discovery: piles of musical manuscripts, books, personal papers, and other documents. The name that kept appearing in the materials was that of Florence Price. The Gatwoods looked her up on the Internet, and found that she was a moderately well-known composer, based in Chicago, who had died in 1953. The dilapidated house had once been her summer home. The couple got in touch with librarians at the University of Arkansas, which already had some of Price’s papers. Archivists realized, with excitement, that the collection contained dozens of Price scores that had been thought lost. Two of these pieces, the Violin Concertos Nos. 1 and 2, have recently been recorded by the Albany label: the soloist is Er-Gene Kahng, who is based at the University of Arkansas.

The reasons for the shocking neglect of Price’s legacy are not hard to find. In a 1943 letter to the conductor Serge Koussevitzky, she introduced herself thus: “My dear Dr. Koussevitzky, To begin with I have two handicaps—those of sex and race. I am a woman; and I have some Negro blood in my veins.” She plainly saw these factors as obstacles to her career, because she then spoke of Koussevitzky “knowing the worst.” Indeed, she had a difficult time making headway in a culture that defined composers as white, male, and dead. One prominent conductor took up her cause—Frederick Stock, the German-born music director of the Chicago Symphony—but most others ignored her, Koussevitzky included. Only in the past couple of decades have Price’s major works begun to receive recordings and performances, and these are still infrequent.

The musicologist Douglas Shadle, who has documented the vagaries of Price’s career, describes her reputation as “spectral.” She is widely cited as one of the first African-American classical composers to win national attention, and she was unquestionably the first black woman to be so recognized. Yet she is mentioned more often than she is heard. Shadle points out that the classical canon is rooted in “conscious selection performed by individuals in positions of power.” Not only did Price fail to enter the canon; a large quantity of her music came perilously close to obliteration. That run-down house in St. Anne is a potent symbol of how a country can forget its cultural history…

Read the entire article here.

The Ghost of Hendrix, and Fans Who Think I’m White

The New York Times
2021-11-03

Tom Morello

Mr. Morello has spent over three decades melding music and political activism as a power guitarist with Rage Against the Machine, Audioslave and Bruce Springsteen and the E Street Band, with the acoustic chords of the Nightwatchman and in protests around the country.

In 1965, I literally integrated the town of Libertyville, Ill., at least according to the real estate agent who helped my mom and me find our first apartment.

My Irish-Italian mom had excellent teaching credentials, but the school boards in Northern Illinois made clear that while as a single mother she was welcome to teach in their town, we would have to live elsewhere because we were an interracial family.

I was the interracial part, as my dad is from Kenya. Libertyville, however, was willing to give my mom a shot, with the caveat that the residents of the apartment complex across the street from the school approved. Our helpful real estate agent assured the neighbors that this was no ordinary 1-year-old “Negro” child entering their building, but rather an exotic East African princeling. This false tale haunted me throughout my youth, but it gave my mom and me a toehold among the locals…

Read the entire article here.

Jeremiah Paprocki becomes Cubs’ first African American public-address announcer

The Chicago Sun-Times
2021-05-17

Russell Dorsey

Jeremiah Paprocki is the Cubs’ first Black PA announcer and at the age of 21 also becomes one of the youngest in baseball. Photo courtesy of the Chicago Cubs

Many fans dream of having their voices echo around historic Wrigley Field while reading the names of Cy Young Award winners, MVPs and future Hall of Famers.

One lifelong Cubs fan is getting a chance to do just that.

There’s a booming new voice in Wrigleyville, and it belongs to 21-year-old Jeremiah Paprocki. The Cubs hired Paprocki to be their new public-address announcer, making him the first African American in team history to hold the position. He also is thought to be the youngest P.A. announcer in Major League Baseball…

Read the entire article here.

Counterfactual Love Stories & Other Experiments

Noemi Press
2021-10-01
Paperback ISBN: 978-1-934819-97-5

Jackson Bliss

From fragmented ransom notes to hanging footnotes, contemporary fairy tales to coded text, interconnecting pieces of modal flash fiction to backwards fractal narratives about gradual blindness, transgressive listicles to how-to guides for performative wokeness, variable destinies in downtown Chicago to impossible dating applications, counterfactual relationships to the French translation of adolescence, the conceptual, language-driven short stories in Counterfactual Love Stories & Other Experiments are an exploration of not just mixed-race/hapa identity in Michigan (and the American Midwest), but also of the infinite ways in which stories can be told, challenged, celebrated, and subverted.

Revisiting The Pioneering Composer Florence Price

All Things Considered
National Public Radio
2019-01-21

Tom Huizenga, Music Producer

Florence Price was the first African-American woman to have her music performed by a major symphony orchestra. Special Collections, University of Arkansas Libraries

In 1933, the Chicago Symphony Orchestra gave the world premiere of Symphony No. 1 by a then little-known composer named Florence Price. The performance marked the first time a major orchestra played music by an African-American woman.

Price’s First Symphony, along with her Fourth, has just been released on an album featuring the Fort Smith Symphony, conducted by John Jeter.

Fans of Price, especially in the African-American community, may argue that her music has never really been forgotten. But some of it has been lost. Not long ago, a couple bought a fixer-upper, south of Chicago, and discovered nearly 30 boxes of manuscripts and papers. Among the discoveries in what turned out to be Price’s abandoned summer home was her Fourth Symphony, composed in 1945. This world-premiere recording is another new piece of the puzzle to understanding the life and music of Price, and a particular time in America’s cultural history.

Read the story here. Listen to the story (00:04:00) here.

The Color of Love: A Story of a Mixed-Race Jewish Girl

Agate Bolden (an imprint of Agate Publishing)
2019-11-12
256 pages
5.25 x 0.5 x 8 inches
Paperback ISBN-13: 9781572842755

Marra B. Gad, Inde­pen­dent Film and Tele­vi­sion Producer
Los Angeles, California

An unforgettable memoir about a mixed-race Jewish woman who, after fifteen years of estrangement from her racist great-aunt, helps bring her home when Alzheimer’s strikes

In 1970, three-day-old Marra B. Gad was adopted by a white Jewish family in Chicago. For her parents, it was love at first sight—but they quickly realized the world wasn’t ready for a family like theirs.

Marra’s biological mother was unwed, white, and Jewish, and her biological father was black. While still a child, Marra came to realize that she was “a mixed-race, Jewish unicorn.” In black spaces, she was not “black enough” or told that it was OK to be Christian or Muslim, but not Jewish. In Jewish spaces, she was mistaken for the help, asked to leave, or worse. Even in her own extended family, racism bubbled to the surface.

Marra’s family cut out those relatives who could not tolerate the color of her skin—including her once beloved, glamorous, worldly Great-Aunt Nette. After they had been estranged for fifteen years, Marra discovers that Nette has Alzheimer’s, and that only she is in a position to get Nette back to the only family she has left. Instead of revenge, Marra chooses love, and watches as the disease erases her aunt’s racism, making space for a relationship that was never possible before.

The Color of Love explores the idea of yerusha, which means “inheritance” in Yiddish. At turns heart-wrenching and heartwarming, this is a story about what you inherit from your family—identity, disease, melanin, hate, and most powerful of all, love. With honesty, insight, and warmth, Marra B. Gad has written an inspirational, moving chronicle proving that when all else is stripped away, love is where we return, and love is always our greatest inheritance.