Mixed Race Studies

The Notorious, Mixed-Race New Orleans Madam Who Turned Her Identity Into a Brand

Zócalo Public Square
2018-10-01

Emily Epstein Landau, Teacher [and author of Spectacular Wickedness: Sex, Race, and Memory in Storyville, New Orleans]
Georgetown Day School, Washington, D.C.

Lulu White, the most notorious madam in the turn-of-the-century Big Easy. Courtesy of the Collections of the Kinsey Institute at Indiana University. All rights reserved.

By Repackaging the Myths of the Tragic Octoroon and the Self-Made Woman, Lulu White Crafted a Persona That Haunts Beyoncé’s “Formation“

In 2016, music and pop-culture idol Beyoncé released the album Lemonade to rapturous reviews. As a historian of New Orleans, I was especially intrigued by the video for one of the songs on the album, “Formation.” The video includes iconic images of the city: Katrina flood waters and post-flood graffiti; “second-lines”; marching bands; crawfish eating; and even a dancing “Mardi Gras Indian.” As we move through various neighborhoods, we visit a church service, a St. Charles Avenue mansion, and, in what appears to be a move through time into the city’s past, a bordello.

The bordello scenes in the video recall famous photographs from Storyville, New Orleans’s notorious red-light district, which flourished from 1898 to 1917. And while the song is clearly about Beyoncé, the persona she embodies in it resonates with an earlier iconic black female: Lulu White, the self-styled “Diamond Queen” of New Orleans’s turn-of-the-century demimonde. Knowing Lulu White’s story helps us see Beyoncé’s artistic creation within a complex historical framework, for in it are woven together threads of American history: stories of sexual slavery and prostitution; revolution and exile; and, not least, capitalism and the American Dream.

Lulu White was the most notorious madam in Storyville. She earned fame and fortune as the “handsomest octoroon” in the South, and her bordello, Mahogany Hall, featured “octoroon” prostitutes for the pleasure of wealthy white men during one of America’s most virulently—and violently—racist periods. It was also the dawn of consumer culture and the beginning of modern advertising. Thus, Lulu White crafted a persona for herself through stories that had long circulated in New Orleans; she repackaged those stories to create what today we would recognize as her brand…

Read the entire article here.

Her way. The new way.

The Washington Post
2018-10-04

Ann Hornaday, Movie Critic

Amandla Stenberg, the 19-year-old star of “The Hate U Give.” (Marvin Joseph/The Washington Post)

Amandla Stenberg is redefining fame for a time when the personal, the professional and the political have never been more fused.

On a recent visit to the National Museum of African American History and Culture, actress Amandla Stenberg made a beeline for “Watching Oprah,” an exhibit dedicated to the TV-icon-turned-all-of-it-icon.

“Oprah was very integral in my household,” she said, peering at the biographical information on the walls. “My mom used to be a journalist. . . . She worked at Elle magazine and then moved into celebrity journalism. The irony is not lost on me.”…

…Biracial in ethnic derivation, nonbinary in gender identification, gay in sexual orientation, multi-hyphenate in creative aspiration, Stenberg embodies a similar blurring of boundaries. She grew up in Los Angeles with her African American mother and Danish father, commuting from their modest Leimert Park neighborhood to the far tonier Wildwood School. Her first movie role was in “Colombiana,” as a young version of Zoe Saldana. “The Hunger Games” — just her second film — was seen by tens of millions of people around the world. But it was a video she made for history class in 2015 that became a watershed: Called “Don’t Cash Crop My Cornrows,” the 4-minute-30-second tutorial explained the most offensive dynamics of cultural appropriation. After Stenberg posted the video on Tumblr, it became a viral sensation…

Read the entire article here.

Forwards and Backwards

Hapa Japan
2018-09-30

Fredrick Cloyd

Whenever I think of living in the world as writer, as thinker, as cultural worker, as identities-in-motion and identities-in-between, I think of the projections we are placed into by others, and by ourselves to ourselves. How others put their own ideas onto us, their assumptions and judgements that follow, align with or compete with the same things we do to ourselves, according to the cultural and language frames we use for ourselves—the labels and concepts of what we learn and think we know. And in addition, there is the reality of a fixed identity or thought that interferes with reality. If we are “hāfu” then we cannot be “pure” or “white” or democrat, republican, woman, man, etc. And then the “human” label also plays its role. “I am human therefore you are wrong in labeling me such-and-such….”

Read the entire article here.

Lynnwood man tried to use a home DNA test to qualify as a minority business owner. He was denied — now he’s suing.

The Seattle Times
2018-09-13

Christine Willmsen, Seattle Times staff reporter

State and federal programs aim to ensure minority-owned businesses can compete for government contracts after generations of institutional discrimination. A Lynnwood man long identified as white is using DNA ethnicity estimates to claim minority status.

Ralph Taylor says it doesn’t matter what he looks like. Having lived most of his life as a white man, the 55-year-old now considers himself to be multiracial based on DNA test results.

The owner of Orion Insurance Group in Lynnwood also wants the U.S. Department of Transportation to recognize him as a minority so he can gain more deals providing liability insurance to contractors.

Taylor is suing Washington state and the federal government because he was denied a minority-business certification under a program created more than two decades ago to help level the playing field for minority business owners seeking contracts in the transportation industry. He provided no evidence he has suffered socially or economically because of race.

His case is pending with the 9th U.S. Circuit Court of Appeals.

In 2010 Taylor began identifying himself as multiracial after a DNA ancestry test estimated he was 90 percent Caucasian, 6 percent indigenous American and 4 percent sub-Saharan African.

He applied for state certification with the Washington Office of Minority & Women’s Business Enterprises (OMWBE) so Orion Insurance Group would be considered a minority business.

Ralph Taylor (Steve Ringman/The Seattle Times)

With no criteria defining a minority race or ethnicity, OMWBE eventually approved Taylor. But that same state agency, which also manages the U.S. Department of Transportation certification, decided he was Caucasian under that program’s procedures and denied his application…

Read the entire article here.

“We Were All Just the Black Kids”: Black Mixed-Race Men and the Importance of Adolescent Peer Groups for Identity Development

Social Currents
First Published online 2018-09-19
DOI: 10.1177/2329496518797840

Jennifer Patrice Sims, Assistant Professor of Sociology
University of Alabama, Huntsville

Remi Joseph-Salisbury, Senior Lecturer in Education Studies
Leeds Beckett University, Leeds, United Kingdom

While critical Mixed-Race studies (CMRS) has paid attention to the intersections of race, gender, and sexuality in sampling and analysis, most studies disproportionately focus on women. This means that generalizability of findings and theories to men should not become axiomatic. Regarding black Mixed-Race people, for example, the theory that rejection from black people is influential for many black Mixed-Race individuals’ identity development is derived from interviews with mainly women. Explicitly noting that these processes are not as applicable for men, yet offering no accompanying theorizing as to the influence of gendered interactions on men’s racial identity development, appears to have become the standard. Therefore, bringing together data from two studies that explored black mixedness in the United States and the United Kingdom, this article joins a nascent literature on the gendered experiences of Mixed-Race men. Our analysis shows that, unlike black Mixed-Race women, black Mixed-Race men’s mixedness is often constructed as compatible with the heteronormative gender identities that are constituted in racialized peer groups. As such, black Mixed-Race men are able to cultivate a sense of strategic sameness with same gender black peers. This and other findings are discussed in light of their implications for CMRS’s intersectional theories of identity development.

Read or purchase the article here.

Multiracials and Civil Rights: Mixed-Race Stories of Discrimination [Review]

new york journal of books
2018-08-27

L. Ali Khan, Professor of Law
Washburn University, Topeka, Kansas

Tanya Katerí Hernández, Multiracials and Civil Rights: Mixed-Race Stories of Discrimination (New York: New York University Press, 2018)

“General readers, with no initiation in law, will learn quite a bit about racial discrimination, civil rights laws, and how academics grapple with theoretical difficulties underlying race relations in the realm of law.”

In Multiracials and Civil Rights, Fordham law professor Tanya Hernández demonstrates that discrimination perpetrated against blacks also targets mixed-race persons, called multiracials. Contrary to popular expectations, multiracialism has not alleviated racism. Deviations from the hundred-percent whiteness (a racial myth) continue to inform social constructions of race, racial awareness, discrimination, and the application of civil rights laws.

Historically, the one-drop rule has required that a person with any degree of black ancestry must identify solely as black. With diverse immigration and interracial procreation, multiracialism is on the rise. Since 2000, multiracials are free to identify with more than one race. Yet such is the sociology of racism that any fraction of blackness, visible or hidden, reduces multiracials into black persons, discounting their other racial traits.

The hundred-percent whiteness paradigm formulates and protects the white privilege, a source of unearned advantage, and offers measly concessions to any dilution of whiteness. Therefore, non-whiteness is potentially subject to racial discrimination actionable under law…

Read the entire review here.

Hawaiian Family Drama From Viola Davis, Lisa Takeuchi Cullen Set at ABC (Exclusive)

The Hollywood Reporter
2018-08-22

Rebecca Sun

Lisa Takeuchi Cullen (Matt Dine; Courtesy of Plume)

ABC is headed back to Hawaii.

The network is teaming with Viola Davis and Julius Tennon’s JuVee Productions to develop the hourlong drama ‘Ohana. The potential series is based on Kiana Davenport’s 1994 novel Shark Dialogues and follows four hapa women who reunite when their grandmother, a mystic known as a kahuna, dies mysteriously and leaves them the family plantation.

Former Time staff writer and foreign correspondent Lisa Takeuchi Cullen will pen the adaptation.

“So many Hawaii-set stories have been told from the white point of view,” Cullen tells The Hollywood Reporter. “This is a story we’re passionate about telling from the point of view of native Hawaiians — Pacific Islanders, people of Asian descent and people of hapa heritage.”

Each of the four protagonists is of a different mixed ethnicity — half-white, half-Japanese, half-Filipino and half-black — and their unexpected shared inheritance will force them to overcome years of jealousies, misunderstandings, resentments and secrets…

Read the entire article here.

Zazie Beetz on ‘Atlanta,’ Her Emmy Nomination and Impostor Syndrome

The New York Times
2018-08-24

Aisha Harris, Assistant Television Editor, Culture Desk

Zazie Beetz received her first Emmy nomination, for her work in “Atlanta” on FX. Guy D’Alema/FX

Zazie Beetz has had quite the year. The burgeoning actor returned for Season 2 of FX’s critically acclaimed dramedy “Atlanta,” unpacking more layers of her character Van in some particularly memorable episodes. (One scene from the episode “Champagne Papi” took on new life thanks to Drake, who included one of her lines at the end of his No. 1 hit “In My Feelings.”) This summer, she reached an even wider audience with “Deadpool 2,” receiving accolades for her performance as Domino, a mutant whose superpower is luck.

And last month Ms. Beetz received her first Emmy nomination, for best supporting actress in a comedy for “Atlanta.” As someone who suffers from severe anxiety, however, the awards recognition and the increased visibility that comes with it have not been easy to process. “I don’t even know if I should say this publicly, but I feel kind of like, ‘O.K., cool,’” she said.

“I’m glad that shows like ‘Atlanta’ and our other contemporaries are having an opportunity to be seen and to be appreciated,” she continued, “and I’m glad that I can contribute in that way. That’s really what I’m happy about.”

In a phone interview, Ms. Beetz discussed exploring new facets of Van, her own biracial identity and experiencing anxiety and impostor syndrome in Hollywood. These are edited excerpts from the conversation…

Read the entire interview here.

Katherine Johnson, who hand-crunched the numbers for America’s first manned space flight, is 100 today

Cable News Network (CNN)
2018-08-26

Saeed Ahmed, Senior Editor, Trends, CNN Digital

Emanuella Grinberg, Digital news reporter

Katherine Johnson worked in the “Computer Pool” at NASA.

(CNN)—Katherine Johnson, the woman who hand-calculated the trajectory for America’s first trip to space, turns 100 today.

Before the arrival of electronic data processors, aka, computers in the 1960s, humans — mainly women — comprised the workforce at NASA known as the “Computer Pool.”

Black women, especially, played a crucial role in the pool, providing mathematical data for NASA’s first successful space missions, including Alan Shepherd’s 1961 mission and John Glenn’s pioneering orbital spaceflight…

Read the entire article here.

Representation Is More Than Skin Color

The New York Times
2018-08-27

Bianca Vivion Brooks, Host
ASK VIV

The Poet, Robert Hayden. Pach Brothers/Corbis, via Getty Images

Is it enough to look like the artist if you do not recognize yourself in the art?

I remember the first time I fell in love with poetry.

I was in 10th grade, and my world literature teacher, Ms. Joe, had assigned us the poem “Those Winter Sundays” by Robert Hayden. I read the poem and at once found myself engrossed in my own memory. I, too, recalled the coldness of my childhood home and the “austere and lonely offices” of my father’s love.

In his verses, Hayden made me feel seen. The poem provided a kind of relief, to know that my childhood was not a complete anomaly, and that others had grown up in similar spaces where love was convoluted by anger and loneliness. That day Robert Hayden became my favorite poet. I held on to this particular poem for years, memorizing it not only for the comfort it provided, but also as a reminder of what good art could do.

Five years later, I discovered Robert Hayden was black. It was the first day of my African-American Literature seminar at Columbia, and I was skimming the syllabus while deciding whether or not to enroll in the course. There in italics, just beneath James Baldwin’s “Notes of a Native Son” read Words in the Mourning Time (1970) by Robert Hayden. I Googled a picture of my favorite poet and laughed aloud. “So he’s black,” I thought to myself…

Read the entire article here.