Mixed Race Studies

Living Portraits: Carl Van Vechten’s Color Photographs of African Americans, 1939-1964

Beinecke Rare Book & Manuscript Library
Yale University, New Haven, Connecticut

Carl Van Vechten (1880-1964), photographer, promotor of literary talent, and critic of dance, theater, and opera, had an artistic vision rooted in the centrality of the talented person. He cherished accomplishment, whether in music, dance, theater, fine art, literature, sport, or advocacy. He began to make photographic portraits in 1932; in 1939 he discovered newly available color film. For a quarter century, he invited friends and acquaintances, well-known artists, fledgling entertainers, and public intellectuals to sit for him, often against backdrops reminiscent of the vivid colors and patterns of a Matisse painting. Among his subjects are a very young Diahann Carroll, Billie Holiday in tears, Paul Robeson as Othello, Althea Gibson swinging a tennis racquet, and a procession of opera stars, composers, authors, musicians, activists, educators, and journalists who made notable contributions to the cultural and intellectual life of the country. Also included are brilliant color images of notable and everyday places: Fisk University in Nashville, Tennessee; the wedding of friends; pushcarts and street scenes of Harlem; children at play in a housing project’s yard.

The Collection

Color slides of Blacks.
1,884 color Kodachrome slides, 2 x 2 inches each

[Note from Steven F. Riley] Also includes photographs of: Peter Abrahams, Prince Etuka Okala Abutu, Armenta Adams, Adele Addison, Alvin Ailey, Betty Allen, Sanford Allen, Martina Arroyo, William Attaway, Ethel Ayler, Pearl Bailey, James Baldwin, Harry Belafonte, Roy Thompson Beresford, Mary McLeod Bethune, Charles Blackwell, McHenry Boatwright, Margaret Allison Bonds, Paul Bontemps, William Stanley Braithwaite, Carol Brice, Jonathan Brice, Maurice Brooks, Anne Wiggins Brown, Debria Brown, Roscoe Lee Browne, Joyce Bryant, Ralph J. Bunche, Dan Burley, Miriam Burton, John Carlis, Thelma Carpenter, Diahann Carroll, John Carter, Shirley Verrett Carter, Horace Cayton, Omar Clay, Ladybird Cleveland, Leo Coleman, Durward B. Collins, Janet Collins, Zebedee Collins, Clayton Corbin, Edna Cordoza, Eldzier Corter, Robert Curtis, Jimmy Daniels, Ossie Davis, Gloria Davy, Ruby Dee, William Demby, Beauford Delaney, Inez Dickerson, Hugh Dilworth, Mattiwilda Dobbs, Owen Dodson, W. E. B. DuBois, Todd Duncan, Roy Eaton, Bobby Evans, Martha Flowers, Benny Garland, Althea Gibson, Richard Gibson, John Birks “Dizzie” Gillespie, Shirley Graham, Reri Grist, Nicolas Guillen, Juanita Hall, Bertha “Chippie” Hill, Ramon Blancos Habana, Frank Harriott, Afrika Hayes, Marion Hayes, Roland Hayes, Chester Eugene Haynes, Godfrey Headley, Bomar Himes, Geoffrey Holder, Leo Holder, Charlotte Holloman, Nora Holt, Marilyn Horne, Langston Hughes, Phillipa Husley, Earle Hyman, Ivie Jackman, Annette Jackson, Mahalia Jackson, Raymond Jackson, Louise E. Jefferson, Charles Johnson, Hal Johnson, Hylan “Dots” Johnson, Marie Johnson, (Everett) LeRoi Jones , James Earl Jones, Laurence Clifton Jones, Ulysses Kay, William Melvin Kelly, Eartha (Mae) Kitt, George Lamming, Carmen De Lavallade, Everett Lee, Henry Lewis, Powell Lindsay, James Lowe, Robert Keith McFerrin, Claudia McNeil, Geraldyn (Gerri) Hodges Major, Claude Marchant, William Marshall, Mabel Mercer, Lizzie Miles, Arthur Mitchell, Edgar Mittelholzer, Mollie Moon, Linwood Morris, Willard Motley, Lorenzo Newby, Maidie Norman, Godfrey Nurse, Frederick O’Neal, Leonard de Paur, Louise Parker, Louis Peterson, Julius Perkins Jr., Mildred Perkins, Charles Perry, Ann Petry, Evelyn La Rue Pittman, Leontyne Price, Bertice Reading, Guy Rodgers, Percy Rodriguez, Pearl Showers, Edith Spurlock Sampson, Diana Sands, Harold Scott, George Shirley, Bobby (Robert Waltrip) Short, Merton Simpson, Noble Sissle, Clarence Smith Jr., William Gardner Smith, Rawn Spearman, Melvin Stewart, William Grant Still, Billy Strayhorn, Howard Swanson, Archie Savage, Wesley Tann, Ellen Tarry, Dorothy Taylor, Claude Thompson, Veronica Tyler, Margaret Tynes, Henry Van Dyke, Elaine Vance, William Warfield, Dorothy West, Moran Weston, Clarence Cameron White, Josh White, Lindsay H. White, Roy Wilkins, Billy Dee Williams, Camilla Williams, John Alfred Williams, Maurice Williford, Ellis Wilson, John W. Work, and Dale Wright.

To view the collection, click here.

Poet Laureate Inaugural Reading

Library of Congress
Coolidge Auditorium, Thomas Jefferson Building (ground floor) (view map)
10 First Street, SE
Washington, D.C.
2012-09-13, 19:00 EDT (Local Time)

Natasha Trethewey, the 19th Poet Laureate Consultant in Poetry of the Library of Congress, will kick off the Library’s literary season with a reading. The event is free and open to the public. A reception and book signing will follow.

For more information, click here.  Also, a list of 2012/2013 public readings by Poet Laureate Trethewey are here.

View the inaugural reading here.

Theater; On Hearing Her Sing, Gershwin Made ‘Porgy’ ‘Porgy and Bess’

The New York Times
1998-03-29

Barry Singer

In his tragically short life, George Gershwin knew only one Bess, and this bittersweet fact has framed Anne Wiggins Brown’s life. She was that Bess in the original production of Gershwin’s operatic masterwork based on Dorothy and DuBose Heyward’s theatrical adaptation of Heyward’s novel “Porgy.”

More than 60 years have passed since Gershwin’s death in 1937 from a brain tumor. Though singers of every race and nationality have by now assayed the role, Ms. Brown will always be the first, the Bess Gershwin himself chose in 1934.

“Bess is slender but sinewy; very black,” wrote the Heywards. “She flaunts a typical but debased Negro beauty.”

At 85, Ms. Brown still possesses the vibrancy and unaffected elegance that must have first inspired Gershwin. She is not, however, “very black.” For Gershwin that was never a problem. “I don’t see why my Bess shouldn’t be cafe au lait,” he told Ms. Brown before offering her the role.

Yet color has haunted Ms. Brown’s career. In the segregated America of the 1930’s and 40’s, where could a classically trained African-American soprano hope to have a career? The only answer was abroad…

…She was born Annie Wiggins Brown in Baltimore in 1912. Her father, a doctor, was the grandson of a slave; her mother’s parents were of Scottish-Irish, black and Cherokee Indian descent. At 23, Ms. Brown was introduced to the world as an opera singer and an African-American in “Porgy and Bess.” Thirteen years later, in 1948, after more than a decade of concertizing and frustrated ambitions, she left America for Norway…

…”To put it bluntly, I was fed up with racial prejudice,” she explained, her English accented with Scandinavian inflections. “Though there is no place on earth without prejudice. In fact, a French journalist wrote an article during one of my tours there asking: ‘Why does she say she is colored? She’s as white as any singer. It’s just a trick to get people interested.’ Can you imagine? Of course I was advertised as ‘a Negro soprano.’ What is ‘a Negro soprano’?”…

…When the show’s closing notice was posted after 124 performances, the producers announced a tour with stints in Philadelphia, Pittsburgh and Chicago, to be followed by a week at the National Theater in Washington. Ms. Brown was livid. The National Theater, she knew, was a segregated house.

“I told them: ‘I will not sing at the National. If my mother, my father, my friends, if black people cannot come hear me sing, then count me out.’ I remember Gershwin saying to me, ‘You’re not going to sing?’ And I said to him, ‘I can’t sing!’ ”

After protracted negotiations, the National, for one week only, became an integrated house. When the curtain came down on the final performance of “Porgy and Bess,” segregation was reinstated…

Read the entire article here.

Anne Wiggins Brown (1912-2009)

Afrocentric Voices in Classical Music
2012-01-29

Randye Jones

Soprano Anne Wiggins Brown was born on August 9, 1912, in Baltimore, Maryland. (This year, rather than 1915, was confirmed by the singer herself.) Her father, Dr. Harry F. Brown, was a prominent physician and grandson of a slave. Her mother, Mary Wiggins Brown, was of African, Cherokee and Scottish-Irish ancestry. She and her three sisters were active in the musical and theatrical life of the racially segregated community. Brown described her early musical training:

I was always with music. My mother played and sang and she taught her four daughters very much about music. She was my first vocal teacher. In those days there was not much that an African-American could do in the theatre, except roles as a servant or something. I thought about being an opera singer but there also was the same difficulty. In those days the Metropolitan didn’t have any African-American singers.

Brown’s parents tried to enroll her in an area Catholic school, where they hoped to foster her musical talents. However, the school refused to admit an African American. After confronting similar discrimination years later when she applied to the Peabody School of Music, Brown was admitted to Morgan State College in Baltimore and attended Teachers’ College, Columbia University. She continued her classical vocal studies with Lucia Dunham at the Institute of Musical Art at the Juilliard School. Brown became the first African American to win Juilliard’s prestigious Margaret McGill scholarship…

…The song Anne Brown sang for Gershwin, “City Called Heaven,” became a standard of the soprano’s concert repertoire. Gershwin, hearing Brown’s performance of the spiritual, decided that she should be his Bess. The composer often invited Brown to sing not only Bess’s lines as they were written, but other characters’ parts. As work on the opera progressed, Bess’s role grew to the point that Brown suggested to Gershwin that the character’s name be added to the title  [“Porgy and Bess”]…

…Brown discussed the effects her skintone had on her career:

“We tough girls tough it out,” she said with a wry grin. “I’ve lived a strange kind of life—half black, half white, half isolated, half in the spotlight. Many things that I wanted as a young person for my career were denied to me because of my color. On the other hand, many black folks have said, ‘Well, she’s not really black.’ … Only when I went on a train or into a theater did I think about passing, and even then I didn’t consider it passing. I figured if I simply asked for a ticket it was their problem. Onstage, though, it they couldn’t take me as I was—the hell with them.”

Determined to escape the racism so prevalent in America, Brown travelled overseas in 1946…

Read the entire article here.

‘I don’t believe in Negro symphony conductors’

On An Overgrown Path
2011-07-25

John McLaughlin Williams

‘Oh, come in, young man. I’m reading these reviews. They are out of this world. You really have something. But I might as well tell you, right now, I don’t believe in Negro symphony conductors. No, you may play solo with our symphonies, all over this country. You can dance with them, sing with them. But a Negro, standing in front of a white symphony group? No. I’m sorry.’

That is the impresario Arthur Judson discussing career opportunities with African American conductor Everett Lee, seen above, [also here (1948)] in the early 1950s. Judson headed Columbia Artists Management Inc and for twenty-five years was the power broker of musical America with a stable of artists that included Eugene Ormandy, Jascha Heifetz and African American contralto Marian Anderson, and at the time of the discussion he also managed the New York Philharmonic Orchestra.

In 1940, together with fellow African American Dean Dixon and Canadian Benjamin Steinberg, Everett Lee attempted to circumvent the institutionalised racism in American classical music by forming an orchestra of black musicians. But the project failed for financial reasons and both Lee and Dixon went on to pursue their careers outside America, although Steinberg succeeded in establishing an orchestra of predominantly black players when he formed the New World Symphony in 1964…

…History was made in 1953 when Lee became the first black musician to conduct a white symphony orchestra in the south of the States, this happened at the concert in Louisville, Kentucky see in the photo below. There was another milestone in April 1955 when he became the first musician of colour to conduct a major opera company in the US with a performance of La Traviata at the New York City Opera in April 1955…

Read the entire article here.

Why Affirmative Action Remains Essential in the Age of Obama

Campbell Law Review
Volume 31, Issue 3 (2009)
pages 503-533

Reginald T. Shuford, Senior Staff Attorney, Racial Justice Program
American Civil Liberties Union Foundation

With the election of Barack Obama to the most powerful position in the world, the presidency of the United States of America, many opined that America finally conquered her racial demons, some trumpeting the term “post-racial” as though it were a fait accompli. That an African-American man-much less one with such a nontraditional name-could ascend to the highest office in the land, they argue, clearly signals that America’s racist history is a thing of the past. Gone. Over. Kaput. Slate wiped clean. Concomitant with their notion of a post-racial America is the strong belief that complaints of racism lack merit, and measures to remedy past and current exclusionary practices are no longer necessary. But saying it is so does not make it so. There can be no doubt that Obama’s election represents a singular moment in American history and demonstrates significant and welcome progress in America’s notoriously fraught racial relations. That said, claims that America is truly post-racial are decidedly premature. Indeed, during this very election season, some voters conceded that Obama’s race was an issue impacting whether they would vote for him.

It also bears noting, at the risk of stating the obvious, while it is true that Obama’s victory shattered the ultimate political glass ceiling, he, black or otherwise, is not your “Average Political Joe.” As such, whether his election portends a future where African-American candidates, and other candidates of color, will be elected to the highest office in the land with any degree of regularity is debatable. For generations, African-American parents preparing their children for the harsh realities of racism have told them that they are required to be twice as good and work twice as hard as everybody else, just to stand a fighting chance at leading successful and productive lives. President Obama may personify that concept better than most. Among his many notable accomplishments, Obama is the graduate of two Ivy League schools, Columbia University and Harvard Law School, where he graduated magna cum laude. At Harvard, he served as the first African- American president of the Harvard Law Review. Obama is also the author of two best-selling books, Dreams from My Father and The Audacity of Hope. He was a constitutional law professor at the University of Chicago. His well-known political successes include his career-defining delivery of the keynote address at the 2004 Democratic National Convention, which catapulted him onto the national and, perhaps, international stage. During his tenure in the Senate, Obama was the sole African-American.

Beyond his academic and professional accomplishments, President Obama possesses a combination of personal traits-powerful oratorical skills, discipline, equanimity, self-confidence, and the ability to connect with and inspire a broad range of people-that undoubtedly have contributed to his phenomenal success and uniquely qualified him to be the right person for the job at this particular moment in our history. Even Obama’s biracial background advantages him, for example, with the ability, evident in his Speech on Race, to speak credibly from both sides of the racial divide. His background might also have benefited him in another way: Perhaps, he was not “too black” for certain skittish voters. In light of his eminent qualifications, many wondered whether Obama’s racial background at least partly accounted for the relative closeness of much of the race between him and John McCain…

Read the entire article here.

Brendon Ayanbadejo, Baltimore Ravens Linebacker, Talks Gay Marriage And LGBT Rights

The Huffington Post
2012-09-12

Michelangelo Signorile

Baltimore Ravens linebacker Brendon Ayanbadejo is going “full steam ahead” after his battle with Maryland legislator C. Emmett Burns Jr., who last week wrote a letter calling on the team’s owner to silence Ayanbadejo regarding his public advocacy of gay marriage, only to back down amid a national uproar. (Listen to the full interview below)

“The Ravens reached out to me,” Ayanbadejo said. “[Ravens president] Dick Cass and [Ravens] owner Steve Bisciotti said, ‘Brendon, you’re a great person. Keep doing your thing. We believe in you. This is not a team that believes in discrimination in any way, shape, or form. You have this tremendous platform here. Use it. And go ahead and continue to be you, and grow and shape and change the world while you have the ability to do it.’”…

…Discussing what motivates him to take up the cause of LGBT equality and gay marriage, Ayanbadejo pointed to his upbringing.

“I’m a product of two biracial parents — so actually, I’m not biracial, but I’m a product of it,” he said, laughing. “My dad is Nigerian. My mom is Irish-American. So I kind of never really fit in. From the black community, I was considered white. From the white community, I was considered black. And then from my own Nigerian community, I wasn’t considered Nigerian. I was considered a black American. I kind of never fit in, kind of had to find my own niche and find my own way. So I’ve experienced discrimination at a young age, and it’s made me the person who I am today.”…

Read the entire article here.

Creating the Covers of Our Own Books: A Look at Multiracial Identity Communication

Gonzaga University, Spokane, Washington
December 2011
63 pages

Helyse Sina Turner

A Thesis Presented to the Faculty in Communication and Leadership Studies School of Professional Studies Gonzaga University, In Partial Fulfillment Of the Requirements for the Degree Master of Arts in Communication and Leadership Studies

Today’s world is diverse. Different races, ethnicities, and cultures increasingly intermingle and the population of multiracial people has increased. What is increasingly clear is that first-glance judgments about a person’s racial background can no longer be made with presumption of guaranteed accuracy. And socially, multiracial people are burdened with explaining who they are racially to others. To better understand this situation, this study examined the ways in which multiracial people communicate their backgrounds. Four research questions were posed, targeting nonverbal communication of race, reasons behind decisions to racially self-identify in a specific way, effect of the increasing multiracial population in the United States, and racial identity revision. Data was gathered through a survey and focus groups. The data was then examined using various identity, racial, biracial, and multiracial theories as lenses. The results of the study shed light on multiracial communication, nonverbal expressions of race, comfort and self-identity. Also significant is the adaptation of Root’s biracial theory and Renn’s multiracial college student theory to form another theory regarding multiracial identity development. Suggestions and recommendations for future research are also provided to help better understand multiracial communication and multiracial self-identification.

Read the entire thesis here.

Standing Up at an Early Age

The New York Times
2012-09-14

Adam Himmelsbach

Views on Gay Rights of Ravens’ Ayanbadejo Are Rooted in Upbringing

In recent weeks, Baltimore Ravens linebacker Brendon Ayanbadejo has been praised in many quarters for supporting the legalization of same-sex marriage. His stance is not new, but it reached a wider audience after a Maryland legislator urged the Ravens owner Steve Bisciotti to silence him.

For Ayanbadejo, 36, it was a comforting shift from 2009, when he became one of the first athletes from a major American professional sports team to speak out in support of same-sex marriage. That year, he found gay slurs directed at him on Internet message boards. In the Ravens’ locker room, players made crude remarks and asked him when he would reveal his homosexuality, he said.

“If I was walking by, and they wanted to be immature and make comments, I’d keep walking,” said Ayanbadejo, who has a 1-year-old son and a 6-year-old daughter with his longtime girlfriend. “If they wanted to be real men and have conversations, I would have, but no one did.”

If those players had heard Ayanbadejo’s story, they would have learned how his views were shaped. His father is Nigerian, and his mother is Irish-American, and he was given the first name Oladele, which translates to “wealth follows me home.” But for much of his childhood, that did not ring true…

…Ayanbadejo began going by his middle name, Brendon, to fit in. He starred for Santa Cruz High School’s football team, but he was also active in theater, rode a skateboard and befriended many openly gay students. He had been accepted as a biracial boy from a Chicago housing project, so he accepted everyone else’s differences, too, he said…

Read the entire article here.

Mosley Wotta releases new album

The Bulletin
Bend, Oregon
2012-09-14

Ben Salmon

Bend hip-hop artist performs in Bend tonight

Anyone who knows local artist, musician and educator Jason Graham—aka MOsley WOtta, leader of the hip-hop band of the same name—knows that his relocation to Bend at age 9 from Chicago’s north side has had a profound and longstanding effect on his worldview, and thus, his art.

Get Graham, 29, talking (not a difficult task at all), and you’re likely to eventually hear about his experience as a mixed-race kid moving from an ultra-urban environment to the lily-white Bend of a decade ago. And he won’t hesitate to point out that his own stereotypes about “the country” were as deeply entrenched as those he encountered in others.

The collision of race and culture is a subject Graham has always touched on in his music, going back to his time in the local rap collective Person People, up through his first solo album, 2010’s “Wake.”

But tonight, Graham will celebrate the release of the second Mosley Wotta album, “KinKonK,” at the old PoetHouse Art space in Bend (see “If you go”), and at the same time, he’ll unveil a more direct, more forceful and more thoughtful set of songs on the subject than he ever has before. It’s also material that may surprise some of the folks who’ve come to love the Mosley Wotta band that, since winning Bend’s inaugural Last Band Standing competition two years ago, has dominated local festival stages with its upbeat funk-hop and positive message of unity through music…

Read the entire article here.