Mixed Race Studies

The man behind the legend

Edmonton Journal
Edmonton, Alberta, Canada
2012-02-14

Jay Stone, Postmedia News

BERLIN – He was a musician, a spiritual leader, a ladies’ man, a smoker of heroic amounts of ganja, a political force and a religious icon. And, 31 years after his death, Bob Marley is still a chart-topper: His Legend album sells 250,000 copies a year, even now.

“Everywhere in the world people look at Bob as some kind of leader, philosopher, prophet, someone who speaks to their lives and in whom they find wisdom,” says Scottish filmmaker Kevin Macdonald. “It’s fascinating: Why is that? Nobody else has had that effect in music.”

Macdonald directed the documentary, Marley. It’s a definitive—not to say encyclopedic—biopic of a musician who was a mystery, despite his popularity as the first poet of reggae. Almost 2 and a half hours long, it includes concert footage and interviews with friends and family. It is having its world premiere at the Berlin International Film Festival…

…The Scottish director took over the project from Jonathan Demme, who dropped out because of the lack of historical documents with which to put together a full picture. Macdonald said he became committed to it while in Uganda shooting The King of Scotland, his film about Idi Amin.

“I went into the Kampala slums with some of my actors, and people had Bob Marley pictures, graffiti, pictures,” Macdonald said. “Twenty-five years after he died, he still had a huge impact. There’s no other musician I can think of who has that position in culture, so long after he’s dead, and so far away, in a poor part of a central African city.”

He looked at the film as a kind of detective story. Much of Marley’s identity came from the fact that he was of mixed race—his mother was black, his father white—so that, in some ways, he was an outsider in his own country. Despite Macdonald’s research, however, Marley’s father, Norval, remains a mystery: There is a photograph of him in the movie, but not much information…

Read the entire article here.

MFNW 2010: We are all MOsley WOtta

Oregon Music News
2010-09-09

Aaron Brandt

Jason Graham is MOsley WOtta. So are you, and so am I. That core message of commonality is one good reason why MOWO is quickly gaining such a vast following–that, and tracks full of realistic humor, a bit of brain, and some rump-shakin’ beats.
 
Fresh from achieving local greatness by winning Last Band Standing and being voted the Best Local Band in Bend, MOsley WOtta will join an all-star lineup of Pacific Northwest acts–Shabazz Palaces, Champagne Champagne, Cloudy October, and THEESatisfaction–at MFNW on September 11th at Jimmy Mak’s. As if that pace weren’t hectic enough, he’s somehow found time to release Wake, a compilation that features the song “Boom For Real”–if you haven’t heard this one yet, check out the video below.

Let’s dive into the world of Wake and MOWO with a little Q & A, shall we?

Wake is chock-full of diverse material. We hear everything from party beats to nasal solos to interlude comedy skits–if you were given only two choices, which two “popular” artists does your music sound like a mix of?

MOWO: Somewhere between Saul Williams and Weird Al, or maybe Spearhead and Aesop Rock…

Read the entire interview here.

MOsley WOtta

Arts Beat Oregon
Oregon Public Broadcasting TV
2011

Meet hip-hop artist Jason Graham and find out why “I am MOsley WOtta and so are you!”

MOsley WOtta is a sly play-on-words meant to remind us that we are all “mostly water.” This inclusive, hip-hop reminder helps Bend-based man-behind-the-artist Jason Graham find family wherever he goes and to share his danceable message of peace and mutual support.
 
First Broadcast: 2011
Producer: Jule Gilfillan
Videographer/Editor: Tom Shrider
Audio: Randy Layton

View the video here (00:08:21)

Rice Outside the Paddy: The Form and Function of Hybridity in a Thai Novel

Crossroads: An Interdisciplinary Journal of Southeast Asian Studies
Volume 11, Number 1 (1997)
pages 51-78

Jan R. Weisman

This paper examines some of the problematic issues of racial hybridity in contemporary Thailand through an analysis of the fictional portrayal of Thai hybrid individuals in the archetypical story, Khao Nok Na. I argue that the modern Thai treatment of hybridity—both fictional and real—privileges some forms over others as it 1) reflects Thai Buddhist concepts of the phenotypical expression of accumulated religious merit, 2) reflects and creates audience desire and anxiety as it reminds the nation of its actual, perceived, or feared loss of control over the course of its development and globalization, and 3) insists on Thai control of its various images as a means of  alleviating the anxieties so created.

Introduction

Thai popular conceptions of hybridity—in particular, the genetic hybridity expressed in individuals of mixed Thai-Western ancestry—have undergone significant changes in recent decades. Eurasians occupied a neutral social category for much of Thai history. Their numbers were small; their parents were of high socioeconomic status; and their Thai lineage was usually a paternal connection. This situation changed dramatically with the influx of American military personnel into Thailand during the Vietnam War. Though the Thai government does not maintain records on the subject, it is estimated that as many as 7,000 Amerasian children…

Woman traces her Tanzanian roots in film

The Citizen
Dar es Salaam, Tanzania
2012-02-04

Tyrone Beason

Sometimes a journey begins with a song. In the case of Seattle documentary filmmaker Eli Kimaro, it was a transporting version of the classic lullaby Summertime from the African-American opera Porgy and Bess, this one sung by the Benin-born artist Angelique Kidjo as a West African spiritual, full of cooing background vocals and soul-tapping percussion.

Kimaro’s father is Tanzanian. Her mother is Korean. She’d always been comfortable with her mixed-race background, but something about hearing that song eight years ago sparked a longing to better understand the people she came from, particularly the relatives in Kilimanjaro region, where her father grew up and where she’d visited many times as a child.It dawned on her that she should make a film about her father’s side of the family, even though she’d never directed a movie in her life.

The result, A Lot Like You, debuted at the Seattle International Film Festival last year to positive reviews.

The film helps raise the profile of a population in the United States that many people who identify with just one racial or ethnic group scarcely understand…

…Elikimaro is part of a new wave of multiracial pride, discussion and activism rooted in a very real demographic shift.

America is, in fact, more multiracial. According to the 2010 U.S. census, more than 9 million Americans identified themselves as belonging to two or more racial groups, or about 2.9 per cent of the total population, up from 2.4 per cent a decade ago.

Since 2000, the census has made it easier than ever for people answering its surveys to pick more than one racial group; and Americans who have mixed-race backgrounds, long a cause for derision and marginalization, are ever more comfortable checking all the boxes that apply to them…

Read the entire article here.

Art Review: A Life of Marital Bliss (Segregation Laws Aside)

The New York Times
2012-01-26

Martha Schwendener

What’s the difference between a political activist and a political hero? It’s often a matter of intention versus accident. Within the civil rights movement Rosa Parks is seen as an activist: She trained at the Highlander Folk School for social justice in Tennessee, and her refusal to give up her seat on a crowded bus was the catalyst for the 1955 Montgomery Bus Boycott. Richard and Mildred Loving, an interracial couple from Virginia whose marriage prompted a benchmark 1967 Supreme Court ruling overturning state miscegenation laws, are portrayed in “The Loving Story: Photographs by Grey Villet” as heroes who fell into history by accident.

he Loving story is well known in the annals of American civil rights history. It began on July 11, 1958, when a Virginia county sheriff and two deputies entered the Lovings’ bedroom at 2 a.m. and arrested them for violating the Racial Integrity Act, which banned interracial marriage. (Or you might say it began several years earlier, when Richard Loving, a white teenager, met Mildred Jeter, a girl of African-American and American Indian descent, six years his junior.)

When, at 18, Mildred became pregnant, the couple decided to marry in Washington, D.C., where interracial marriage was legal. They were arrested five weeks later when they returned to Virginia and tried to live as husband and wife, kicking off a nine-year legal odyssey…

Read the entire article here.

Spring 2008 Feature: Acting on a Dream

Farmington First: Alumni Magazine
University of Maine, Farmington
Spring 2008

Marc Glass

The stages of H’Nette DeTroy’s dramatic life include theater, dance and even commercial casting

Looking at H’Nette DeTroy’s resume, you might think she suffers from career wanderlust. Since graduating from UMF in 2006, she’s been a nurse, a cheerleader and a bus-commuting business executive—not to mention a disgruntled gas-station patron, a terminally ill hospital patient and a drunk-driving fatality. A southern Maine-based actor, DeTroy takes pride in her many professional personas—whether that means extolling the virtues of an alternative-fuel Mercedes Benz in a television commercial, playing a nurse in a hospital training video, dramatizing the perils of operating under the influence in an MTV-aired public service announcement or taking to the stage in a community theater production of Disney’s High School Musical.

“It’s a lot of fun to lose yourself in a role, creatively making it whatever you want it to be,” said DeTroy on a rare day of downtime away from auditions, teaching children’s dance lessons and rehearsing with the Portland-based hip-hop dance company Rhythm Factor. “When I’m acting, dancing or singing, I lose all concept of time and the trivial stuff in life. This is something I love. It’s what life is about for me.”…

…With what she calls her “multiracial” background (courtesy of a German father and Vietnamese mother), DeTroy has been slating of sorts for most of her life.

“People have always asked me ‘What are you?’ or ‘Are you Latina?’ My mom is as third-world as you can get. Growing up in as unforgiving and wealthy a place as Fairfield County makes you aware of your identity. I’m used to defining myself in the first three seconds,” she said. “I remember growing up and thinking ‘there’s no one on TV who looks like me.’ Seeing Jennifer Lopez in the film Selena, a minority actress actually making it, was very motivational.”…

Read the entire article here.

Telling His Story, Keeping His Promises: MOsley WOtta as performer and father

True North
Central Oregon Parenting
January/February 2012

Michelle Bazemore
photography by Kimberly Teichrow

Note from Steven F. Riley: I will be the co-host on the February 22, 2012 podcast of Mixed Chicks Chat with featured guest Jason Graham.

It’s difficult to spend time with Jason Graham without feeling like you’re in the presence of someone on the brink. Here is a person who has understood the art of performance since he was very small: a kid who could make his divorced parent laugh through her tears after a particularly nasty telephone conversation with her ex; an artist not content to kill it in his hometown; a man who empowers kids to find their voices by directing them to “tell your individual version. The theme has been done, but not your version.”

His version is a study in juxtaposition. He is a rapper, but doesn’t embody the mainstream definition of a hip hop star. He is modern, but inspired by ancient themes. He is physically graceful, yet enjoys playing a grotesque role to make his audience uncomfortable, and to relay a philosophy about superficiality. In his music he will break up a rapid-fire delivery of rap with a sudden drawn-out melodic phrase, often with a theatrical inflection a la Busta Rhymes.

To label Jason Graham a rapper is selling him rather short. Seemingly driven to express himself creatively with whatever medium he is given, Graham is rightly labeled a performance artist. A distinctive voice coupled with the ability to manipulate words into a rhythmic, thought-provoking stream of consciousness make him a natural spoken-word poet and emcee. But he also paints on anything that paint adheres to, from canvas to shovels to jackets, and uses his theater background to create masks, costumes, and props to evoke different characters on stage. Graham’s upbringing in a creative, multi-cultural family has influenced his artistry, adding depth to his performances.

Compared to many commercially successful rappers, Graham is unusually willing to express vulnerability and self-doubt. “I’m comfortable being uncomfortable,” he says without irony, “and that’s what makes me glorious.” As a mixed-race kid transplanted to Bend from Chicago when he was nine years old, he knows about being self-conscious, but says emphatically that he wasn’t “supposed to escape that one way or the other.” He has gradually become more comfortable with calling himself an artist. “It’s dangerous because you invest so much of your love into something you’ve been told time and time again may not work out,” he admits. “But just because you’re an investment banker doesn’t mean it’s going to work out either. Security’s very relative.” …

…The name MOsley WOtta refers to the water content of the human body. At most times during life, the human body is made up of more than 50% water, or “mostly water.” It’s an overt gesture to draw a line of internal commonality among people who are increasingly driven to express themselves as individuals externally through fashion, body art and other surface displays. “We’re always trying to find a balance between fitting in and being ourselves,” says Graham…

Read the entire article here.

‘MOsley WOtta’ Transcends Boundaries Of Music, Poetry And Art

OPB News
Oregon Public Broadcasting
2011-12-30

David Nogueras, Central Oregon Correspondent
Bend, Oregon

Note from Steven F. Riley: I will be the co-host on the February 22, 2012 podcast of Mixed Chicks Chat with featured guest Jason Graham.

It’s been a good year for Bend’s MOsley WOtta.  The hip-hop group played shows around the state, opening for acts such as Ice Cube and Tricky.  The band plans to close out this year with a New Year’s Eve show in Bend. That’s where the band will unveil its third official release, titled Amalgum X. Bend isn’t typically thought of for it’s hip hop scene. But MOsley WOtta isn’t your typical hip hop group.

“No matter where you come from, what era you come from, there is some kind of music inside of hip hop that will grab you,” says Bend artist MOsley WOtta.

“Light skin, blue blood, gentlemen and ladies, girls and boys, this is that love, pain, grow, if you are living and breathing right now.  You know exactly what I’m talking about.” MOsley WOtta is the alter ego of 28 year old Jason Graham.  It’s also the band that Graham fronts…

…“I think he’s a classic artist, a classic creative brain.  You might meet artists and creative people who are introverted or socially awkward.  This is not that case,” says Salmon. Up on stage, Jason Graham is in his comfort zone.   But growing up biracial in the 1980 he says he’s always kind of felt as if he lived between worlds.  He was born in what he describes as a somewhat rough neighborhood in Chicago and moved to Bend at age 9.  These days he’s tough to miss.  He’s tall, lanky and exudes energy.   Graham says sometimes people don’t quite know what to make of him.

“Maybe people come up and they’re like so are you Mexican?  Are you Filipino?  Indian right?  That is just like with the music, I do see a total correlation there.  Between it’s like well it’s not exactly one thing.  And it never will be one thing, cause I’m not one thing,” says Graham…

Read the entire article here.  Listen to the audio here (00:04:54).

Johnny Otis, ‘Godfather of Rhythm and Blues,’ Dies at 90

New York Times
2012-01-19

Ihsan Taylor

Johnny Otis, the musician, bandleader, songwriter, impresario, disc jockey and talent scout often called “the godfather of rhythm and blues,” died on Tuesday at his home in Altadena, Calif. He was 90.

His death was confirmed by his manager, Terry Gould.

Leading a band in the late 1940s that combined the high musical standards of big-band jazz with the raw urgency of gospel music and the blues, Mr. Otis played a key role in creating a new sound for a new audience of young urban blacks, a sound that within a few years would form the foundation of rock ’n’ roll.

With his uncanny ear for talent, he helped steer a long list of performers to stardom, among them Etta James, Jackie Wilson, Esther Phillips and Big Mama Thornton — whose hit recording of “Hound Dog,” made in 1952, four years before Elvis Presley’s, was produced by Mr. Otis and featured him on drums.

…Despite being a mover and shaker in the world of black music, Mr. Otis was not black, a fact that as far as he was concerned was simply an accident of birth. He was immersed in African-American culture from an early age and considered himself, he said, “black by persuasion.”

“Genetically, I’m pure Greek,” he told The San Jose Mercury News in 1994. “Psychologically, environmentally, culturally, by choice, I’m a member of the black community.”…

Read the entire obituary here.