Mixed Race Studies

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.

Yellow Rose of Texas

The Handbook of Texas Online
Texas State Historical Association
2012-01-21

Jeffrey D. Dunn

James Lutzweiler

“The Yellow Rose of Texas,” one of the iconic songs of modern Texas and a popular traditional American tune, has experienced several transformations of its lyrics and periodic revivals in popularity since its appearance in the 1850s. The earliest published lyrics to surface to date are found in Christy’s Plantation Melodies. No. 2, a songbook published under the authority of Edwin P. Christy in Philadelphia in 1853. Christy was the founder of the blackface minstrel group known as the Christy’s Minstrels. Their shows were a popular form of American entertainment featuring white performers with burnt cork makeup portraying caricatures of blacks in comic acts, dances, and songs. The plaintive courtship-themed 1853 lyrics of “The Yellow Rose of Texas” fit the minstrel genre by depicting an African-American singer, who refers to himself as a “darkey,” longing to return to “a yellow girl,” a term used to describe a mulatto, or mixed-race female born of African-American and white progenitors. The songbook does not identify the author or include a musical score to accompany the lyrics:

There’s a yellow girl in Texas
That I’m going down to see;
No other darkies know her,
No darkey, only me;
She cried so when I left her
That it like to broke my heart,
And if I only find her,
We never more will part.

Chorus: She’s the sweetest girl of colour
That this darkey ever knew;
Her eyes are bright as diamonds,
And sparkle like the dew.
You may talk about your Dearest Mae,
And sing of Rosa Lee,
But the yellow Rose of Texas
Beats the belles of Tennessee.

Where the Rio Grande is flowing,
And the starry skies are bright,
Oh, she walks along the river
In the quiet summer night;
And she thinks if I remember
When we parted long ago,
I promised to come back again,
And not to leave her so.

Chorus: She’s the sweetest girl of colour, &c

Oh, I’m going now to find her,
For my heart is full of woe,
And we’ll sing the songs together
That we sang so long ago.
We’ll play the banjo gaily,
And we’ll sing our sorrows o’er,
And the yellow Rose of Texas
Shall be mine forever more.

Chorus: She’s the sweetest girl of colour, &c.

“Dearest Mae” and “Rosa Lee,” the only named females in the song, are the titles of two songs also appearing in Christy’s Minstrels songbooks. These songs were published earlier (1847–48) and are similar in style. Both are sung by a black man in a courtship setting with lyrics similar to those found in “The Yellow Rose of Texas.” Dearest Mae, who was from “old Carolina state,” was described as follows: “Her eyes dey sparkle like de stars, Her lips are red as beet,” and “She cried when boff [both] we parted.” Rosa Lee lived in Tennessee and had “Eyes as dark as winter night, Lips as red as berry bright.”

…In 2011 Yale Divinity School Library archivist Joan Duffy uncovered material indicating that the song’s composer might have been John Kelly, a famous minstrel banjoist, comedian, and composer who took the stage name “J. K. Campbell” in 1851 at the request of a fellow minstrel performer. According to Edward Le Roy Rice (1911), in 1859 and 1860 Campbell was working with George Christy’s Minstrels at Niblo’s Saloon in New York City under name of J. K. Edwards before changing his stage name back to J. K. Campbell. A minstrel “comic song” composed circa 1861 by “J. K. Campbell,” entitled “Ham Fat,” is similar in style to “The Yellow Rose of Texas.” One of the lines reads: “You may talk about your comfort, But Massa is the man…”…

Read the entire article here.

50 African Americans Who Forever Changed Academia

Online College
2012-01-24

Black History Month is celebrated every February as a time to recognize and honor African-Americans who made great contributions to some aspect of life in this country. Major figures like Martin Luther King Jr. and Rosa Parks are often honored, but many lesser-known men and women made impacts on society by working through the channels of academia, breaking barriers for future African-Americans, or creating opportunities for children that they never had before. Here are 50 of those men and women to remember this February…

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).

The Brazilian system of racial classification

Ethnic and Racial Studies
Published Online: 2011-12-05
6 pages
DOI: 10.1080/01419870.2011.632022

Antonio Sérgio Alfredo Guimarães, Professor of Sociology
Universidade de São Paulo, Brazil

Michael Banton’s text belongs to the long tradition of European social sciences which rejects the conceptual use of the lerm ‘race’ in sociological analyses. His work is also linked to the school—this time a minority—that uses individualist and logico-analytic methodologies, largey shunning historical, structuralist or holistic analyses. The real novelty of his approach, though, resides in bringing the natural concept of ‘colour’ to the centre of sociological analyses of the kinds of social differentiation and hierarchization that arise from the encounters between distinct peoples and cultures.

However my comments in this short text will not address any of these aspects head on. Instead I shall concentrate on clarifying what seems to me to be the weak point of the empirical example used by Banton in his argument, namely, the Brazilian system of racial classification, which, according to the author, is based not on race but on colour, by which he means skin colour or tone.

To allow the reader to follow my comments, it is worth briefly recalling what we know about the Brazilian system of racial classification, a topic systematically studied by sociologists and anthropologists between the 1940s and 1970s (Frazier 1944; Pierson 1945; Hutchinson 1952; Wagley 1952; Zimmerman 1952; Azevedo 1953: Fernandes 1955; Bastide and Berghe 1957; Harris and Kottak 1963; Harris 1970; Sanjek 1971; Nogueira 1985), with the aim of deciphering its classifieatory principles. From 1872 onwards the Brazilian census classified the ‘colours’ of Brazilians on the basis of the theory that mestiços ‘revert’ or ‘regress’ to one of the ‘pure races’ involved in the mixture an ideology that shaped both common-sense and academic knowledge at the end of the nineteenth century. The 1872 census, for example, created four ‘colour groups’: white, caboclo, black and brown (branco, caboclo (mixed…

Read or purchase the article here.

President Alexandre Pétion: Founder of Agrarian Democracy in Haiti and Pioneer of Pan-Americanism

Phylon (1940-1956)
Volume 2, Number 3 (Third Quarter, 1941)
pages 205-213

Dantès Bellegarde (1877-1966) [Biography in French]

The history of Haiti is dominated by four great men who fought and worked for its independence: Toussaint Louverture, Dessalines, Christophe and Pétion. Toussaint is the best known of them all because his extraordinary genius and spectacular career have engaged the attention of numerous authors. From a variety of angles they have related the story of this one-time slave who became the governor-general of the French colony of Santo Domingo only to die a captive in a dungeon of the Jura Mountains.

The career of Dessalines was scarcely less dramatic than that of Toussaint, for it was he who led to decisive victory the Negroes and mulattoes, united in the sacred struggle for freedom. Christophe, who became King of Haiti and revealed great administrative powers, is principally known in the United States by the public works which he constructed in the Northern Kingdom. The most remarkable of these is the Citadelle Laferrière, which has justly been called one of the wonders of America.

Of these four remarkable men Alexandre Pétion is the least known in the United States, but his name is revered in Latin America. In fact, he has played a role of first importance in the history of the New World, as I hope to demonstrate in this short biography, which I am writing for Phylon.

Alexandre Pétion was born at Port-au-Prince, April 2, 1770, the son of a mulatto woman and a white man, Pascal Sabès, who, considering his son too dark of skin, refused to recognize him. His elementary education was very inadequate because the whites had not established schools in the colony of Saint Domingue. He learned the trade of silversmith from one of his father’s old friends, M. Guiole, a native of Bordeaux, whose wife showed much solicitude for the young boy. She called him Pichoun, which in her southern patois meant mon petit, “my little one,” whence the name Pétion, by which he continued to be known and which he finally adopted as his own…

Read the entire article here.

Barack Obama: The Road from Moneygall

Brandon Books
June 2010
288 pages
ISBN: 9780863224065 (hb); 9780863224133 (pb)

Steve MacDonogh (1949-2010), Editorial Director

A unique exploration of the president’s Irish ancestral origins.

In his presidential election acceptance speech, Barack Obama evoked a story of great change in America, and an America made up of many strands. In this book it is the strand of his own Irish background and ancestry that tells a story of emigration to escape hunger and of the struggle to build new lives in the land of opportunity.

“Our family’s story is one that spans miles and generations; races and realities,” Barack Obama has said. “It’s the story of farmers and soldiers; city workers and single moms. It takes place in small towns and good schools, in Kansas and Kenya, on the shores of Hawaii and the streets of Chicago. It’s a varied and unlikely journey, but one that’s held together by the same simple dream. And that is why it’s American.”

But it is an Irish story, too. Falmouth Kearney, Obama’s great-great-great-grandfather, was born in Moneygall, County Offaly in 1831, lived as a child through the apocalyptic famine years, and left a decimated, devastated country for America in 1850, aged 19. Here we learn for the first time the story of the Kearney family, of the Ireland they came from and the state of County Offaly in the dreadful famine years.

We learn, too, of how two students met in 1960 and married and had a child: Ann Dunham from Wichita, Kansas, a direct descendant of Falmouth Kearney, and Barack Obama, Sr., a Kenyan from Nyang’oma Kogelo, Nyanza Province.

My Eyes Only Look Out

Brandon Books
October 2001
236 pages
ISBN: 9780863222849

Margaret McCarthy

Irish people describe the realities of being of mixed race in a mostly white society In the first book of its kind, Irish people describe, in a series of compelling interviews, the realities of being of mixed race in a mostly white society which is only now trying to adjust to the beginnings of the creation of a multicultural society.

Amongst those featured are:

• Andrew: “I’m blessed to be a mixed-race boy.” Son of a South African mother and English father, he grew up in Galway and now lives in Handsworth, Birmingham.
• Teresa: “I am still an outsider, but now it feels OK.” Daughter of a German mother and a Nigerian father, Teresa moved as a child to a mainly white area of London, where she was ostracised because of her colour. Now she lives in rural Ireland.
• Lorna: “If you are mixed race, whether it is a quarter of you or whatever, you are black.” Reared in Ireland, she left for London in her teens, but she always yearned for America, and in her mid-thirties she moved to Miami.
• Curtis: “A black Irishman, that’s me. Nobody can take that away from me.” A professional footballer with a passion for the game and a deep loyalty to his old clubs and mentors as well as to his present club.
• Sean: “I rarely, if ever, had any trouble on the pitch.” A Gaelic football and hurling star, he is a graduate in Finance through Irish.
• Lisa: “In my mind I was always Lisa the dancer.” A bright and popular shop assistant, Lisa’s adoptive parents and natural mother are dead, and she knows little about her natural father, whom she believes was Ghanaian.
• Ian: “Celebrated as “the first coloured policeman in Ireland”, Ian experiences confusion about his identity.
• Luzveminda: “I had an ordinary kind of childhood.” A science graduate, she was crowned Rose of Tralee and launched Trí³caire’s African campaign.

The End of Race? Obama, 2008, and Racial Politics in America

Yale University Press
2011-12-12
320 pages
6 1/8 x 9 1/4; 32 b/w illus.
ISBN: 9780300175196

Donald R. Kinder, Philip E. Converse Collegiate Professor of Political Science; Professor of Psychology
University of Michigan

Allison Dale-Riddle, Doctoral Candidate of Political Science
University of Michigan

How did race affect the election that gave America its first African American president? This book offers some fascinating, and perhaps controversial, findings. Donald R. Kinder and Allison Dale-Riddle assert that racism was in fact an important factor in 2008, and that if not for racism, Barack Obama would have won in a landslide. On the way to this conclusion, they make several other important arguments. In an analysis of the nomination battle between Obama and Hillary Clinton, they show why racial identity matters more in electoral politics than gender identity. Comparing the 2008 election with that of 1960, they find that religion played much the same role in the earlier campaign that race played in ’08. And they argue that racial resentment—a modern form of racism that has superseded the old-fashioned biological variety—is a potent political force.

Freedom’s Child: The Life of a Confederate General’s Black Daughter

Algonquin Books
1998
288 pages
ISBN: 9781565121867

Carrie Allen McCray (1913-2008)

When Carrie Allen McCray was a child, she was afraid to ask about the framed photograph of a white man on her mother’s dresser. Years later she learned that he was her grandfather, a Confederate general, and that her grandmother was a former slave. In her late seventies, Carrie McCray went searching for her history and found the remarkable story of her mother, Mary [Rice Allen], the illegitimate daughter of General J. R. Jones, of Lynchburg, Virginia. Jones would later be cast out of Lynchburg society for publicly recognizing his daughter. Freedom’s Child is a loving remembrance of how Mary spent her life beating down the kind of thinking that ostracized her father. She was a leader in the founding of the NAACP and hosted the likes of Langston Hughes and W.E.B. Du Bois as they plotted the war against discrimination at her kitchen table. Carrie McCray’s memories reward us with an extraordinarily vivid and intimate portrait of a remarkable woman.