whiteness defined

This one is so good that I don’t have perspective to add or anything witty to say about it.  However that could just be because I’ve only had three hours of sleep and just can’t do any better.  Either way, this excerpt of a transcript of an NPR interview is definitely worth reading and pondering.  You could also listen to it in it’s entirety HERE.

Author Examines ‘The History Of White People’

Once upon a time, notorious laws in this country defined as black anyone with as much as one drop of black blood. Similar laws struggled with the rights of people of mixed race, octoroons, for example. But nowhere can you find a definition of white people, and as a practical matter, that non-definition has changed. Ethnic groups now regarded as white Irish, Jews, Italians – were once very much on the outside.

These points (are) from Nell Irvin Painter’s new book, “The History of White People,” which traces ideas about color and race from antiquity to the Obama administration.

This is TALK OF THE NATION. I’m Neal Conan in Washington. Nell Irvin Painter is our guest…

CONAN: …you conclude at the end of your book, you say the fundamental black-white binary endures even though the category of whiteness or we might say more precisely a category of non-blackness effectively expands. That non-blackness, is that by lack of a definition of whiteness?

Ms. PAINTER: Yeah, that’s about how it goes. There as you noted, there have not been legal definitions of whiteness. It’s kind of what’s leftover from blackness.

CONAN: What isn’t.

Ms. PAINTER: And blackness, there’s the idea of a one-drop rule is an idea. What the states did was say one-fourth, one-eighth, that kind of thing, one grandparent, one great-grandparent. That’s how they decided what one drop was.

I suppose people use the word one drop because actually color disappears very quickly in people. And so you can look functionally white with one black grandparent, which in most places would make you legally black. So what makes you black has been defined and redefined and re-re-redefined. What makes you white is what’s leftover.

CONAN: And in fact, you say that has been, well, ill-defined but redefined and redefined over the years, too.

Ms. PAINTER: Yeah…  The whole point of defining races is mostly to put people down, and so those needs change over time. Who do you want to put down? Well, you want to put down, say, Jews and Italians and Slavs 100 years ago, but 150 years ago, you wanted to put down the Irish.

…We think of race as something physical, biological and permanent, but the way people used race in the 19th and 20th centuries and probably still today is that it has to do with temperament, racial temperament. So how people look on the outside is a key to what they’re like on the inside, their temperament. So that had to do with Protestantism, too.

…CONAN: It’s interesting, Nell Irvin Painter, you describe how, in fact, racial laws made a transition in the late part of the 20th century from being used to exclude persons of color to define injustices against persons of color.

Ms. PAINTER: Not persons of color, Negroes, to be exact. The laws were against Negroes. But you’re absolutely right that before desegregation, before the Civil Rights Act of 1964, all those laws, exclusionary laws, were meant to keep Negroes out. And the counting up was to keep Negroes out.

And after that, particularly after the 1970s, the need to rectify the injustices meant that we had to count people in order to straighten things out. So now we count up racial categories, say, to track mortgage lending, where there’s still a good deal of racial discrimination.

So in the census, the census keeps counting us by race for purposes of undoing racial harm in the past.

Read more (or listen) HERE

speaking of drake…

I’m super-curious about this guy and am itching to know more about the experiential intricacies of his Black/Jewish upbringing, and how he reflects on all of that from where he sits currently as the “New Jew in Hip-Hop.”  I don’t think this is a direct quote from Drake, but it rings true:  “Finally, his outsider background has become an asset.”  That’s exactly how I feel about my own self and I wouldn’t be surprised if a multitude of biracials are emerging into the same space of appreciation for the experience and are cultivating ways to make use of it in a world that was not ready to handle our truth before.  Some still aren’t ready.  Look out, some!

The New Face of Hip-Hop

By JON CARAMANICA

New York Times

For most of his teenage years Drake, tall, broad and handsome, was still known as Aubrey Graham (Drake is his middle name) and played the basketball star Jimmy Brooks on the popular Canadian teenage drama “Degrassi: The Next Generation.” In the last 18 months, though, he’s become the most important and innovative new figure in hip-hop, and an unlikely one at that. Biracial Jewish-Canadian former child actors don’t have a track record of success in the American rap industry.

But when “Thank Me Later” (Aspire/Young Money/Cash Money) is released this week, it will cement Drake’s place among hip-hop’s elite. It’s a moody, entrancing and emotionally articulate album that shows off Drake’s depth as a rapper, a singer and a songwriter, without sacrificing accessibility. That he does all those things well marks him as an adept student of the last 15 years: there’s Jay-Z’s attention to detail, Kanye West’s gift for melody, Lil Wayne’s street-wise pop savvy.

In rapid fashion Drake has become part of hip-hop’s DNA, leapfrogging any number of more established rappers. “I’m where I truly deserve to be,” Drake said over quesadillas at the hotel’s lobby bar. “I believe in myself, in my presence, enough that I don’t feel small in Jay’s presence. I don’t feel small in Wayne’s presence.”

But “Thank Me Later” is fluent enough in hip-hop’s traditions deftly to abandon them altogether in places. Finally his outsider background has become an asset. As a rapper, Drake manages to balance vulnerability and arrogance in equal measure, a rare feat. He also sings — not with technological assistance, as other rappers do, but expertly.

Then there’s his subject matter: not violence or drugs or street-corner bravado. Instead emotions are what fuel Drake, 23, who has an almost pathological gift for connection. Great eye contact. Easy smile. Evident intelligence. Quick to ask questions. “He’s a kid that can really work the room, whatever the room,” said his mother, Sandi Graham. “Thank Me Later” has its share of bluster, but is more notable for its regret, its ache.

As for Ms. Berry’s cousin, Drake’s interested, of course, but wary. “I think I have to live this life for a little bit longer before I even know what love is in this atmosphere,” he said. More fame only means less feeling, he knows.

Dodging vulnerability has been a fact of Drake’s life since childhood. His parents split when he was 3. An only child, he lived with his mother, who soon began battling rheumatoid arthritis, a condition that eventually prevented her from working, forcing Drake to become responsible at a young age. “We would have this little drill where, Lord forbid something happened, if there was a fire or an emergency, he would have to run outside and get a neighbor and call 911,” Ms. Graham said. His father, Dennis, who is black, was an intermittent presence — sometimes struggling with drugs, sometimes in jail.

“One thing I wasn’t was sheltered from the pains of adulthood,” Drake said. When something upset him as a teenager, he often told himself: “That’s just the right now. I can change that. I can change anything. The hand that was dealt doesn’t exist to me.’ ”

From an early age he’d been interested in performing, whether rewriting the lyrics to “Mary Had a Little Lamb” or spending time as a child model. By then, he and his mother were living in Forest Hill, a well-to-do, heavily Jewish neighborhood on the north side of Toronto, where he attended local schools, often the only black student in sight. His mother is white and Jewish, and Drake had a bar mitzvah. At school he struggled academically and socially. “Character-building moments, but not great memories,” he recalled. In eighth grade he got an agent and was soon sent off to audition for “Degrassi: The Next Generation,” an updated version of the popular 1980s Canadian drama.

He auditioned after school, on the same day, he said, that he first smoked pot from a bong. Nevertheless he landed the role of the wealthy, well-liked basketball star Jimmy Brooks, who was originally conceived as a white football player.

“Part of his journey is trying to figure where he does fit in in the world, having a white Jewish mom and a black, often absentee father,” said Linda Schuyler, a creator of the show. “It’s almost a comfort factor with Jimmy Brooks. That was the antithesis of his life at the time. It was probably reassuring and a bit escapist for him to play that role.”

Sometimes he was hiding even when the cameras were off, sleeping on the show’s set. “When I woke up in the morning, I was still the guy that could act and laugh,” he said. “It’s just that home was overwhelming.” Along with “Degrassi” came a new, more diverse school closer to the set, where he first tried rapping in public. As he got older, he also tried out his verses on one of his father’s jailhouse friends, who listened over the phone…

READ MORE

biracial comedienne sued

By her mother-in-law! I sure wouldn’t want to be at their Hanukkah celebration this year.

Comedienne Sunda Croonquist sued by her mother-in-law over mother-in-law jokes

Legal News ExaminerWilliam Pfeifer, Jr.


AP Photo/Matt Sayles

Sunda Croonquist, a comedienne whose comedy routine often includes jokes about her family, has been served with prime new material that she probably won’t  use.

Croonquist has been sued by her mother-in-law over her mother-in-law jokes.

The lawsuit against Croonquist alleges that Croonquist made false, defamatory, and racist jokes about her mother-in-law, Ruth Zafrin.  Zafrin is joined in the lawsuit by her daughter, Shelley Edelman, and Edelman’s husband, Neil.  In the lawsuit, they demand that Croonquist remove the offensive statements from her website, comedy routines, and recordings.

Croonquist, the biracial child of a Swedish father and an African-American mother, married into a Jewish family.  She asserts she is clearly not an anti-semite because she converted to Judaism before even meeting her Jewish husband.

Croonquist states that she will drop the allegedly offensive jokes from her comedy routine, but she flatly refuses to pay any monetary damages.