text:
Mixed Race Studies
Scholarly perspectives on the mixed race experience.
Having your core 'Irishness' questioned raises issues when attempting to get to grips with your own sense of self.
As a teenager, I referred to myself as white, perhaps in an attempt to fit in with my peers.
Today I define myself as half-white, half-Asian, but no less Irish.
Dean Van Nguyen, "Half-white, half-Asian, but no less Irish," The Irish Examiner, August 15, 2015. http://www.irishexaminer.com/lifestyle/features/half-white-half-asian-but-no-less-irish-348324.html.
Playwright Adrienne Dawes imagines an dystopian future — with humor
Posted in Articles, Arts, Media Archive, United States on 2016-01-20 21:17Z by Steven
Jeanne Claire van Ryzin, Arts Critic
Adrienne Dawes (Laura Skelding)
Adrienne Dawes donned denim recently when she stopped by Salvage Vanguard Theater for a rehearsal of her latest play to debut at the indie East Austin venue.
"Denim Doves" opens this weekend.
The play has been several years in development, but that the dystopian future world Dawes and her collaborators imagined is populated with people wearing all denim — well, that detail was decided on from the beginning…
…Dawes, a native Austinite, spent three years training and performing with Chicago's famed Second City comedy troupe after college in New York. Under her "Heckle Her" production company, Dawes devises sketch comedy shows like the upcoming "Love Me Tindr," a musical spoof of the online dating app, which opens Valentine's Day weekend in Salvage Vanguard's studio theater.
Dawes' trenchant and intense drama "Am I White", which played at Salvage Vanguard in October 2014, netted the David Mark Cohen New Play Award from the Austin Critics Table Awards.
A sharp and gutsy look at racial identity, "Am I White" is based on the real-life story of convicted felon Leo Felton, a white supremacist who hid his own biracial identity while plotting to bomb public sites.
Lauded by local critics, "Am I White" is currently being considered for production by theater companies around the country.
Dawes, who is herself of mixed race, spent years working on "Am I White," and an early workshop version attracted the attention of the incarcerated Felton, who emailed Dawes from prison. Though Dawes exchanged a few emails with Felton during the development of "Am I White," she declined to continue communication with him after the play's premiere.
"The play is my creation, not his story," she says with finality…
Tags: Adrienne Dawes, Austin, Austin American-Statesman, Jeanne Claire van Ryzin, Texas
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The Orange County War of 1856
Posted in Articles, History, Media Archive, Texas, United States on 2012-03-08 03:31Z by Steven
W. T. Block, (1920-2007)
Reprinted from W. T. Block, "Meanest Town on The Coast," Old West, Winter, 1979, pp. 10ff.
Sources: Galveston Weekly News and Tri-Weekly News, June 1 to July 15, 1856. The issue of July 15 of Tri-Weekly News contains a full, 8-column page of the war. Also, an excellent secondary account is A. F. Muir, "The Free Negroes of Jefferson and Orange Counties, Texas," Journal of Negro History, XXXV (April, 1950), 183-206.
Any visitor to Madison, Texas, (now Orange) in the month of May, 1856, would have hardly imagined that that community was steeped in jealousy and hatred. Only four years earlier, Orange County had cut itself adrift from neighboring Jefferson County and established its county seat at Madison, a prosperous village located on the Sabine River, twelve miles from its mouth, and cooled by the prevailing southerly breezes from Lake Sabine.
Madison had no log-cabin or unpainted clapboard ugliness. Already a thriving timber products center, it had grown from zero population to 600 in ten years. One early writer praised its fairy-tale appearance, 150 white cottages "ensconced like a duck in a nest of roses" and encircling a mile-long river crescent studded with stately cypresses. Five steam saw mills and shingle mills, two shipyards, a dozen other hand-powered industries, stores and cotton warehouses lined the banks of the river where six steamboats and numerous sail craft transported lumber and cotton abroad. A multi-billion foot reservoir of huge, virgin cypress and pine forests abutted the community that had already become the state's leading exporter of lumber, shingles, lathes, fence pickets, barrel staves, and wagon spokes.
If Madison's idyllic setting belied its ugliness within, it also left as totally inexplicable the strangest circumstances that were ever a party to vigilante violence and twelve assassinations—a sheriff who, along with his uncle, comprised the most skillful ring of counterfeiters in early-day Texas; a West Texas killer who rode with the Moderators, the party of "law and order;" and a dozen free Mulattoes, who were slaveholders, wealthy cattlemen, and considerably less "black" than the hearts of their persecutors.
By 1856 Orange County, Texas, had the largest aggregate of "free blacks" in the state, numbering about 100. The nucleus of the Mulatto colony included Aaron, Abner, William, Jesse, and Tapler Ashworth and their children; Hiram Bunch, Gibson Perkins, and Elijah Thomas, all of whom were either brothers, in-laws, or were otherwise closely related. The wives of some of them were white, whereas a few white men in the county had Mulatto wives (mixed marriage was illegal, although seldom enforced). Most of them having arrived in Texas by 1834, a few of them held Mexican land grants. Some had military bounties or land grants from the Republic of Texas, and most of them had served one enlistment in the Texas Army in 1836. While several of mixed ancestry were Mulattoes, others were of quadroon or octoroon ancestry.
Despite the marriage laws of the state, six of the group had taken white spouses, a continuing process which had left some of them as a whole "three or four generations removed from black blood" (a phrase coined by an early county historian). Except for their disfranchisement from the political and judicial processes, they had gained most of the privileges of whites, including an 1840 enabling act from the Congress of the Texas Republic to circumvent the forced removal of free blacks from the state. Although many of them were widely respected, they still had committed, in the eyes of their neighbors, one cardinal and unforgivable sin—they had accumulated large tracts of valuable lands and thousand of cattle which were coveted by others.
Nonetheless, the free blacks were allied through marriage bonds and partnerships to many white settlers as well (one of whom was Sheriff Edward C. Glover), who rallied to the Mulattoes' side whenever the violence began. Hence, the number of free blacks and their allies made it impossible for any small number of whites to attack them without considerable bloodshed…
Tags: Texas, W. T. Block, William T. Block, William T. Block Jr, William Theodore Block Jr
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Crossing the color line
Posted in Dissertations, History, Law, Media Archive, Texas, United States on 2012-01-30 03:34Z by Steven
Alisha Hash
A Thesis Approved by the Department of History Submitted to the Graduate Faculty of Baylor University in Partial Fulfillment of the Requirements for the Degree of Master of Arts
Miscegenation, a word not coined until the Civil War, has been an intrinsic part of American History. There is a rich field of scholars discussing the experiences of interracial couples from Colonial America through Reconstruction. Historically, most researchers focus on the earliest laws enacted in the colonies and how these laws were adjusted and applied. However, there has been very little work done on specific states with the exception of a few anomalous regions such as Louisiana. Although the contributions that have been made thus far have been invaluable, there is a hole in the research. There has been very little work done on the state of Texas. Only one author, Charles F. Robinson III, has explored the topic in depth, therefore, his work should be examined thoroughly and critically.
Read the entire thesis here.
Tags: Alisha Hash, Baylor University, Texas
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Yellow Rose of Texas
Posted in Articles, History, Literary/Artistic Criticism, Media Archive, Texas, United States on 2012-01-25 23:50Z by Steven
The Handbook of Texas Online
Texas State Historical Association
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…"…
Tags: James Lutzweiler, Jeffrey D. Dunn, music, Texas, Texas State Historical Association, The Handbook of Texas Online
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Recovering History, Constructing Race: The Indian, Black, and White Roots of Mexican Americans
Posted in Anthropology, Books, Caribbean/Latin America, History, Latino Studies, Media Archive, Mexico, Monographs, Texas, United States on 2012-01-10 03:01Z by Steven
University of Texas Press
6 x 9 in., 50 b&w illus., 4 maps
Paperback ISBN: ISBN: 978-0-292-75254-2
Martha Menchaca, Professor of Anthropolgy
The history of Mexican Americans is a history of the intermingling of races—Indian, White, and Black. This racial history underlies a legacy of racial discrimination against Mexican Americans and their Mexican ancestors that stretches from the Spanish conquest to current battles over ending affirmative action and other assistance programs for ethnic minorities. Asserting the centrality of race in Mexican American history, Martha Menchaca here offers the first interpretive racial history of Mexican Americans, focusing on racial foundations and race relations from prehispanic times to the present.
Menchaca uses the concept of racialization to describe the process through which Spanish, Mexican, and U.S. authorities constructed racial status hierarchies that marginalized Mexicans of color and restricted their rights of land ownership. She traces this process from the Spanish colonial period and the introduction of slavery through racial laws affecting Mexican Americans into the late twentieth-century. This re-viewing of familiar history through the lens of race recovers Blacks as important historical actors, links Indians and the mission system in the Southwest to the Mexican American present, and reveals the legal and illegal means by which Mexican Americans lost their land grants.
1. Racial Foundations
2. Racial Formation: Spain's Racial Order
3. The Move North: The Gran Chichimeca and New Mexico
4. The Spanish Settlement of Texas and Arizona
5. The Settlement of California and the Twilight of the Spanish Period
6. Liberal Racial Legislation during the Mexican Period, 1821-1848
7. Land, Race, and War, 1821-1848
8. The Treaty of Guadalupe Hidalgo and the Racialization of the Mexican Population
9. Racial Segregation and Liberal Policies Then and Now
Epilogue: Auto/ethnographic Observations of Race and History
In this book it is my intent to write about the Mexican American people's Indian, White, and Black racial history. In doing so, I offer an interpretive historical analysis of the experiences of the Mexican Americans'ancestors in Mexico and the United States. This analysis begins with the Mexican Americans'prehistoric foundations and continues into the late twentieth century. My focus, however, is on exploring the legacy of racial discrimination that was established in the aftermath of the Spanish conquest and was later intensified by the United States government when, in 1848, it conquered northern Mexico (presently the U.S. Southwest) and annexed it to the United States (Menchaca 1999:3). The central period of study ranges from 1570 to 1898.
Though my interpretive history revisits many well-known events, it differs from previous histories on Mexican Americans and on the American Southwest because the central thread of my analysis is race relations, an area of study that is often accorded only secondary significance and generally subsumed under economic or nation-based interpretations. It also differs because I include Blacks as important historical actors, rather than denying their presence in the history of the Mexican Americans. Finally, as part of this analysis I demonstrate that racial status hierarchies are often structured upon the ability of one racial group to deny those who are racially different access to owning land. This process leads to the low social prestige and impoverishment of the marginalized. I close my analysis with commentaries on contemporary United States race relations and auto/ethnographic observations of Mexican American indigenism. Auto/ethnography is used as a method to illustrate how historical events influence racial identity.
This form of intellectual inquiry emerged from my conversations with archaeologist Fred Valdez. In 1986 Fred and I were both hired as assistant professors in the Anthropology Department at the University of Texas at Austin. It was the first time that I had met a Mexican American archaeologist. We were both fascinated by the ethnohistory of the indigenous peoples of the Americas and shared the unconventional view that Mexican Americans were part of the indigenous peoples of the American Southwest. Following endless conversations on the indigenous heritage of the Mexican Americans, we decided to study the indigenous groups of the Southwest that had been conquered by Spain and Mexico. Our objective was to identify the groups that had become subjects of Spain and, later, citizens of Mexico. This research was used to prepare an undergraduate class on the "Indigenous Heritage of the Mexican Americans." We were pleasantly surprised that our class became very popular, as evidenced by the large enrollments. In general, students were interested in knowing about their heritage, while many others were interested in seeking specific information about the mission Indians from whom they were descended.
For me, this academic endeavor converged with the publication of Michael Omi and Howard Winant's classic book Racial Formation in the United States: From the 1960s to the 1980s (1986). Their work influenced me to reassess the significance of studying the racial heritage of the Mexican Americans, given that my interest until that point had been solely to outline their indigenous ancestry. According to Omi and Winant, the significance of studying race is not to analyze the biological aspect of a people's heritage, but rather to understand the politics and processes of racial categorization. They urgently call upon social scientists to study race as a central source of societal organization, because in multiracial societies race has been used historically by those in power to share social and economic privileges with only those people who are racially similar to themselves. Omi and Winant do not urge scholars to explore the origins or psychology of this inclusive-exclusive behavior, but rather to provide a historical context, showing how those in power use race to rationalize the distribution of wealth…
Read the entire Introduction here.
Tags: Arizona, Martha Menchaca, New Mexico, Texas, University of Texas Press
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White Metropolis: Race, Ethnicity, and Religion in Dallas, 1841-2001
Posted in Books, History, Law, Media Archive, Monographs, Religion, Slavery, Texas, United States on 2012-01-09 21:27Z by Steven
6 x 9 in., 20 halftones
Paperback ISBN: 978-0-292-71274-4
Michael Phillips, Historian
The first history of race relations in Dallas from its founding until today.
From the nineteenth century until today, the power brokers of Dallas have always portrayed their city as a progressive, pro-business, racially harmonious community that has avoided the racial, ethnic, and class strife that roiled other Southern cities. But does this image of Dallas match the historical reality? In this book, Michael Phillips delves deeply into Dallas's racial and religious past and uncovers a complicated history of resistance, collaboration, and assimilation between the city's African American, Mexican American, and Jewish communities and its white power elite.
Exploring more than 150 years of Dallas history, Phillips reveals how white business leaders created both a white racial identity and a Southwestern regional identity that excluded African Americans from power and required Mexican Americans and Jews to adopt Anglo-Saxon norms to achieve what limited positions of power they held. He also demonstrates how the concept of whiteness kept these groups from allying with each other, and with working- and middle-class whites, to build a greater power base and end elite control of the city. Comparing the Dallas racial experience with that of Houston and Atlanta, Phillips identifies how Dallas fits into regional patterns of race relations and illuminates the unique forces that have kept its racial history hidden until the publication of this book.
Prologue: Through a Glass Darkly: Memory, Race, and Region in Dallas, Texas
1. The Music of Cracking Necks: Dallas Civilization and Its Discontents
2. True to Dixie and to Moses: Yankees, White Trash, Jews, and the Lost Cause
3. The Great White Plague: Whiteness, Culture, and the Unmaking of the Dallas Working Class
4. Consequences of Powerlessness: Whiteness as Class Politics
5. Water Force: Resisting White Supremacy under Jim Crow
6. White Like Me: Mexican Americans, Jews, and the Elusive Politics of Identity
7. A Blight and a Sin: Segregation, the Kennedy Assassination, and the Wreckage of Whiteness
Afterword
Toward the end of her life, Lizzie Atkins looked back on the days since Texas Emancipation and, despite the abolition of slavery, believed that the African American community had degenerated. The Federal Writers' Project of the Works Progress Administration in the 1930s sent a host of interviewers across the South to collect anecdotes from former slaves. Interviewed at her home in Madisonville, Texas, 144 miles southeast of Dallas, Atkins insisted that something bad had happened to black Texans since the end of the Civil War. Blacks grew lazy, becoming liars and thieves, Atkins said, because "they are mixing with the white people too much, so many half-breeds, and this shows they are going backwards instead of forwards."
Atkins, who grew up as a slave in Washington County, about 204 miles southeast of Dallas, believed that before the Civil War a solid color line existed between black and white. On one side, blackness equaled dignity, honesty, and thrift. On the other, whiteness meant degeneracy. Atkins could not hide her contempt for white people or their culture. In spite of the inequality it generated, Texas' color line allowed a separate black society to develop in which African Americans judged the world and their peers on their own terms. Seven decades after slavery, Atkins saw this separation as natural and miscegenation violated this fundamental order.
Atkins' comments reflect one basic truth. Much of East and North Central Texas before the Civil War had a simpler black-white racial structure. As this chapter will argue, soon after Anglo Texas' separation from Mexico in the 1835-1836 revolution, white elites created a society rooted in the absolute legal separation of the white and black worlds. In order to prevent the development of a mulatto population that might inherit the political and economic wealth of the racial ruling class, white leaders promulgated harsh legal penalties in the 1840s and 1850s attached to blackness. Blacks faced slavery, the death penalty for many crimes punished less severely for whites, and laws defining the offspring of mixed-race parents as enslaved bastards ineligible for inheritance. Whiteness was defined simply as the absence of blackness, Indian blood, or other racial "pollution," although many who were socially accepted as white had been polluted in this manner. Elites hoped that the social superiority all whites ostensibly enjoyed over blacks ameliorated disparities of power and wealth within the white community.
To the dismay of elites, however, frequently severe weather and a cash-strapped economy made life insecure for the non-slaveholding majority. In Dallas, divisions developed along economic and regional lines, leading to outbursts of violence that disturbed elite confidence and security. When a fire destroyed downtown Dallas in 1860, elite suspicions settled on white abolitionists born outside the South. The violence of 1860 created the terrain on which postwar racial ideology developed. Elites labeled those opposed to their notions of race and class hierarchy as uncivilized and therefore not fully white. After Reconstruction, the city leadership embraced a more fluid concept of race in which white status could be gained or lost based on acceptance of elite social norms. This more flexible definition of whiteness, which held dissent in check, shaped Dallas politics for more than 130 years afterward.
The legal division of Texas into completely separate white and black boxes purportedly meant that all white people were created equal. The poorest white Texans were at least not black slaves and could claim higher social status than their servile neighbors. It was just that some white Texans were more equal than others. Dallas' wealthiest pioneer Anglo families saw no contradiction in creating a community in which a few families rapidly accumulated great wealth while simultaneously praising the principles of democracy. Men such as Frank M. Cockrell, son of the city's first business magnates, Alexander and Sarah Cockrell, divorced the concept of aristocracy from anything so crass as monetary wealth. Dallas, Frank Cockrell insisted, developed as a racial aristocracy, with a white ruling class atop a permanent black underclass.
From the perspective of the 1930s, Cockrell admired the culture of 1850s Dallas, where "[t]here were among the women the refined, cultured and accomplished. Socially all on an equality. Merit the only distinction." Cockrell, however, emphasized another distinction: "the adaptability and self-government of the Anglo-Saxon race, characteristic of the Southern people," which made the average pioneer in early Dallas "a very superior immigrant." Cockrell's words carried a particular sting in the 1930s after many non-Anglo-Saxons from Europe made America their home and faced mixed assessments of their whiteness by their contemporaries. Early on, elites like Cockrell portrayed Anglo-Saxons as the sole creators of civilization, a vital first element of the city's Origin Myth. The Anglo-Saxon majority participated, at least theoretically, in what sociologist Howard Winant calls a herrenvolk democracy, a nominally free society in which political participation depends on skin color or ethnicity.
William H. Wharton, pleading with Americans to support the 1835-1836 Texas Revolution, declared that God would prevent Texas from becoming "a howling wilderness, trod only by savages, or that it should be permanently benighted by the ignorance and superstition, the anarchy and rapine of Mexican misrule . . . the wilderness of Texas has been redeemed by Anglo-American blood and enterprise." The founders of Anglo Texas envisioned a race-based society in which Indians would be driven out, blacks exploited as slaves, and Mexicans reduced to the role of surplus labor. The state's white leadership shuddered at the thought of miscegenation. "[A]malgamation of the white with the black race, inevitably leads to disease, decline and death," Galveston State Representative and later Dallas mayor John Henry Brown warned in 1857. The Constitution of the Texas Republic adopted in 1836 specifically denied citizenship to "Africans, the descendents of Africans, and Indians." Interracial sex, particularly if it involved slaves, threatened this racial order. In 1837 the Texas Congress criminalized marriage between persons of European ancestry and African ancestry, even free blacks. The law denied black consorts' claims to white lovers' estates and reduced mulatto children to illegitimacy.
Hoping to discourage miscegenation, the Texas Legislature in August 1856 defined the children of mixed-race unions as persons "of color." By law, anyone with at least "one eighth African blood" would be excluded from whiteness and defined as a slave. Such mixed-race persons immediately suffered the same social and political disabilities as African Americans. Both slave and free African Americans could suffer the death penalty, according to a December 1837 state law, not just for murder but also for insurrection or inciting insurrection, assaulting a free white person, attempting to rape a white woman, burglary, and arson…
Tags: Dallas, Michael Phillips, Texas, University of Texas Press
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Escaping to Destinations South: The Underground Railroad, Cultural Identity, and Freedom Along the Southern Borderlands
Posted in Caribbean/Latin America, Forthcoming Media, History, Live Events, Mexico, Native Americans/First Nation, Slavery, Texas, United States, Wanted/Research Requests/Call for Papers on 2011-12-29 00:07Z by Steven
Network to Freedom
2012-06-20 through 2012-06-24
The Network to Freedom has joined with local partners to present an annual UGRR [Underground Railroad] conference beginning in 2007. These conferences bring together a mix of grass roots researchers, community advocates, site stewards, government officials, and scholars to explore the history of the Underground Railroad. Rotated to different parts of the country, the conferences highlight the unique history of various regions along with new research.
The 2012 Conference theme is the resistance to slavery through escape and flight to and from the South, including through international flight, from the 16th century to the end of the Civil War. Traditional views of the Underground Railroad focus on Northern destinations of freedom seekers, with symbols such as the North Star, Canada, and the Ohio River (the River Jordan) constructed as the primary beacons of freedom. This conception reduces the complexity of the Underground Railroad by ignoring the many freedom seekers that sought to obtain their freedom in southern destinations.
Likewise, borders and the movement across them by southern freedom seekers are also very crucial to our understanding of the complexities of the Underground Railroad. Freedom seekers often sought out political and geographical borderlands, as crossing these locations usually represented the divide between slavery and freedom. To this end, the conference will explore how southern freedom seekers seized opportunities to escape slavery into Spanish Florida and the Seminole Nation, to the Caribbean Islands, and into the western borderlands of Indian Territory, Texas, and Mexico.
Escape from enslavement was not just about physical freedom, but also about the search for cultural autonomy. The conference will explore the transformation and creation of new cultural identities among southern freedom seekers that occurred as a result of their journeys to freedom, such as the dispersal of Gullah Geechee culture and the formation of Black Seminole cultural identity.
The 2012 Conference will include participation by independent and academic scholars at all levels, educators, community activists, public historians and preservationists, and multi-media and performance artists. The conference seeks to create a cultural, historical, and interpretive exchange between domestic and international descendent communities of southern freedom seekers.
Gullah Geechee and Black Seminole descendants are particularly welcome at the conference.
For more information, click here. Call for papers information (Deadline 2012-01-15) is here.
Tags: Florida, Mexico, National Park Service, Network to Freedom, Texas, Underground Railroad
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Bynum: The Long Shadow of the Civil War (2010)
Posted in Articles, Book/Video Reviews, History, Mississippi, Slavery, Texas, United States on 2011-10-23 04:17Z by Steven
The Civil War Monitor: A New Look at America's Greatest Conflict
Laura Hepp Bradshaw
The Long Shadow of the Civil War: Southern Dissent and Its Legacies by Victoria E. Bynum. Chapel Hill: University of North Carolina Press, 2010. Cloth, ISBN: 0807833819.
"Few histories," Victoria Bynum laments, "are buried faster or deeper than those of political or social dissenters" (148). By resurrecting the histories of three anti-secessionist communities in the South, Bynum's latest book about the Civil War home front and post-war aftermath brings previously ignored strains of political and social dissent back to life through an intricate examination of the period rooted in race, gender, and class politics. Ultimately guided by three central questions designed to probe the prevalence of Unionism among southerners during the war, the effects of Union victory on freedpeople and southern Unionists, and the Civil War's broader legacies, Bynum finds answers in the Piedmont of North Carolina, the Piney Woods of Mississippi, and the Big Thicket of Hardin County, Texas. These regions, though miles apart, are united in Bynum's analysis by kinship and the political alliances of non-slaveholding, yeoman farming families…
…These home front battles, Bynum tells us, had a lasting effect on the political and social clime of the Reconstruction era, and beyond. When Republican Reconstruction ended and Jim Crow Reconstruction segregated the South, former southern Unionists like Jasper and Warren Collins of the Big Thicket region rejected the two-party political system in favor of alternative platforms such the Populists or Socialists, in addition to the predominant southern religions. Newt Knight and his descendants struggled against the rising tide of white supremacy that sought to divide white, black, and Native American demographics by living openly as a multi-racial community. Furthermore, Bynum highlights the challenges faced by women in the Reconstruction period, as Jim Crow also regulated sexual mores and relations between both the sexes and races.
Thematically, the book harnesses examples of gender, class, and race on the wartime home front and in the post-war period. Yet, even though a vast portion of the book is devoted to discussing the anti-secessionist personalities of Newt Knight, Jasper and Warren Collins, and to a lesser extent, Bill Owens, an explicit examination their gender is curiously overlooked. Bynum mentions that "southern Unionists, Populists, and Socialists" were portrayed as "cowards and traitors," but she fails to examine the implications of those labels within the broader context of southern masculinity (114). That said, Bynum's sophisticated, multi-layered analysis of class relations, especially during the Civil War, more than make up for this shortcoming. She thoroughly illustrates a web of complex, inter-community class tensions that linked the conscripted poor, men fortunate to wave Confederate service, and the home guard. Bynum successfully explicates the repercussions of a segregated South on people of mixed race descent who were forced to either claim their black identity, like Anna Knight, a descendant of Newt Knight, or to "pass" as white by relocating away from the communities of their birth and obscuring their ancestry, as many other Knight Company descendants were forced to do…
Read the entire review here.
Tags: Laura Bradshaw, Laura H. Bradshaw, Laura Hepp Bradshaw, Mississippi, Newt Knight, Newton Knight, Piney Woods, Texas, The Civil War Monitor, The Civil War Monitor: A New Look at America's Greatest Conflict, Victoria Bynum, Victoria E. Bynum
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Texas bucks U.S. trend on standardized scoring
Posted in Articles, Campus Life, Media Archive, Politics/Public Policy, Texas, United States on 2011-08-09 04:10Z by Steven
Jennifer Radcliffe
It will tally multiracial students but not report their scores separately
Multiracial students are being tallied for the first time in Texas history, but their standardized test scores won't appear as a separate group when accountability ratings are released Friday.
As it grapples with increasing diversity, Texas has opted not to measure the scores of the state's 78,419 multiracial, non-Hispanic students as an ethnic subgroup whose performance matters in determining whether a school made "adequate yearly progress."
Instead, they'll join the ranks of the 180,000 Asian students lumped in with their schools' entire student body for accountability purposes…
…Some scores moved
As Texas transitions to the new categories this year, state officials have opted to return some multiracial students' scores to their previous category, if records indicate that the student was originally listed as white or African American. Their scores will only count in that previous category if they improve the school's rating…
Tags: Houston Chronicle, Jennifer Radcliffe, Texas
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Asians in S.A. claim multiracial identity
Posted in Articles, Asian Diaspora, Census/Demographics, Texas, United States on 2011-06-28 21:07Z by Steven
Elaine Ayala and Kelly Guckian
San Antonio's Asian residents are more likely to self-identify as being of more than one race or ethnicity than their U.S. and Texas counterparts, according to new 2010 Census data. The trend indicates not only intermarriage with whites and Hispanics since World War II, experts said, but more of a willingness or opportunity among Asians to intermarry outside their group.
Data compiled by the San Antonio Express-News points to the impact of a strong military presence in San Antonio over several generations, among them Anglo and Hispanic soldiers who brought home "war brides," said Mitsu Yamazaki of the Alamo Asian American Chamber of Commerce, who studies demographic trends.
San Antonio stands out from other U.S. and Texas cities in another way that may fuel more intermarriage among Asians, said Texas state demographer Lloyd Potter: It doesn't have an Asian enclave…
Tags: Elaine Ayala, Kelly Guckian, Lloyd Potter, Mitsu Yamazaki, San Antonio, Texas
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An old 35mm from the archives (cropped and post edited). I remember taking this image and being amused (and worried) about the trespassers warning sign. When you go close up, it looks like the trespasser is being shot… I decided not to venture further into the 'Fenced in Forrest'.


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Chichester Free School shortlisted for SPACES award
, 8:37 am
, Awards, Project News
We are delighted to announce that our Chichester Free School project has been shortlisted for a SPACES Award.
The SPACES (Society for Public Architecture, Construction, Engineering and Surveying) awards shortlist projects for their annual Civic Building of the Year award.
Chichester Free School has been shortlisted for a SPACES Award for 'Best Educational New Build' and was nominated by the Department of Education for this prestigious award.
This is the second time a project has been shortlisted for a SPACES Award with our ELAM project being nominated for the same award last year.
Their objectives are:
To promote buildings in local authorities together with high standards of practice
To facilitate the sharing of the knowledge and experience of members
To develop the skills and expertise of members
To represent the interests of members to other organisations
Equally it is committed to assisting its members in achieving the highest possible standards in the development, design, construction and management of the public sector estate.
This is another award together with the recent Sussex Heritage Trust Award as well as being shortlisted for 'Project of the Year' at this years Education Estates awards proving what a magnificent project this is.
The former Carmelite Convent site in Hunston, West Sussex, built in 1870, had fallen into a dilapidated state following the building being vacated in 1994.
The convent was then rebuilt and renovated to accommodate a new 'all through' school building with the Convent to becoming the 'Heart of the School'.
After 18 months of construction, the new school was completed in Summer 2018 and students and staff officially moved in, in time for the new school year in September.
The school and staff are enjoying a much larger site that holds so much significant local history. The grounds surrounding the convent are also being used as Multi-Use games areas and allotments for outdoor learning.
Congratulations once again to our fantastic team and to Farrans on delivering this great building and we hope to see more award nominations for this project in the near future.
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Planning approved for Barton Court
November 7, 2019	No Comments
Planning permission has been approved for our Barton Court School project in Canterbury, Kent.
Building Magazine Top 150 Consultants
In our first full year as Noviun Architects, we are delighted to be announced in the Top 150 consultants in Building Magazine.
SPACES Award for Chichester Free School
October 18, 2019	1 Comment
Chichester Free School has been awarded 'Best Educational New Build' at the SPACES Awards.
More award success at Education Estates
Noviun have been awarded for their West Thornton Primary Academy – Canterbury Hub project in Croydon at the Education Estates Awards in Manchester.
Noviun named Practice of the Year
Noviun named Architectural Practice of the Year.
Planning submitted for new Barton Court School
Noviun are pleased to announce planning has been submitted for the new Barton Court School in Canterbury.

redpajama_set_name: RedPajamaCommonCrawl


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'Fahrenheit' Breaks Records in Britain
LONDON – Michael Moore's "Fahrenheit 9/11" (search) broke the British box office record for a documentary in its opening weekend by taking $2.4 million, the film's British distributor said Monday.
The film — a vitriolic assault on President George W. Bush over the Sept. 11 attacks and the Iraq war — opened Friday on 132 British screens and has received standing ovations from audiences.
Distribution company Optimum Releasing said the previous opening weekend record for a documentary was set by Moore's"Bowling for Columbine," (search) which took $292,300 in its first three days.
The early success of "Fahrenheit 9/11" meant it was likely to become the biggest grossing documentary ever in Britain. The record is held by the 2003 mountaineering film "Touching the Void," which took $4.77 million.
The figure of 1.3 $2.4 million for "Fahrenheit 9/11" was compiled by research company Nielsen EDI, which said the weekend's highest grosser was "Shrek 2" with $12.95 million.
In the United States, "Fahrenheit 9/11" was the fourth biggest grosser in its third weekend with US$11 million, raising its total to $80.1 million. The film appears headed beyond $100 million, which would make it the first documentary to cross that mark.


On the market and the Internet are many kinds of tenancy agreements, some of which may have unfair provisions against the tenants or for charging unreasonable fees to the tenants, resulting in renting disputes.
Land Administration Bureau reminds the general public that in accordance with Paragraph 1 of Article 17 of Consumer Protection Act, the Ministry of the Interior has publicized the "Model Tenancy Agreement" to help the landlords and the tenants draft a contract with more equitable rights and obligations to either party.
As foreigners may have language barrier in discussing and drafting a tenancy agreement with a landlord (who may not have the foreign language skills, either), the "Model Tenancy Agreement" has been translated into English. Both its Chinese and English versions can be downloaded from the website of Land Administration Bureau (http://www.land.taichung.gov.tw/). People are welcomed to make use of the service, said the Land Administration Bureau.


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St Clare Assisi Catholic Church
Aug 4, 2017. Bret Thoman, O.F.S., is an American Catholic lay writer, secular third order. titled St. Francis of Assisi: Passion, Poverty, and the Man Who Transformed the Church. His latest book is St. Clare of Assisi: Light from the Cloister.
Take St. Perpetua, whose father wanted her to renounce her faith. She refused and was imprisoned and eventually martyred.
JoAnn Clare Fletcher (nee Beusterien), age 86. She was an active member of St. Francis of Assisi Parish, volunteering in.
What Are The Monotheistic Religions Jan 22, 2018. As a holy city for Jews, Christians, and Muslims, Jerusalem occupies a special place in the history of the monotheistic religions. Whether Jewish. Define Monotheistic religions. Monotheistic religions synonyms, Monotheistic religions pronunciation, Monotheistic religions translation, English dictionary. American Church Russell Shaw 30 Seconds To Mars Love Lust Faith And Dreams Tour 30 Seconds To Mars recently debuted their new single 'Walk On Water. It's the first single off their yet untitled upcoming
Jul 04, 2019 · St. Clare of Assisi Family Picnic, Aug. 11 July 4, 2019 0 By newtownpress SWEDESBORO — St. Clare of Assisi Parish will be celebrating summer with a family picnic on Sunday, Aug. 11 at their Swedesboro campus after the 11 a.m. Mass.
27th St. Church St.Clare Chapel Parish Offices. 2450 NE 27th Street, Bend, Oregon 97701. Office (541) 382-3631 Fax (541) 385-8879. Saint Francis of Assisi Parish.
Romes Fall And Rise Of Catholicism Oct 18, 2016. Fr Vincenzo Taraborelli is one of Rome's busiest exorcists, but aged 79 he says it is becoming very difficult to find younger recruits. The country where exorcisms are on the rise. He looks through his copy of the Catholic Church's exorcism rites. He's had to tape it back together to stop it from falling apart. An Rong Xu for The New York Times Catherine Chen was sitting in a pew at St.
I've been teaching others about Saints Francis and Clare of Assisi since 2010. I' ve offered retreats, workshops and parish missions in over 15 states and one. on the writings of St. Francis and St. Clare of Assisi to Franciscan fraternities, a Franciscan priest who is now the Chaplain at Catholic University of America.
The opening of the new parish multipurpose facility coincided with the 20th anniversary of the school.
St Clare. St. Clare of Assisi. St. Clare of Assisi was born in Assisi on July 16, 1194, as Chiara Offreduccio, the beautiful eldest daughter of Favorino Sciffi, Count of.
The Church of St. Clare of Assisi is a parish church under the authority of the Roman Catholic Archdiocese of New York, located at Hone Avenue at Rhinelander Avenue in The Bronx, New York City.It was established in 1929 as a national parish for the Italian American community "at Paulding and Rhinelander Avenue, Morris Park or Williamsbridge."
St. Thomas of Villanova Catholic Church, 13th St. & Long Beach Blvd., Surf City 11:15 AM St. Francis of Assisi Catholic Church, 47th St. & Long Beach Blvd., Brant Beach
School transportation delays due to Red Hill Valley Parkway resurfacing Learn More Journey with us
St. Clare of Assisi Catholic School is a K-8 Elementary and Middle School located in Edwards, CO. Our students come from throughout the valley: Edwards,
We are a large vibrant parish west of Phoenix, Arizona, in The Roman Catholic Diocese of Phoenix. We have four goals with this site: (1) to give visitors a s.
St. Victor Church – St. Clare of Assisi Parish In category Catholic. Share Twitter Facebook. Contact information. Address 1760 14th St Monroe, WI 53566 USA Phone 608-325-9506 Website Visit Website Reverend Larry Bakke. View Latest Bulletin. Show Map.
This summer, she celebrates her 81st birthday and her 60th anniversary of sisterhood with the Catholic church, and she is.
St. Francis of Assisi Catholic Church In category Catholic. Share Twitter Facebook. Contact information. Address 844 S. Gregg Road PO Box 1920. Sacrament of Reconciliation 5 p.m. Sunday: 9:30 am Rosary each Sunday 9-9:15 a.m. in St. Clare of Assisi Chapel. Weekday. Wednesday: 6:30 pm. View Latest Bulletin. Show Map. Recent publications.
St. Mary, Dover. Saint Simon the Apostle. Northern Passaic Deanery. Our Lady Queen of Peace. Saint Anthony of Padua. Saint Catherine of Bologna. Saint Francis of Assisi. Saint Joseph. Saint Mary. Southeastern Morris Deanery. Christ the King. Corpus Christi. Holy Family. Saint Patrick. Saint Thomas More. Saint Vincent de Paul. Saint Vincent.
Biographies on St. Clare St. Clare of Assisi c/o CE. Brief Biography of St. Clare at Catholic-Forum.com, with illustration. Brief Biography of St. Clare at Catholic.org, with reproduction of holy card. The Life of St. Clare, by Catherine Fournier, with illustrations and icon. Patron Saints: St. Clare, with icon. The Life of St. Clare, c/o St. Clare Parish, Coquitlam, British Columbia, Canada.
Is Sikhism A Universalizing Religion The Christians who marry us don't go to church and we don't go to synagogue that much; we are all part of Pew's rocketing number, people of no religion. The only way to preserve Jewish continuity is. universalizing religions other than Christianity, Islam, and Buddhism with the largest numbers of adherents. • Sikhism's first guru (religious teacher or enlightener) was Nanak (A.D. 1469—153 8), who lived in a village near the city of Lahore, in
By TAMI QUIGLEY Staff writer. Clare of Assisi House, Reading is a beacon of hope and caring as the only transitional residential facility in Berks County for women just released from incarceration.
The cookbook is previously owned. I have seen no tears, stains, or writing. Contributors are shown with the recipes, but there is not an alphabetized, consolidated list of contributors. This cookbook would make an excellent addition to your collection.
Dec 20, 2017. Their prayers have been answered, according to Father Gregory West, Pastor of Saint Clare of Assisi Catholic Church. St. Clare is a parish of.
Jesus L'oreal Christ Looking for tickets for 'Jesus Music'? Search at Ticketmaster.ca, the number one source for concerts, sports, arts, theater, theatre, broadway shows, family event tickets on online. 4:15 p.m French companies Total and L'Oreal are pledging to each donate 100 million euros. to Easter during which Christians commemorate the death and resurrection of Jesus Christ. Francis wrote:. Jesus L'Oreal. 21 April 2019 Jesus L'Oreal: Nailed It Having told his backstory in the award nominated "Christ on
st clare school photos st clare of assisi ofallon il home our parish mass times parish staffcontact us directions parish cemetery parish council history dedication our patron saint 2019 building to serve campaign, the good shepherd preschool has openings for ages 35 for the upcoming 201920 school year for more info contact director sherri hertzler at sherhertz5gmailcom or call 6187266532 for.
St. Thomas of Villanova Catholic Church, 13th St. & Long Beach Blvd., Surf City 5:00 PM St. Thomas Aquinas Catholic Church, 2nd Street & Atlantic Avenue, Beach Haven
Learn about working at St. Clare of Assisi Catholic Church. Join LinkedIn today for free. See who you know at St. Clare of Assisi Catholic Church, leverage your.
St. Clare Parish celebrated our 100th anniversary in 2009. The parish members and I are very excited about our second 100 years. We are up for the task of.
Atheist Prison Population Yet, Kharlamov, a staunch atheist, is accused of stoking religious tensions in. After being deemed sane, he was returned to prison. The psychiatric element in the case is a touchstone of contention. Jan 27, 2014. Atheist Group Sends 'Freethought' Books To Prisoners As Alternative. atheists and agnostics make up 5.7 percent of the general population. than as Christian'. Deconversion the 'major factor' in rise of population without religion. Saudi Arabia sentences man to 10
St. Peter's School, founded in 1868, strives to promote a Christian atmosphere in all phases of its programs. By focusing on respect for one another, we foster an attitude of caring and concern for others regardless of cultural or religious background or special needs.
Roman Catholic abbess. St. Clare of Assisi, Clare also spelled Clara, Italian Santa Chiara d'Assisi, (born July 16, 1194, Assisi, duchy. of Assisi, and soon the Poor Clares were housed in the church and convent of San Damiano, near Assisi.
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Your dad probably carries a pocket knife. It probably stays hidden, inside the front pocket of his pants, until someone realizes they need a blade. He pulls it out: a plastic case encloses a worn steel blade. It does the job, but it's boring. Pedestrian. Just another tool.
Your dad probably doesn't carry a William Henry pocket knife. It would get talked about a lot; removed from his pocket anytime someone would listen. He pulls it out: awing over the exquisite craftsmanship and superior utility. It does the job, and it looks like nothing else out there.
Not used to pocket knives that looked quite like these? Underneath all the decoration is a functional tool: something that can be both beautiful and useful. The ornamentation: natural gemstones, petrified wood, fossils— all add to the beauty.
No matter how ornate they may appear, William Henry does intend for you to actually use your knife. All knives are first tools, remember. William Henry believes luxurious items should overwhelm you both in appearance and in functionality.
It should be no surprise that their blades have consistently won awards; owing to their construction tolerances of 5/10000th of an inch. In nineteen years of operation, William Henry has taken home fifteen Blade Awards (from knife-industry magazine Blade). No matter the blade material: from modern stainless steel to ancient Mokume Gane, William Henry will refinish and sharpen their blades for life—at no cost to the owner.
Adding to the collectible factor, William Henry makes their knives in editions, usually of 100 pieces worldwide. While you may see similar themes running throughout their collection from year to year, no two editions are exactly the same. You can identify each knife by the blade number, engraved near the thumbstud, and the serial number, engraved on the top edge of the case.
While their knives are by far their top seller, William Henry also offers a complete line of mens accessories. Cuff-links, pens, bracelets, pendants, and money clips are all constructed to compliment the extreme detail of their knives.
All William Henry knives are finished by hand in their studio in McMinnville, Oregon. Their studio employs about 30 full time artisans, blade-smiths, and jewelers. While some of their blades are struck by master craftsmen all over the globe, final assembly and finishing is all done in the United States.
JB Hudson is proud to offer a full assortment of William Henry products at both of our locations: the flagship store on Nicollet Mall and our new boutique, The Loupe by JB Hudson. (To read more about The Loupe and our swanky host Martin Patrick 3, click here) To set up an appointment to view these fascinating works of art, please reach out and contact us here.


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FeaturedHealth CareInsightsMarketPharma
Chinese e-commerce ready to conquer the health market
With a value of 122.6 billion dollars in 2017, which in 2022 will reach a figure of 145 and 175 billion dollars, the Chinese pharmaceutical market was the second largest in the world, after the US.
A huge development that has not gone unnoticed by Alibaba, the Chinese colossus of e-commerce, who last June after signing an agreement with the German pharmaceutical company Merck for the sale of drugs online, now aims to explore and expand new models sales, thereby improving economic accessibility to health care and using digital technologies to transform the lives of 40 million patients in China by 2025.
But the real breakthrough will come from WeDoctor, a company founded in 2010 by Jerry Liao Jieyuan, an artificial intelligence guru, which operates with four main units focused on healthcare, cloud, insurance and pharmaceuticals; on its platform there are currently more than 2,700 hospitals, 240 thousand doctors, 15 thousand pharmacies, and every month there is something like 27 million users of the 160 million actually registered.
In other words, a digital behemoth, which in 2016 had a turnover of about 183 million dollars and which, thanks to the machine-learming algorithms, maximized the analysis of the data collected by this gigantic community to transform it into sales opportunities, for the producers of drugs and not only. Once the active user on WeDoctor is profiled, they trigger ads for treatments, notices on food supplements, nutritional advice, and insurance policy promotions and so on.
WeDoctor, in short, would like to get where even realities like Alibaba and Baidu have succeeded, and that is to change the rules of the game of a sector that clearly suffers from the bureaucratic and organizational delays of government clinics. To achieve the goal, WeDoctor focuses on patient data exploiting the current regulatory holes of Chinese law to protect citizens' privacy.
"AI won't replace doctors but it will become an important tool for doctors and help improve their efficiency and accuracy," Liao, also a co-founder of speech-recognition specialist iFlytek Co., said in an written response to questions. "Through the internet and AI, China's health care services will improve significantly in the next five to 10 years."
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Acting in Atlanta
All you need to know about becoming a film and TV actor in Atlanta
Why Atlanta?
Audition Taping Services
Practice your craft
Survival Jobs
Atlanta Actor Interviews
Interview – Eric Kan
Eric Kan's professional acting work has been featured in the New York Times and The Atlanta Journal Constitution. He regularly performs standup comedy and his work has been profiled on NPR. He has appeared in many TV series including ER, Gilmore Girls, and Days of Our Lives. He has also studied improv at Upright Citizens Brigade and Second City in Hollywood. More credits at his IMDB page: http://www.imdb.com/name/nm1018241/?ref_=fn_al_nm_1
When did you know you wanted to be an actor and how did you get started?
It was really an accident for me. I wanted to be a doctor. At least, that's what I thought I wanted to be. But that changed in college.
Where are you from originally and where did you do to college?
I'm originally from California. But I lived in Georgia from half of middle school till college. I got a degree in Exercise Physiology from the University of Georgia. While I was there, I tried multiple majors. I took an acting class as a requirement I needed to graduate and I really liked it a lot. I didn't know anything about acting. I started doing campus plays and talking to professors in the department, talking to anyone that knew anything about acting.
This was before the Internet was huge with all the information on it. So you had to do your own footwork and not just look it up online. It would have been easier if I had been at UCLA or University of Southern California. But I was in Athens, GA and not in LA or New York. I continued with my science major because I had completed so much course work already. Meanwhile I was also taking acting classes in Atlanta. I was traveling from Athens to Atlanta once a week for scene study classes and rehearsals. So that's how I got my start.
Did your family support you in this transition to an acting career?
In the beginning, they were not happy at all. They didn't understand what I was trying to do. It wasn't like I'd shown any desire to become an actor when I was younger. For them, the acting thing just came out of nowhere.
They also worried whether I would be able to manage financially. The moment they really started to support me was when they saw me on TV for the first time. That's when they began to come around. They saw that I was starting to be successful and do what I said I was going to do. They started supporting me more then. Being able to see it with their own eyes was a big thing for them.
When did you move to LA?
I wanted to move to LA immediately after college but from what everybody was telling me, I was under the impression that I wasn't going to get any work in LA. California is a union state. The Georgia actors were telling me I had to get with a union like SAG or I wasn't going to get work and that I needed to start in Georgia because it would be easier. Otherwise, I would never make it in LA. I didn't know any better, so I believed what I was told.
I spent two to three years, including when I was in college, pursuing my SAG card in Atlanta, GA and in Miami, FL. I got my SAG eligibility by being an extra for one day on a set in Florida. About three or four months later, I got upgraded. I guess I made principal from the commercial when it ran for about a year. I received my SAG eligibility from that. Then I moved to Los Angeles so I've been in the union since about 2000.
When you started working in Atlanta and Florida after college, did you get an agent?
I had a lot of agents. Back then, you could have more than one agent. I had five or six agents in Atlanta working for me at any given time. I had to finally sign with one of them because he insisted on me working with him exclusively. In Florida, I had several agents in Orlando and in Miami. Nowadays though you have to choose one agent to work with exclusively.
In those days was the work mostly commercials and industrials, or was it more films and TV?
Back when I was in college and after graduation, it was probably the worst time because they had just finished running "Designing Women" and "In the Heat of the Night". "Forrest Gump" had already come and gone. By the time I really got into it, the film industry had already gone. Maybe once a while you would get a movie audition.
But they only used the southeast for environments for civil war or historical movies. There really wasn't anything for me to be in because I'm Asian. I'd see my non-Asian friends get auditions and parts. I would audition for parts like a dad, and I was fresh out of college and looked even younger than my age at that time. There was not a lot of opportunity for paying work for me. I mainly worked for free on independent and short indie films so I could at least make a reel.
I wasn't making any money as an actor. I was waiting tables to support myself and I was acting for free. That's why I moved to LA. I wasn't really in love with the idea of living in LA. I like it out here in Georgia. I was very happy here. I moved to LA out of necessity. I was looking for work. If I had gotten more paid work in Atlanta, I would have just stayed here. I don't think I would have ever moved to Los Angeles. There just wasn't any work for me then, like there is now.
I see actors like me now here but they are 10 or 15 years younger than me. There are so many different opportunities. Diversity really matters to people now. It's cool to see this happen. I wish I were younger now because I got in when the business was on the low end in Atlanta. There just really wasn't a place for me back then. All of the agencies loved me but there just wasn't anything for me to do. And the few auditions they had for me, I was totally wrong for or I just looked too young. I just kept going to class. I finally made the decision to go to the west coast to get work.
When you went to LA, was it like starting all over again?
Yeah. Atlanta is a big city but LA is even bigger. There is no real center of the city, it's all spread out and huge. When I moved to LA, I had never even visited there. I didn't know any other actors or folks in the industry there. I only knew actors in Georgia who didn't have any plans of leaving Atlanta. I drove out there with my brother one summer, made a trip out of it.
It took about a year to get an apartment and find a job in a decent location. The first six months, I was driving from Orange County two hours each way. I lived with my cousins in Orange County because I didn't know anyone in LA. I was going to these networking events trying to talk to people. Young actors today are moving out to LA together. I think what they're doing is much smarter. They have Facebook now and other social media sites where they are able to make connections really fast. They can speak to someone in LA and get advice. They can drive there together, be roommates and save money.
Looking back, I honestly don't know how I accomplished any of that without the Internet. It wasn't as widespread and had only limited information at the time. At a certain point, I just had to go take the plunge without full information. But I'm still grateful for my experiences.
Did you go through the whole process of finding agents in LA again?
Sure, I went to class as much as I could afford to, always training and trying to meet agents and other industry folk. I was submitting my own headshots and resumes to casting directors directing commercials on TV. I was actually getting quicker results from contacting casting directors directly than I ever did with an agent or a manager.
I wish I had put more time into finding the right agent. I'd sign with people who told me they would do a lot for me and never really did much. And once electronic technology finally hit Hollywood and casting directors were taking taped audition submissions, it was difficult for actors to get in front of them. I felt if I can't get to the casting directors on my own and the agents aren't helping me then what am I doing here? I kept just getting older and not getting auditions. That was around the time that people in Georgia started talking about all this work going on here.
Was this something that you heard while in LA, that there was so much work in Georgia?
Yeah, I stayed in touch via email with people back here. And they confirmed that work had really picked back up here. Then I found out on Facebook that one of my friends had moved from LA to Atlanta. I wrote her a message asking why she was in Atlanta and she responding saying that she was finding way more work there. She said she had an agent and it was great out there. So I thought maybe I should move back to Atlanta because I actually know Georgia very well. It took me about two years after that point to finally make the move. I had to wrap my head around the idea of moving back to Georgia for acting work. Because LA is a really fun and exciting place that can make you feel like nothing else in the world exists. It's very easy to get there and stay there, it's like a bubble. Once you are in the bubble, it's very hard to imagine a life outside of it.
There's also a pride/ego component. Because there's a part of you that thinks if you leave LA, you've failed. Because it's so hard living in LA with very little money, you make a lot of friends with the same goals and you encourage each other. You become so close with these people and it's very hard to imagine leaving them. You've invested so much time and energy into LA.
You have to convince yourself that you can leave all that behind. At the end of the day, I could have stayed in LA as long as I wanted to. Nobody was forcing me to come home. But what was the point of being there if I wasn't happy and I wasn't working. I wasn't even auditioning. When I finally decided to go, a lot of the people that I was close with in LA started to leave as well. These were the lifers, the people that you never thought would leave. Some of them stated that acting wasn't for them anymore and they wanted to do something else or pursue happiness in a different way. So a lot of my core group of friends also left.
It is more important for you to be happy where you are than to try to chase down opportunities by location. I know a lot of actors who did the whole bi-coastal thing. They had an agent in New York, they had an agent in Florida and they were always traveling for auditions. They were spending four months living in LA during the pilot season. I just didn't want to do that. I was a homeowner in LA, I owned a two-bedroom condo with a roommate that was paying a nice portion of the mortgage and I said goodbye to all of that.
When I decide to do something, I do it 100%. I was not going to stop renting the condo or slide back and forth. I decided to come to Atlanta and really give it a shot. I had friends in LA that told me I could go to Atlanta, get with AMT agency, see my family, and if it doesn't work out, LA will always be there. I could always come back. So I sold all I could. I gave away a lot of really nice stuff to my friends because they needed it. I drove back cross-country. It was May 2012, so I've been back around three years now. People ask me if I miss LA and if I want to go back and I tell them, "No, I do not miss LA, and don't want to move back."
That's not to say it will never happen, but I have really no interest in moving back to Los Angeles as a no-name actor. But if I hit it big out here or a big agency or managing company says, "You're our guy and we have to move you out to LA. We're going to take care of you and groom you for something." I definitely wouldn't move back to LA to start from ground 0.
What do you believe to be the future of acting in Atlanta?
It all depends on the tax incentives. I could be wrong, but if the tax incentives stay, we got work. If they go away, we got no work. Simple as that. It's all about money. They're not coming here because they like us, they're coming here because they are saving a lot of money.
Do you see the scope of roles being offered to Atlanta actors increasing to TV series regulars and leads?
Everybody believes it's happening but I don't see it happening. I know that every once a while an Atlanta actor will become a reoccurring or guest star role. It happens but it doesn't nearly as much as I'd like to see. They look at us like day player actors, for the most part. The majority of my resume is Los Angeles TV shows and commercials because I lived and worked in Los Angeles for 12 years. And now, just because I live here in Georgia, the casting directors look at me as a local talent. It's a really weird thing.
But I do understand the producers live in Los Angeles or New York where there is a higher percentage of highly trained actors. It doesn't really make any sense for them to take a risk with us. There are really good actors here. But if you live in Los Angeles where amazing actors surround you, why would you even look at anybody here for anything major. The fact that you wouldn't have to put local actors here in a hotel and you can get back 30% of whatever you spend on them, could be a consideration. But when you are dealing with major studios, they have budgets for these kinds of things. They're already spending all of this money for the cast and crew in the local parts. They would rather not spend all this money for what maybe the wrong actor or not a good fit and go with someone who may be considered New York or LA talent.
So you believe that just being from LA provides that comfort to the studio?
Yes, I believe that's definitely true. If you were a producer, what would you think? Why would you think that someone from Georgia is a better actor or is as good as an actor from New York or LA? They spend a lot of money into these projects and spend 5 or 10 years developing a TV series, why would they go outside of so much talent in their own town to risk on someone living in Georgia- even if they are good for the part. How are you going to convince producers to get onboard with that? It's not right or wrong. It's just business.
I've told people the reason I came back here was because the work was here and that is true. But I also knew that moving from LA back to Georgia meant that I was no longer pursuing my acting career as strongly as I used to. There was a part of me that was just tired of pushing and fighting and getting very little. I wanted to start to have a life again. I wanted to have some money in the bank. I didn't want every dollar that I made to go to the rent or gas. I'd like to have something to show for my life besides just some credits on the screen. The guys and gals that move to LA and really fight, they deserve it. I was out there fighting and hustling and never got a good agent. I wasn't able to get to the next level. I tried the best I could as far as I could tell. It didn't work and I don't have the energy or the desire to do push that hard anymore.
A part of me thought that I was just coming to Georgia for a couple of years and recharge as I spend time with old friends and my family. Then maybe I'll move back to Los Angeles. But as of now, I've been back about three years and I visit LA once or twice a year just to say hi to friends and visit the place. I have no desire or pull to be back there. I am always glad to visit though. When I left LA, I was really ready to go. I thought about going back, but even none of my friends are working. One or two of them are working doing commercials but most of them are just living their lives. Working on a job or doing a web series and meeting every month to network and talk about goals. But no one is actually working. It's good to go and have drinks and catch up but when I go there, there is no real evidence that tells me I need to go back.
One of my friends in L.A who works regularly says the biggest thing is to find that job that allows you the freedom to pursue acting and not make you want to kill yourself. You have to find the right support for yourself because acting is a lifelong marathon. You're not looking for a job that makes you feel bad about yourself, doesn't pay you enough money, or stresses you out.
The biggest thing that makes a lot of actors quit acting is the inability to find that good paying job that allows you the flexibility to pursue acting. You have to find the right kind of neighborhood, job, and support. You're going to get a lot of close calls and look at the TV and think, "That could've been me." But it wasn't. You dust yourself off and keep going and hopefully you don't get a job that makes you feel bad, doesn't pay you enough money, and stresses you out because that's going to show up in your audition. You can't live your life like that. Unless you marry a rich person or you have a trust fund to live on.
What do you do in terms of marketing or networking now?
I'm a part of the SAG committee. I help out with SAG events. I go see plays. I am part of the Atlanta Film Festival. I go to the networking events. I'm with a premier talent agency, AMT. They are really taking care of me. AMT is the only agency that has produced consistently good results for me. I like it here, I miss the excitement of LA but not the stress and I have no desire to go there without a strong support team.
If you could start over and do things differently, what would you do?
I wish I didn't rush into the business so quickly. I wish I had really researched and gotten really good formal acting training for 2-3 years. It would have put me in debt but I think it's really important to train properly. A training program where I could really build a solid foundation as an actor with good teachers.
Stop trying to be famous, just do the work. The people will be there and the role will be there when you are ready. When I was getting auditions, I was winging it because I had no foundation as an actor. I then started to find a good teacher to really learn the craft of acting. There's nothing worse than the chance of someone giving you a shot and you blow it. I called myself an actor, but I didn't understand it from a textual standpoint. It took two years for my teacher to break down my bad habits and retrain me.
Does it have to be a formal college degree program?
That's why I said a good teacher. It doesn't have to be at a formal degree program.
Unfortunately, many colleges are filled with failed actors. The universities, even the good ones, may not teach you the right information in order to do the things you should know how to do. So just because you get a degree from somewhere doesn't mean that you are a good actor. But you know if you are going to be an actor without any formal training, you should at least go away for a couple years to study with a teacher or a studio where you can submerge yourself in the technique before you start the profession. Just like a doctor, you have to go to school before you start cutting people up. You have to go to school, you have to take tests, you have to be able to understand it, and defend it. It's important to do the work.
It's hard because when you are in LA, you see all these people auditioning. But you have to be real with yourself and not compare yourself to other people. You have to be at the point where you are ready to knock it out of the park at every audition. Not rush yourself into doing things. That was the biggest mistake I made, rushing into the business. Just enjoy the process. The people will find you. There are a lot of people who are good actors that are not well trained and can't deliver when they are supposed to deliver. You have to be able to do it, when they need you to do it. That is the mark of a professional. You only get so many chances. That's my take on acting. Work on your process, the results will follow.
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