Paradigm Shift: Interracial Marriage

A Paradigm Shift:

Interracial Marriage

            “L is for the way you look at me. O is for the only one I see. V is very, very extraordinary. E is even more than anyone that you adore” (Cole). Love. It is a crazy idea that two people could be bound together on an emotional and spiritual level. “What were the chances, we’d be sharing love? Before the night was through” (Sinatra). Love. Two souls becoming one, sometimes even getting married. “Then come on, oh come on. Let’s get it on, oh baby. Let’s get it on, let’s love baby” (Gaye). Love. And in some instances, after some planning, or not, kids can be a result. However, during history’s progression, some people bound love up into a small box, only accessible to the people who fit the mold. Not long ago, interracial marriage casted a dark shadow on the Civil Rights movement. From the 1960’s to now, society has made leaps and bounds in the acceptance of love between different people. After all, “love makes the world go round” (Jackson).

To understand the importance of the shift in popular opinion from one of abhorrence to acceptance in regards to interracial marriage the stories of persecution faced by the engagers must be told. In the early 1960’s, a lovely couple formed in the midst of the segregationist south, specifically the state of Mississippi. Burleigh Lester, sergeant of the local police force, would sneak his love, African-American Sandra Ann Taylor, into the drive-ins. Obviously, they could not be seen together, as it would cause the utmost chaos in their small town. A scandal so big, it would probably outshine the soon-to-occur Watergate scandal. Nevertheless, love persisted. Their love began as all do, at first sight. Once he saw her, Burleigh simply could not stay away. He would eat at Sandra’s father’s restaurant constantly just to be around her. Eventually, he wrote her a note, “you sure are pretty.” They were smitten. Now, most of the Black community knew that they were going steady; but, they kept it a secret from the White community. That is not to say their relationship was without bumps. Upon their engagement, Sandra’s friends told her that it was a mistake to marry a White man. Likewise, Burleigh’s mother disowned him for marrying a Black woman. They knew what they were getting into, marrying in a state where the miscegenation penalty was punishable with a decade in prison, so they fled. Escaping north to Chicago, choosing flight over fight because their love was forbidden. Forbidden because of the colors of their skin; something which they could not control. However, they could control their fate, and they chose love, free from hate (Larsson 114-119).

Unfortunately, not all interracial relationships from the early 20th Century ended with such a happy ending. Some even resulted in legal action against the “perpetrators” of interracial marriage. In the case of Carl and Elaine Neil, the judicial system charged them with outlandish crimes such as prostitution and drug dealing as an excuse to removed them from a white-majority area of New York City (Larsson 120-130). Nevertheless, the shift in popular opinion around interracial marriage began to change in the late 1960’s with the Loving’s. The Loving’s were a small stone casted into a political ocean, which soon formed a ripple which turned into a tidal wave of equality and justice that barreled towards Washington D.C. with all the ferocity of a tsunami.

In 1958, Richard Loving and Mildred Jeter exchanged vows in the nation’s capital. Eventually, the biracial couple moved back to Virginia, which is apparently for lovers, just not for their love. They were arrested in the middle of the night and charged with breaking the law that prohibited interracial marriage within the state. The judge found them guilty and proceeded to offer a deal: if they left Virginia for a quarter of a century, the sentencing would be dropped. After leaving the state, the Lovings took their case to the Supreme Court after being approached by the American Civil Liberties Union (ACLU). Fortunately, the United States Supreme Court unanimously struck down the ban on interracial marriage, bringing love to the forefront of the Civil Rights movement (Oyez 1).

However, investigating under the surface of the ruling brings forth far more interesting details than just merely reading the synopsis of the case. Obviously, the Supreme Court represented a changing viewpoint towards interracial marriages; but, the court the case went through prior to the Supreme Court represented the idea that the more things change, the more they stay the same. For every action there is an equal and opposite reaction; this is true in physics and in cultural norms. In what is now an iconic, albeit infamously iconic, statement Judge Leon M. Bazile stated:

Almighty God created the races white, black, yellow, malay and red, and he placed them on separate continents. And but for the interference with his [arrangement] there would be no cause for such marriages. The fact that he separated the races shows that he did not intend for the races to mix (Bazile 1).

The aforementioned statement, spoken by Bazile to the Loving couple in the Caroline County Circuit Court, highlights the ignorance of a millennia of thought manifested into a single court opinion. In contrast, Chief Justice of the Supreme Court, Earl Warren proclaimed, “the freedom to marry, or not marry, a person of another race resides with the individual, and cannot be infringed by the State” (Oyez 1). The Court recognized that the idea of anti-miscegenation law denies personhood and citizenship, much in the same way as slavery did. Citizenship within the United States brings about all the guarantees inscribed and enshrined in the Constitution. To deny one part is to deny the whole because they cannot possibly be extant outside of each other (Villazor and Maillard XVIII). By identifying this, Warren, as well as every single member of the Supreme Court at the time, secured the blessings of liberty to interracial couples and their posterity, signifying the changing public opinion in regards to interracial relationships.

It may be shocking to some, but after the ruling there was an outcry on both sides of the racial divide. Nannie H. Burroughs, the African-American woman president of the National Women’s Auxiliary, National Baptist Convention stated, “God has a purpose and plan for the races of mankind, and a protest against his color variety. . . weakens the temperament and settles nothing” (Larsson 2). Evidentially, this sentiment carries the same anti-miscegenation attitude as Judge Leon M. Bazile’s previously noted proclamation. Both Blacks and Whites seemed to forget their own ancestry as they criticized the unification of different races in holy matrimony. According to an Ohio State University study, “[an] estimated 21% of American whites- one out of every five- have African elements in their background, 28 million people.” On the other side of the fence, Melville Herskovits concluded that 71.7% of African Americans had White ancestors (Larsson 28). The overall conclusion: “The history of miscegenation in America, teaches that people can be legally separated by walls; but that history also teaches that no wall can be built high enough” (Larsson XI). In other words: nature is always colorblind, even if humanity is not.

Fortunately, over the relatively few decades that have passed since the Loving decision, society as a whole has come to accept interracial marriage. In 1990, 63% of non-Blacks opposed a member of their family marrying an African American. In 2016, this number plummeted to 14%. Likewise, in 1990, 21% of non-Hispanics held disdain for a member of their family to marry a Hispanic. In the present day this number rests at 9%. Overall, a study shows that 39% of people believe that people intermarrying benefits society as a whole. These sentiments show the drastic increase of interracial marriages per year. In 1967, after interracial marriage was universally permitted, only 3% of marriages were between members of different races. In comparison, 17% of marriages in 2015 occurred between members of different races (Livingston and Brown 1). The facts state what some people struggle to put into words: society is progressing for the better.

The more things change, the more they stay the same. It is becoming increasingly evident that while interracial marriages are on the up and up, the kids begot by such unions are at the center of an intense fascination. According to Clotye Larsson, “a major factor in resistance to residential, school, and social integration is the deep fear that creeping miscegenation will lead to an America which is neither black nor white” (27). Therefore, since interracial marriages inevitably result in biracial, or even multiracial, children, the investigation of such children is paramount to understanding the paradigm shift of interracial marriage. As per various studies, biracial or “mixed” African Americans are perceived as more attractive than their monoracial African American counterparts. Why? This is due to the apparent preference for “whiter features”. Everywhere from the media to the boardroom, the lighter you are, the righter you become. For example, Kanye West recently called for a fashion show featuring “multiracial women only”. It seems that even one of the biggest names in the entertainment industry cannot avoid personal bias. Overall, the rise in interracial marriages will cause an increase in multiracial African Americans, perpetuating white, or light-skinned, privilege (Reece 1-2).

Sadly enough, the Euro-centric preference of beauty in the United States is not the largest problem faced by interracial marriages. “The issue today is not simply whether he [African American male] has the right to carry a white bride across his threshold, but whether and where he can find the threshold” (Larsson 47). The most pressing problem facing interracial couples is housing discrimination. Far too often minority groups are shown or offered housing at a lesser rate than Whites. In fact, houses owned by Whites tend to be of a higher quality than houses owned by minorities. Furthermore, houses or apartments occupied by Whites are usually located in more affluent, safer neighborhoods compared to locations owned or rented by minorities (Turner et al. 6). According to the United States Department of Housing and Urban Development:

Black homebuyers who contact agents about recently advertised homes for sale learn about 17.0 percent fewer available homes than equally qualified whites and are shown 17.7 percent fewer homes. Asian homebuyers learn about 15.5 percent fewer available homes than equally qualified whites and are shown 18.8 percent fewer homes (Turner et al. 11).

Thankfully, the Department also concluded that the amount of housing discrimination is declining since racial discrimination is declining amongst the general populace (Turner et al. 17). Even still, the fact remains that minority groups face some housing discrimination; thus, interracial marriages that include minority groups also face this dilemma. Housing discrimination proves to be the biggest problem in the way of interracial marriages because the denial of a home essentially murders the American Dream.

In the present day, the Gregersen’s story in many ways is the quintessential American family, two loving parents, a son, a daughter; however, there is uniqueness about them: the Gregersen family is biracial. “We forget about race until the world reminds us from time to time,” Rachel Gregersen said, “when I get asked for identification at the same store where my husband does not, then I notice.” The parents also worry about talking to their kids about what to do at a police stop, displaying the distrust between minority groups and the police. While a majority of the country believe interracial marriage is a beneficial idea, there are still 9% that are opposed to it (McCoppin and Wong 1). It seems that racism and discrimination permeate into the very recesses of the minds of some members of the populace. Generalizations rooted so deeply into the subconscious that it could take generations to fully uproot. The stories of modern-day interracial couples remind society that the battle for equality is an on-going one.

In 1965, Clotye Murdock Larsson wrote, “Intermarriage is the most provocative word in the English language” (5).  It suggests a challenge to the norm, a cultural norm that has undergone a dramatic change in the past half-century. Since the Loving decision, society has shifted its views on interracial marriage drastically. The overturning of the anti-miscegenation laws in the United States affected every aspect of life. It blossomed into a wider understanding and tolerance between many races and ethnic groups. Nevertheless, progress always sees backlash. Without a doubt, interracial marriage has succeeded at the cost of housing discrimination, as well as discrimination against darker-skinned African Americans. Hopefully, we can soon measure society in moments of boundless love, instead of its own prejudices. Then one day, we can all sit at the table of brotherhood, together at last.

 

 

Works Cited

Bazile, Leon M. “Transcription from Original.” Opinion of Judge Leon M. Bazile (January 22, 1965), 25 Mar. 2014, www.encyclopediavirginia.org/Opinion_of_Judge_Leon_M_Bazile_January_22_1965.

Cole, Nat King, “L-O-V-E.” L-O-V-E, Capitol Records, 1965.

Gaye, Marvin. “Let’s Get It On.” Let’s Get It On, Golden World, 1973.

Jackson, Deon. “Love Makes the World Go Round.” Something’s Gotta Give, Carla Records, 1966.

Larsson, Clotye Murdock. Marriage across the Color Line. Johnson Pub. Co., 1965.

Livingston, Gretchen, and Anna Brown. “Trends and Patterns in Intermarriage.” Pew Research Center’s Social & Demographic Trends Project, 18 May 2017, www.pewsocialtrends.org/2017/05/18/1-trends-and-patterns-in-intermarriage/.

“Loving v. Virginia.” Oyez, 25 Oct. 2017, www.oyez.org/cases/1966/395.

McCoppin, Robert, and Grace Wong. “Interracial Marriage More Common, but Acceptance Still Not Universal.” Chicagotribune.com, 18 May 2017, www.chicagotribune.com/news/ct-interracial-marriage-study-met-20170518-story.html.

Reece, Robert L. “Why Biracial People Are Seen as More Beautiful (and Not Just by Kanye): Researchers Explain the ‘Cognitive Hiccup’ behind the Bias.” Daily Mail Online, Associated Newspapers, 5 Oct. 2016, www.dailymail.co.uk/sciencetech/article-3824242/Why-biracial-people-seen-beautiful-not-just-Kanye-Researchers-explain-cognitive-hiccup-bias.html.

Sinatra, Frank. “Strangers in the Night.” Strangers in the Night, 1966.

Turner, Margery Austin, et al. “Housing Discrimination Against Racial and Ethnic Minorities.” 2012, pp. 1–21., permanent.access.gpo.gov/gpo41112/HUD-514_HDS2012_execsumm.pdf.

Villazor, Rose Cuison., and Kevin Noble. Maillard. Loving v. Virginia in a Post-Racial World: Rethinking Race, Sex, and Marriage. Cambridge University Press, 2012.

 

 

 

 

 

 

 

Works Cited For The Quest for Self Determination

Works Cited

Aponte, Carmen I. “U.S. Navy Versus Vieques, Puerto Rico: Social Justice through Civil Disobedience.” Journal of Poverty, vol. 8, no. 4, 2004, pp. 59-73.

Baruffi, Russell. “Environmental Conflict and Cultural Solidarity: The Case of Vieques.” 2002, www.scribd.com/document/271061541/1-the-Case-of-Vieques.

Bergad, Laird W. “Toward Puerto Rico’s Grito De Lares: Coffee, Social Stratification, and Class Conflicts, 1828-1868.” The Hispanic American Historical Review, vol. 60, no. 4, 1980, pp. 617–642. JSTOR, JSTOR, www.jstor.org/stable/2513669.

Denis, Nelson A. War against All Puerto Ricans: Revolution and Terror in America’s Colony. Nation Books, 2015.

“Frases De Pedro Albizu Campos.” www.encaribe.org/Files/Personalidades/pedro-albizu-campos/texto/Frases%20Pedro%20Albizu%20Campos.pdf.

McCaffrey, Katherine T. Military Power and Popular Protest: the U.S. Navy in Vieques, Puerto Rico. Rutgers University Press, 2002.

“Puerto Rico Statehood, Independence, Free Association, or Current Status Referendum (2017).” Ballotpedia, ballotpedia.org/Puerto_Rico_Statehood,_Independence,_Free_Association,_or_Current_Status_Referendum_(2017).

Rigau, Marco A. “Mutual Respect: Congress must Act.” Hemisphere, vol. 5, no. 3, 1993

Streitmatter, Rodger. Voices of Revolution: The Dissident Press in America. Columbia University Press, New York, 2001.

“The United Nations and Decolonization.” United Nations, United Nations, www.un.org/en/decolonization/declaration.shtml.

Venator-Santiago, Charles R. and Edgardo Meléndez. “U.S. Citzienship in Puerto Rico: One Hundred Years After the Jones Act.” Centro Journal, vol. 29, no. 1, Spring2017, pp. 14-37. EBSCOhost, ezaccess.libraries.psu.edu/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=a9h&AN=122855033&site=ehost-live&scope=site.

RCL #10 HofPC Concept Contracts

The History of Capital Punishment

HofPC Concept Contract for Nebraska Hernandez, Roan Lynch, Mark Ma, Ninad Mahajan, Andrew Pei, and Billy Young

 

Topic: The controversy surrounding capital punishment and the use of the death penalty in the United States.

 

An examination of the moral, social, and economic implications of the death penalty in the United States. Analyzes the extensive history of capital punishment and torture as well as their psychological effects on civilizations and mentalities. As a society, should we keep the death penalty? How much is a life worth?

 

Research, Roles, and Responsibilities:

Nebraska: The ancient history of torture and capital punishment as a means of interrogation. Nebraska will research whether the original intentions of the death penalty have changed. He will also examine public outcry to these methods prior to the Nineteenth and Twentieth Centuries. Nebraska is responsible for helping to create the storyboard of the video.

 

Roan: Modern, recent tactics of torture and capital punishment as used by police authorities and the government. Roan will also research whether the original intentions of the death penalty have changed. He is responsible for analyzing the current, present-day controversy and debate over the U.S. death penalty. Roan is also responsible for helping to create the storyboard of the video.

 

Mark: Potential rationales and justifications for the use of torture, capital punishment, and the death penalty. Mark will act as the mediator between both sides of the controversy, researching the reasons for each side feels the way it does. Mark is also responsible for researching individual stories and case studies of the death penalty, diving into the lives of prisoners and their families who may be directly affected by the death penalty. Mark is responsible for editing the video and adding appropriate graphics and visual aids.

 

Andrew: The economic effects of the death penalty. Andrew will analyze the fiscal impact of using capital punishment throughout history, and most important, in the last decade. Andrew will research the financial costs of death row and the prison system as a whole. He will then compare the costs of the death penalty with alternatives researched and analyzed by Ninad. Andrew is responsible for providing narration and related audio services for the video.

 

Ninad: Potential alternatives to the death penalty. Ninad is responsible for researching probable solutions and proposed alternatives to capital punishment, spanning hundreds of years of history. Ninad’s research is important because it will add or diminish credibility to the arguments for using the death penalty. Ninad is also responsible for editing the video and adding finishing touches.

 

Billy: The moral and ethical ramifications of using the death penalty, as well as how the use of torture and capital punishment may violate intrinsic human rights. Billy will explore the philosophy behind the death penalty as well as examine the underlying mentalities surrounding its purpose. He is responsible for explaining the psychological and philosophical effects of the death penalty spanning decades of its use. Billy will argue whether or not the rationales and justifications researched by Mark are supported by the death penalty’s moral implications. Billy is responsible for providing narration with Andrew and editing the video using Adobe Premiere Pro.

 

Signed,

Nebraska Hernandez

Roan Lynch

Mark Ma

Ninad Mahajan

Andrew Pei

RCL #9 TED Scripts (Draft)

In 1967, the United States Supreme Court unanimously struck down a ban on interracial marriage in the famous Loving v. Virginia case. This case set the precedent and reinforced the idea that everyone has a right to marry whomever they desire.

The County Judge Leon M. Bazile, of which the Loving case originated,  stated:

Almighty God created the races white, black, yellow, malay and red, and he placed them on separate continents. And but for the interference with his [arrangement] there would be no cause for such marriages. The fact that he separated the races shows that he did not intend for the races to mix (Bazile 1).

Obviously, we have advanced in thought since then.

Within the TED talk tell an anecdote from the book, Marriage Across the Color Line by Clotye M. Larsson. Chose either “A Mississippi Story” from page 117 or “Prosecution in New York” from page 120.

Both stories deal with the prosecution of interracial couples in the 1950’s and 1960’s. The stories will provide an interesting first-hand account of how far society has developed since then.

Besides anecdotal evidence, employing statistics would strengthen the analysis of the paradigm shift of interracial marriage. According to multiple sources, the acceptance of interracial relationships has risen dramatically over the years. Likewise, the partaking in interracial marriages has increased exponentially compared to half a century ago.

Include these sources for statistics: http://www.chicagotribune.com/news/ct-interracial-marriage-study-met-20170518-story.html

http://www.npr.org/sections/codeswitch/2013/11/30/247530095/are-you-interested-dating-odds-favor-white-men-asian-women

An interesting idea that could be brought up is the fetishization of interracial babies begot from interracial marriages. Even if interracial marriages are accepted, stereotypes still exist around the beauty of “mixed babies.”

Overall, the United States is progressing in many different sectors of cultural and civic life; interracial marriage just happens to be one of those sectors. In the past, interracial marriage threatened the security of “white supremacy.” Why? Because if desegregation was not bad enough, sexual relations between different races exposed the populace to the realities of life: love unbounded by hate.

 

 

 

Paradigm Shift Rough Draft

A Paradigm Shift: Interracial Marriage

In 1965, Clotye Murdock Larsson wrote, “Intermarriage is the most provocative word in the English language” (5).  From then, until now, this has been an irrefutable truth. Nonetheless, this truth has not always been accepted. The shift from banning interracial marriage to widespread acceptance within a generation is nothing short of a miracle. The paradigm shift in regards to interracial marriage has removed stigmas attached to the romantic lives of a significant portion of the United States, and the World. As time marches on, so does the further acceptance of interracial marriage. Something that once signified as a social taboo is little more than formality on paperwork now.

  • Miscegenation Laws within the United States
  • Significant exceptions to miscegenation laws
  • Virginia v. Loving dictates that laws banning interracial marriage are unconstitutional
  • Interracial Marriage post-Loving
  • Statistics on the number of interracial couples in the United States
  • Repeal of miscegenation laws outside the United States
  • The fetishization of interracial babies from interracial marriages

Include the following sources:

  1. Marriage Across the Color Line- Clotve Larrson
  2. Interracial Marriage, Migration, and Loving- Deniz Gevrek
  3. Changing Patterns of Interracial Marriage in a Multiracial Society- Zhenchao Qian, Daniel T, Lichter
  4. An Overview of Statistics on Interracial Marriage in the United States, with Data on Its Extent from 1963-1970- Thomas P. Monahan
  5. Navigating Interracial Borders: Black-White Couples and Their Social Worlds- Erica Childs
  6. http://www.chicagotribune.com/news/ct-interracial-marriage-study-met-20170518-story.html
  7. http://www.npr.org/sections/codeswitch/2013/11/30/247530095/are-you-interested-dating-odds-favor-white-men-asian-women

Regardless of belief system or racial tendencies, it is evident to everyone that there has been a stark shift in regards to the acceptance of interracial marriage both in the United States and abroad. Over the past century, it has transformed from the illegal of miscegenation into an endearing one that shows the love of two people becoming one. A shift of thought that has progressed our society for the better.

It’s What I Do RCL #7- A Picture Is Worth 1,000 Words

Lynsey Addario places the most moving photographs into her book, It’s What I Do. Obviously, I would expect nothing less than perfection from a Pulitzer-Prize winning photographer.

Personally, I believed the two images below, taken from the book in between pages 210 and 211, speak to Lynsey Addario’s message and overall creative genius.

On the left is a picture of women peacefully sitting. The image is so powerful due to the casting of light across the faces of the women. Also, the blowing sheer fabric is really magical and suggests a fantasy world where the violence that Addario captured doesn’t exists, a quintessential juxtaposition. Furthermore, it recalls the early days of Addario’s photography in the remote areas of Afghanistan. Due to her being a woman, she was one of the first “Western” photographers to capture Afghan women in their homes. These women pictured may or may not be Afghani, as there was no caption provided for the photo.

On the right is a picture of a boy crying. Any picture of a child’s sadness projects a deep sorrow in the viewer. After all, a child experiencing the horrors of war is the worst form of losing innocence. The sadness in his eyes can not adequately be manifested in words for his eyes tell a story that many are unlikely to bear witness to. It seems that this photograph also underlines Addario’s purpose for photography: to fight against injustice.

Now, there are many ways to incorporate images into my blog. For those who do not know, my blog is about the injustices committed by the Supreme Court. I can easily utilize photographs of historical moments at the Supreme Court. I mean, who hasn’t seen this photo:

If a picture is worth a thousand words, and our word limit is three to five hundred, it is time to start using more pictures.

Rhetorical Analysis Essay

The Puerto Rican flag highlights the intense pride of Boricuas in their culture and heritage. Never forgetting where you came from, La Isla de Encanta, stays within the hearts of all Puerto Ricans, even those in the diaspora. A famous Puerto Rican, Lin-Manuel Miranda, transformed this pride into a musical about Latinos. In the Heights, perpetuates the pride of being Puerto Rican, and the pride of Latinos in general, with an emotional story line and moving lyrics. Both the Flag and the Musical present commonplaces and pathos to connect to Puerto Ricans, as well as any person with ears, compelling them to engage civically within their communities and elsewhere. This connection can not be stopped by a docile federal government nor a destructive hurricane.

Close your eyes and imagine yourself in the eyes of a migrant. A person, full of dreams, in a world where dreams are crushed everyday. However, you turn your eyes towards a land across the waves, a land where dreams supposedly come true. You see New York City across the waves. Lady Liberty beckons you with her torch and proclaims, “Give me your tired, your poor, your huddled masses yearning to breathe free, the wretched refuse of your teeming shore. Send these, the homeless, tempest-tost to me, I lift my lamp beside the golden door!” Millions of people before you, as will millions of people after you, look at this statue as a promise. This unbreakable promise of a better life where you can create a legacy by passing down your story through your posterity. Never lacking in faith, you deem this the greatest triumph. This idea is the plight of the Puerto Rican.

La Bandera de Boricua (The Puerto Rican flag)

Lin-Manuel Miranda realized this when inscribing those papers that held the words from In the Heights like a bassinet cradles a baby.

To comprehend the similarities between the Puerto Rican flag and In the Heights, it is necessary to gain a basic knowledge of both.

The Puerto Rican flag was created in the late 19th and early 20th centuries to represent the people on the island of Puerto Rico. It encompasses the passions and dreams of the relatively subjugated people on the island and their descendants on the mainland United States. The most important part of the flag lies in the star, which represents the island, which is left out of the United States flag, even though it is apart of the country.

Meanwhile, the show takes place in the Hispanic community of Washington Heights in New York City, specifically Manhattan. The main character, Usnavi desires to return to his birth-country, the Dominican Republic, to open up a bar and serve margaritas until he dies. Sadly, he is also in love with Vanessa, a beauty parlor stylist who will never leave New York City. Adding to the complicated love story, is the star-crossed lovers: Benny and Nina. Coming from different worlds, their love is complicated and forbidden by Nina’s father. Another subplot is the story of Abuela Claudia, who just won a lottery ticket for $96,000. Overall, the musical depicts the stories of immigrants through song and dance.

Tony Award winning musical: In The Heights

Throughout the musical, Lin-Manuel Miranda utilizes universal motifs: family, love, and strife that shapes us all. In that same manner, the Puerto Rican flag does the same. It symbolizes the struggle in face of adversity and the love of family that can triumph over it.

Never in all of history have two different objects displayed this tale of humankind like the Puerto Rican Flag and Miranda’s Musical. Throughout the musical, Miranda writes different lyrics that depict this story flawlessly.

The way they whispered to each other about the warmer winter weather, inseparable, even got sick together. They never got better, passed away the December, and left me with these memories like dying embers from a dream I can’t remember. Ever since then it’s like another day deeper in debt with different dilemmas…abuela I don’t know how I can keep it together….Remember the story of your name…the day your family came.

Everyone, no matter what color, creed, or culture, can identify with the existential crisis Miranda depicts here. Why did our ancestors leave their home country and come here (United States)? What are we defined by? Should we assimilate into the mainstream culture or salvage the leftovers of our own? Miranda suggests to seek wisdom from our abuelas, our grandmothers; after all, their white hairs symbolize wisdom, not age.

This compliments the ideas portrayed by the Puerto Rican flag. After centuries of interracial marriages and culture clash, Puerto Ricans struggle with their identities. Are they Native Americans (Taíno specifically), African American, or Spainard? The answer: a mixture of all. However, the confusion does not stop there. For if you belong in the Diaspora, are you really Puerto Rican? If you have never drank coquito (alcoholic beverage) in Carolina (city in Puerto Rico) during Christmas or heard the coquí, (frog) croak during the night, are you really Puerto Rican? All these quandaries have pestered the Puerto Rican people for generations. In the end, the true identity does not matter because all Puerto Ricans are family, just like Miranda suggests.

Family

Later on in the musical, Lin-Manuel Miranda drops another seemingly commonplace idea:

Everything is easier when you’re home.

Obviously, any sane human loves their home. The old adage differentiates a house from a home. A house is a structure; a home is that plus the love inside. Even if you are hundreds of miles away, or down the road, humans, no matter who they are, desire to return to the familiarity of home at the end of the day.

This intense passion for the security of a familiar location is transcended to Puerto Ricans. The desire of many Puerto Ricans to visit Puerto Rico is underlined in the exhalation of the Puerto Rican flag. The star on the flag symbolizes the island from which the Diaspora originates; thus, all desire to stand on the white beaches and listen to the coquí, sing once again.

Yet again, Lin-Manuel Miranda poses another common thought: what would have happened if my forefathers stayed where they were.

When I was younger I’d imagine what would happen if my parents had stayed in Puerto Rico. Who would I be if I had never seen Manhattan? If I lived in Puerto Rico with my people, my people…working harder, learning Spanish, learning all I can.”

Clearly, these lyrics can also be expanded to include any number of races and ethnicities. With so many diverse groups in New York, Miranda expands the questioning of cultural identity to everyone there.

However, the musical specifically states Puerto Rico. This idea is one of the strongest connections between the musical and the flag. Puerto Ricans in the diaspora struggle with identity, some not knowing Spanish, seeking to find their place in the world. What would have happened if our parents stayed in Puerto Rico? This idea further connects with the general populace as well, since human thinking tends to fall to the pondering of “what-ifs”.

In the second act, Lin-Manuel Miranda connects the two objects, the lyrics and the flag, with incredible ease.

“Alza la bandera, la bandera dominicana! Alza la bandera, la bandera puertorriqueña! Alza la bandera, la bandera mexicana! Alza la bandera, la bandera cubana! Pa’ribba esa bandera! álzala donde quiera! Recuerdo de mi tierra! Me acuerdo de mi tierra! Esa bonita bandera! Contiene mi alma entera! Y cuando yo me muera, entiérrame en mi tierra. From Puerto Rico to Santo Domingo wherever we go we rep our people and the beat goes!”

[Raise the flag, the Dominican flag! Raise the flag, the Puerto Rican flag! Raise the flag, the Mexican flag. Raise the flag, the Cuban flag! Raise that flag where you want! Memory of my land, I remember my land! That beautiful flag! It contains my entire soul! And when I die, bury me in my land. From Puerto Rico to Santo Domingo wherever we go we rep our people and the beat goes!]

 

Carnival Del Barrio- Scene in Act 2 of In the Heights

By emphasizing the flag through written word, he compliments the meaning of both. In raising the flag, the lyrics dictate its importance. Wherever the flag’s people go, the flag, and all the sentiments surrounding it, also go. Through these words he describes the plight of the Puerto Rican, and by default, everyone else.

Overall, the commonplaces established by both the Puerto Rican flag and Lin-Manuel Miranda’s In the Heights are one in the same. Telling a story of triumph, tragedy, and family, both artifacts dictate the importance of something to call your own, whether it be a flag or a home away from home. The pathos connected to the Puerto Rican flag is underlined by the musical’s lyrics and scenes. However, this is not to say that the musical only extols the Puerto Rican flag. Afterall, the musical’s wide ranging spectrum of inclusivity ends up applying to all people, of all flags.

 

 

 

Works Cited

Denis, Nelson A. War against All Puerto Ricans: Revolution and Terror in America’s Colony. Nation Books, A Member of the Perseus Books Group, 2015.

Desk, BWW News. “IN THE HEIGHTS And Ghostlight Records Host Talkback Event.”BroadwayWorld.com, BroadwayWorld.com, 14 Jan. 2009, www.broadwayworld.com/article/IN-THE-HEIGHTS-And-Ghostlight-Records-Host-Talkback-Event-20090114.

Lazarus, Emma. “The New Colossus by Emma Lazarus.” Poetry Foundation, Poetry Foundation, www.poetryfoundation.org/poems/46550/the-new-colossus.

Miranda, Lin-Manuel. “In the Heights- A New Musical.” New York City, Broadway.

Rivera, Magaly. “Puerto Rico’s Flag.” Welcome to Puerto Rico!, 2017, welcome.topuertorico.org/reference/flag.shtml.

 

 

 

RCL #6 It’s What I Do- A Kind of Balance

In part III of her book, Addario comes to a profound conclusion. She muses, “The sadness and injustice I encountered as a journalist could either sink me into a depression or open the door to a vision of my own life. I chose the latter.”

Honestly, anyone can connect to this idea. The world is a corrupt place with corrupt institutions ran by corrupt people. Everyone is affected by this corruption and injustice. Addario establishes an emotional connection to her audience by suggesting a commonplace: that of injustice.

My passion blog, “Oyez, Oyez, Oyez…Oh No.”, is a pun on the announcement of the Supreme Court members into the chamber. Oyez symbolizes an institution defined by tradition and morals. However, as aforementioned, all institutions are inherently corrupt, spurring on my addition of the “Oh No”.

I utilize Addario’s sentiment of injustice propelling her passion in my own blog, highlighting the injustices inflicted by the Supreme Court. Whether it be racial, gender, or age discrimination, the Court has a good and a bad ruling on everything.

Personally, I have faced the problems of injustice that Addario explains. In 7th grade a junior called me a spic. When eating at Cracker Barrel an older man and his son got up and left after my grandfather and I sat down. An older lady told my dad to “go back to where you come from before Trump deports you” while he was delivering her mail.

But you see,

I remain steadfast. I do not let these petty comments define me; they propel me. I am active politically and will remain so. My blog exemplifies this, as does Addario’s book. And whether I am apart of the “highest Court in the Land” or the man on the corner screaming “the end is nye,” you are going to hear my opinion, and I don’t need your validation.

Rhetorical Analysis Draft RCL #5

The Puerto Rican flag highlights the intense pride of Boricuas in the culture and heritage. Never forgetting where you came from, La Isla de Encanta, stays within the hearts of all Puerto Ricans, even those in the diaspora. A famous Puerto Rican, Lin-Manuel Miranda, transformed this pride into a musical about Latinos. In the Heights, perpetuates the pride of being Puerto Rican, and Latino, with an emotional story line and moving lyrics. Both the Flag and the Musical present commonplaces and ethos to connect to Puerto Ricans, as well as any person with ears, compelling them to engage civically within their communities and elsewhere.

Body Paragraph 1:

The way they whispered to each other about the warmer winter weather, inseparable, even got sick together. They never got better, passed away the December, and left me with these memories like dying embers from a dream I can’t remember. Ever since then it’s like another day deeper in debt with different dilemmas…abuela I don’t know how I can keep it together….Remember the story of your name…the day your family came.

– Everyone, no matter what culture or belief system, can identify with existential crises. Furthermore, everyone seeks wisdom from their abuelas, their grandmothers, because their white hairs don’t just symbolize age but wisdom.

  • Compare this idea to existential crises of the Puerto Rican people…symbolized by flag

Body Paragraph 2:

Everything is easier when you’re home.

  • It is amongst the bounds of the human condition to enjoy your home. Whether it be hundreds of miles away or down the road, humans, no matter who they are, desire to return to familiarity at the end of the day.
  • This compares to the desire of many Puerto Ricans to visit Puerto Rico, underlined in the exhalation of the Puerto Rican flag.

 

Body Paragraph 3:

When I was younger I’d imagine what would happen if my parents had stayed in Puerto Rico. Who would I be if I had never seen Manhattan? If I lived in Puerto Rico with my people, my people…working harder, learning Spanish, learning all I can.”

  • This sentiment goes along with body paragraph number two.
  • Many Puerto Ricans in the diaspora struggle with identity, some not knowing Spanish, seeking to find their place in the world. What would have happened if our parents stayed in Puerto Rico (or elsewhere)? This idea can connect with the general populace as well, since human thinking is guarded to the pondering of “what-ifs”.

Body Paragraph 4:

Alza la bandera…La Bandera de Puertoriqueña…Pa’ribba esa bandera…recuerdo mi tierra…y cuando yo me muera…Entiérrame en mi tierra! From Puerto Rico to Santo Domingo wherever we go we rep our people and the beat goes!”

[Raise the flag, the Puerto Rican flag, Raise this flag, I remember my land, and when I die, bury me in my land.”

  • This song lyric is the clearest connection between the musical and the Puerto Rican flag.
  • In raising the flag, the lyrics dictate its importance. Wherever the flag’s people go, the flag, and all the sentiments surrounding it, also go.

Conclusion: The Puerto Rican flag and the musical, In the Heights, portray the Puerto Rican experience in a way that is universally civic.

Civic Artifact Speech RCL #4

Puerto Rico, a commonwealth, an island with not a lot of wealth and not quite a nation.  The place where you vacation, a tropical destination, to escape your harsh reality. But, the reality is, the island has been under attack since its inception. Nevertheless, the most important symbol that unites her children and grandchildren, both on the island and in the diaspora, is La Bandera de Boricua, the Puerto Rican flag. The Flag portrays itself as a “North Star” to all Puerto Ricans; it is a light in the darkness of discrimination. The Flag beckons its audience by exploiting the historical pathos connected to it and establishing the commonplace of a home away from home.

The History of Puerto Rico

  • Pedro Albizu Campos and nationalist figures
  • Discrimination and abuse of power
  • Combining previous sentiments to highlight flag’s importance

The Diaspora

  • Puerto Rican Parade in NYC on 5th Avenue
  • Commonplace: houses with flags, Yankees hats, domino games
  • Flag stands for family

 

Once a friend made a comment about the Puerto Rican flag hanging in my dorm. She asked, “why don’t you just have an American flag, since Puerto Rico is a part of the United States?” I asked her which of the 50 stars on the flag stand for my beloved island. The simple answer: none. We made our own flag with our own star. Through the shining light of emotional connection and commonplaces, the Puerto Rican flag leads the weary Boricua home.

Skip to toolbar