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Redbone

Redbone is an American rock band formed in 1969 in Los Angeles, California, by Native American brothers Patrick "Pat" Vasquez-Vegas and Candido "Lolly" Vasquez-Vegas, who signed with Epic Records that year.^[1] The group's name, suggested by Jimi Hendrix, derives from a Cajun term denoting mixed-race heritage, aligning with the founders' Yaqui, Shoshone, and other indigenous ancestry.^[1] Redbone pioneered mainstream success for a Native American-led rock ensemble, blending swamp rock, funk, and cultural motifs drawn from their roots, as heard in early singles like "Chant: 13th Hour," which supported the inaugural Earth Day observance.^[1] Their breakthrough came with "The Witch Queen of New Orleans" in 1972, reaching number 21 on the U.S. Billboard Hot 100 and number 2 in the UK, followed by the 1974 gold-certified "Come and Get Your Love," which sold over one million copies and remains their signature track.^[1] A defining controversy arose with "We Were All Wounded at Wounded Knee" (1973), a protest song referencing the 1890 Wounded Knee Massacre; Epic Records withheld its U.S. release amid sensitivities over Native American issues, though it achieved number-one status across Europe.^[1] The band's influence extended to contemporaries like The Doors, amid broader struggles against industry prejudice faced by indigenous musicians.^[2] Post-peak, Redbone received accolades including induction into the Native American Music Association Hall of Fame in 2008, a 2013 honor from the Smithsonian's National Museum of the American Indian, and a 2014 Lifetime Achievement Award to Pat Vegas.^[1]

Terminology and Ethnic Identity

Slang for Light-Skinned Individuals

"Redbone" denotes a light-skinned Black person in African American Vernacular English, often specifying those with reddish undertones in their skin or hair, and frequently implying sexual attractiveness, particularly for women.^[3] The term is commonly used within Black communities to describe individuals whose complexion falls between medium brown and very light, distinguishing it from terms like "yellowbone" for even lighter or yellower tones.^[4] Historically, the slang emerges from colorism practices during chattel slavery, where white enslavers preferentially selected lighter-skinned enslaved Black women for domestic roles and sexual exploitation, leading to the birth of mixed-race children with inherited lighter complexions that were valorized over darker ones.^[3] This dynamic perpetuated a hierarchy privileging proximity to whiteness, with lighter skin conferring relative advantages like better treatment compared to field laborers.^[3] Into the Jim Crow era, such preferences manifested in Black institutions, including historically Black colleges like Howard University, where admissions and social organizations used skin-color tests—such as comparing applicants' complexions to a brown paper bag—to exclude darker individuals as late as the 1920s and 1930s.^[3] In modern usage, "redbone" appears in rap and hip-hop lyrics to evoke desirability tied to light skin, as in Childish Gambino's 2016 song "Redbone," which portrays a light-skinned woman as alluring yet scandalous, reinforcing objectification alongside color-based preferences.^[3] While often deployed affectionately or flirtatiously in casual Black speech—such as complimenting appearance—the term highlights persistent intra-community colorism, where lighter tones receive social and romantic advantages rooted in slavery's legacies rather than inherent merit.^[4]^[3] Critics note its dual edge: celebrating beauty for some while marginalizing darker-skinned individuals through implied inferiority.^[3]

Historical Ethnic Groups

The Redbone communities in Louisiana represent historical tri-racial isolate groups formed by intermixtures of European, African, and Native American ancestries, primarily emerging in the early 19th century through migrations to frontier regions of the state.^[5] ^[6] These populations settled in areas such as Opelousas Parish in the 1810s and Rapides Parish by the 1830s, with ancestors arriving in the Louisiana Territory prior to the 1803 purchase and traceable progenitors like Thomas Nash documented in the Mississippi Territory by 1781.^[7] Genealogical records identify prominent founding families including Nash, Willis, Ashworth, Perkins, Dial, and Johnson, often exhibiting physical characteristics such as copper-toned skin and high cheekbones indicative of their diverse heritage.^[7] Migrations contributed to the consolidation of these groups, with some originating from eastern states like Georgia and the Carolinas; for instance, a wagon train from Georgia reached Valentine in central Louisiana in 1857.^[7] By the 1820s, Redbone settlements extended into southeast Texas prairies west of the Sabine River, where approximately 86 percent of early cattle ranchers had immigrated directly from Louisiana, Mississippi, or Alabama, fostering further admixture through intermarriage among whites, enslaved individuals of African descent, and Native Americans.^[6] Post-Civil War movements saw additional families relocate to Texas communities like Mooreville.^[7] Local theories of Redbone origins, such as connections to Melungeon groups from Appalachia or Portuguese settlers, persist in folklore but lack substantiation in primary census or land records, which instead reveal patterns of mixed-race classification avoidance and economic pursuits like cattle raising in unregulated borderlands.^[7] Anthropological assessments classify them as a "third race" distinct from binary racial categories enforced under antebellum laws, with African components often underemphasized in self-narratives due to social marginalization in the Jim Crow era.^[5] ^[6]

Animals

Redbone Coonhound Breed

The Redbone Coonhound is a medium-sized American scent hound breed developed primarily for tracking and treeing raccoons, though versatile enough for pursuing larger game such as deer, bear, and cougar over varied terrain.^[8] Originating from selective breeding of red-colored foxhounds imported by Scottish immigrants in the late 18th century, the breed was refined in Georgia during the 19th century by hunters like George F.L. Birdsong, who crossed foundation stock with Bloodhounds and other hounds to enhance scenting ability, speed, and endurance.^[9] ^[10] The name derives from early breeder Peter Redbone, who emphasized a uniform mahogany-red coat and hunting prowess in the mid-1800s.^[10] The breed received formal recognition from the United Kennel Club in 1902 as the second coonhound variety registered, following the Black & Tan Coonhound, based on proven treeing instincts and type uniformity.^[9] ^[10] The American Kennel Club admitted the Redbone Coonhound to its Foundation Stock Service in 1991 and granted full recognition in the Hound Group on June 30, 2009.^[8] In conformation, Redbone Coonhounds exhibit a lean, muscular build with long, straight legs suited for agile movement through dense underbrush; males stand 22-27 inches at the shoulder, females 21-26 inches, with weights ranging from 45-70 pounds proportionate to height.^[8] ^[9] The head features a moderately broad skull, pleading round eyes in brown to hazel shades, low-set hanging ears reaching the nose tip, and a large black nose; the body includes a deep chest, well-sprung ribs, and a slightly arched loin, covered in short, glossy red coat—ideally solid mahogany without black saddles, though minimal white on the chest or feet is tolerated.^[9] Faults include excessive white markings or deviations from the rich red color, while disqualifications encompass albinism, undershot/overshot bites, or sizes outside the standard.^[9] Temperamentally, Redbones are even-tempered, affectionate, and eager to please at home, displaying mellow kindness toward family members and compatibility with children under supervision, though their vocal baying and strong prey drive necessitate secure fencing to prevent wandering.^[8] As hunters, they are courageous, tenacious, and independent, with a natural treeing instinct and "sweet" voice for signaling; early socialization and firm training curb stubbornness and enhance obedience.^[9] They thrive on vigorous daily exercise, such as multi-mile runs or hunts, to maintain physical and mental health.^[8] Health-wise, the breed is generally robust with a lifespan of 12-15 years, but genetic predispositions include hip dysplasia, where malformed hip joints lead to arthritis, and chronic ear infections from floppy ears trapping moisture—mitigated by routine cleaning and veterinary screening.^[8] ^[11] Other concerns involve eye conditions like progressive retinal atrophy and obesity if exercise is insufficient, underscoring the need for responsible breeding and active lifestyles.^[11] No breed club-mandated health tests exist, but hip evaluations via OFA certification are advisable for breeding stock.^[8]

Music and Bands

Redbone (Band)

Redbone is an American rock band formed in 1969 in Los Angeles, California, by brothers Patrick "Pat" Vegas (born 1941) and Candido "Lolly" Vegas (1939–2010), both of Yaqui, Shoshone, and Mexican descent. The duo, who had previously performed as the surf rock group the Avants in the early 1960s, shifted toward a blend of swamp rock, funk, rhythm and blues, and elements reflecting their Native American heritage after encouragement from Jimi Hendrix to embrace their roots.^[1]^[12]^[13] The band's name derives from "redbone," a term historically used in Cajun culture for light-skinned individuals of mixed African, European, and Native American ancestry, which the Vegas brothers adopted to signify their own multiracial background. The original lineup featured Pat Vegas on bass and lead vocals, Lolly Vegas on guitar, sitar, and vocals, drummer Peter DePoe (of Shoshone and Mexican heritage), and guitarist Tony "Anthony" Bellamy (Yaqui-Mexican American). This configuration produced Redbone's early recordings, emphasizing horn sections, call-and-response vocals, and themes of cultural identity.^[1]^[14]^[12] Signed to Epic Records, Redbone released their self-titled debut album in 1970, followed by Potlatch (1972) and Wasted Days and Wasted Nights (1973). Their commercial breakthrough arrived with the 1974 single "Come and Get Your Love," from the album of the same name, which peaked at number 5 on the Billboard Hot 100 on April 13, 1974, remained in the Top 40 for 18 weeks, ranked as the fourth-most popular song of the year, and earned RIAA gold certification for over 500,000 units shipped. This track, written by the Vegas brothers, featured flute intros and harmonious vocals, marking the first Top 5 Billboard hit for a band led by Native Americans.^[15]^[16]^[17] Subsequent releases like "The Witch Queen of New Orleans" (1971, peaking at number 21 on the Hot 100) and "We Were All Wounded at Wounded Knee" (1973, addressing the Wounded Knee incident) highlighted political and cultural themes but achieved lesser chart success amid lineup changes and industry shifts. Lolly Vegas died of lung and liver cancer on March 4, 2010, after which Pat Vegas continued performing with evolving ensembles. In 2008, Redbone was inducted into the Native American Music Association Hall of Fame, recognizing their role as pioneers in blending Indigenous influences with mainstream rock.^[18]^[12]^[13]

Notable Songs and Artists

"Redbone" is a song by American musician Childish Gambino (Donald Glover), released as the second single from his third studio album Awaken, My Love! on November 17, 2016.^[19] The track, co-written and produced by Glover alongside Ludwig Göransson, features psychedelic soul and funk elements, with lyrics exploring themes of paranoia, infidelity, and relational doubt; the title draws on the slang term "redbone" denoting a light-skinned person of mixed African descent.^[19] It achieved commercial success, peaking at number 12 on the Billboard Hot 100 chart and number 1 on the Hot R&B/Hip-Hop Songs chart for three weeks, while earning triple platinum certification from the RIAA for over three million units sold in the United States.^[20]^[21]^[22] At the 60th Grammy Awards, the song won Best Traditional R&B Performance and received nominations for Record of the Year and Best R&B Song.^[23] In hip-hop, the term "redbone" appears in various tracks referencing physical attractiveness tied to lighter skin tones, but few carry the title itself. A more recent example is "Redbone" by rapper Lil Baby featuring GloRilla, released on January 2, 2025, as the fifth track on Lil Baby's fourth studio album WHAM.^[24] The song, produced in a trap style, peaked within hip-hop charts shortly after its music video debut on March 4, 2025, garnering over 2.8 million YouTube views by mid-2025 and highlighting collaborations between established Southern rap artists.^[25]^[26] Lyrics employ "redbone" in a colloquial sense akin to Gambino's usage, emphasizing allure and street narratives.^[27] These tracks illustrate the term's integration into modern R&B and rap, often invoking colorism dynamics within Black American cultural contexts without explicit endorsement, though interpretations vary by listener.^[19] No other major original songs titled "Redbone" outside the 1970s band have matched their chart longevity or awards recognition as of 2025.

Notable People

Musicians and Performers

Leon Redbone (born Dickran Gobalian, August 26, 1949 – May 30, 2019) was a Canadian-American singer, guitarist, and songwriter known for his stylized renditions of early 20th-century jazz, blues, ragtime, and Tin Pan Alley standards.^[28] Of Armenian descent, Redbone emigrated from Cyprus to Canada in the mid-1960s, later settling in the United States, where he cultivated an enigmatic stage persona characterized by a gravelly baritone voice, Panama hat, dark sunglasses, and a deliberate avoidance of personal details.^[29] His performances evoked vaudeville and pre-World War II eras, drawing comparisons to figures like Emmett Miller and Blind Blake, though he rarely discussed influences explicitly.^[30] Redbone's career gained traction in the early 1970s through appearances in folk clubs in Toronto and Philadelphia, leading to his signing with Warner Bros. Records. His debut album, On the Track (1975), featured acoustic covers of classics such as "Ain't Misbehavin'" and "Big Bad Bill (Is Sweet William Now)," emphasizing fingerpicking guitar and wry humor.^[30] Follow-up releases like Double Time (1977) and Champagne Charlie (1978) expanded his repertoire to include calypso-tinged tracks and collaborations with session musicians, solidifying his niche as a revivalist performer uninterested in contemporary trends. He toured extensively, appearing on television programs including Saturday Night Live and narrating National Geographic specials, while contributing to soundtracks and voicing characters in films like The Frisco Kid (1979).^[31] Beyond recording, Redbone's live shows highlighted his improvisational flair and deadpan delivery, often incorporating animal impressions or cryptic anecdotes that enhanced his mystique. Later works, such as Live (1994) and holiday albums like Christmas Island (1989), maintained his focus on archival material, with occasional originals. He performed at major venues and festivals into the 2000s, collaborating with artists like Dr. John. Redbone retired from public performances around 2015 due to health issues and died on May 30, 2019, at age 69 from complications of dementia.^[32] His estate released a final album, Up a Lazy River, posthumously in 2020. No other prominent musicians or performers bearing the name Redbone have achieved comparable recognition outside the rock band of the same name.^[28]

Other Figures

Simon Morrows emerged as a prominent local figure among Louisiana's Redbone communities in the early 19th century, recognized for his influence within the clan and involvement in regional disputes, including the Westport Fight around the Neutral Ground area, where settlers navigated tensions over land and resources.^[33] As a habitual community representative and dispenser of goods, Morrows exemplified the independent, self-reliant ethos of Redbone settlers who established key outposts near Starks, Elizabeth, and Merryville amid the Neutral Strip's lawless frontier.^[34]^[33] Historical records from conflicts in the region, such as those during the early 1800s migrations and skirmishes, document other Redbone-associated individuals bearing surnames like Owen, Archibald Gipson, Watts, James Bird, and Hall, who participated in defensive actions against external threats, reflecting the group's defensive cohesion in isolated parishes.^[7] These figures, while not nationally renowned, underscore the Redbone communities' role in local governance and survival strategies, often as squatters or traders evading strict racial classifications post-Louisiana Purchase.^[7] No major national politicians or athletes have been verifiably identified with the Redbone ethnic designation in primary sources.

Cultural Impact and Controversies

The term "redbone" in African American vernacular denotes individuals, particularly women, of mixed African, European, and sometimes Native American ancestry characterized by lighter skin tones with a reddish or yellowish undertone, often reflecting historical color hierarchies within black communities.^[3]^[35] This usage emerged from slavery-era distinctions, where lighter-skinned enslaved people, frequently offspring of white owners, received preferential treatment such as indoor labor over field work, embedding colorism—discrimination favoring lighter skin—as a persistent intra-community dynamic.^[36] Empirical studies confirm that such preferences endure, with lighter-skinned African Americans experiencing advantages in socioeconomic outcomes like income and education compared to darker-skinned peers, rooted in proximity to whiteness as a status marker rather than inherent traits.^[36]^[37] Social debates surrounding "redbone" center on its role in perpetuating or challenging colorism, with critics arguing the term objectifies women by reducing them to skin tone desirability, as seen in rap lyrics that equate "redbone" with sexual appeal and reinforce Eurocentric beauty standards.^[38] For instance, a 2014 study of black college sorority women found exposure to hip-hop tracks praising "red bone" women correlated with heightened associations of lighter skin with attractiveness and femininity, exacerbating divisions where darker-skinned women report marginalization in mate selection and social validation.^[38]^[39] Proponents sometimes frame it as a reclaimed identifier celebrating mixed heritage, yet this view is contested for overlooking causal links to historical trauma, where colorism functions as internalized racism amplifying broader white supremacist legacies rather than neutral cultural expression.^[3]^[40] Gender amplifies these tensions, as colorism disproportionately impacts African American women, linking lighter "redbone" phenotypes to perceived higher status in fraternities, media representation, and relationships, while darker tones face stereotypes of aggression or undesirability.^[41] A 2017 analysis documented how this stratification contributes to psychological distress, including lower self-esteem among darker-skinned women, underscoring debates on whether terms like "redbone" foster unity or deepen fractures by commodifying proximity to whiteness.^[41]^[42] Recent discussions, including reactions to cultural artifacts like Childish Gambino's 2016 song "Redbone," highlight misogynistic undertones in fetishizing light skin, prompting calls for confronting colorism's empirical harms—such as biased hiring and intra-community exclusion—over euphemistic reclamation.^[3]^[35]

Representation in Media

The term "redbone," denoting a light-skinned African American often with reddish undertones, has been invoked in media to highlight colorism, though portrayals frequently reinforce preferences for lighter complexions over explicit critique. In music media, the term appears in hip-hop and R&B lyrics that glorify light-skinned women as desirable, such as references to "redbone" in tracks analyzed for perpetuating intra-community bias.^[43] Childish Gambino's 2016 song "Redbone," which reached number 12 on the Billboard Hot 100, uses the term to describe a light-skinned partner amid themes of relational vulnerability, but its video and lyrics have sparked discussions on how such depictions normalize colorist attractions without challenging underlying hierarchies.^[3] In film and television, direct use of "redbone" is rarer, but casting patterns embody the concept through overrepresentation of light- to medium-skinned Black women in prominent roles, correlating with perceptions of attractiveness and success. A Geena Davis Institute on Gender in Media analysis of Hollywood films found that nearly 80% of Black female characters exhibit light or medium skin tones, with 57% of Black leading ladies similarly skewed, indicating persistent colorism in visual narratives.^[44] For example, the 1990 recasting of Aunt Viv on The Fresh Prince of Bel-Air—replacing darker-skinned Janet Hubert with lighter-skinned Daphne Maxwell Reid—has been cited as an instance where producers favored a "redbone"-adjacent aesthetic to align with viewer preferences for lighter complexions, contributing to broader erasure of darker-skinned portrayals.^[45] Documentaries have occasionally centered "redbone" experiences to explore colorism's dual edges. The 2015 TV One film Light Girls, a follow-up to the 2011 Dark Girls, features light-skinned Black women, including those identifying as "redbone," recounting bullying and identity struggles, yet it has faced criticism for framing them primarily as victims without sufficiently addressing the relative privileges in media access and desirability that lighter skin confers.^[46] Spike Lee's 1988 film School Daze indirectly engages the archetype through its depiction of color-based divisions in a Black college, with lighter-skinned characters in the "Gamma Ray" sorority symbolizing aspirational beauty standards rooted in historical colorism, though the term itself is not used.^[47] These representations underscore empirical patterns where light-skinned figures dominate positive or romanticized roles, as evidenced by BBC-reported industry admissions that lighter-skinned Black actresses encounter fewer barriers in casting for lead parts.^[48]

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Lyrics. Y'all know how cold it is in, like, Antarctica or, like, Alaska or, you know, like, like, an iceberg. You know how, how cold that is?
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