Why is the US Govt’s definition of “Caucasians” different from others?

The US Govt defines Caucasians as “White-Americans” where as the rest of world define Caucasians as people whose ancestry can be traced back to Europe, North Africa, West Asia, Indian subcontinent and parts of Central Asia, a region known as the Caucasus.

The way the US and other governments define race is constantly changing because race is just an arbitrary way of dividing up people. Jewish people used to not be considered white for a while in the US. Simply put, race is a social construction rather than a biological one. Everyone has a genotype (their DNA) and a phenotype (how those genes are expressed). Your skin color is a just a very small portion of your genotype. So it is possible that I (being ‘white’) could have a genotype that more closely resembles your genotype than that of another ‘white’ guy. So the way the U.S. and other governments define race has to do with social history.

White By Definition: Social Classification in Creole Louisiana $18.00 “An unusual and powerful study.” –Eric. R. Wolf, Herbert H. Lehman College, CUNY “A profound study of the nebulous Creoles. . . . Dominguez’s use of original sources . . . is scholarship at its best. . . . Her study is fascinating, thought-provoking, controversial, and without a doubt, one of the most objective analyses of Creole Louisiana. Her emphasis on social stratification and her excelle…

The Define Name in History $19.95 This book is part of the Our Name in History series, a collection of fascinating facts and statistics, alongside short historical commentary, created to tell the story of previous generations who have shared this name. The information in this book is a compendium of research and data pulled from census records, military records, ships’ logs, immigrant and port records, as well as other reputable …

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Ancestry $13.58 Saxophonist Trevor Watts has made no bones about his love for the South African expatriate musicians, especially Dudu Pukwana, who came to London during apartheid. In recent years, Watts has been playing the kwelas, high life and ritual dance music so much a part of the jazz styles of those players, especially the members of the Brotherhood of Breath, who mingled with many British improvisers. Hand percussionist Jamie Harris joins Watts for this recording of original jam tunes that reflects the traditional African and modern English way for making new music. While their range in timbre, pacing, and interplay is limited, the expression of joy they exude is rarely trivial. The difference is mainly measured in degrees of pace and energy as a slightly overblown soprano saxophone in the 6/8 ritualistic dance of “Alpino” and 4/4 of “Sarawak” with Watts on alto sets the tone. At their most creative, a stretched 10/8 time signature in extreme upper octave levels on “Three & More” and the circular sped up line of “Kerrytown” shows these two undoubtedly belong to the modern musicians sect. Vocals add to a swirling, frantic effect during “Tandem Voices,” while a more whirling dervish, Turkish or Arabian flavor has the woodwinds sounding overdubbed, but it’s actually a vocal accent on “Balintan.” Often you feel Harris is an accessory, or a second brought simply for support, as there is not much interplay or counterpoint involved. Then again, one might contend it’s all call and response as in most African music. Watts so thoroughly dominates this project, and though there’s a certain joy, exuberance, or in the case of “Anna B,” romanticism, he’s expressing his inner calling, with Harris along for the safari. While not a definitive recording, and assuredly for specialized tastes, what Watts and Harris have achieved is undeniably unique unto itself. ~ Michael G. Nastos, Rovi

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