Quotes of All Topics . Occasions . Authors
I am an African-American woman of dark skin tone, and there are very specific roles that are usually given to African-American women of a darker hue. Let's start with 'Once on This Island': peasant girl. Let's go to 'The Color Purple': young girl, beaten. Let's go to 'Ragtime': Her baby's taken.
Some people would view Jackie Robinson as a very safe African-American, a docile figure who had a tendency to try to get along with everyone, and when you look at his history, you learn that he has this fire that allows him to take this punishment but also figure out savvy ways of giving it back.
If an African-American or a recent immigrant - or anyone else, for that matter - can't feel secure walking into a police station or up to a police officer to report a crime, because of a fear that they're not going to be treated well, then everything else that we promise is on a shaky foundation.
The notion of women being written out of history is as old as the Bible, but it always seems more galling when it is the history of progressive movements - such as the abolitionist campaign in Britain or the fight for African-American civil rights - in which the role of women has been diminished.
Abraham Lincoln is singular. Abraham Lincoln, before he was killed, stood up and, you know, for the first time from any sitting president, stood for the right for suffrage for African-American men who had served in the Civil War. And that's a limited suffrage, but it was quite radical at the time.
At Harvard I was taking an African-American studies class, and we were reading about the tragic mulatto. Invariably, the tragic mulatto can't fit in either world and flings herself off a bridge. So I'm reading, and I'm like, 'Oh, my God, I think I'm in literature,' but my life was never like that.
When my daughter was born, I was reading a lot of children's books, and there weren't any characters who looked like her. For all the content that's out there, there aren't many African-American protagonists. I looked at it like, if there isn't someone else creating it then I have to do it myself.
What makes 'Pootie Tang' the motion picture enjoyable is its no-brow ambitions; it's a joke action film. It slides through enough African-American pop culture signifiers to raise laughs out of those who will appreciate the references; it revels in more cheese per square inch than a soul food diner.
I think people always want to hear that there are barriers that exist for us. But the more I started to realize artists that are kind of like me in my lane, like, if they were white or African-American, they often had trouble because it wasn't the quality of their music: they just didn't stick out.
At the end of the day, I'm still an African-American woman in a male-dominated industry, so sometimes you have to deal with people not taking your ideas seriously. But I look at it as, I'd rather have adversities in something that I love than doing something that I hate or where I am not interested.
When 'Red Tails' came along, all I knew was that they were the first African-American fighter pilots in the U.S. Air Force. I had no idea how deep the story went or about all their amazing achievements. There were a few Tuskegee Airmen on the set to make sure everything was as authentic as possible.
As we women know, there are so many other hurdles that we have to cross that I would love it if we could stop having the race conversation so that we can get women further on. You know, a female president now that we have an African American president. Maybe we can get an Asian female, a gay person?
We have signed an exclusive licensing agreement with a company called TurnerPatterson, another African-American company, and what I thought would be a great vehicle for 'Ebony,' since it is such a strong brand name with tremendous loyalty, is to grow that brand name even more across different areas.
Branding says a lot about luxury and about exclusion and about the choices that manufacturers make, but I think that what society does with it after it's produced is something else. And the African-American community has always been expert at taking things and repurposing them toward their own ends.
The same would be true for something like Social Security, where historically, if you just read the law and the fact that it excluded domestic workers or agricultural workers, you might not see race in it, unless you knew that that covered a huge chunk of African Americans, particularly in the South.
Like anyone else in television, I like to explore my life experience. And I don't think African-American artists see doing shows or art about African-Americans as something 'less than.' I think maybe the industry sometimes does. We don't get as much attention, we don't get critical acclaim and so on.
I had very supportive parents that made the way for me, even at a time when there were very few women - no women, really; maybe two or three women - and very few, fewer than that, African-American women heading in this direction, so there were very few people to look up to. You just had to have faith.
When you hear "Seinfield," no one says, "the Jewish comic." You talk about Cedric the Entertainer, you don't say, "African American comedian Cedric the Entertainer." Even Margaret Cho - who's like one of three Korean performers out there - no one refers to her like that. They say, "It's Margaret Cho."
African-Americans have always viewed the protection of black lives as a civil rights issue, whether the threat comes from police officers or street criminals. Far from ignoring the issue of crime by blacks against other blacks, African-American officials and their constituents have been consumed by it.
Look - I'm an African-American. I'm black. But I'm just looking at the character and trying to find his soul, his energy. If you can wipe away the blanket of skin and flesh that people tend to see, and look inside for the essence of the soul, then that's the work I'm doing. That's the work I always do.
Once they have actually left office, we seem to grow fonder of our ex-presidents - and they of each other. That's why so many sighed in approval at Michelle Obama's public display of affection with George W. Bush at last month's dedication of the National Museum of African-American History and Culture.
But one of the things I have learned during the time I have spent in the United States is an old African American saying: Each one, teach one. I want to believe that I am here to teach one and, more, that there is one here who is meant to teach me. And if we each one teach one, we will make a difference.
My understanding of racial discrimination as a child was highly distorted because the most prominent man in Archery was an African-American bishop. When he came home from up north, where he was in charge of A.M.E. churches in five states, it was front-page news. He was the most successful man in my life.
I never saw a little African-American girl saving the world. So to be able to be that for not only myself but girls who look like me is really important and inspiring. Unfortunately, we don't see ourselves saving the world a lot, and if we do see any type of superhero, that person usually has superpowers.
As a person of color, as a woman, as a body moving through this particular space in time, I realize the streets of New York tell the story of resistance, an African-American history of brilliance and beauty that, even in its most brutal moments, did not - could not - kill our resilient and powerful spirit.
African-Americans are always forced to learn the other culture, but the other culture is not forced to learn ours. I went to acting school at Juilliard, and we learned Shakespeare and Shaw, but we never did the work of a single African-American playwright, not August Wilson or Ntozake Shange or Imir Baraka.
Congressman Berg will repeatedly talk about Harry Reid and Barack Obama, and I find it interesting, because this morning, when I woke up and brushed my teeth, I looked in the mirror and I did not see a tall, African-American, skinny man. So let's make it clear that my priorities are North Dakota priorities.
As America knows, Obama turned down the lucrative career path guaranteed to the first African-American president of The Harvard Law Review to pursue the missions of service and teaching instead. The potential rewards for our country, now that that early choice has led him into the White House, are enormous.
Andrew Warren was a rarity in the CIA's Clandestine Service - African-American, fluent in Arabic, and relatively young for an agent who'd already spent nearly a decade chasing terrorists in Afghanistan, Egypt, Iraq and Algeria, so deep undercover that few of his friends or family knew the nature of his work.
The Academy just reflects Hollywood. And until we break those barriers, until we have African-American or minority studio executives, 'til we have people who are greenlighting movies with African-American actors - the Academy is not going to change until Hollywood changes, so we have to start with Hollywood.
Woodie King Jr., in 1970, had started a company called the New Federal Theatre, which was ensconced at the Henry Street Settlement. I did a number of plays there, and I auditioned each time. The plays were mostly new. New York was very fertile ground; there was a plethora of African-American plays being done.
In 1968 when I was in high school I built a four-foot-tall remote control robot with pneumatic cylinders that operated his hands. My robot won first place at a science competition at the University of Alabama where my high school was the only African-American school represented. That was a huge moral victory.
My father was born in the year 1900 in South Carolina, and he grew up at a time where being an African-American child in the American South was to be deprived of access to anything close to a reasonable education. He only had three years of formal education, but he was self-taught. He read two newspapers a day.
There are so many people that don't come in contact with black men. Whether they live in a homogeneous area that's mostly white or whether they live in places where they don't have to come in contact with them. So what kind of contact do they have with African-American males? They have the media, and that's it.
I consciously think about the ethnicity of every character that I create and cast. But one thing that is equally important is quality representation. It's not enough to put an African-American in there, a female in there, a gay character in there: How significant is their contribution? Can they drive the story?
Be the buffalo. Wilma Mankiller, the first female principal chief of the Cherokee nation, once told me how the cow runs away from the storm while the buffalo charges directly toward it—and gets through it quicker. Whenever I'm confronted with a tough challenge, I do not prolong the torment. I become the buffalo.
I sit here as the first African-American attorney general, serving the first African-American President of the United States. And that has to show that we have made a great deal of progress. But there's still more we have to travel along this road so we get to the place that is consistent with our founding ideals.
Although there are those who wish to ban my books because I have used language that is painful, I have chosen to use the language that was spoken during the period, for I refuse to whitewash history. The language was painful and life was painful for many African Americans, including my family. I remember the pain.
Senator Sessions has opposed protections for LGBT individuals. He's spoken out against Freedom Corps' marriage equality decision. He opposed the repeal of Don't Ask, Don't Tell. He opposed the nomination of Loretta Lynch, the nation's first African-American woman to serve as attorney general. These things worry me.
In the white community, the path to a more perfect union means acknowledging that what ails the African-American community does not just exist in the minds of black people; that the legacy of discrimination - and current incidents of discrimination, while less overt than in the past - are real and must be addressed.
'Strong Island' has been a labor of love and dedication on the part of so many people, that it's just an incredible recognition to be honored. And to be the first trans director - and, I believe, the first African-American trans director - to be nominated for an Academy Award is incredibly, incredibly special to me.
When you graduate is when you start to find yourself looking at the information in the audition breakdown and it says tall black African - or African-American built such and such. And you start seeing these character descriptions and seeing that, oh, you're only going in for the ones that are described as your look.
The history of the American Negro is the history of this strife, - this longing to attain self-conscious manhood, to merge his double self into a better and truer self. In this merging he wishes neither of the older selves to be lost... He simply wishes to make it possible for a man to be both a Negro and an American.
I don't see black people as victims even though we are exploited. Victims are flat, one- dimensional characters, someone rolled over by a steamroller so you have a cardboard person. We are far more resilient and more rounded than that. I will go on showing there's more to us than our being victimized. Victims are dead.
Obama was elected in a flourish of promise that many in the African-American community believed would help not only to symbolize African-American progress since the Civil War and Civil Rights Acts but that his presidency would result in doors opening in the halls of power as had never been seen before by black America.
In North America, what happens often is that they put race before nationhood. Everyone here is Hispanic-American, Chinese-American, African-American. But really, we're just North Americans of all these different descents. The only time I notice North Americans becoming national is when a war happens or a crisis happens.
Um, 'Soul Food'... Another wonderful little movie that could. Here's a film that, I think our budget was maybe $6 million. We shot it in Chicago in six weeks. I was so proud of the film, because it showed America that an African-American film about family could sell, could do well, could cross over and have true meaning.
As an African-American, as a woman, I think that I've been sensitized to the way in which history privileges the white male and the way in which certain aspects of history, the things that we are taught in school, the things that are handed down, never, never entered the picture though they might have been very important.
So how do Latinos feel if there's a big investment just in the African American community, and they're looking around and saying, "We're poor as well. What kind of help are we getting?" Or Asian Americans who say, "Look, I'm a first-generation immigrant, and clearly I didn't have anything to do with what was taking place."
I'd been taught from an early age that I was in the other category on the standardized tests. You know, I had to go down the checklist - Caucasian, African-American, Latino, Asian-Pacific Islander, and then, you know, at the bottom is other. So, you know, very early on I was taught, in a way, that I was somehow this anomaly.