Quotes of All Topics . Occasions . Authors
People of African descent, most of us grew up accepting and loving Spider-Man. I still love Spider-Man. I still love the Incredible Hulk. I still have those characters that were white role models, superheroes, heroes - whatever you want to call it. You basically had no choice but to accept those.
Many, many people of the Revolutionary generation, the generation that fought in the Revolutionary War, understood that slavery was somehow in contradiction to what America was saying it was. And many of those folks also, at the very least, gave land to African Americans when they were liberated.
There was always music in our home. My mom and my dad loved music. I remember when we were kids we would have these great parties at the house with congas and bongos and African drums, and it was amazing. It wasn't until years later that I found out that they were actually Black Panther meetings.
Why don't you think we should dream of an African team winning the World Cup for the first time? People never allow this thought to cross their minds, and it is shameful. When you try to even say it, people look at you as if you're joking, but they forget that dreaming is the first step to success.
The media in America is not covering American AIDS very much. They're covering African AIDS as if somehow miraculously it's all stopped here. Well, it hasn't, and the one thing they're not saying about Africa is that all those people are going to die; there's no way these people can be saved - none.
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?
The question was never whether the United States, E.U., NATO, Arab League, U.N. Security Council, and African Union could together using economic sanctions, diplomatic pressure, and military attacks to bring Qaddafi down. The question was always how much time, how much blood, and what damage to NATO.
Race, for me, should be social and cultural, rather than the colour of your skin. Anton Ferdinand would have more in common with John Terry than he does with some West African from Nigeria. John Terry will have more in common with Anton Ferdinand than a Slav from Eastern Europe who happens to be white.
If you take into account prisoners, a large majority of African American men in some urban areas, like Chicago, have been labeled felons for life. These men are part of a growing undercaste - not class, caste - a group of people who are permanently relegated, by law, to an inferior second-class status.
When you're dealing with African Americans, family is everything. Because we spend so much time talking about how one treats one's family. Telling a black person that you haven't talked to your mother in a week is probably different than it is with other races because people will look at you different.
When you've got African parents, you go to uni, do finance, and go into accounting. But I'm not good with systems. I dropped out in my final year of college to become a Christian poet. Then went back to do my A-levels and went to uni in Birmingham to do political science and theology. I lasted 12 weeks.
My latest decorating obsession is dipping - like painting the bottom of things. I've done it to almost every terra-cotta pot in my house. Every African vase I have is painted gold on the bottom. It's so fun and easy, and it instantly livens up a piece. You feel like you've really accomplished something.
'God Loves Uganda' is a powerful exploration of the evangelical campaign to change African culture with values imported from America's Christian Right. The film follows American and Ugandan religious leaders fighting 'sexual immorality' and missionaries trying to convince Ugandans to follow Biblical law.
I think people hear and feel the genuine nature of my passion for the causes. Specifically, with the non-profit in Uganda, my mother is the president, and she was an African politics professor for almost 50 years, so I think people know that I align myself with people who know what they're talking about.
When I was a youth, to be called 'African' was a diss. At school, the African kids used to lie and say they were Jamaican. So when I first came in the game, and I'm saying lyrics like, 'I make Nigerians proud of their tribal scars/ My bars make you push up your chest like bras,' that was a big deal for me.
In the early 1970s in Atlanta, I attended what had formerly been an all-white school but had become a black school after integration and white flight. Perhaps because of this, the teachers created a curriculum that included a focus on African American literature and history year-round, not just in February.
The beauty standards had nothing to do with me in Mexico. It was such a bizarre, dire time for my hair. I was living in a small town where there was not any semblance of an African community. I'd have to take the bus to Mexico City to find a woman who could braid my hair. That was two and a half hours away.
I don't want our white working class sisters and brothers to feel as though their pain is not important because it is. But at the same time, I want my white sisters and brothers to understand that when we talk about income and wealth inequality, that disproportionately African Americans suffer a little more.
A lot of groups spend their whole cultural and aesthetic identity trying to move away from Africa, which I think is a mistake. One of the reasons I love Cuba and cultures like that is because they're not trying to move away from their African roots, they're trying to embrace them. That's part of the culture.
Being 'ethnically ambiguous', as I was pegged in the industry, meant I could audition for virtually any role. Morphing from Latina when I was dressed in red, to African American when in mustard yellow, my closet filled with fashionable frocks to make me look as racially varied as an Eighties Benetton poster.
Coming up in the Bay Area and being African American in a city that has a history of complex issues of violent crime, interaction with the police is always intense. That's something you have to learn. My mom taught me at a young age that if ever a cop stops you, you put your hands up and freeze - don't move.
The reason why I wear gold - I wear gold for three reasons. One, when Jesus was born, three wise men came from the east: one brought frankincense, one brought myrrh, the other one brought gold. The second reason I wear gold is I can afford it. The third reason I wear it, it's symbolic of my African heritage.
Africans in the United States must remember that the slave ships brought no West Indians, no Caribbeans, no Jamaicans or Trinidadians or Barbadians to this hemisphere. The slave ships brought only African people and most of us took the semblance of nationality from the places where slave ships dropped us off.
My new mission is, and I've said this to the White House, I want the Buy America to be real. I want the Buy America to be by small businesses, African American businesses, Latino and Asian, but in particular our African American businesses who heretofore couldn't even find the front door of government contracts.
I realized quickly what Mandela and Tambo meant to ordinary Africans. It was a place where they could come and find a sympathetic ear and a competent ally, a place where they would not be either turned away or cheated, a place where they might actually feel proud to be represented by men of their own skin color.
It was easy to persecute me without people feeling ashamed. It was easy to vilify me and project me as a woman who was not following the tradition of a 'good African woman' and as a highly educated elitist who was trying to show innocent African women ways of doing things that were not acceptable to African men.
If people feel misled or deceived, then sorry that they feel that way, but I believe that's more due to their definition and construct of race in their own minds than it is to my integrity or honesty, because I wouldn't say I'm African American, but I would say I'm black, and there's a difference in those terms.
I never hated hip-hop. It became the new rock and roll. It became the biggest thing that Africans have ever done in the history of the Americas. Hip-hop put more black Americans on than anything before it. It fed more people. It allowed them to diversify into clothing lines and billion-dollar headphone companies.
For a while, I was saying 'no' way too often. I turned down 'An Officer and A Gentleman,' 'Splash' and 'Midnight Express.' I could name you tons more. I would go off and experience life instead of working - I was learning to fly jets, went on an African safari, sailed the Caribbean - which wasn't necessarily bad.
Donald intends to represent all the people, not just some of the people. That includes Christians and Jews and Muslims; it includes Hispanics and African Americans and Asians, and the poor and the middle-class. Throughout his career, Donald has successfully worked with people of many faiths and with many nations.
There couldn't possibly be a more label-driven industry than acting, seeing as every audition comes with a character breakdown: 'Beautiful, sassy, Latina, 20s'; 'African American, urban, pretty, early 30s'; 'Caucasian, blonde, modern girl next door'. Every role has a label; every casting is for something specific.
My sister is a good story of resiliency. She had a full ride at UC Davis, but she left school to go to the Philippines - and then she decided to go back to school in her 40s, which surprised me. She went to UC Berkeley, and I think she was one of two African Americans in her class at Haas. She's really impressive.
Making African American films are hard in Hollywood. We need to rely on a support network and bring more cohesion to different filmmakers, actors, producers etc. It's a very difficult business. There aren't a lot of Africans Americans or people of color in high positions in Hollywood that we can green-light films.
I used to work in the cotton fields a lot when I was young. There were a lot of African Americans working out there. A lot of Mexicans - the blacks and the whites and the Mexicans, all out there singing, and it was like an opera in the cotton fields, and I can still hear it in the music that I write and play today.
It's troubling that by eliminating weekend voting hours, the state of Ohio specifically banned a popular voting time of choice for minorities. In Cuyahoga County, which I represent, 56 percent of weekend voters in 2008 were African American while adult African Americans comprise 28 percent of the county population.
For complicated historical and political reasons, we associate 'poor' in our public consciousness with 'black.' Terms such as 'welfare queen' and 'culture of poverty' became associated uniquely with the social maladies of African Americans in urban ghettos, despite the fact that poor whites outnumbered poor blacks.
I created the Dikembe Mutombo Foundation back in 1997 for the purpose of going in and improving the living conditions of my people on the African continent, especially in the Democratic Republic of Congo where I came from. Out first mission was to go and build a new hospital. Our next mission was to build a school.
Tap dancing is like... it's equivalent to music, not only for the African American community, but also for the world. Tap dancing is like language; it's like air: it's like everything else that we need in order to survive. I'm blessed and honored to be knowledgeable of the art form and to be a part of the art form.
My own thinking has evolved. You find Africanisms in American speech. You find an African influence on United States culture. There are all kinds of Africanisms in America, as you would expect, if you really thought about it... That whole thing is much broader; the influence is much broader than I first understood.
Having travelled to some 20 African countries, I find myself, like so many other visitors to Africa before me, intoxicated with the continent. And I am not referring to the animals, as much as I have been enthralled by them during safaris in Kenya, Tanzania and Zimbabwe. Rather, I am referring to the African peoples.
The mentality with African and European people is different. In Africa, when you come from a difficult life, when it's not so easy to eat, not so easy to survive, you respect money when you start to earn it, and you respect people more. When you respect people, they will respect you, and your life is better for that.
I mean in the community that I grew up in, you know, a very, you know, mixed, almost entirely African Diaspora community, one of the things that we were not ever supposed to say was how much self-hatred and colorism determined and guided what we would call our desire. In other words, what we would consider beautiful.
I started collecting aerial photographs of Native American and South Pacific architecture; only the African ones were fractal. And if you think about it, all these different societies have different geometric design themes that they use. So Native Americans use a combination of circular symmetry and fourfold symmetry.
The magazines were born out of a need that my parents saw: that there were no magazines that really spoke to black people. 'Ebony' wrote about architects and artists, the share cropper who sent his nine kids to college, real African Americans at a time when everyone else only covered them as entertainers and athletes.
At the outset, I want to say that the suggestion that the struggle in South Africa is under the influence of foreigners or communists is wholly incorrect. I have done whatever I did because of my experience in South Africa and my own proudly felt African background, and not because of what any outsider might have said.
As N.Y.C. Public Advocate, I released a report that showed that stop-and-frisks of African Americans in 2012 were barely half as likely to yield a weapon as those of white New Yorkers - and a third less likely to yield contraband. Despite this evidence, the vast majority of those stopped are young black and Latino men.
At Camfed, we have focused on transforming the vicious cycle of poverty in many rural African communities into a cycle of opportunity. Alumnae of Camfed's programs go on to become role models and mentors for future generations of young students. We call this the 'virtuous circle,' and we know this is a model that works.
If you're looking at the people who head the institutions, there are very few African Americans or people of colour. I'm talking about the major theatres that position themselves as serving all audiences. What you find is, by and large, people who are shaping what we see, and the people who are the tastemakers are white.
Technology is the perfect refuge for African capability stifled elsewhere by badly run governments and years of misplaced foreign aid. Ubiquitous connectivity in a world without legacy infrastructure, together with the potential to learn coding or anything else online, has allowed technology entrepreneurship to flourish.
The African Americans' story is one that seems to be a repeated commitment to a scenario for success and failure. With each failure, the blow is that much more traumatizing until finally one reaches a point where there is to some degree an internalization, skepticism, fatalism, and expectation that it isn't going to work.