Black Quotes - Page 76

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Recognizing absolutely depends on the public that I'm out with. If I'm in Atlanta, it's definitely Why Did I Get Married. If I'm in Seattle, it's Spawn or something like that. I'm known for a lot of different things. People will call me Bone a lot, the action aficionados.. People who like comedy, they call me Black Dynamite.

Social equity is based on justice; politics change on the opinion of the time. The black man's skin will be a mark of social inferiority so long as white men are conceited, ignorant, unjust, and prejudiced. You cannot legislate these qualities out of the white - you must steal them out by teaching, illustration, and example.

White people couldn't do black music back in the day because they weren't funky or bad enough. They weren't from the ghettoes, but hip-hop and R&B changed all of that because white kids want to be down with it. They wanted to learn it so they studied the culture. It's kind of a cool thing because we shouldn't be so separate.

Black Lives Matter has become what black communities all over the world have needed it to become. At times, it is a hashtag; at other moments, it is a declaration, a cry of rage, a sharing of light. It has become a movement that is international, worldwide in its scope of liberation for black and oppressed people everywhere.

So for everybody who allows themselves to be separated from me because I said "African" instead of "Nubian" or "Black" or "Kemet" or "original" or "Israelite," don't be so foolish. I say "African" because the continent of Africa is the land from which we all originate. It is the word that we are most familiar with right now.

Patriotism is best exemplified through auto-critique. When you're willing to stand up within the group and say, 'It is wrong for Black people to be anti-Semitic,' or 'It is wrong for America to discriminate against persons of African descent and made them slaves and based its wealth upon free labor,' it's crucial to say that.

You have Hillary Clinton who has called black teens or black kids super predators, you have Donald Trump who's openly racist. We have a presidential candidate who has deleted emails and done things illegally and is a presidential candidate. That doesn't make sense to me because if that was any other person you'd be in prison.

There's a more experimental album that follows that, which is like Black Magic and While You Were Sleeping. Then there's a return to jazz, For All We Know and Yesterday I Sang The Blues. It wasn't like a planned thing, I just kind of realized it when I made a list of my albums. Like, oh wow, this is exactly what I did before.

In my writing, I'm often describing a universal situation. A situation in which human beings often choose to violate each other. Sometimes I happen to explore that in terms of the black/white dynamic. Generally, a white person does not like me to say, or does not like to be told, "You know, what you did was incredibly wrong."

Black bears rarely attack. But here's the thing. Sometimes they do. All bears are agile, cunning and immensely strong, and they are always hungry. If they want to kill you and eat you, they can, and pretty much whenever they want. That doesn't happen often, but - and here is the absolutely salient point - once would be enough.

Black Lightning, Jefferson Pierce, Thunder, and Lightning deserve their own show because they are not 'the other.' They are legitimate superheroes in their own right, and so they deserve the full breadth of exploration. That's what makes them worthy, and that's why they deserve it. They are not 'the other.' They are 'the the.'

Four things have almost invariably followed the imposition of controls to keep prices below the level they would reach under supply and demand in a free market: (1) increased use of the product or service whose price is controlled, (2) Reduced supply of the same product or service, (3) quality deterioration, (4) black markets.

In the sublime days before 11 September 2001, when the powerful were routinely attacking and terrorising the weak, and those dying were black or brown-skinned non-people living in faraway places such as Zaire and Guatemala, there was no terrorism. When the weak attacked the powerful, spectacularly on 9/11, there was terrorism.

My ancestors fought for the Confederacy during the Civil War; I was raised in Natchez, Miss.; I performed in the Confederate Pageant for a decade; I dug ditches and loaded trucks with black men who taught me more than any book ever could; and I graduated from Ole Miss. Anyone who survived that is a de facto expert on the South.

The Jam went through a phase of wearing satin jackets. But that was pre-getting signed and making it, when we were still playing the pubs and clubs - around '75. Shocking, really - what would you call them apart from 'horrible?' We'd wear these white zip-up bomber jackets with black kind of loon pants and black and white shoes.

I was at Yale and I said to the poet Elizabeth Alexander, "I'm interested in the ways in which black health seems precarious in the United States." She introduced me to the term "John Henryism." And then I went back and researched it and understood that, woah, this thing I am thinking about is actually a condition that's named.

I don't know about England so much, but in Germany and some of these other countries, the pink was something that they liked. For those kids, the pink and black and the whole look with the sunglasses and the leather jacket was the right kind of hero they could get behind, and I think that really set me apart from everyone else.

My hope as an actress is knowing that I'm someone who is more privileged - I'm biracial and lighter-skinned - and I hope it can open up the door for more women of color, especially darker-skinned black women. I hope everyone hops on the bandwagon and decides to start putting women of color in movies that aren't just about race.

I am particularly conscious of my connection to the poets of the Harlem Renaissance because I, too, am a Black poet, born into, and shaped by, the very community in which those poets of the past produced so much of the work we associate with the Harlem Renaissance. We speak from the same place, both literally and metaphorically.

In Hollywood, there is one dominant voice. It is a white, male, straight gaze. When I talk about positive portrayals of black people and women, I'm saying complexity. I'm not saying goody-two-shoes, everything's okay. No. The positive view of me is to see me as I am: the 'good,' the 'bad,' the gray. That is a positive portrayal.

I’m your worst nightmare come to walk this side of the lines. I’m an elf, Trent something you’re forgotten how to be. You’re scared of black magic. I can see fear shimmering under your aura like sweat. I live and breathe black magic. I’m so tainted with it that I will use it without thought, without guilt and without hesitation.

First, you have stereotypes, and that will be the black drug dealer, the east Asian kung fu master, the Middle Eastern terrorist in 'True Lies.' Then you have stuff that takes place on culturally specific terrain, that engages with it, but actually subverts assumptions. 'Smashes' stereotypes. That's where I've come into the game.

Black excellence is a thing. People - from Beyonce Knowles to Venus and Serena Williams to folks you haven't heard of - are into it. It's less a movement than a standard: believers set the bar high not only for themselves but also for others who share their vision, especially when it pertains to black history, stories, and style.

I really don't want to be associated with the low-brow Black Metal genre. If you want to know what I mean when I say that, just have a look at an Immortal video on YouTube or something. It's so dumb I don't know what to say, really, and it's so ridiculous, we can barely tell the difference between the real stuff and the parodies.

I've been treated with the utmost respect by the whitest of white guys, and I've been treated bad by the whitest of white persons. I've been treated bad by the blackest of black persons and treated good by the blackest of black persons. So at the end of the day, I know it's about humanity - do you have a good heart or a bad heart?

The times when black women have been successful in confronting and overcoming the structural and institutional sexism and racism that persists in our society have been when we are thoughtful and strategic about speaking up. It's when we've done what it takes to introduce and implement our ideas and our plans to make things better.

I grew up in the American South, the segregated South. Now we have a black man who is president. It was an age of apartheid, and now that's over. It was an age of two superpowers frozen in a cold war, and now that's resolved. So history marches on, except for this Arab-Israel conflict, which seems to have a claim on being eternal.

Sometimes when you're relegated to your neighborhood, you forget that there's more important things than your neighborhood going on out in the world. And that just gave me a chance to see how life could be. And it gave me a chance to interact with everybody, not just black people or Mexicans. It made me just a little more worldly.

Leaving out the gamblers, the burglars, and the plumbers, perhaps we do put our trust in God after a fashion. But, after all, it is an overstatement. If the cholera or black plague should come to these shores, perhaps the bulk of the nation would pray to be delivered from it, but the rest would put their trust in The Health Board.

School houses do not teach themselves - piles of brick and mortar and machinery do not send out men. It is the trained, living human soul, cultivated and strengthened by long study and thought, that breathes the real breath of life into boys and girls and makes them human, whether they be black or white, Greek, Russian or American.

The influence of the Shaw Brothers films on my work has been profound. In addition to the richness of Asian culture, we at Wu-Tang were fascinated with the struggles between the oppressed Chinese villagers and the repressive Manchu authority and how it mirrored our own experiences growing up as black kids in America's inner cities.

I had to deal with it so often, I found ways of making a point against racism. When I played against Real Zaragoza, they chanted like monkeys and threw peanuts on the pitch. So when I scored, I danced in front of them like a monkey. When the same thing happened against Real Madrid, I scored and held my fist in a Black Power salute.

Getting last-minute cancellations can put a black cloud over an event before it has even started. If it's a large, casual cocktail party, then I'll often not say anything until the next day. But if you're not able to make it to a small, seated dinner, you have to call the host - there's nothing worse than an empty chair at a table.

On the ice, I feel like I can become a different person, and the darker dramatics, the Black Swan, is confident: she's free to do whatever she wants, and that attitude helps in my skating. The White Swan is, I feel, more what I'm actually like off the ice: I'm a lot quieter, and if someone tells me to do something, I'll just do it.

You can't be perceived as 'the black actress who doesn't get the same kind of roles as the white actress.' You gotta run the same race. You gotta give the same quality of performances. You gotta have the same standard of excellence, even though people know that you're coming to the race in a deficit. That's just what life is about.

Isabel Wilkerson's The Warmth of Other Suns is an American masterpiece, a stupendous literary success that channels the social sciences as iconic biography in order to tell a vast story of a people's reinvention of itself and of a nation-the first complete history of the Great Black Migration from start to finish, north, east, west.

The assumption that spending more of the taxpayer's money will make things better has survived all kinds of evidence that it has made things worse. The black family- which survived slavery, discrimination, poverty, wars and depressions- began to come apart as the federal government moved in with its well-financed programs to “help.”

Maybe when the President tells you that you should be afraid of Mexicans or Muslims or Jews or black people or gay people or trans people, you'll realize that those are just labels, that underneath it all we're all the same people, we all have the same aspirations, the same hopes, the same desires, that we all share the same values.

Really, an historic night last night. You may have heard, Barack Obama will be the first black president of the United States of America. ... Obama is also the first Democrat to receive more than 50 percent of the vote since Jimmy Carter, the first senator to be elected since Jack Kennedy, the first Muslim to be ... I said too much.

I knew what I was getting into when I chose golf. Hell, I knew I'd never get rich and famous. All the discrimination, the not being able to play where I deserved and wanted to play - in the end, I didn't give a damn. I was made for a tough life because I'm a tough man. And in the end, I won: I got a lot of black people playing golf.

I already optioned a book called The Personal History of Rachel DuPree. I also like The Book of Negroes by Lawrence Hill. And I love all of Octavia Butler's books. She's created some very complicated black heroines with a variety of belief systems. There are many great books out there, but those are a few of the ones that stand out.

If you create networks that allow people in their own local systems to have power and agency and sovereignty in their own systems. The idea that people could just know what's happening with their data. You could work with the platform, in communication with it, more than "I'm just like experiencing as a blind person in a black box".

I get that racism exists, but it's not a catalyst for my content. I don't need to talk about race to have material. My style of comedy is more self-deprecating. I think that makes me more relatable. When you deal with 'topics' - race, white versus black - you're not separating from the pack. You're doing what everybody else is doing.

I walked around feeling, in a sense, that people of color, we began at the bottom of a slave ship. We were enslaved; we picked cotton. There was Honest Abe, who wore a top hat and was taller than anyone and who said, 'Enough is enough; slavery must end.' And then, black people could stand up again. But after that, we didn't catch up.

As I talk about strengths and weaknesses in academic economics, one interesting fact you are entitled to know is that I never took a course in economics. And with this striking lack of credentials, you may wonder why I have the chutzpah to be up here giving this talk. The answer is I have a black belt in chutzpah. I was born with it.

I spent money, and I kept thinking, 'I get one more movie and I'll wipe these bills out,' but that movie never came. That black pride, I said, 'Man, I'm going to hang in there, I'm going to pay these bills.' So you owe a million dollars. 'I can pay that.' OK, fines, fees, now you owe two and a half million. 'But I didn't do nothin'!'

Hitler had a lot of Jews high up in the hierarchy of the Third Reich. Color does not necessarily denote quality, content or value. If a black is a tyrant, he is first and foremost a tyrant, then he incidentally is black. Bush is a tyrant and if he gathers around him black tyrants, they all have to be treated as they are being treated.

Famously in 1936, Oswald Mosley led a march of his British black shirts through a mostly Jewish neighborhood, in the east end of London. What resulted was what they called the "Battle of Cable Street", where Oswald Mosley and his fascists basically got the snot beaten out of them when East London rose up against them and beat them up.

But you see, our society is still trapped in this binary, black/white logic and that has had some very positive implications for our generation. It's had some very negative ones as well and one of the negative ones is that it creates enormous identity problems for people who have one black ancestor and all white ancestors for example.

I can't really hear the audience applause when I'm on stage. I'm totally immersed in the piece. But sometimes I get a lot of it and wonder, "Now, why did they applaud here?" If it's a white crowd, they usually applaud because they think it's a pretty movement. If it's a black crowd, it's usually because they identify with the message.

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