Black Quotes - Page 78

Grid View List View
Quote of the DayPicture QuotesTop 100 Inspirational QuotesTop 100 Love QuotesTop 100 Happiness Quotes
Dwight D. EisenhowerH. L. MenckenWalt DisneyJohann Wolfgang Von GoetheCarl JungHeraclitusMae WestRodney DangerfieldSamuel Taylor ColeridgeDeepak Chopra
TimeYour BeautifulDreamsDepressionQuirkyDatingRelationshipDaughterEncouragementComputers

Offence is so easily given. And where the 'minority' issue is involved, the rules seem to shift about: most of the time a person who is female/black/disabled/gay wants this not to be their defining characteristic; you are supposed to be blind to it. But then, on other occasions, you are supposed to observe special sensitivity, or show special respect.

Intellectual traditions emerging from populations that have always been the constitutive other in the development of the properly free citizen - indigenous people, populations labeled physically or mentally unfit, black people, migrants, women, prisoners - have always produced robust critiques of the what Dylan Rodriguez calls "white bourgeois freedom."

I always try to be ironistic in everything I do. I love people who understand humor and who live through humor. So, of course, I was not too serious covering such things as Motörhead or "Black Magic Woman" by Santana. But I was serious enough about Led Zeppelin and the Celtic song "Wild Mountain Thyme." In my life, serious and humor are always together.

A Christian society is not going to arrive until most of us really want it: and we are not going to want it until we become fully Christian. I may repeat "Do as you would be done by" till I am black in the fact, but I cannot really carry it out till I love my neighbour as myself: and I cannot learn to love my neighbour as myself till I learn to love God.

The other shape, If shape it might be call'd that shape had none Distinguishable in member, joint, or limb; Or substance might be call'd that shadow seem'd, For each seem'd either,--black it stood as night, Fierce as ten furies, terrible as hell, And shook a dreadful dart; what seem'd his head The likeness of a kingly crown had on. Satan was now at hand.

I like black for clothes, small items, and jewelry. It's a color that can't be violated by any other colors. A color that simply keeps being itself. A color that sinks more somberly than any other color, yet asserts itself more than all other colors. It's a passionate gallant color. Anything is wonderful if it transcends things rather than being halfway.

If anything, I've found nonfiction a little easier. You don't have to make anything up. Of course, that's the inherent difficulty as well: when you hit an information black hole, you don't get to make it up. That hasn't come up too often with this project though. I'm lucky to have tons of primary source material , reams of letters and diaries and memoirs.

If you look at literacy tests in the South, for example, they were absurdly difficult and didn't measure literacy. They were simply measuring whether or not you were black. So at every moment when we've said, hey, we don't want certain people to vote because they are not educated enough, it is often simply become a way of excluding black and brown people.

I rely on some words that actually my husband said to me. He jokes about saying, "You know it's only darkest before it's totally black!" Even in my darkest hour - and my darkest hour was probably when I lost both my parents - I look to him and I see what he has endured, what he has overcome, what he is doing with his life, and just how he's lived his life.

All that rejection from Republicans has a bit of a racist element. It was very necessary to have a black president, and it's been a great thing. It will help, in the end, to ease the trauma of slavery and civil war. The war against slavery cost almost 800,000 American lives - that's how strongly they felt about it. And it's not going to go away in a century.

What the Clintons have always done is embraced challenging. They can't have enough photo opportunities with Al Sharpton or Jesse Jackson. They communicate to blacks that they agree with their challenging identity. So, in a sense, Hillary is blacker than Barack Obama. Their alignment with this black identity makes them 'black' in a metaphorical sense, I guess.

The most dangerous moment of the War, and the one which caused me the greatest alarm, was when the Japanese Fleet was heading for Ceylon and the naval base there. The capture of Ceylon, the consequent control of the Indian Ocean, and the possibility at the same time of a German conquest of Egypt would have closed the ring and the future would have been black.

At a Texas college, a football field that was turned into a farm. The Tigers of Paul Quinn College lost more football games than they won on this field. So, years ago, when the historically black college on the South Side of Dallas was in financial crisis and had a 1 percent graduation rate, a new president turned everything over, including the football field.

It doesn't surprise me that aspect of the black nationalist movement, the cultural side, has triumphed because that is the aspect of the movement that was most commodifiable and when we look at the commodification of blackness we're looking at a phenomenon that's very profitable and it's connection with the rise of a black middle class I think is very obvious.

The acknowledgement that this person is English, white, or French, or German, this is Portuguese, this is Rwandan, this is Senegalese, this is a black South Africans is a glorious thing. To speak of those positively, to say that they have characteristics, each one of them, that the others almost always do not have, and that there is a complementarily about it.

There is no figure who had more of an influence, no person had more of an influence on the intellectuals behind the Iron Curtain than Friedrich Hayek. His books were translated and published by the underground and black market editions, read widely, and undoubtedly influenced the climate of opinion that ultimately brought about the collapse of the Soviet Union.

They’re not hideous,” said Tessa. Will blinked at her. “What?” “Gideon and Gabriel,” said Tessa. “They’re really quite good-looking, not hideous at all.” “I spoke,” said Will, in sepulchral tones, “of the pitch-black inner depths of their souls.” Tessa snorted. “And what color do you suppose the inner depths of your soul are, Will Herondale?” “Mauve,” said Will.

Ah! the curse of slavery, as the common phrase goes, has fallen not merely on the black but perhaps at this moment still more upon the white, because it has warped his sense of truth and has degraded his moral nature. The position and the treatment of the blacks, however, really improve from year to year; while the whites do not seem to advance in enlightenment.

For the rest of their lives, [black men] can be denied the right to vote, automatically excluded from juries, and legally discriminated against in employment, housing, access to education and public benefits. So many of the old forms of discrimination that we supposedly left behind during the Jim Crow era are suddenly legal again once you've been branded a felon.

Depression - that limp word for the storm of black panic and half-demented malfunction - had over the years worked itself out in Charlotte's life in a curious pattern. Its onset was often imperceptible: like an assiduous housekeeper locking up a rambling mansion, it noiselessly went about and turned off, one by one, the mind's thousand small accesses to pleasure.

In [Ralph] Ellison's case, it's more psychological than it is phenomenal, and it's conditioned by anger, animosity, and lack of desire to engage with the black body. There was always simultaneity that had nothing to do with visuality. You can be there and not be there at the same time and be fully visible all the time. That's what really struck me about Ellison .

Black Nativity certainly lends itself to reinterpretation. It was kind of designed to be infused with the creativity of whoever is putting it on, and every performance is a little bit different. So, this is definitely my version of Black Nativity. It has its own story, which is a family story. Langston Hughes' Black Nativity informs it, and is contained within it.

Just me existing, as an openly black transgender woman from a working-class background, thriving, is a political act. My brother always reminds me that if you are black in America and you're alive, you deserve a round of applause. There are so many forces that don't want us to be alive, and so just being openly who I am, and happy and thriving, is a political act.

Race is not the only differential in South Africa, in the new South Africa, where all schools are open, mother-tongue education is a very big issue. One of the main reasons why the dropout figure of black students, and the lower pass rate of black students in the present education system, and it was like that before, was that we didn't have mother-tongue education.

But if you think about a practical implication of enriching your life and giving you a sense of being part of a larger cosmos and possibly being able to use this [gravitational waves] as a tool in the future maybe to listen not just to black holes colliding, but maybe listen to the big bang itself, those kind of applications may happen in the not too distant future.

By that point, I was about 12, 13 years old. I was this young black kid into rock music, which was kind of strange. People would always assume I'd be into like more modern R&B, which is a stereotype, but that was kind of what was expected. And I had all these guitar magazines of all these musicians that didn't look like me. So I assumed Jimmi Hendrix was one of those.

We wanted to not necessarily tell the story of the video or the song, but create an ambience. And I think now, I think that's gone now. There's nothing wrong with that. But I think we were all trying to make mini feature films. I remember when we were making the Duran videos, I would crop the top and bottom of the screen with black. So that it looked more like cinema.

The same chemicals were used in the cooking as were used on the composition of her own being: only those which caused the most violent reaction, contradiction, and teasing, the refusal to answer questions but the love of putting them, and all the strong spices of human relationship which bore a relation to black pepper, paprika, soybean sauce, ketchup and red peppers.

The fact is that we have many superstitions, many bad spots and sores on our body - these have to be excised, cut off, and destroyed - but these do not destroy our religion, our national life, our spirituality. Every principle of religion is safe, and the sooner these black spots are purged away, the better the principles will shine, the more gloriously. Stick to them.

Any one who has stood upon a lofty summit and gazed over an inchoate tangle of deep canyons and cragged mountains, of sunlit lakelets and black expanses of forest, has become aware of a certain giddy sensation that there are no distances, no measures, simply unrelated matter rising and falling without any analogy to the banal geometry of breadth, thickness, and height.

Macroscopic objects, as we see them all around us, are governed by a variety of forces, derived from a variety of approximations to a variety of physical theories. In contrast, the only elements in the construction of black holes are our basic concepts of space and time. They are, thus, almost by definition, the most perfect macroscopic objects there are in the universe.

We as black have to remind ourselves that we are a great people and we come from a great lineage. How can we say that we were Kings and Queens during ancient civilization but then turn around and say, 'we don't have privilege.' Who said that? What is that based on? Is that based on the white man's definition of privilege and what this system is showing us? Yes, of course.

I wanted to pay homage to someone who was such an important literary figure in my life. I think Langston Hughes would be proud of the picture Black Nativity, yet it's a contemporary story about a family living in Harlem. I named the lead character Langston, put a little bit of poetry in there, and some Langston Hughes quotes, and, of course, his stage play, Black Nativity.

What is it about wearing a tuxedo or that little black dress, that makes us feel confident, beautiful, splendid, even invincible? We put on formal wear and suddenly we become extraordinary. On the days when you feel low and invisible, why not try this on for size: imagine you are wearing a fantastic tailored tuxedo or a stunning formal gown. And then proceed with your day.

I invented a camera that has an exposure time of one hundred years and the camera works in the simplest possible terms, because anything more complicated is more likely to break down in one way or another. It's a pinhole camera that lets in very low light and instead of exposing film, which is going to spoil within a matter of days or weeks, I'm using ordinary black paper.

I serve on the Institute of the Black World's National Commission on African-American Reparations, and we have asked the President [Barack Obama] to, by executive order, establish a commission to study reparations. He can do this without Congressional approval. While I am not optimistic, I do hope that President Obama considers this in these waning months of his Presidency.

I decided to live as an individual and as I grew older, and thought more, and read more and experienced more, my views became more conservative. But my group is liberal. Not only that, they say, 'If you're not liberal and not a Democrat, you're not black. If you're conservative, you're a sellout.' Here, then, I'm living with that kind of a pressure against my individuality.

If you love Black people, why are you destroying Haiti? If you love Black people, why did you, [Hillary] Clinton, stop them from the rice that they were producing in Haiti to feed themselves and other Caribbean nations? You put the rice industry out of business; and now rice is coming from Arkansas, chicken coming from Arkansas, when it once was growing right there in Haiti.

Now I began to understand art as a kind of black box the reader enters. He enters in one state of mind and exits in another. The writer gets no points just because what's inside the box bears some linear resemblance to "real life" -- he can put whatever he wants in there. What's important is that something undeniable and nontrivial happens to the reader between entry and exit.

There are black Christians, and black Muslims in Africa who are being slaughtered, they don't want to hear about the Jim Crow laws. There are Christians, there are other Muslims being slaughtered in the Middle East, they don't need a lecture from Obama about Christianity. The fact of the matter is Obama is not doing anything effective or substantive to stop genocide in our time.

As for those deserters, malcontents, radicals, incendiaries, the civil and uncivil disobedients among the young, SDS, PLP, Weathermen I and Weathermen II, the revolutionary action movement, the Black United Front, Yippies, Hippies, Yahoos, Black Panthers, Lions and Tigers alike - I would swap the whole damn zoo for a single platoon of the kind of young Americans I saw in Vietnam.

Black Box is not a statement about injustice committed against Sephardi Oriental Jews or about the extremism of religious Jews or the lack of imagination of the old Israeli elites. It's a human story, in my view, first and foremost about a mystical communion between enemies. This is the inner story of the novel. This is my business as a novelist. It is not about positions and ideas.

They were and still are a groundbreaking band. Even though they haven't released any new music in ages, you can put on the first Black Sabbath album and it still sounds as fresh today as it did 30-odd years ago. And that's because great music has a timeless ability: To me, Sabbath are in the same league as the Beatles or Mozart. They're on the leading edge of something extraordinary.

I think of the described dynamics as a fluid negotiation. I don't think these specific interactions can happen to the black or brown body without the white body. And there are ways in which, if you say, "Oh, this happened to me," then the white body can say, "Well, it happened to her and it has nothing to do with me." But if it says "you," that you is an apparent part of the encounter.

You have to separate artistic ability from ethnic origin. Not only am I not black, I am also not a woman, therefore how can I direct women? I am also only 42, therefore how can I direct someone who's 60? So you see where the argument ends up? If you take it to its logical conclusion, I would have to walk around and point a video camera at myself. And who the hell is interested in that?

Clap! Snap! the black crack! Grip, grab! Pinch, nab! And down down to Goblin-town You go, my lad! Clash, crash! Crush, smash! Hammer and tongs! Knocker and gongs! Pound, pound, far underground! Ho, ho! my lad! Swish, smack! Whip crack! Batter and beat! Yammer and bleat! Work, work! Nor dare to shirk, While Goblins quaff, and Goblins laugh, Round and round far underground Below, my lad!

What is clear is that Malcolm X incorporated within the framework of black nationalism a pan-Africanist and internationalist perspective. In doing so, he began to reassess radically earlier positions sexism and patriarchy. He began to break with notions of sexism that he had long held as a member of the Nation of Islam, and began to advance and push forward women leadership in the OAAU.

I can still recall vividly how Freud said to me, "My dear Jung, promise me never to abandon the sexual theory. That is the most essential thing of all. You see, we must make a dogma of it, an unshakable bulwark" ... In some astonishment I asked him, "A bulwark-against what?" To which he replied, "Against the black tide of mud"-and here he hesitated for a moment, then added of occultism.

What frustrates me is to see African-Americans behave as though what European-Americans say is worthwhile. It simply isn't. It's just some silly people who can make laws and have the power to enforce them. I'm often amazed at the conversations black people have about themselves. They ought to be having these conversations about white people. It's white people who are flawed and at fault.

When I was only in the first episode of Orange Is The New Black, I'm thinking by lunchtime I'm ready for my contract, like, "What's up?" I finally just spoke up and said, "What's the deal? This is the first episode. I'd love to be on your show." And they said, "Oh, Lori, we filmed out of order, we already filmed the whole season two." So I had to wait six whole months to come back again.

Share This Page