Quotes of All Topics . Occasions . Authors
Let's stop all of this foolishness and come together as a people or we will deserve the chastisement of God that is about to come down. Especially on the rich and the professional well-educated Black person who could make a way in the desert for our people, but you're so tied to your slavemasters and their children. You don't want to leave them nor do you want to lead your people into doing something for self. We're at the end of it now.
Every time a militant Islamist terrorist shoots somebody up, what does Barack Obama do and the Democrats? They come out and they demand that there be no backlash against Muslims. So any time a police officer shoots a black suspect - without knowing why, without knowing the circumstances - why doesn't Obama stand up and warn against a backlash against cops? If we are to guard against backlash against Muslim shooters, where is the sameness?
The fears of recession in the aftermath of Black Monday have turned to fears of the economy racing ahead too fast, with inflation edging up and a substantial current account deficit... People understandably feel more confident about their future than they've done for decades, but as a result they have been borrowing more and saving less... Coming on top of a massive income investment boom, it's all been just a bit too much of a good thing.
I used to skate a lot when I was a kid. I loved it and was quite good. When I came back to London in around '85, I got really into skating again. But at the time, it had no influence from hip-hop. It was just thrash rock, hardcore rock, and skulls and all black - that kind of style. In Japan, the skaters were also strictly into rock culture, too, but I was coming from the hip-hop side, so for a while it was difficult to mix both interests.
I was the first American citizen to be elected to Congress in spite of the double drawbacks of being female and having skin darkened by melanin. When you put it that way, it sounds like a foolish reason for fame. In a just and free society it would be foolish. That I am a national figure because I was the first person in 192 years to be at once a congressman, black and a woman proves, I think, that our society is not yet either just or free.
My private tragedy, which cannot, and indeed should not, be anybody's concern, is that I had to abandon my natural idiom, my untrammeled, rich, and infinitely docile Russian tongue for a second-rate brand of English, devoid of any of those apparatuses–the baffling mirror, the black velvet backdrop, the implied associations and traditions–which the native illusionist, frac-tails flying, can magically use to transcend the heritage in his own way.
Today we reject the notion of equality between a regime that belongs to the democratic world - even if it is conservative and disagreeable - and a totalitarian dictatorship, whether its colors are black, red, or green. This is why we will never again say that Chamberlain is no better than Hitler, Roosevelt no better than Stalin, and Nixon no better than Mao Zedong, even if we do condemn Roosevelt for Yalta, Chamberlain for Munich, and Nixon for Watergate.
What I have related is sufficient for establishing the main principle, namely, that the heat which disappears in the conversion of water into vapour, is not lost, but is retained in vapour, and indicated by its expansive form, although it does not affect the thermometer. This heat emerges again from this vapour when it becomes water, and recovers its former quality of affecting the thermometer; in short, it appears again as the cause of heat and expansion.
Of course, you have politics, the Vietnam war and all that monkey business. There are all kinds of reasons. At every one of those demonstrations in the late Sixties about the Vietnam war, you could guarantee there'd be a series of speeches. The ostensible purpose was to protest the war. But then somebody came up and gave a black power speech, usually Black Muslims, then. And then you'd have a women's rights speech. It was terrible to listen to these things.
We have landowners, small growers. We have people who are holding onto land that was acquired by their families after slavery. They need to produce some of the food we eat, so they can pay the taxes and hold onto the property. Taxes keep going up. We, and by we I mean black people, are rapidly becoming a landless people. Our ancestors, coming out of slavery, acquired more than 15 million acres of land. Today, we're probably down to less than 2 million acres.
From the time I entered cabinet, the emphasis was on reforms, but reforms which did not abolish separate development, but reforms which were aimed at changing the very, very dehumanising aspects. Giving greater freedom of movement, giving private property ownership within so-called white South Africa also to blacks. Abolishing the concept of job reservation on the basis of race and colour. Allowing free organisation for trade unions, also black trade unions.
The Rolling Stones were an inkling towards an appreciation of the unity of music, dance and words. Any of the black R&B people who had a stage show that involved dancing, music and words did the same thing, except that I thought Jagger's words were good, his music was good and his dancing was good. I spoke to him about Blake and tried to get him to sing [William] Blake's The Grey Monk, to use his words as lyrics. He didn't do it. In the end, I did it myself.
When you talk about "white privilege", you're talking about something systemic. When you're talking about "black privilege" it's something spiritual because we as black people tap into a divine system that a lot of other cultures and races can't tap into and that system allows us to prosper in spite of everything that's been thrown our way from slavery to segregation to mass incarceration. We have a privilege pre-ordained by God that nothing and no one can stop.
I teach a graduate seminar called "Theorizing Improvisation" that is pretty interdisciplinary, but really makes students deal with black studies seriously. A lot of authors of color, a lot of women of color - those become central to the intellectual trajectory. It considers music, but it also considers areas of thought that might seem unrelated to music. That's partly because we're expanding the notion of what music is beyond objects, beyond scores, beyond things.
I have tried to emphasize to people that, hey, just like President Obama was a really good president, and the fact that he was black I think was historic and unprecedented, but he also claimed and owned his excellence, and that's why I'm saying, okay - I think it's really exciting and historic that I would be the first woman president, but I have a lot of work I want to do. And I hope that people will say, "Hey, she's getting it done." That's how I think about it.
Grace Bell lived in Belhaven, North Carolina her entire life, all 100 years of her life. Just a few weeks ago Republicans challenged her voter registration status and tried to remove her from the voter rolls. Now Grace got her voter registration reinstated. And you better believe she`s going to vote. But this 100-year old woman wasn`t alone in being targeted. The list of voters Republicans tried to purge was two-thirds black and Democratic. That didn`t happen by accident.
I asked the Zebra, are you black with white stripes? Or white with black stripes? And the zebra asked me, Are you good with bad habits? Or are you bad with good habits? Are you noisy with quiet times? Or are you quiet with noisy times? Are you happy with some sad days? Or are you sad with some happy days? Are you neat with some sloppy ways? Or are you sloppy with some neat ways? And on and on and on and on and on and on he went. I’ll never ask a zebra about stripes...again.
We took a right at the fork, heading farther north. The charred houses continued. To the right, a large sign nailed to an old telephone post shouted DANGER in huge red letters. Underneath in crisp black letters was written: IM-1: Infectious Magic Area Do Not Enter Authorized Personnel Only A second smaller sign under the first one, written on a piece of plastic with permanent marker, read: Keep out, stupid. “We aren’t going to keep out, are we?” Ascanio asked. “No.” “Awesome.
The Satanic Jews and their Allies fear being exposed and that is the role of the Messiah, to reveal the Man of Sin. When He comes, He has to expose those forces, those wicked ones that have caused the blood shedding and the mischief that's going on in the world. So the moment they saw a Black man standing who was not afraid to tell the truth of them, given to him by the Messiah, they had to come against him. And they will continue to do that because their survival is at stake.
Phunny Business is a breezy, vivid, funny, star-studded and delightful valentine to comedy, entrepreneurship and the All-American impulse to make something out of nothing. The story of comedy club owner/inveterate dreamer Raymond Lambert and his heroic quest to create a safe, productive place for black stand-up comedians to hone their craft and find their voices isn't just a great Chicago story and a great comedy story: it's a flat-out great story, lovingly and engagingly told.
Coming from the South, I just felt you had to work just a little bit harder. It was not going to be handed to you. I’d get the letters from all the major schools but no one came out to talk to me face to face until this small, dominant black school, Mississippi State Valley University sent a coach out to me. I had a chance to talk to him and he said, ‘Hey Jerry, we’re going to be doing some great things at Mississippi Valley State University and we would love to have you there.’
When I showed ‘Black and the Red III’ in Malmö, Sweden, it was a continuum - a band - all around the galleryseeing this huge space in the gallery in Malmö, I just took a deep breath and I put the paper around in a single band. Then I continued along, printing on the wall like a trompe l’oeil to reiterate the images in the work printed on paper that I had push-pinned to the wall. I literally took the rhythm and the images from ‘Black and the Red III’ and continued that on the wall.
On my second space walk, I was riding the Canadarm, heading down toward the payload bay of the space shuttle, and I could see the space shuttle highlighted against the Earth in the background, and there was this black, infinite, hostile void of space. I remember looking down at the Earth and thinking, "Beneath me is a 4½-billion-year-old planet, upon which the entire history of the human species has taken place." That was an incredibly humbling moment, and I had a bit of an epiphany.
Here's what I love: when a great writer turns me into a Jew from Chicago, a lesbian out of South Carolina, or a black woman moving into a subway entrance in Harlem. Turn me into something else, writers of the world. Make me Muslim, heretic, hermaphrodite. Put me into a crusader's armor, a cardinal's vestments. Let me feel the pygmy's heartbeat, the queen's breast, the torturer's pleasure, the Nile's taste, or the nomad's thirst. Tell me everything that I must know. Hold nothing back.
Our bodies are garbage heaps: we collect experience, and from the decomposition of the thrown-out eggshells, spinach leaves, coffee grinds, and old steak bones out of our minds come nitrogen, heat, and very fertile soil. Out of this fertile soil bloom our poems and stories. But this does not come all at once. It takes time. Continue to turn over and over the organic details of your life until some of them fall through the garbage of discursive thoughts to the solid ground of black soil.
It is extremely interesting to me that black males, and other black folk, are viewed as self-pitying, by either other blacks who have failed to accurately calculate their own diminished status as a result of racial animosity - both individual and systemic - or by whites who fail to comprehend how, after forcing black folk into subservience for hundreds of years, they now whine about small privileges that pale - so to speak - in comparison to the untold advantage of centuries of benefit.
By holding to the first woman, the first black, the first homosexual, the first transgender, the first native American, the first whatever, there is also something else more hideous that is woven into this intricate web of deceit, and that is the built-in excuse to why they might or will fail. It's because America is unjust. When you have the first woman to do something, the media questions, "Why haven't there been more?" Well, America is unfair, unjust, bigoted, sexist, and misogynistic.
To those who feel that their values are THE values, the less controlled systems necessarily present a spectacle of "chaos," simply because such systems respond to a diversity of values. The more successfully such systems respond to diversity, the more "chaos" there will be, by definition, according to the standards of ANY specific set of values- other than diversity or freedom as values. Looked at another way, the more self-righteous observers there are, the more chaos (and "waste") will be seen.
This is a tradition of resistance to the term that's as old as the term itself, especially because that term has been used to commodify and reduce black creativity, and also to appropriate and sell it. That's what John Coltrane said in an interview with a Japanese journalist: "Jazz is a word they use to sell our music, but to me that word does not exist." And he's treated as one of the central figures in the history of jazz. So if he rejected it, then why is it weird when I do it? I'm in the tradition!
You have to start looking in the mirror and saying, 'this is who I am, this is what I am and this is how I'm going to be' and start demanding more from yourself. In spite of everything that this system has thrown at us, we still have to live at the end of the day. We still have to find purpose and find ways to prosper and make a profit so you have to find ways to stand on your own two feet and fulfill your potential as a black man or black woman on this planet no matter how marginalized or oppressed you may be.
Moments later a huge male with a cropped mohawk came out. Rehvenge was dressed in a perfectly tailored black suit and had a black cane in his right hand. As he came slowly over to the Brotherhood's table, his patrons parted before him, partly out of respect for his size, partly out of fear from his reputation. Everyone knew who he was and what he was capable of: Rehv was the kind of drug lord who took a personal interest in his livelihood. You crossed him and you turned up diced like something off the Food Channel.
There is not a history of black intellectuals being allied with dominant forces to hold white people in social and cultural subordination for a few centuries. Second, the "our" of black folk has always been far more inclusive that the "our" of white folk. For instance, there would have hardly been a need for "black" churches if "white" churches had meant their "our" for everybody - and not just white folk. But "our" black churches have always been open to all who would join. The same with white society at every level.
People ask me if I'm influenced by British music, and I suppose I grew up listening to mostly British music - from new wave stuff through to heavy metal. Like, when I got into metal, it was Black Sabbath. I never really got into a lot of American rock. I appreciate some of it, but not much! Most of the great new wave music was coming out of Britain, and Germany. So maybe those influences have made their way into my music, and perhaps that's why I have this connection with people in Europe. But maybe it's something cosmic.
One percent of the nation owns a third of the wealth. The rest of the wealth is distributed in such a way as to turn those in the 99 percent against one another: small property owners against the propertyless, black against white, native-born against foreign-born, intellectuals and professionals against the uneducated and the unskilled. These groups have resented one another and warred against one another with such vehemence and violence as to obscure their common position as sharers of leftovers in a very wealthy country.
If you awaken from this illusion, and you understand that black implies white, self implies other, life implies death - or shall I say, death implies life - you can conceive yourself. Not conceive, but feel yourself, not as a stranger in the world, not as someone here on sufferance, on probation, not as something that has arrived here by fluke, but you can begin to feel your own existence as absolutely fundamental. What you are basically, deep, deep down, far, far in, is simply the fabric and structure of existence itself.
For my prom, I was so fancy, I got t a suit tailored. I wanted a three-piece suit. I thought it would be cool to wear all black - black shirt, black tie, I figured it would be the coolest thing I've ever done. That was my first suit. I put the suit on two years later and it was so big on me and absurd and didn't fit. I still have it. I won't throw it out. It's too fun. It reminds me where I come from. Actually, I have an evolution of suits in my closet. It starts with that one and goes up to the suits that I get to have now.
Pounce had it easier than any of us. No one noticed a black cat in the street. He stopped here and there to sniff aught of interest. Wherever our Rat stopped, Pounce was there, close enough to see up the Rat's nose. I was so proud. Now there was a proper god, making himself useful! Since my thought might be deemed blasphemy, I said silent prayers to the Goddess and to Mithros. I begged forgiveness and asked them not to misunderstand. Since I wasn't blasted where I stood, I guess they forgave me, or they hadn't heard my blasphemy.
I was 16 at the time, and I came backstage and started hanging out with them. I said, "Well, maybe you can 'vanish' the silk this way." The opening was a black stage while the "Magic to Do" song started playing. All you saw were hands, lit by Jules Fisher, and then Ben Vereen would appear beyond the hands, and at the end of the scene he would vanish a silk. The spotlight would hit a red spot on the floor where you'd see the silk on the floor. He'd pull the silk out of the floor and it became the entire set coming out of the floor.
Haply for I am black, And have not those soft parts of conversation That chamberers have; or for I am declined Into the vale of years—yet that’s not much— She’s gone. I am abused, and my relief Must be to loathe her. O curse of marriage, That we can call these delicate creatures ours And not their appetites! I had rather be a toad And live upon the vapor of a dungeon Than keep a corner in the thing I love For others’ uses. Yet ’tis the plague of great ones; Prerogatived are they less than the base. ’Tis destiny unshunnable, like death.
There's no question here that every effort is made to earn as much money off tobacco as possible. At the same time, the same people who are doing everything they can to get every penny out of this product, are condemning its use, are bludgeoning and impugning its users, and denying them every day more and more places where they can legally use the product. In the process, they have been the architects of the black market. The people in charge of all this have themselves set the stage for black market circumstances to prosper and thrive.
The "essence" of comics is fundamentally the weird process of reading pictures, not just looking at them. I see the black outlines of cartoons as visual approximations of the way we remember general ideas, and I try to use naturalistic color underneath them to simultaneously suggest a perceptual experience, which I think is more or less the way we actually experience the world as adults; we don't really "see" anymore after a certain age, we spend our time naming and categorizing and identifying and figuring how everything all fits together.
That scene that I have with Brad Pitt in Meet Joe Black is one of my favorite scenes that I've ever done. He's very modest. He's a real hardworking actor. I think he was going through something difficult at that time, and he never brought his personal stuff - not once! - on the set. He was a real pro. I remember doing that scene, and as I was acting, I thought, "I understand why this guy's a movie star." Because there was just something that he did when the cameras rolled. There was some kind of energy that was really magnificent, a real aura about him.
Where some may see flat, static narratives, I see a spectrum of tonal gradations and realities. What I am creating is literally black portraiture with ballpoint pen ink. I'm looking for that in-between state in an individual where the overarching definition is lost. Skin as geography is the terrain I expand by emphasizing the specificity of blackness, where an individual’s subjectivity, various realities and experiences can be drawn onto the diverse topography of the epidermis. From there, the possibilities of portraying a fully-fledged person are endless.
Of course you can more easily recognise the outsiders because they have a different skin color. But let us take for instance the relationship between the White Anglo-Saxon Protestant majority in America and the negroes. What is important here is that the negroes were the descendants from slaves and were excluded from power, while the white majority kept them at bay, kept them down, kept them where they are. If the negroes in the future became assimilated and acquired equal power access, if there were a black president, then many of these things would change.
No matter what the cause, even though it be to conquer with tanks and planes and modern artillery some defenseless black population, there will be no lack of poets and preachers and essayists and philosophers to invent the necessary reasons and gild the infamy with righteousness. To this righteousness there is, of course, never an adequate reply. Thus a war to end poverty becomes an unanswerable enterprise. For who can decently be for poverty? To even debate whether the war will end poverty becomes an exhibition of ugly pragmatism and the sign of an ignoble mind.
The problem with the Jude Law "Hamlet" was simply that it wasn't unpredictable, that it was a very down-the-center modern production. You wouldn't go to the theater expecting to see an old-fashioned "Hamlet" where everybody wears an old fashioned costume. You don't get points for putting on a "Hamlet" where everybody dresses in black. I've seen that one several times. But again, it's not that it has to be new, it simply that it has to be different, fresh, that it doesn't bore, that it doesn't make me - I don't feel as I'm watching it that I know where it's going to go.
We negotiated the construction of a gas pipeline system along the bottom of the Black Sea to Bulgaria. We signed certain treaties of a technical nature, contracts for laying the gas pipeline. And then Bulgaria created such conditions that the project's implementation became impossible, which was obviously against its own national interests. The former Bulgarian leadership was, in fact, aware of that and acknowledged it. But we trusted them when we were launching that project. We sustained losses amounting to millions, several million dollars. We would not want to get into such situations.
