Quotes of All Topics . Occasions . Authors
My influences in this world have always been Crazy Horse and Malcolm X, my overall influences. But I was influenced by rock n' roll, blues, and country music. I was influenced by singers.
My thesis was on kinetics studies with the enzyme aldehyde dehydrogenase. When that was finished, I was granted a British Council Fellowship to work under the supervision of Malcolm Dixon.
'Macbeth' sags in act four - the England scene with Malcolm and Macduff just doesn't work theatrically. But with 'Hamlet,' although the play is so long, Shakespeare manages to sustain the arc.
The rage was in me, and if it wasn't for the rage, then I wouldn't know how to be calm. They feed off of each other. Just like when Malcolm X fed off Martin Luther King. They needed each other.
I can't wait to work with Peter Capaldi as the next 'Doctor.' I know him from old; he's such a lovely man and will be brilliant in the role. As long as he tones down the Malcolm Tucker swearing.
Aretha Franklin was as important to the civil-rights movement as Malcolm X and Medgar Evers. Artists can choose to take on the tremendous amount of responsibility we have, or choose to ignore it.
It's much easier to talk about racism when you're able to use mutants as a metaphor. People would much rather talk about Charles Xavier and Magneto than they would about Martin Luther King or Malcolm X.
As someone who has an affinity and passion for discussing racial and cultural issues, I made it a point to only discuss those issues when they really mattered and not turn the shows into Malcolm X Unplugged.
All the working-class people could feel a Malcolm X. They could hear Malcolm X, and two weeks later they could whisper back what he said. Verbatim. They could remember the way he put it, and he put it so well.
People kind of have a misconception, because when someone calls me Theo and I correct them, say, 'No, my name is Malcolm,' they think I have an attitude about it and I don't want to be associated with the show.
When I was teaching in the 1960s in Boston, there was a great deal of hope in the air. Martin Luther King Jr. was alive, Malcolm X was alive; great, great leaders were emerging from the southern freedom movement.
The last time time I saw the guys was at the end of the 'Rock Or Bust' tour. Yeah, everybody was fine. Malcolm hadn't passed yet, and, of course, I'm sure it hit Angus very, very hard - as with all of us, actually.
I come from an era of black pride, black power, my father riding around listening to James Brown singing, 'Say it loud: I'm black and I'm proud,' and people walking around with African medallions and Malcolm X hats.
Malcolm was a firm believer in the value and importance of our heritage. He believed that we have valuable and distinct cultural traditions which need to be institutionalized so that they can be passed on to our heirs.
We had no money, and we had to go through 'punk' school. We ended up living in the rehearsal room that used to be the Sex Pistols rehearsal room at Malcolm McLaren's office. So we had this sort of interesting beginning.
My mom was big on education, big on reading, so she was always pushing books on me: 'The Autobiography of Malcolm X,' like, 'Read these books.' And it was like, man, I'm learning stuff that I just can't get anywhere else.
I was chastised for writing several obituaries for Malcolm X, exploring different aspects of his writing. One teacher in particular told me, didn't I think I was beating a dead horse? and dismissively threw my paper on my desk.
When 'American Pie' happened, I was so lucky to get that opportunity and I just tried to do a good job in that genre. But the films that inspired me as a kid were, like, Malcolm McDowall in 'A Clockwork Orange.' He was my hero.
Fortunately, the leadership of black immigrant communities has always been present in all black liberation movements from leaders like Marcus Garvey to Shirley Chisholm to Malcolm X and Harry Belafonte. We know this is our legacy.
In 1974, when I started working with the material that became 'Horses,' a lot of our great voices had died. We'd lost Jimi Hendrix and Jim Morrison and Janis Joplin, and people like Robert Kennedy, Martin Luther King and Malcolm X.
All my editors since Malcolm Cowley have had instructions to leave my prose exactly as I wrote it. In the days of Malcolm Cowley, with 'On the Road' and 'The Dharma Bums', I had no power to stand by my style for better or for worse.
You watch 'Malcolm X,' and then Netflix recommends 'B.A.P.S.,' and you're like, 'What? Those movies have absolutely nothing to do with each other, but OK.' They don't recommend other historical biopics - it's 'B.A.P.S.' and 'Ghost Dad.'
I'm delighted to have signed for such an ambitious club as Hampshire. I'm very much looking forward to my first taste of county cricket. It's also an honour to follow other Bajans like Malcolm Marshall and Gordon Greenidge to Hampshire.
Not that I regret saying what I believed to be the truth, but I regret anything that I might have written or spoken that could have been used in a way to help to foster that atmosphere out of which came the loss of life of Brother Malcolm.
I've always found inspiration in icons that were really of purpose in their craft or calling. From Bob Marley to Maya Angelou to Malcolm X, inspiration came from seeing how committed they were to their vision and determining it themselves.
It is our family's hope that the true legacy and context of Malcolm X's life continues to be shared with people from all walks of life in a positive manner that helps promote the goals and ideals for which Malcolm X so passionately advocated.
From Matthew Brady and the Civil War through, say, Robert Capa in World War II to people like Malcolm Brown and Tim Page in Vietnam. There was, seems to me, a kind of war-is-hell photography where the photographer is actually filming from life.
People look at me like I should have been like Malcolm X or Martin Luther King or Rosa Parks. I should have seen life like that and stay out of trouble, and don't do this and don't do that. But it's hard to live up to some people's expectations.
The die is set and Malcolm will not escape for the foolish talk he spoke against his benefactor, such a man, is worthy of death, and it would have been so, were it not for Muhammad's confidence that God would give him the victory over the enemies.
My mother witnessed the martyrdom of her husband, Hajj Malik Shabazz, Malcolm X, on Sunday, February 21, 1965, at the Audubon Ballroom in New York City. My older sisters, Attallah, Qubilah and I were seated with our mother up front and stage right.
I grew up in the sixties watching B.B. King and Tito Puente and Miles Davis and Coltrane, everybody, Marvin Gaye, Jimi. And at the same time, with my left eye I was watching Dolores Huerta, Cesar Chavez, Martin Luther King, Malcolm X, Mother Teresa.
My mother didn't set out to surround us with white students or colleagues. My mother just sought a quality education. People have these expectations of who they think you should be. And I say it's because they don't really understand Malcolm X - or his wife.
The death of Malcolm Fraser underwrites a great loss to Australia. Notwithstanding a controversial prime ministership, in later years he harboured one abiding and important idea about Australia - its need and its right to be a strategically independent country.
I tend to be one who just speaks from my soul, and so what comes out sometimes is rather harsh. In that sense, I'm very much a part of the tradition of a Frederick Douglass or a Malcolm X who used hyperbolic language at times to bring attention to the state of emergency.
If we became students of Malcolm X, we would not have young black men out there killing each other like they're killing each other now. Young black men would not be impregnating young black women at the rate going on now. We'd not have the drugs we have now, or the alcoholism.
I was making a film on Muhammad Ali in 1964, and I went to Miami to film everything around the fight for the world championship with Sonny Liston. I had the good luck of flying down to Miami, and there was one empty seat, and the guy sitting next to this empty seat was Malcolm X.
People sometimes forget all the films that we've done. They remember the likes of 'Malcolm X' and 'Do the Right Thing.' But I've been working since 1986. From the beginning, I was determined to not just be a flash in the pan. I've got to keep up with Woody Allen. He's lapping me.
It's been a while since I checked in with Malcolm Gladwell's 'Revisionist History' podcast. The episode 'The King of Tears' suggests the author is raising the bar. His argument is that country music is the genre that makes us cry because, unlike rock, it's not afraid of specifics.
At 16, I went to Smith College in Massachusetts and that was right after the peak of the civil-rights movement and all the rest. It was an era when students were making demands and many black students were closer to the teachings of Malcolm X, or what they thought were his teachings.
Malcolm X's separatist ideas were situational. If you think about where African-Americans were in the 1940s and 1950s, we needed to step away because that force, which is still present but more subdued, was very in your face, and we needed to take a step back just to get some clarity.
'The Autobiography of Malcolm X.' I've used it to demonstrate racial attitudes to people who I thought needed a better understanding of all human beings. Malcolm was not a racist. He was not looking for revenge. He realized that kindness and goodness did not come from any one kind of person.
Coming up, the music of my era was very conscious. I grew up on Public Enemy, and it was popular culture to be aware. People were wearing Malcolm X T-shirts and Malcolm X hats. It was a very cool thing to know who Malcolm X was. It was all in the lyrics. It was trendy to be conscious and aware.
I had seen 'Do the Right Thing' when I was at college, and it was incredibly inspiring as a piece of cinema. Just brilliant, I thought. But saw 'Malcolm X' with a crowded audience. It was my first time in an American cinema, hearing an audience respond. You know, in England, everyone is so restrained.
I'm sorry to bang on about it because I know everyone is, but Bryan Cranston in 'Breaking Bad' is remarkable. To see him switch from 'Malcolm in the Middle' to suddenly become Walter White is incredible. It's a) nice to see an actor given that chance, and b) great to see him really take full advantage of it.
We talk about how hard it is now. But if we look back at the '60s, we actually had a president that was assassinated. We had riots, we had Vietnam, Martin Luther King, Malcolm X, the FBI, and the Black Panther war. There was so much happening at the time where it felt like America was coming apart at the seams.
When white supremacy becomes institutional, it begins to harm the very people who are not simply outside of it because of their race, it begins to harm the folk who look like the folk who want to be in charge. Martin Luther King, Jr., understood this, Malcolm X understood this, James Baldwin really understood this.
The man who buried Malcolm X - my Muslim imam, priest - he, after I got beat up by police... came to me, and he said, 'You don't need this American name.' And I was susceptible to it at the time because, God knows, I had just gotten whipped near to death. So he gave me an Arab name; he gave me the name Amir Barakat.
We like to think of the '60s as Martin Luther King, Jr. and Malcolm X and a little bit of friction - no, there were all of these different groups. There was the Student Nonviolent Coordinating Committee (SNCC), the Black Panthers, Martin and Malcolm, but also the Whitney Youngs of the world, the Bayard Rustins of the world.