Black Quotes - Page 120

Everything the black people are doing comes from the Honorable Elijah Mohammed. They are black now, they don't want to be called Negroes. This come from the Honorable Elijah Mohammed.

I don't see no black and white couples in England or America walking around proud holding their children and going out.

A lot of wars are fought between black and whites daily in America. But if it's something I want to be with, the people who started it were black, I wouldn't not get in it.

Be loud, be pretty and keep their black-hatin' asses in their chairs

We followed the Honorable Elijah Mohammed, who is the boss. And we don't waste a lot of time arguin' about a dead black man, Malcolm X, when the whites are our common enemies.

I want to be the first black man on the moon

I need to get everything straight. I'm not involved in a power struggle between black and white.

All black Americans have slave names. They have white names; names that the slave master has given to them.

Memphis was almost like going to California. Beale Street was the black man's street.

When I first started comedy, me and my friends were kids. I claim - although I know that it's a spurious and probably untrue claim - that we were the first generation of kids to act black.

I'm admitting that I don't know that to be true, but it does sound pretty good. So a big part of my childhood was affecting black culture and black accents and black music and anything black I was into.

I don't remember any impression [from blues].The blues was just everywhere in the Mississippi Delta. It was mostly black sharecroppers living there, and there was a lot of blues around. Sometimes the guys would sing the blues in the fields, working.

I don't claim to say, "All black women are like me," because they're not.

I think often if people don't have a lot of experience with a particular type of person or a particular type of brain, they can make dangerous assumptions. That's one of the reasons that I'm so interested in contradicting and troubling held thoughts about black women.

I wanted [the book 'There are More Beautiful Things Than Beyoncé?'] to be colorful. I wanted it to be evocative. I wanted a figure of a black woman that the reader has to confront.

I don't think that there are as many black women or women of color becoming psychiatrists, so we can't find them and then we feel looked at and studied and that's part of what is damaging to us. It's hard to find therapy that is actually a tool for your own liberation. I think we can be really distrustful.

It's always hard for me to find a therapist who is a black woman or even a woman of color. It's something that we've always been told is not for us. It's top down.

There's so much about the strong black woman stereotype that makes us forget that we do need and deserve help and care.

I try to convey what it feels like and sounds like and smells like and looks like inside of my particular skin, to move through the world as a black American woman in her mid-twenties.

It's been interesting to look back on those works [I've done previously] and see all the things that Beyoncé has done and become for us in the meantime, because back then, folks were like, "Why Beyoncé? I don't get why she is kind of the symbol for black womanhood."

There was something about Beyoncé that felt like a vessel, I guess, that I could kind of impose all of these feelings and thoughts onto. I was drawn to a little bit of a dichotomy between the glamour and celebrity and the very deep and complex legacy of black women, and what that means in terms of performance.

So much of the world and the systems that we live within are made to keep us from feeling like we're free. The way that black women in American came to be is just diametrically opposed to being free.

The mountain trembled like an earthquake. Dust flew into the sky. And the rock turned dark red, like the color of blood'. 'How would you know?' Asks Sindhi cap. 'You only have a black and white television'. 'But it's a very good one. You can almost see colours.

I feel like there's not this black-and-white division between concert hall music and music that bands play in a bar. I don't know if this was ever truly the case, but I don't feel that I need to decide between playing for a sit-down, totally silent audience and playing for a bunch of noisy, drunk people in a bar. What I do with the group is somewhere in between.

The other day I found her passport in her drawer when I was putting away my dad's laundered handkerchiefs. I wish I hadn't. For the purpose of my story, she should have it with her. I sat on my dad's bed and flipped through page after empty page. No stamps. No exotic locales. No travel-worn smudges or creases. Just the ID information and my mother's black-and-white photo which if it were used in a psychology textbook on the meaning of facial expressions would be labelled: Obscenely, heartbreakingly hopeful.