A Quote by Azealia Banks
Black culture is cool, but black issues sure aren't, huh?
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I love everything black, because black is cool. When something crosses over, people are like, "Oh, this is a crossover." First of all, there is no urban anymore. Pop culture is black. White kids are dressing like black kids. It's all crossed the lines now. The way I understand it is, everything black is cool. When it crosses over to white, that means it's going from cool to uncool. That's what crossover is.
I used to joke for years that I was a black man. I adopted the black culture, the black race. I married a black woman, and I had black kids. I always considered myself a 'brother.'
'Smart Funny and Black' is basically a live black pop culture game show that I created. We have a live band. We have two contestants that we call 'blacksperts.' They come on stage and compete in games that I've created that test their knowledge of black culture, black history, and the black experience.
In 'Losing My Cool,' I argue repeatedly that it is a terrible lie, which has been foisted on us and sold to us for decades now, that hip-hop culture equals black culture, that being authentically black means keeping it real.
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 did not disregard my culture, if I did, it was the white American culture, and I accepted my true culture, when I accepted Mohammed Ali, because this is a black name, Islam is the black man's religion, and so I would like to say, that I would like to clarify that point that I reclaimed my real culture, and that's being a black man and wearing a black name with a black body, and not a white name, so I would never say that I didn't disown my culture.
'Smart, Funny and Black' is about celebrating, critiquing and learning about black culture, black history, and the black experience.
There are many things that black women can continue to do to help black folk. First, black women have historically been among the most vocal advocates for equality in our community. We must take full advantage of such courage by continuing to combat the sexism in our communities. Black women, whether in church, or hip-hop, don't receive their just due. Second, when black women are in charge of child-rearing, they must make ever so sure to raise black children who respect both men and women, and who root out the malevolent beliefs about women that shatter our culture.
People ask me why my figures have to be so black. There are a lot of reasons. First, the blackness is a rhetorical device. When we talk about ourselves as a people and as a culture, we talk about black history, black culture, black music. That's the rhetorical position we occupy.
For a black person who's Senegalese, growing up in France, or a New York Jamaican, that's a completely different relationship with being black and how you might be accepted in that culture or that world. Everyone's experience is different. Especially black women and black men.
Black Lives Matter has no more to do with black issues than Students for a Democratic Society had to do with democracy. They are means to an end, and they use the black population as sacrifices for their goals.
There is no monolithic black culture. It's completely different for someone born in Harlem to someone born in Houston or London with one exception, which is that people contributing to black culture have the experience of being black.
That's why for Zakk Wylde's Black Label Society the colors are black and white. There are no gray issues. Life is black and it's white. There's no in-between.
The Black church is extremely important in Black America. I think most Americans themselves believe in a divine power, in a god, and I'm sure that that number increases with Black people.
Black Realism or cosmopolitan black politician is a code word to say this is a black person that is not tied to a civil rights/black power traditional black politics.
Back in those days, all us skinny white British kids were trying to look cool and sound black. And there was Hendrix, the ultimate in black cool. Everything he did was natural and perfect.
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