A Quote by Chuck D
We were coming out of the black community with this thing called rap music, which was basically black men yelling at the top of their lungs about what we liked and what we didn't like. It was disturbing to the status quo. It really shook things up. And those in power didn't know what to make of us, but they knew that we had to be silenced, stopped in any way from expressing our outrage.
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We black women must forgive black men for not protecting us against slavery, racism, white men, our confusion, their doubts. And black men must forgive black women for our own sometimes dubious choices, divided loyalties, and lack of belief in their possibilities. Only when our sons and our daughters know that forgiveness is real, existent, and that those who love them practice it, can they form bonds as men and women that really can save and change our community.
The Koreans that make their money in our community: If we have a Black bank, you'll find they don't deposit anything of what they take from us into a Black bank that would serve our community. They set up a bank in their own community. The Honorable Elijah Muhammad, my Teacher, called people like this "Bloodsuckers of the poor." All they want is to make a dollar, and run.
As a black woman, I have no particular interest in maintaining the status quo. Why would I? The status quo is harmful; the status quo is significantly racist and sexist and a whole bunch of other things that I think need to change.
Remember, we're talking [in The Black Power Mixtape] about 1967, the year before [Martin Luther] King's assassination. We're talking about the emergence of black power, which is a discussion King mentioned in his last book, Where Do We Go from Here: Chaos or Community? We're talking about the meaning of black power and the possibility that it alienated our supporters, both white and black.
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.
When 'The Cosby Show' came out, and everyone was up in arms about 'The Cosby Show' and that it was reflecting a world that didn't exist - but I knew black doctors. And I knew black lawyers. And I knew families that, you know, had a mother and a father and kids that were well-behaved.
I would say I'm black because my parents said I'm black. I'm black because my mother's black. I'm black because I grew up in a family of all black people. I knew I was black because I grew up in an all-white neighborhood. And my parents, as part of their protective mechanisms that they were going to give to us, made it very clear what we were.
'America's Dad' is what we called Bill Cosby. And we called him that because, well, what a revolutionary way to put it. Through him, we were thumbing our noses at the long, dreary history for black men in America by elevating this one to a paternal Olympus. In the 1980s, he made the black American family seem 'just like us.'
My black friends in America don't believe me. I said, 'Dude, I'm Nigerian American.' 'Word? We thought you were, like, regular black.' What the hell is 'regular black'? Crayola coming out with colors I don't know about?
I liked the fact that there were so many different representations of black women and black men in the movie. It wasn't like we all had the same agenda.
When 'Raw Like Sushi' came out in the U.S., I wasn't considered to be black enough. They didn't really know where to put me. The music wasn't 'black black' sounding. It wasn't R&B; it wasn't straight up hip-hop, although obviously in that dimension and world.
I was brought up in black neighborhoods in South Baltimore. And we really felt like we were very black. We acted black and we spoke black. When I was a kid growing up, where I came from, it was hip to be black. To be white was kind of square.
They used to call me Firefly when I was a little girl, and I always tried to figure out why I was being called a firefly. I was really black, black, black from the sun. After being in Jamaica for 13 years, my eyes were really beady and white, and my skin was really black. I must have really looked like a fly. My eyes looked like lights, like stars.
I grew up in Ohio, where civil-rights accomplishments had already begun to accelerate before Martin Luther King appeared. In hindsight, we know that many people, black and white, were instrumental in changing the Jim Crow status quo on all levels.
One of the facets of growing up the way I did, I never had the experience of being solely in the black community. Even my family, my mother is what they call Creole, so she's part French, part black, and grew up in Louisiana. It's a very specific kind of blackness that is different than what is traditionally thought of as the black community and black culture. So, I never felt a part of whatever that was.
I started out with almost entirely black fans except for a little handful of people in the horror writers' community, and those people really liked horror, you know. They will go to any lengths and read whomever they can find because they like that feeling of being scared.
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