A Quote by Genesis P-Orridge
It turns out that there's a huge community of African-American musicians whose main influence is Throbbing Gristle.
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Any staffing changes that disproportionately cut the number of African Americans at CNN - intentionally or otherwise - are an affront to the African American journalism community and to the African American community as a whole.
I think, though, as African-American women, we are always trained to value our community even at the expense of ourselves, and so we attempt to protect the African-American community.
The [Steve Harvey] foundation started originally about the educational needs of children. But, as I got into it more and more, one of my main objectives became mentoring programs for young African American men because that's our problem in our community - it's the African American men.
My father had the main barber- and beauty-supply business in the African-American community in Buffalo.
I've always felt that all the music I've made is psychedelic, including Throbbing Gristle.
I think there's a lot of things that occur within the African-American community, that we would prefer to stay within the African-American community - that we get a little nervous when you start having scenes or dialogue that we know is going to be viewed and heard on a national or global scale.
Panama's a really wonderful country. There's obviously the Panama Canal, which brings a lot of tourism, and a huge American influence; it's just a mix of so many great things: African, Caribbean, Latin American Spanish, all kinds of influences there.
When I looked at 'Dear White People,' you have four African-American students who are all very different and who are trying to figure out who they are. They're dealing with identity issues and crises. That is exciting to me, to see African-American young people on a page, on a screen, who are so diverse and whose stories are all so different.
I didn't mind being in a school with a small African-American population. The African-American-community was very tight, and that was great. But I also wanted to interact with other types of folks.
I think the African American community, the Latino community, the Native American communities have borne an unfair burden in the last century, and continue to.
The acceptance of the facts of African-American history and the African-American historian as a legitimate part of the academic community did not come easily. Slavery ended and left its false images of black people intact.
'The Firebird' just symbolizes a lot for me and my career. It was one of the first really big principal roles that I was ever given an opportunity to dance with American Ballet Theatre, and it was a huge step for the African-American community, I think, within the classical ballet world.
In community after community, there are unemployment rates among young African-Americans of 30 to 40 percent. Thirty to 40 percent! Kids have no jobs, they have no future. That is an issue that has got to be dealt with simultaneously as we deal with police brutality, voter suppression and the other attacks that are taking place on the African-American community.
Out of 30 years of Second City I was probably the third African-American with the main stage cast. I was surprised when I first heard that. I think part of the reason that improvisation has never been popular with African-Americans is that it isn't popular in the inner cities.
African Americans, in particular, saw their cumulative wealth crash. They used to have 10 cents on the dollar of the average white family. That 10 cents on the dollar that the African American family used to have crashed down to 5 cents on the dollar, given the focus of predatory lending on the African American community and the degree to which they were really devastated by the foreclosure crisis. So yeah, I think there is a lot of disappointment out there.
I visited New York in '63, intending to move there, but I noticed that what I valued about jazz was being discarded. I ran into `out-to-lunch' free jazz, and the notion that groove was old-fashioned. All around the United States, I could see jazz becoming linear, a horn-player's world. It made me realize that we were not jazz musicians; we were territory musicians in love with all forms of African-American music. All of the musicians I loved were territory musicians, deeply into blues and gospel as well as jazz.
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