A Quote by Maya Angelou
I think music is one of the hero/sheroes of the African-American existence.
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Michael Jackson fundamentally altered the terms of the debate about African American music. Remember, he was a chocolate, cherubic-faced genius with an African American halo. He had an Afro halo. He was a kid who was capable of embodying all of the high possibilities and the deep griefs that besieged the African American psyche.
My own personal theory is that all popular music, in whatever form it is, to me, it all comes from Africa. Whether it's filtered through America or whatever - African-American. But I still think there's something in that roots music that's very, very African, and I think that's what unites people.
What an amazing creative way to magnify, and illuminate the courage of 30 Sheroes whose courage, leadership and character is symbolic of the many unsung Women Sheroes of past and present.
I did not like that name "world music" in the beginning. I think that African music must get more respect than to be put in a ghetto like that. We have something to give to others. When you look to how African music is built, when you understand this kind of music, you can understand that a lot of all this modern music that you are hearing in the world has similarities to African music. It's like the origin of a lot of kinds of music.
I think there are white alumni out there who wouldn't mind having an African American president of their school, but would be reluctant to have an African American coach, because he represents the school so. I think it's just sheer backward racism.
American audiences don't react in the same way as European ones to African music because, I think, Europeans listen to this music through all the festivals that exist here.
When African-American police officers involved in a police action shooting involving an African-American, why would Hillary Clinton accuse that African-American police officer of implicit bias?
I am African-American, and I am a proud African-American. I just don't like to put myself in a box and say, 'I'm an African-American actress.' I am an American actress, and I can do any kind of role.
I use African-American, because I teach African Studies as well as African-American Studies, so it's easy, neat and convenient. But sometimes, when you're in a barber shop, somebody'll say, "Did you see what that Negro did?" A lot of people slip in and out of different terms effortlessly, and I don't think the thought police should be on patrol.
Getting into the banjo and discovering that it was an African-American instrument, it totally turned on its head my idea of American music - and then, through that, American history.
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.
Do I think police chiefs, many of which are African-American or Hispanic, wake up and say, 'Let's systemically oppress African-American communities?' No, I don't. Are there instances in which that happens? I'm sure there are.
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.
When it comes to African Americans and African American actors, Hollywood has always felt that if you can make us laugh, that's fine, but we don't need to see you do a 'Schindler's List,' where there's no jokes or music or comedic through-line.
I like ambiguity because you may be the villain in someone else's story and the hero in your own, and I think very often, African-American characters are either one thing or the other. You shouldn't have to be perfectly good or perfectly bad. You don't even have to be magical.
All Blaxploitation is, is the opportunity for an African-American cast or lead actor or actress to do the same things that a white action hero gets to do.
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