Afros Quotes
The best sayings about Afros that you can share on Instagram, Pinterest, Facebook and other social networks!
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I might say this, that the problem of the, the solution for the Afro-American is two-fold - long-range and short-range.
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Even his hair was bigger—a massive globe of blue-black frizz so thick that his lobster-claw horns appeared to be drowning as they tried to swim their way to the surface. “Is that why they named you Aphros?” Leo asked as they glided down the path from the cave. “Because of the Afro?” Aphros scowled. “What do you mean?” “Nothing,” Leo said quickly.
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I can understand how someone might read wearing a blonde wig as a desire to be white, but I suspect that the same shaming smirk can happen if you wear a big afro or any number of other hairstyles.
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The further jazz moves away from the stark blue continuum and the collective realities of Afro-American and American life, the more it moves into academic concert-hall lifelessness, which can be replicated by any middle class showing off its music lessons.
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I've had every haircut you could possibly imagine: mullet, tail, dreadlocks, afro, crew cut. It's always been an expression of who I am.
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Malcolm X broke with the N.O.I. in March 1964, and in that last 11 chaotic months, he spent most of the time outside of the United States. Nevertheless, he built two organizations in the spring of 1964. First, Muslim Mosque Incorporated, which was a religious organization that was largely based on members of the N.O.I. who left with him. It was spearheaded by James 67X or James Shabazz, who was his chief of staff. Then secondly was the Organization of Afro-American Unity.
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When I first came out to L.A., Hollywoods idea of a Latina was Mexican. It was almost like they had never seen or heard of an Afro-Latina before.
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If you are serious about American culture and you are serious about Afro-American culture, you are in a lot of pain. You are not - you are not smiling about it.
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There were tensions between these two organizations [Organization of Afro-American Unity and N.O.I.] , and Malcolm had to negotiate between them and since he was out of the country a great deal of the time, it was rather difficult for him to do so.
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In every project, I always look for the depth of humanity inside of it. I'm just trying to say if we can help in some way heal the equation with [Afro-Americans] what's going on with us as people.
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Since the age of 12, all my musical thinking has been influenced by Afro-American music.
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A friend of mine who works for naval intelligence said an aerial satellite revealed that 1.9 million attended the event in 1995. But if they would have had a rumble at the march the newspapers would have said that 75 million Afro-Americans were there.
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It is not a case of our people...wanting either separation or integration. The use of these words actually clouds the real picture. The 22 million Afro-Americans don't seek either separation or integration. They seek recognition and respect as human beings.
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The lesson this teaches and which every Afro-American should ponder well, is that a Winchester rifle should have a place of honor in every black home, and it should be used for that protection which the law refuses to give. When the white man who is always the aggressor knows he runs as great a risk of biting the dust every time his Afro-American victim does, he will have greater respect for Afro-American life. The more the Afro-American yields and cringes and begs, the more he has to do so, the more he is insulted, outraged and lynched.
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The problem [ of the twenty-two million Afro-Americans] is so broad that it's going to take the inner working of all organizations.
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When you go to South Africa, you get a different vibe and a different sound. The music is awesome the people are loving it. When you go to Botswana, it's a different ball game. The people out there love Afro Beat Hip Hop so much. When you go to Sierra Leone it's different, when you go to Nigeria it's different... It's all pretty exciting!
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The Organization of Afro-American Unity was an organization that was a secular group. It largely consisted of people that we would later call several years later Black Powerites, Black nationalists, progressives coming out of the Black freedom struggle, the northern students' movement, people - students, young people, professionals, workers, who were dedicated to Black activism and militancy, but outside of the context of Islam.
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I keep telling everyone that I want to start a revolution but no one is taking me seriously. If I had black skin and an afro, would you take me seriously? If I was an Arab waving a hand grenade, would you take me seriously?
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To say that the Afro American created jazz doesn't mean anything bad about Anglo Americans, and I always teach my younger jazz musicians that at this point the entirety of the American tradition is your heritage, and you need to know it.
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My work sometimes can be abstract and appear not to have a direct relationship to Afro-American concerns, but, in fact, it is based on that.
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A lot of great art comes from the Afro-American male experience. Black men are geniuses, and many times their desperation, their position as being pariahs, leads them to great originality.
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Colored, Negro, Afro-American, African American. ... Every couple of years someone came up with something that got us an inch closer to the truth. Bit by bit we crept along. As if that thing we believed to be approaching actually existed.
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Somebody must show that the Afro-American race is more sinned against than sinning, and it seems to have fallen upon me to do so.
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Since the main problem that American, the Afro- Americans have is a lack of cultural identity. It is necessary to teach [people] that they had some type of identity, culture, civilization before they were brought here.
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Music really influenced me when I was growing up. I did go through a Jimi Hendrix phase. My hair was naturally quite afro, and I wore low-slung jeans with very high heels. Siouxsie and the Banshees had a lot to answer for. I was in a top hat with peacock feathers and thigh-high black boots. I was 17 -- old enough to know better.
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I look at the problem of the twenty-two million Afro-Americans as being a problem that's so broad in scope that it's almost impossible for any organization to see it in its entirety.
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When I did the Abyssinian mass, I went through the whole history of the church music and the gospel music, even with the Anglo American hymns, the Afro American hymns, the spirituals and how it developed, up to Thomas Dorsey and the Dixie Hummingbirds, going through the history of the music, jazz musicians.
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Adam Clayton Powell's entire political career has to be looked at in the entire context of the American history and the history of, and the position of the Afro- American or negro in American history. [He] has done a remarkable job in fighting for rights of black people in this country. On the other hand, he probably hasn't done as much as he could or as much as he should because he is the most independent negro politician in this country.
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For the Afro-American in the 1920's being a 'New Negro' was being 'Modern'. And being an 'New Negro' meant, largely, not being an 'Old Negro', disassociating oneself from the symbols and legacy of slavery - being urbane, assertive militant.
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I always thought he gave me that name because I have a kind of outgoing or sunny disposition. And in those days I was kinda blonde and bearded and had an afro and was bushy like a sun. So I don't know, he named me Surya Das but who knows.
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