I've remarked at how many people I overhear at open houses doing linguistic backflips in order to gather the crucial demographic info they need from a real estate agent while trying not to sound like a total xenophobic monster. It's a pretty amusing thing to behold, especially when I'm also in the room -- presumably judging them.
Just like school districts had to do with segregation in Brown v. Board of Education, the NFL should have to explain why it's OK to treat Natives different than every other race.
ll recognized that Brown's death, though significant, exposed deep-seated problems. To many I met, using education as a means of advancing racial equality, peaceful responses to conflict, and overall social justice had now become critical priorities.
If you are looking to increase your coverage and your employer provides benefits, start there. Many companies will have different options and perks as part of their benefits package.
There needs to be a cultural change with the league's front office. It can no longer be the dirty little secret that no one wants to talk about. We're talking about it and we're talking loudly about it.
The premise is simple: borrow the amount you need plus a fee per $100 borrowed now, pay it back when your next paycheck arrives. Unfortunately, what often ends up happening is that the borrower can't pay back the amount borrowed within 14 days.
On the surface, "A Change is Gonna Come" doesn't sound particularly challenging, especially in light of the defiant freedom songs that rocked the movement in 1964. It quickly became one of the anthems of the movement and music historian Dave Marsh said that "A Change is Gonna Come" "ranks with Martin Luther King's best speeches as a verbal encapsulation of the changes black perspective underwent in the Sixties."
Think tracking your spending is all there is to money management? You might notice your debt shrinking and your savings growing, but you could be doing a lot more to fatten your piggy bank.
Already I have heard some say they don't like it because it establishes new stereotypes or it presents an unrealistic view on Black America. Black-ish is new and it's forthcoming episodes will probably be controversial. It WILL make us look at ourselves regardless if you're ages 5 to 80 or white or black.
Let us look back at that transformative, defining moment of the historic Mississippi Summer to guide us toward a better future. Let there be a "Ferguson Fall," where we put a plan in place to ensure that every eligible person is registered to vote and educated on the importance of doing so.
My commitment to "me time" dates for the last 16 years has taught me to trust the choices I've made in my life and to be clear about what is most important. Spending that time was about doing something to enrich my life vs. just maintaining it.
I'm not a formal person, but there are certain expressions that pervade our cultures that I want eliminated or at least greatly curtailed.
This is the "blackest" my hair has ever been, in my life and I freaking love it. So do the boys. I promise I've been hit on more in the past 30 days than I have been in three months. Advantage, me.
NAS is a symbol of hope for so many who come from broken homes, single parent households, those who are caught up in the system or on the edge of madness and insanity.
An inheritance can bring up conflicting emotions, placing the positive of financial gain against the sadness of losing a loved one. Complicating the situation further, certain inheritances -- such as an IRA -- are more difficult to sort out than others.
If my childhood had been blissful, if my father had been more interested in raising me than in reading the New York Times, and again, if I had been enough of something to hold his attention, then I might have never found my love for travel, for dreaming, and yes, for stories. And that, too, is part of my childhood story just as much as his neglect and disinterest.
In my opinion, has done two things: showed we blacks what is possible and inspired us as a people to want greater -- to be hopeful. But I really feel we have false vision that racism is dead.
Black entrepreneurship is on a steady rise, with more African Americans deciding to go into business for themselves. But embracing your entrepreneurial spirit does not always require you to start from scratch.
Last night, BlackVoices.com attended the opening of Lincoln Center Theater's production of John Guare's new play, 'A Free Man of Color,' directed by George C. Wolfe and starring Tony, Emmy and Golden Globe Award-winning actor Jeffrey Wright and rapper Mos Def.
The cast also features Yao Ababio Peter Bartlett, Nicole Beharie, Arnie Burton, Rosal Colón, Veanne Cox, Paul Dano, Sara Gettelfinger, Derric Harris, Justina Machado, Joseph Marcell, John McMartin, Nick Mennell, Teyonnah Parris, Postell Pringle, Esau Pritchett, Brian Reddy, Reg Rogers, Triney Sandoval, Robert Stanton, Wendy Rich Stetson, Jerome Stigler, Senfaub Stoney and David Emerson Toney.
Notabables in attendance included Ben Stiller, Stockard Channing, S. Epatha Merkerson, Lynn Whitfield, producer Stephen C. Byrd, Andre Harrell, Rosie Perez and the singing group Sweet Honey in the Rock.
'A Free Man of Color,' is a freewheeling epic set in 19th-century New Orleans. Jacques Cornet, the title character (played by Wright), is a new-world Don Juan and the wealthiest inhabitant of this sexually charged and racially progressive city. Jacques thinks all is well in his paradise until history intervenes, setting off a chain of events that no one, much less this free man of color, realizes is about to splinter the world.
For Wright, who won a Tony Award for his portrayal of a gay nurse forced to take care of a homophobic Roy Cohn as he lay dying from AIDS in Tony Kushner's 1994 award-winning play 'Angels in America,' it's a return to stage after performing with Mos Def in 2002's 'Topdog/Underdog.'
"It's great to be back on stage," he told BlackVoices.com. "
This play has really rekindled my passion for acting because it's such a nightly challenge; it requires my entire focus, so I feel great. John Guare wrote a brilliant piece, and it needed to be fully realized. We were waiting for the right opportunity to do that. Lincoln Center provided an incredible, nurturing environment to allow that to happen."
Both Wright and Mos Def talked about their fondness for one another and about making sure the show has a meaningful impact.
JW: I love Mos, and it's easier than 'Topdog' because in that play he was my brother and in this play, he's my slave. That makes for an easier dynamic. As for the show, we are all inspired to be free people of color, so I don't think there's anything more that needs to be said. This is a play about who we are as Americans and as African Americans. It's a play that wraps its arms around the complexity of our history, our past and our present, so folks should come to see it.
Mos Def: Jeffrey's a friend, a mentor and a good guy. Doing the play is challenging, but very rewarding. I hope it's as rewarding for the audience as it is for the company.
Joseph Marcell, Wendy Rich Stetson & David Emerson Toney
Peter Bartlett, Justina Machado & John Guare
George C. Wolfe & Rosie Perez
Jerome Stigler, Reg Rogers & Derric Harris
Esau Pritchett & wife
Lynn Whitfield and Stephen C. Byrd, producer of 'Cat on a Hot Tin Roof'