Sports and entertainment have always been windows of opportunity for African Americans, when other doors were closed.
Sudan is not Arab enough for Arabs and not African enough for Africans.
The power of Haitian heritage and the strength of the Haitian people is tremendous. And Haiti holds a unique and rich role in the history of African Americans.
The perception of linked fate and that feeling of being always on the spot as a representative of the race, at least in mixed company, are features of African American life that predate affirmative action and arise outside of its presence.
Before I started LimoLand, I mainly bought my clothes in Harlem, where I found clothing my size in fun colors. I still like to go there and see the vibrancy and colors of the neighborhood. I am also very influenced by the colors of my contemporary African and Japanese art collections.
In the last 20 years of collecting contemporary African art, I have been bombarded by incredible shapes and colors that I now want to translate into clothes.
We deliberately used elements from Brazilian music and from African and Asian music. Now people can hear that but then it sounded so abstract, they couldn't hear it.
I relate to both my Caucasian side and my African side, and I love that.
I only became an actor to get your attention, to challenge the archetype of an African American male; I can't be anything else in this lifetime than an African American man.
I turned pro and won Rookie of the Year on the South African Tour and then it took me two tries at the qualifying school on the European Tour and to get my card and the rest is history.
I consider myself West African, among other cultural identities, and a writer, among other creative ones.
So often, literature about African people is conflated with literature about African politics, as if the state were somehow of greater import or interest than the individual.
I don't know much about pop music, and we sample music from all different cultures. I was trained in West African dance, so my sense of rhythm when I move is obviously informed by that, and I obviously sing in Portuguese.
At Brown, I trained in West African dance and drumming.
Jazz is really 20th-century fusion music. You take West African harmony and rhythm, mix with European harmony, and boom!
I have been privileged to have the opportunity to work with many of African American fraternal and social organizations that are active in my congressional district. They all do important work that makes a tangible difference to the quality of life in our community.
I had experiences or exposure to music in church. I went to a church, it was very unique. It was a predominantly African American Catholic church. So they would have - one mass would be traditional church music, and then the other mass would be gospel music.
One of the things I like best about Netflix is that they make projects like 'Beasts of No Nation.' It's a film about a reality in an African country where kids were being used to be soldiers in a war. And it made so much sense to me as a citizen of the world.
I grew up in the African bush in Malawi, Tanzania and Uganda, which is my thing. I love the smell of the dust as you bump along in a Land-Rover. I go back there often.
Writing about Africa by Africans has been part of my literary apprenticeship, standing alongside works by authors such as Joseph Conrad, Joyce Cary and Graham Greene as influences.