American Race Relations Quotes

“In those days, and later as a young man, I used to try to picture in my imagination the feelings and ambitions of a white boy with absolutely no limit placed up on his aspirations and activities. I used to envy the white boy who had no obstacles placed in the way of his becoming a Congressman, Governor, Bishop, or President by reason of the accident of his birth or race. I used to picture the way that I would act under such circumstances; how I would begin at the bottom and keep rising until I reached the highest round of success.”
― Booker T. Washington, Up From Slavery: An Autobiography

“Kung Fu's process of individualization similarly takes part in this backlash as the representation of the social ills experienced by racial minorities is routinely disciplined and rechanneled to make the show palatable for mass consumption. Under this rubric, it is assumed that changing the hearts of individuals will automatically lead to changing society. To a post-1960s liberal audience who obviously felt sympathy toward the plight of racial minorities but who nevertheless were wary of certain measures taken by these groups toward self-determination and weary from extended conflict, this simple adage proved seductive. Indeed, for a great many Americans, post-Civil Rights race relations has transformed the United States into an unruly site with different groups vying for cultural, economic, and political resources. In this way, Kung Fu's Wild West setting—the uneven hand of justice, the social free-for-all, the generally inhospitable natural landscape—seemed to reflect the audience's view of their contemporary social environment. It also mirrored the overall impotence that Americans felt toward ameliorating the situation. Given such a scenario, individualizing racial oppression and other social inequities may have seemed like a final alternative.

While this process of individualization is key in deciphering the show's political stance, the types of identifications the series forged between character and audience more substantively reveal its ideological commitments. Although Kung Fu's psychospiritualized vision was available to all of its audience members, one could argue that it was primarily framed as a commentary toward racial minorities and women who sought social change through means other than or in addition to inner transformation. It achieved this through a formulaic pattern of identifications.”
― Jane Naomi Iwamura, Virtual Orientalism: Asian Religions and American Popular Culture