African Americans

"it's truly my biggest hope that one day in the future we won't need to preface "environmentalism" with the word "intersectional"; we won't need to create separate safe spaces and curriculums that seek to be inclusive. One day I hope that when people think of an environmentalist, they'll automatically envision a person who cares very deeply about both people and planet."

"The future can and will be intersectional."

"Hazel M. Johnson's work helped lay the groundwork for climate justice around the world, as well as for an intersectional approach to environmentalism. It's important to also note that she was met with sexism, racism, and classism throughout her career, and has been omitted from many environmental textbooks. As intersectional environmentalists, we are now presented with the opportunity to recreate what environmental education should look like, and we can work together to honor stories like Johnson's to ensure that her legacy, and those of other BIPOC environmentalists, lives on...Another pivotal voice in environmental justice history is its "father," as he's often dubbed, Dr. Robert Bullard."

"I didn't want to be an "environmentalist" if that meant I had to choose between racial progress and environmental progress."

"I think when a lot of people learn about environmental racism, they think, “How can I save these people?” But they don’t think about “What have I been ignoring to allow this to happen?”"

"What is the impact of having large-scale environmental movements that mostly exclude the voices of the underrepresented and people of color?"

"Those least responsible for the climate crisis are bearing the brunt of it."

"It doesn’t matter if you’re living in a city, you’re still in nature. A lot of white environmentalists still view nature as something that they go to, instead of thinking, nature is all around me. And that means that nature is also all around these different communities of colour, even if they’re living in a city."

"Unfortunately, as with other animals, some humans are endangered and facing a multitude of social and environmental injustices that impact their ability to not only survive but also thrive in liberation and joy. Why, then, are conservation efforts not extended to the protection of endangered humans and their human rights? This is a question I've struggled with as a Black environmentalist for years, because in my environmental practice, caring for the earth means caring for its people."

"If we combine social justice efforts with environmental awareness efforts, we will harness enough power, representation, and momentum to have a shot at protecting our planet and creating equity at the same time."

"it's evident that social justice and environmentalism are deeply intertwined and that addressing this interconnection is crucial for attaining justice for both people and planet."

"The lack of representation of Black, Brown, Indigenous, Asian, low-income, LGBTQ+, disabled, and other marginalized voices has led to an ineffective form of mainstream environmentalism that doesn't truly stand for the liberation of all people and the planet."

"We should care about the protection of people as much as we care about the protection of our planet-to me, these fights are the same. As a society, we often forget that humans are a part of our global ecosystem and that we don't exist separately from nature; we coexist with it each and every day."

"Environmentalists for Black Lives Matter” “Social justice cannot wait,” the caption stated. “It is not an optional ‘add-on’ to environmentalism.” “It is unfair to opt in and out of caring about racial injustices when many of us cannot."

"Our identities flow through our politics, our advocacy, what we care about-whether we realize it or not."

"It is time to dismantle and reflect on what environmentalism means and reclaim the term so that it is inclusive of historically excluded and underrepresented people."

"Social injustice and environmental injustice are fueled by the same flame: the undervaluing, commodification, and exploitation of all forms of life and natural resources, from the smallest blade of grass to those living in poverty and oppressed people worldwide. It's a point that many ecofeminists, environmental justice scholars and leaders, Indigenous rights and land sovereignty advocates, and climate politicians have argued for decades, but it hasn't been embedded deeply enough in modern environmental education."

"I don't like reading about stories where trauma happens, you know? There's a reason Covid is not happening in my comic, because I don't want to deal with it. I don't want to write about Charlotte getting “hate crimed,” I would rather write about Heart realizing “Oh, yeah, I'm the odd one out here.” There are ways to talk about tough and complex issues, without making it exploitative, in a way that's light-hearted but real."

"white people just don't think about being white."

"definitely stretch more. That’s another thing. I started working out recently, where I would like actually work out for, like, anywhere between like thirty minutes to an hour like four days out of the week. And it’s helped TREMENDOUSLY...Get in a good amount of sleep. Y’know, people like to romanticize “work culture”"

"one of my things that I like to do is – when I work in editorial – is find people who may not have had an opportunity to tell their stories before."

"I started reading regularly in 2008. I had grown up with the DC Animated Shows like Batman The Animated series, Justice League, and Superman, but didn’t get into reading comics till out of high school."

"When I first got the gig, Bianca Xunise was the only person to ever ask me what it’s like writing a main character that's white. And I was like, I don't know. The assumption is that it will be easier for me to write someone who was Black, because I'm Black. I definitely had that thought, of “What am I doing here?” If I'm going to be the one to create these characters, and figure out the landscape of this universe, I want to make sure that what I'm doing isn't unrealistic."

"It's all about visibility for me. It took me visually seeing another Black female doing the work for me to have my entire life changed. I always say yes to panels, yes to interviews, because I want to make sure that whoever is looking at the interview sees me. Then maybe kids will end up in a cartooning class saying, “I want to be like Steenz.”"

"I like to make sure that I have time where I don’t draw at all. So that schedule, I will do it like five out of seven days. And then those two days that I have, I can relax and, when I get back into it, I don’t get burnt out. Because burnout is real. I mean, when I finished Archival Quality, I was like, ‘I’m not gonna draw again.’ And I don’t think I drew anything like in earnest for like four to six months."

"This generation of young people ...music and pop culture has been pretty anti-intellectual. That's a hard thing to overcome."

"Satire is the least commercially viable form of comedy. ... There really is a distaste for being preached at. People have a very low tolerance for it -- newspaper audiences have a way higher tolerance for it than others. But it's tough on TV."

"It was very stressful at the very beginning (becoming a syndicated comic strip artist). That's a lot on someone's shoulders, to be one of three Black femme people making syndicated comics, ever, in the history of comic strips. I was sweating at my computer, like, “Oh my god, I'm supposed to be representative of an entire ethnic group.” But I did have the opportunity to talk to Bianca Xunise and Barbara Brandon-Croft [who became the first nationally syndicated Black female cartoonist in 1991] about how scary it is. Also, we're all in it together. I remember for my launch, I got emails from the [African American] creators of “Jump Start” and “Curtis,” that were like, “Welcome to the family.” That alone made all of my insecurities and stress completely vanish. I grew up reading their comics. To have them embrace me so quickly was really, really lovely."

"It's not hard to formulate an opinion on things. It's hard to make the viewer or reader [feel] validated. You've got to give them the jokes. Funny is a rare gift.... Early on, I erred on the side of message-driven. Those are the mistakes you learn from. The second season of the show, we tried to make that adjustment."

"Sean Galloway, Chris Sanders, Dustin Nguyen, and Brittany Williams!"

"I try to put as much of their personality into the kind of clothes that they wear and how they wear their hair or their make-up and so on and so forth"

"As long as it’s on a calendar, it will get done."

"Pretty much everything in my life culminates into these characters. Brent, one of my favorite characters, is that annoying, weird kid who really is into anime. There's always that super weedy Black kid in every class, wearing one of those flame polyester button-downs, and all he wants to do is talk about who can beat Goku. This archetype exists everywhere, everyone has met this person, and yet I don't see it anywhere in media. I could not name a single character that acts like that. So I was like, I'm bringing that in."

"I think I'm a better writer now than when I started. I certainly know more about producing and working with actors. You take every single bit of it into the next project."

"My favorite thing is Stephen Colbert -- he's a genius. It's great to watch Colbert and think: How does he keep that pace up? That's an amazing amount of work. He's really doing something special. This particular election, it keeps you sane [to watch him], when watching TV news makes you want to throw out your television. ... This [election] has become like a reality show that I'm way too invested in."

"It's a world that accepts people more for who they are, and whoever you are, at this point, you can find your thing."

"Well the only way for you to know (my thoughts on political questions) would be through The Boondocks. I decided a long time ago to stop engaging in the conversation. If I had anything worthwhile to say, I should say it in the work."

"I went in knowing the show couldn't be the strip, aside from the topicality. Those jokes don't "land" at all on television. We didn't re-create the strip on TV -- we wanted to keep the characters the same but make it stand on its own. That's hard -- we certainly didn't get it right away. We struggled with Huey for a long time. Granddad just worked right from the bat. A lot of those Season One episodes were really rough. ... That first season was rough. it almost killed me and everyone around me."

"As I grew up I developed an interest in Garry Trudeau, and that's what took me into the direction of being a syndicated cartoonist."

"My issues (with cartooning) were totally about: one, I just burnt out on the strip and the deadlines were brutal. Two, I didn't feel like there was much of a future in print. I thought I needed to quit because I saw the newspapers slowly going away. I didn't want to be caught off guard. I felt more comfortable being a screenwriter, and as I learned how to become a producer, it seemed like a more natural fit for me than cartooning. I still do animation, and I think animation will always be a part of what I do, but I'm trying to do more live-action stuff and I think that's really going to be my focus."

"Everyone sits at home with their political opinions. The important thing is making it as funny as possible and knowing when to pull back on the message for the sake of the message...But it can never just [be about the jokes] for me. I'm not like a funny person. I'm not like a comedian. I have things I want to say. ... Bill Maher does find a nice balance between the jokes and tackling the serious issues. So few outlets [offer] those issues in a serious fashion."

"You go to Comic-Con and see a cross section of everybody. It used to be niche, and now it's so enormous that it's hard to categorize. But ultimately, the epicenter of who's creating this stuff still ends up being the comic book companies, the Hollywood movies or whatever. All of that is very much white male-centered."

"at the moment I’m completely obsessed with Kamala Khan."

"I had gotten really good at just shutting it all out because you couldn’t possibly get any work done and track all of this trouble you were getting into and who was saying what."

"the Tuskegee Airmen who were heroes to me most of my life."

"my first memory in life was three years old: my dad took me to see Star Wars and it's not just the first movie I remember, it's my first memory. If you ever watch Boondocks, a lot of times it does become more of an action comedy than just a pure comedy. I've always had a passion for all that"

"Good satire goes beyond the specific point it's trying to make and teaches you how to think critically."

"I definitely am very deliberate and strict when it comes to my schedule. So, while I was working on Archival Quality, the big bulk of it anyway, I was working at the library. And so that was still full-time work. So I would do eight hours at the library, come home, take a nap, wake up, get some dinner with my husband, and then work for four hours or four pages, whichever came first. And that’s how I worked for the majority of the time. And just making sure to stick to that schedule is a lot mentally, just because there are days where I’m like, “I never wanna draw ever again.” But it’s definitely worth it. And, once you get into that habit, it’s really easy to keep the train going."

"I do like the idea that not only white people have to have adventures. So when you’re designing characters, who they are, what their ethnicity is like part of them, but it’s not everything."

"when someone’s like, “Design a black character,” well, what does that mean? That could mean literally anything."