Asian American Inspirational Quotes

Who you are goes far beyond what you look like. My hope is that Ray’s story will inspire all of you—white or Black, Asian or Native American, straight or gay, transgender or cisgender, blond or dark haired, tall or short, big feet or small—to do what you love. Inspire those around you to do what they love, too. It might just pay off. Alone, we are a solitary violin, a lonely flute, a trumpet singing in the dark. Together, we are a symphony.

it doesn't matter who you are or where you come from or what you look like or where you love. It doesn't matter whether you're black or white or Hispanic or Asian or Native American or young or old or rich or poor, able, disabled, gay or straight!

A Rock, A River, A Tree Hosts to species long since departed, Mark the mastodon. The dinosaur, who left dry tokens Of their sojourn here On our planet floor, Any broad alarm of their of their hastening doom Is lost in the gloom of dust and ages. But today, the Rock cries out to us, clearly, forcefully, Come, you may stand upon my Back and face your distant destiny, But seek no haven in my shadow. I will give you no hiding place down here. You, created only a little lower than The angels, have crouched too long in The bruising darkness, Have lain too long Face down in ignorance. Your mouths spelling words Armed for slaughter. The rock cries out today, you may stand on me, But do not hide your face. Across the wall of the world, A river sings a beautiful song, Come rest here by my side. Each of you a bordered country, Delicate and strangely made proud, Yet thrusting perpetually under siege. Your armed struggles for profit Have left collars of waste upon My shore, currents of debris upon my breast. Yet, today I call you to my riverside, If you will study war no more. Come, clad in peace and I will sing the songs The Creator gave to me when I And the tree and stone were one. Before cynicism was a bloody sear across your brow And when you yet knew you still knew nothing. The river sings and sings on. There is a true yearning to respond to The singing river and the wise rock. So say the Asian, the Hispanic, the Jew, The African and Native American, the Sioux, The Catholic, the Muslim, the French, the Greek, The Irish, the Rabbi, the Priest, the Sheikh, The Gay, the Straight, the Preacher, The privileged, the homeless, the teacher. They hear. They all hear The speaking of the tree. Today, the first and last of every tree Speaks to humankind. Come to me, here beside the river. Plant yourself beside me, here beside the river. Each of you, descendant of some passed on Traveller, has been paid for. You, who gave me my first name, You Pawnee, Apache and Seneca, You Cherokee Nation, who rested with me, Then forced on bloody feet, Left me to the employment of other seekers-- Desperate for gain, starving for gold. You, the Turk, the Swede, the German, the Scot... You the Ashanti, the Yoruba, the Kru, Bought, sold, stolen, arriving on a nightmare Praying for a dream. Here, root yourselves beside me. I am the tree planted by the river, Which will not be moved. I, the rock, I the river, I the tree I am yours--your passages have been paid. Lift up your faces, you have a piercing need For this bright morning dawning for you. History, despite its wrenching pain, Cannot be unlived, and if faced with courage, Need not be lived again. Lift up your eyes upon The day breaking for you. Give birth again To the dream. Women, children, men, Take it into the palms of your hands. Mold it into the shape of your most Private need. Sculpt it into The image of your most public self. Lift up your hearts. Each new hour holds new chances For new beginnings. Do not be wedded forever To fear, yoked eternally To brutishness. The horizon leans forward, Offering you space to place new steps of change. Here, on the pulse of this fine day You may have the courage To look up and out upon me, The rock, the river, the tree, your country. No less to Midas than the mendicant. No less to you now than the mastodon then. Here on the pulse of this new day You may have the grace to look up and out And into your sister's eyes, Into your brother's face, your country And say simply Very simply With hope Good morning.

I only preserve traditions that bring joy, not traditions that keep people from it.

I am an Asian goddess! I love myself and show others they can love themselves as well.

No one can take away my heritage or history. At the same time, it is up to me to discover and embrace that knowledge.

My family may have expectations of me, but in the end, I have to be the one at peace with my choices.

while the Spanish Philippines became our first Asian real estate and the inspiration for close to a century now of disastrous American adventures in that part of the world.

We must make right this unequal distribution but we must do so without forgetting the immeasurable value of cultural exchange in what Hyde calls the gift economy. In reacting against the market economy, we have internalized market logic where culture is hoarded as if it’s a product that will depreciate in value if shared with others; where instead of decolonizing English, we are carving up English into hostile nation-states. The soul of innovation thrives on cross-cultural inspiration. If we are restricted to our lanes, culture will die.

It doesn't matter who you are or where you come from or what you look like or who you love. It doesn't matter whether you're black or white or Hispanic or Asian or Native American or young or old or rich or poor, able, disabled, gay or straight, you can make it here in America if you're willing to try.

Who am I? What is my identity? I am a human being who doesn’t want to be identified as an Asian or as an American. I am not brown nor Desi. I want to be identified as a human being who is here to help helpless human beings no matter where they are from and what their race is. I don’t see color, I don’t see race. I only see human beings.

I believe as Dr. King and A.Philip Randolph and others taught you – that we’re one people. And it doesn’t matter whether we’re white or Black, Latino, Asian American or Native American. That maybe our foremothers and forefathers all came here in different ships, but we’re all in the same boat now. John, you understood the words of Dr. King when you said we must learn to live together as brothers and sisters. If not, we will perish as fools.

By all indications, Mike has made his parents proud. His e-mail username is “A-student,” and he’s just won a coveted spot in Stanford University’s freshman class. He’s the kind of thoughtful, dedicated student that any community would be proud to call its own. And yet, according to an article called “The New White Flight” that ran in the Wall Street Journal just six months previously, white families are leaving Cupertino in droves, precisely because of kids like Mike. They are fleeing the sky-high test scores and awe-inspiring study habits of many Asian-American students. The article said that white parents feared that their kids couldn’t keep up academically. It quoted a student from a local high school: “If you were Asian, you had to confirm you were smart. If you were white, you had to prove it.

Even if there is no connection between diversity and international influence, some people would argue that immigration brings cultural enrichment. This may seem to be an attractive argument, but the culture of Americans remains almost completely untouched by millions of Hispanic and Asian immigrants. They may have heard of Cinco de Mayo or Chinese New Year, but unless they have lived abroad or have studied foreign affairs, the white inhabitants of Los Angeles are likely to have only the most superficial knowledge of Mexico or China despite the presence of many foreigners. Nor is it immigrants who introduce us to Cervantes, Puccini, Alexander Dumas, or Octavio Paz. Real high culture crosses borders by itself, not in the back pockets of tomato pickers, refugees, or even the most accomplished immigrants. What has Yo-Yo Ma taught Americans about China? What have we learned from Seiji Ozawa or Ichiro about Japan? Immigration and the transmission of culture are hardly the same thing. Nearly every good-sized American city has an opera company, but that does not require Italian immigrants. Miami is now nearly 70 percent Hispanic, but what, in the way of authentic culture enrichment, has this brought the city? Are the art galleries, concerts, museums, and literature of Los Angeles improved by diversity? Has the culture of Detroit benefited from a majority-black population? If immigration and diversity bring cultural enrichment, why do whites move out of those very parts of the country that are being “enriched”? It is true that Latin American immigration has inspired more American school children to study Spanish, but fewer now study French, German, or Latin. If anything, Hispanic immigration reduces what little linguistic diversity is to be found among native-born Americans. [...] [M]any people study Spanish, not because they love Hispanic culture or Spanish literature but for fear they may not be able to work in America unless they speak the language of Mexico. Another argument in favor of diversity is that it is good for people—especially young people —to come into contact with people unlike themselves because they will come to understand and appreciate each other. Stereotyped and uncomplimentary views about other races or cultures are supposed to crumble upon contact. This, of course, is just another version of the “contact theory” that was supposed to justify school integration. Do ex-cons and the graduates—and numerous dropouts—of Los Angeles high schools come away with a deep appreciation of people of other races? More than half a century ago, George Orwell noted that: 'During the war of 1914-18 the English working class were in contact with foreigners to an extent that is rarely possible. The sole result was that they brought back a hatred of all Europeans, except the Germans, whose courage they admired.

In his book, Nothing Ever Dies: Vietnam and the Memory of War, Viet Thanh Nguyen writes that immigrant communities like San Jose or Little Saigon in Orange County are examples of purposeful forgetting through the promise of capitalism: “The more wealth minorities amass, the more property they buy, the more clout they accumulate, and the more visible they become, the more other Americans will positively recognize and remember them. Belonging would substitute for longing; membership would make up for disremembering.” One literal example of this lies in the very existence of San Francisco’s Chinatown. Chinese immigrants in California had battled severe anti-Chinese sentiment in the late 1800s. In 1871, eighteen Chinese immigrants were murdered and lynched in Los Angeles. In 1877, an “anti-Coolie” mob burned and ransacked San Francisco’s Chinatown, and murdered four Chinese men. SF’s Chinatown was dealt its final blow during the 1906 earthquake, when San Francisco fire departments dedicated their resources to wealthier areas and dynamited Chinatown in order to stop the fire’s spread. When it came time to rebuild, a local businessman named Look Tin Eli hired T. Paterson Ross, a Scottish architect who had never been to China, to rebuild the neighborhood. Ross drew inspiration from centuries-old photographs of China and ancient religious motifs. Fancy restaurants were built with elaborate teak furniture and ivory carvings, complete with burlesque shows with beautiful Asian women that were later depicted in the musical Flower Drum Song. The idea was to create an exoticized “Oriental Disneyland” which would draw in tourists, elevating the image of Chinese people in America. It worked. Celebrities like Humphrey Bogart, Lauren Bacall, Ronald Reagan and Bing Crosby started frequenting Chinatown’s restaurants and nightclubs. People went from seeing Chinese people as coolies who stole jobs to fetishizing them as alluring, mysterious foreigners. We paid a price for this safety, though—somewhere along the way, Chinese Americans’ self-identity was colored by this fetishized view. San Francisco’s Chinatown was the only image of China I had growing up. I was surprised to learn, in my early twenties, that roofs in China were not, in fact, covered with thick green tiles and dragons. I felt betrayed—as if I was tricked into forgetting myself. Which is why Do asks his students to collect family histories from their parents, in an effort to remember. His methodology is a clever one. “I encourage them and say, look, if you tell your parents that this is an academic project, you have to do it or you’re going to fail my class—then they’re more likely to cooperate. But simultaneously, also know that there are certain things they won’t talk about. But nevertheless, you can fill in the gaps.” He’ll even teach his students to ask distanced questions such as “How many people were on your boat when you left Vietnam? How many made it?” If there were one hundred and fifty at the beginning of the journey and fifty at the end, students may never fully know the specifics of their parents’ trauma but they can infer shadows of the grief they must hold.

It was 1996, and the word “appropriation” never occurred to either of them. They were drawn to these references because they loved them, and they found them inspiring. They weren’t trying to steal from another culture, though that is probably what they did. Consider Mazer in a 2017 interview with Kotaku, celebrating the twentieth-anniversary Nintendo Switch port of the original Ichigo: kotaku: It is said that the original Ichigo is one of the most graphically beautiful low-budget games ever made, but its critics also accuse it of appropriation. How do you respond to that? mazer: I do not respond to that. kotaku: Okay…But would you make the same game if you were making it now? mazer: No, because I am a different person than I was then. kotaku: In terms of its obvious Japanese references, I mean. Ichigo looks like a character Yoshitomo Nara could have painted. The world design looks like Hokusai, except for the Undead level, which looks like Murakami. The soundtrack sounds like Toshiro Mayuzumi… mazer: I won’t apologize for the game Sadie and I made. [Long pause.] We had many references—Dickens, Shakespeare, Homer, the Bible, Philip Glass, Chuck Close, Escher. [Another long pause.] And what is the alternative to appropriation? kotaku: I don’t know. mazer: The alternative to appropriation is a world in which artists only reference their own cultures. kotaku: That’s an oversimplification of the issue. mazer: The alternative to appropriation is a world where white European people make art about white European people, with only white European references in it. Swap African or Asian or Latin or whatever culture you want for European. A world where everyone is blind and deaf to any culture or experience that is not their own. I hate that world, don’t you? I’m terrified of that world, and I don’t want to live in that world, and as a mixed-race person, I literally don’t exist in it. My dad, who I barely knew, was Jewish. My mom was an American-born Korean. I was raised by Korean immigrant grandparents in Koreatown, Los Angeles. And as any mixed-race person will tell you—to be half of two things is to be whole of nothing. And, by the way, I don’t own or have a particularly rich understanding of the references of Jewishness or Koreanness because I happen to be those things. But if Ichigo had been fucking Korean, it wouldn’t be a problem for you, I guess?

Our whole society must first be brought to a consensus that it wants to close the socioeconomic gap between the races. It must accept that the gap derives from the social depredations of slavery. Once and for all, America must face its past, open itself to a fair telling of all of its peoples' histories, and accept full responsibility for the hardships it has occasioned for so many. It must come to grips with the increasingly indisputable reality that this is not a white nation. Therefore it must dramatically reconfigure its symbolized picture of itself, to itself. Its national parks, museums, monuments, statues, artworks must be recast in a way to include all Americans–Native Americans, Hispanic Americans, Asian Americans, African Americans as well as European Americans. White people do not own the idea of America, and should they continue to deny others a place in the idea's iconograph, those others, who fifty years from now will form the majority of America's citizens, will be inspired to punish them for it.

A white woman born in 1900 would have been among the first able to vote nationwide as soon as she turned twenty-one. Many immigrants of Asian descent born that same year wouldn’t have their citizenship approved until the year they turned fifty-two. An African American born at the turn of the twentieth century and living in the South may not have cast a ballot on Election Day until she was sixty-five years old.

Come my friend. Come and walk with me in the path ahead that awaits you with open arms – the path of humanism – the path where every pedestrian is simply a human, not a Christian, Jew, Hindu, Muslim, Atheist, Mexican, American, Canadian, British, Australian, Russian, Asian, African, European or anything else.

The human heart is first a human heart, then everything else - American, Christian, Asian, Jew, or whatever.

The “East Asian development model” is an adaptation of the strategy advocated by German economist Friedrich List (1789–1846), which in turn drew inspiration from the “American System” created in the early United States by Alexander Hamilton and Henry Clay. The United States and Bismarck’s Germany (which adopted much of List’s program) were the two most successful “catch-up” economies of the nineteenth century. Japan’s first modernization drive, which turned it from an agrarian feudal state to Asia’s first industrial power in the decades after 1870, more or less copied the German model.17

To find a meaningful place in politics, one that doesn’t require us to lie about “white adjacency” or ignore the pain of everyone who looks like us, upwardly mobile Asian Americans must drop our neuroses about microaggressions and the bamboo ceiling, and fully align ourselves with the forgotten Asian America: the refugees, the undocumented, and the working class. What we do now—the lonely climb up into the white liberal elite, the purchase of Brennan’s old house—might lead to personal comfort, but it will never make us full participants in this country, nor will it ever convince others to join in our fight. Naked self-interest and narcissism do not inspire solidarity.

The soul of innovation thrives on cross-cultural inspiration. If we are restricted to our lanes, culture will die.

The Tokiwa family did not own the land they farmed. Japanese immigrants were prohibited from owning any sort of land by virtue of a set of anti-Asian laws that had roots reaching back to the arrival of Chinese laborers in California during the gold rush of 1849.

I am the perfect shade of brown. I wish not to lighten my skin, but lighten the burden of those who came before me that conformed to another hue.

When we are inspired by a poem or novel, our human impulse is to share it so that, as Lewis Hyde writes, it leaves a trail of “interconnected relationships in its wake.” But in the market economy, art is a commodity removed from circulation and kept. If the work of art circulates, it circulates for profit, which has been grossly reaped by white authorship. Speaking on this subject, Amiri Baraka offers an invaluable quote: “All cultures learn from each other. The problem is that if the Beatles tell me that they learned everything they know from Blind Willie, I want to know why Blind Willie is still running an elevator in Jackson, Mississippi.” We must make right this unequal distribution but we must do so without forgetting the immeasurable value of cultural exchange in what Hyde calls the gift economy. In reacting against the market economy, we have internalized market logic where culture is hoarded as if it’s a product that will depreciate in value if shared with others; where instead of decolonizing English, we are carving up English into hostile nation-states. The soul of innovation thrives on cross-cultural inspiration. If we are restricted to our lanes, culture will die.

There was just one problem for Putin: Russia wasn’t a superpower anymore. Despite having a nuclear arsenal second only to our own, Russia lacked the vast network of alliances and bases that allowed the United States to project its military power across the globe. Russia’s economy remained smaller than those of Italy, Canada, and Brazil, dependent almost entirely on oil, gas, mineral, and arms exports. Moscow’s high-end shopping districts testified to the country’s transformation from a creaky state-run economy to one with a growing number of billionaires, but the pinched lives of ordinary Russians spoke to how little of this new wealth trickled down. According to various international indicators, the levels of Russian corruption and inequality rivaled those in parts of the developing world, and its male life expectancy in 2009 was lower than that of Bangladesh. Few, if any, young Africans, Asians, or Latin Americans looked to Russia for inspiration in the fight to reform their societies, or felt their imaginations stirred by Russian movies or music, or dreamed of studying there, much less immigrating. Shorn of its ideological underpinnings, the once-shiny promise of workers uniting to throw off their chains, Putin’s Russia came off as insular and suspicious of outsiders—to be feared, perhaps, but not emulated.

A balanced diet” is not so much about protein/fat/carbohydrate ratios. The real ratios to consider, at least for the typical American or European, are energy consumption/expenditure, pleasure/actual need, food/everything else.

If you had an Internet connection and lived in North America at the time, you may have seen it. Vasquez is the man behind the “Double Rainbow” video, which at last check had 38 million views. In the clip, Vasquez pans his camera back and forth to show twin rainbows he’d discovered outside his house, first whispering in awe, then escalating in volume and emotion as he’s swept away in the moment. He hoots with delight, monologues about the rainbows’ beauty, sobs, and eventually waxes existential. “What does it mean?” Vasquez crows into the camera toward the end of the clip, voice filled with tears of sheer joy, marveling at rainbows like no man ever has or probably ever will again. It’s hard to watch without cracking up. That same month, the viral blog BuzzFeed boosted a different YouTuber’s visibility. Michelle Phan, a 23-year-old Vietnamese American makeup artist, posted a home video tutorial about how to apply makeup to re-create music star Lady Gaga’s look from the recently popular music video “Bad Romance.” BuzzFeed gushed, its followers shared, and Lady Gaga’s massive fanbase caught wind of the young Asian girl who taught you how to transform into Gaga. Once again, the Internet took the video and ran with it. Phan’s clip eventually clocked in at roughly the same number of views as “Double Rainbow.” These two YouTube sensations shared a spotlight in the same summer. Tens of millions of people watched them, because of a couple of superconnectors. So where are Vasquez and Phan now? Bear Vasquez has posted more than 1,300 videos now, inspired by the runaway success of “Double Rainbow.” But most of them have been completely ignored. After Kimmel and the subsequent media flurry, Vasquez spent the next few years trying to recapture the magic—and inadvertent comedy—of that moment. But his monologues about wild turkeys or clips of himself swimming in lakes just don’t seem to find their way to the chuckling masses like “Double Rainbow” did. He sells “Double Rainbow” T-shirts. And wears them. Today, Michelle Phan is widely considered the cosmetic queen of the Internet, and is the second-most-watched female YouTuber in the world. Her videos have a collective 800 million views. She amassed 5 million YouTube subscribers, and became the official video makeup artist for Lancôme, one of the largest cosmetics brands in the world. Phan has since founded the beauty-sample delivery company Ipsy.com, which has more than 150,000 paying subscribers, and created her own line of Sephora cosmetics. She continues to run her video business—now a full-blown production company—which has brought in millions of dollars from advertising. She’s shot to the top of a hypercompetitive industry at an improbably young age. And she’s still climbing. Bear Vasquez is still cheerful. But he’s not been able to capitalize on his one-time success. Michelle Phan could be the next Estée Lauder. This chapter is about what she did differently.

There is a lot of evidence for the power of taking a walk to increase creativity, inspire new ideas, and change people’s lives, whoever they are. A 2014 study by researchers at Stanford University showed that walking increased the creative thinking of 100 percent of the study participants who were asked to walk while completing a series of creative tasks. There is a ton of anecdotal evidence as well. Do a quick Google search for the words “walk” and “change,” and you will see an avalanche of articles with titles like “How Taking a Walk Changed My Life.” They’re written by all sorts of people: men and women, young and old, fit and out of shape, students and professionals, American, Indian, African, European, Asian, you name it. Going for a walk helped them change their routines and their habits; it helped them shake loose solutions to tricky problems; it helped them to process trauma and make big life decisions.