I'm a black American playwright. I couldn't be anything else. I make my art out of black American culture; they're all cut out of the same cloth. That's who I am; that's who I write about.
It was shocking to see Nirvana play, because it was like, "Here's this little guy with a monster-guitar sound." And it was heavier than Black Sabbath. That was shocking.
There are a lot of people who believe that the individual can't make it himself. And that's why people want to join up in various herds - herd formation. So you become part of a herd, a group. Group power of some kind. There's an awful lot of group power people in our country [the USA] - Black power, Chinese power, Indian power, woman power. Everyone is putting in together.
All my friends were black and Mexican. I was the only white kid in our group and had to work hard to be accepted. Year after year, we'd breakdance and we all became close and they labeled me "Vanilla" - like "Hey, Vanilla" and they knew I hated it, so of course they kept calling me it.
I really am a guy who can be black and white. I don't understand, too much, the gray. And truly I can go from one type of character to another type of character.
I'm just as white as I am black, and I'm just as Russian Jew as I am West Indian.
I'm always kind of contradictory to what people want and what's selling. But maybe I should care now because I have two or three more outlets. I have to be more adaptable color-wise to what people want. It's usually just black and pink, and that's it.
I come in with this rock 'n' roll-oriented music, and it's not black enough . . . I've always had to deal with this black-white thing.
Black-and-white photography, which I was doing in the very early days, was essentially called art photography and usually consisted of landscapes by people like Ansel Adams and Edward Weston. But photographs by people like Adams didn't interest me.
Most of life is grey, with a little tiny bit of black and white.
For two hundred years Haiti has been swimming upstream. We were the first country in which independence was won by a group of slaves - black slaves. Across the water, the country that had just achieved independence - the U.S. - still practiced slavery.
There's this scene in "The Night of the Hunter" when the kids are downstairs, and you have the feeling that they're both in a room and at the same time it looks remote. And you wonder, How can you give the effect of both "inside" and "outside" at the same time. And you realize, by watching it many times, that around the scene there's this black edging.
I don't feel that America has a black dude right now. I'm that dude.
Obviously, I can't tell the story of what it is to be a black girl, but maybe I can tell something else. Girlhood is not about what it's like to be a black girl, it's about what it's like to be a girl.
We're historians and above all want to write about what was. Our book doesn't deal with legacies. It also wasn't our goal to destroy a legend. We consider Walesa to be a national symbol. He led Solidarity and remains an icon. But he also worked with the secret police under the name Bolek. The truth isn't always simply black and white.
For horror to work, you have to be afraid. You have to keep the monster in a black and white light.
The black hole in democracy is integrity. The great unspoken is integrity. When integrity is not first and foremost, it's quite palpable but not visible. It's always there. Jazz highlights it because musicians and jazz always represented a high level of integrity.
There's a thing I really mind hearing, when someone says: "That's not my kind of film, I don't want to go and see that..." I don't believe that, I don't believe that it's possible to write off a whole genre of filmmaking - "oh I don't like subtitled films", or "I don't like black and white films", or I don't like films made before or after, a certain date" - I don't believe that.
What happens to Black Folks today, happens to White Folks tomorrow.
Be loud, be pretty and keep their black-hatin' asses in their chairs
Nobody has to tell me that this is a serious business. I'm not fighting one man. I'm fighting a lot of men, showing a lot of 'em, here is one man they couldn't defeat, couldn't conquer. My mission is to bring freedom to 30m black people
That's just like America. It's made up of lots of different people. We're all different colors, different ages, we do different jobs -- but it takes all of us black people, white people, brown people, men and women, young and old, working in the factories, working in the fields, working in offices, working in stores -- it takes a lot of different kinds of people to get the job done for America.
Information anxiety is the black hole between data and knowledge, and it happens when information doesn't tell us what we want or need to know.
Imagine a crime series in which, every week, there is a white suspect and a black suspect. And every week, lo and behold, the black one turns out to have done it. Unpardonable, of course. And my point is that you could not defend it by saying: "But it's only fiction, only entertainment."
Black cat, white cat, what does it matter as long as the cat catches mice?
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