African Americans

"A buzzard took the monkey for a ride in the air The monkey thought that everything was on the square The buzzard tried to throw the monkey off his back But the monkey grabbed his neck and said — "Now listen, Jack..." "Straighten up and fly right Straighten up and fly right Straighten up and fly right Cool down, papa, don't you blow your top.""

"«There's just one thing I can't understand. My income tax!”»."

"I'm a musician at heart, I know I'm not really a singer. I couldn't compete with real singers. But I sing because the public buys it."

"I'm a businessman. I work for business people. The kind of thing they say is: Now we've sold a lot of records, let's sell some more."

"I … started out to become a jazz pianist; in the meantime I started singing and I sang the way I felt and that's just the way it came out."

"Madison Avenue is afraid of the dark."

"I felt something impossible for me to explain in words. Then when they took her away, it hit me. I got scared all over again and began to feel giddy. Then it came to me— I was a father.""

"When you control a man's thinking you do not have to worry about his actions. You do not have to tell him not to stand here or go yonder. He will find his "proper place" and will stay in it. You do not need to send him to the back door. He will go without being told. In fact, if there is no back door, he will cut one for his special benefit. His education makes it necessary. The same educational process which inspires and stimulates the oppressor with the thought that he is everything and has accomplished everything worth while, depresses and crushes at the same time the spark of genius in the Negro by making him feel that his race does not amount to much and never will measure up to the standards of other peoples. The Negro thus educated is a hopeless liability of the race."

"The educational system as it has developed both in Europe and America an antiquated process which does not hit the mark even in the case of the needs of the white man himself. If the white man wants to hold on to it, let him do so; but the Negro, so far as he is able, should develop and carry out a program of his own. The so-called modern education, with all its defects, however, does others so much more good than it does the Negro, because it has been worked out in conformity to the needs of those who have enslaved and oppressed weaker peoples. For example, the philosophy and ethics resulting from our educational system have justified slavery, peonage, segregation, and lynching. The oppressor has the right to exploit, to handicap, and to kill the oppressed. Negroes daily educated in the tenets of such a religion of the strong have accepted the status of the weak as divinely ordained, and during the last three generations of their nominal freedom they have done practically nothing to change it."

"Believing that slaves could not be enlightened without developing in them a longing for liberty, not a few masters maintained that the more brutish the bondmen the more pliant they become for purposes of exploitation. It was this class of slaveholders that finally won the majority of southerners to their way of thinking and determined that Negroes should not be educated."

"The chief reason why so many give such a little attention to the background of the Negro is the belief that this study is unimportant. They consider as history only such deeds as those of Mussolini who after building up an efficient war machine with the aid of other Europeans would now use it to murder unarmed and defenseless Africans who have restricted themselves exclusively to attending to their own business. If Mussolini succeeds in crushing Abyssinia he will be recorded in "history" among the Caesars, and volumes written in praise of the conqueror will find their way to the homes and libraries of thousands of miseducated Negroes. The oppressor has always indoctrinated the weak with this interpretation of the crimes of the strong."

"The facts drawn from an experience of more than twenty years enable us to make certain deductions with respect to the study of the Negro. Only one Negro out of every ten thousand is interested in the effort to set forth what his race has thought and felt and attempted and accomplished that it may not become a negligible factor in the thought of the world. By traditions and education, however, the large majority of Negroes have become interested in the history and status of other races, and they spend millions annually to promote such knowledge. Along with this sum, of course, should be considered the large amount paid for devices in trying not to be Negroes."

"The average Negro has not been sufficiently mis-educated to become hopeless. Our minds must become sufficiently developed to use segregation to kill segregation, and thus bring to pass that ancient and yet modern prophecy, "The wrath of man shall praise thee." If the Negro in the ghetto must eternally be fed by the hand that pushes him into the ghetto, he will never become strong enough to get out of the ghetto. This assumption of Negro leadership in the ghetto, then, must not be confined to matters of religion, education, and social uplift; it must deal with such fundamental forces in life as make these things possible. If the Negro area, however, is to continue as a district supported wholly from without, the inept dwellers therein will merit and will receive only the contempt of those who may occasionally catch glimpses of them in their plight."

"This shameful status of higher education is due in a large measure to low standards of institutions with a tendency toward the diplomamill procure. TO get a job or to hold one you ho in and stay until they "grind" you out a "darkter's 'gree." And you do not have to worry any further. The assumption is that almost any school will be glad to have you thereafter, and you will receive a large salary."

"History does not furnish a case of the elevation of a people by ignoring the thought and aspiration of the people thus served."

"All I can say is, Monk writes some beautiful tunes. When it comes to being a piano player, I'll see you later."

"Count Basie at Town Hall ... No, I'm only kidding; of course it was Thelonious Monk. There's been a lot of pro and con talk about Thelonious through the years, but from the beginning I was pro. I was fascinated, and I wondered how he arrived at these things. Eventually I found out, by studying and analyzing them. Now, he is not a virtuoso pianist, but there is real thought behind what he is composing. It's all very well laid out."

"Pianistically, I don't think has anything to worry about, but if he (Monk) gets that stride thing going a little faster, I don't know... Maybe will have to come back. Pianistically, he's beautiful. (A promoter I know uses that phrase; I guess he likes the way it rolls off his tongue.) But Thelonious is pianistically beautiful. He approaches the piano somehow from an angle, and it is the right angle. He does the thing completely and thoroughly... He hasn't been influenced through the traditional techniques because he hasn't worked through the keyboard composers and, therefore, has his own complete approach of musical thinking. He is such a thinking musician, and I think this is something a lot of people forget about Monk. They somehow feel he's eccentric, but Monk knows exactly what he's doing. Structurally, and musically, he's very aware of every note he plays."

"I don't see how a record company can record something like that. You know the way Monk plays—he never gives any support to a rhythm section. When I had him on my date, I had him lay out until the ensemble. I like to hear him play, but I can't stand him in a rhythm section unless it's one of his own songs ... I can't understand a record like this."

"Working with Monk is like falling down a dark elevator shaft."

"Working with Monk brought me close to a musical architect of the highest order. I felt I learned from him in every way — through the senses, theoretically, technically. I would talk to Monk about musical problems, and he would sit at the piano and show me the answers just by playing them. I could watch him play and find out the things I wanted to know. Also, I could see a lot of things that I didn't know about at all."

"I know this from somewhere—it seems as though every time I turn on the radio this seems to slip in; and I've always liked it. It's cute, real cute; and although it's sort of not in my department and I don't know too much about that type of music, I like it an awful lot. Wonderful piano ..."

"The piano ain't got no wrong notes."

"Monk enters the studio and starts playing, the rest of the musicians join him. After few minutes of play the technician from his room shouts and stops the band.] Monk: Why did we stop? Technician: I thought you were rehearsing. Monk: Aren't we always?"

"I don't know where it's going. Maybe it's going to hell. You can't make anything go anywhere. It just happens."

"All musicians are subconsciously mathematicians."

"Interviewer: What other interests do you have? Monk: Life in general. Interviewer: What do you do about it? Monk: Keep breathing. Interviewer: What do you think the purpose of life is? Monk: To die."

"It reminded me of , and that's got to be good. Rhythm section has the right groove, too. Drummer made me think of . Hey, play that again. (Later.) Yeah! He sounds like a piano player! (Hums theme.) You can keep changing keys all the time doing that. Sounds like something that was studied and figured out. And he can play it; you know what's happening with this one. Yeah, he was on a Bobby Timmons kick. He knows what's happening."

": You liked the arrangement? Monk: Did you make the arrangement? It was crazy. Feather: No. Monk: It was a bunch of musicians who were together, playing an arrangement. It sounded so good, it made me like the song better! Solos ... the trombone sounded good ... that was a good lead trumpet player too ... I don't know how to rate it, but I'd say it was top-notch."

"Which is the way to the toilet?"

"Even people who don’t know much about jazz are aware that jazz musicians are meant to be 'characters' – free-spirited types whose absorption in music generates bizarre behaviour. Though this hipster mythology is exaggerated, it seemed made for Thelonious Monk. His mystique was compounded by his unforgettable name (albeit the same as his father's), his taste for exotic headgear, a penchant for breaking into impromptu dances on the bandstand and a jabbing, idiosyncratic piano style punctuated by the silences which also marked his everyday demeanour. But Monk's media status as the 'high priest of bebop' obscured the real nature of his achievement. At a time when modern jazz was dominated by harmonic legerdemain and omnivorous technique, he showed that a deep-rooted personal vision was still possible. Monk's compositions were unlike anyone else's, full of curiously stretched and sharply angled chords, wrong-footing rhythms, melodies that could be gnomic, rich or grainily lyrical. He defied facility. When you played Monk, you played him on his terms, and his best interpreter was probably himself. His approach to the piano could seem splayed and halting – one fleet-fingered rival dismissed him as 'hamstrung' – but he could produce marvellous, probing colours, somehow getting in between the keys to make the piano seem the ultimate blues instrument. And he swung enormously, with spikey accents and clangorous, tumbling runs. As a soloist or accompanist, his timing was perfect, and he could galvanise a rhythm section by knowing exactly when and when not to play. Listening to Monk can easily become a lifelong habit, since what he has to offer is unavailable anywhere else."

"Unlike many piano players, I love Monk's playing very much. He was brought to my attention by Richard Abrams, a pianist in Chicago, and we used to analyse Monk's playing. We found that Monk's penchant for playing the piano is not in velocity, and not in dynamics, but in sound and s. He has a lot of other devices for producing the "sound"—I've noticed a lot of times, playing in clubs, where the audience is inattentive, you play something of a Monk nature and use that sonority, automatically their ears respond to it. No other piano player has done more to find out the notes that really produce sound than Monk. To completely toss him aside as a pianistic influence is an asinine view."

"That I like. That's Monk ... I think Monk has developed a certain thing. It's not the ordinary left hand like and a lot of piano players used to use; he's done something different"

"A few weeks ago I made a call at his 63rd St apartment and found him practising very thoughtfully on his Klein piano. I felt pretty good when I realised how satisfied he was with his instrument. He invited me to try it out. First I played one of his compositions which I learned a few weeks ago at the Spotlite which he had played with "Hawk". Later I played some of my own tunes which he seemed to like. We promptly agreed to swap three piano arrangements of our tunes. I would arrange "Stratosphere," "Striving," and "Sailing" for him and he agreed to arrange "Ruby, My Dear," "Round Midnight" and another very expressive tune which he hadn't named or whose name he had forgotten. On the day of the proposed swap my tunes were the only ones completed. However, I haven't given up all hope of eventually learning his tunes which I will play morning, noon, and night."

"His is the sort of music that spans time ... it's something that's happening, and it always feels good to me. I can always readily identify with it, and it always has a freshness about it because of the way he constructs his phrases and the kinds of twists it has. I sometimes would like to hear him in a context with some more adventuresome musicians."

"[Reported exchange on telephone in 1980] "Thelonious, are you touching the piano at all these days?" "No, I'm not." "Do you want to get back to playing?" "No, I don't." "I'm only in town for a few days; would you like me to come and visit, to talk about the old days?" "No, I wouldn't." When I repeated this to Barry Harris, the pianist who was much closer to him than almost anyone else in the last years, he said, "You're lucky. You got complete sentences. With most people he just says, 'No.'""

"That piano player sounded as honest as a little child. I think the left hand during the first part was a little hard. It could be Monk. Also it could be Mingus playing piano—sometimes he plays piano like that. I liked the record, the honesty of it and the good feeling it had. However, I think it could have been a little better; so I'll give it a three. I'd rather hear wrong notes being played by a person with good feeling than another person playing perfect, like a typewriter, and sound cold."

"Rosa Parks showed us all that one little person can make a whole bunch of noise without so much as a whisper. She showed the world that the color of your skin shouldn't determine what part of the bus you sit in... as you ride through life."

"Richard Pryor's Mudbone is one of the greatest pieces of comedy I've ever seen anyone do on a stage."

"I'm chasing Richard Pryor, man. I have not done—I still haven't done my version of his Long Beach concert. I've done some good stuff, but Richard Pryor in Long Beach? That's the greatest piece of stand-up ever done."

"As Richard Pryor jokes: "I was a kid until I was eight. Then I became a Negro.""

"The way he talked about race was so brutally honest and funny and unvarnished. It made me think that I had never encountered Asian identity being written in that way."

"Sick of hearing this shit about me not talking... not true... good days, bad days... but I still am a talkin motherfucker!"

"Make sure the check you write to a charity doesn't pay for cruel experiments on animals. Your donation should help end suffering — not cause it."

"They were brought out of Africa and into chains in America. Or they were born into slavery here. Yes, I am talking about the first African-Americans to reach these shores, but I am also describing the animals now enslaved in circuses. The species and continents are different, but the stories are tragically similar. The animals in circuses are held against their will by chains and domination. They are forced to perform a series of acts by coercion and violence because they would never normally do these things on their own. They can never choose their own partners, their own homes, their own food or have control over any aspect of their lives. I don't care how this is dressed up by promoters with music and lights, it is still slavery."

"You gotta be cool when you're macho man, cuz you can't be sensitive and care about someone having a good time in bed, cuz that's too scary... When you don't use sensitivity when you're having sex, or share some of your soul, nothing gonna happen, because men really get afraid. Men really get scared in bed."

"I'd like to die like my father died... My father died fucking. My father was 57 when he died. The woman was 18. My father came and went at the same time."

"Have you ever noticed how quiet you get when you go in the woods? It's almost like you know that God's there."

"I don't want to go through life as a Wonder Wheel murderer!"

"There are only two pieces of pussy you're gonna get in your entire life, that's your first and your last."