African Americans

"we are often characterized as being disruptive. Now, if we were in Silicon Valley, we would be called innovators. So, yes, yeah, we are disrupters. We are innovators. And contrary to the opinion of many, we are actually patriots, because dissent is the ultimate patriotism."

"The people closest to the pain should be the closest to the power."

"what I want us to get to is — and you already do it, but we need more, more folk to be intentional and inclusive in our movement building and our coalition building and the breaking down of silos and of challenging folk to have equitable outrage."

"I need people to understand the link between the humanitarian crisis at the border and babies being ripped from their mother’s arms and what happened in my household, in millions of American households, when my father was in and out of the criminal legal system for 14 years for being an addict. So, I’m for the preservation of family, from the border and, as I would say in my district, all the way to Blue Hill Avenue. So, it’s not a competition; there is no hierarchy of hurt. If you are aghast at the crisis of human trafficking globally, then don’t look at what’s happening in your own backyard and see that as blight and affecting your property values, and not understand the brokenness and not see those folks as your neighbors. If you are concerned about human rights violations and abuses and what is happening to women and rape being used as a tool of war and oppression, please pay attention to what is happening right here. If you are concerned about the violation, the undermining of women’s rights globally, then pay attention to what’s happening with Hyde and the gag rule and the ROE Act and in our courts and abortion."

"And so, our freedoms and our destinies are tied. And what we need to get to is stop what Ilhan and I have often referred to as like the Oppression Olympics. You know, this is not a competition for who is sinking the fastest. There is no hierarchy of hurt. And so, what I’m looking for is equitable outrage, inclusive organizing and our collective upliftment."

"The Ocasio-Cortez/Markey Green New Deal resolution goes to considerable lengths to outline how it plans to avoid repeating these injustices, listing as one of its core goals "stopping current, preventing future, and repairing historic oppression of indigenous peoples, communities of color, migrant communities, deindustrialized communities, depopulated rural communities, the poor, low-income workers, women, the elderly, the unhoused, people with disabilities, and youth." As Congresswoman Ayanna Pressley said at a town hall in Boston, "This is not just an opportunity to fix the first New Deal, but also to transform the economy.""

"A lot of times I would let Herbie play no chords at all, just solo in the middle register and let the bass anchor that, and the shit sounded good as a motherfucker, because Herbie knew he could do that. See, Herbie was the step after and Thelonious Monk, and I haven't heard anyone yet who has come after him."

"Though Herbie Hancock has the chops to share a stage with Miles Davis and to create such jazz classics as Watermelon Man and Cantaloupe Island, he may forever be remembered for a one-off novelty track called “Rockit”, a song that (along with its groundbreaking video) was all over MTV in the network’s early days. As cracking a track as Rockit is, it is not indicative of Hancock’s style of electrified jazz. However, it does showcase that he was that rare jazz performer who did not shy away from the wonders of technology. It received criticism from purists, but Hancock was used to it. He’d gotten the same sort of guff when his Headhunters group crossed the line into pop and funk music in the early ‘70s. Nevertheless, the man’s playing is impeccable."

"I realized I could never be a genius in the class of Miles, Parker or Coltrane, so I might just as well forget about becoming a legend and just be satisfied to create some music to make people happy. I no longer wanted to write the Great American Masterpiece."

"Tony would lead the tempo, and Herbie was like a sponge. Anything you played was cool with him; he just soaked up everything. One time I told him that his chords were too thick, and he said, "Man, I don't know what to play some of the time." "Then, Herbie, don't play nothing if you don't know what to play. You know, just let it go; you don't have to be playing all the time!" He was like someone who will drink and drink until the whole bottle is gone just because it's there. Herbie was like that at first; he would just play and play and play because he could and because he never did run out of ideas and he loved to play. Man, that motherfucker used to be playing so much piano that I would walk by after I had played and fake like I was going to cut both of his hands off."

"I remember we were at some club in Detroit, and playing all kinds of crazy things behind George, while behind Miles we played really straight. And Miles said afterward, "Why don't you play like that behind me?" That's when Tony and I began playing our little musical game behind Miles. After only four days, it turned around and he was leading us. And Miles began playing different after that. It was the most uncannily rapid adaptation I could ever imagine."

"I'm not a chauffeur. Nobody would have bought any of my records if I were. I'd have had nothing to say. I'm supposed to be presenting things to the public, not accepting requests. I call the shots. They don't have to like it. I really wanted to develop my career in such a way that I have the freedom to do what I want to do, and not have that considered bizarre. I think I'm finally at that point. People are no longer surprised when I come out with something different. I've done it enough now. That's what I've wanted all this time."

"I came back to New York looking for a piano player. I found him in Herbie Hancock. I had met Herbie about a year or so earlier when the trumpet player brought him by my house on West 77th Street. He had just joined Donald's band. I asked him to play something for me on my piano, and I saw right away that he could really play. When I needed a new piano player I thought of Herbie first and called him to come over. I was having and over so I wanted to know how he would sound with them. They all came over and played every day for the next couple of days, and I would listen to them over the intercom system I had hooked up in my music room and all over the house. Man, they sounded too good together. On around the third or fourth day, I came downstairs and joined them and played a few things. [...] I knew right away this was going to be a motherfucker of a group."

"We all have natural human tendency to take the safe route—to do the thing we know will work—rather than taking a chance. But that's the antithesis of jazz, which is all about being in the present. Jazz is about being in the moment, at every moment. It's about trusting yourself to respond on the fly. If you can allow yourself to do that, you never stop exploring, you never stop learning, in music or in life."

"Hey, man; I would never dare to sing alone and unaided. I mean, nobody would want to hear the sound of my natural voice. But by singing through this new machine, I can mix what I sing with what I play on the synthesizer and it comes out sounding like you hear it on Sunlight. [...] What it all means is that I can sing "I love you, baby" down while playing different notes with the same rhythm up on the synthesizer ... Now any keyboard player who can coordinate his playing with his singing can sing anything he wants to ... and be able to do all the things singers can't do that instrumentalists can."

"redefined swing for modern jazz pianists for the latter half of the 20th century up until today. I consider him to be the major influence that formed my roots in jazz piano playing. He mastered the balance between technique, hard blues grooving, and tenderness. You'll find Oscar Peterson's influence in the generations that come after him. No one will ever be able to take his place."

"[B]y the time I actually heard , I started picking that stuff out; my ear was happening. I could hear stuff and that's when I really learned some much farther-out voicings – like the harmonies I used on ' – just being able to do that. I really got that from Clare Fischer's arrangements for the Hi-Lo's. Clare Fischer was a major influence on my harmonic concept... he and Bill Evans, and and , finally. You know, that's where it came from."

"I didn't know whether Wayne was crazy or a genius. I knew something was there, but I couldn't get a handle on it. We were playing some club outside of Boston. After the gig, I got a bottle of cognac and went back to his hotel room and we drank. And we talked for hours. And I began to see that there were word games that Wayne would play. His whole approach was much more like poetry, if anything, than how we normally perceive standard conversation. His way of speaking was on a much higher plane. I did come to the conclusion that he was a genius, not crazy."

"A few months ago, Wayne Shorter and I were being interviewed after performing in a quartet at the . Before any questions were asked, the interviewer remarked that in previous interviews, responses from Wayne "tripped him out" so much that he would be discovering new meanings in Wayne's words for several days. He said that it wasn't just what Wayne said but how he said it that did the trick, and that he was looking forward to another mind-blowing experience. Even though I was the other interviewee, I was also looking forward to Wayne's profoundly creative and thought-provoking reactions to the questions. Reactions, not just answers, that are chock-full of wisdom. In his jovial way, and with an innately uncanny sense, Wayne says what a person needs to hear in order to expand himself. No, it's even better than that. It's more like, you feel that Wayne has gleaned deeper meaning from a question by using it as a springboard for an answer that will blow your socks off and perhaps change your life for the better. As a matter of fact, you might start to think, Wow, I didn't know my question had so much in it."

"For me, it's always important to support other transgender people, to love and support each other. There's enough spotlight, there are enough resources to go around, so for me it's always about loving and supporting my trans siblings."

"Being uncomfortable does not mean that you are unsafe. Right? [...] For several years, it was all about bathrooms. Banning trans people from bathrooms, right? In the segregated South, white folks were not comfortable with black people in the bathroom with them. But did that mean that they were unsafe?"

"The preoccupation with transition and surgery objectifies trans people. And then we don't get to really deal with the real lived experiences. The reality of trans people's lives is that so often we are targets of violence. We experience discrimination disproportionately to the rest of the community. Our unemployment rate is twice the national average; if you are a trans person of color, that rate is four times the national average. The homicide rate is highest among trans women. If we focus on transition, we don't actually get to talk about those things."

"It's not just about, you know, sort of putting "diverse people" in the same sort of corrupt systems. We have to change the way that power works. And so much of that is about, I believe, changing the material conditions of poor and working people, the people who are the most marginalized, and to get them, you know, opportunities to work in the industry behind the scenes, and then be truly elevated to positions of power."

"I love horror and I felt like I had a really good idea about how to make something scary, but also I’m very measured, especially with a story like this, about what is appropriate and what is not appropriate."

"It’s not necessarily overtly racist, but it is shocking the way people have talked to me in my position as a director. People who work for me. Especially on a movie like this, where Jordan was the only other person of colour at the level of decision-making on the movie. And that’s unacceptable, frankly."

"He’s a person, which is the whole point of this movie. He’s not just some like floating demon slayer, and it’s a really tricky balance…He’s someone who clearly has a lot of pain, and that’s something I find really interesting about him as a character."

"I would have hated getting the question, ‘Isn’t it so timely right now, with all these deaths going on?’ That’s not why we made it. But I think it will happen again – a summer like last summer. I think that the story we’re telling was about that: the fact that it’s cyclical. It could come out next year, it could come out any time and still be relevant."

"Is there even any point to doing the "if that guy who threatened to bomb the Capitol was Black or Muslim" convo at this point...?"

"This is what happens when one group of Americans are taught generationally to believe they are the sole, true owners of a country their ancestors seized from the indigenous and reaped via the blood and toil of others they never viewed as fully human."

"I am not running for Congress as a former NFL player. I am running for Congress as a former chimney sweep."

"I'm a great man. A great man. I do great things for my culture and for the world. ... The woman that supports me needs to be a great woman"

"…When my mother left me — if we believe in these sort of things — she came to me in my dream a week later and she said to me, just like this, "Uzo, you are settled." And it gave me such a peace and a calm that I could continue without her, because I never had [been without her]. She was always in my corner. I talked to my mom every day, whether [by] email, text, phone. And I know that those lessons, those teachings that she placed inside of me have readied me for this next phase of my life."

"I was attempting, and I did a terrible job at it apparently, I was attempting to motivate, to enlighten, to give perspective as in to what it is I was hoping to get out of the relationship"

"Naming in my culture will tell you more about the parent of the child than the child themself and also what is being spoken onto the child. So my full name is Uzoamaka Nwanneka Aduba, but the first name Uzoamaka, it means "the road is good." My second name, my middle name, it means "nothing is more important than your sisters," and my last name means "the mediator.”"

"From my experience, from my point of view, a young Black man in any situation with anyone honestly, if the authorities get involved in any way, there's going to be conversation, conflict, trauma"

"I'm really blessed. I'm surrounded by people who love me, who care about me. But this has been very, very, very hard, and very difficult, and confusing in many ways"

"I wish to God I knew. That would give clarity. That would give me some type of peace about it"

"I'm standing there and the verdict comes down. I say, 'How is that possible based off the evidence, based off the prosecution's evidence, let alone our evidence? How is that possible"

"I'm an athlete. I'm a sportsman. I know my body. I know how it moves. I know my strength, or lack thereof, you know? None of that was employed on her"

"I used to hate my gap as a kid, in front teeth ... and I would beg, beg, beg for braces because everybody had braces. Everybody was fixing their "horrible teeth," whatever that means. And my mom, she was just like, "No, absolutely not."...She said, "Don't you know that in Nigeria and throughout Africa, a gap is a sign of beauty? Why would you want to close it?" And I was like, "Sure, but we live in America."...."

"…Nerds come together, please, unite. Let’s all unite, it’s on. For me, that was very important, that Atticus is, and it’s coming to me now, a “yes and” character. Yes, he is that and he is this, and that’s the beautiful part about it. Yes, he’s this war hero. Yes, he can shoot a gun and run fast and take punches, but he also is a nerd. Those things are held at the same level. This man, this Black man, holds multitudes, and uses all of those things as a weapon. He weaponizes his mind. That is a beautiful thing and that was very important for me to let breathe and let live in the series."

"From people who are supposed to look after you, in the absence of a father. I was f---ed up"

"…art is inherently political. Period. First thing someone does when they colonize, where they conquer or they take something over, the first thing that they do—top of their list—is destroy the art of the people. They must destroy their art, because that is their humanity. That is their liberation. That is the essence of them. That is the spirit of a people, of a culture, the art that they make. When someone is being conquered, when someone is being taken over, when something is being erased, that’s the first thing that goes..."

"One of the things we deal with as a theme is legacy—thinking about the future of oneself, the future of one’s family, one’s culture. How they’re going to survive, and how their survival will be viewed by those in the future. In doing so, I had to really think about my past and the past of my people. I’m a member of the African diaspora, and what we have experienced, I had to tap into and use that…I quickly understood that me growing up in Texas, my grandparents living through Jim Crow America, my parents living through Jim Crow America, to a degree, my aunts and uncles; those are all very different experiences. There’s a difference in being raised somebody who’s gone through that and actually being a person who dealt with that...."

"And now we can all get busy and continue to connect and grow and learn from it, because it’s something that was in our family"

"I think it felt challenging because I was a Black woman and also because I was a dark-skinned Black woman, because those roles didn't exist in a wide range, or they kind of felt always relegated to the background, almost like an afterthought. And so I knew that it was going to be very difficult. I think I knew for a fact that it was going to be more noes than yeses. I think I knew that for whatever reason, things beyond my control, meaning how I look, were going to determine what I was going to be allowed to do"

"There are no excuses, but by getting help, you begin to understand things about yourself"

"Sexual preference bias is one step away from bias based on the color of one's skin."

"Ultimately I think about who I want to inspire, and I think it’s important to have people who look like me to inspire other people from my community to join orchestras."

"Another highlight was performing for Nas at his Watches of Switzerland and Haute Living event last year. Although I felt prepared as I arranged the backing tracks for my performance, I was extremely nervous. I honestly couldn’t figure out why because I have over 21 years of experience performing around the country, but this performance felt different. Maybe it was the legend himself or maybe it was extremely important to me, but I haven’t experienced a performance like that in a while. It’s funny that friends and family members of mine were telling me about how much they love Nas, the impact he had on their lives and how cool it was that I’d be performing for him. An old teacher of mine used to tell me, “if you’re nervous, then that means the performance is very important to you.” It’s quite possible that’s what it was, or it’s that I was star-struck, or I kept thinking about my family. I ended up having a great time performing and felt silly I was nervous to begin with."