African Americans

"I've had some success in bringing some humanity to some of the villains that I played because I want to show that people are human and they do make mistakes and they do have the light and dark sides of themselves, and I had an idea that if we saw some of that we might be able to get wrapped around that in a way that we weren't able to before."

"Sometimes I can’t even see out of my eyes because I’ve gone to a very dead drop space. Well, you could call it dead but maybe it’s actually very much alive. People get uncomfortable when you’re really listening, when you’re really paying attention, because we’re not used to that anymore. But now I can really see you. I can see all of you"

"The words are important, but the intention is of even greater importance. My job is to interpret that. As an actor, I’m an interpreter and a channeler. As a director, I’m able to interpret and then channel something original, infuse it with an original energy that extends and tells the story even more clearly."

"As a director, I always look for projects that are uplifting and change the way we think about the world we live in, so those films aren’t always mainstream. I’m looking to do something that encompasses a man who’s trying to find himself, but it’s an action film. He’s struggling with something he’s done in his past and he’s moving through it in a way that puts him in a position where he becomes a stranger in a strange land. I want to tackle that."

"I’m acting but not acting because I’m in such a place where, as an actor, all I have to do is listen. Whether it be your voice, who I’m talking to, or whether it be the voice inside me — and maybe that’s the key that I’ve never, ever talked about."

"These are the things I look for because I’m more seasoned than I was years ago. Directing is not about me. As an actor, God, it becomes all about me, and I don’t want it to be about me anymore. I’ve had enough of me."

"I mean for me to play desire, to play the desire not to be lonely is one thing, to play the desire to allow someone to know me. Right. So I relate to that in my life. Because people know me in my life as Gus Fring or Moff Gideon or Stan Edgar or a plethora of other characters. And so who really knows me? And do I want them to know me? Right. It depends on who that is. Right. So I used to want fans to know me, but now they know me through a variety of different characters. So then I have to ask myself, what is the reveal for me? And it’s the same for Gus. In that moment I’m thinking, oh, I desire to be known. For me I know I desire to be loved, I desire to be admired. I desire to be held. Thank goodness I have children who I can, I have daughters who I become more and more real, the more mature I get because I’m able to ask, I tell them, ask for what you want, but do I tell myself to ask for what I want?"

"I look for a complete script. I look for characters who are inspiring, and who move our imaginations from one place to another. It just so happens that I’ve been asked to play characters in certain projects that have had somewhat of an edge, a darker side, if you will."

"When you are able to let your expectation of what might be go and listen to what is proposed, then you can create a new vision for yourself and see yourself walking in those shoes again."

"I look at things to uplift me and to enthuse me; I don’t look at things to pay the bills and help me just survive. While some may be terrified of the characters he’s played, the actor views his antagonists in a different light. What I feel with each character is an excitement and enthusiasm, a deep commitment and vulnerability to allow them to speak to me."

"In life, we experience relationships sometimes as being traumatic, especially when outside events affect our parents. When they make decisions that we hold them responsible for –– that affect our lives, not knowing all of the reasons they made those decisions for their life –– [it] creates a little bit of [a] gap and a little bit of a traumatic experience."

"The assassination of Caldwell is symbolic of the reign of terror that defeated Reconstruction, democracy, Black political participation, as well as human rights in Mississippi and the South in the mid-. Violence was central to the establishment of White domination, not only to seize power for White supremacists but also to instill fear and intimidation in the Black population and their allies. In a state with a Black majority, to secure White supremacy and to maintain Black labor, particularly rural workers, as a servile labor force, it was necessary to institutionalize fear and intimidation. Men like Caldwell represented hope for Black progress and resistance to White domination."

"Another Belzoni activist would be attacked by White supremacists months later. Belzoni leader, entrepreneur, and grocer Gus Courts was warned after the murder of Lee that he would be "next on the list to go." Courts was distinguished from his peers by organizing a contingent. of Humphreys County Blacks to pay their poll taxes and register to vote in 1953. After being harassed by the Humphreys County Citizens' Council, Courts appealed to the state government for protection. Instead of receiving protection, Courts was confronted in his store by a local Citizens' Council member who possessed a copy of his letter appealing for protection. After the November 1955 elections, Courts was shot in his store. Friends took the wounded Courts two counties away to the hospital in Mound Bayou, due to concerns about the care Lee received in the Belzoni hospital after his assault. Courts recovered from the attack in Mound Bayou. Following advice from Medgar Evers, Courts decided to leave the state. Escorted by an armed Evers, Courts fled the Delta to Jackson. After stints in Texas and California, Courts and his family would eventually move to Chicago. An FBI investigation of the Courts shooting ended with no arrests. In Chicago, Courts was clearly a political exile of Mississippi apartheid. During a 1968 interview, Courts reflected, I had to leave my $15,000 a year grocery business, my trucking business and my home and everything—my wife and I—thousands of us Mississippians had to run away. We had to flee in the night. We are American refugees from the terror in the South all because we wanted to vote."

"The assassination of Caldwell is symbolic of the reign of terror that defeated Reconstruction, democracy, Black political participation, as well as human rights in Mississippi and the South in the mid-. Violence was central to the establishment of White domination, not only to seize power for White supremacists but also to instill fear and intimidation in the Black population and their allies. In a state with a Black majority, to secure White supremacy and to maintain Black labor, particularly rural workers, as a servile labor force, it was necessary to institutionalize fear and intimidation. Men like Caldwell represented hope for Black progress and resistance to White domination."

"During the 1870s, Black political participation was the primary motivation for White supremacist violence. Black political participation accounted for 83 percent of the recorded mob violence of the period. The federal government allowed its southern adversaries back into the union through the violence, terror, and disenfranchisement of people of African descent. The U.S. government and national Republican Party proved unreliable allies as valiant men like Caldwell were assassinated, Black political officials were deposed, and the Black masses were forced into agrarian peonage. With the Hayes-Tilden , any pretense of federal intervention in Mississippi and the former Confederacy was dropped for decades. A war was waged in the South to place emancipated Blacks, in the words of Du Bois, "back towards slavery." Terrorist violence was unleashed to secure the White planter elite in power and to perpetuate a system based on White supremacy. The specter of violence remained as a means of intimidation and social control. In the decades following Reconstruction, lynching became common in the state. Between 1882 and 1940, 534 Black people were lynched in Mississippi—the highest total in the United States during that period. The federal government ignored terrorism waged against Black people: "Congress and the president took no action to prevent lynching, and the federal government did not prosecute the perpetrators, even when the event was publicized at least a day in advance." With White supremacist violence as a major vehicle used to intimidate and suppress, within decades Blacks were excluded from representation and participation in electoral politics and apartheid was institutionalized in civil society."

"Another Belzoni activist would be attacked by White supremacists months later. Belzoni leader, entrepreneur, and grocer Gus Courts was warned after the murder of Lee that he would be "next on the list to go." Courts was distinguished from his peers by organizing a contingent. of Humphreys County Blacks to pay their poll taxes and register to vote in 1953. After being harassed by the Humphreys County Citizens' Council, Courts appealed to the state government for protection. Instead of receiving protection, Courts was confronted in his store by a local Citizens' Council member who possessed a copy of his letter appealing for protection. After the November 1955 elections, Courts was shot in his store. Friends took the wounded Courts two counties away to the hospital in Mound Bayou, due to concerns about the care Lee received in the Belzoni hospital after his assault. Courts recovered from the attack in Mound Bayou. Following advice from Medgar Evers, Courts decided to leave the state. Escorted by an armed Evers, Courts fled the Delta to Jackson. After stints in Texas and California, Courts and his family would eventually move to Chicago. An FBI investigation of the Courts shooting ended with no arrests. In Chicago, Courts was clearly a political exile of Mississippi apartheid. During a 1968 interview, Courts reflected, I had to leave my $15,000 a year grocery business, my trucking business and my home and everything—my wife and I—thousands of us Mississippians had to run away. We had to flee in the night. We are American refugees from the terror in the South all because we wanted to vote."

"Sweden avoided World War II, sparing itself the German occupation that Norway endured and the Soviet invasion suffered by the Finns. During the Cold War, Sweden continued its neutral path...[and] declined to join NATO. And then Feb. 24, 2022, happened. The Russian invasion of Ukraine brought into sharp relief the limitations of being in Europe but not having the security guarantees of NATO’s collective defense pact. The Finns — dragging the Swedes with them — applied for membership in the alliance."

"I have always been a daughter of two countries, in large part because without America, my adopted country, my native country of Liberia would not exist."

"This country took me and my family in when we were at one of the lowest points of our lives and returned to me a feeling I had lost: that of being safe. I was so proud when I eventually took the oath of citizenship and posed for photos, waving an American flag, in front of the courthouse where I was sworn in."

"All my inspiration today," he [Miles Davis] asserts "comes from Ahmad Jamal, the Chicago pianist. I got the idea for this treatment of 'Autumn Leaves' from him."

"I always tried to divest myself of the music business. I wasn’t too thrilled with the music business at any time [...] So I have always sought to do other things."

"Listen to the way Jamal uses space. He lets it go so that you can feel the rhythm section and the rhythm section can feel you. It's not crowded ... Ahmad is one of my favorites. I live until he makes another record."

"[Jazz] interpreted the works of composers such as the Gershwins or Irving Berlin beyond their wildest dreams. Take the pianist Art Tatum; most of the body of work he did wasn't his own music, and yet it was totally his. That's a process that has allowed what is called jazz to add so much to the world's culture. Look at the Juilliard School, the New England Conservatory, institutions that wouldn't have thought of teaching Louis Armstrong – now Louis Armstrong is teaching them, they all have jazz departments, and they teach kids from all over the world."

"I listened to music from Tatum and Erroll Garner to Mozart. I've composed since I was 10 years old – I used to do 20% my own pieces and 80% other people's; now it's turned the other way. After a certain time you discover the Mozart in you, the Duke Ellington or Billy Strayhorn in you. It takes time to discover yourself. You also have to find and keep players who are in tune with what you're doing; you have that empathy, the quality of breathing together."

"[On maintaining high levels of energy into old age] It's a divine gift, that's all I can tell you [...] We don't create, we discover – and the process of discovery gives you energy"

"I'm still evolving, whenever I sit down at the piano [...] I still come up with some fresh ideas."

"I once heard Ben Webster playing his heart out on a ballad [...] All of a sudden he stopped. I asked him, "Why did you stop, Ben?" He said, "I forgot the lyrics." That's what Nat (King) Cole was talking about, "You have learn to live with a song.""

"When I pass a piano anywhere, I have to touch it or play it."

"Performing is like being the matador in a bullring. You have to be constantly concerned about what you're doing or you get gored."

""I do things differently," he asserts. "I put it down to my parents, and to being raised in Pittsburgh, which is unique. I was delivering papers to Billy Strayhorn's family when I was seven years old. It was Mary Lou Williams's town, Kenny Clarke's, Art Blakey's, Earl Hines's, Roy Eldridge's, George Benson's, Stanley Turrentine's, Earle Wilde [sic], the exponent of Liszt, Maxine Sullivan, Loren Mazel [sic] the conductor. My father was an open-hearth worker in the steel mills, but they got me playing the piano when I was three years old."

"Years ago, when I was growing up and bands like Basie and Ellington came to the Stanley Theatre in Pittsburgh, where I was born, they were called entertainers. You can hardly use that word today, when men like Max Roach and Jackie McLean have tenure as professors at major American colleges."

"When 1 was 7, my mother arranged for me to take piano lessons. They cost one dollar a lesson. She was a domestic. She walked to work to save that dollar."

"I was playing Liszt's Eroica etudes when I was 11 . . . though I can't play it now." (Jamal reflects on this with a laugh.) "It all made me eventually settle on calling this great music 'American classical music' instead of jazz. It's the only art form that developed in the United States except for American Indian art. It managed to survive because it's so strong and so natural and so pure."

"A guy that knows all these electronic things may be great [...] but a guy who knows acoustic and electronic is better. Just like a guy who knows Mozart only may be great, but a guy who knows Mozart and Duke Ellington is better. And a guy who knows Mozart and Brahms and Ellington is even better . . . It's musical depth perception."

"Miles, Thad Jones, Clark Terry, Gil Evans, myself—the reason we always stay young is because we've been part of three eras. We heard Lunceford, Hines, Basie at their peak--I was a sponge, I absorbed that era. Then it was the Gillespie-Parker era—we were still young, and again we sponged it up. Now we are living in the electronic age . . . and we're still listening."

"If you're applying for credit and write that you’re an insurance salesman, or a member of the Chicago Symphony, you won't have trouble. But just write "jazz musician" and you can't even buy a sofa on credit."

"[In response to a comment ("I sometime-get the feeling that Jamal would rather crawl into the piano than off the bench at the conclusion of a performance, so deeply involved is he in his music") by critic Philip Elwood] Maybe so. But I regret that I still don't have enough time to spend with my instrument. I think I could become more at one with it if I did."

"It was 25 cents here, $6 there. At $6, one gets to thinking it's a lot of money. So then economics started dictating the direction of my career, and that's when I started devoting more time to jazz. When I got up to $60 a week, which was as much as my father was making, I said, well, this is it. And I was doing that before I left high school."

"[On querying the permanent use of the word "jazz"] So was the word Negro ! Yet you hardly hear it anymore—it's now Afro-American or black. All sorts of linguistic changes are going on: Instead of chairman we now say chairperson in order to upgrade the position of women in our society. Jazz is an important-enough area of our culture to demand constant refinement."

"[Jazz and the European classical repertoire] In Pittsburgh we didn't separate the two schools [...] We studied Bach and Ellington, Mozart and Art Tatum. When you start at 3, what you hear you play. I heard all these things."

"When my people were brought over here from Asia and Africa, they were given various names, such as Jones and Smith. I haven't adopted a name. It's a part of my ancestral background and heritage: I have re-established my original name. I have gone back to my own vine and fig tree."

"[When asked how he practiced] With the door open, hoping that someone would drive down my street in a big luxurious car and hear me! [...] I was never the practitioner in the sense of 12 hours a day, but I always thought about music. I think about music all the time."

"You either win or you learn. That's how I feel. You either win or you learn. Win, lose, I always reflect on the things I could have done better, anything you could have done better to try and take that next step. That'll be the same process I always have going on."

"Everything I want to do is just quantify my work, just quantify the work that I put in. I don't really like to look at the results. Never like to look at the results, just the process of getting better. You can look back and say that there's so many things that motivate me and drive me to want more, to be the best. And why do I just keep getting up and going and going and going? But I had a purpose before everybody had an opinion. It's not about anybody else."

"I didn't walk through all that fire just to smell the smoke."

"Defense played their ass off. They played how they played all year. I truly believe offense wins games but . How our defense has been able to play is a great testament to them."

"I think I hate losing more than I love to win."

"It's hard to just sit here and reflect on four years, a whole year with my brothers this year, all of that right now. It hurts me. You talk about how much it means to you and the team. It's supposed to hurt. This is not a good feeling. This is a feeling I've never felt before. It hurts me in my heart, you know. When I decided to come to this school, I told Coach Riley, I'm going to go win you a National Championship, and I failed to do that. Moving forward, I definitely hope -- I've already told them, I hope that you guys learn from this. I hope everybody learns from this. It hurts me the most because usually, when you come up short in something, you can come back and you can fix it. I can't come back and fix it. I'll never play college football again."

"I knew the only way to beat Mississippi was with the United States military. I had not just the United States Army fighting my war against Mississippi, but President Kennedy sent in the best of the United States Army."

"My statue at Ole Miss is a false idol. And it wasn't put there for my benefit. It was put there for Ole Miss and Mississippi...Ole Miss kicked my butt and they're still celebrating. Because every black that's gone there since me has been insulted, humiliated, and they can't even tell their story. Everybody has to tell James Meredith's story — which is a lie. The powers that be in Mississippi understand this very clearly. See, I've been telling them for fifty years how insulting it is to me to suggest that I had to be courageous to confront some ignorant white folks. And recently, they told me they really understand, but they're gonna keep doing it. I can't figure a way to make 'em stop. They're gonna keep on doin' it because it makes it impossible for the blacks there now to say anything about what's happened to them. Because the comparison is with the idol."