Charles Barkley Quotes

White America don't get to dictate how me and Shaq talk to each other.

I am instinctively wary of identity politics. Ultimately, no two black men are the same, any more than two white men are the same.

I'm not a fan of identity politics.

My first series, the 'Inheritance' trilogy, in the first book, you were dealing with a woman of color from an impoverished culture, being brought up among wealthy, privileged white people and having to cope and perform in ways that she has not been raised to do, and that was obviously drawn from some personal experiences.

For all of the diversity in 'Scandal,' no one else would be sitting in a room wearing a T-shirt and chains and call a Southern white Republican president a 'boy.' And it's those kinds of things that Rowan has the freedom to say that nobody else could say within the confines of the show.

I was making big paintings with mythological themes. When I started painting black figures, the white professors were relieved, and the black students were like, 'She's on our side.' These are the kinds of issues that a white male artist just doesn't have to deal with.

There was certainly, like, a rebellious, like, youthful rage in me. And there was also the fact of no getting away from fact that I am white, and you know, this is predominantly black music, you know.

My encounters with racism are sort of second-hand situations where I might be standing around with a group of white friends and someone makes a comment that they wouldn't make at my family reunion.

I really wanted to be born a woman. It all started there. A South American woman. And I'm upset that I was born a white Jewish male. I've been angry since.

Class, race, sexuality, gender and all other categories by which we categorize and dismiss each other need to be excavated from the inside.

Multiculturalism isn't about culture, it's about power.

I'm the result of upbringing, class, race, gender, social prejudices, and economics. So I'm a victim again. A result.

The social disease of political correctness has entered daily life, inverting good to bad and attempting to rewrite proud histories as an imposition of white supremacy for which we all should make contrition.

Racism always exists cheek by jowl with, inside, and alongside culture and class. As a rule, it is inseparable from them. That is why, for example, food, language and names assume such importance in racial prejudice.

I'm not a big fan of identity politics and sort of picking one thing and defining yourself with it.

It is in many circumstances a troubling thing to belong to the advanced class of a backward nation. One surrenders coherence and begins a difficult process of choice which ends, often, in an eclectic idiosyncrasy.

I am performing this role of the artist and this role of the 'negress' coming into a white-box institution. It's kind of a self-appointed role: the self-designated negress.

White people are potential humans - they haven't evolved yet.

People are so confused about race and hip-hop that people didn't even consider the Beastie Boys one of the greatest rap groups of all time because they were white.

Writing about identity can be like maneuvering through a minefield, even when considering contemporary figures who have discussed the subject themselves.

I'm doing this play right now, the new David Mamet play. It's called 'Race,' and it's very interesting how people really leave the theater filled with the desire to talk about the play and the issues and the characters, and how they're all navigating their personal views around race.

Mr. Cosby wanted to do a show not about an upper-middle-class black family, but an upper-middle-class family that happened to be black. Though it sounds like semantics, they're very different approaches.

There's always been a quiet conversation and joke that if you're not hard, if you're not from impoverished neighborhoods, if you're not certain constructs of a black stereotype, then you not black.

Race affects everything that I do, and everything that I create speaks to intersectionality.

Different identity groups hold specific levels of power over others when their battles play out in the media. To wit: Black beats white. Gay beats white. Black beats gay.