Quotes of All Topics . Occasions . Authors
At Murry Bergtraum [High School] if you were really funny you sat at this table at with all of the funniest dudes, the toughest, the coolest - everybody sat at that table. It was like the ghetto Algonquin Round Table. [Comedy] was my entry, my membership card.
Assimilation, a certain uniformity of conduct, is necessary in a multi-party state.This is not only a requirement to the established majority; it is also a requirement to the minorities themselves. Because, I repeat myself, a ghetto existence is not very nice.
The coming of Christ means a denial of what we thought we were. It means destroying the white devil in us. Reconciliation to God means that white people are prepared to deny themselves (whiteness), take up the cross (blackness) and follow Christ (black ghetto).
Generally students are the best vehicles for passing on ideas, for their thoughts are plastic and can be molded and they can adjust the ideas of old men to the shape of reality as they find it in villages and hills of China or in ghettos and suburbs of America.
I grew up originally in Rochester. It was where I was born and a very tough neighbourhood with a lot of violence. I consider myself lucky. When I was aged 11, in 1998, Dad moved us to a suburban area from what was a ghetto area. It gave me a chance of survival.
I would often get called in to play a very loud, obnoxious - which, truth be told, I can be loud and obnoxious. My issue was when it was like a ghetto girl; I didn't think I was good at it; I didn't feel authentic. And so I had insecurities about going in on it.
The people of this country are too tolerant. There's no other country in the world where they'd allow it... After all we built up this country and then we allow a lot of foreigners, the scum of Europe, the offscourings of Polish ghettos to come and run it for us.
You've got to remember that west of Winnipeg the ridings the Liberals hold are dominated by people who are either recent Asian immigrants or recent migrants from eastern Canada: people who live in ghettoes and who are not integrated into western Canadian society.
I believe that prizes are useful things for the disciplines, whether we are talking about chemistry or we're talking... It motivates, it, you know, inspires, it encourages and it brings, in the case of literature, it brings literature, the arts out of the ghetto.
There are so many slices to the African-American experience. I mean, I have the whole ghetto pedigree. My mom was in jail, I didn't have any money, and I didn't go to a fancy college. But that's not the type of story I want to tell or feel the need to tell on film.
Matangi's mantra is aim, which is MIA backwards. She fights for freedom of speech and stands for truth, and lives in the ghetto because her dad was the first person in Hindu mythology who came from the 'hood, but had gained enlightenment through not being a Brahmin.
The idea that things can be serious minded but must be somehow balkanized in the art-house ghetto is very upsetting because I think it limits not just the audience who was already going to see it, but those who might have had their tastes developed at a younger age.
I think suspense should be like any other color on a writers palette. I suppose Im in the minority but I think its crazy for literary fiction to divorce itself from stories that are suspenseful, and assign anything with cops or spies or criminals to some genre ghetto.
But I think people, especially white people, have to come to understand that the language of the ghetto is a language of its own, and as the party - whose members for the most part come from the ghetto - seeks to talk to the people, it must speak the people's language.
The ghetto was not only a place of refuge for a persecuted minority but a great experiment in peace, in self-discipline and in humanism. As such it still exists and refuses to give up in spite of all the brutality that surrounds it. I was brought up among those people.
She's like a Barbie, then she wants to be a superhero, or coming out of a spaceship and everything's pink. She makes a certain move that's ghetto hood mixed with a little robot so its like I'm evolving Nicki Minaj and developing her style. She's fearless, and I love her.
Finally, one night we were smoking pot [with Michael O'Donoghue] and talking about the people that are invariably in high school, whether you go to prep school or public school or ghetto school or rich suburban school. And actually, it spun off from a Kurt Vonnegut quote.
We lived in a ghetto. I could have pretended I was hard or tough and not a square. I wound up not getting in trouble. I don't consider myself to be especially wise, but I will say that it's pretty clear that some people want to get out and some people don't. I wanted out.
The kids that are making the ghetto stuff I can't even reach are the ones that are inspiring me to play music for the other kids in the city they don't even know about. If I don't get those kids making music, there won't be an original kid DJing like me in five to 10 years.
When I was a kid in Boston, it was one of the most anti-Semitic cities in the country. If you were living in the ghetto as I was, the Jewish ghetto part of Roxbury, and you went out alone at night, you might be subject to having people attacking you for being a Christ killer.
The roots of rap are originally ghetto-ised or extremely working class. So when you're an artist who's making something which isn't how its mainstream appearance should be, there's always these strange questions of authenticity and what you have to do to be 'real' as a rapper.
Every mind is a clutter of memories, images, inventions and age-old repetitions. It can be a ghetto, too, if a ghetto is a sealed-off, confined place. Or a sanctuary, where one is free to dream and think whatever one wants. For most of us it's both - and a lot more complicated.
Willy DeVille knows the truth of a city street and the courage in a ghetto love song. And the harsh reality in his voice and phrasing is yesterday, today, and tomorrow - timeless in the same way that loneliness, no money, and troubles find each other and never quit for a minute.
The reason I introduced sex - or erotic imagery - to Purple is not only because I don't want sex to be hidden but because also I consider it as an extension of fashion, the way the body expresses seduction and beauty. It's very artificial to put sex in a ghetto. Plus, sex sells.
If I grew up, you know, in the ghetto, like, and I wasn't taught any other way to talk or a way to act or other food to eat or just like anything like that, like, when I'm I supposed to do? You know, like, is there a class I'm supposed to take to learn how to be white, you know?
I think that wealthy white people would like to have a country that resembles the Fifties, when all the minorities were tucked away in ghettos and paid in very low wages but on the surface it was very bright and shiny and free and the rest of the world would look on it longingly.
Nobody wanted to be in business with Death Row because, unfortunately, they felt there was an element there that could be dangerous. But I just knew they had great music and that they were a bunch of guys who wanted to make it out of the ghetto. That's something I can understand.
Part of the French political class is realising that there is are large number of Muslim people coming from the ghettos who want to make themselves heard, politically, especially about foreign policy issues. Its electoral weight can bring back to the forefront the Palestinian issue.
In my mind, there's nothing wrong with it. I don't instinctively know what's wrong with it. There is a language of the ghetto. There is a language of the barrio. And it's not good. There is an attitude. There is a behavior. There is a mindset and we wouldn't anybody to be stuck in it.
Black Revolutionaries do not drop from the moon. We are created by our conditions. We are shaped by our oppression. We are being manufactured in droves in the ghetto streets, places like attica, san quetin, bedford hills, leavenworth, and sing sing. They are turning out thousands of us.
The year the bus drivers went on strike in Pittsburgh, I was twenty-three and living on the edge of the city in a neighborhood that was on the verge of becoming a ghetto. I had just been fired from a good job as a cartographer in a design studio where I had worked for about four months.
The trouble is not that schools don't work; they do. They're excellent machines for achieving historically accepted purposes. In suburban schools are children of the rich, who grow up to privilege and anesthetic oblivion to pain - and who then use the servants produced by ghetto schools.
Covertly invest into non-White areas, invest in ghetto abortion clinics. Help to raise money for free abortions, in primarily non-White areas. Perhaps abortion clinic syndicates throughout North America, that primarily operate in non-White areas and receive tax support, should be promoted.
What I'm really trying to do is recreate classic Hollywood cinema and classic genre cinema from a woman's point of view. Because most cinema is really made for men, how can you create cinema that's for women without having it be relegated to a ghetto of "chick flick" or something like that?
The suburbanization and the ghettos that were created as a result of the limits of where [African-Americans] could live in the North [still exist today.] And ... the South was forced to change, in part because they were losing such a large part of their workforce through the Great Migration.
Those who are most sensitive about "politically incorrect" terminology are not the average black ghetto-dweller, Asian immigrant, abused woman or disabled person, but a minority of activists, many of whom do not even belong to any "oppressed" group but come from privileged strata of society.
The ghetto music of my era is hip-hop. And Parliament, and Curtis Mayfield, and Marvin Gaye, that was all the ghetto stuff when I was a baby, and then when I was a teenager it was hip-hop and we were taking all those old '70s sounds and recreating them and putting them into a hip-hop format.
I've always felt very convicted that I didn't want to work in kind of the Christian film-making ghetto. My calling was always to show myself approved and worthy to work at the highest level possible in terms of craft and working with very gifted people and trying to be excellent in everything.
Can one say that there is a way of crying out, of speaking, which is properly feminine? Personally, I don't think so. In the end, I find this is another way of putting women in a kind of singularity, a ghetto, which is not what I want. I want them to be singular and universal at the same time.
There's the animation ghetto of feature films in this country. There's this flavor at DreamWorks, and Pixar does their own thing, and generally they're safe. But if you look at Walt Disney's original films, at the time and in the context, they weren't safe. They were really dark and troubling.
If the Jews had issues with the Polish people then why during the Warsaw Ghetto Uprising, did the Jewish underground hang two flags from the bunker - the Polish flag and the flag of the Jewish people? Why? They did it because they felt part of Polish society and that is how we view them as well.
While 'The Wire' feels startlingly lifelike, it is not, in fact, a naturalistic depiction of ghetto life. That kind of realism better describes an earlier miniseries of Simon's, 'The Corner,' which was based on the book of the same title that he and Ed Burns wrote, set in the same Baltimore ghetto.
For that reason the simple test of the slogan 'Consume Less' as a basis for social action on the environment would be to tell it to the blacks in the ghetto. The message will not be very well received for there are many people in this country who consume less than is needed to sustain a decent life.
What sort of attractions do you think lured our coreligionists out of the ghetto and into the mainstream of European culture? Was it the wit of Molière, or the ingenious stage mechanisms of Pixérécourt? Or was it simply the opportunity to cast an eye, without shame, upon the living, unclad human form?
People come to L.A. and they expect to see a ghetto like the projects, but that's not the way it's set up. Inglewood, in particular, is the furthest thing from a ghetto. It's a middle-class community, but it's gotten a bad rap over the years... because of 'Grand Canyon' and 'Pulp Fiction' and other films.
It was an amazing childhood, despite what you might think about black struggle and poor neighbourhoods and the ghetto. My mother was an educated, budding linguist who really inspired us. Some of the leading indicators of success in the world have to do with how many books are in the house when you're a kid.
Had drugs been decriminalized, crack would never have been invented and there would today be fewer addicts... The ghettos would not be drug-and-crime-infested no-man's lands... Colombia, Bolivia and Peru would not be suffering from narco-terror, and we would not be distorting our foreign policy because of it.
Living in Barcelona, I have my own little ghetto utopia. There are 3,000 ghost towns in Spain, and I've used the images of them a lot in my backdrops for my solo spoken-word stuff. The ghost towns could be from two buildings to 40 - things died out, or there were plagues, the roads don't lead there, whatever.
I went to this arts high school in Greenville, S.C. In speech class, the teacher, a white man, would say, 'You're talking ghetto. Don't talk ghetto.' I'm not only offended, but I'm confused because while there's nothing wrong with people who come from the projects or the ghetto, that's actually not my experience.
I bristle a little when the argument for film gets put into the nostalgia ghetto. Film is still the highest quality and best-looking image capture medium available. I don't think it always will be. The digital image will get better, and it will eventually surpass the quality of the film image, but it isn't there yet.