Most importantly for me growing up, it was a spirituals, it was a gospels, it was James Cleveland, Aretha Franklin, Marion Williams; and then it was Curtis Mayfield - The Main Ingredient, The Whispers, Black Blue Magic, James Brown, Aretha Franklin, Luther Vandross - that music helped me preserves my sanity, help me preserve whatever dignity I was able to preserve, helping to keep going. It was a source of tremendous strength in my life.

The challenge artists face today is whether to be an underground, unheard genius, or to dilute their art for the marketplace.

I'm a Christian, but I'm not a puritan. I believe in pleasure and orgiastic pleasure has its place, intellectual pleasure has its place, social pleasure has its place, televisual pleasure has its place [in life].

There ought to be a robust, uninhibited conversation in black America with different black ideological perspectives.

I have some notions that have people conceiving of themselves as capable of changing the world. That's why, for me, the issues of self-love, self-respect and self-regard are preconditions for human agency and especially black agency, given the fact that we have been and are such a hated and despised people.

Hope and optimism are different. Optimism tends to be based on the notion that there's enough evidence out there to believe things are gonna be better, much more rational, deeply secular, whereas hope looks at the evidence and says, "It doesn't look good at all. Doesn't look good at all. Gonna go beyond the evidence to create new possibilities based on visions that become contagious to allow people to engage in heroic actions always against the odds, no guarantee whatsoever." That's hope. I'm a prisoner of hope, though. Gonna die a prisoner of hope.

I'm black, so, you know, I'm again with black folk, but it's a love that spills over to vanilla suburbs and red reservations and brown barrios and yellow slices.