I think that Michael Jackson, just as an entertainer, as a figure who embodies the contradictions of Black identity, and the possibilities of R&B music in the '70s and '80s will continue to be one of the most recognized and formidable human beings that we've ever produced in our tradition.

Ralph Ellison is a classic work of erudition, grace, and elegance. Rampersad offers us an Ellison whose gifts and warts orbit the same universe of creative genius. Like Ellison's work, Rampersad's text wrestles eloquently with difficult truths about race, politics, and American life.

All of us should be much more humble and contrite when we point the finger at somebody else, because four more fingers are pointing back at us.

Mrs. James, my fifth-grade teacher, introduced us to some of the great literature of African American culture. I won my first blue ribbon reciting the vernacular poems of Paul Lawrence Dunbar, in particular "Little Brown Baby."

Record labels collude with some of the radio stations, and the radio stations have their play lists, dependent upon what they call the, quote, 'hits.' What's commercially viable gets recycled, endlessly repeated, and as a result of that, the progressive music can't break in.

A lot of the commercial expression of hip-hop leaves a lot to be desired - but then, there's a lot of whack gospel music, but I'm not leading a crusade against it. Of course, the vices of hip-hop are far more influential, I understand. But the good that hip-hop transmits, the power of the culture to rally the best of our protest, and uplift, and resistance, traditions, is often unfairly overlooked.

We need all the newfangled web-based Internet spread, you know, social media that can catalyze, you know, some serious consciousness about what's going on. But we also need people on the streets pounding the pavement to make a significant and dramatic appearance to suggest that what's going on here is unacceptable.