I think there's no question that Michael Jackson was the foremost entertainer of his generation; perhaps of all time, arguably, taking the skills of a Sammy Davis, Jr., bringing together the street dance of African American urban culture, joining them to the politics of dance, of Fred Astaire and Gene Kelly on that sphere alone.

I grew up on the West Side - the "near West Side," [in Detroit], as they say - in what would be considered now the inner city.

Black people watch more television than anybody else, which makes it legitimate to talk about television. Its anesthetizing effect has been quite real. But that concern isn't new.

White supremacy is the conscious or unconscious belief or the investment in the inherent superiority of some, while others are believed to be innately inferior. And it doesn't demand the individual participation of the singular bigot. It is a machine operating in perpetuity, because it doesn't demand that somebody be in place driving.

Hip hop music is important precisely because it sheds light on contemporary politics, history, and race. At its best, hip hop gives voice to marginal black youth we are not used to hearing from on such topics.

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.

I grew up in Detroit. I was a teen father. I lived on welfare for three years. I have a brother serving life in prison, though I believe he's innocent.