I have no interest in romanticizing poor black people, having been one of them myself in our beloved hometown of Detroit.

That is an extremely important role: how white brothers and sisters laterally spread knowledge, insight, and challenge in a way that white brothers and sisters will not hear it from a person like me, necessarily.

If you take a guy like a Barack Obama, who's raised millions of dollars from the most donors in the history of this nation, it suggests that there's a deep and profound hunger for a new politics to come forth. And a guy like him has been able to mobilize that and to reach certain parts of the hip-hop generation.

The only way for white folks to reclaim the full arc of their humanity, the full trajectory of their ethical content, of their ethical identity, is to surrender the white innocence that prevents them from being fully mature.

The beauty of the literary art, the grappling with the black church, the wrestling with one's identity in the bosom of a complicated black community that was both bulwark to the larger white society as well as a threshing ground, so to speak, to hash out the differences that black people have among ourselves.

I don't mind the job of saying to white people, "Yes, this is what I think you need to know, this is what I think you've been missing." And it's my job to educate white folks every day.

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.