We can't exempt ourselves from the same moral calculus that we are willing to apply to others.

Tony Morrison said, 'Can't I love what I criticize, criticize what I love.'

[The World Series] introduced me for the first time to a team with a lot of black players. Detroit had about three of them: I think it was Willie Horton, Gates Brown, and Earl Wilson - might have been one or two more in '68.

It is extremely interesting to me that black males, and other black folk, are viewed as self-pitying, by either other blacks who have failed to accurately calculate their own diminished status as a result of racial animosity - both individual and systemic - or by whites who fail to comprehend how, after forcing black folk into subservience for hundreds of years, they now whine about small privileges that pale - so to speak - in comparison to the untold advantage of centuries of benefit.

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.

Gangsta rap often reaches higher than its ugliest, lowest common denominator, misogyny, violence, materialism and sexual transgression are not its exclusive domain. At its best, this music draws attention to complex dimensions of ghetto life ignored by most Americans. Indeed, gangsta rap's in-your-face style may do more to force America to confront crucial social problems than a million sermons or political speeches.

New Orleans invented the brown paper bag party - usually at a gathering in a home - where anyone darker than the bag attached to the door was denied entrance. The brown bag criterion survives as a metaphor for how the black cultural elite quite literally establishes caste along color lines within black life.