Quotessence
Home / Quotes / J Quotes

J Quotes

Browse famous quotes beginning with J. This page is a child index of the full Popular Quotes A-Z directory.

All J Quotes

“Jazz musician Miles Davis once said, “If somebody told me I had only one hour to live, I’d spend it choking a white man. I’d do it nice and slow.” bell hooks, a black professor of English at City College of New York who spells her name in lower case, once wrote, “I am writing this essay sitting beside an anonymous white male that I long to murder.” Demond Washington, a star athlete at Tallassee High School in Tallassee, Alabama, got in trouble for saying over the school intercom, “I hate white people and I’m going to kill them all!” Later he said he did not mean it. Someone who probably did mean it was Maurice Heath, who heads the Philadelphia chapter of the New Black Panther party. He once told a crowd, “I hate white people—all of them! . . . You want freedom? You’re gonna have to kill some crackers! You’re gonna have to kill some of their babies!” Another one who probably meant it is Dr. Kamau Kambon, black activist and former visiting professor of Africana Studies at North Carolina State University in Raleigh. In 2005, Prof. Kambon told a panel at Howard University Law School that “white people want to kill us,” and that “we have to exterminate white people off the face of the planet to solve this problem.” In 2005, James “Jimi” Izrael, a black editorial assistant for the Lexington, Kentucky, Herald- Leader, was on a radio program to talk about Prof. Kambon. Another guest mentioned other blacks who have written about the fantasy of killing whites, and Mr. Izrael began to laugh. “Listen,” he said, “I’m laughing because if I had a dollar for every time I heard a black person [talking about] killing somebody white I’d be a millionaire.” For some, killing whites is not fantasy. Although the press was quiet about this aspect of the story, the two snipers who terrorized the Washington, DC, area in 2002 had a racial motive. Lee Malvo testified that his confederate, John Muhammad, was driven by hatred of America because of its “slavery, hypocrisy and foreign policy.” His plan was to kill six whites every day for 30 days. For a 179-day period in 1973 and 1974, a group of Black Muslim “Death Angels” kept the city of San Francisco in a panic as they killed scores of randomly-chosen “blue-eyed devils.” Some 71 deaths were eventually attributed to them. Four of an estimated 14 Death Angels were convicted of first-degree murder. Most Americans have never heard of what became known as the Zebra Killings. A 2005 analysis of crime victim surveys found that 45 percent of the violent crimes blacks committed were against whites, 43 percent against blacks, and 10 percent against Hispanics. There was therefore slightly more black-on-white than black-on-black crime. When whites committed violence they chose black victims only 3 percent of the time. Violence by whites against blacks, such as the 1998 dragging death of James Byrd, is well reported, but racial murder by blacks is little publicized. For example, in Wilkinsburg, near Philadelphia, 39-year-old Ronald Taylor killed three men and wounded two others in a 2000 rampage, in which he targeted whites. At one point, he pushed a black woman out of his way, saying “Not you, sister. I’m not going to hurt any black people. I’m just out to kill all white people.”

HateRaceDiversityGenocide
Author:Jared Taylor
Create image

“Jazz musicians like John Coltrane needed these very clear titles for their abstract music, and your decision to bring voices into your music as a way to tap into content. It's related to the way my text-based work still functions as abstraction for me. If I repeat a sentence down a canvas, the text starts to smudge and disappear. It essentially becomes an abstract piece. The meaning of the text is still there.”

DecisionMusicianJazzDisappearAbstractCanvasJazz MusicJazz MusicianColtrane
Author:Glenn Ligon
Create image

“Jazz presumes that it would be nice if the four of us--simpatico dudes that we are--while playing this complicated song together, might somehow be free and autonomous as well. Tragically, this never quite works out. At best, we can only be free one or two at a time--while the other dudes hold onto the wire. Which is not to say that no one has tried to dispense with wires. Many have, and sometimes it works--but it doesn't feel like jazz when it does. The music simply drifts away into the stratosphere of formal dialectic, beyond our social concerns. Rock-and-roll, on the other hand, presumes that the four of us--as damaged and anti-social as we are--might possibly get it to-fucking-gether, man, and play this simple song. And play it right, okay? Just this once, in tune and on the beat. But we can't. The song's too simple, and we're too complicated and too excited. We try like hell, but the guitars distort, the intonation bends, and the beat just moves, imperceptibly, against our formal expectations, whetehr we want it to or not. Just because we're breathing, man. Thus, in the process of trying to play this very simple song together, we create this hurricane of noise, this infinitely complicated, fractal filigree of delicate distinctions. And you can thank the wanking eighties, if you wish, and digital sequencers, too, for proving to everyone that technologically "perfect" rock--like "free" jazz--sucks rockets. Because order sucks. I mean, look at the Stones. Keith Richards is always on top of the beat, and Bill Wyman, until he quit, was always behind it, because Richards is leading the band and Charlie Watts is listening to him and Wyman is listening to Watts. So the beat is sliding on those tiny neural lapses, not so you can tell, of course, but so you can feel it in your stomach. And the intonation is wavering, too, with the pulse in the finger on the amplified string. This is the delicacy of rock-and-roll, the bodily rhetoric of tiny increments, necessary imperfections, and contingent community. And it has its virtues, because jazz only works if we're trying to be free and are, in fact, together. Rock-and-roll works because we're all a bunch of flakes. That's something you can depend on, and a good thing too, because in the twentieth century, that's all there is: jazz and rock-and-roll. The rest is term papers and advertising.”

MusicSocietyJazzRock And Roll
Author:Dave Hickey
Create image

“Jazz presumes that it would be nice if the four of us-simpatico dudes that we are-while playing this complicated song together, might somehow be free and autonomous as well. Tragically, this never quite works out. At best, we can only be free one or two at a time-while the other dudes hold onto the wire. Which is not to say that no one has tried to dispense with wires. Many have, and sometimes it works-but it doesn't feel like jazz when it does. The music simply drifts away into the stratosphere of formal dialectic, beyond our social concerns.”

IfsFeelsWellsDoeTwoSometimesMightWould BeTogetherSongSocialFourNiceConcernJazzWork OutComplicatedBeing NiceFormalNever QuitWireAutonomousDialecticsSimpatico
Author:Dave Hickey
Create image

“Jazz stopped being creative in the early '80s. After your acoustic era, where you had the likes of the Miles Davis Quintet, when it gets to the '70s it started being jazz fusion where you had more electronic stuff happening, then in the '80s they started trying to bring back the acoustic stuff, like Branford Marsalis and the Wynton Marsalis & Eric Clapton sextet. It started dying down from there. Miles was still around in the '80s and he was still being creative; he was playing Michael Jackson songs and changing sounds, but a lot of people were still trying to regurgitate the old stuff.”

PeopleTryingSongCreativeDyingJazzBe Creative
Author:Robert Glasper
Create image