A Quote by Carl Hart
When you have the national narrative being "crack is awful and black people are using it," why go against that narrative when you want to get that publication in The New York Times or wherever? It encourages people to play right into it.
Related Quotes
I don't think people want to look at problems. They want a continuous narrative, an optimistic narrative. A narrative that says there's a present and a future - and what was in the past no longer exists.
I want the vetting to be solid. But I also want to bring these people in because not bringing them in sends a message, right, to the Muslim world and plays into the ISIS narrative and the Al Qaeda narrative, right, that this is a war between religions. And we can't have that.
I want to retire in New York, let's be quite frank. I think a lot of people jumped the gun when I said I wanted to be a free agent. And yeah, I want people to come to play in New York. I want them to want to play in New York. I want New York to be that place where guys want to come play.
In my mind, there's usually a fairly definitive kind of narrative when I write. But I don't want to enforce that on other people. I think that's why I like using metaphor so much.
The experience that a publication creates for its audience is the very essence of that publication's brand - and without deep engagement, that publication's brand will be weak. A good publication is a convener and an arbiter - it expresses a core narrative that becomes a badge of sorts for its readership.
Now, we're used to thinking of communism as being once-upon-a-time-all-things-were-owned-in-common, maybe-someday-this-will-come-again. And people agree that there is a sort of epic narrative going on here. I think we should just throw this narrative out, it's irrelevant anyway, and who cares who owns things? I don't. You know, we all own the White House. So what? I still can't go in, right?
Many activists don't want to hear about some grand narrative, one that could unify all of our struggles. So the major issue that needs to be addressed is how to get people to see that there is indeed a grand narrative which just happens to be true.
I did grow up in a household where the narrative was about public service and how are you going to effect change and help people. I'm so glad I grew up around that narrative, but I never had the calling to go out and shake hands and try to get elected.
For queer people, the personal is very political, just to talk about it in a public space. It's very political just to come out and take up that space and be like, 'This is my narrative. It's not an outsider narrative, and it's not a fetish narrative; it's just my story, and it's worth being told and listened to.'
I've seen a lot of brands fail because they went, 'Hey, look, we're from New York, and that's what we're all about.' But wherever you go, people are proud of where they are. So even though we're from New York, what we do is a mindset: it's got to work in Japan, in Los Angeles, London, wherever.
The New York Times will tell you what is going on in Afghanistan or the Horn of Africa. But it is no exaggeration that The New York Times has more people in India than they have in Brooklyn. Brooklyn is a borough of two million people. They're not a Bloomingdale's people, not trendy, sophisticated, the quiche and Volvo set. The New York Times does not serve those people.
When you go back to 'Friends,' and you look at that as New York, there's no black people. That's not real. You're in New York City, and there's no black people at all. That's a little funny.
People understand who Donald Trump is. There was a lawsuit against him for housing discrimination, racial discrimination against African-Americans that`s been in "The New York Times". Decades ago with "The New York Times".
The images that people see in the media of black people - whether journalistic or narrative - remain horrible. And those images, combined with the lack of respect among black people in the poorer neighborhoods for themselves, and the part the police and other people coming into those neighborhoods play, it creates no value for life.
There was always resistance and there was always a counter-narrative, but we were told all through the early twentieth century that black people in the South don't want an education, they don't want to vote, they're simple people, they don't want this, they don't want that.
What I'm really proud of Beyonce and Solange, they understand the importance of creating the narrative. It's all about the narrative and how you position yourself with your narrative.
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