A Quote by Cecil Taylor
I am not afraid of European influences. The point is to use them, as Ellington did, as part of my life as an American Negro.
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I find that people today tend to use them interchangeably. I use African-American, because I teach African Studies as well as African-American Studies, so it's easy, neat and convenient. But sometimes, when you're in a barber shop, somebody'll say, "Did you see what that Negro did?" A lot of people slip in and out of different terms effortlessly, and I don't think the thought police should be on patrol.
I am a colored woman or a Negro woman. Either one is OK. People dislike those words now. Today these use this term African American. It wouldn't occur to me to use that. I prefer to think of myself as an American, that's all!
I'm fully conscious all the time that I'm an American Negro, because it's part of my life. But I also know that if I want to say, 'I see a bus full of people,' I don't have to say, 'I am a Negro seeing a bus full of people.'
I’ve come to the point of view that for European-American society and culture to persist requires a European-American majority, and a clear one at that.
I use African-American, because I teach African Studies as well as African-American Studies, so it's easy, neat and convenient. But sometimes, when you're in a barber shop, somebody'll say, "Did you see what that Negro did?" A lot of people slip in and out of different terms effortlessly, and I don't think the thought police should be on patrol.
Part of me loves and respects men so desperately, and part of me thinks they are so embarrassingly incompetent at life and in love. You have to teach them the very basics of emotional literacy. You have to teach them how to be there for you, and part of me feels tender toward them and gentle, and part of me is so afraid of them, afraid of any more violation.
Do you think Duke Ellington didn't listen to Debussy? Louis Armstrong loved opera, did you know that? Name me a jazz pianist who wasn't influenced by European music!
You can really use others to recognize your emotions. Many people, they have no contact with their emotions. They don't know what's happening with them. "Why am I afraid? What am I afraid of? Of what?"
Stop using the word 'Negro.' The word is a misnomer from every point of view. It does not represent a country or anything else ... I am an African-American.
I am aware of the changes, but in no sense am I believer that we live in a post-racial society. That's a description of our inheritance and that is theirs, which is inescapable. It is doesn't matter if you are from New England or Mississippi. You're an American. It doesn't matter if you are white, black, brown, or Asian. It is part of American society. You'd have to be blind, deaf, or dumb not to know it. The emphasis on color or the fear of it, is all part of the same dark flower. I am trying to point to that and to bring it all the way back from Senegal.
In European thought in general, as contrasted with American, vigor, life and originality have a kind of easy, professional utterance. American -- on the other hand, is expressed in an eager amateurish way. A European gives a sense of scope, of survey, of consideration. An American is strained, sensational. One is artistic gold; the other is bullion.
I am closer to a European viewpoint of the world than an American one. My ethics and ideals are based on European concepts.
America is a democracy and has no Hitler, but I am afraid for her future; there are hard times ahead for the American people, troubles will be coming from within and without. America cannot smile away their Negro problem nor Hiroshima and Nagasaki. There are cosmic laws.
I'm still kind of a hapless character in my everyday life. But when it comes to the writing, my influences are very old influences. I love American music of absolutely all stripes, including show tunes, advertising jingles, theme tunes from quiz shows, all kinds of American music.
Perhaps I am still very much of an American. That is to say, naïve, optimistic, gullible. In the eyes of a European, what am I but an American to the core, an American who exposes his Americanism like a sore. Like it or not, I am a product of this land of plenty, a believer in superabundance, a believer in miracles.
This is the mountain standing in the way of any true Negro art in America - this urge within the race toward whiteness, the desire to pour racial individuality into the mold of American standardization, and to be as little Negro and as much American as possible.
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