A Quote by Chirlane McCray
My life was very compartmentalized. I went to a school that was all white, and then I went home and to my black family.
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I don't like to see projects that are all black or all white. It's how life is. I do like to make sure that I do a nice black family film; that's like keeping my home base. I do other things, but I like to always come back to a positive family film, because of all the negative influences today.
If you're going to compare a middle-income black kid with a middle- income white kid, and, say, you control for family background, family education, and family income, and if this middle-income black kid doesn't score as well as the white kid on the test, then I say, look, you haven't taken into consideration the cumulative effect of living in a segregated neighborhood and going to a de facto segregated school. You're denying a position at Harvard or some other place to a kid that really could make it. That's why I support affirmative action that's based on both class and race.
I take my kids to school and if I go to work they visit me on set, I come home. I have dinner with my family. I have breakfast with my family. I have a very solid, a very warm home. I'm fortunate.
Around 1969, my family had just bought a house in a lower-middle-class white neighborhood two blocks away from school. Then, all of a sudden, all the white people left the neighborhood and the school.
When we don't have information, we go to the simplest outlook, to black and white. But then we have to lie to ourselves. Black is never as black as you're painting it and white is never as white.
You are a white. The Imperial Wizard. Now, if you don't think this is logic you can burn me on the fiery cross. This is the logic: You have the choice of spending fifteen years married to a woman, a black woman or a white woman. Fifteen years kissing and hugging and sleeping real close on hot nights. With a black, black woman or a white, white woman. The white woman is Kate Smith. And the black woman is Lena Horne. So you're not concerned with black or white anymore, are you? You are concerned with how cute or how pretty. Then let's really get basic and persecute ugly people!
I'm a black Catholic raised in Decatur, Georgia, which was very gang-infested. Then, I went to an all-white private high school and excelled in sports and wrote poetry, then played football at the University of Georgia, minoring in drama.
When it comes to racial issues, I'm very passionate about young girls just loving who they are in their own skin. Because I remember going to an all-white school and being the only black girl in an all-white school, think - looking around me, thinking there's no one else here that looks like me.
I wore a uniform to school, so the white-on-white or black-on-black Air Force 1 Low was the simple sneaker to wear, but it was the standard.
I take my kids to school. And if I go to work, I go to work, and they visit me on set. I come home. I have dinner with my family. I have breakfast with my family. I have a very solid, very warm home.
I would say I'm black because my parents said I'm black. I'm black because my mother's black. I'm black because I grew up in a family of all black people. I knew I was black because I grew up in an all-white neighborhood. And my parents, as part of their protective mechanisms that they were going to give to us, made it very clear what we were.
My schooling was very conservative. I went to Trinity School, and then to the Hill School, which is a boarding school, then to Yale. My parents got divorced in that period, and I realized I didn't have a life anymore. I was the only child, so a three-person family breaks apart. I ended up very conformist, very scared, very lonely. I couldn't go on with Yale, just couldn't do it. I'd been doing too much of that for too long. I didn't know what I wanted, but I knew what I didn't want, which was to go to Wall Street and join the crowd there.
I think that many black people thought this would be a wonderful and extraordinary thing, for a black family to occupy the White House. Not only black people; a lot of white people thought that, too, but particularly black people.
That's why for Zakk Wylde's Black Label Society the colors are black and white. There are no gray issues. Life is black and it's white. There's no in-between.
Back when we was in school in Mississippi, we had Little Black Sambo. That's what you learned: Anytime something was not good, or anytime something was bad in some kinda way, it had to be called black. Like, you had Black Monday, Black Friday, black sheep... Of course, everything else, all the good stuff, is white. White Christmas and such.
For every nineteenth-century middle-class family that protected its wife and child within the family circle, there was an Irish ora German girl scrubbing floors in that home, a Welsh boy mining coal to keep the home-baked goodies warm, a black girl doing the family laundry, a black mother and child picking cotton to be made into clothes for the family, and a Jewish or an Italian daughter in a sweatshop making "ladies" dresses or artificial flowers for the family to purchase.
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