A Quote by Cornel West
If you can't have a good time and smile and relate to people across race and class, then the success that you have ultimately is just sounding brass and tinkling symbol.
Related Quotes
True love requires action. We can speak of love all day long, we can write notes or poems that proclaim it, sing songs that praise it, and preach sermons that encourage it but until we manifest that love in action, our words are nothing but sounding brass, or a tinkling cymbal.
I think that when a poem can move readers across generations and across its specific class or race then it becomes truly classic.
Most middle-class Americans, even working-class Americans, encounter each other across racial lines all the time, but it gets really hard-core when you get into that witches' brew that is the combination of race and poverty.
There's this false notion that you have to separate and choose between issues of class and issues of race. What people do when they say that you need to separate class from race is that they are really just saying that people of color should come second.
Ultimately, we as a band just write what we write. Some of it's very serious, and even in the serious songs, there's sometimes an angle of levity. I think that's just how we communicate naturally and to shy away from that would be, first of all, boring for me, but also it wouldn't ring true to who I am or the way I relate to people or the way we relate to people as a band or the way we relate to the audience. Humor is a big part of it, but we also take our craft very seriously.
Ultimately a good logo is something that people recognize instantly and relate to.
People want to know and understand each other across lines of race, class, gender, sexuality, ability.
Now we are proud that the government has moved from the class of the exploiters to the class of the people who were being exploited. And in the great name of the same class, I raise this nation's flag which is a strong symbol of this transfer.
A poor logo doesn't mean a business will fail, and a good logo doesn't mean it will succeed - it just helps. Ultimately a good logo is something that people recognize instantly and relate to.
As a songwriter and as a vocalist, Adele is amazing. You have that. But then there's something about her that's just very honest. I feel like so many people across the board can relate to her and who she is. She's just so appealing and very real.
When the ability to have movement across social class becomes virtually impossible, I think it is the beginning of the end of a country. And because education is so critical to success in this country, if we don't figure out a way to create greater mobility across social class, I do think it will be the beginning of the end.
Eccentricity is usually owned by middle-class and upper-class people. If you are working class and eccentric, then you're just mad.
The entering class I joined in 1956 included just nine women, up from five in the then second-year class, and only one African American. All professors, in those now-ancient days, were of the same race and sex.
I'm conscious of race whenever I'm writing, just as I'm conscious of class, religion, human psychology, politics — everything that makes up the human experience. I don't think I can do a good job if I'm not paying attention to what's meaningful to people, and in American culture, there isn't anything that informs human interaction more than the idea of race.
Success gives you a platform for further success - suddenly everybody wants to work with you, and your opportunities and possibilities open up. But at the same time, success is also immensely challenging - it ultimately often creates pride, stubbornness, and sloppiness that beget failure, taking down people and organizations.
This false distance is present everywhere: in spy films, in Godard, in modern advertising, which uses it continually as a cultural allusion. It is not really clear in the end whether this 'cool' smile is the smile of humour or that of commercial complicity. This is also the case with pop, and its smile ultimately encapsulates all its ambiguity: it is not the smile of critical distance, but the smile of collusion
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