A Quote by Cornel West

Does he have a double standard for black critics as opposed to white critics? — © Cornel West
Does he have a double standard for black critics as opposed to white critics?
Critics kind never mind! Critics flatter no matter! Critics blame all the same! Do your best damn the rest!
I don't trust white critics' judgment about most things that deal with black life, particularly when a black person is the creator.
When critics love your film, you love critics. When they hate your film, you hate critics. It's the same everywhere, but maybe especially in France, where we have pretty good critics, except for three or four newspapers that are really dogmatic.
There are television critics, movie critics, and theater critics too who I like and who I follow and I get genuinely bummed when they don't like something that I've written because I usually agree with them.
When critics ask you if you feel vindicated by other critics - I didn't like critics then, and I don't like them now. There you go. I've always been outside the mainstream, and it stayed that way.
I don't really give in to the critics because critics are always going to criticize, and what have they done? A person who has never done nothing can't really care nothing about doing something. So as far as the critics, I don't care what they think. I don't have time to give to critics.
I read reviews of critics I respect and feel I can learn something from. Right now there are a lot of bottom-feeder critics who just have access to a computer and don't necessarily have an academic or cinema background that I can detect, so I tend to ignore that and stay with the same top-tier critics that I've come to respect. I like reading a good review - it doesn't have to be favorable, but a well-thought-out one - because I very much appreciate the relationship of directors and critics.
Insofar as we, critics of the black tradition, master our craft, we serve both to preserve our own traditions and to shape their direction. All great writers demand great critics.
I'm not trying to brainwash my critics. If they're critics, they're critics, and that's their job to be critical, but I certainly enjoy the involvement I have with my fans. I enjoy the time I get to spend with them, and I don't waste time with someone stubborn who is not going to come around.
I started as a black-and-white teenage photographer, and I'm still there decades after. In some ways, the genre is almost gone. I am thinking of true, stubborn, lifetime black-and-white photographers, as opposed to black-and-white as a photographic commodity.
When, in the year 1913, in my desperate attempt to free art from the ballast of objectivity, I took refuge in the square form and exhibited a picture which consisted of nothing more than a black square on a white field, the critics and, along with them, the public sighed: 'Everything which we loved is lost. We are in a desert .... Before us is nothing but a black square on a white background!'
I honestly think I could sit down and write a show tonight that the critics would love, and I know it would be canceled within four weeks. I know what the critics love. We write and produce for people, not for critics.
I don't think you ever silence critics. They'll be critics in the morning. That's part of the deal.
If there is ever one thing you learn as a professional footballer, you have a lot of critics and you have the chance to silence your critics.
The liberal state is neutral between capitalism and its critics until the critics look like they are winning.
Writers are rarely their own best critics, nor are critics.
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