A Quote by Darius Rucker
I'm a kid who grew up in an all African-American neighborhood and got into schools and aspired to just be me, and didn't worry about labels or anything. Just wanted to be a success at what I did.
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If you make the decision to send your kid to public school don't even look at private schools. Just shut the door. Just turn off the TV. And then you don't even have to worry about preschool. You have to worry about what's good for your kid, but you don't have to worry about how to position yourself.
I grew up in a blue-collar neighborhood and was raised by a man who did not emote, ever... I always cry at movies, and when I was a kid, I would try to hide it. It wasn't something a kid in Oaklyn, N.J., did. So I have these weird hang-ups about emotions.
When I say 'The Hunger For More', it could be referring to more success. It could be more money, or respect, more power, more understanding. All of those things lead up to that hunger for more, because my more isn't everybody else's more. I feel like I made it already, because I got already what everybody on the corners of the neighborhood I grew up in is striving to get. God forbid anything happen to me, my family is straight. So anything that happens after this is just me progressing as a person.
I was never a 'bad' kid, but I did get into minor juvenile trouble. Look, I grew up in Brooklyn. This was the '60s, and the neighborhood was rapidly changing and not without its problems. All the kids of the neighborhood 'did their thing,' breaking windows and the like. I was no different.
I wanted to do what Marilyn Monroe did (during the Korean War), when she went and just set up a stage and did a concert for the troops all by herself. It's so amazing seeing that one woman just going somewhere, this beautiful sex kitten, who's basically a pinup, which is what I've always aspired to be.
I don't know a kid who grew up in the '90s who wasn't obsessed with Disney, and I guess I never grew out of that phase, honestly. It's not just Disney: it's anything that has to do with fairytales for me. I think I just have Peter Pan Syndrome or something.
I just wanted to impress the guys in the neighborhood that I grew up with.
As I got older, I started to do it more and more, and I wanted to learn all of the different types. I grew up doing modern, so I wanted to learn ballet, tap, jazz, and African - just everything.
When I was a kid, I'd go to the African-American section in the bookstore, and I'd try and find African-American people I hadn't read before. So in that sense the category was useful to me. But it's not useful to me as I write. I don't sit down to write an African-American zombie story or an African-American story about elevators. I'm writing a story about elevators which happens to talk about race in different ways. Or I'm writing a zombie novel which doesn't have that much to do with being black in America. That novel is really about survival.
I went to so many record labels - name any one - and they all turned me down. For some reason I just got the thumbs down for years and years. It sounds like I'm making that up, but it's true. I'm too serious about music and my creations to take just any kind of deal. There were a couple of companies that wanted to put me with a producer, and I said, "Well, I just produced my last album," and I wasn't about to go backwards.
My mother birthed three children and she adopted myself and another African-American son. My adoptive parents were Finnish. I grew up in a white picket neighborhood.
I transitioned into theater and acting when I was about 9, community theater and musicals, being, like, chorus-kid-number-78 or whatever. But I just loved it. As a kid you just crave attention, and early on I just felt it was so cool and fun to play around and have people clap for me. But eventually I grew up and fell deeper into it.
It's exciting to me that Ride Along is a movie that has two African American leads, but it's even more exciting to me that it's not a movie about two African American leads. They just happen to be African American. It's a universal story. It's a story about a guy in love with a girl, and he's gotta get the approval of the overbearing, mean brother. That's a universal theme.
I don't worry about protein. I don't worry about all that. I'm from old school. I grew up in south Georgia. They didn't worry about cholesterol or protein. They went out and worked and lived a long time, so I don't put a lot of worries in my mind. I just get it done.
Michael Jackson fundamentally altered the terms of the debate about African American music. Remember, he was a chocolate, cherubic-faced genius with an African American halo. He had an Afro halo. He was a kid who was capable of embodying all of the high possibilities and the deep griefs that besieged the African American psyche.
I was just so honored to play the role of Cinderella and to just be the first African-American princess, that's just historic for me, that's such a mark in my life and my career and then the bonus of just working with my favorite person in the whole world, Whitney [Houston], like her voice just did something to my spirit.
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