A Quote by DJ Quik

How did we lose our culture? Black people used to all do the same thing on Saturdays. We all watched "Soul Train" and "American Bandstand", got our fashion and dance tips, and then we emulated it and bought those records that we heard. Now it seems like there is no culture. The school of fish are all separate. Everybody's just randomized, listening to their own thing in their earbuds, and there's no uniformity. That bothers me.
Now it seems like there is no culture. The school of fish are all separate. Everybody's just randomized, listening to their own thing in their earbuds... That's going to be the downfall of music, if anything. Nobody enjoys one thing anymore.
When I was going to school, I just wanted to be like everybody else. I would pull at my hair to try and get it to lie straight. America was where I would consume and absorb black culture, buy Ultra Sheen and watch 'Soul Train,' but I still had that weird in-between thing.
We do not have an American culture. We have a white American culture and a black American culture. So when those two groups try to get together, [it's] very difficult because they each feel like they have the right to their culture.
Media is so weird; everything is so accessible now. It used to be this thing where, if you did something on 'This American Life,' this predates me, but when David Sedaris did it, for example, it would just play, people who heard it heard it, and then the book would come out a year later, and people would be like, 'Ahh, I kind of remember that.'
Our attitude toward our own culture has recently been characterized by two qualities, braggadocio and petulance. Braggadocio - empty boasting of American power, American virtue, American know-how - has dominated our foreign relations now for some decades. Here at home - within the family, so to speak - our attitude to our culture expresses a superficially different spirit, the spirit of petulance. Never before, perhaps, has a culture been so fragmented into groups, each full of its own virtue, each annoyed and irritated at the others.
The things that inform student culture are created and controlled by the unseen culture, the sociological aspects of our climbing culture, our 'me' generation, our yuppie culture, our SUVs, or, you know, shopping culture, our war culture.
I'd like to state that Spike Lee is not saying that African American culture is just for black people alone to enjoy and cherish. Culture is for everybody.
Because of this high status of the object in our culture, something has to be a thing. Live efforts are almost marginal. I think dance, for example, is just as much a thing, and I want for it to have the same status. I don't want it to be the thing that comes in the evening and is, like, the happy music.
I did not disregard my culture, if I did, it was the white American culture, and I accepted my true culture, when I accepted Mohammed Ali, because this is a black name, Islam is the black man's religion, and so I would like to say, that I would like to clarify that point that I reclaimed my real culture, and that's being a black man and wearing a black name with a black body, and not a white name, so I would never say that I didn't disown my culture.
The foreign audiences are somewhat surprised and happy to find an American film that asks questions about American culture. There's a certain kind of cultural imperialism that we practice. Our films penetrate every market in the world. I have seen and have had people reflect to me, maybe not in so many words or specifically, but I get the subtext of it - they're somewhat charmed and surprised and happy to see an American film reflect on our culture. Because they see other cultures reflect on our culture but they don't see US culture reflecting on itself in quite the same way.
Dallas is more in line with mainstream America. But Houston's farther down on the map where it's a little different. I think it's the slowness of our culture, how we move slow. It's hot in here, you know. We got our own culture, our own slang, a little bit our own way of doing things.
My parents did not want us to lose our culture and our language. And that was a good thing.
I think a lot of times when people hear the word dance, they think 'oh, that's something that I can't do.' But dance really lives in our bodies and the thing that I've come to learn, embrace and lift up is that we have history in our bodies that's living and breathing. We have our own individual history but we also have our heritage. Each one of us has our movement language and it's about tapping into that and pulling that out. That's the thing that I try to encourage everybody because it's not about dance, it's about the movement and the gesture and how we honor it.
[If] we can celebrate that in a way that celebrates our love for New England as well as our love for the Italian culture as well as the American culture, then we've done something that's really good and supporting these fishermen who are doing the right thing in sustainability . . . paying attention to make sure we don't overfish our world.
The only thing I knew in the world as a little kid was comedy. And no other kids in my school cared about it at all. There was no one to talk about it with. You know, we're in a geek culture now where comedy is so giant. I'm one of the people that, you know, works on Funny or Die. And there is just a giant culture of comedy nerds. But back then, I was alone, and I had a little confidence about it because I felt like, this is my thing, this is the only thing that only I know about.
When I grew up in the '60s, we were actually dominated by this, you know, sort of conforming '50s culture, even though we were like trying to express our own culture, like, the dominant culture was the thing that was forming us. And I think that that's true today.
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