A Quote by Hugh Panaro

Human beings are not black and white. — © Hugh Panaro
Human beings are not black and white.
Victims of the violence are black and white, rich and poor, young and old, famous and unknown. They are most important of all, human beings whom other human beings loved and needed.
I use very little red. I use blue, yellow, a little green, but especially... black, white and grey. There is a certain need in me for communication with human beings. Black and white is writing.
I hated [Robert Mugabe]. He's one of the worst human beings I've ever met. He treated black and white with equal contempt. He was a horrible human being.
At its best, what art does is, it points to who we as human beings and what we as human beings value. And if Black Lives Matter, they deserve to be in paintings.
I love writing about black women, but if you go beyond that, we're human beings - and because we're human beings, it's universal for everybody.
And I'm happy to say that I'm able to find people wherever I go that are not black, not white - they're just human beings. That's where I am, where I've been and where I intend to stay.
I'm not at all against white people adopting black children, because we're all human beings who need to give love and be nurtured in safety, but I do think it's better to be adopted by blacks.
I've never seen a sincere white man, not when it comes to helping black people. Usually things like this are done by white people to benefit themselves. The white man's primary interest is not to elevate the thinking of black people, or to waken black people, or white people either. The white man is interested in the black man only to the extent that the black man is of use to him. The white man's interest is to make money, to exploit.
I like playing human beings - I don't believe in good or bad. I don't believe in black and white. I believe in different tonalities. I believe in different layers of emotions and states of mind. I believe in characters that can be human.
...I see that White Light will only return to the planet when every human being recognizes every other human being as an individualized frequency of the White Light. As long as we keep eliminating or devaluing other human beings we have decided we don't like, ie., destroying frequencies of the spectrum, we will not be able to experience the White Light. Our job is to protect and nurture each human frequency so that the White Light can return.
Human beings go to church. The guy in the front dressed in black is the guy you defer to. He is in charge of the mysteries of universe, which ordinary human beings don't seem to have the inclination to understand.
This propaganda of dis-associating Western Negroes from Africa is not a new one. For many years white propagandists have been printing tons of literature to impress scattered Ethiopia, especially that portion within their civilization, with the idea that Africa is a despised place, inhabited by savages, and cannibals, where no civilized human being should go, especially black civilized human beings. This propaganda is promulgated for the cause that is being realized today. That cause is COLONIAL EXPANSION for the white nations of the world.
When white and black meet today, sometimes there is a ready understanding that there has been an encounter between two human beings. But often there is only, or chiefly, an awareness that Two Colors are in the room.
In my writing, I'm often describing a universal situation. A situation in which human beings often choose to violate each other. Sometimes I happen to explore that in terms of the black/white dynamic. Generally, a white person does not like me to say, or does not like to be told, "You know, what you did was incredibly wrong."
You don't want the white men to be written in a three-dimensional way but the black men, not. I mean, it's just about [how] scripts should always reflect real human beings. So that's what I look for.
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.
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