A Quote by Kayvan Novak

I had a niche. And my niche was that I was brown. So it's like, 'Great, I get to go up for all these 'brown parts.'' I call them 'brown parts' because that's what they are. That's not to be resentful, because I loved playing those parts - I got to meet so many cool actors.
But that kind of falls in line; when you think about it, James Brown was a funk minimalist. All of those parts create a sum that's larger than than the individual parts.
It's true that old actors don't die, their parts get smaller. You're less likely to get the part, many parts, if you're playing people your age as opposed to people who are younger. There are fewer parts around.
If envy is red and doubt is black then happiness is brown. I looked from the little brown stone to the tiny brown freckle to her huge brown eyes.
James Brown opened at least six of our House of Blues clubs. He always delivered, but he demanded the respect of an emperor. But, come on, he's James Brown ! ... I got to play on stage with him. Did he ever fine me ? (Brown was known to fine players for flubbing notes or steps) - I would have loved to have been fined by James Brown !
When I first played New York, it was with James Brown at the Apollo, and I was playing in a band under the name The Valentinos. I remember Sam Cooke saying, 'I want you to go in there with James Brown. I couldn't be as hard on you as James Brown would be.' But we came out marching like soldiers.
In America in general... I know there are a lot of parts where may be it is not that great to be brown or black.
The brown bag, of course, had its imperfections. While some kids carried roast beef sandwiches, others had peanut butter. I have no way of knowing if all of those brown bags contained 'nutritionally adequate diets.' But I do know that those brown bags and those lunch pails symbolized parental love and responsibility.
It's cool to see a bunch of brown kids in the crowd. I wanna be a brown artist that they look up to. I didn't see that many artists with my same culture that I looked up to when I was growing up. The industry has always been whitewashed.
When I was very young I was never pretty or beautiful and didn't get the chance to play many parts I'd have loved to tackle: the great Shakespearean parts - Viola, Helena.
Brown for first course, white for pudding. Brown's savoury, white's the treat. Of course I'm the one who's laughing because I actually love brown toast.
I love a dark brown blush, like brown on brown.
For my money, Ray Brown is the greatest living bass player. Every great thing that's happened on bass since Ray Brown -- all of us point back to him. That's where it started, you know. Ray Brown is definitely a walking master, and to get to play with him is obviously an opportunity that no one should ever pass up.
There are so many actresses I want to write for. I see them, and I think, 'Why is she not playing that lead? What's happened to that actress?' I think all I can do is to write parts for women, to say, 'Keep going, keep acting, because there are parts for you. There will be those plays.'
As an author, you think you know where the good parts and the bad parts are. And then you read to a group of children, and you learn when you're boring them, and you hurry through those sections to get to the parts where they're interested again. You start to get a sense of your story's rhythm and flow.
Prince is from the school of James Brown, and I love James Brown because of all the great rhythms he plays.
With one glance he had got himself trapped in the brown fundament of her eyes, he was in danger of sinking, as if into a soft, brown swamp, and he had to close his own eyes for a second to get out of it.
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