A Quote by Kehinde Wiley
I came from a background where access to museum culture was rarely granted, and, when you got it, people wondered what the hell you were doing there.
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I think we did our first session in 1958. There were no black background singers - there were only white singers. They weren't even called background singers; they were just called singers. I don't know who gave us the name 'background singers,' but I think that came about when The Blossoms started doing background.
I wondered what it does to each of us to spend the majority of our waking hours doings things we'd rather not do, wishing we were outside or simply elsewhere, wishing we were reading, thinking, making love, fishing, sleeping, or simply having time to figure out who the hell we are and what the hell we're doing.
I came from this very traditional background and I benefited hugely from feminism. I felt privileged going to university and doing a PhD. Most people of my background don't get to do that.
With my family background - my parents were both activists - writing about culture and politics came naturally.
When we cut off access to certain parts of our cities to people on bikes or in wheelchairs, we're not only doing economic damage, we're also doing culture damage. New York is the culture capital of the world because people are running into each other on the street all the time. They are forced to engage in creativity and problem-solving.
Having a multi-cultural background has granted me access into different ideologies, cultures, and ways of living. It has shaped who I am and how I participate in the world.
Then I got this idea in my head that magazines were like a gallery and if you got your magazine page ripped out and someone stuck it on their refrigerator, then that was a museum – someone’s private museum.
You often hear attacks on international adoption as robbing a child of his or her culture, and that's both true and false. It's true that an internationally adopted child loses the rich background of history and religion and culture and language that the child was born into, but the cruel fact is that most children don't have access to the local, beautiful culture within an orphanage.
Professional wrestling in Europe is more of a sub-culture. It is not as popular as it is here in the United States. The people that were drawn to it were also people that were into sub-culture, hardcore sub-culture. It is basically an alternative scene that is sub-culture.
One thing you learn about doing nonfiction is that you've got to get it right, fact-check, do your research. You've got to not only get the facts right but represent the subject to the world in a way that insiders feel like it's an access port and outsiders can access it. If you're too insider, you block access to anyone else.
I've taken for granted that we have clean air to breathe in cities, relatively speaking, and most people have access to clean water. But we can't take these things for granted.
I was originally granted a visa for people of extraordinary abilities, then got a green card thanks to my modelling background and now I am officially an American with dual nationality.
I'm very fast on teaching guys. Like, when I came over here, I only had two rehearsals with the band. I wondered when I first got here... but it sure came up great.
The relocated Powerhouse Museum in Parramatta will be the anchor for arts and culture for the region, and now the site for the museum is locked in.
We all came from a culture of you got to keep moving, you got to keep doing.
I'm finding that people reading the book [The Heroin Diaries: A Year In The Life Of A Shattered Rock Star] are saying, "You came from one background, I came from this background - you were a rock star, I was a CEO. I didn't have a heroin/coke problem, but I had a pill problem. But I also fell from grace, didn't know how to get recovery, and I am now in recovery." People tell me that their kids read it and told them they'll never do drugs - "This book really shows me where it goes."
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