A Quote by Rhiannon Giddens
We're not here as a black band playing white string band music. You know, we play stuff in the Appalachians, we play stuff in the white community, but we really highlight the black community's music.
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With the White Stripes we were trying to trick people into not realising we were playing the blues. We did not want to come off like white kids trying to play black music from 100 years ago so a great way to distract them was by dressing in red, white and black.
I want to be a great role model to let the kids, especially black kids, that it's possible to make it in this sport. I think we, as a black community, quit playing the game because we think it's a white man's sport. Or we think that since other black people don't play it, so why should I play it.
If a community of people wears white on a mournful occasion and another dresses in black, then one community would like white and dislike black and the other would like black and dislike white. Moreover, this attitude leaves a physical effect on the cells as well as on the genes in the body.
The reason why rappers are living in - you know, driving in Mercedes-Benz's and living in neighborhoods is because they're selling their music, not just to the black community, but to the white community.
That was the special thing about the Carolina Chocolate Drops. We didn't want to do music full-time. We weren't looking to get rich, which is good, because we didn't. But we went further than we thought we would go. We started that band to celebrate Joe Thompson and the black string band music. That's not really a recipe for commercial success.
Who are the slumlords in the Black community? The so-called Jews. … Who is it sucking our blood in the Black community? A white imposter Arab and a white imposter Jew.
I would never try and play like Harry James, because I don't like his tone - for me. It's just white. You know what I mean? He has what we black trumpet players call a white sound. But it's for white music ... I can tell a white trumpet player, just listening to a record. There'll be something he'll do that'll let me know that he's white.
Even though it's called Music Of Black Origin, it's not just music for black people. Music is for everybody. I think it's good that black music is acknowledged, and it's open for lots of artists, including white artists who have been inspired by black musical heritage.
We never considered ourselves to be a good band or anything, we just thought we were playing for fun and we wanted to play music that sounded like Black Sabbath or Soundgarden or the music we were into at that time.
I was basically 18 when I got offered to join Mister Valentine band and go on tour and leave high school. I was pretty stoked on that, but the band wasn't really my style so after like six months of playing with them I decided to play with the aesthetic of a DIY hardcore band playing pop music. That was the original idea.
Blackness is a state of mind and I identify with the black community. Mainly, because I realized, early on, when I walk into a room, people see a black woman, they don't see a white women. So out of that reason alone, I identify more with the black community.
I feel like there's not this black-and-white division between concert hall music and music that bands play in a bar. I don't know if this was ever truly the case, but I don't feel that I need to decide between playing for a sit-down, totally silent audience and playing for a bunch of noisy, drunk people in a bar. What I do with the group is somewhere in between.
To most white people, jazz means black and jazz means dirt, and that's not what I play. I play black classical music.
The first eight years of schooling was with all white people. So that helped me to understand how white people think. I think that transition is what helped me bridge the gap, because that's what my success has really been about: bridging the gap between the black community and the white community.
I collaborated with so many people from Chicago - so many Black people, young Black women organizations like BYP100 and Assata's Daughters. Just being out there, I saw what a community mobilizing can accomplish in terms of freedom and how music and my words in my music can play a significant part in that.
For me the music community was always like a model for what could be. The way people would play together, just harmony and being - old guys and young guys, black guys and white guys. It was setting an example for what the rest of us could be.
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