A Quote by Robin Williams

Whenever a big white man picks up a banjo, my cheeks tighten. — © Robin Williams
Whenever a big white man picks up a banjo, my cheeks tighten.
I think it is very ironic that most people think that the banjo is a southern white instrument. It came from Africa and even for the first years that white people played banjo they would put on blackface.
I play a replica of a banjo from the 1950s. It was the first commercial-style banjo in the United States so it's the first one that white people played.
Or if I have my head in the results, I can't work with what I have, because I'm trying to force something to happen. And with singing, any time you force it, you tighten up. If you tighten up, you're screwed, nothing will work.
All I can do is just go in there and tighten up my game, tighten up my handles. Just all the little basic things that you wouldn't even think about, the fundamental parts of the game.
And then Earl Scruggs comes along and transforms the banjo into a virtuosic modern instrument. For the first time, the Southern banjo style becomes the identity of the banjo, and everything from before is wiped off of people's consciousness by the power of that explosion.
A man picks a wife about the same way an apple picks a farmer.
No white American ever thinks that any other race is wholly civilized until he wears the white man’s clothes, eats the white man’s food, speaks the white man’s language, and professes the white man’s religion.
I told my father I wanted to play the banjo, and so he saved the money and got ready to give me a banjo for my next birthday, and between that time and my birthday, I lost interest in the banjo and was playing guitar.
The key is to not let the camera, which depicts nature in so much detail, reveal just what the eye picks up, but what the heart picks up as well.
The white man will keep on granting tokenism; a few big Negroes will get big jobs, but the black masses will catch hell as long as they stay in the white man's house.
There was such hostility to the idea of a banjo being a black instrument. It was co-opted by this white supremacist notion that old-time music was the inheritance of white America.
If Martin Luther King, Roy Wilkins or any of these compromising Negros who say exactly what the white man wants to hear is interviewed anywhere in the country you don't get anybody to offset what they say. But whenever a black man stands up and says something that white people don't like then the first thing that man does is run around to try and find somebody to say something to offset what has just been said. This is natural but it is done.
No, we are not anti-white. But we don't have time for the white man. The white man is on top already, the white man is the boss already ... He has first-class citizenship already. So you are wasting your time talking to the white man. We are working on our own people.
My dad taught me very early in life that whenever a child learns to walk, he falls a lot of times, but then he picks himself up and learns to walk like a man, and that is something which is a motto in life as well. You gotta pick yourself up, and you gotta walk, and you gotta walk strong.
They're doing everything they can to tighten security at the White House. Today, on the roof of the White House, they added one of those fake owls.
I was 18, at art school, and saw this cute boy playing banjo. I was obsessed. I taught myself how to play. I listened to a lot of country and just messed around. The second song I wrote on the banjo was 'Good to Be a Man.' That what's got me signed.
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