Margo Jefferson Quotes
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I first wrote about Michael Jackson in the 1980s. His skin was growing paler, his features thinner, and his aura more feminine. Some called him a traitor to his race. Some fussed about his gender fluidity. I saw him as a post-modern shape-shifter. But the shifts grew more extreme and mysterious.
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I think all literature should be read as comparative literature. And I think we should write out of what we know, but in the expectation that we can be changed at any moment by something we have yet to discover.
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The piece I most love wearing is Mother's gold brocade cocktail dress with matching jacket... It's 'flip and flirty,' as my mother prescribed. It's crisp yet splendid. It makes me feel I've put on made-to-order armor. My mother's armor. Armor that helped shield me from exclusion. Armor that helped shield me from inferiority.
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Popular music is one endless love song that, I suspect, the basically solitary Ella Fitzgerald approached much as the basically solitary Marianne Moore approached poetry: reading it with a certain contempt for it, Moore said, you could find a place in it for the genuine.
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I think the most harmful belief passed on to me - not always directly - was the belief that whatever I did as a Negro, however much we Negroes achieved, despite the presence of some enlightened whites, white society as a whole enjoyed being racists in the secret core of their being and would never, ever give that up.
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We Americans are childish about our celebrities and icons. We worship, then we denounce; we identify passionately with them and then, if they do something - anything - we dislike, we cast them off.
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Criticism does demand a certain kind of authority, but what about the authority of not really being sure what you think? What about the authority, the authenticity that comes from bringing all your intellectual, emotional and spiritual equipment to a piece of art or entertainment whilst still being uncertain and confused?
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I resist lists. It must be all those 'Most Important' and 'Best of the Year' ones I compiled in my years as a beat critic. I often felt guilty about what I left out.
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Many say that no real avant-garde - which I'll define as a combative group of free-thinking artists - can exist anymore. The media's reach is too vast. New artists and movements get snatched up too quickly.
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Sometimes it feels as if the artist hasn't done the real work of engaging with the material. Film noir can't just play off looks and attitudes. A thriller needs a dose of genuine suspense. It does not have to be literal, but it does have to feel genuine. Otherwise the artist is just leeching off the form.
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Ralph Ellison's essays were models for me when I began my life as a critic. Slipping cultural yokes and violating aesthetic boundaries, he made criticism high-stakes work, especially for a black critic.
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Negroland is my name for a small region of Negro America where residents were sheltered by a certain amount of privilege and plenty. Children in Negroland were warned that few Negroes enjoyed privilege or plenty and that most whites would be glad to see them returned to indigence, deference and subservience.
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I was born in 1947, and my generation, like its predecessors, was taught that since our achievements received little notice or credit from white America, we were not to discuss our faults, lapses, or uncertainties in public.
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Noir has always shown that greed and chaos are as close as the company we work for or the politicians we vote for.
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I was nearing the end of childhood when I started to pay real attention to jazz singers. Women excelled as jazz singers; they surpassed most of the men. Black women excelled as jazz singers; they surpassed most of the whites.
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At the very least, noir offers an alternate reality - moments of real passion, a bleak code of honor, and a need for freedom amid corruption. At its best, noir offers a map of subversion.
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I was taught you don't tell your secrets to strangers - certainly not secrets that expose error, weakness, failure. My generation, like its predecessors, was taught that since our achievements received little notice or credit from white America, we were not to discuss our faults, lapses, or uncertainties in public.
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Fashion for my mother was about asserting and demonstrating you had aesthetics, tastes, sensibility, manners, beauty - qualities that black people were always trying to prove they possessed, because it was often assumed that we didn't.
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Michael Jackson loved epic symbols. In his shows and his videos, he always destroyed or salvaged worlds; he was the hero of parables about street violence, sexual combat, war and natural disaster. It was always apocalypse or apotheosis now.
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Yes, for blacks, racism functions without the actual presence of whites, just as for whites it functions without the actual presence of blacks! Beliefs, conventions, history do the work.
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If you were a successful upper-middle-class Negro girl in the 1950s and '60s, you were, in practice and imagination, a white Protestant upper middle-class girl. Young, good-looking white women were the most desirable creatures in the world. It was hard not to want to imitate them; it was highly toxic, too, as we would learn.
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You were not supposed to show off in Negroland because you are supposed to be perfectly decorous and well behaved. You were also not supposed to tell any stories that reflected badly on the group because that reflected badly on the race. I use past tense, but it still feels like present tense.
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In general, fashion is decorative, it's protective, it acknowledges that the world does involve conflict, and you might be attacked by assumptions, presumptions, and attitudes.
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The burden of being a constant symbol, of having to live up to a symbol of advancement, of progress, of being perfect in some way and always representing the destiny of an entire people - that is supposed to be invincibility. That's enormous.