Clarice Taylor Quotes
I certainly know about the oppression and prejudices of being black and a woman and from the South.
Quotes to Explore
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Individual science fiction stories may seem as trivial as ever to the blinder critics and philosophers of today - but the core of science fiction, its essence has become crucial to our salvation if we are to be saved at all.
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That's what I love about our music - it'll never be a hit because you can't dance to it.
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As a member of the audience I don't like it that I can't see what's going on in the eyes and in the face and in the most subtle responses of a performer when I'm more than a few rows back. I find it very frustrating.
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I don't think people really understood what I did. And you know, in my book, 'A Helluva High Note' deals with my back story, that I was a songwriter, that I spent years trying to hone my craft and being rejected and then finally becoming a successful songwriter, record executive and publisher.
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In 1980, shortly before my 11th birthday, I wrote my first essay in English.
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By the usual reckoning, the worst books make the best films.
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I love work where I can find out more about the world and its history.
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The poet exposes himself to the risk. All that has been said about poetry, all that he has learned about poetry, is only a partial assurance.
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The main reason I backed DeepMind was strategic: I see my role as bridging the AI research and AI safety communities.
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Survival requires us to leave our prejudices at home. It's about doing whatever it takes - and ultimately those with the biggest heart will win.
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Politics was my third act. But I could have a fourth. I don't know what that will be yet, but there will be one.
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Intuition and concepts constitute... the elements of all our knowledge, so that neither concepts without an intuition in some way corresponding to them, nor intuition without concepts, can yield knowledge.
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I didn't know I wanted to do films until I started to do them. Very few films are made in Mexico and film-making belonged to a very specific group, a clique.
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We must be our own before we can be another's.
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When I got to New York City when I was 18, I started playing in clubs in Brooklyn - I have good friends and devoted fans on the underground scene, but we were playing for each other at that point - and that was it.
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I struggled with the pressure of having the successful record after the first record. Second album syndrome. I'm living proof; it's very real. It was like a psychological battle to be creative. I used to never feel pressure to be creative; it's always just been a fun thing. And then suddenly it's my job, and people are asking, 'Where's the record?'
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I think the name of the show, 'This American Life' - we named it that just because it seemed like it made the thing feel big. But we don't think about whether it's an American story or not. We happen to be Americans. I think for the stories to work, they have to be universal.
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My memories are inside me – they're not things or a place – I can take them anywhere.
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When I get older, I want to be a Kristin Chenoweth and Sutton Foster - you know how they do all of it? I just want to do anything that has to do with performing.
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People hear the soul, black influence in my voice. I grew up listening to CKLW and all the black stations like WLBS.
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A lot of people are quick to say that saying 'black lives matter' makes you anti-cop. All lives should indeed matter, but we have a systemic problem in this country in which black lives do not matter enough.
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The world is no longer against us.
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Chances are if I am the one to cosign people, they will become a big part of the industry.
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I certainly know about the oppression and prejudices of being black and a woman and from the South.
