Quotes About Diversity

Walter Mosley was not the first black crime writer, nor was he the first to fuse genre conventions with larger social concerns. But when 'Devil in a Blue Dress' introduced the Los Angeles-based private detective Easy Rawlins nearly 20 years ago, it was clear the author set out to stretch the boundaries of the mystery and thriller framework.

Few years ago, it was completely different. Now you go to any country, city, or continent and just say 'Bollywood,' and they will know. So, it means everybody is watching everything.

Sports broadcasting is very open now. In the beginning you did encounter more traditional attitudes and get comments. But I'm talking about 12 years ago.

I've played heavies for years and years and years. I was bald. I came to Hollywood. I did a play about junk. I was a pusher, so I played pushers for years and years and years. I did war movies and things like that.

I've been banging on about doing stuff in Birmingham for years and years, and everyone says 'We can't, it's the accent thing.' For some reason it's a very difficult accent to get right, harder even than Geordie.

'99.9%' is the end product of years and years of me going through multiple styles and interests.

The Righteous Brothers started out in Orange County, California. It was about the whitest place in the country, but the black marines from the nearby base heard there were two guys singing rhythm and blues, so they came down to hear us. At the end of our songs they'd yell out, 'That's righteous, brother!' and that's how we got our name.

Some people just yell 'Asian BuzzFeed guy!' and I turn around and distinctly yell back 'Eugene!'

One of the things that I'm very proud to stand up and yell about is that we need to end gatekeeping in our society. We need to stop people from saying, 'You need to pass the test if you're going to come in here and do this.'

America's a family. We all yell at each other. It all works out.

It's weird, because everywhere I go, people yell, 'Grasshopper!' or 'Bill!' but down there in Mexico or Colombia or anywhere in South America or most of Europe, people will yell, 'Serpent's Egg!' And I'll go, 'Wow, man, these people are really hip.'

I grew up in a largely black community during the '70s and '80s that scoffed at 'white' music. That music - folk, rock, some disco - was considered soulless, aberrant, just one more example of the Caucasian's desire to scream and yell and demand whatever their privilege and perpetual adolescence dictated they should demand.

Working in bars back then, in the '50s, to get a job you had to play all kinds of music. There'd be customers come in and yell jazz tunes at you and yell rock 'n' roll tunes at you and polkas and rhythm and blues and country music.

I think probably one of the coolest things was when I went to play basketball at Rucker Park in Harlem. First of all, who would think that Larry the Cable Guy would go to Harlem to play basketball? And I was received like a rock star. It was amazing! There were people everywhere. There were guys walking by yelling, 'Git 'r done!'

Where I came from, just nodding and smiling when someone expressed views was the ultimate insult. If people weren't yelling about politics in our house then they were arguing about music, or movies, or food.

The Democratic Party is always going to be a diverse group of people who are yelling at each other and fighting over what's the best way to do something.

I'm trying to get people to see that we are our brother's keeper. Red, white, black, brown or yellow, rich or poor, we all have the blues.

I remember watching Margaret Cho with my grandmother on TV. She was my hero, not only because she was funny, but because she showed me that it's okay to be yourself, that it's okay to be a brash yellow girl and to be a strong and brave woman.

Part of our tradition as black women is that we are universalists. Black children, yellow children, red children, brown children, that is the black woman's normal, day-to-day relationship. In my family alone, we are about four different colors.

I am Charles Mingus. Half-black man. Yellow man. Half-yellow. Not even yellow, nor white enough to pass for nothing but black and not too light enough to be called white.

Black, brown, white, yellow - why are we always talking about colors? I'm a girl. I believe in a global community.

'Yellow Face' marks my summation of multiculturalism.

Being 'ethnically ambiguous', as I was pegged in the industry, meant I could audition for virtually any role. Morphing from Latina when I was dressed in red, to African American when in mustard yellow, my closet filled with fashionable frocks to make me look as racially varied as an Eighties Benetton poster.

That's what he was saying, the civil rights movement - judge me for my character, not how black my skin is, not how yellow my skin is, how short I am, how tall or fat or thin; It's by my character.