Quotes About Diversity

My first two books, I was very close to my main character, stuck inside their head. And then with 'Arrogance,' I broke into many different voices. I introduce many different characters, and that helped me to develop a confidence to move between different characters, between different voices.

When you listen to my music, you hear that there are all these voices going on in different parts of the song. That's because I was always around so many voices in church.

You need to mesh the voices of people with expertise and meritocracy.

I'm so happy that we're finally hearing the stories and voices of women who make America. We do what we see, not what we're told, so an incomplete story of this country damages everyone.

I hate white people writing for black people; it's so offensive. So we go out and look specifically for African-American voices.

I think social media has amplified a lot of voices that maybe traditional media hasn't perfectly portrayed.

Between 'Futurama' and 'Simpsons,' I'm able to work with the voices of Michael Jackson, Dustin Hoffman, and the cast of 'Star Trek.' It's great, you know; it's great to work with such talented people.

You write differently in each book. It may appear to be similar to readers, but you're a different writer in each book because you haven't approached that subject before. And every subject brings out a different prose strain in you. Fundamentally, yes, you're contained as one writer. But you have various voices. Like a good actor.

I was influenced by big, strong voices - writers like Elizabeth Bowen, Virginia Woolf, Jane Bowles; gay writers like Ed White, Michael Cunningham, Allen Hollinghurst; and contemporary lesbian writers, like Dorothy Allison.

The FCC was founded in 1934, and their first major action was in 1941 when they broke up NBC. NBC used to be NBC Red and NBC Blue, and they broke them up for the same exact reason: that there wasn't going to be a diversity of voices and because they were vertically integrated.

I've always been drawn to all sorts of genres and all sorts of voices.

Growing up, I listened to a lot of everything - I fell in love with music, when I discovered people like Lauryn Hill and Tracy Chapman, people whose voices I could really feel, people with a lot of soul. That's what I'm drawn to as a musician: Anybody that has their own voice and their own point of view.

Myself, I believe that black theatre continues to evolve, and the success of writers like Bola Agbaje and Rachel De-lahay is proof that fresh voices continue to emerge.

I love the sound of voices singing together, congregational singing, anything like gospel, or folk, or sea shanties.

I love the sound of voices singing together, congregational singing, anything like gospel, or folk, or sea shanties. I spent quite a bit of time in choirs growing up, and in the world-touring music group, Anuna. It's a sound with very rich texture, voices singing together.

I just feel it's important to make sure that behind the scenes is as filled with diverse voices as in front of the scene is.

As a professional cellist, I go to mostly classical concerts because that's the music I play, but I am also always trying to find out who the voices of our time are. I attend a spectrum of concerts that are close to classical - anything from Wynton Marsalis to Renee Fleming.

I think many of the ideas that opened up in the '60s got implemented in the '70s and that certain minority voices that were not being heard in the '60s, like women and gay people, were being heard in the '70s. Black Civil Rights had also found its foothold, and those ideas were also very pertinent.

We need more female voices to come out there and do comedy.

I think the lesson is that when you give black voices a platform and the opportunity to tell our story, we will tell good stories just like anybody else.

When I was growing up... I'm not going to say I listened to everything, but when it comes to vocals, I was really adamant about imitating all kinds of voices.

You have to have more people who don't look like you in the writers room. I try to have some people who don't look like me in my writers room. I think it's important to have a group of voices, of people who can dissent.

If you are not diverse and you are not listening to all voices and have your ear to the ground, you're not going to make the best decisions.

If the Tony Awards want to remain relevant in the American theater conversation, then they need to embrace the true diversity of voices that populate the American theater.