The greatest problem is not with flat-out white racists, but rather with the far larger number of Americans who believe intellectually in racial equality but are quietly oblivious to injustice around them.
When I worked in the White House in the 1970s and '80s, I was often stopped within the White House by agents checking my credentials. They were very observant and would stop anyone they didn't recognize.
Every vice president since Mondale has lived up on this hill, on the twelve-acre campus of the Naval Observatory in Northwest Washington. It's a pretty house with a wraparound porch and a white turret.
We live in a time of safe spaces, where micro-aggressions are monitored, where offending someone is the ultimate sin, where white people can't slip up, even once, even by accident.
I'm working alongside the White House and other members in the House to lessen the tax burden that currently weighs on so many Oklahomans.
It's the same old story. Nothing in this world happens unless white folks says it happens. And therein lies the problem of being a professional black storyteller - writer, musician, filmmaker.
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.
What I did at Ole Miss had nothing to do with going to classes. My objective was to destroy the system of white supremacy.
It's because films like 'Selma' are so rarely made that we end up putting them under the microscope. One, maybe two, a year. As a white person, you don't have that. You have the gamut. No one says to Oliver Stone, 'Another film about Vietnam? White characters again?'
An egg white omelet with vegetables is one of my favorite breakfasts.
If Dana White can offer a contract that's not one-sided, and it's not cumbersome to the point where we look at it and realize that we can't fight for him, then we'll fight in the UFC.
The beauty of a Moroccan riad is undeniable, but even the most die-hard fan may find herself growing a little weary of what can come to feel like a one-size-fits-all aesthetic: tilework, white Berber rugs, woolen tribal throw pillows in reds and ochers, cut-metal lanterns.
I got started in Oklahoma. That's where I was born. Population down there is one-third Indians, one-third Negroes and one-third white people.
I say it in the writers' room all the time: My black is not your black. What's terrifying is that, just the same way we've all accepted that normal is white, everybody seems to buy into the idea that there's only one way to be black or one way to be Hispanic. That's as damaging as anything else.
The vast majority of murdered whites are murdered by other whites. That's why there's no national outrage when a white person is killed by a black person: it's not evidence of some underlying black violence problem directed against white people.
Even without the euphoria of 'yes we can,' Hillary Clinton is to white women what Barack Obama was to African-Americans. She represents the opportunity to see a like image in the Oval Office for the first time.
'What I would give,' I thought, 'to have been present as Elizabeth Keckley measured Mary Lincoln for a new gown, to overhear their conversations on topics significant and ordinary, to observe the Lincoln White House from such an intimate perspective.'
There's no way that I could be the president. You can't have a pacifist in the White House... I'm an actor. This is what I do for a living.
Look at the old Packers - those guys were mean. Reggie White would say, 'Here comes Jesus,' and then he'd club you into next week.
The way 'Lux' was made is that there are 12 sections in here, though two of them are joined together. So there are really 11 sections, in a sense, and each one uses five notes out of a palette of seven notes, and my palette is all the white notes on the piano. That was the original palette.
