Questlove Quotes

On the plantations the slave owners would take their slaves’ drums away because they didn’t want them communicating with other slaves. They were afraid that the drum was some kind of magic signal system, a primal, coded language, which it was. And is. When the drums were taken away, other instruments were taken up — fifes and fiddles and the rest, and they were used for celebration and lamentation both, and a new kind of song sprung up, a work song, to document the labor in the fields, to pass the time, to pass on the content of the time, so that people would know what had happened.

In general, I don’t like to blame the creators. They are making work that appeals to them and the people in the room with them. They are making something that is, at some level, genuine. But the distributors, the networks that bring art to the population, they are the ones who ensure that there’s a flattening and narrowing. The younger me may have sat up all night with bandmates raging against Puffy or DMX or whoever, but the fact is that they were never the problem. The problem was that someone in the corporate chain of command felt that there was a need to play those songs fourteen times a day and to eliminate alternatives.

Think of all the different ways that stories get told. I’m working with the James Brown people on a movie that will end up being the closest thing to a biopic that can possibly exist for a man like that, who was actively working for fifty years. The story is too big to tell straight on through, so they decided to deal with it by breaking it into five different episodes, five representative short stories.

Deciding what you're not before you decide what you are let's you stand strong in your own category

When you live your life through records, the records are a record of your life.

That’s one thing about being creative. Don’t be too set in your own ways. Be suggestible from time to time. Allow unexpected influences (like Torr) to shift your ideas. You can always come back to your own convictions if they’re real. But be a tourist in other perspectives.

[Creativity] is about finding your own unique way of fitting into the continually repeating human experience.

I remember being a teenager and being ashamed of my musical tastes, at least some of them. My Brian Wilson and Beach Boys fandom, which is as important to me as anything else, was almost like a porn stash. Hide that shit, someone's coming! You couldn't look like me and be black in West Philadelphia and love the Beach Boys the way I did.

I jumped in the river and there’s piranhas and sharks, but I have a 500-foot lead on them.

There are studies in early child psychology that demonstrate that children have only their own perspective. If you put a doll across the table from them and ask them what the doll sees, they will tell you what they see. They know the doll is across the table, but they cannot imagine a perspective other than their own. How different are we?

Dare I hesitate to say that creativity might be in jeopardy because one of the key components of being creative is boredom and silence and isolation.

It’s a world where we grapple all the time with our insignificance, where things happen around us and to us. Being creative, in whatever form, is the proof that we can leave an imprint on our surroundings, that we can make a mark on time. Even her expansion of the definition of art into politics “or something else” stays faithful to this idea of creativity. When we make something, we make something different.

They permit themselves a wider range of ideas, even ones that might not apply to the situation at hand. The Harvard psychologist Shelley Carson calls this weirdness “cognitive disinhibition,” and thinks that it’s at the heart of all creativity. If we’re always discarding our thoughts to fit in with what’s acceptable, or correct, or accurate, we’re not going to have ideas that leap away from the ideas that are already there. That’s the first point.

Part of me would just like to relax and have one job that pays me the amount I need to survive. And another part of me wants the creativity that comes out of struggle and frustration and fear. It's a never-ending cycle, which must be how I want it, on some level.

Trying to be white? What the hell does that mean? I've never understood that. How could anyone be white when they aren't white? Seems like a simple enough thing to prove, right? Hold out your arm next to someone else's arm and do a simple swatch test. Of course, what people mean when they say that is that there's some kind of authentic black experience that the accused isn't properly expressing. But what is the authentic experience? Clothes that wannabe gangbangers wear on the street? Hood style? What's authentic about that? For that matter, is fashion even a good marker of authenticity or race, anyway? Aren't clothes a second skin you wear over your real skin to obscure who you really are? Can they also express who you really are?