LeRoi Jones > Quotes

“[O]ne of the most persistent traits of of the Western white man has always been his fanatical and almost instinctive assumption that his systems and ideas about the world are the most desirable, and further that people who do not aspire to to them, or at least think them admirable, are savages or enemies. The idea that Western thought might be exotic if viewed from another landscape never presents itself to most Westerners.”
― LeRoi Jones, Blues People: Negro Music in White America

“Art is whatever makes you proud to be human.”
― LeRoi Jones

“[O]ne can see, perhaps, how "perfect" Christianity was in that sense. It took the slave's mind off Africa, or material freedom, and proposed that if the black man wished to escape the filthy paternalism and cruelty of slavery, he wait, at least, until he died, when he could be transported peacefully and majestically to the Promised Land.”
― LeRoi Jones, Blues People: Negro Music in White America

“Christianity, as it was first given to the slaves [...] was to be used strictly as a code of conduct which would enable its devotees to participate in an afterlife; it was from its very inception among the black slaves, a slave ethic. [...] One of the very reasons Christianity proved so popular was that it was the religion, according to older Biblical tradition, of an oppressed people. The struggles of the Jews and their long-sought "Promised Land" proved a strong analogy for the black slaves.”
― LeRoi Jones, Blues People: Negro Music in White America

“In the early days of slavery, Christianity's sole purpose was to propose a metaphysical resolution for the slave's natural yearnings for freedom, and as such, it literally made life easier for him. The secret African chants and songs were about Africa, and expressed the African slave's desire to return to the land of his birth. The Christian Negro's music became an an expression of his desire to "cross Jordan" and "see his Lord.”
― LeRoi Jones, Blues People: Negro Music in White America

“Empty man. Walk thru shadows. All lives the same. They give you wishes. The old people at the window. Dead man. Rised, come gory to their side. Wish to be lovely, to be some other self. Even here, without you. Some other soul. Than the filth I feel. Have in me. Guilt, like something of God's. Some separate suffering self.”
― LeRoi Jones, New American Story

“The shabbiness, even embarrassment, of Hazel Scott playing 'concert boogie woogie' before thousands of white middle-class music lovers, who all assumed that this music was Miss Scott's invention, is finally no more hideous than the spectacle of an urban, college-trained Negro musician pretending, perhaps in all sincerity, that he has the same field of emotional reference as his great-grandfather. the Mississippi slave”
― LeRoi Jones, Blues People: Negro Music in White America