I live in Brooklyn, New York. It is a melting pot of cultures and people. I walk down the street, and there is art on the buildings and people congregating who have been neighbors for years and events and music and freedom.
I was 12 or 13, and I had seen a demo about origami at the Brooklyn Botanic Garden. My dad, my step-mom, and I were at the Japan pavilion of Epcot, and my dad was going to get me an origami book. They had these really sick origami books with an overleaf, but those packs can sometimes blow, because they give you, like, eight sheets.
As far as my New York influence, one thing I'm proud of in my career is, I rep Brooklyn, New York all day. But people don't look at my music as New York music. People consider my music underground music.
I tend not to think that anything I happen to be reporting on in my films is special. Meaning that people are always saying to me, 'you must love New York, you have it in all your films.' But mostly it's because I know New York, and I know Brooklyn at this time. I know the lives there, because I have lived in them.
There was a bridge to the 21st century, and yet, somehow, for very large number of Americans, it was unclear how you got from one place to the other, from being a manual working-class man to being some part of a Brooklyn-based sharing economy.
Like Rick in Casablanca: "We'll always have Paris." When what we'll always have is, like, Brooklyn and arguments about [Lev] Trotsky.
Because Eddie [Murphy] came from where I come from, the Bushwick section of Brooklyn. People in the projects used to call me Fat Murphy.
If you think about portraying Americans, for example, in a Russian film, it all depends on where the American is from, if they went to school or not, and if they're well-educated or not. Is it an American from Texas, or an American from Brooklyn? Things would change with the vocabulary and the accent.
I would like to have Brooklyn christened but I'm not sure which religion yet.
When I think back kind of on starting my career, the last place I thought I would be would be spending a lot of time in Brooklyn.
I'm 37, please don't make me go to Brooklyn.
I have an apartment in Brooklyn - I guess I call it my shrine. I go there to create and recoup, or hibernate sometimes, but my home is in Dallas where I live with my children.
When I came to New York, to Brooklyn, I met Alvin Ailey and Stanley Crouch and August Wilson. They were always putting things in a philosophical context. All the great jazz musicians did, too. There was always a sub-context to what they were saying about music even though they would be very down home and earthy. So I started to develop, in addition to my power and ability to simply hear, a way to place myself in a time.
Well, the clues are there. They always are. Which is why when crimes are solved decades after the fact, it's obvious that the clues had always been right in front of them. A traffic ticket in Brooklyn is how they got ["Son of Sam" serial killer] David Berkowitz. You've just got to look.
When I was a kid I used to scoot under the table, and whenever company would come around you know or my sisters or parents would tell me, go under the table and I'd do it because it was entertainment for the family or aunts or whatever. And one time at the Paramount when I first did it, you know, Brooklyn Paramount, I did it in the act during an instrumental and it got a big ovation and so I coined it as one of the things I should do in the act. And since I've been doing it.
That's partly the success of my work-the ability to have a young black girl walk into the Brooklyn Museum and see paintings she recognizes not because of their art or historical influence but because of their inflection, in terms of colors, their specificity and presence.
The New York Times will tell you what is going on in Afghanistan or the Horn of Africa. But it is no exaggeration that The New York Times has more people in India than they have in Brooklyn. Brooklyn is a borough of two million people. They're not a Bloomingdale's people, not trendy, sophisticated, the quiche and Volvo set. The New York Times does not serve those people.
I guess just personally I've become a bolder person in my day-to-day. I think a lot of it came from moving to Brooklyn. I just sort of became an adult and started speaking up for myself and not apologising for myself.
There's a certain type of character that you can't help but come in contact with growing up and living in Brooklyn and Long Island. A certain mixture of moxie, heart, and a wise guy sense of humor.
Because I didn't go to film school, I had a collection of books that were inspiring or taught me how to make movies, shorts with my friends back in Brooklyn, and one of those books was How I Made a Hundred Movies in Hollywood and Never Lost a Dime which is Roger's autobiography. After reading that, I realized that oh my God, this guy is behind all my favorite Pam Grier movies. Oh my God, he made the Vincent Price Poe films that ran on television when I was little. He did Grand Theft Auto. He made Death Race 2000.
Most of my escapades were getting my Labrador dog into the back of my car to drive to Brooklyn where I worked at Avenue M Studios shooting a soap opera and battling being a 17 to 18-year-old playing twins being afraid that I was going to get fired, because who wouldn't fire me? I had no idea what I was doing.
There hadn't been one done since the late 70s. I was living in Brooklyn, had no connection to Roger Corman, to no one in this movie. I didn't go to film school. I'm like the person who should have never made this film. But I just decided to put one foot in front of the other. I was writing film articles for magazines at the time. I convinced an editor from one of the magazines that I was working for to give me a shot to do a piece on Roger. This was an excuse to go meet him.
I've met others [people] who simply responded to me, "You're Kehinde Wiley. I know your work. I saw it at the Brooklyn Museum [Brooklyn, NY] And I'd be honored to be in your work."
I don't think that you can say by any stretch of the imagination that all Wisconsin or Brooklyn-based poets write in a particular way. Similar sensibilities can spring up next to each other in the flower bed, or across oceans.
As far as the lawsuit, yes, when I was very young, I went into my father's company, had a real estate company in Brooklyn and Queens, and we, along with many, many other companies throughout the country - it was a federal lawsuit - were sued. We settled the suit with zero - with no admission of guilt. It was very easy to do.
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