When I first appeared, people couldn't figure out whether I was gay, straight, black, white or whatever, and I loved that. I loved the fact it scares people.
For example, I was privileged to be working at the White House under the Clinton administration and had not finished my Ph.D., and I thought I was the cat's meow.
I obviously had my reggae, but I got quite into rockabilly when I was a kid, because I was trying to find something that represented me as a white person.
I suppose everyone tells little white lies. Quite often they're necessary to make someone feel better or prevent feelings from being hurt. Whoppers? No, that's dangerous and they'll boomerang.
I have these huge black foam boards on the wall, and tacked to them, I have these white punch cards with my story ideas, scenes and notes.
Tragically, the White House Task Force on Disadvantaged Youth reported that one-quarter of our young people are at serious risk of not achieving productive adulthood.
There has been a growing consensus across the country - from statehouses to the White House and the halls of Congress - that we need to take dramatic steps to improve our secondary schools.
When I first played at the Apollo, the owner didn't even know who Sharon Jones was. The Apollo had never seen so many white people coming uptown.
Early impressions are hard to eradicate from the mind. When once wool has been dyed purple, who can restore it to its previous whiteness?
Any good marriage is secret territory, a necessary white space on society’s map. What others don’t know about it is what makes it yours.
I always give the example, if you turn on the radio today, black radio, Lenny Kravitz is not black. Bob Marley wasn't black: in the beginning, only white college stations played Bob Marley.
When I was knowingly misled but only learned that much later, that's really when I started to become disillusioned at the White House.
As press secretary, I spent countless hours defending the administration from the podium in the White House briefing room.
At the Olympics, you there to do a job. I feel you should take it seriously. You should be respectful. You are putting on the red-white-and-blue and going out there to perform for your country.
I don't see myself as a 'black actor,' I'm just Shemar Moore the actor. I'm very proud to be black, but I'm just as much black as I am white.
Traditionally, I have no right to talk about race. I'm white; I didn't grow up in an all-black neighborhood. But the license I see for myself is I'm a member of the world.
But between sets I'd sneak over to the black places to hear blues musicians. It got to the point where I was making my living at white clubs and having my fun at the other places.
Overall my race hasn't been a problem. I'm a Black artist with White skin. At the end of the day you have to sing what's in your own soul.
I write flawed characters. Ones that do not always make the best decisions and are driven by ambition or lust. They are not black or white, they are in the large space that exists between.
I could see myself in a white nurse's uniform, working unnoticed for many years and at last dying, unknown, unmarried and unsung.
I worked in Tesco's staff canteen because I fancied a boy on the tills. I served him his lunch in a hairnet and tan tights. Not just that, of course - I had a lovely white onesie.
