Music Preservation Society biography http://www.wchandymusicfestival.org/downloads/HandyBiography.pdf
“I think America concedes that true American music has sprung from the Negro.”
1860s, The Constitution of the United States: Is It Pro-Slavery or Anti-Slavery? (1860)
Context: The Constitution itself. Its language is "we the people"; not we the white people. Not even we the citizens, not we the privileged class, not we the high, not we the low, but we the people. Not we the horses, sheep, and swine, and wheel-barrows, but we the people, we the human inhabitants. If Negroes are people, they are included in the benefits for which the Constitution of America was ordained and established. But how dare any man who pretends to be a friend to the Negro thus gratuitously concede away what the Negro has a right to claim under the Constitution? Why should such friends invent new arguments to increase the hopelessness of his bondage? This, I undertake to say, as the conclusion of the whole matter, that the constitutionality of slavery can be made out only by disregarding the plain and common-sense reading of the Constitution itself; by discrediting and casting away as worthless the most beneficent rules of legal interpretation; by ruling the Negro outside of these beneficent rules; by claiming that the Constitution does not mean what it says, and that it says what it does not mean; by disregarding the written Constitution, and interpreting it in the light of a secret understanding. It is in this mean, contemptible, and underhand method that the American Constitution is pressed into the service of slavery. They go everywhere else for proof that the Constitution declares that no person shall be deprived of life, liberty, or property without due process of law; it secures to every man the right of trial by jury, the privilege of the writ of habeas corpus — the great writ that put an end to slavery and slave-hunting in England — and it secures to every State a republican form of government. Anyone of these provisions in the hands of abolition statesmen, and backed up by a right moral sentiment, would put an end to slavery in America.
Source: Writings, Politics of Guilt and Pity (1978), pp. 3-4
Interviewed by James Creelman, New York Herald, May 21, 1893.
Context: In the negro melodies of America I discover all that is needed for a great and noble school of music. They are pathetic, tender, passionate, melancholy, solemn, religious, bold, merry, gay or what you will. It is music that suits itself to any mood or any [[purpose. There is nothing in the whole age of composition that cannot be supplied with themes from this source. ]]
As quoted in “Roberto Clementeː Pounder from Puerto Rico” by John Devaney, in Baseball Stars of 1964 (1964), edited by Ray Robinson, p. 150
Other, <big><big>1960s</big></big>, <big>1964</big>
Source: An American Dilemma (1944), p. 1066
1860s, Allow the humblest man an equal chance (1860)
Context: So that saying, "in the struggle between the negro and the crocodile," &c., is made up from the idea that down where the crocodile inhabits a white man can't labor; it must be nothing else but crocodile or negro; if the negro does not the crocodile must possess the earth; [Laughter; ] in that case he declares for the negro. The meaning of the whole is just this: As a white man is to a negro so is a negro to a crocodile; and as the negro may rightfully treat the crocodile, so may the white man rightfully treat the negro. This very dear phrase coined by its author, and so dear that he deliberately repeats it in many speeches, has a tendency to still further brutalize the negro, and to bring public opinion to the point of utter indifference whether men so brutalized are enslaved or not.
I mean, this is what you say. "I ain't left nothing in Africa," that's what you say. Why, you left your mind in Africa.
Malcolm X Speaks (1965)
