"Undergirding so much of the discourse surrounding resentment in America right now is the conversation about race. While the notion of “blackness” is often at the forefront of such discussions, the idea of “whiteness” is frequently left unexamined. In her surprising new book, Isenberg goes into the history of how the “white trash” identity is directly related to social caste and economic realities that are perpetually unacknowledged in American castings of itself, its character and its history. White Trash is at once informative, painful and enlightening in how complex our obsession with social-standing-by-virtue-of-color has evolved."

"A true diva and genius, of course. This is one the best autobiographies I've ever read, recounting Simone’s upbringing in North Carolina in a non-segregated community; her schooling as a child prodigy by a Russian grand dame piano teacher; playing rough bars in evening dress and telling the winos to shut up or she wouldn't play (and they did!); to the absolute shock when she didn't get into Juilliard because of her color. By the time she's describing writing “Mississippi Goddam,” all my hairs were standing on end! A powerful woman, powerful activist, and amazing musician."

"I would say five would probably have to go The Color Purple, Steven Spielberg’s film, which obviously deals with racism but also deals with a lot of human emotions. Everything from abuse, controlling husbands, abusive parents to family life. Just so much emotion. The music is incredible — Quincy Jones did an incredible job on the soundtrack. The vocalists on the soundtrack were staggering. And the performances by Whoopi Goldberg, Oprah Winfrey and Danny Glover, I mean just some of the best performances ever put on screen. Eloquently and beautifully directed by Steven Spielberg — I think, actually, his best work."

"Same thing, The Wizard of Oz — that will always be one of my all-time favorites. The transition from black-and-white into color, you know, that idea of merging the two worlds using cinematic magic, to meld those worlds for the first time ever. I mean, you look back at the movie and obviously you can see now that there were backdrops and cheap sets and all of that kind of stuff, where today we would probably laugh at it and brush it off as a B-movie. But in those days it was magic. And it’s still magic."

"Godfather one and two, as one movie — but not blended together; I don’t think that worked when they tried to combine them [for the TV version]. I have to just say that The Godfather is a quintessential American film, where it’s absolutely satisfying. The writing is so excellent — what is being said, and the nuance of what is being said, is so understood. And the color, again, situates you in a particular moment in time. It’s a portrait of America. It’s one of those things where storytelling and acting found one of those magical, elegant solutions…"