My school had the dopest arts program - the dopest show choir, the dopest marching band. I couldn't sing or play an instrument a lick, but I was just going to fake it till I make it.

You see the Paper Bois - easy. Personas are easy to touch and see and digest. But you don't get the chance to really see who the Alfreds are. I want to make sure I did that with him.

I hope that there's a little black boy somewhere in Montana that never thought that he would see a reflection of himself, and he turns on the television, like, 'Oh my God, thank you.'

There's no redemption in being robbed. Yeah, maybe you can replace that thing, but it will never be the way it was when you got it the first time. It'll never have the same weight and preciousness again.

Acting, for me, was kind of a way of survival, honestly. I'm the baby boy out of four different sisters, and I grew up in a house with so many different personalities that acting was the only way to not go to therapy.

I was born in Fayetteville, North Carolina, which is where J. Cole is from. I went up to Washington, D.C., where my mother moved, to stay with her, and then moved back to North Carolina to finish junior high and high school.

When people ask me, 'Are you a singer?' I say, 'No, I'm not a 'singer' - but I love the craft of singing,' going in and finding out what that means or why the hell I'm singing in the first place. My thing is really the craft of it.

This is the city that kind of formulated who I am. And, not only that, but to be black in Atlanta is one of the greatest things because you can go anywhere and feel familiar with anyone who's right next to you, from Bankhead to Buckhead.

I couldn't believe there was going to be a show called 'Atlanta,' because that's my favorite city in the country. It's where I went to college. I have so many great friends that live there. It's where I discovered that I wanted to be an artist.

Perceptions really do define what our realities are. What we're hoping to do with 'Atlanta' is to really shatter that. To shatter it completely wide open. To go from the furthest lane of absurdity to the furthest lane of reality and make them blend.

It's really humbling and gratifying to see that people are finally realizing that we are talented and we have things to say and that our stories are just like your stories. There's no reason that anybody from Wisconsin or Turkey can't relate to 'Atlanta.'

After my mother and father separated when I was 5, my mother moved to Washington, D.C., and my father remained in North Carolina. Later, I moved to New York and would often drive down to D.C. to see her. We'd ride around together talking and listening to music.

Every time you get in front of the lights and the cameras and you think, 'Okay, well, we've done this before, but we have to do it again? Oh, we're doing it again? We're doing it again?' It's so gratifying, but I don't think I'll ever get used to it. I hope I won't.

Just to say 'woke' is to always be in a constant stream of consciousness where you don't feel like the wool is pulled over your eyes so much. You question your belief that everything should just be presented to you on this beautiful plate. Everything is not as it seems.

Hip-hop is not about pretense. You can be missing an eye; you can have an ice-cream cone in your face; you can run around with Bantu knots; you can decide to wear gold, all everything. It's not about how you look - it's about what you say. It's about what message you're getting across.

On top of trying to find my way in this business and losing my mother and trying to figure out what family meant to me and everything - 2016, there was a lot of anger from me and a lot of anger all around. I think the hardest part was to really realize that all these things, it's worth it.

I'm a big guy: I look like a linebacker, you know? But no one cares, really, that I'm educated. I have a copy of 'Fire Next Time' by James Baldwin in my bag. I have an Ibsen play in there, too. I have to walk through this world with that duality all the time, that I live in two different worlds.

'Atlanta' is really trying to put that out there: these are just the lives of these people in this city, and this city is its own breathing, living thing, too. So how do you navigate through life, especially with dreams and aspirations in a world that tells you that you don't deserve to have them.

I usually get approached by older white ladies of a certain class, with their pearls and, you know, their Talbots on and everything, and they're like, 'We just have to say, we know we're not your demographic, but we love Paper Boi; we really love this show, and we love what you're doing.' It's totally cool.

I think that's the best thing about being black is that we find a way to make our own communities and always give room for people to pull up to our tables. We always provide a way for other people from different walks of life to come into the communities that we have built because we're so used to being excluded.

My father was retired military, and my mother was an educator. She was incredibly creative. I used to love going to her school during the summer and helping her decorate her classroom. I would draw Mickey Mouse, Donald Duck. She was a sixth grade teacher. She and my father are the ones that got me into my love of music.

Acting really started for me because I was in a house full of adults. They never shielded their lives from me. They were adults going through this world doing what they had to do. I used to like to watch them and imitate them. They all have their own distinct personalities; even though they're family, we couldn't be more different people.

Share This Page