David Roediger Quotes
The areas in which I teach are working-class history and African-American Studies and at its best the critical study of whiteness often grows out of those areas. The critical examination of whiteness, academic and not, simply involves the effort to break through the illusion that whiteness is natural, biological, normal, and not crying out for explanation.
Quotes to Explore
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The stage and working in front of a camera are two completely different mediums. Each requires different techniques.
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You got me: I do Pilates. I love Pilates because we do very specific training in soccer for the same six or seven muscles, but we neglect so many other muscles. So when I do Pilates, it helps get all the rest of the muscles in shape and gets them working together.
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My mom started working at the California Shakespeare Theater in Oakland when I was two years old, so I've always grown up around theater.
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But as population became denser, the natural chemical and biological recycling processes became overloaded, calling for a redefinition of property rights.
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I love working in America, I love being part of the industry out here.
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Malicious attacks on the Soviet Union produce a natural feeling of indignation.
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It was really fun working with Jamie Foxx and Cameron Diaz on set.
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All people have a natural desire to be needed, to have their importance to others tangibly confirmed.
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I got a job as a human rights and refugees officer, working on youth-based projects. But I realized all the kids I was working with were far more into 'The Daily Show' than the policy briefings.
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Criminals gravitate into government positions like natural law.
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I prefer working in good cinema, wherever it is. I like subjects that have a universal appeal.
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I have a theater background, so I like finding beats, working on things and having rehearsal.
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When I was working at Teleflora, I got booked to do 'Talladega Nights,' so I went and did that. That was really my first big break ev-er. I made as much from my per diem during the three-month shoot as I did for the entire previous year.
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The bottom line is: We must be working on arriving at the destination for which we were put on this planet.
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I love working with a lot of different films and a lot of different people.
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Myself and David, we both love art. We have a lot of respect for Damien Hirst and Julian Schnabel, and we've met them both, and they're very interesting characters. I also have a lot of respect for the working women out there. As you know, it's not easy when you're looking after children and you have a career as well.
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People would ask me why I was doing what I was doing – but I always told them that I just loved to skate. There was no other explanation.
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I was not influenced by composers as much as by natural objects and physical phenomena.
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We could quite easily, Republicans and Democrats working together, do something that everybody in America desires, and that is a simplification of our Tax Code.
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Shock can kill you. Shock is terrible. But what you've got to do is live in the present, which is what I have always done.
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What happens is this sort of bleed-over from the tabloids across your movie work. You go to a movie, you only go once. But the tabloids and Internet are everywhere. You can really subsume the public image of somebody.
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I regret the passing of the studio system. I was very appreciative of it because I had no talent.
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I just love expressing my joy and my mind through what I wear, or how I cook, or how I dance, or how I write or perform a song - how I move.
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The areas in which I teach are working-class history and African-American Studies and at its best the critical study of whiteness often grows out of those areas. The critical examination of whiteness, academic and not, simply involves the effort to break through the illusion that whiteness is natural, biological, normal, and not crying out for explanation.
