A Quote by DeSean Jackson

You know, I'm the one that's out there jeopardizing my life, my body and everything in between the white lines. — © DeSean Jackson
You know, I'm the one that's out there jeopardizing my life, my body and everything in between the white lines.
I used to believe in em (lines). I don't anymore. They in our heads. Lines between black and white ain't there neither. Some folks just made those up, long time ago. And that go for the white trash and the so-ciety ladies too.
People don't analyze Britney Spears' lyrics 'cause they're so obvious, you know? And her image is so kind of blah and mainstream that who really wants to read between the lines, because it's all so out there in front of you and boring and white bread.
You have to find the balance of figuring out how can I be effective? How can I use my platform for good, you know, without jeopardizing everything so that I don't have that platform anymore.
I know my destiny. I was born into animosity, bigotry and hatred. We had water for white folks, and water for coloured folks. White lines, black lines. I came from Beaufort in South Carolina, and it was tougher than Georgia, Alabama and Mississippi.
Acting is probably the greatest therapy in the world. You can get a lot stuff out of you on the set so you don't have to take it home with you at night. It's the stuff between the lines, the empty space between those lines which is interesting.
Anything in between the white lines is deemed football.
That space between the white lines - that's my office. That's where I conduct my business.
That space between the white lines, that's my office. That's where I conduct my business.
I don't know where I end and the world begins. My best guess? Skin. It's the only actual boundary between the body and the world, between a body and any other body.
'Everything beautiful occurs when the body / is suspended,' Helena Mesa quotes a performance artist who hangs his own pierced body in the air. Mesa's poems are artfully suspended between lyric and narrative, between humans and animals, between Latin America and the U.S., between desire and the difficulty of its fulfillment. Horse Dance Underwater is an inventive, musical, and powerful debut.
One of my biggest fears as a director is that everything is taking too long on camera. The actor saying their lines, the silence between lines, the length of time it takes to walk from A to B. So you try it at different speeds and then see what sticks in the edit room.
When you're in between the white lines, the game face is on. I was only focused on the task at hand - out, safe, ball, strike - leaving little time to think about how special a player, moment or game happened to be.
Swami cannot give peace of mind; you must work for it yourselves. First, stop the questioning and ask, 'who am I?'. This is my body, my mind, my intelligence. But who is this 'My'? Who is it that claims the ownership of that which is declared to be 'mine'? 'My' indicates ownership. That 'My' is the life. As long as the life is in the body, there is this connection between the 'my' and the intellect - 'my' body, 'my' house, 'my' land. But the moment you remove the life from the body, there is no 'my' or sense of possession. Life is God.
Ultimately, as players, we are inside the tent, and we have got to deal with what happens between the white lines.
[Barack] Obama can draw lines for himself and his country, not for other countries. We have our red lines, like our sovereignty, our independence, while if you want to talk about world red lines, the United States used depleted uranium in Iraq, Israel used white phosphorus in Gaza, and nobody said anything. What about the red lines ? We don't see red lines. It's political red lines.
I’ve spent the first half of my life studying and footnoting everything that can go wrong with the female body—and figuring out how to fix it. I’m dedicating the second half of my life to illuminating everything that can go right with the female body, including teaching women how to truly flourish.
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