A Quote by Keith Ellison

I think that anybody who is going to be the standard-bearer, the spokesman for the progressive movement, in the context of a presidential race, has got to learn to master the language and really get their finger on the pulse of how people are feeling. I think that's really important.
When I travel, I connect with creative people in all different fields and disciplines. It's sort of just to keep my finger on the pulse of what's going on. I think that's important.
I think it's good for anybody to learn languages. Americans are particularly limited in that way. Europeans less so... We're beginning to have Spanish move in on English in the states because of all the people coming from Hispanic countries... and we're beginning to learn some Spanish. And I think that's a good thing... Only having one language is very limiting... You get to think that's the way the human race is made; there's only one language worth speaking... Well, this isn't good for English.
I think I just say what I'm thinking. And - you know, if people relate to it, they relate to it, but - I really - you know, if you really listen to me, I don't have my finger on any pulse.
Look, I'm a conservative, I'm a very conservative guy, and - and the Trump campaign is making your job over at NBC really, really, really easy in terms of going after conservatives and Republicans if he's the standard bearer for conservatism.
I remember people saying that Atletico wanted me, that they are a big team, and that it will be a big challenge for me. I don't know why, but I just felt really prepared for it, really confident. I went there and tried to do my best in training as well as learn the language really quickly. That was important, I think.
I think a trainer is very important at the beginning of a fighter's career. A fighter needs to know how to throw a left, throw a right, how to duck, how to do certain things. Over time, you don't really need a trainer. You've got to train yourself. You've got to motivate yourself. And I don't think anybody can put that in you.
To a certain extent everybody has a certain sort of way of being a persona that they learn how to be when they're really little. They figure out that if they're really funny, or really pretty, or if they work really, really hard or are really smart, then that's what's going to get them by. That is what is going to make people like them.
I think people are turning inward more now cause the world's got in such a weird, crazy state. I think its making people think more about their life and what it is really that they are doing. And how do we interact with a world that's going crazy? It's a very important time.
I think it's really progressive to talk about race in relationships. I think there is so much room for that, and there needs to be more of it.
I think we really need a movement to drive how popular culture understands the issues that feminists care about. When I think about the LGBT movement for example, they have had a really intentional strategy to try to change images and representation of LGBT people in the media and the culture. It really moved the dial politically. That's what is needed in the women's movement - a strategy that can drive awareness and culture change.
I think a lot of times when people hear the word dance, they think 'oh, that's something that I can't do.' But dance really lives in our bodies and the thing that I've come to learn, embrace and lift up is that we have history in our bodies that's living and breathing. We have our own individual history but we also have our heritage. Each one of us has our movement language and it's about tapping into that and pulling that out. That's the thing that I try to encourage everybody because it's not about dance, it's about the movement and the gesture and how we honor it.
I think that's a really important role that people sometimes forget about, especially with all these newspaper shutting down and having trouble, where are all these stories going to go? I think you have something really great with all those stories waiting to be told, but I just don't know how it shapes up exactly. I don't think there are going to be a lot of newspaper reporters sitting around not writing.
I'm chasing a kind of language that can be unburdened by people's expectations. I think music is the primary model-how close can you get this language to be like music and communicate feeling at the base level in the same way a composition with no words communicates meaning? It might be impossible. Language is always burdened by thought. I'm just trying to get it so it can be like feeling.
I don't think anybody can teach anybody anything. I think that you learn it, but the young writer that is as I say demon-driven and wants to learn and has got to write, he don't know why, he will learn from almost any source that he finds. He will learn from older people who are not writers, he will learn from writers, but he learns it -- you can't teach it.
Luckily Ryan Murphy has a great track record of really having his finger on the pulse of pop culture in a way that very few people do. And he is able to work things into stories in a ridiculously timely way - sometimes, before anybody else thinks it's going to be a thing, he is able to create these moments on television. I was thrilled to get to work with him, and I knew he would be able to tell that story with that same energy.
Moving to England, again it's a new language to learn, and I've got to get use to the mentality, the culture, but I think I've integrated myself really well into this team, and I'm happy so far.
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