A Quote by Marco Rubio

The only guy that speaks at any sort of depth is, in my mind, Eminem. He's a guy that does music that talks about the struggles of addiction and before that violence, with growing up in a broken family, not being a good enough father. So, you know that's what I enjoy about it. It's harder to listen to than ever before because I have a bunch of kids and you just can't put it on.
That's what being nervous and sort of out of your comfort zone does. It's the same in "The Office" when a black guy comes to the office and all he thinks is `I better show this guy I'm not a racist.' So what does he do? Only talks about black issues.
I believe a good writer can write a good book with any sort of character, in any sort of setting, but I prefer to write about the outsider. It might just be because I've been one (or perceived myself to be one) for so much of my life. But the simple fact of being marginalized immediately brings conflict to a story before the narrative even begins, and that's gold for a writer because it means that your character already has depth before events begin to unfold.
[My father] came over as an immigrant and didn't know any English. He went to work at a sweat shop in Baltimore. He told me later that this guy was coming around, and the guy seemed to be for the workers, so he signed up. It turned out that guy was an IWW organizer . My father didn't regret signing up; he just really didn't know what was going on.
Blood doesn't make you family. Hell, an only child can bleed. It's the sharing of pain that makes you family. 'Cause, you can't really love a brother or sister until you know that they're as scarred and broken as you are. And, hey, if you grow up with a father like mine and you aren't at least a little scarred and broken, well then, that's not your father. You were spawned by an entirely different guy.
Growing up in Ohio and just being kind of an average guy from flyover country - my dad was a factory guy - I try to put things on a screen that reflect reality. I don't mind if people want to argue with that, or think that's crazy.
Violence maims not only the body but also the mind and spirit. As Pierre Bourdieu has argued, it lies "on the side of belief and persuasion." If we are to counter violence by offering young people ways to think differently about their world and the choices before them, they must be empowered to recognize themselves in any analysis of violence, and in doing so to acknowledge that it speaks to their lives meaningfully.
(Talks about a school production) 'There was one solo; but it was a guy. It was this character called 'Freddy Fast Talk' and it was the bad guy. I didn't care, I was like I will dress up like a guy, I want to sing that song. And so I remembered we drew on eyebrows, and I had like a moustache,and we put all my hair up in this hat. So I dressed like a guy and sang the solo.
I'm the guy who will persist in his path. I'm the guy who will make you laugh. I'm the guy who strives to be open. I'm the guy who's been heartbroken. I'm the guy who has been on his own, and I'm the guy who's felt alone. I'm the guy who holds your hand, and I'm the guy who will stand up and be a man. I'm the guy who tries to make things better. I'm the guy who's the whitest half Cuban ever. I'm the guy who's lost more than he's won. I'm the guy who's turn, but never spun. I'm the guy you couldn't see. I'm that guy, and that guy is me.
I'm kind of a geek when it comes to talking about chord structures or melody, so I always loved in-depth conversations with musicians about things. I also enjoy when a fan can just put something on, and they really know nothing about music other than they like it and it touches them in some way.
One talks much more about the evil than about the good. That is a paradox. We should only talk about the good to lighten up our existence. Chase anxiousness/fear away for a moment before it sneaks back in again to our life.
I like myself still kind of being... because DJs used to be the background guy - the guy who was just doing the music - I see myself more as that guy than being on the stage.
You don't have to know anything about baseball to respond to Babe Ruth because he's just this magnificent human being. And a really good story because he was this kid who grew up essentially as an orphan, you know, had a tough life, and then he became the most successful baseball player ever. But he was also a really good guy.
This guy Simon Helberg, who's in 'Florence Foster Jenkins,' I might have been vaguely patronizing to him because he hadn't done films before. Gradually, you realize, not only is the guy a much bigger star than me, he's maybe the richest man I've ever met.
I usually don't share the music with the musicians until right before they have to record their parts, because I hate discussing it and just intellectualizing it on any level. I just want to speak from the subconscious, which knows way more about me than my intellectual side will ever know. Once I start doing the arrangements - what I call the architecture of the song - that has a lot of thought put into it.
I'm not talking about what came later [after the American underground punk scene], indie music, or whatever you want to call it, but the music that came before that - that's an important story. So many interviews with musicians get the time or context wrong. You have these older bands, usually men, who tell stories about "Oh, we got into this huge fight, this guy punched that guy," that's the wrong sort of story. My view of the time is truly pioneering.
Whenever I go to a new team the jabs about being a Harvard guy are always more prevalent. This is mainly because people don't know much about me other than being the Harvard guy that did well on his Wonderlic test. The more time I spend with people, the less the Harvard stuff comes up.
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