A Quote by Milana Vayntrub

I think a lot of Americans forget that they are not originally from here, that somebody in their past was a refugee. — © Milana Vayntrub
I think a lot of Americans forget that they are not originally from here, that somebody in their past was a refugee.
Whoever hired me might've just heard 'Refugee.' Well, I'm not the secret to 'Refugee.' The secret to 'Refugee' is the song. But if somebody really good calls me up to play on something because they like the way I played on 'Refugee,' then I wind up playing on another really good song.
'The Odyssey' is a great poem to refugee-dom... Odysseus is not entirely a refugee... he's somebody who's blown off course. The entire book is an exploration of that theme... I reread it every year... That's not as surprising as it sounds, because it's a rip-roaring book.
I think [rock'n'roll] essence is what made it good and has a lot in common with what originally made monotheism good - it's against everything that is fixed, all the social structures that you can't go past.
I think you will find that a lot of young African-Americans are really searching for, 'Who am I?' and 'Where did I come from?' and 'What is my past?'
I think what is great is that if anything that I do is interesting to somebody else, then I really don't think it matters at all what I had originally intended.
There's no room for anything else. You forget that you're tired or cold or hungry. You forget that banged-up knee and your aching tooth. You forget the past, and you forget that there's such a thing as a future.
Well, I think when you come here and wave a Mexican flag in our face in a country that's giving a lot of these people an opportunity that they've never had before, I think a lot of Americans are insulted, whether they're first-, second-, third-, fourth- or fifth-generation Americans.
If a Cuban refugee is escaping, we're saying they're a political refugee, but why isn't a Haitian refugee a political refugee? They're escaping the capitalism and degradation of economic imperialism. We don't call them political refugees; we call them unfortunate people.
I think part of the bad thing is that skill is emphasized so much that a lot of people, by the time they get to Juilliard, well I think they kind of forget why they got into music in the first place and if they're performers - this is a simplification, but a lot of them are trying to win a competition and play more accurately, or better, or more beautifully, whatever can be measured, than somebody else.
A lot of people, when they say forgive and forget, they think you completely wash your brain out and forget everything. That is not the concept. What I think is you forgive and you forget so you can transform your experiences, not necessarily forget them but transform them, so that they dont haunt you or handicap you or kill you.
A lot of people, when they say 'forgive and forget,' they think you completely wash your brain out and forget everything. That is not the concept. What I think is you forgive and you forget so you can transform your experiences, not necessarily forget them but transform them, so that they don't haunt you or handicap you or kill you.
We need a legal and political understanding of the right of the refugee, whereby no solution for one group produces a new class of refugees - you can't solve a refugee problem by producing a new, potentially greater refugee problem.
I don't really think that, as a society, we [americans] want to confer blessings on generation after generation who contribute nothing to society, simply because somebody in the far distant past happened to amass a great sum of wealth.
I think the dictator director is based upon stories from the past. I don't think anyone would put up with it now. There are a lot of people on a film set with egos. So, to be completely authoritarian, you'd probably have to have a reputation like Kurosowa or somebody to get away with it.
I think in the wake of 9/11, like a lot of Americans, you know, we were all very traumatized by the attacks, traumatized in a totally different way by some of what happened afterward in response. And I think there have been these questions hovering in the past decade of, what kind of country are we? Who are we?
I think what I bring to the table is a lot of heart, a lot of energy, and somebody that works hard. Somebody who hates to lose.
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