"I don't like to practice ahead of time what I'm going to say"
About this Quote
A politician admitting she doesnt like to rehearse is either a humble flex or a quiet rebuke of the whole modern campaign machine. Coming from Geraldine Ferraro, the first woman on a major-party presidential ticket, it reads as both. The line signals spontaneity, but the real move is moral: shes positioning authenticity as a form of competence in a profession that trains people to sound human.
Ferraro came up in an era when women in power were policed for tone as much as policy. Too scripted and youre fake; too off-the-cuff and youre reckless. Saying she doesnt practice ahead of time is a way to claim agency over that trap. It implies: I can think on my feet, and I wont contort myself into a pre-approved version of womanhood to make you comfortable. The subtext is also defensive in a strategic way. If she misspeaks, its not because shes unprepared or unserious, but because shes choosing candor over choreography.
Theres another edge to it: an implicit critique of political speech as performance art. By rejecting rehearsal, Ferraro frames political communication as conversation rather than theater, staking out a public identity built on responsiveness. In the 1984 context - intense media scrutiny, endless gotcha questioning, and the novelty (to voters) of a woman at that level - the line works as a preemptive counter-narrative. She isnt a constructed symbol; shes a working politician who trusts her own voice.
Ferraro came up in an era when women in power were policed for tone as much as policy. Too scripted and youre fake; too off-the-cuff and youre reckless. Saying she doesnt practice ahead of time is a way to claim agency over that trap. It implies: I can think on my feet, and I wont contort myself into a pre-approved version of womanhood to make you comfortable. The subtext is also defensive in a strategic way. If she misspeaks, its not because shes unprepared or unserious, but because shes choosing candor over choreography.
Theres another edge to it: an implicit critique of political speech as performance art. By rejecting rehearsal, Ferraro frames political communication as conversation rather than theater, staking out a public identity built on responsiveness. In the 1984 context - intense media scrutiny, endless gotcha questioning, and the novelty (to voters) of a woman at that level - the line works as a preemptive counter-narrative. She isnt a constructed symbol; shes a working politician who trusts her own voice.
Quote Details
| Topic | Honesty & Integrity |
|---|---|
| Source | Help us find the source |
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