A Quote by Antonio Rodrigo Nogueira

In Miami, you can walk in the street and see people. It's like Brazil. — © Antonio Rodrigo Nogueira
In Miami, you can walk in the street and see people. It's like Brazil.
You go to Los Angeles or New York or Miami or Chicago, and you see Latinos everywhere; they are involved in every part of American society. That's why they have to start being represented in Hollywood, because an 'Americano' can't walk down the street and not see a Latino.
When I see people on the street, I look at how they walk. It's like a signature, a fingerprint.
When I walk on the street, I see people looking like me and not stick thin.
All I want to say to people, man, is, "Yo, you see me walking down the street and I got a little bop in my walk, don't think because I've got a bop in my walk I'm trying to be all that. The bop in my walk is because I'm just like you, man. I bop when I walk." Know what I'm saying? I'm proud. If you see me smiling, standing straight up, gold around my neck, it's not because I'm conceited. It's because I'm proud of what I achieved. I made this. I worked hard for this. That's all this is about.
As an author, I don't really think too much about being a celebrity. It's not like being a movie star or a TV star. It's not as if people recognize me when I walk down the street. That hardly ever happens, and it's just as well. But it is great when people know my books, when I walk through an airport and see them in the bookstore, or when I see someone reading a book on a plane or on a train, and it's something I've written. That's a wonderful feeling.
I have always loved to sit in ferry and railroad stations and watch the people, to walk on crowded streets, just walk along among the people, and see their faces, to be among people on street cars and trains and boats.
When you're directed by social media, I think it's very easy to lose a sense of agency. And you can see it when you go to any subway station, you walk down any street in a city, you will see 70-80 percent of people staring into their phones as they walk or stand.
I think as far as the Miami one - I don't speak for the other two - but as far as the Miami one goes, I just think that there is a level of like glamour to it and you see sexy people, things happening to the rich people. It kind of takes you to a different world. I think that is kind of part of the success.
I love to walk around New York. Honestly, that's like the best thing, to walk over to Park Slope and go visit my friend Betty and take her dog out in the park or go walk across the Brooklyn Bridge. I really dig being outside and getting to see everybody in the street.
Whenever I walk the street and see people ready to get with it, that's my reward.
It's funny, our beauty standard has become harder and tougher because we live in a tough age. I don't think anyone wants to walk down the street and feel vulnerable. You want to walk down the street and feel like you're in control.
A tourist will just walk up to a Natchezian on the street and ask, 'Where does Greg Iles live?' And they'll say, 'Oh, right over there; just go knock on the door.' I've had people just walk into my office, walk into my house like it's a museum just open to the public.
Sometimes I walk down the street and hear people whisper 'that's Tricky' and I look back, and I see them looking back, then that affects everything I do - the way I walk the way I talk. It stops you being real.
I walk through the hotel and I walk down the street, and people look at me like I'm [expletive] insane, like I'm Hitler. One day the light will shine through and one day people will understand everything I ever did.
I used to walk down the street like I was a super star... I want people to walk around delusional about how great they can be - and then to fight so hard for it every day that the lie becomes the truth.
Mexico scares me. There's no law, there's wild dogs and people driving their ATVs down the street. I like to know I can walk down the street and not be arrested for something dumb and have to pay to get my way out.
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