A Quote by Chris Borland
One healthy thing I'd like for players to know, whether they're active or former, is you likely can't replicate the thrill of playing before 100,000 people and big hits and making that much money. We can get ourselves into trouble trying to.
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I had a very active imagination as a kid, and I was constantly performing, whether I was making money doing it or not, whether it was on a stage in front of 1,000 people or in the living room in front of my family.
A few years ago, they [Neandertals] were thought to be ancestral to anatomically modern humans, but now we know that modern humans appeared at least 100,000 years ago, much before the disappearance of the Neandertals. Moreover, in caves in the Middle East, fossils of modern humans have been found dated 120,000-100,000 years ago, as well as Neandertals dated at 60,000 and 70,000 years ago, followed again by modern humans dated at 40,000 years ago. It is unclear whether the two forms repeatedly replaced one another by migration from other regions, or whether they coexisted in some areas
As coaches, whether we're making personnel decisions or not, we're all critical of ourselves. We always want to get better. We push our players to do that. But nobody bats 1.000.
The energy that comes when you compel people to dance stays with you your whole career - whether you are playing to 100,000 people at Glastonbury or 1,000 kids in a club.
I have many hits, big hits, that have been written by people I don't know. In almost all my shows, people say, 'Chente, here's a CD.' When I get home, I listen to them all, and what I like, I record.
You might be like, 'I want really big hits.' But when you get really big hits, and your label is making $150 million, they are people who are now interested in what you do. They are going to begin to tell you what to do, and so you become important. So your creative freedom - you're not going to have that again.
I think being honest with one another creates an environment that's comfortable. You want to know where you stand, whether you're doing a good job. The players know what's going on before you do. They're trying to see if you're going to do something about it. And when it's not like that, everybody is pissed off, because they know that people can get away with stuff and that nobody is keeping them in line. That's not a team to me.
I get an adrenaline rush from "playing with the big boys." I consider myself a tomboy and was an athlete in high school, so I like to "talk shop" anyway. But it's fun to actually get paid to cover the NFL with all these incredible former players and sports anchors.
Nothing can replicate the thrill of making a great save at an away ground, or hearing your own fans cheering you, or the atmosphere when you score a goal or win a big game.
Almost no one under 60 remembers what fundraising was like before Watergate. Until the 1970s, campaign money was collected by "bagmen," familiar characters from the world of organized crime. As fans of Boardwalk Empire know, a bagman is a political fixer who walked around with stacks of $100 and $1,000 bills. At lower levels, he used brown paper bags. In presidential campaigns, the cash was more likely to be in briefcases. Classier that way.
The great trouble with baseball today is that most of the players are in the game for the money and that's it, not for the love of it, the excitement of it, the thrill of it.
I like Valentine's Day. The trouble is the florists and the candy-makers and the card people are all advertising so much, you don't dare let the day go by without making an offering, whether you mean it or not. Money exceeds affection.
For players, during our active career, it is always difficult to talk about coaches - whether it is former or a current.
You deliver 2,000 babies or better - 3,000 by that time. And that's, you know, at minimum, three people each. And then if you take grandparents or grandparents of siblings and aunts and uncles, you know, you get - a 100,000 votes outta that
I might spend 100 pages trying to get to know the world I'm writing about: its contours, who are my main characters, what are their relationships to each other, and just trying to get a sense of what and who this book is about. Usually around that point of 100 pages, I start to feel like I'm lost, I have too much material, it's time to start making some choices. It's typically at that point that I sit down and try to make a formal outline and winnow out what's not working and what I'm most interested in, where the story seems to be going.
The richer people, when they get another $100,000, or another million, or 10 million, don't tend to spend it as much as the poorer people would if they got another $100 or $1,000 or $5,000. All the empirical evidence suggests that the rich tend to consume a lower proportion of income than middle and lower-income people.
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