A Quote by Dirk Nowitzki

I know, basketball is a dance. I didn't understand the significance of that type of training at first. I was supposed to read poems. — © Dirk Nowitzki
I know, basketball is a dance. I didn't understand the significance of that type of training at first. I was supposed to read poems.
I love chapbooks. They're in some ways the ideal form in which to publish and read poems. You can read 19 poems in a way you can't sit down and read 60 to 70 pages of poems.
Dance is a universal language, and whether you know how to dance or grew up training in dance, you have a respect for people who love to dance, and it's also visually very entertaining to watch a great dancer.
You must understand the whole of life, not just one little part of it. That is why you must read, that is why you must look at the skies, that is why you must sing and dance, and write poems and suffer and understand, for all that is life.
There's no equal amount of training or conditioning individually you can do to simulate a 5-on-5 basketball game. It's such a different type of staying in shape.
You know, ballet might be too formal of a title for the type of dance I do, but I love to dance.
I don't have any training in dance. I can convince an audience that I know how to dance because I'm a convincing actor.
There is a certain type of conversation one hears only when one is drunk and it is like a dream, full of humor and threat and significance, deep significance.
I think that the casual reader and the lyric and confession are trickily tied up together. I mean often when I read my students' poems my first impulse is to say, "O, the subject of this pronoun, this 'I,' is whatever kid wrote this poem." The audience for lyric poems is "confessionalized" to some extent. And I think this audience tends to find long narrative poems, for instance, kind of bewildering.
Any type of humor can be transferred to the screen, as long as there's clarity. The audience wants to know just what they're supposed to be feeling, when they're supposed to laugh.
I certainly love a boogie and once the music starts I'm usually one of the first out there on the dance floor. Although I haven't had any formal dance training and something tells me I'm really going to notice the difference.
The Gods have meant That I should dance And in some mystic hour I shall move to unheard rhythms Of the cosmic orchestra of heaven And you will know the language Of my wordless poems And will come to me For that is why I dance.
The poems in Helena Mesa’s virtuosic first book, Horse Dance Underwater, run with such speed, verve, and alacrity they leave you breathless, exhilarated, and transformed as if the purest kind of song had lifted you into the air. By this quickness of language finding lyric speech, Mesa’s poems remind us of art’s joyous and ecstatic effects.
When you have achieved a state of calmness and readiness, then you are ready to know, ready to understand in a deep way the dance between emptiness and appearance. Once you catch a glimpse of that dance, don't hang on to it. Just let it go, like your first glimpse of essence love.
The music industry used to be able to control a single dance on the very smallest level of when people are supposed to hear it, and when they're supposed to start liking it, and when they're supposed to start buying it. And that's trashed, you know, that big machine that takes control and works albums for a long period.
I want to read so I can read the Koran read the signs in the street know the number of the bus I'm supposed to take when I one day leave this house.
Tennessee is a very country-type state. Maybe I can practice on some type of country-western dance where they'll know what I'm doing.
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