A Quote by Israel Adesanya

I was an oddball in kickboxing because of my style. I'm different. I'm fleet-footed and I understand how to move and work the system. — © Israel Adesanya
I was an oddball in kickboxing because of my style. I'm different. I'm fleet-footed and I understand how to move and work the system.
If you have ever been robbed by a black teen-aged male, you know how unbelievably fleet-footed they can be.
The fellows that I played with encouraged me to bunt and beat the ball out. I was anxious to make good and did as I was told. When I came to Brooklyn, I adopted an altogether different style of hitting. I stood flat-footed at the plate and slugged. That was my natural style.
Let's see... Rihanna! Work, work, work, work, work, work; OK, what? How much work does it take to move your behind, honey? I don't understand the job situation you're going through.
The players start to recognise your game, start to know how you move, how you pass, how you shoot and the things become difficult now. So now I need to improve more and to work more and understand more the teams who I play against because they will understand me better, but I need to be prepared to understand better the difficulties they can have.
Italians don't have a unique style like France or Spain or Germany or the UK, it's different everywhere you go. The style of the girl in Milan is really architectural and modern. In Naples it's a completely different style, it's more dark. I'm sure our style was more precise in the past in the '50s or '60s where everything was very Sophia Loren. It's weird because obviously outside of Italy you think of one country, but when you're in the country you know how different the country is from the north to the center to the south to the island. There are so many differences.
I would say that in 2000, we understand as much about how today's system of globalization is going to work as we understood about how the Cold War system was going to work in 1946.
I think that many citizens understand how our system works, or rather, fails to work, for structural reasons. But who has the capacity and the incentives to bring change? The banks and other corporations love the system because it allows them to buy legislation that serves their own interests even at the expense of the vast majority of citizens. Incumbent politicians love the system because it allows them to raise millions of dollars toward defending their seats.
People don't understand the classification process and they also don't understand a condition like MS and how it has different effects on different people. Neurological conditions are all so different because we don't know what people have gone through and how their brains adapt to it all and you can't assess everything with the naked eye.
If you're trying to avoid one move that you don't think is going to work out, don't then settle for a different move that maybe doesn't check all the boxes. Be true to the philosophy and understand the bigger picture. There's always another day to fight.
One quality that a director needs to acquire in Hollywood is to understand the system and figure out how to work within the system to express one's own ideas.
I don't think I have a favorite chess move, other than checkmate, because each move is part of a combination of other moves. Just like I don't have a favorite piece, because they all work together. I mean, I love myself; I am the king on the board, but other pieces do different things and they all work together, so it's not one particular move unless it's checkmate because usually there's an answer. You know, chess is about questions and answers.
At Hermès I learned, maybe more than anywhere else, how to work around a legacy, and how to integrate a strong brand culture into my work. Also, to work with a completely different projection system and craftsmanship.
I try to stay true to my style, and I understand the foundation of my style and where it came from. But at the same time, you take that experience and learn different ways to write, different ways to turn on that creative energy.
I understand all the work to be of a nonabstract nature regardless of the style, form, or explicit subject matter because all the work... is concerned with evoking experiences that are in themselves - and their relationship to you, the viewer - the ultimate subject and content of the work. I want to equate the experience of the work with its meaning.
My personal style is a continued evolution. I can see I've had a different style for every different age in the period of my life. It's difficult for me to say what is my style because I change all the time. I change every eight months, it's so weird.
In Fleet Street, in Fleet Street, the People are so fleet, They barely touch the cobble-stones with their nimble feet!
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