A Quote by Lou Williams

When you play in Toronto you feel like you're playing overseas. We can't wait to go on the road sometimes just to be in America. — © Lou Williams
When you play in Toronto you feel like you're playing overseas. We can't wait to go on the road sometimes just to be in America.
A lot of us players, if you were to ask them, feel like they have to play overseas. Why? 'Why not? Might as well do it while I can.' For a while, I felt that way - I've got to make the most money that I can. Now, do I feel like I could still play overseas? Absolutely. But I don't feel that pressure anymore.
Sometimes it works. Sometimes I feel like playing 'Hospital'. Sometimes I feel like playing 'Pablo Picasso'. I've been playing a lot lately. I do it as long as I feel like it.
One time, I got to go play with lion cubs in Johannesburg. It was amazing. But it's difficult when you're on the road. We're always playing tennis, and there's a lot of pressure. So sometimes you don't get to do the things you'd like to do, because the priority is tennis.
Sometimes I don't feel like an actor. Sometimes I speak about it like it was another job, and then I go, 'Wait a minute - I am one!'
They really allow you to play overseas. They let you play through everything - holding, grabbing, illegal screens, tough hand-checking and tough defense. Playing overseas for five years, that's all I knew. When I got to the Rockets, I brought that same mindset.
The story of our band is that we were this relentless touring band in those early years. We were leaving day jobs and going off on the road and having fun and seeing the country for the first time. We were playing Chinese restaurants and basements and record stores and houses. We were crashing on floors and it was all new and exciting. It was like a vacation. It didn't feel like work. I couldn't wait to go on tour back then. I would be sitting at my day job or my apartment, just itching to go. There were so many adventures that were about to happen.
A person's life is a journey, a road. Sometimes you go off the road and sometimes you stay on all the way through. But you are the only one on that road. It's your road.
One of the things you learn when you go overseas is how much a lot of the countries overseas really just like to enjoy life.
I just don't feel that we've traveled very far in the realm of social equality. There just seems to be a little bit of unrest. And sometimes I think that happens when you really feel like something's about to change. Right before the moment of lift off, sometimes things feel a little bit unhinged, and that's what it feels like to me right now, both as a woman and just as a human on the planet as an American woman in America. I feel like we're on the precipice of change. I feel a little nervous.
If I go to places where other people are playing, I often get up and play myself. I just enjoy the sound and feel of playing.
The natural thing in Africa is to start playing soccer at 8 or 9. You go outside and you play like kids play basketball here, and you grow a feel for the game. In Africa, the kids start playing basketball at 16 or 17 or 18, and when they get an opportunity to come here, they have been playing for only one or two years.
Since coming back from overseas, this is more of a foreign country than the places overseas. I don't understand it. It's like America has lost faith in rational thought.
I love Toronto. I love it. I love Toronto. I love Canada. I can't wait to get back. Can't wait to have some Timbits.
Sometimes I wonder if I shouldn't leaving being musician because I use to like it when noone came to see me playing, because I didn't feel any pressure. I can enjoy myself and probably play better. Sometimes when I play, people expect something of me, and I'm not always able to to that. Quite often. So I get totaly nervous
Every city is different for playing, actually. That's one of the hardest things: to play abroad. Because sometimes you know your city and your audience and you know what to play and what people will dance to. And later, you go to a place and you think this thing will work and you start playing and it doesn't work, and you have to be able to go to another side just to try to find what people like or whatever, or, like, try to make people dance as they are more used to. I don't know, it's quite strange - people dance in different parts of Europe in a different way.
You have a great road map when you play somebody that exists. That's the amazing thing. But then you have great limitations from that road map. It's hard to deviate from it creatively as an actor. It's like, "Oh wait, he'd never do that."
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