A Quote by Stan Musial
It seemed like I always did some great hitting in Brooklyn. The field there was close to the stands. Every time I started walking to the plate, I could hear the fans say, 'Here comes that man again. Here comes that man.'
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A man stands alone at the plate. This is the time for what? For individual achievement. There he stands alone. But in the field, what? Part of a team.
We hear about constitutional rights, free speech and the free press. Every time I hear these words I say to myself, "That man is a Red, that man is a Communist." You never hear a real American talk like that.
You hear about constitutional rights, free speech and the free press. Every time I hear these words I say to myself, 'That man is a Red, that man is a Communist!' You never hear a real American talk like that.
It is what the poets of Ireland used to be saying, that every brave man, good at fighting, and every man that could do great deeds and not be making much talk about them, was of the Sons of the Gael; and that every skilled man that had music and that did enchantments secretly, was of the Tuatha de Danaan.
There's so much attached to playing shortstop that you lose your concentration on hitting, unless you're a natural hitter. There's so much to think about in the field, you don't have time to think about what you did at the plate last time. 'How did he get me out?'
A young man who came from Columbus, Ohio and made it, and who wants every other young man and young woman, black or white, to know that if I could do it, they could do it. Me and my fans grew up together, and I believe they know I'm a walking billboard and proof of that. That's what I see when I look in the mirror.
I've always assumed that every time a child is born, the Divine reenters the world. Okay? That's the meaning of the Christmas story. And every time that child's purity is corrupted by society, that's the meaning of the Crucifixion story. Your man Jesus stands for that child, that pure spirit, and as its surrogate, he's being born and put to death again and again, over and over, every time we inhale and exhale, not just at the vernal equinox and on the twenty-fifth of December.
If we're a natural man, we're attracted to a woman. You are our natural partner in the act of procreation. Now there's a time and a place for everything, but when a fine-looking woman, with a fine-looking form walks down the street, a man could be working with a jackhammer, and when he spies that woman, he'll watch her as she walks. What kind of thought comes up in your mind? You don't say, "Oh, what a great creature." Like a dog you may say, "Man, I'd sure like to have some of that!" That's not what you want.
If Martin Luther King, Roy Wilkins or any of these compromising Negros who say exactly what the white man wants to hear is interviewed anywhere in the country you don't get anybody to offset what they say. But whenever a black man stands up and says something that white people don't like then the first thing that man does is run around to try and find somebody to say something to offset what has just been said. This is natural but it is done.
Every great man, every successful man, no matter what the field of endeavor, has known the magic that lies in these words: every adversity has the seed of an equivalent or greater benefit.
When I came to New York, to Brooklyn, I met Alvin Ailey and Stanley Crouch and August Wilson. They were always putting things in a philosophical context. All the great jazz musicians did, too. There was always a sub-context to what they were saying about music even though they would be very down home and earthy. So I started to develop, in addition to my power and ability to simply hear, a way to place myself in a time.
I said to myself, 'the champion of the whole world can whoop every man in Russia, every man in America, every man in China, every man in Japan, every man in Europe - every man in the whole world'.It sounds big, didn't it? So I kept working until I did it.
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.
I played 'Eruption' two times for the record, and we kept the one that seemed to flow ... there's a mistake at the top end of it whenever I hear it, I always think, Man I could've played it better ... but I like the way it sounds. I'd never heard a guitar sound like that before.
When there are just 500 fans inside a ground, you can hear everything they say, every little word that is getting said. So that is what turns you from a kid into a man.
When I started out in public life there used to be a saying we'd hear from time to time, that every man who runs for public office will claim that he was born in a log cabin he built with his own hands. Well, my mother knew better. And she made sure I did too.
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