A Quote by Toni Kukoc

Coming here, I never thought about being like what I was supposed to be in Europe, the No. 1 guy and building the whole team around you. Coming here, I was relaxed about that because I knew there was going to be Michael, Scottie, Horace and I could learn from them.
Tremendous teammate, that's what comes to mind when I think of Scottie Pippen. He was a very caring teammate who was always concerned about the team, always concerned about it. He just had a great understanding of the team concept. Everyone talks about a great teammate, but he really was a great guy to play with. He may have been having a 25 or 30-point game, but if he knew you were struggling, he'd find a way to get you going as well. He's that type of guy.
I'm not a philosopher, Harry," [Michael] said. "But here's something for you to think about, at least. What goes around comes around. And sometimes you get what's coming around." He paused for a moment, frowning faintly, pursing his lips. "And sometimes you are what's coming around.
I am sure it is everyone’s experience, as it has been mine, that any discovery we make about ourselves or the meaning of life is never, like a scientific discovery, a coming upon something entirely new and unsuspected; it is rather, the coming to conscious recognition of something, which we really knew all the time but, because we were unwilling to formulate it correctly, we did not hitherto know we knew.
Because it's kind of great, being an idea that everybody likes. But I could never be the idea to myself, not all the way. And Agloe is a place where a paper creation became real. A dot on the map became a real place, more real than the people who created the dot could never have imagined. I thought maybe the paper cutout of a girl could start becoming real here also. And it seemed like a way to tell that paper girl who cared about popularity and clothes and everything else: 'You are going to the paper towns. And you are never coming back.
I think my decision to stay at Real is looking more and more like the right one. I've never regretted coming back. I came because I trusted the team and I thought we could get better.
I didn't like the Feds coming to town when I was in Miami, telling me what to do. I didn't like them coming to town and thinking that they knew more about Miami than I do.
I thought about one of my favorite Sufi poems, which says that God long ago drew a circle in the sand exactly around the spot where you are standing right now. I was never not coming here. This was never not going to happen.
When he was in school he longed to be out, and when he was out he longed to be in. On the way he thought about coming home, and coming home he thought about going. Wherever he was he wished he were somewhere else, and when he got there he wondered why he'd even bothered.
I could always hold a melody, but I was never like, I'm going to be a singer. So I'm able to use that when I write. I'm actually playing the beat with my voice. Instead of thinking about coming up with melodies, it's like filling in the instruments. So sometimes it's better to have beats with less melodies in them, because then I can play more with my vocals.
Singing about your sadness unburdens your soul. But the blues hollers shouted about more than being sad. They were also delivering messages in musical code. If the master was coming, you might sing a hidden warning to the other field hands . . . The blues could warn you what was coming. I could see the blues was about survival.
It made me very sad, that question. Sad and defeated. Because I knew she knew why I was thinking about that woman-I was thinking about my own tendencies toward aloneness and I thought I could end up like that woman, with a bird perhaps, or a dog-probably a dog, I know birds are supposed to make good pets but I think there's something creepy about them-but alone with a life that didn't touch or overlap with anyone else's, a sort of hermetically sealed life.
I thought that coming out was going to be the end of my religious life but actually it was the beginning. Because it only afterwards that I could be honest about who I was, what I wanted, how I understood spirituality.
I knew who I was coming into the NBA, so I knew what I could contribute to a team, and I just had a high level of confidence in myself and what I could do.
"Only write what you know" is very good advice. I do my best to stick to it. I wrote about gods and dreams and America because I knew about them. And I wrote about what it's like to wander into Faerie because I knew about that. I wrote about living underneath London because I knew about that too. And I put people into the stories because I knew them: the ones with pumpkins for heads, and the serial killers with eyes for teeth, and the little chocolate people filled with raspberry cream and the rest of them.
Family dramas are tough, as a playwright. Most stories are about characters going on a trip or a new character coming to town, because that's how you learn information about them. But with family, they all know each other already. There's years of history in every interaction.
I've been double-teamed my whole life. I know when a double team's coming. I know what side the guy's coming from. I know how to dribble out of it.
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