A Quote by Rafer Johnson

From the very start in 1969, I wanted to be a part of helping our Special Olympics athletes succeed. I wanted to be on Eunice Shirver's team as another set of eyes, another set of hands and a heart working to be there for them, finding a way to help them be the best they can be.
It doesn't change much, my job from one team to the another. What I bring to the table. Helping the team be better and helping the young teams grow and help the talent already here. Get the best out of them.
I consider it equal injustice to set our heart against natural pleasures and to set our heart too much on them. We should neither pursue them, nor flee them; we should accept them.
I wanted to hear the songs in the way that I had written them, which was very basic. All I wanted was drums and another guitar, and I was just going to sing.
I set goals, but they're mostly very personal goals. I never try and set a goal where 'I want to win this,' or 'I want to do this,' where other people can affect what I do. If I want to swim a new best time, I sit down and work out the best way of doing that. Whether I can shave a few tenths of a second off a turn or the start, my goal is putting them all together in a race. That's the way I set my goals.
But you too, help one another: help one another always. One another. In this way, by helping one another, we will do some good.
It's empowering and uplifting to hear the Special Olympics athletes share their journey and what's helped them to get to where they are today. I had no idea how much I'd learn and grow by taking part in Special Olympics. It's made me think about my own journey and what's important in life.
A lot of coaches want guys to be loose for games. I never wanted them to be loose. I wanted their hands sweating, their knees shaking, their eyes bulging. I wanted them to act like we were going to war.
In the first few pages, Kundera discusses several abstract historical figures: Robespierre, Nietzsche, Hitler. For Eunice's sake, I wanted him to get to the plot, to introduce actual "living" characters - I recalled this was a love story - and to leave the world of ideas behind. Here we were, two people lying in bed, Eunice's worried head propped on my collarbone, and I wanted us to feel something in common. I wanted this complex language, this surge of intellect, to be processed into love. Isn't that how they used to do it a century ago, people reading poetry to one another?
When I was working on 'Drown' - this was way back in the mid-'90s - I had this idea that I wanted to do another collected stories. I wanted to do another book like 'Drown' that focused specifically on infidelity.
I wanted to hear the songs in the way that I had written them, which was, in a way, very basic. So all I wanted to have was drums and another guitar pretty much playing what I wrote on guitar, and I was just going to sing.
If you get under water, you're at the mercy of our team coming in and getting us before we get another one on the head, and another one on the head, and another one. Or, we have to be able to handle it, and that's where our trainer and our coaches and our people who help us stay fit come into play, the other part of the team.
I wanted to go and I wanted to drive the miles for no pay, I wanted to set up the rings, I wanted to set up the chairs, I wanted to go to training six-seven days a week for hours upon hours and blow myself up to where I can only work on instinct. I wanted to sleep in my car. I wanted to do all of that.
We've got teams and other countries have teams. Right now, we are going to their countries; we're finding the best athletes; we're bringing them to our team. We're training them, we're making them awesome, and sending them back to beat us. We've got to stop that.
It was a really strange experience. It was very creative for Alejandro Amenábar. It was almost like it was the most I ever felt like I was helping someone paint. They had a very clear idea of what they wanted it to look like, sound like, be like. So, there was no operating outside the box. The only way to help him was to try to really be a part of his imagination and try to make it happen. He's a super kind and loving person. So, you wanted to help him. It just was none of my normal ways of helping a director work at all. So, it was a unique experience for me that way.
Everybody who comes to my home has to play at least one set against me. I beat them all. The best thing is when they want another set. People like me who can't stand not to win. I beat them again and again until they are furious, then I laugh. That's funny.
How can you succeed by helping others succeed? We succeed at our very best only when we help others succeed.
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