A Quote by Ernie Banks

Everybody believed you had to have a big piece of lumber and then muscle the ball over the fence. But by the time I and Hank Aaron - another guy who did it with his wrists - were through, there were a lot of guys ordering light bats and playing handball.
Pete Townsend for me was a huge influence. Because essentially they were a three-piece band and the way he structured his chords and took up a lot of space musically in the songs was really important to the way Rush developed. Geddy and Neil both were such active players and lot of the time we were all playing like crazy and it was too much and somebody had to reel it in and me being the faceless guy, I would do that.
We had some pretty good at-bats off Carpenter. We just couldn't find any holes. That's the way it goes sometimes. We were able to get some guys on but weren't able to get them in early. We did some little things right, we got some guys on, we got some walks. We take it one batter at a time and everybody tries to stay within their own limitations. We did that, we just didn't get the big hit to get them in.
I found during my time covering the NHL that the enforcers were some of the most accessible guys and the most low-key guys. I think that's somewhat of a natural thing. I don't know if that's because it's the big guy that everybody fears, and then you're sort of surprised and taken by the fact that he's actually a nice guy.
The melodies were melodies that anybody could sing or hum or whistle. And the words were just about that simple. I think the stories Hank told in his song fit so many people. Nearly everybody in the audience acted as if Hank were singin to them alone.
I'm going out with these old guys. One guy gave me a hickey and left his teeth in my neck. Another man, we were having a perfectly lovely dinner; he looked up and me and went: You're not my wife! Another guy died during dinner. I had to go in his pocket to get the American Express card. Then you wonder: What would he tip? Another guy said: I want you to meet my family, and took me to the cemetery.
If a man were to look over the fence on one side of his garden and observe that the neighbor on his left had laid his garden path round a central lawn; and were to look over the fence on the other side of his garden and observe that the neighbor on his right had laid his path down the middle of the lawn, and were then to lay his own garden path diagonally from one corner to the other, that man's soul would be lost. Originality is only to be praised when not prefaced by the look to right and left.
I played with Willie Mays and against Hank Aaron. They were tremendous players, but they were no Josh Gibson.
I was a big sports fan, and I had been closely monitoring Hank Aaron's home run totals since I was a kid playing on the sandlot adjacent to the Foundry and Machine Company in Batavia, Illinois.
As the Nazi regime developed over the years, the whole structure of decision-making was changed. At first there were laws. Then there were decrees implementing laws. Then a law was made saying, ‘There shall be no laws.’ Then there were orders and directives that were written down, but still published in ministerial gazettes. Then there was government by announcement; orders appeared in newspapers. Then there were the quiet orders, the orders that were not published, that were within the bureaucracy, that were oral. And finally, there were no orders at all. Everybody knew what he had to do.
I try to anticipate the ball well. That's something that's helped me since when I was a kid. Just learning to anticipate and read the game well. That's helped me. When I moved over to Spain and I was 15 I was playing with big guys who were 22 years to 28 years old and I was 15 so I couldn't beat them with power. I had to beat them with touch shots and variety and anticipation and all of those things. I learned a lot when I was over there.
When we were first started we were doing a lot of Motown stuff, but actually playing it more in a rock way. Everybody in the band sang and we did a lot of harmonies.
The other thing that I got back then - the Parker novels have never had much of anything to do with race. There have been a few black characters here and there, but the first batch of books back then, I got a lot of letters from urban black guys in their 20s, 30s, 40s. What were they seeing that they were reacting to? And I think I finally figured it out - at that time, they were guys who felt very excluded from society, that they had been rejected by the greater American world.
I had been used to improvising and even in the audition I was feeling free to rearrange Aaron Sorkin words a little bit, as lovely as they were. I didn't find out until after I got the part how furious Aaron was at me for doing that. They said, "He was livid. He did everything in his power not to jump down your throat!" But I came to realise that Aaron was writing in metre and the rhythm of the language is very important.
You look back at the '95 season, and a lot of those guys were getting mega minutes. Michael Jordan was out playing baseball. We were still winning, won 55 games I think, so those guys were all very content and happy with the way that things were going that year.
The comics I read as a kid were all about guys in tights. But here was a guy who wore a fedora. He fought crime like they did in Marvel and DC, but he did it in the real world. I had just turned 12 when I met the Spirit and it was a strange coincidence. At the same time I discovered girls I fell out of love with guys in tights.
Growing up, I idolized Big Boss Man and Bam Bam Bigelow just because they were big guys who could move and were tough. I felt like they both rode motorcycles. And Bam Bam had his head tattooed. Those are the guys who really got me into wrestling.
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