Quotes About Movement

I never looked at ECW as wrestling. I always considered it more of a theology. I don't know whether I had or didn't have a messianic complex during that time. But I bought into the movement as much as, if not more than, anybody else. If I sold anyone on the religion of extreme, I was its number-one customer.

I love fighting big guys because I'm fast. I'm not a big, light heavyweight. I can move. I can get inside on them. I'm inside, I'm wrestling with them, and they're just wrestling, but all the time, I'm chopping; I'm slapping.

In badminton, they use a lot from the wrist. But I use a lot from the shoulder.

One really beautiful wrist motion, that is synchronised with your head and heart, and you have it. It looks as if it were born in a minute.

When you play guitar and strum, you're using biceps and triceps to move up and down. I realized you could just turn your wrist, your forearm, using smaller muscles in your arm that are much more efficient and much quicker.

I hit the ball early and move my wrist a lot, so I get bigger angles.

In cricket, you should keep your wrist as straight as possible, unlike golf.

My only focus after I start the putter away from the ball is keeping the back of my left wrist as fat as possible from start to finish. This is critical to keeping the putterhead and ball moving straight down the target line after impact. It's also how Rory Mcllroy squares his putterface, and obviously it works for him.

I can bend my wrist down to my forearm. I can wrench my fingers backward until they rest on my hand. A hitchhiker's thumb might arc into a 90-degree angle; mine will go to 135.

The main thing for a bowler is his wrist position, and that, as I've said before, is something I'm working on.

I was playing Sultan Razia and had a habit of twitching my wrist when I took a movement.

The wrist is needed in tennis.

Is the modern social pattern of unending change and movement the cause of two modern diseases, insecurity and dissatisfaction? How lucky Thomas Hood was to be able to write, 'I remember, I remember the house where I was born.' I don't even know what mine looked like!

I kind of need to be ambulatory to write lyrics.

The world is a crazy, beautiful, ugly complicated place, and it keeps moving on from crisis to strangeness to beauty to weirdness to tragedy. The caravan keeps moving on, and the job of the longform writer or filmmaker or radio broadcaster is to stop - is to pause - and when the caravan goes away, that's when this stuff comes.

The writer may very well serve a movement of history as its mouthpiece, but he cannot of course create it.

I find myself wanting to make music at the dining room table or in the bedroom - I'm kind of a mobile writer, so I sort of move around the house. But the attic is definitely where I can make the most noise. While everyone on the lower floors screams 'Earthquake!' But no! It's just my bass!

I wanted the press to become something of a movement. Not a movement committed to a particular 'ism', but a gathering together of writers with an aesthetic approach to literature and with a lust for excellence.

The poet is like the earth's shadow. The sun moves, and the poet writes something down.

A revolution is not a dinner party, or writing an essay, or painting a picture, or doing embroidery.

Choreography is writing on your feet.

It would be so simple to allow children, when tired of sitting, to rise, and when tired of writing, to desist, and then their bones would not be twisted.

What did it say about the movement of time, about what was about to happen, that I could understand the hummingbird spin of human voices?

Even a clock has teeth and time has a bite all of its own.