Dancers Are Athletes Quotes

Dancers are the athletes of God.

Exercise the writing muscle every day, even if it is only a letter, notes, a title list, a character sketch, a journal entry. Writers are like dancers, like athletes. Without that exercise, the muscles seize up.

I am a dancer. I believe that we learn by practice. Whether it means to learn to dance by practicing dancing or to learn to live by practicing living.... In each it is the performance of a dedicated precise set of acts, physical or intellectual, from which comes shape of achievement, a sense of one's being, a satisfaction of spirit. One becomes in some area an athlete of God.

Like the bodies of dancers or athletes, the minds of readers are genuinely happy and self-possessed only when cavorting around, doing their stretches and leaps and jumps to the tune of words.

It takes an athlete to dance, but an artist to be a dancer

Rhyme couldn't remember what he looked like. From his voice he sounded fit and athletic, but then Rhyme supposed he himself might seem like an Olympian to someone who couldn't see his destroyed body.

I know exactly what Einstein meant when he said, "Dancers are the athletes of God." You three look like angels. I can't wait to see you dancing in the Christmas concert.

For if anything is prized more in the homosexual subculture than a handsome face, or a large cock, it is a well-defined, athletic body.

Penny is a natural dancer. I should have known; she’s so athletic.

What Nietzsche is describing is a kind of transcendence—a mental state of complete and utter absorption well known to artists, athletes, gamblers, musicians, dancers, soldiers in battle, mystics, meditators, and the devout during prayer.

As an American, the first thing I noticed about British dancers
was their intellectual response to movement. In countries like Israel, the USA,
Australia and South Africa, the approach is much more athletic. People spend
a lot of time outdoors, and play sports in clothing that exposes the body.
Northern Europeans tend to be more introverted – more covered up in every sense.

J.D. Steelritter, like many older adults, is kind of a bigot. Mark Nechtr, like most young people in this awkward age, is NOT. But his aracism derives, he'd admit, from reasons that are totally self-interested. If all blacks are great dancers and athletes, and all Orientals are smart and identical and industrious, and all Jews are great makers of money and literature, wielders of a clout born of cohesion, and all Latins great lovers and stiletto-wielders and slippers-past-borders—well then gee, what does that make all plain old American WASPs? What one great feature, for the racist, brings us whitebreads together under the solid roof of stereotype? Nothing. A nameless faceless Great White Male. Racism seems to Mark a kind of weird masochism. A way to make us feel utterly and pointlessly alone. Unidentified. More than Sternberg hates being embodied, more than D.L. hates premodern realism, Mark hates to believe he is Alone. Solipsism affects him like Ambrosian meta-fiction affects him. It's the high siren's song of the wrist's big razor. It's the end of the long, long, long race you're watching, but at the end you fail to see who won, so entranced are you with the exhausted beauty of the runners' faces as they cross the taped line to totter in agonized circles, hands on hips, bent.

He talks the way sprinters run and dancers dance, an elite athlete. He talks as though he was born to talk. At

They’d never had anyone on the show who was missing an arm before. They’d had amputees on the show, but with different injuries. Mine posed a bit more of a challenge for dance. They mentioned Amy Purdy, the double amputee, who had been on the show, so I said, “Yeah, Amy Purdy is amazing, a very athletic, very impressive woman, but she has both of her knees. I don’t have a knee on my left side.” The phone went silent for a little while. But it didn’t turn them off. They just resumed talking. “Do you have any dance experience?” “No.” “Anytime in your life, if you were at a bar or a club, what did you do?” “I stood at the bar and ran my mouth. That’s what I do. I have never danced in any capacity. I don’t dance.” I was not trying to sell myself to them at all. I was being straight with them. Then they said, “If you decide to do it, we’ll put you in a house in L.A.” I knew then I had to say no to this show. “Well, I’m sorry, I’ve got three kids here and I can’t be away that long.” And without hesitation Deena Katz, one of the executive producers, said, “That’s fine. Your dancer will come to where you are and that’s where you’ll rehearse and come back and forth. Where do you live?” “Alabama.” She just answered, “Okay.” I don’t think they thought about that, either. Alabama is a long way from Los Angeles. We talked a little while longer and that was it. I never said yes. They never said I was doing it.

In Singin’ in the Rain, Lina Lamont provides both an effective “beard” for Don and Cosmo and a foil, representing both the reason for Don’s “unattached” state and the basis for their mutual contempt for women. Yet the signs are all there to be read for those interested in reading them: Cosmo and Don performing as a burlesque team, in which they sit on each other’s laps and play each other’s violins; Cosmo’s comment to Lina after the premiere of The Royal Rascal, “Yeah, Lina, you looked pretty good for a girl”;30 and their bullying, in “Moses Supposes,” of the fogyish diction coach, figuratively drawn out of his closet only to be ridiculed as an asexual “pansy” who can’t sing and dance (thus both confirming and denying homosexuality at the same time).31 On a broader scale, Kelly’s career as a dancer, offering a more masculinized style of athletic dance (in opposition especially to the stylized grace of Fred Astaire), represented a similar balancing act between, in this case, the feminized occupation of balletic dance and a strong claim of heterosexual masculinity. Significantly, the process of exclusion they use with the diction coach is precisely what Cosmo proposes they apply to Lina in converting The Dueling Cavalier into a musical: “It’s easy to work the numbers. All you have to do is dance around Lina and teach her how to take a bow.” But they also apply the strategy to Kathy, who is only just learning to “dance” in this sense (conveniently so, since Debbie Reynolds had had but little dance training, as noted).32 Early on, we see her dance competently in “All I Do Is Dream of You,” but she then seems extremely tentative in “You Were Meant for Me,” immobile for much of the number, not joining in the singing, and dancing only as Don draws her in (which is, of course, consistent with her character’s development at this point). With “Good Mornin’,” though, she seems to “arrive” as part of the Don-Cosmo team, even though for part of the number she serves as a kind of mannequin—much like the voice teacher in “Moses Supposes,” except that she sings the song proper while Don and Cosmo “improvise” tongue-twisting elaborations between the lines. As the number evolves, their emerging positions within the group become clear. Thus, during their solo clownish dance bits, using their raincoats as props, Kathy and Don present themselves as fetishized love objects, Kathy as an “Island girl” and Don as a matador, while Cosmo dances with a “dummy,” recalling his earlier solo turn in “Make ’em Laugh.

Each study has concluded the same thing: almost all of our jobs will overlap with the capabilities of AI. As I’ve alluded to previously, the shape of this AI revolution in the workplace looks very different from every previous automation revolution, which typically started with the most repetitive and dangerous jobs. Research by economists Ed Felten, Manav Raj, and Rob Seamans concluded that AI overlaps most with the most highly compensated, highly creative, and highly educated work. College professors make up most of the top 20 jobs that overlap with AI (business school professor is number 22 on the list ). But the job with the highest overlap is actually telemarketer. Robocalls are going to be a lot more convincing, and a lot less robotic, soon. Only 36 job categories out of 1,016 had no overlap with AI. Those few jobs included dancers and athletes, as well as pile driver operators, roofers, and motorcycle mechanics (though I spoke to a roofer, and they were planning on using AI to help with marketing and customer service, so maybe 35 jobs). You will notice that these are highly physical jobs, ones in which the ability to move in space is critical. It highlights the fact that AI, for now at least, is disembodied. The boom in artificial intelligence is happening much faster than the evolution of practical robots, but that may change soon. Many researchers are trying to solve long-standing problems in robotics with Large Language Models, and there are some early signs that this might work, as LLMs make it easier to program robots that can really learn from the world around them.

Wounded, narcissistic parents may need a grateful child. A father who was unpopular or clumsy as a child may need an athlete. A parent afraid of his or her own anger may need an acting-out child. The real child, the child who was meant to grow and develop into a self in his or her own right, is often never seen. Even if Joan’s interest had been in science or math, her mother needed a dancer—and children will make every effort to be what is expected of them.

...It Isn't actually much of an encouragement to me to read the stories about Jesus. I might as well take encouragement from watching a great athlete run a four-minute mile. Sure, it's a fine sight, but at my age and with my weight I would be lucky to do a mile in 10 minutes, let alone four. I can watch a ballet dancer on stage with great delight, not because I can copy him, but precisely because I know I can't.

Michael Kidd, one of New York’s best choreographers, had already been working in Hollywood, but on Seven Brides he was essential, as his extremely athletic style matched the aggressive nature of the backwoodsman avatar. And, in a unique casting scheme, the brothers and brides were primarily dancers. Keel and Powell of course were singers, and, further, MGM was building Jeff Richards as a jeune premier and insisted on making him one of the brothers. A former baseball player, Richards was anything but a ballroom whiz, and Kidd had to work around him—Richards is especially awkward in “Goin’ Co’tin’,” ensconced in a chair almost throughout while Powell teaches his brothers how to dance—and, at that, MGM ended up dubbing some of the boys and girls. But Seven Brides is a dance piece in a way even the Astaire-Rogers RKOs aren’t. They dance because Astaire dances. Seven Brides dances because that’s how we understand the difference between what men want women to be (chattel) and what women want men to be (nice to them).

If you dangle in front of parents the kind of 1 percent life outcome that goes with being a star, some of them will grab for it, even if objectively it’s not a very good plan for their child’s long-term wellbeing. Once a parent hears that their kid might have potential - as a painter, a dancer, a tennis player, a musician, whatever - all the stories of struggling artists and washed up athletes fade to the background.

Except for professional athletes, dancers, cowboys, and a few other groups, most people in modern industrial societies have abnormally low energy expenditures. Workers sitting in swivel chairs or in driver's seats of cars or even pushing vacuum cleaners or electrically powered lawn mowers are being sedentary, and their leisure hours may be even more so.

I made it a point to recruit only subjects who had trained extensively as athletes, dancers, musicians, or singers. None of them ever quit on me. So here we have purposeful practice in a nutshell: Get outside your comfort zone but do it in a focused way, with clear goals, a plan for reaching those goals, and a way to monitor your progress. Oh, and figure out a way to maintain your motivation.

Not merely is the art of the second half of the fifth century influenced by the same experience which formed the ideas of the Sophists; a spiritual movement such as theirs, with its stimulating humanism, was bound to have a direct effect upon the outlook of the poets and artists. When we come to the fourth century there is no branch of art in which their influence cannot be traced. Nowhere is the new spirit more striking than in the new type of athlete which, with Praxiteles and Lysippus, now supplants the manly ideal of Polycletus. Their Hermes and Apoxyomenos have nothing of the heroic, of aristocratic austerity and disdain about them; they give the impression of being dancers rather than athletes. Their intellectuality is expressed not merely in their heads; their whole appearance emphasizes that ephemeral quality of all that is human which the Sophists had pointed out and stressed. Their whole being is dynamically charged and full of latent force and movement. When you try to look at them they will not allow you to rest in any one position, for the sculptor has discarded all thought of principal view-points; on the contrary, these works underline the incompleteness and momentariness of each ephemeral aspect to such a degree as to force the spectator to be altering his position constantly until he has been round the whole figure. He is thus made aware of the relativity of each single aspect, just as the Sophists became aware that every truth, every norm and every standard has a perspective element and alters as the view-point alters. Art now frees itself from the last fetters of the geometrical; the very last traces of frontality now disappear. The Apoxyomenos is completely absorbed in himself, leads his own life and takes no notice of the spectator. The individualism and relativism of the Sophists, the illusionism and subjectivity of contemporary art, alike express the spirit of economic liberalism and democracy—the spiritual condition of people who reject the old aristocratic attitude towards life, with all its gravity and magnificence, because they think they owe everything to themselves and nothing to their ancestors, and who give vent to all their emotions and passions with complete lack of restraint because so whole-heartedly convinced that man is the measure of all things.

Many self-mutilators, as well as anorexics and bulimics, come from families where physical appearance and prowess were stressed more than feelings and thoughts. Eating disorders are particularly rampant among female athletes, dancers, models, and others from whom approval is explicitly tied to their body. Like self-mutilators, anorexics and bulimics tend to be perfectionists who never feel good enough, despite their considerable achievements. Often they are the "good little girl"—the perfect, straight-A student, the quiet, conscientious one who never gave here parents any trouble—an identity they strenuously cling to in order to avoid conflict and abuse. But beneath the mask, they feel loathsome and defective, anything but special. They develop a rigidity of character and a right-or-wrong style of thinking that makes them acutely sensitive to criticism. Everything is either black or white, good or bad, success or failure, fat or thin. There is no in-between, no comfort in just being adequate.

Berlin wrote songs for a number of Astaire films of the period: Top Hat, Follow the Fleet, On the Avenue, Carefree. The two men became close personal friends for the rest of their lives. But the choice of Astaire as a Hollywood leading man is, at first glance, puzzling. Certainly, he was an extraordinary dancer, and songwriters appreciated his accuracy and clarity when singing their songs, even if his voice was reedy and thin. But a leading man? Essentially, Astaire epitomized what Berlin and other Jews strove to achieve. He was debonair, polished, sophisticated. His screen persona was that of a raffish, outspoken fellow, not obviously attractive, whose audacity and romanticism and wit in the end won out. It didn’t hurt that he could dance. But even his dance—so smooth and elegant—was done mostly to jazz. Unlike a Gene Kelly, who was athletic, handsome, and sexy, Astaire got by on style. Kelly was American whereas Astaire was continental. In short, Astaire was someone the immigrant might himself become. It was almost like Astaire was himself Jewish beneath the relaxed urbanity. In a film like Top Hat he is audacious, rude, clever, funny, and articulate, relying mostly on good intentions and charm to win over the girl—and the audience. He is the antithesis of a Clark Gable or a Gary Cooper; Astaire is all clever and chatty, balding, small, and thin. No rugged individualist he. And yet his romantic nature and persistence win all. Astaire only got on his knees to execute a dazzling dance move, never as an act of submission. His characters were largely wealthy, self-assured, and worldly. He danced with sophistication and class. In his famous pairings with Ginger Rogers, the primary dance numbers had the couple dressed to the nines, swirling on equally polished floors to the strains of deeply moving romantic ballads.

Berlin wrote songs for a number of Astaire films of the period: Top Hat, Follow the Fleet, On the Avenue, Carefree. The two men became close personal friends for the rest of their lives. But the choice of Astaire as a Hollywood leading man is, at first glance, puzzling. Certainly, he was an extraordinary dancer, and songwriters appreciated his accuracy and clarity when singing their songs, even if his voice was reedy and thin. But a leading man? Essentially, Astaire epitomized what Berlin and other Jews strove to achieve. He was debonair, polished, sophisticated. His screen persona was that of a raffish, outspoken fellow, not obviously attractive, whose audacity and romanticism and wit in the end won out. It didn’t hurt that he could dance. But even his dance—so smooth and elegant—was done mostly to jazz. Unlike a Gene Kelly, who was athletic, handsome, and sexy, Astaire got by on style. Kelly was American whereas Astaire was continental. In short, Astaire was someone the immigrant might himself become. It was almost like Astaire was himself Jewish beneath the relaxed urbanity. In a film like Top Hat he is audacious, rude, clever, funny, and articulate, relying mostly on good intentions and charm to win over the girl—and the audience. He is the antithesis of a Clark Gable or a Gary Cooper; Astaire is all clever and chatty, balding, small, and thin. No rugged individualist he. And yet his romantic nature and persistence win all.

Women have come a long way , since that day on September 7th 1968 , when they burnt myriad symbolic feminine products , including mops and bras , as a mark of protest . The women wanted to call world-wide attention to women's rights and women's liberation ! Today women are making headlines each and every day as the makers and creators of positive change in all walks of life . Be it as doctors , pilots , engineers , artists , writers , musicians, innovators, teachers , astronauts , researchers, managers , private or government employees , designers , scientists , dancers, singers, entrepreneurs , architects , bus-drivers , nurses , chefs , actors, athletes , politicians , or home-makers , women have been and are continuing to prove themselves that they are equal to or better than men in all walks of life ! A big 'Salute ' to all the women in the world !

Ask yourself the following questions to find profitable niches. 1. Which social, industry, and professional groups do you belong to, have you belonged to, or do you understand, whether dentists, engineers, rock climbers, recreational cyclists, car restoration aficionados, dancers, or other? Look creatively at your resume, work experience, physical habits, and hobbies and compile a list of all the groups, past and present, that you can associate yourself with. Look at products and books you own, include online and offline subscriptions, and ask yourself, “What groups of people purchase the same?” Which magazines, websites, and newsletters do you read on a regular basis? 2. Which of the groups you identified have their own magazines? Visit a large bookstore such as Barnes & Noble and browse the magazine rack for smaller specialty magazines to brainstorm additional niches. There are literally thousands of occupation- and interest/hobby-specific magazines to choose from. Use Writer’s Market to identify magazine options outside the bookstores. Narrow the groups from question 1 above to those that are reachable through one or two small magazines. It’s not important that these groups all have a lot of money (e.g., golfers)—only that they spend money (amateur athletes, bass fishermen, etc.) on products of some type. Call these magazines, speak to the advertising directors, and tell them that you are considering advertising; ask them to e-mail their current advertising rate card and include both readership numbers and magazine back-issue samples. Search the back issues for repeat advertisers who sell direct-to-consumer via 800 numbers or websites—the more repeat advertisers, and the more frequent their ads, the more profitable a magazine is for them … and will be for us.