Paris Olympics Quotes

It has been a wonderful experience to compete in the Olympic Games and to bring home a gold medal. But since I have been a young lad, I have had my eyes on a different prize. You see, each one of us is in a greater race than any I have run in Paris, and this race ends when God gives out the medals.

As the lightness buoys me, I wonder if maybe she was right. Maybe it's not about looking hot for guys, but about feeling like a place acknowledged you, winked at you, accepted you. It's strange because, of all the people in all the cities, I'd have thought that to Parisians I'd be invisible, but apparently I'm not. Apparently in Paris, not only can I skate, but I practically qualify for the Olympics!

What happened?" "Oil." The sheikh shook his head. "The great cursed wealth from beneath the ground that the Prophet foresaw would destroy us. And statehood-what a terrible idea that was, eh? This part of the world was never meant to function that way. Too many languages, too many tribes, too motivated by ideas those high-heeled cartographers from Paris couldn't understand. Don't understand. Will never understand. Well, God save them-they're not the ones who have to live in this mess. They said a modern state needs a single leader, a secular leader, and the emir was the closest thing we had. So to the emir went all the power. And anyone who thinks that isn't a good idea is hounded down and tossed in jail, as you have so recently discovered. All so that some pantywaist royal nephew can have a seat at the UN and carry a flag in the Olympics and be thoroughly ignored.

On a trip to Paris one day, little Sophie Met a giant lady lighting up the night sky "What's your name, you magical monster?" "My many visitors call me the Eiffel Tower." "In all your attire, don't your sometimes tire Of being seen only as a humdrum tower? You, a dragon, a fairy watching over Paris, An Olympic torch held aloft in grey skies?" "How you flatter me! So few poets these days Ever sing the praises of my Parisian soul, As did Cocteau, Aragon, Cendrars, Trénet and Apollinaire... Since you're so good At seeing beneath the surface, you could -If you like, when you're back from France- Take up your pen and write down Why you like me -it would be nice and fun!" "You can count on me! There's so much to say! I'll write twenty lines... but who will read them?" "Well, I know a man who'll read your verse." "Really? Who?" "The President of France

Then, decades later, in the 1970s, a hard-assed U.S. swim coach named James Counsilman rediscovered it. Counsilman was notorious for his “hurt, pain, and agony”–based training techniques, and hypoventilation fit right in. Competitive swimmers usually take two or three strokes before they flip their heads to the side and inhale. Counsilman trained his team to hold their breath for as many as nine strokes. He believed that, over time, the swimmers would utilize oxygen more efficiently and swim faster. In a sense, it was Buteyko’s Voluntary Elimination of Deep Breathing and Zátopek hypoventilation—underwater. Counsilman used it to train the U.S. Men’s Swimming team for the Montreal Olympics. They won 13 gold medals, 14 silver, and 7 bronze, and they set world records in 11 events. It was the greatest performance by a U.S. Olympic swim team in history. Hypoventilation training fell back into obscurity after several studies in the 1980s and 1990s argued that it had little to no impact on performance and endurance. Whatever these athletes were gaining, the researchers reported, must have been based on a strong placebo effect. In the early 2000s, Dr. Xavier Woorons, a French physiologist at Paris 13 University, found a flaw in these studies. The scientists critical of the technique had measured it all wrong. They’d been looking at athletes holding their breath with full lungs, and all that extra air in the lungs made it difficult for the athletes to enter into a deep state of hypoventilation. Woorons repeated the tests, but this time subjects practiced the half-full technique, which is how Buteyko trained his patients, and likely how Counsilman trained his swimmers. Breathing less offered huge benefits. If athletes kept at it for several weeks, their muscles adapted to tolerate more lactate accumulation, which allowed their bodies to pull more energy during states of heavy anaerobic stress, and, as a result, train harder and longer. Other reports showed hypoventilation training provided a boost in red blood cells, allowing athletes to carry more oxygen and produce more energy with each breath. Breathing way less delivered the benefits of high-altitude training at 6,500 feet, but it could be used at sea level, or anywhere. Over the years, this style of breath restriction has been given many names—hypoventilation, hypoxic training, Buteyko technique, and the pointlessly technical “normobaric hypoxia training.” The outcomes were the same: a profound boost in performance.* Not just for elite athletes, but for everyone. Just a few weeks of the training significantly increased endurance, reduced more “trunk fat,” improved cardiovascular function, and boosted muscle mass compared to normal-breathing exercise. This list goes on. The takeaway is that hypoventilation works. It helps train the body to do more with less. But that doesn’t mean it’s pleasant.

Sunday is God's day, and he was committed to honoring it. Just because he was in Paris to compete in the Olympics didn't justify changing his lifelong commitment.

Jimmy produced Beggars Banquet, Let It Bleed, Sticky Fingers—every Stones record through Goats Head Soup in 1973, the backbone stuff. But the best thing we ever did with Jimmy Miller was “Jumpin’ Jack Flash.” That song and “Street Fighting Man” came out of the very first sessions with Jimmy at Olympic Studios for what would become Beggars Banquet, in the spring of 1968—the May of street fighting in Paris. Suddenly between us this whole new idea started to blossom, this new second wind. And it just became more and more fun.

The sessions for Some Girls always had a following wind from the moment we started rehearsing in the strangely shaped Pathé Marconi studios in Paris. It was a rejuvenation, surprisingly for such a dark moment, when it was possible that I would go to jail and the Stones would dissolve. But maybe that was part of it. Let’s get something down before it happens. It had an echo of Beggars Banquet about it—a long period of silence and then coming back with a bang, and a new sound. You can’t argue with seven million copies and two top ten singles out of it, “Miss You” and “Beast of Burden.” Nothing was prepared before we got there. Everything was written in the studio day by day. So it was like the earlier times, at RCA in Los Angeles in the mid-’60s—songs pouring out. Another big difference from recent albums was that we had no other musicians in with us—no horns, no Billy Preston. Extra stuff was dubbed later. If anything the buildup of sidemen had taken us down a different path in the ’70s, away from our best instincts on some occasions. So the record was down to us, and it being Ronnie Wood’s first album with us, down to our guitar weaving on tracks like “Beast of Burden.” We were more focused and we had to work harder. The sound we got had a lot to do with Chris Kimsey, the engineer and producer who we were working with for the first time. We knew him from his apprenticeship at Olympic Studios, and so he knew our stuff backwards. And he would, on the basis of this experiment, engineer or coproduce eight albums for us. We had to pull something out—not make another Stones-in-the-doldrums album. He wanted to get a live sound back and move away from the clean and clinical-sounding recordings we’d slipped into. We were in the Pathé Marconi studios because they were owned by EMI, with whom we’d just made a big deal.

It was the USSR, as an emerging basketball power in the 1950s, that first called on Olympic leaders to officially add women's basketball to the program as a medal sport, a half century after the Fort Shaw girls demonstrated the game in St. Louis. Their first attempt came during a June 1955 meeting of the International Olympic Committee in Paris, where the Soviets asked delegates to vote on the adding women's competitions in volleyball, basketball, speed skating, and rowing, all of which were already open to male athletes.

I’m talking about people who live in some of our most affluent cities,’ says O’Casey, ‘but they’re driven to live below the earth. People who—for whatever reason—aren’t welcome on the surface: homeless people, addicts, the HIV positive. There are subterranean communities all over the world, in catacombs, sewers and abandoned metros. The Tunnel People in Las Vegas, the Empire of the Dead in Paris, the Rat Tribe in Beijing. A lot of them are proper societies, with electricity and phone lines, even churches and restaurants sometimes. The Rat Tribe in Beijing are mostly migrant workers, some of them brought in to build for the Olympics. The only place they can afford to live is underground, in tunnels and old air-raid shelters.

You tend to think that you are mainly the big blotches on the canvas: the big splashes that you want to draw attention to (you're aiming for the Olympics one day, you're into drag racing, you're working for a luxury company in Paris, so on and so forth). But those big blotches that you want to draw attention to aren't you, at the end of the day. At the end of the day, you are the tiny dots that you've pulled together, the small dots on your canvas which you've pulled together that make up the fundamental person that you are: the way you put a flower on your slice of cake, the way you mop your floor three times because once isn't good enough, the way that you nurture another person who is growing on the same path you have already been through, so on and so forth. You are the accumulation of the attention that you put into your daily, mundane actions which lend life to your existence. Or character to your daily life. That is you. That is what you have to give. That is your energy. Your big blotches have no power if your little dots are not accounted for.

In one life she had quite a solitary time in Paris, and taught English at a college in Montparnasse and cycled by the Seine and read lots of books on park benches. In another, she was a yoga teacher with the neck mobility of an owl. In one life she had kept up swimming but had never tried to pursue the Olympics. She just did it for fun. In that life she was a lifeguard in the beach resort of Sitges, near Barcelona, was fluent in both Catalan and Spanish, and had a hilarious best friend called Gabriela who taught her how to surf, and who she shared an apartment with, five minutes from the beach.

That night, I lay awake and turned the art of over-analysing into an Olympic sport.