艾利森.杰克逊看名人

第一篇：艾利森.杰克逊看名人

I'm a contemporary artist and I show in art galleries and museums.I show a number of photographs and films, but I also make television programs, books and some advertising, all with the same concept.And it's about our fixation with celebrity and celebrity culture, and the importance of the image: celebrity is born of photography.I'm going to start with how I started with this concept seven years ago, when Princess Diana died.There was a sort of a standstill in Britain the moment of her death, and people decided to mourn her death in a sort of mass way.I was fascinated by this phenomenon, so I wondered:could one erase the image of Diana, actually quite crudely and physically? So, I got a gun and started to shoot at the image of Diana, but I couldn't erase this from my memory and certainly it was not being erased from the public psyche.Momentum was being built.The press wrote about her death in rather, I felt, pornographic ways--like, “Which bit of artery left which bit of body?” and “How did she die in the back of the car?”--and I was intrigued by this sort of mass voyeurism, so I made these rather gory images.I then went on wondering whether I could actually replace her image, so I got a look-alike of Diana and posed her in the right positions and angles and created something that was in, or existed in, the public imagination.So people were wondering: was she going to marry Dodi?Was she in love with him? Was she pregnant? Did she want his baby? Was she pregnant when she died? So I created this image of Diana, Dodi and their imaginary mixed-race child and this image came out, which caused a huge public outcry at the time.I then went on to make more comments on the media and press imagery, so I started making reference to media imagery--made it grainy, shot through doorways and so on and so forth--to titillate the public or the viewer further in terms of trying to make the viewer more aware of their own voyeurism.So, this is an image of Diana looking at Camilla kissing her husband, and this was a sequence of images.And this gets shown in art galleries like this, as a sequence.And similarly with the Di-Dodian baby imagery--this is another art gallery installation.I'm particularly interested in how you can't rely on your own perception.This is Jane Smith and Jo Bloggs, for instance, but you think it's Camilla and the Queen, and I'm fascinated how what you think is real isn't necessarily real.And the camera can lie, and it makes it very, very easywith the mass bombardment of imagery to tell untruths.So, I continued to work on this project of how photography seduces us and is more interesting to look at than the actual real subject matter.And at the same time, it removes us from the real subject matter,and this acts as a sort of titillating thing.So, the photograph becomes this teaser and incites desire and voyeurism;what you can't have, you want more.In the photograph, the real subject doesn't exist so it makes you want that person more.And that is the way, I think, that celebrity magazines work now: the more pictures you see of these celebrities, the more you feel you know them, but you don't know them and you want to know them further.Of course, the Queen goes to her stud often to watch her horses...watch her horses.(Laughter).And then I was sort of making imagery.In England there's an expression: “you can't imagine the Queen on the loo.” So I'm trying to penetrate that.Well, here is the image.All this imagery was creating a lot of fuss and I was cited as a disgusting artist.The press were writing about this, giving full pages about how terrible this was.Which I found very interesting that it was going full cycle: I was making comments about the press and about how we know facts and information only by media--because we don't know the real people;very few of us know the real people--but it was going back into the press and they were publicizing, effectively, my filthy work.So, these are broadsheets, tabloids, debates were being had all about this work, films were being banned before people had actually had the look at the work,politicians were getting involved--all sorts of things--great headlines.Then suddenly, it started to get on front pages.I was being asked and paid to do front covers.Suddenly I was becoming sort of acceptable, which I found also fascinating.How one moment--it was disgusting--journalists would lie to me to get a story or a photograph of me, saying my work was wonderful, and the next minute there were terrible headlines about me.But then this changed suddenly.I then started to work for magazines and newspapers.This was, for example, an image that went into Tatler.This was another newspaper image.It was an April fool actually, and to this day some people think it's real.I was sitting next to someone at dinner the other day, and they were saying there's this great image of the Queen sitting outside William Hill.They thought it was real.I was exploring, at the time, the hyperbole of icons--and Diana and Marilyn--and the importance of celebrity in our lives.How they wheedle their way into the collective psychewithout us even knowing, and how that should happen.I explored with actually dressing up as the celebrities myself.There's me as Diana--I look like the mass murderer Myra Hindley, I think, in this one.(Laughter).And me as the Queen.I then continued on to make a whole body of work about Marilyn--the biggest icon of all--and trying to titillate by shooting through doorways and shutters and so on and so forth, and only showing certain angles to create a reality that, obviously, is completely constructed.This is the look-alike, so the crafting elements of this is completely enormous.She looks nothing like Marilyn, but by the time we've made her up and put wigs and makeup on, she looks exactly like Marilyn, to the extent that her husband couldn't recognize her--or recognize this look-alike--in these photographs, which I find quite interesting.So, all this work is getting shown in art galleries.Then I made a book.I was also making a TV series for the BBC at the time.Stills from the TV series went into this book.But there was a real legal problem because it looks real, but how do you get over that? Because obviously it's making a comment about our culture right now: that we can't tell what's real.How do we know when we're looking at something whether it's real or not? So, from my point of view, it's important to publish it, but at the same time it does cause a confusion--intentional on my behalf, but problematic for any outlet that I'm working with.So a big disclaimer is put on everything that I do, and I made narratives about all the European or Brit celebrities and comments about our public figures.You know, what does Tony Blair get up to in private with his fashion guru? And also dealing with the perceptions that are put about Bin Laden, Saddam Hussein, the links that were put about pre-Iraq war.And what is going to happen to the monarchy? Because obviously the British public, I think, would prefer William to Charles on the throne.And it's that wish, or that desire, that I suppose I'm dealing with in my work.I'm not really interested in the celebrity themselves.I'm interested in the perception of the celebrity.And with some look-alikes, they are so good you don't know whether they're real or not.I did an advertising campaign for Schweppes, which is Coca-Cola, and so that was very interesting in terms of the legalities.It's highly commercial.But it was a difficulty for me--because this is my artwork;should I do advertising?--at the time.So I made sure the work was not compromised in any way and that the integrity of the work remained the same.But the meanings changed in the sense that with the logo on, you're closing all the lines of interpretation down to selling a product and that's all you're doing.When you take the logo off, you're opening up the interpretations and making the work inconclusive, opposed to conclusive when you are advertising.This image is quite interesting, actually, because I think we made it three years ago.And it's Camilla in her wedding dress, which, again, nearly got re-used now, recently prior to her wedding.Tony Blair and Cherie.And again, the legalities--we had to be very careful.It's obviously a very big commercial company, and so this little, “Shh--it's not really them,” was put on the side of the imagery.And Margaret Thatcher visiting Jeffery Archer in jail.I then was asked by Selfridges to do a series of windows for them, so I built a sauna bath in one of their windows and created little scenes--live scenes with look-alikes inside the windows, and the windows were all steamed up.So, it's Tony Blair reading and practicing his speech;I've got them doing yoga inside there with Carole Caplin;Sven making out with Ulrika Jonsson, who he was having an affair with at that time.This was a huge success for them because the imagery got shown in the press the day after in every single newspaper, broadsheets and tabloids.It was a bit of a road stopper, which was problematic because the police kept on trying to clear away the crowds, but huge fun--it was great for me to do a performance.Also, people were taking photographs of this, so it was being texted around the world extremely quickly, all this imagery.And the press were interviewing, and I was signing my book.(Laughter).Further imagery.I'm making a new book now with Taschen that I'm working on really for a sort of global market--my previous book was only for the U.K.market--that I suppose it could be called humorous.And I suppose I come from a sort of non-humorous background with serious intent,and then suddenly my work is funny.I think it doesn't really matter that my work is considered humorous, in a way;I think it's a way in for me to deal with the importance of imagery and how we read all our information through imagery.It's an extremely fast way of getting information.It's extremely difficult if it's constructed correctly, and there are techniques of constructing iconic imagery.This image, for example, is sort of spot-on because it exactly sums up what Elton may be doing in private, and also what might be happening with Saddam Hussein, and George Bush reading the Koran upside-down.For example, George Bush target practice--shooting at Bin Laden and Michael Moore.And then you change the photograph he's shooting at, and it suddenly becomes rather grim and maybe less accessible.(Laughter).Tony Blair being used as a mounting block,and Rumsfeld and Bush laughing with some Abu Ghraib photos behind, and the seriousness, or the intellect, of Bush.And also, commenting on the behind the scenes--well, as we know now--what goes on in prisons.And in fact, George Bush and Tony Blair are having great fun during all of this.And really commenting, you know, based on the perception we have of the celebrities.What Jack Nicholson might be up to in his celebrity life, and the fact that he tried to...he had a bit of road rage and golf-clubbed a driver the other day.I mean, it's extremely difficult to find these look-alikes, so I'm constantly going up to people in the street and trying to ask people to comeand be in one of my photographs or films.And sometimes asking the real celebrity, mistaking them for someone who just looks like the real person, which is highly embarrassing.(Laughter).I've also been working with The Guardian on a topical basis--a page a week in their newspaper--which has been very interesting, working topically.So, Jamie Oliver and school dinners;Bush and Blair having difficulty getting alongside Muslim culture;the whole of the hunting issue, and the royal family refusing to stop hunting;and the tsunami issues;and obviously Harry;Blair'sik views on Gordon Brown, which I find very interesting;Condi and Bush.This image I've decided to show having a reservation about it.I made it a year ago.And just how meanings change, and there were a terrible thing that has happened, but the fear is lurking around in our minds prior to that.That's why this image was made one year ago, and what it means today.So, I'll leave you with these clips to have a look.(Music)Chris Anderson: Thank you.

第二篇：艾弗森-名人堂

奈史密斯篮球名人堂，这是象征着篮球运动员的最高荣耀。阿伦·艾弗森成为了其中的一员。他走上台，面向全世界，讲述着他此刻的感想。

他还是没有变，即便是西装革履，也感受到了嘻哈风在他身上的展现，他的头上编了四根小辫，就好比是曾经的短发与垄沟头的结合。他走上台，拍了拍胸脯，向现场的所有人致以问候。

他还是那样真实，和他刚进联盟时一样真实。20年后，他41岁了，和刚进联盟那个21岁天不怕地不怕的小伙儿相比，成熟了。这是岁月所留下的印记。他的致辞，一大部分都是感谢，他感谢他生命中的每一个人，他的妈妈，妻子，孩子，教练，队友，对手„他说他爱他们，是他们，成就了他，没有他们，他可能什么都不是。

他好像是把演讲台当成了篮球场，他不拘泥于端正地站着，他左摇右晃的，声音有些颤抖。当他提到乔治城大学的教练约翰·汤普森时，他开始哽咽，流泪，一切都很真实。汤普森教练就坐在他的旁边，他说汤普森教练是“拯救他生命”的人。当他提到他的妈妈时，他有点泣不成声了。他的妈妈坐在台下，第二排，目不转睛的望着他，留着幸福的眼泪。

了解艾弗森的人都知道，他来自弗吉尼亚汉普顿的贫民窟，单亲家庭。在黑暗与暴力，犯罪与死亡的环境中成长，造就了艾弗森的性格，桀骜不驯，他总是想挣脱这一切，他想改变他的生活，他想让他的妈妈过上好的生活，因为童年的背景以及经历的那些社会底层的生活，让他比普通的人更加的坚强与努力。

他会因为谈及某个人突然泣不成声，他也会谈及某个人突然笑起来。没有一点夸张与遮掩，他演讲的30多分钟，就好像把他的职业生涯快速的回忆过一遍。从他的乔治城大学，到以状元被76人选中，成为费城的标志，到之后的丹佛，底特律在重回76人，退役，这些爱恨情仇在这一刻，都被他说成了“感谢与爱”。

他的偶像迈克尔·乔丹，他篮球之路的引路人，当他第一次和乔丹对决的时候，他用了颇具幽默的语言形容了他的心里想法。

“原来这就是迈克尔。”

“我忍不住看着他，看着他的鞋，他穿的乔丹”

“他是我的乔丹，我的偶像，我的英雄。”

那么他是怎样和他的偶像对决的呢？一对一和乔丹挑战，然后，打败他。

那是艾弗森留下的最经典的画面。面对着乔丹的防守，不断的左右运球，变换节奏。他把球运到了左手，那一刻，就像空气凝固，时间静止一般，球似乎黏在了他的左手上，乔丹跟着他的节奏，不停的移动着脚步。突然间，左手一个加速，晃过乔丹，旱地拔葱式的干拔，命中。其疾如风，迅如闪电。

那一夜，乔丹31分，艾弗森32分，费城输了比赛，但艾弗森在一对一中打败了他儿时的偶像，也让乔丹深深记住了这位菜鸟的名字。费城3号，从此被整个世界所熟知。

他从来都是这样，毫无装饰的表现。阿伦·艾弗森，这个颇具争议却又屹立不倒的新世纪的偶像，他的英雄主义，他不羁的个性，纵使与全世界为敌，也从不改变自我的勇气，他的嘻哈风，他在球场上的单打独斗，单骑救主，所有的一切交织在一起，就是阿伦·艾弗森。

他感谢拉里·布朗教练，曾经他们水火不容。布朗教练满头白发，坐在他身后，他说他爱布朗教练，是布朗教练成就了他的MVP，成就了他曾经率领76人所实现的一切。布朗教练露出和蔼的笑容。

他感谢2001年的洛杉矶湖人，科比·布莱恩特逼出了最好的他。那一年，艾弗森带领着费城杀入了总决赛。

15年前的6月6日，艾弗森25岁的最后一天，他生涯第一次也是唯一的一次站在了总决赛的舞台。那是他职业生涯里最美好的年华，面对着OK组合的洛杉矶湖人，奥尼尔在篮下犹如猛兽般的肆虐着篮筐，艾弗森，“瘦弱”的身躯，一次又一次以一个勇敢者的姿态杀入篮下，他带着伤，一次一次的跌倒，再站起来，他在场上拼杀了52分钟，每一分钟都如同刀光剑影一般残酷，他让斯台普斯由最初的震天欢呼到最后的鸦雀无声，湖人季后赛的11连胜被他生生终结，那一夜，48分5篮板6助攻，他将英雄二字，诠释得淋漓尽致。

没有总冠军，又有什么关系呢？

“我对我的职业生涯没有任何遗憾。”这是艾弗森在退役的时候，所说出的话。

14年的NBA生涯，他存在的每一刻，都是颇具争议的。那份热爱与不妥协，包括曾经的“训练”事件，外界的质疑声再大，也无法阻挡他在篮球场上展现最好的自己。

他的整个职业生涯，就如同一个斗士一样，随时都在抗争，和他的对手抗争，和外界抗争。在质疑声中坚强的生存下来，在伤病的折磨中，坚强的站起来，所有的困难，在他面前，都可以化作前进的动力，他所做的，就是在长人林立的球场如精灵一般肆意穿梭，用华丽的运球，凌波微步，晃过面前的对手，他的终极目标永远都是，把球放进篮筐。为此，他可以打满48分钟，为此，他可以踏过对手的身躯，为此，他可以与全世界为敌。他的孤傲，他的桀骜不驯，他的坚强，让他成为了一个时代的标志，让他身后的追随者排着长队，为他欢呼，为他痴狂。

所以，当他转身离开的那一刻，无怨无悔。他在球场上的一举一动，都感染着球迷甚至是对手。当他重回费城的那一刻，他俯身跪下，亲吻地板，落叶归根。热爱与忠诚交织在一起，那便是最完美的答案。

几度哽咽流泪，几度说说笑笑，最多的便是感谢。他在全场MVP的呼喊声中慢慢地走下台，他在享受着这一切。其实，我们每个人都应该感谢艾弗森，他的真实感染着我们，他让我们也变得真实。

阿伦·艾弗森，伟大和真实，你是独一无二的。

第三篇：艾弗森名言

艾弗森名言

1、“我不知道一个真正的组织后卫的定义是什么，我只是想做一切能给我们带来胜利的事，哪怕别人说我自私。”

2、“我的偶像是我的母亲。”

3、“一件事，那就是永远的支持。”——当朋友问他需要为他做什么时他的回答。

4、“用心打球。你做到了每个人要求你做到的事。不管你是输赢，你硬该为自己感到骄傲。”

5、“如果你想完完全全地了解一个人，最好的方法不是和他做朋友，而是做他的敌人，和他战斗。”

6、我根本不是一个会嫉妒和仇恨的人，只要你有才能，我就喜欢你。

7、“昨夜如果你不小心路过，你也许能看到离别的宴会正在举行。那里正在演奏华丽的挽歌。如果可以，在我的葬礼上，请用你们在赛场上的欢呼声来做安魂曲。这是世界上最动听最美丽的音乐。”

8、“我从来没打算退缩，我的字典没有妥协。”

9、“没有人可以打倒我，你唯一能做到的是杀了我。如果你没有办法杀掉我。那你只会让我变得更强。”

10、“我要把自己的每一场比赛都当成最后一场比赛来打。”

11、“我只是按我的方式打球，你伤害不到我，一点也不能伤害我。”

12、“我可以比我更高大”

13、“你可以不爱我，但你至少要怕我。”

14、“永远笑着面对生活。”

15、只有我才能使自己停下来。

16、“生活就是生活，你会遇到很多事情。曾经我总是紧皱着眉头想改变一切，不过现在我更愿意微笑，或许多一点调侃。你也许会清楚生活的味道。”

17、“我是联盟最好的后卫。也许我不是最好的球员，但我认为没有人比我更出色。”

18、“也许有天我会停下脚步休息，在一曲华丽的挽歌声中，躺在我的墓碑下，那将会成为全世界篮球迷心中的一座丰碑。”

19、“我按我自己的方式活着，按我自己的方式打球。我发誓我从未疲倦过，自从我加入联盟以来，我身边的队友都说我‘与众不同’。也许有天我会停下脚步休息，那一天就是生命终结的那一刻。”

20、“别像个孬种似的愁眉苦脸，甭管你被打倒了多少次，拍拍身上的尘土，再笑着站起来吧，再笑着投入战斗。”

21、“在球场上我不需要尊敬任何人。”

22、“我不是一个伟大的人，道德清白的人，衣冠楚楚的人，我也不是一个听话的儿子，一个尽职的父亲，一个和善的丈夫，一个好相处的朋友，甚至我压根就不算个好人。大麻、枪支、暴力、罢赛这些麻烦都跟我的名字扯上瓜葛，还有很多人说我离经背道……然而谁也不能否认，我是个伟大的球员，连上帝都不能。”

23、“我想在自己的墓碑上，刻上两个字‘误解’。”

第四篇：艾弗森经典语录

艾弗森经典语录

1、我他妈的才不理会你怎么看我，怎么说我，只要你知道我绝不好惹！

2、相信我就永远支持我，讨厌我的人你永远没有精彩。

3、我不知道一个真正的组织后卫的定义是什么，我只是想做一切能给我们带来胜利的事情，哪怕别人说我自私。

4、我可能投失前20投，但我相信那第21球一定会进！我只是不停地战斗。

5、我要把自己的每一场比赛都当成最后一场比赛来打。

6、我不知道什么叫失去，但我懂得什么叫珍惜。

7、我从来没打算退缩，我的字典里没有妥协。

8、他们不可能大倒我，除非杀了我，而任何不能杀了我的，只会令我更坚强！

9、别像个孬种似的愁眉苦脸，甭管你别打倒了多少次，拍拍身上的灰土，再笑着站起来吧，再笑着投入战斗。

10、如果要在正义和邪恶之间做出选择的话，我选择邪恶。因为在同样遭受误解的情况下，我没必要保持伪善！

11、在踏上任何比赛的地板之前，我，艾弗森只有一个目的，那就是取胜，这世界上没有什么比在失败中度过一个夜晚更糟糕的了。

12、你可以不爱我，但你至少要怕我。

13、我也把我的每一场比赛都当成是自己的第一场比赛，那会给我很多新鲜的感觉。

14、无论如何都不要放弃。总要相信你的梦想是可以实现，并且努力的为它奋斗。

15、我离开后，你们才会真正明白我的价值。

16、你可以打败我，但不可以打倒我，因为我是艾弗森。

17、只有我才能使自己停下来。

18、我还是我自己，只不过更聪明，更成熟而已。不过，能成为现在的艾弗森，我真的很自豪。

19、在球场上我不需要尊重任何人。

20、我根本不是一个会憎恨妒忌的人。你有才能，我就喜爱你。

21、用心打球。你做到了每个人要求你做到的事情。不管你是输赢，你应该为自己感到骄傲。

22、无论如何都不要放弃。总要相信你的梦想是可以实现，并且努力的为它奋斗。

23、我不是上帝，但我拥有比上帝更坚强的意志。

24、他们不可能打倒我，除非杀了我，而任何不能杀了我的就只会令我更坚强！

25、在给我一秒，只要是机会，我会用生命去改变现实。

26、只有我才能使自己停下来

27、我当然会用椅子砸人，但只会砸那些我认为应该砸的男人。

28、我的个性我主张，没人可以挑拨。

29、不折不扣就是真的我。

30、我是联盟最好的后卫。也许我不是最好的球员，但我认为没有人比我更出色。我不是自大而是自信，当然，我知道自己的奋斗还没有结束。

31、只要我还活着，我不会忘记喜欢我的人。

第五篇：艾弗森经典语录精选

引导语：对于艾弗森，相信大家都不陌生，那么接下来是小编为你带来收集整理的艾弗森经典语录精选，欢迎阅读！

☆、我也把我的每一场比赛都当成是自己的第一场比赛，那会给我很多新鲜的感觉。

☆、他们不可能大倒我，除非杀了我，而任何不能杀了我的，只会令我更坚强！

☆、只有我才能使自己停下来！

☆、我从来没打算退缩，我的字典里没有妥协。

☆、我可能投失前投，但我相信那第球一定会进！我只是不停地战斗。

☆、我要把自己的每一场比赛都当成最后一场比赛来打。

☆、我想在自己的墓碑上，刻上两个字误解。

☆、我不知道一个真正的组织后卫的定义是什么，我只是想做一切能给我们带来胜利的事，哪怕别人说我自私。

☆、我想在自己的墓碑上，刻上两个字“误解”。

☆、我按我自己的方式活着，按我自己的方式打球。我发誓我从未疲倦过，自从我加入联盟以来，我身边的队友都说我‘与众不同’。也许有天我会停下脚步休息，那一天就是生命终结的那一刻。

☆、你可以打败我，但不可以打倒我，因为我是艾弗森。

☆、我不是上帝，但我拥有比上帝更坚强的意志。

☆、也许有天我会停下脚步休息，在一曲华丽的挽歌声中，躺在我的墓碑下，那里将会成为全世界篮球迷心中的一座丰碑。

☆、我离开后，你们才会真正明白我的价值。

☆、昨夜如果你不小心路过，你也许能看到离别的宴会正在举行。而那里正在演奏华丽的挽歌。如果可以，请在我的葬礼上，请用你们在赛场上的欢呼声来做安魂曲。这是世界上最动听最美丽的音乐。

☆、我以为我是球场上跑得最快的人，但是我却跑不过时间。

☆、我想告诉大家的是，我的妈妈及我的朋友，他们都是很朴实的人，他们决不会做伤害到别人的事。

☆、我他妈的才不理会你到底会怎么看我，怎么说我，只要你知道我绝不好惹！

☆、在给我一秒，只要是机会，我会用生命去改变现实。

☆、只要我还活着，我不会忘记喜欢我的人。

☆、用心打球。你做到了每个人要求你做到的事。不管你是输赢，你应该为自己感到骄傲。

☆、我不知道什么叫失去，但我懂得什么叫珍惜。

☆、我不知道一个真正的组织后卫的定义是什么，我只是想做一切能给我们带来胜利的事情，哪怕别人说我自私。

☆、我不想成为迈克尔·乔丹，不想成为“魔术师”约翰逊，也不想成为“大鸟”伯德或伊赛亚·托马斯。我只是想在我职业生涯结束后，面对着镜子，可以问心无愧的对自己说，我还是那个阿伦·艾弗森。

☆、在奋斗过程中，我学会怎样打球，我想那就是作为职业球员的全部，而你明白了你不可能每晚都打得很好，但你不停地奋斗会有好事到来的。

☆、我把每一场球赛都当作我的最后一场。

☆、我没有叛离，没有逃避，再无助我也努力着奔跑。

☆、无论如何都不要放弃。总要相信你的梦想是可以实现，并且努力的为它奋斗。

☆、我不知道成功的人是怎样的，但我知道要想成功就必须，自私。

☆、在球场上我不需要尊重任何人。

☆、别像个孬种似的愁眉苦脸，甭管你别打倒了多少次，拍拍身上的灰土，再笑着站起来吧，然后再笑着投入战斗。

☆、如果要在正义和邪恶之间做出选择的话，我选择邪恶。因为在同样遭受误解的情况下，我没必要保持伪善！

☆、我还是我自己，只不过更聪明，更成熟而已。不过，能成为现在的艾弗森，我真的很自豪。

☆、我爱你们因为你们爱我。

☆、他们不可能打倒我，除非杀了我，而任何不能杀了我的就只会令我更坚强！

☆、我的偶像是我的母亲。

☆、相信我就永远支持我，讨厌我的人你永远没有精彩。

☆、我是联盟最好的后卫。也许我不是最好的球员，但我认为没有人比我更出色。

☆、你可以不爱我，但你至少要怕我。

☆、这就是我的人生，谁也不要期望我怎么活。

☆、有多少人爱艾弗森，就有多少人恨艾弗森，但重要的是那些关心你的人。

☆、回到家，没有时会有水，但绝不会有热水。房间永远散发着腐烂的味道，墙壁潮湿得发霉，但我不觉得那是地狱，只要看到母亲微笑着走过来，我相信天堂也不过如此。

☆、用心打球。你做到了每个人要求你做到的事情。不管你是输赢，你应该为自己感到骄傲。

☆、在踏上任何比赛的地板之前，我，艾弗森只有一个目的，那就是取胜，这世界上没有什么比在失败中度过一个夜晚更糟糕的了。

☆、只有我才能使自己停下来。

☆、一切，和生命一样重要。我也说不清楚，只要在场上，我就会进入一种战斗状态。我希望每一场球都能获胜，我想做的只有赢球。

☆、你总是表现出比别人更强烈的对胜利的渴望，胜利对于你来讲意味着什么？

☆、我根本不是一个会憎恨妒忌的人。你有才能，我就喜爱你。

☆、生活就是生活，你会遇到很多事情。曾经我总是紧皱着眉头想改变一切，不过现在我更愿意微笑，或许多一点调侃。你也许会清楚生活的味道。