A Quote by Jeff Green
The West is tough. The style we play, how we play, how they played before I got here, I just had to come in and help any way I can.
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If I can help my teammate or teammates play at a level they've never played at before, then it doesn't even matter so much how I play.
I got a new 4-track cassette recorder a year or so after high school. For a while I would just stare at it thinking, how am I going to do this if I don't play guitar or keyboards? How am I going to write and record a song if I don't know how to play any instruments? I mean, I played the violin, but I didn't know anything about how to work a 4-track.
Every player, they should sit down and have a meeting. They should agree, 'this is how we play Nadal, this is how we play Federer, this is how we play Djokovic.' Then, all try to play them the same way. The right way. First you have to play the right way, then you need to play well.
I've always played hard. If that's rough and tough, I can't help it. I don't believe there's any such thing as a good loser. I wouldn't sit down and play a game of cards with you right now withing wanting to win. If I hadn't felt that way I wouldn't have got very far in baseball.
It can be hard to keep that mentality but I know that to play your best you can't be worrying about getting dropped, because then you just go into your shell even more and play safe. I've just got to come out and play how I know I can play - that's the way that you get the best out of yourself.
I think I was called 'the pianist' because of the way I play. It's true that I don't score many goals, just a few, but they are beautiful when I do score! I think it's more about my style of play, how I touch the ball, how I pass the ball, how I move it.
I try to tell a story when I'm playing. I try to make an emotional connection when I'm playing versus before I played just to play. Now there's a sense of purpose of why I play, of how I play. So people can actually feel what I'm saying to them.
Both my grandmothers had upright pianos, and I just knew how to play since I was a child. Nobody taught me. I sounded like a grown-up, and then I learned how to read music. I played so well by ear I could fool the teacher to believe I could play the notes. She'd make the mistake of playing the song once, and I could play it.
I never blame the refs as I know how tough it is, how fast the play goes, how difficult it is to keep up with the play.
He wanted us to play whatever we played in the most characteristic and appropriate style. Even it was the theme from 'The Godfather,' you needed to play that then the way that a Hollywood producer would expect it to be played. Whether it was that or the posthorn solo from Mahler's Symphony No. 3, he would expect that to be played in the way that Leonard Bernstein wanted to hear it. In retrospect, I think it was a sensational way to teach this particular group of students. By the time you graduated you could absolutely read anything with any trumpet.
I don't care how much talent a team has - if the boys don't think tough, practice tough, and live tough, how they play tough on Saturday.
In the 1990s I got to play in a group that played in prisons in California. We would play in maximum security wards. It was infuriating. Those kinds of situations stick with me. We got to come in and play music for them because that's a way of caring, just offering something, a gift, basically. They're basically the most grateful audiences I've ever experienced, because nobody's giving them anything.
It seems to me that most people are impressed with just three things: how fast you can play, how high you can play, and how loud you can play.
The edge came from the slights I've had throughout my life, the slights I have dealt with through the entirety of my life. It wasn't one day when somebody said something and that made me upset and now I'm over it. I'm not going to stop playing with an edge because that's what got me here. That's just how I play the game. I can't play any other way.
Cruyff defined a philosophy and a style of how we had to play: positional play, type of players, the profile of the coaches, even.
Many critics always saw and heard that my style comes from Roy Eldridge, which is true. But for many things, not only how to play the trumpet but the way to choose the notes, how to play them and how to phrase all of them, I took that from Sweets [Edison]. He really brought something new to the trumpet.
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