A Quote by Karl Malone

Somebody tell the damn players to start playing like old school. — © Karl Malone
Somebody tell the damn players to start playing like old school.
They changed the floor back to old school. They changed the uniform back to old school. Somebody tell the damn players to start playing like old school.
Our job is to find players younger, where they are able to play from 11 years old and grow up playing the game. Rather than, you start playing when you are 17 or 18 and you don't get the opportunity to do anything with your career.
I could go old-school; I listen to a lot of old-school music, like Teddy Pendergrass, the Temptations, people like that. I'm an old-school dude, and I'm vibin' with stuff like that to clear my mind. I like listening to that old-school music.
Some coaches prefer players who will just do whatever he tells them to. It's like, if you're at school with a load of 10-year-old boys and you tell them to jump, everyone will start to jump. But the intelligent boy will ask, 'Why should I jump? Why?' That can be difficult for a lot of coaches, and I understand that.
In any moment, I guess we could whip out a guitar and start playing old school.
It is all about experience. When you are 7-8 years old, you start playing school cricket and score runs; my coaches, from school level to Rahul Dravid Sir now, all those small, small things - the experiences make a difference.
Excuse me, guess I've mistaken you for somebody else, somebody who gave a damn, somebody more like myself.
I didn't start to collect records and listen to guitar players properly until I went to art school, when I'd already been playing for five years. So my style was already formed, and that's why I think it's so unique.
Growing up, watching the New Jersey Devils, I watched players like Ken Daneyko, Scott Stevens, Scott Niedermayer, old school players who respected the game.
There's nothing like Opening Day. There's nothing like the start of a new season. I started playing baseball when I was seven years old and quit playing when I was 40, so it's kind of in my blood.
I really did not think a thing about playing five black players to start the game; they were our best players and deserved to start. But if I knew all the misery it was going to cause me in the weeks following the game, I'd have thought long and hard about it. The players from Kentucky were gracious about it, but many of their fans and people from other parts of the country did not want to see it.
The only damn thing I ever learned in all my years in art school was a piece is never done, it is just finished. You have to trust your inner voice, your instincts, when they tell you pencils down. And you roll up your sleeves and you start over again.
It's special - when you start playing, you are aware of names like Wayne Rooney and Robin van Persie; you have seen them playing and know what great players they are. So it's fantastic to have a chance to line up with them. I'm really pleased with how that understanding has started off.
Guitar players get inward and analytical about their playing but when you start to get positive feedback from other players it makes you think that it is coming together.
I like intersections. They're the nature of New York, and there's always the possibility that when you're at one you can meet someone new. Have I ever met anyone new at an intersection? No, but I like the idea of it. I like cities because if you're stopping on the corner to wait for a light to change, there's the possibility that you and somebody else can talk. And if you and that somebody else start to talk, then you can start to argue, and if you start to argue, you might start a revolution.
Being a female guitar player back in school wasn't great, and I had to change schools so many times. The male drummers and bass players thought it was cool, but male guitar players said, 'It's a guy's thing. You should be doing something else, like playing the harp.'
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