A Quote by Malik Jackson

I was at 260 at Tennessee because I was playing three-technique. — © Malik Jackson
I was at 260 at Tennessee because I was playing three-technique.
I'm very comfortable playing off-technique, playing press technique. I've just had to do it in so many different systems and switch up.
Technique itself springs from play, because we can acquire technique only by the practice of practice, by persistently experimenting and playing with our tools and testing their limits and resistances.
Let me tell about Tennessee. If your car breaks down in Tennessee, you have just moved to Tennessee.
When I was playing football, I was getting up to 240 pounds, and they wanted me to get to 260.
You know, I'm just 6'9" and 260. And just so happen to be very good at playing the game of basketball.
The professional dedicates himself to mastering technique not because he believes technique is a substitute for inspiration but because he wants to be in possession of the full arsenal of skills when inspiration does come. The professional is sly. He knows that by toiling beside the front door of technique, he leaves room for genius to enter by the back.
I try to show good technique - boxing technique, wrestling technique, jiu jitsu technique.
At Tennessee, I said I can't wait to beat Florida in the Swamp and sing 'Rocky Top' all night long. The thing at Tennessee I felt was that there needed to be energy in the program immediately. Two of the last three years there, they were 5-7. Urban Meyer and Nick Saban were at all-time highs. I felt like the fan base and players needed confidence.
But I remember back in 1998, the year after Peyton Manning left Tennessee, a lot of people didn't really give Tennessee a chance. There was a lesser-known Tee Martin playing quarterback. He ended up leading them to a national championship in 1998 the year after Peyton left.
It was so strange, coming from Nashville, Tennessee, where I was playing to 15 people, to going to London and playing in this crowded little dive pub. I know Tom Petty had a similar thing - I realize, on a lot larger scale.
There's an awful lot to be desired. I've gone to places where people say to me, "What's your technique?" Technique? What the hell technique is there to acting? We're acting because even with my voice I'm giving what I think is what I want to say.
Some people when I speak of awareness of the "inner body" call it a technique. I would not call it a technique because it is too simple for that. When the oak tree feels its roots in the earth, its connectedness with the earth, it is not practicing a technique.
I saw him playing on television and was struck by his technique, so I asked my wife to come look at him. Now I never saw myself play, but I felt that this player is playing with a style similar to mine, and she looked at him on Television and said yes, there is a similarity between the two...his compactness, technique, stroke production - it all seemed to gel!
You may be perfect in playing the piano, and not be creative; you may play the piano most brilliantly, and not be a musician. You may be able to handle color, to put paint on canvas most cleverly, and not be a creative painter. You may create a face, an image out of a stone, because you have learned the technique, and not be a master creator. Creation comes first, not technique.
I'm from Texas. I hitchhiked to Tennessee when I was 19 years old, and it is really beautiful in Tennessee.
It takes great technique, tremendous discipline and energy and practice, and damn few are capable. Art is confidence. Technique makes it possible to achieve artistic greatness, but doesn't guarantee it. The great piano artists are not the ones who are best playing Clementi exercises.
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