A Quote by Moe Norman
I don't believe in taking much of a divot, especially with the longer irons. You want to barely comb the grass through impact. It's the only way to catch the ball on the second groove up from the bottom of the clubface. That's where you want to make contact: on the second groove.
Related Quotes
I do not yet want to form a hypothesis to test, because as soon as you make a hypothesis, you become prejudiced. Your mind slides into a groove, and once it is in that groove, has difficulty noticing anything outside of it. During this time, my sense must be sharp; that is the main thing - to be sharp, yet open.
From the rough, I'd use a 6-iron, play the ball back an inch or two and swing down on a steeper angle to catch the ball first. It also helps to aim slightly left and open the clubface at address. You'll get more height on the shot, and the club will cut through the grass more easily.
Just because a record has a groove don't make it in the groove.
The melodies are always the most important part to me. I am pulled more to the groove than the chord progression. After you find the groove, you find the most simple chord progressions and then sit inside that groove.
When I was growing up and listening to bands like the Dave Clark Five, the groove was what initially got me going. I really like that funky, heavy groove.
I was in a band called Groove Solution. Because there was a groove crisis, and we solved it.
There's a surge, there's a kind of energy field that says, 'I'm in my groove, I'm in my groove.' and nobody has to tell you, 'You go, girl,' because you know you're already gone.
I don't want to be an athlete so much. I groove more with artists and deep thinkers.
It takes me probably about four hours to get into the groove [with making music]. And it's really important for me to not break the groove.
I think it's always an adjustment for me, but I do feel like, ultimately, I can kind of write anywhere. It just takes a second to get back in to the groove.
I'm just getting back into my songwriting groove. It's still pretty early. But I don't want to make 'Hero 2.' It's going to be different.
A lot of guys in New York will only play with an edge. They find their groove and that's their groove. to me, once I do that, there's no point in playing anymore because it should always be a mystery. Depending on who you are playing with, there are hundreds of ways of playing. I think that a master can play all those different kinds of time.
When I'm in the pick-and-roll, I'm looking to be a playmaker first and to score second. When I'm playing off the ball and I catch the ball, I'm looking to be a scorer first and a playmaker second.
In order to have that incredible groove that makes you dream you have to think not of the groove, but of the dream.
There's a certain groove you pick that makes the music flow, and when you have it it's in your pocket. It's the feeling behind the rhythm to me, the hardest thing to strive for is that feeling, behind the groove.
There's a certain groove you pick that makes the music flow, and when you have it it's in your pocket. It's the feeling behind the rhythm... to me, the hardest thing to strive for is that feeling, behind the groove.
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