A Quote by Patrick Ewing
When I played with the Knicks, I was just as important or just as smart as any other of the guards I played with. I still had to call out plays, notice schemes, know the systems, do everything they had to do.
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Having played in the league during the '80s, '90s, and the new millennium (old, I know), I had the chance to see firsthand how the best point guards of our time played the game.
We had just played a sold-out show and it had been a fun night when we heard the news. It brought everything back to reality. He was a brilliant guy. He was an aerospace engineer and an entrepreneur. We were just starting to write new songs two weeks after he died. We were still grieving. So that was naturally a big subject matter for the album.
I played in Europe and it was a great experience, not just because of my team-mates and the coaches we had, but from the fans and the city itself - I played in Gothenburg and I played in Lyon and soccer was everywhere.
I just naturally started to play music. My whole family played-my daddy played, my mother played. My daddy played bass, my cousin played banjo, guitar and mandolin. We played at root beer stands, like the .Drive-ins they have now, making $2.50 a night, and we had a cigar box for the kitty that we passed around, sometimes making fifty or sixty dollars a night. Of course we didn't get none of it, we kids.
You know, when I first went into the movies Lionel Barrymore played my grandfather. Later he played my father and finally he played my husband. If he had lived I'm sure I would have played his mother. That's the way it is in Hollywood. The men get younger and the women get older.
Johnny Ringo to me was just the best antagonist that I've ever played, because I played him as a guy who has a death wish and had done everything that he wanted in life. As far as he was concerned, a gun fight was about as exciting as it was going to get.
I just came from Aspen, Colorado and they had fifteen kids I played for and they all played horns.
Baseball I played literally from the time I can remember. My dad had played, my older brother played, so I always wanted to be like my older brother. That just kind of was a natural thing that I fell into.
Just like any other brothers that have ever played with each other or played against each other, it's a pretty special moment when you do it.
I was always a little insecure. I had brothers that played football, so I was just a straight-up tomboy for a minute. I didn't know makeup and hair stuff. My friends had to tell me what a straightener was. I didn't know fashion or any of that until the label gave me a stylist.
I had a studio session with Nipsey Hussle. We didn't record, but we just vibed and we talked. It was just good conversation. We played music for each other that we had previously worked on. It was a good vibe.
There are five of us. We've all played in various bands together, in different combinations. I know that Todd [Cook] and Tony [Bailey] are my favorite rhythm section - they're just like a unit. I guess we've all just played together in various capacities, so when the band was coming together, it was sort of like we just chose members because they had similar sensibilities and also because they're just cool. We all got along real well.
I played a lot of my early cricket in Haridwar and Dehradun. But I just had to come to Delhi if I had to make a career out of it.
I have played Polynesian. I have played an Arabian girl. I played an East Indian girl. And what was so confusing about that, which I mention in my book, is that I assumed I had to have an accent. Nobody said anything, so I made up what I call the universal ethnic accent, and they all sounded alike. It didn't matter who I was playing.
A lot of Knxwledge's instrumentals just brought out this tone and swagger that I had played with before but had never really pinpointed before on my Anderson .Paak stuff. But then it just came so easily.
The guys that I played with, Hollis Dixon and the Keynotes - just about all the great musicians from Muscle Shoals.We played fraternity parties and kids' dances. They were called "lead outs" for kids in high school. We played wherever we could - in the down time when you weren't recording, people had to make money.
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