A Quote by Rick Majerus
Switch if you have to! It's not the mismatch that beats you, it's the open shot!
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The mismatch is not what gets you beat. What gets you beat is giving up the uncontested, open shot.
It comes to the point where, if a midrange shot is there, I'm going to take it. If I'm open, I have to shoot that shot. That's a great shot for the team and myself.
When you have an open shot, it's an open shot and it's not about your role or the offense.
I'd rather take a contested shot than an open shot any day ... It's kind of boring when you take open shots
People do that all the time - they switch teams, switch coaches, switch camps.
We have a simple rule for switching. Anytime there is movement over the top of a screen, there has to be an automatic switch. If a blind pick is set on one of our defensive players, there has to be a switch. To play good pressure defense, you have to use the switch.
Coach K tried to implement a style where we passing, moving the ball, the open guy gets the open shot, running in transition.
It's the warm-up in the changing room when I switch on. I don't even think about the fight until then. Some fighters are bouncing about the walls, but I switch off. Then it's like someone flicks a switch in me.
Sometimes I go in and try to write beats, but I just trash 'em, and then the next time I go in, I'll make like six beats - six legit, nice beats. I'm really particular with how it needs to sound.
A shot is a lever; it's all it is. You don't open a car door differently each time. A car door is efficient - it opens and closes. So is a shot.
When it's a good shot, open, in rhythm with our offense you've got to take it. If it's open you've got to have confidence to shoot it and knock it down.
I made my entire first tape using Beats headphones - the studio headphones and halfway through the second one, because I finally started making a home studio. But I record and make all my beats with the Beats headphones.
Maybe the only thing that hints at a sense of Time is rhythm; not the recurrent beats of the rhythm but the gap between two such beats, the gray gap between black beats: the Tender Interval.
Different identity groups hold specific levels of power over others when their battles play out in the media. To wit: Black beats white. Gay beats white. Black beats gay.
Abnegation produces deeply serious people. People who automatically see things like need,” he says. “I’ve noticed that when people switch to Dauntless, it creates some of the same types. Erudite who switch to Dauntless tend to turn cruel and brutal. Candor who switch to Dauntless tend to become boisterous, fight-picking adrenaline junkies. And Abnegation who switch to Dauntless become . . . I don’t know, soldiers, I guess. Revolutionaries.
There's an open door now more than ever to be making any type of beats that you want.
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