We were super successful under Mark Sampson because teams didn't expect us to play the way we played. We were so direct and played to people's strengths.
We played a different style under Mark Sampson, and all credit to him, because we did really well. It worked for us; we were quite direct, but we were successful at doing it.
He wanted us to play whatever we played in the most characteristic and appropriate style. Even it was the theme from 'The Godfather,' you needed to play that then the way that a Hollywood producer would expect it to be played. Whether it was that or the posthorn solo from Mahler's Symphony No. 3, he would expect that to be played in the way that Leonard Bernstein wanted to hear it. In retrospect, I think it was a sensational way to teach this particular group of students. By the time you graduated you could absolutely read anything with any trumpet.
I played for Bologna in Serie A when I was 16, and those experiences made me this person. Just as importantly, I never played for a big club. My teams were normal, ordinary, but through hard work, we became successful.
Let's say that the teams I played in were all excellent. I played with many, many great players and incredible teams.
I got interested in coaching while I played at St. Joseph's. Because we played a national schedule, we played teams coached by Nat Holman, Joe Lapchick, Hank Iba, and others. I could see the impact the coach had on their teams, and I thought, 'That's a pretty good thing to do.'
The Grateful Dead were very kind. It was Santa Claus. It did good things. It allowed other people to benefit. The benefits that we played were enormous, and we played free. So you've got a band that loves to play free, and that was a wonderful thing.
There were probably a few games I played where I should not have played, because of some nagging injuries or something. I used to always talk the managers into playing me, because I wanted to play so badly.
When I first started, in 2006, it was an exciting time. Independent, cool, weird artists were being successful, and magazines were writing about them, and people were getting played on radio that were, like, really good.
I played a definite part in it. I guess the things that I played in films and the way the nudity and the love scenes were handled were really different.
I like Chelsea, Milan and Inter. I have always followed the two Italian teams because my role models when I was young were Ronaldinho and Ronaldo, and they played for those teams.
At the World Cup, most teams changed their style when they played us and maybe were more defensive. In the final, we didn't know if Holland were going to do the same, but the important thing was we beat them in the end.
We in the Negro leagues felt like we were contributing something to baseball, too, when we were playing. We played with a round ball, and we played with a round bat. And we wore baseball uniforms, and we thought that we were making a contribution to baseball. We loved the game, and we liked to play it.
I graduated with about 23 people, so if you were the least bit athletic, you kind of had to play everything. So I played baseball, basketball, football, ran track, and played golf.
I played baseball, was on the basketball team in high school, did crew at Hofstra, and randomly played ultimate frisbee, too. But none of the organized teams I was on were anywhere near as competitive as the games on the street.
I liked Bach played the way people expect Chopin to be played, and vice versa.
Sanctions kept us on our toes, it made us realize that we were drifting into a situation of growing isolation so I wouldn't go as far as to say sanctions didn't play a role but if I were to put on a scale, the issues of conscience played a much greater role than the sanctions. We could have withstood sanctions for many more years. We became experts in circumventing sanctions... So sanctions played a role but it wasn't the major role.