A Quote by Vince Carter
I take a lot of favorite moves from great players and add them to my repertoire.
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The players who tend to make the difference are often great dribblers. Some are very fast; others have a repertoire of moves and feints. These players need to have great technique in order to be good dribblers. But I'm not a good dribbler.
Foreign players are great for Serie A if they add something extra, but a lot of them are superfluous.
I've got a great repertoire with my players.
I think there are always a lot of rumours about players from Ajax. We develop great players, not only in Amsterdam but hopefully also in Cape Town, and there is interest in a lot of our players, but we like to keep them for as long as possible.
If I can add, say, 10 great new violin concertos to the repertoire before I'm done, that will be truly exciting.
You have so many players all around the world in the NBA, a lot of different generations. If you don't take basketball as a tool in your life, you can get lost. I know a lot of teammates, a lot of players that had a great career and after that career, they just get lost.
There are a lot of great players... a lot of great players around, but Louie Bellson is really something special.
Damn, I had some great moves. I still have them; I'm just not using them at home a lot.
It is always the great challenge when you have a good team and you have good players and you find a way to keep those players with you, then how do you add around the edges?
I played with a lot of great players before. They're all the same. They take a lot of responsibility for their own play, put a lot of pressure on themselves to perform and to play well.
To all players I can recommend the following: simplicity and economy. These are the characteristics of the opening systems of many great masters... A solid opening repertoire fosters self-confidence.
It's just that [the Hawks have made] a lot of changes. A lot of their great players have moved on. They have a lot of new faces and a lot of young guys who are going to be a part of this team for a long time. It'll take time. They've got a nice little core to start with.
I always felt that it was easier to take a funny person and teach them to write television than to take somebody who was a television writer and make them funny. And I discovered a lot of great writers that went on to do a lot of great shows like 'Seinfeld,' 'Friends,' you know, 'Three and a Half Men.'
I teach a lot of young musical theatre actors, and I notice that a lot of them say that they have a harder time connecting the classic repertoire.
I've played with great players and worked with great managers; I've learned a lot from all of them.
When I was a little kid wanting to play music, it was because of people like Pete Johnson, Huey Smith, Allen Toussaint, Professor Longhair, James Booker, Art Neville ... there was so many piano players I loved in New Orleans. Then there was guys from out of town that would come cut there a lot. There was so many great bebop piano players, so many great jazz piano players, so many great Latin piano players, so many great blues piano players. Some of those Afro-Cuban bands had some killer piano players. There was so many different things going on musically, and it was all of interest to me.
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