A Quote by Walter Smith

I started out in Scotland, not as a footballer of any note, and I didn't play to draw the attention of people abroad. — © Walter Smith
I started out in Scotland, not as a footballer of any note, and I didn't play to draw the attention of people abroad.
I do not find illness an eminence, and I do not understand how people can use it to draw attention to themselves since the attention they draw is nearly always reluctantly given and unpleasantly carried out.
We have the freedom to either play a tempo or not to play a tempo; to play a note or not to play a note; or to play what some people would say is a sound.
I know some artists who come out of country music and the three sessions a day work ethic where you walk in, and you're told you play this note, this note, and this note, and you don't vary it. I know that works great for some people. It wouldn't work for me.
I don't think I could ever be in a band if we just had to go out there and play the record note for note. I'd give up. I'd become a banker.
If you are playing King Lear you are the centre of attention anyway. You don't need to draw attention to yourself. It's all laid out for you.
Besides my father, who used to be a footballer at the local level, it is Messi for whom I started to play football.
I have genuine empathy for the fact that if you're a professional footballer, you've often started at three years old, you've been found, you've been scouted, you play, you play, you play, you make millions, you live this incredible life. And then you reach 35, and suddenly you have to stop doing it, and you haven't been taught anything else.
The only planning I do is about a minute before I play. I desperately try to think of something that will be effective, but I never sit down and work it out note for note.
I don't remember that I copied any guitar player note-for-note. But I remember copying Charlie Parker note for note.
When I tried to play something and screwed up, I'd hear some other note that would come into play. Then I started trying different things to find the beauty in it.
Even when I used to play Jimmy White in Scotland, he would have the majority of the support. That's the only time it would irk me, coming back to Scotland and people still wanting me to lose.
I've heard stories of pickup bands that can't follow, but here's the thing: If you want to play with Chuck Berry, you listen to his greatest hits and learn the format of the songs, but don't try to play it note-for-note.
It's not the note you play that's the wrong note - it's the note you play afterwards that makes it right or wrong.
Back home, if you get scored on, you're the weak link. When I started getting good, they were like, 'If you're going to play on our team when we go play pick-up, and you start getting scored on, we're not going to let you play anymore.' I started learning how to help other people out with my defense.
Don't blend in; instead, clash with your environment. Stand out. Be different. That's what will draw attention to your ideas. Nothing has intrinsic attention-grabbing power by itself. The power lies in how much something stands out from its context.
I taught myself to play the guitar by listening to Paul Simon records, working it out note by note. He is an incredibly intelligent musician. He's not someone who has a natural outpouring of melody like McCartney or Dylan, who are just terribly prolific with musical ideas.
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