A Quote by Zach Johnson

If I'm trying to rebound after a bad hole, I just go back to tempo and process and rhythm, and I cling to my routine. — © Zach Johnson
If I'm trying to rebound after a bad hole, I just go back to tempo and process and rhythm, and I cling to my routine.
I think I can help push the tempo just a little bit... I feel I can get the ball after a rebound. Push the fastbreak. Push the tempo. Get guys some easy shots.
As a producer, when I'm trying to make something soft, I start with a slow tempo. Then after that, it would be straight to acoustic guitar and vocals, or I'm going to go strings and just piano.
Any time I'm trying to find that groove on a big tempo song, I go back and listen to some Aerosmith records. 'Love in an Elevator,' 'Rag Doll,' all that stuff was really great music. It's something that I still dig and go back and listen to.
I think there's a tendency with actor/directors to imagine themselves playing every part and trying to get people to follow their rhythm, their tempo, their pace. I've learned now to just love being at the center of this creative swirl.
When you first come back from a long-term injury, you're just trying to get your body in order and trying to get back into the training and match routine.
Music is rhythm, and all theater is rhythm. It's about tempo and change and pulse, whether you're doing a verse play by Shakespeare or a musical.
There's nothing like doing in-game stuff that you can't get from drills. You're guarding somebody, you're reacting, you're getting a rebound and trying to go straight back up with it.
I probably sensed the serious formality of the ceremonies and felt what others were feeling then. Looking back, I'd guess that it had opened up a gaping hole in my psyche. In the process of creating art, I might be trying to fill that hole, or to reduce its depth, or to make it feel less hollow. I think that making art could have helped from that moment on.
Action choreographer is like talking. When you talk, you have a rhythm. When you act, you have a rhythm. When you're moving your body, you have a rhythm. So as an actor, as a choreographer, the objective is trying to blend everything in - into - ultimately back into that character.
I make 18 three-footers after every round. It's just something that helps me focus on routine, and helps me hear the ball go in the hole. It's something I do every day.
When the ball is up in the air for a rebound you always have to be on your toes to go up for the ball. It's the same situation in football as a receiver; I'm always trying to get the ball at the highest point like a rebound.
You still have to enjoy the tour games. If you go out there and just go through the motions, you can easily get into bad habits, you lose a bit of rhythm or a bit of form and then things can go pretty bad pretty quickly.
Say a word, say a thousand to me on the telephone and I shall choose the wrong one to cling to as though you had said it after long deliberation when only I provoked it from you, I will cling to it from among a thousand, to be provoked and hurl it back with something I mean no more than you meant that, something for you to cling to and retreat clinging to.
When you sit down and think about what rock 'n' roll music really is, then you have to change that question. Played up-tempo, you call it rock 'n' roll; at a regular tempo, you call it rhythm and blues.
You miss the routine. That's the biggest thing. That's probably the biggest thing that put me into a hole, that you don't have a routine, you don't get up and work out and then eat and then go to the rink and practice an all those things in a set schedule.
I just felt like if I just kept making birdie - I think the 18th hole is a weird hole as a playoff, especially when you're trying to beat daylight.
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