Problem: Sergei Vasilievich Rachmaninoff (1 April [O.S. 20 March] 1873 - 28 March 1943) was a Russian pianist, composer, and conductor of the late Romantic period, some of whose works are among the most popular in the Romantic repertoire. Born into a musical family, Rachmaninoff took up the piano at age four. He graduated from the Moscow Conservatory in 1892 having already composed several piano and orchestral pieces.

Rachmaninoff ranked among the finest pianists of his time, along with Leopold Godowsky, Ignaz Friedman, Moriz Rosenthal, Josef Lhevinne, and Josef Hofmann, and he was famed for possessing a clean and virtuosic technique. His playing was marked by precision, rhythmic drive, notable use of staccato and the ability to maintain clarity when playing works with complex textures. Rachmaninoff applied these qualities in music by Chopin, including the B-flat minor Piano Sonata. Rachmaninoff's repertoire, excepting his own works, consisted mainly of standard 19th century virtuoso works plus music by Bach, Beethoven, Borodin, Debussy, Grieg, Liszt, Mendelssohn, Mozart, Schubert, Schumann and Tchaikovsky.  Rachmaninoff possessed extremely large hands, with which he could easily maneuver through the most complex chordal configurations. His left hand technique was unusually powerful. His playing was marked by definition--where other pianists' playing became blurry-sounding from overuse of the pedal or deficiencies in finger technique, Rachmaninoff's textures were always crystal clear. Only Josef Hofmann and Josef Lhevinne shared this kind of clarity with him. All three men had Anton Rubinstein as a model for this kind of playing--Hofmann as a student of Rubinstein's, Rachmaninoff from hearing his famous series of historical recitals in Moscow while studying with Zverev, and Lhevinne from hearing and playing with him.  The two pieces Rachmaninoff singled out for praise from Rubinstein's concerts became cornerstones for his own recital programs. The compositions were Beethoven's Appassionata and Chopin's Funeral March Sonata. He may have based his interpretation of the Chopin sonata on Rubinstein's. Rachmaninoff biographer Barrie Martyn points out similarities between written accounts of Rubinstein's interpretation and Rachmaninoff's audio recording of the work.  As part of his daily warm-up exercises, Rachmaninoff would play the technically difficult Etude in A-flat, Op. 1, No. 2, attributed to Paul de Schlozer.

Did he have any warm up exercises?

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Question:
Hakeem Olajuwon was born to Salim and Abike Olajuwon, working class Yoruba owners of a cement business in Lagos. He was the third of eight children. He credits his parents with instilling virtues of hard work and discipline into him and his siblings; "They taught us to be honest, work hard, respect our elders, and believe in ourselves". Olajuwon has expressed displeasure at his childhood in Nigeria being characterized as backward. "
"The best footwork I've ever seen from a big man"  --Pete Newell  Olajuwon established himself as an unusually skilled offensive player for a big man, perfecting a set of fakes and spin moves that became known as his trademark Dream Shake. Executed with uncanny speed and power, they are still regarded as the pinnacle of "big man" footwork. Shaquille O'Neal stated: "Hakeem has five moves, then four countermoves - that gives him 20 moves." Olajuwon himself traced the move back to the soccer-playing days of his youth. "The Dream Shake was actually one of my soccer moves which I translated to basketball. It would accomplish one of three things: one, to misdirect the opponent and make him go the opposite way; two, to freeze the opponent and leave him devastated in his tracks; three, to shake off the opponent and giving him no chance to contest the shot." The Dream Shake was very difficult to defend, much like Kareem Abdul-Jabbar's sky-hook.  One notable Dream Shake happened in Game 2 of the 1995 Western Conference Finals against the Spurs. With David Robinson guarding him, Olajuwon performed a cross-over, drove to the basket and faked a layup. Robinson, an excellent defender, kept up with Olajuwon and remained planted. Olajuwon spun counterclockwise and faked a jump shot. Robinson, who was voted the 1995 NBA MVP, fell for the fake and jumped to block the shot. With Robinson in the air, Olajuwon performed an up-and-under move and made an easy layup.  Olajuwon has referred to basketball as a science, and described his signature move in vivid detail: "When the point guard throws me the ball, I jump to get the ball. But this jump is the set-up for the second move, the baseline move. I call it the 'touch landing.' The defender is waiting for me to come down because I jumped but I'm gone before I land. Defenders say 'Wow, he's quick,' but they don't know that where I'm going is predetermined. He's basing it on quickness, but the jump is to set him up. Before I come down, I make my move. When you jump, you turn as you land. Boom! The defender can't react because he's waiting for you to come down to defend you. Now, the first time when you showed that quickness, he has to react to that quickness, so you can fake baseline and go the other way with your jump hook. All this is part of the Dream Shake. The Dream Shake is you dribble and then you jump; now you don't have a pivot foot. When I dribble I move it so when I come here, I jump. By jumping, I don't have a pivot foot now. I dribble so now I can use either foot. I can go this way or this way. So he's frozen, he doesn't know which way I'm going to go. That is the shake. You put him in the mix and you jump stop and now you have choice of pivot foot. He doesn't know where you're gonna turn and when."
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What is Dream Shake?

Answer:
Olajuwon established himself as an unusually skilled offensive player for a big man, perfecting a set of fakes and spin moves that became known as his trademark Dream Shake.