Question: Where do you go after you make a shot in Racquetball?
About the article "Racquetball", section "Strategy".

Candidate passages:
Where Do You Go may refer to:  "Where Do You Go" (Cher song)  "Where Do You Go" (La Bouche song), also covered by No Mercy  "Where Do You Go", a song by Bryan Rice from "Confessional"  "Where Do You Go?
", a song by Frank Sinatra from "No One Cares"  
Brumfield's game has been described as a "finesse" style, and he and Muehleisen are generally regarded as the best finesse players to have ever played racquetball or paddleball.
The finesse game is neither a power game nor a control game.
The control player, exemplified by Steve Keeley, is able to execute each shot precisely and score on the basis of that precise execution.
The power player, exemplified by Marty Hogan, is able to put pace on the ball, using that pace to overwhelm the opponent, and scoring by driving the ball past the opponent or causing the opponent to make a weak return.
Brumfield's "finesse" style has elements of both control and power, but is better characterized by impeccable shot selection: having appropriate measures of control and power, without requiring either of these in order to place the ball outside the opponent's reach.
This quality of intelligence has allowed Brumfield to compete at an extremely high level all of his life, and to win on occasions where he was playing with fairly serious injuries.
Hogan's instructional book "Marty Hogan's Power Racquetball" describes Brumfield as "the smartest player alive".
On the professional tour, Brumfield set records for "delivering the most donuts" (games in which the opponent scored 0 points).
Those records still hold in spite of the fact that games on the pro tour went from 21 points in Brumfield's era to 15 points in Hogan's era, to 11 points in Cliff Swain's.
Brumfield generally makes his opponents move clumsily in the court by setting decoys and deceptions and forcing them out of position.
He has characterized racquetball and paddleball as being more like basketball than tennis in that while there is a superficial similarity to tennis (the sports are both played by hitting a small ball with a racket or paddle) the strategy for court coverage is profoundly different.
In paddleball or racquetball—like basketball—the opponents are playing for position on the same piece of real estate, and need to use strength, size, cleverness, and agility to win position without undo contact with other players.
Brumfield often speaks of "getting small" to move past an opponent and into proper court coverage, and "getting big" to prevent the opponent from moving into proper court coverage.
This philosophy has had a profound impact on Brumfield's style, as he tends to sacrifice technical swing mechanics when such sacrifice allows him to move his opponent out of position, or when he can use his own body to block his opponent's view of the ball, particularly while the ball is traveling between Brumfield's paddle/racket and the front wall.
This forces a dramatic reduction in the opponent's ability to anticipate the shot, giving the opponent less time to react and allowing Brumfield numerous options.
Brumfield's style is characterized by great patience, taking few chances and maintaining confidence that he will have other opportunities to close the point.
A typical Brumfield rally moves the opponent a bit out of position on the first shot, possibly by an exaggerated swing follow through that causes the opponent to duck the paddle and forces a slightly weak or off balance return by the opponent, then moving the opponent farther out of position on the second shot with a deception and forcing a somewhat weaker return and slower recovery, which Brumfield follows by holding the opponent out of position and freezing the opponent by denying him a view of the ball, and then hitting a finishing shot or a pass (either of which can be hit with minimal precision under these circumstances) to end the rally.
The opponent, in many cases, cannot even see the finishing ball strike the wall due to the position of Brumfield's body.
This style builds momentum as the rally or match go on, and places the opponent under severe stress.
The opponent becomes fatigued by trying to understand what Brumfield is going to do, and this prevents the opponent from playing his own game.
Even players in better physical condition than Brumfield find themselves physically and emotionally drained after playing a match with him.
Brumfield will also occasionally break an opponent by hitting the same ball to the opponent over and over until the opponent loses patience and ceases to cover, or is no longer mentally capable of striking the ball.
Brumfield is often criticized for psychological play, including delays during the game and intimidating opponents both on and off the court.
Immediately prior to his first encounter with Hogan, Brumfield is reported to have hit his opponent with a racket.
He is alleged to have walked off the court and showered between points when a referee's call went the other way.
In June 1974, "Sports Illustrated" reported that "He has been known to intimidate opponents and referees with rackets, balls, words, gestures and interminable delaying routines when he needs rest."
Steve Keeley writes: "He is the omnipresent 'villain' while pestering the foe, ramrodding the ref, and fomenting the crowd.
...I personally have leaped to his physical defense on two events."
Suffice it to say that of the four major NPA trophies for paddleball, Brumfield has won all of them except for the Sportsmanship trophy.
However, his contributions to both racquetball and paddleball are beyond question, and in 2004, mostly for his work with Paddleball Nation, he was awarded the prestigious Earl Riskey Memorial Trophy for outstanding contributions to the sport of paddleball.
He was also the 2007 honoree at the Pig Roast & Human Sacrifice, a midwestern regional paddleball doubles tournament that honors a player's significant contributions to the game.
Brumfield is also noteworthy as a showman, and has at various times taken on racquetball opponents playing with a shoe or a bottle instead of a racket or paddle.
At times he will play an entire game, match, or tournament hitting a single type of serve, and he will sometimes play a serious racquetball tournament with a paddle (instead of a racket), putting himself at significant disadvantage.
He has a penchant for what he calls his "science experiments" that can involve a novel way of gripping the racket, or a variation on footwork, or an unusual modification of a paddle, etc.
These "science experiments" often take weeks or months but when he has learned what he wants from them he may go on to the next experiment and never look back at that variation again.
Brumfield still draws large and boisterous crowds when he competes at national tournaments and remains popular amongst fans.
In a 2009 interview, outdoor racquetball great Tony Gambone was asked "what was the greatest match you ever saw?"
He answered: "Every Charlie Brumfield match I have seen."
The marriage system in the MMORPG Maplestory is unlike other systems.
The groom or bride is required to pay some real life $24–29 for an ingame marriage, then do a quest to get the ring.
There are 4 rings and each need materials to make.
Once you get the ring you need to propose to your bride.
Then you are required to go to a NPC in Amoria, in almost all localized versions.
There you can get invitations (15 or 25 depending on which wedding coupon you buy or you can buy more).
Once you invite the people and start the wedding, a notice will be produced in the chat box for everyone.
After the wedding and getting the blessings for you invitees, you then get a picture taken of you and you bride/groom on a cake.
Then, if you bought the premium coupon you can then go to a special area where you fight monsters to get keys.
You need 5 keys to get teleported to another area where you hit boxes to get redeemed at another NPC. 
Part I: In July.
Orson Welles: "We know a remote farm in Lincolnshire, where Mrs. Buckley lives.
Every July, peas grow there."
Do you really mean that?Director 1: Uh, yes, so in other words, I—I—I'd start half a second later.
Welles: Don't you think you really want to say "July" over the snow?
Isn't that the fun of it?D 1: It's—if—if you can (laughs) if you can make it almost when that shot disappears, it'll make more—Welles: I think it's so nice that—that you see a snow-covered field and say "every July peas grow there".
"We know a remote farm in Lincolnshire, where Mrs. Buckley lives.
Every July, peas grow there."
We aren't even in the fields, you see?
(pause) We're talking about them growing and she's picked them.
(clears throat) What?D 1: ...in July.
Welles: I don't understand you, then.
When must—what must be over for "July"?D 1: Uh, when we get out of that snowy field—Welles: Well, I was out!
We were onto a can of peas, a big dish of peas when I said "in July".D 1: Oh, I'm sorry, Orson.
Welles: Yes, always.
I'm always—past that!D 1: You are?Welles: Yes!
Wh—that's about where I say "in July".
Director 2: Can you emphasize a bit "in"?
"In July.
"Welles: Why?
That doesn't make any sense.
Sorry.
There's no known way of saying an English sentence in which you begin a sentence with "in" and emphasize it.
Get me a jury and show me how you can say "in July" and I'll... go down on you.
That's just idiotic, if you'll forgive me by saying so.D 2: (indistinct chatter)Welles: That's just stupid.
"In July"?
I'd love to know how you emphasize "in" in "in July"...
Impossible!
Meaningless!D 1: I think all they were thinking about was that they didn't want to—Welles: He isn't thinking.D 1: Orson, can we just do one last time—Welles: Yeah.D 1: ...and it was my fault.
I should—I said "in July".
If you could leave "every July"—Welles: You didn't say it.
He said it.D 1: ...I said "every July".
Welles: Your friend.
"Every July"?D 1: ...so after this shot... Welles: No, you don't really mean "every July"?D 1: ...it is, but it's... Welles: But that's—that's bad copy.
It's in July.
Of course it's every July!
There's too much directing around here. 
The following questions when assessing individuals for DPD:  Some people enjoy making decisions.
Others prefer to have someone they trust guide them.
Which do you prefer?
Do you seek advice for everyday decisions?
(Are the decisions you make understood by the practitioner?)
Do you find yourself in situations where other people have made decisions about important areas in your life, e.g.
what job to take?
Is it hard for you to express a different opinion with someone you are close to?
What do you think might happen if you did?
Do you often pretend to agree with others even if you do not?
Why?
Do you think it could get you into trouble if you disagree?
Do you often need help to get started on a project?
Do you ever volunteer to do unpleasant things for others so they will take care of you when you need it?
Are you uncomfortable when you are alone?
Are you afraid you will not be able to take care of yourself?
Have you found that you are desperate to get into another relationship right away when a close relationship ends?
Even if the new relationship might not be the best person for you?
Do you worry about important people in your life leaving you?