Quotes of All Topics . Occasions . Authors
Florida has its own rhythm, too. People go to work, they watch their children learn and grow and start families of their own. They play in the sun and pass their lives enjoying the outsized blessings that make our state unique.
When you live without training for a long time, you end up losing that habit. It is difficult to resume things, even if you have some time to prepare. It is difficult to acquire that rhythm again. Many injuries end up happening.
If anything, even though I can play in the sort of standard string-bending style, in the B.B. King mold and all of that, I've always had a great interest in the more primitive playing, the open chord playing, rhythm and figures.
The way that I approached numbers, think about them, the same as for language as well-acquiring vocabulary, understanding the grammar, the structures of languages, the rhythm, the music and so-on - these things obviously evolved.
I grew up listening to popular music. My father was a Peruvian folk singer. He played the guitar at home. He sang songs with a waltzing rhythm, yet you can still hear the Spanish influences. I accompanied him to his performances.
Working in bars back then, in the '50s, to get a job you had to play all kinds of music. There'd be customers come in and yell jazz tunes at you and yell rock 'n' roll tunes at you and polkas and rhythm and blues and country music.
I really enjoy listening to players on the cusp of swing into bebop like Charlie Shavers, Clifford Brown and Clark Terry. They balance immense facility on their instrument with rhythm, melody, and more complex harmonies of the time.
I see only one requirement you have to have to be a director or any kind of artist: rhythm. Rhythm, for me, is everything. Without rhythm, there's no music. Without rhythm, there's no cinema. Without rhythm, there's no architecture.
I mean, in the course of an evening, people will take a solo here and there, but generally it's all about the rhythm of that music. Dealing with the rhythm with everything. That's essentially at least my concept of what that group is.
Archer has a loose-limbed approach in a run-up that is not very long. He gets into a good position at the crease and releases the ball late from a very high action. He snaps the ball down at genuine pace. He has rhythm to his bowling.
I didn't think of myself as a lead player, especially when we did live shows, because me and Keith used to switch around all the time. He'd take a lead, I'd play rhythm. Sometimes even within one song. It wasn't strict and regimented.
I've never gotten money from most of those records. And I made those records: In the studio, they'd just give me a bunch of words, I'd make up a song! The rhythm and everything. 'Good Golly Miss Molly'! And I didn't get a dime for it.
I used to love to see Willie Pep and Ray Robinson. To me, the epitome of a great athlete is a great boxer. I just love the rhythm of seeing a man dance, slip punches. I loved the dancers and boxers. I would see them and be mesmerized.
I had a band when I was in middle school, but I was the drummer. I kind of thought if I was going to be in a band, I'd be the drummer. I'm innately drawn to rhythm. But we didn't have any shows. We just jammed in our parents' basement.
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.
We've created an unnatural form of running. It's not just the shoes, but we run on artificial surfaces - straight ahead, hard and steady - instead of speeding up and slowing down, reacting to the terrain with changes of pace and rhythm.
I'm no dancer. I got rhythm, I can dance if I need to, but I'm not Chris Brown. He's an amazing dancer. If I'm not going to be amazing at it, I'm not gon' do it. I'm gonna do what works for me, and you're going to feel it 'cause it's me.
I think the problem with a lot of the fusion music is that it's extremely predictable, it's a rock rhythm and the solos all play the same stuff and they play it over and over again and there's a certain musical virtuosity involved in it.
As you begin to realize that every different type of music, everybody's individual music, has its own rhythm, life, language and heritage, you realize how life changes, and you learn how to be more open and adaptive to what is around us.
The music in Haiti is all tied up in voodoo and African rhythm, and so there's this funny thing: go to a voodoo ceremony, and then go to a Catholic church and tell me which music you liked better, to which one the music is more integral.
I think all the actors I've worked with knew that I was an actor. Like, I get into the dirt with my actors and we figure out the rhythm of the scene and how it needs to sound and what the blocking is, the way you would with another actor.
Writing is a question of finding a certain rhythm. I compare it to the rhythms of jazz. Much of the time life is a sort of rhythmic progression of three characters. If one tells oneself that life is like that, one feels it less arbitrary.
For a movie, you have to make sure the lyrics are consistent with the rhythm that is given to you. But, at times, during the song's recording, you find out that your words are not appropriate for the track, and so you have to change them.
I think Wall Street is very important, especially to tech companies. Wall Street will get in their rhythm and go fund tech companies, and tech companies will go create jobs and employ a lot of people, so there's that aspect of Wall Street.
Tuscan sausages are smaller than their American cousins, each one demarcated with a string, a graceful loop drawn tightly into a knot - looping and tightening, looping and tightening, a symmetrically floppy, aesthetically appealing rhythm.
It's cool how to see how my creative juices have shown themselves when they're not being used for 'Euphoria' every day. I'm trying to find a new rhythm as to how I'm going to externalize my artistic energies. It's a moment of re-formation.
One thing about Italians is you can't let them in your head. They're inquisitive. The English and Germans are a dog tribe; the Italians are cats. They're very helpful, but it's in their own rhythm, their own way, and it can drive you crazy.
Not a lot of people or pros in this game know how to train correctly. That's why they don't have a long career. Their body gets banged up. They get into a rhythm of heavy sparring and heavy work, but through that, they're limiting movement.
I was addicted to rhythm 'n' blues pretty much directly into folk music. I had my little 45s of mostly black artists. That was as close as I got. I've never listened to heavy rock or stuff that jangles my nerves, because I'm already jangled.
New Year's Eve, we're going to be doing a concert with the Philadelphia Orchestra in Symphony Hall. It makes me feel good, because of all the people they could have had, they wanted me! We do have to do a little work with the rhythm section.
The authentic Gullah dialect is actually very clipped, and so it would sound almost Jamaican and be very odd to an American audience's ears. It's not the typical Southern dialect that we're used to. It has a much more percussive rhythm to it.
What I've found in the last few tours is that it takes a week to hit the body. You're still on a high and your body gets into a rhythm. So, you almost have to de-train off it and keep riding the bike for a few days before you take a while off.
I could hear music playing in the background of works by certain authors, like Poe and Shakespeare. And I discovered Nikki Giovanni when I was in eighth grade. Her writing has a musical energy with pulse and rhythm, almost like jazz or hip-hop.
We got kind of into a rhythm at 'Parks' because there were so many characters that we had an A story, a B story, and a C story just about every episode. So by the middle of that show's run, we always had three stories, and it worked really well.
I've got to hear the rhythm of the sentences; I want the music of the prose. I want to see ordinary things transformed not by the circumstances in which I see them but by the language with which they're described. That's what I love when I read.
I lived in Paris for two years with my family. I would roam the streets of Paris during the day for a few hours in the subway, on the streets, and I listened to the French language, and I got a sense of the rhythm and the melody of the language.
I like the rhythm of comedy in dramas, if that makes sense. In other words, I don't want to write setup, punch, setup, punch, where the joke dictates the scene; I want to find comedy in which the drama is actually driving the moment in the scene.
Most people think that I'm so technical that I don't have a feel aspect or a rhythm aspect of it, but that's just the opposite. I need to get into my momentum and my rhythm in regards to being technical and analytical, and also being that artist.
When writing, I'm not thinking about war, even if I'm writing about it. I'm thinking about sentences, rhythm and story. So the focus, when I'm working, even if it's on a story that takes place at war, is not on bombs or bullets. It's on the story.
As an actor, a Dogme film is not that big a difference. You don't have to wait for the lighting, so you get a better rhythm. It's the camera guy and the editor and the sound guy who are in trouble. Because they can't do what they're used to doing.
True Boogie-Woogie I conceive as homogeneous in intention with mine in painting: destruction of melody, which is the equivalent of destruction of natural appearance, and construction through the continuous opposition of pure means - dynamic rhythm.
What happens is people go, 'I want to play the guitar,' and the first thing they do is hit Google: 'How can I play this?' and the next thing you know, you've learned all these tricks, but you've never learned how to play rhythm guitar with a groove.
In silence one can receive more because all one's activities become concentrated at one point. There is only one real rhythm; in silence you hear it. When you live to the rhythm of this silence, you become it, slowly; everything you do, you do to it.
The cool thing about writing is that there is really never a typical day. Sometimes I get a rhythm going and head off to work every morning and come home at night. Sometimes I'll write for two days straight and then be utterly blank for the next two.
I work very hard on all my poems, but most of the work consists of trying not to sound as if I had worked. I try to make them sound as natural as possible, but within a quite strict form, which to my ears has a lot to do with musical rhythm and sound.
In order to accommodate to change and to the contrast of phenomena, the intellect does not require any shocks and inner upheavals; it is only through such upheavals that the more conservative mind could accommodate to the metropolitan rhythm of events.
What I learned about music is that it can have nothing to do with words, instrumentation, image, message, or meaning. The meaning is the melody, the notes, the rhythm - music for the sake of its own beauty, with nothing more required to express itself.
It's a miracle was the last track recorded for the album, we based it on the rhythm from the middle of 'Late Home Tonight, where there's Graham Broad playing lots and lots of drums with me shouting in the background, pretending to be a mad Arab leader.
I play the harmonium. I had learned to use the guitar for a bit before becoming a part of the music industry, but unfortunately didn't pursue it fully. I would love to learn to play the piano because it holds a unique connect for me in terms of rhythm.
Good musicals, a strange world, seem so easy. People say, 'Ohhh, it's magic.' Nothing's magic. A thing doesn't jell. Adapt. Change the rhythm. Shorten the scene. Rewrite the character. Maneuver the waters. Seeming easy is why so many shows aren't good.