The best way to express rhythm is music.
People assuming that because I’m a great athlete, I can dance. But no. My rhythm is off a little bit.
There can be a lot of mind games going on between the players. When you’re about to serve, people will try to throw you off your rhythm by taking a walk. If you’re tired, you can’t show that at all to an opponent.
Simultaneity in light is harmony, the rhythm of colors which creates the Vision of Man.
I found out was, by the rhythm of my chewing, how I chewed fast, slow or what have you, I could tell the audience what my character was thinking and feeling.
You can roll the ball a long way with a stroke that has the force of a five-yard chip. Good rhythm and less effort are how you control the putterface and, in turn, the ball.
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 important for me not to peak before I hit the stage. In other words, I save all of my creative and physical energy for when I walk on stage. If I can get 45 minutes of just easy going, playing rhythm, songs, stuff like that, then that’s what I do to make sure that I’m all stretched out and ready.
I want to go back to the format that radio started with rock n’ roll, with country artists and rhythm and blues with that oldies type feeling. I want to put it all together and create a Top 40 of rhythm and blues and country and straight blues with Wolfman at the reins.
You are an instrument if you understand your voice and how to use it – this sound, that sound and certain ranges and different pitch. Within that I try to find a rhythm and play the voice as if it was a horn.
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.
I think I put a lot of special attention towards creating interesting textures and unique sounds. Music essentially boils down to two main elements: rhythm and melody. I feel tones and textures often get overlooked, so I like to take my time finding the right sounds.
I rewrite a lot until I get the rhythm and story right on the page.
The people themselves, and only the people, determine the rhythm of our fight.
The jazz rhythm won’t be understood by the bulk of my audience. That’s the problem. We can get away with maybe one tune a night. It depends on where we place it. A song like ‘Beyond the Sea,’ the fans love that. It’s fresh.
It’s important to get match rhythm.
When you write, it’s making a certain kind of music in your head. There’s a rhythm to it, a pulse, and on the whole, I’m writing to that drum rather than the psychological process.
The truly great players have this advantage over the rest of the international elite, gifted though those others are: they have the ability to slow down a ball travelling at 90mph, to move before others can, to make the world adjust to their rhythm rather than the other way round.
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 need to play three or four weeks to get into a rhythm. I’m not like Tiger. I can’t play one week and win.
Everything is a subject. Every subject has a rhythm. To feel it is the raison detre. The photograph is a fixed moment of such a raison detre, which lives on in itself.
I was determined to create my own identity. My first hits, in fact, were straight-up rhythm and blues. My voice was compared to Aretha Franklin’s – though, for my money, no one compares to Aretha.
When I came back from Bolivia, my Spanish was in some ways as good as my English. I am rusty today. But I am comfortable talking in Spanish. I am not flawless or fluent, but I am comfortable. It takes me a day or two speaking a lot of Spanish to get back into a rhythm.
I go out with my friends as often as I can on the weekends, and I’m always drawn to girls with rhythm.
There are those who dance to the rhythm that is played to them, those who only dance to their own rhythm, and those who don’t dance at all.
Alice Walker’s words have such rhythm and scream music.
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.
I don’t think we ever really think about it when we’re doing it, because if you sort of go in with a plan of attack, it tends to take away the natural rhythm of songwriting.
You need a pulse in a film. If I see a film that doesn’t have rhythm, it’s like listening to music that doesn’t have rhythm; it doesn’t really work.
In a soundtrack, you are in a way always relating with… a combination of different languages. It has to have the same path and same rhythm. Sometimes it’s a polyphony of languages that have to work together in some way. With musical projects alone, you can be more free.
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.
What came to me as a revelation was the use of rhythm in developing an overall structure in music.
Guy Pearce is very precise and clear about understanding the rhythm and the music of a scene.
It takes a little time to return to a Formula One car after 15 months away and to get back in the rhythm again, but after about 20 laps, I was feeling really comfortable and enjoying myself.
Whenever I think about movies, I always look at that art process as having the best of a lot of worlds. Because if you watch a great film, you have a musical element to it, not just on the scoring, but in the way that the shots are edited – that has music and rhythm and time.
There are periods in history when change is necessary, and other periods when it is better to keep everything for the time as it is. The art of life is to be in the rhythm of your age.
If you like rock and roll, if you like rhythm and blues, if you like jazz, if you like hip-hop, you might be black-ish.
I’m not a cinephile. My films don’t reference films. I’m more interested in rhythm and feeling.
We drummers all know that our mother’s heartbeat was the first instrument we heard. As a race, we’ve all been trying to get back to that womb. That’s why rhythm makes us move… dance.
I want to sound like an instrument. I want my voice and my words to marry the beat. I go with the rhythm of it and the words start to come to my mind and those words could be based on things that’s been on my mind for the past year, the past month, the past week, whatever; I write it.
To illustrate what I mean, an apt dancer may be in thorough unison with the others in that particular group, and at the same time reveal a difference in dancing temperament, rhythm or technique; she may phrase, accentuate or actually interpret differently.
I don’t shoot shots just to shoot shots. I’m always working in a rhythm, working on mechanics. I’ve got a checklist of the things I need to do with my form, my legs, my arms, all of my mechanics.
There’s something in the rhythm and roll of it that is connected to the way Hitchcock thinks and moves. Then there is everything he ingested – the cigar smoking and drinking that’s imprinted on his voice.
When you’re doing comedy constantly, you’re organized: you know where everything is, you know how to get out of it, you know how to stretch it. But, like, doing ‘SNL,’ I stopped doing spots, and then I would finally do some sets – it take me so long to, kind of, get in the rhythm of it.
I write most of my stuff when I’m on a train or a plane, any mode of transport. I like trains because you hear this motoric rhythm and the scenery is great. You go into your own little world. You don’t have to be anywhere else.
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 like to find music that shares a rhythm with the sentences I’m working on. And though I’ll probably regret saying this, I think some songs actually don’t sound too bad when they’re played through lousy speakers.
I’ve tried to slow this down but realized that my natural reading rhythm is freakishly fast when an author friend asked me to go through the manuscript of her soon-to-be-published book for continuity errors.
A lot of clay court players want rhythm. They want the time to play from the baseline, and it’s about preventing them from having that.
I think the ’70s was a very special time. Melodies and rhythm ruled as dancing climaxed.
It’s only a hitch when you’re in a slump. When you’re hitting the ball its called rhythm.
You can’t really write until the characters kind of show up one day and tell you what they’re going to say. You start to hear the rhythm of the way the people talk, and then it becomes easier.
