I had the house rhythm section at a club called the Sundown in Hartford. Stan Getz came up and played with us.
I think the champion needs to be active make sure to have rhythm.
I slow down when hiking. The rhythm of nature is more leisurely. The sun comes up, it moves across the sky, and you begin to synchronize to that rhythm.
I was a victim of a stereotype. There were only two of us Negro kids in the whole class, and our English teacher was always stressing the importance of rhythm in poetry. Well, everybody knows – except us – that all Negroes have rhythms, so they elected me class poet.
Comedy isn’t necessarily all dialogue. Think of Buster Keaton: the poker face and all this chaos going on all around him. Sometimes it’s a question of timing, of the proper rhythm.
I always say that I am very proud of the work that I did with the Rolling Stones and that I am also proud of what I have done with the Rhythm Kings.
As a kid, I loved to dress up as Ian Dury and run around hitting people with drumsticks. Members of my family, neighbours, friends, kids at school – no one was safe from my rhythm sticks.
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.
I noticed a lot of guitar players neglected the rhythm part of rhythm guitar and decided I would try to focus in that.
As a shooter, you always want to be in a rhythm.
There are so many similarities between a startup venture and a political campaign – the rhythm, the tempo, the hours, the intensity.
I always write lyrics first and the rhythm and the melody come from the lyrics. It always comes from the lyrics: words have rhythm and words have melody.
Jazz is really 20th-century fusion music. You take West African harmony and rhythm, mix with European harmony, and boom!
Perhaps of all the most basic elements of music, rhythm most directly affects our central nervous system.
When I’m working, I’m so narrowly focused on sound, language, rhythm, flow, that I rarely feel the emotion of the text. It’s only after – long after – I’ve finished a piece that I can experience in any way its emotional charge.
I listen to a pop genre of music to keep the rhythm flowing and sometimes I’ll take it back to the old school to keep my mind calm because once you start to listen to so much craziness, it gets hectic.
If for half a year you only get 10 minutes to play from the bench, then you have no rhythm.
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.
I hated sport, but at 13, I went to an aerobics class and the teacher thought I had natural rhythm. She suggested formal dance classes, and that’s when I finally found something I was really good at.
I lost confidence, and since then, I can’t find my rhythm. I am training phenomenally and will continue trying.
I dream of instruments obedient to my thought and which with their contribution of a whole new world of unsuspected sounds, will lend themselves to the exigencies of my inner rhythm.
Insane sects grow with the same rhythm as big organizations. It is the rhythm of total destruction.
The most important thing in any contest is finding your rhythm and making your body work for you.
Of course the most difficult thing on the violin is always intonation. The second one is rhythm. If you play in tune, in time with a good sound that’s already high level. Those three are the main things.
Personal style isn’t simply an exercise in parroting but rather an exhibition for our own stories – from the gait of our walk to the rhythm of our speech to the manner in which the necktie falls from the knot.
As soon as I get in a rhythm, I’m very hard to stop.
With the Rhythm Kings, I can involve myself in arranging and producing the music as well as the choice of songs.
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.
I began working on stage in Atlanta when I was 3, doing a dance act with the Ragamuffins of Rhythm. Later I became a juvenile straight man for the older comedians. After that I worked out a stand-up act.
Rhythm is God. I think, without rhythm, you can’t create – there is no art.
In Buddhism there are words you can say… as you say the words with rhythm the conscious tells the subconscious.
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.
Making dance music is a spiritual thing. It’s about being completely absorbed by rhythm and vibration, so much so that the petty stuff of life stops mattering.
I can’t deny that Eric Clapton’s and Eddie Van Halen’s lead stuff has influenced a stack of people, but for me, it’s the rhythm thing that’s way more impressive and important to a band.
For me writing is a question of finding a certain rhythm. I compare it to the rhythms of jazz.
The rhythm of relations of color and size makes the absolute appear in the relativity of time and space.
I certainly think, obviously, rhythm is a huge part of being an actor. It just is unconscious, to a degree, but particularly in comedy, rhythm is pretty essential, and there’s probably something more physiological going on.
The end is the beginning of all things, Suppressed and hidden, Awaiting to be released through the rhythm Of pain and pleasure.
I love Ruth Brown, not just her singing, but Ruth Brown has more girl power than anyone, because she fought hard against people who ripped her off and then helped other artists through the Rhythm and Blues Foundation.
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.
Rhythm, that’s an essential part of cooking. The sound of a lovely song and the smell of some dish in the oven are equally evocative.
For some music, lyrically, the best move is to keep it simple in what it is that you are saying, and just kind of come across in your rhythm and the way that you lock in on the music.
When I’m working on a book, I constantly retype my own sentences. Every day I go back to page one and just retype what I have. It gets me into a rhythm.
I think it is interesting to think about the absolute animal relish young people have for rhythm and rhyme.
I think clay has more rhythm so I can feel more balls better.
And the camera position, the organization, looking for repeating forms, shapes, trying to set up a visual rhythm seemed to come very natural. All of a sudden I was in a forest of aluminum and steel rather than a forest that we might think of in a traditional sense.
Often I have to move my body in a certain way, like exercising, to begin to get into the right rhythm for writing a song.
Amy Sherman-Palladino is very funny. She’s got just natural timing and comedic instinct. And she writes in a comedic rhythm.
Women hear rhythm differently than men.
I did a lot of theater, so especially as an on-camera camera actor, there are so many things that aren’t in your toolbox. They’re somebody else’s job. You think about editors and rhythm. Volume isn’t even in your control.
Dancing is kind of my thing. I go out with my friends as often as I can on the weekends, and I’m always drawn to girls with rhythm.
Rhythm is sound in motion. It is related to the pulse, the heartbeat, the way we breathe. It rises and falls. It takes us into ourselves; it takes us out of ourselves.
I love music more just in and of itself. I love harmony and rhythm.
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.
There’s a rhythm and a cadence in a scene, and when an actor understands without any real direction from you, then that’s a very valuable gift. And some people get it, and some people don’t.
When the public doesn’t understand me, it’s a battle. So when I choose words, I choose them for their musicality, rhythm, and sense, and I choose the right dialect to express that.
Poetry is not an issue of form and enjambments. Poetry, as the word is classically used, has to do with sound and sense. It can be rhyme. It can be rhythm, pace, breath.
Rhythm, melody, message, that’s what matters. Our main concern coming out of the gate is to make sure those foundations are strong, the songs are speaking to us. Everything else, horns and strings, is sweetening.
Comedy is all about rhythm and context, and there’s all types of comedies, and it’s about finding that right brand, that consistency in tone.
I tend to think of the organ as part of the rhythm section, rather than a frontline voice.
