Quotes about bongo

A collection of quotes on the topic of bongo, likeness, music, drum.

Quotes about bongo

“On the infrequent occasions when I have been called upon in a formal place to play the bongo drums, the introducer never seems to find it necessary to mention that I also do theoretical physics.”

Richard Feynman book The Character of Physical Law

statement after an introduction mentioning that he played bongo drums; Messenger Lectures at Cornell University, p. 13
The Character of Physical Law (1965)

“'Live for Loving You' is a kind of song that really can live in many different genres. And, of course, when you do your live performances the first time that you perform a song you want to stay true to the record: because tha's what people want to hear, they want to hear the hit. But then after you have done it fifty thousand times and through many, many different tours, you start experimenting and doing stuff to surprise people. So, the cut that we are doing here for the "iTunes Orginal" is something that we love to do -- because we just took it and really broke it down to a Samba. You know, the Brazilians have an amazing edge -- percussively, I think -- they have amazing rhythms. And this song really fit that rhythm very nicely. So, we wanted to do it acoustically and really cool -- and like we've done many times on tour. Just break it down to just acoustic, no synths and things of that nature: just make it organic. And I love that song for that reason: because you could perform it with just a couple of bongos and some vocals if you had to. And it would still work.”

Gloria Estefan (1957) Cuban-American singer-songwriter, actress and divorciada

iTunes interview (released June 2, 2007)
2007, 2008

Love, People, Nature, Thinking

“"Now he took the music of like Mandrill, like "Fencewalk", certain disco records that had funky percussion breaks like The Incredible Bongo Band when they came out with "Apache" and he just kept that beat going. It might be that certain part of the record that everybody waits for--they just let their inner self go and get wild. The next thing you know the singer comes back in and you'd be mad."”

Afrika Bambaataa (1957) American DJ, record producer and activist

Afrika Bambaataa, quoted in David Toop (1991). Rap Attack 2: African Rap To Global Hip Hop, p.60. New York. New York: Serpent's Tail. .

Music, Waiting, Parting, Madness

“My family was musical on both sides. My father's family had a famous flautist and a classical pianist. My mother won a contest to be Shirley Temple's double -- she was the diva of the family. At 8, I learned how to play guitar. I used to play songs from the '20s, '30s and '40s in the kitchen for my grandmother. After my dad was a prisoner in Cuba for two years, we moved to Texas, where I was the only Hispanic in the class. I remember hearing "Ferry Cross the Mersey," by Gerry and the Pacemakers, and thinking, "that had bongos and maracas -- that was really a bolero." And the Beathles song, "Till There was You"… also Latin. I wrote poetry, which got me into lyrics. Stevie Wonder, Carole King, Elton John pulled me into pop. I started singing with a band -- just for fun -- when I 17. And pretty soon, I was thinking I could sing pop in English as well as Spanish. And as you know, we did that and we broke through. But we waited until 1993 to release "Mi Tierra" -- we wanted my fans to be rady for the traditional Cuban music. And then we kept adding: more Cuban influences, more Latin America. And, underneath it all, African drums and rhythm. The concept of "90 Millas" starts with the songs of the '40s. We invited 25 masters of Latin music -- giants on the cutting edge of creativity, musicians who pushed it out to the world, young Cuban artists and Puerto Ricans who are huge -- so we could blend cultures and generations. So it is like coming home, but not exactly to the old Cuba.”

Gloria Estefan (1957) Cuban-American singer-songwriter, actress and divorciada

www.huffingtonpost.com (September 7, 2007)
2007, 2008

World, Family, Music, Home

“How we can possibly be giving a billion pounds a month when we're in this sort of debt to bongo bongo land is completely beyond me. To buy Ray-Ban sunglasses, apartments in Paris, Ferraris and all the rest of it that goes with most of the foreign aid. F18s for Pakistan. We need a new squadron of F18s. Who's got the squadrons? Pakistan, where we send the money.”

Godfrey Bloom (1949) UK EU parliament member

The Guardian, Wednesday 7 August 2013

Money

“I bongo with my Lingo,
Beat it like a wing yo
From Congo to Columbo,
Can't sterotype my thing yo”

M.I.A. (1975) British recording artist, songwriter, painter and director

Sunshowers
Lyrics, Arular (2005)

“The subtlety of Brazilian rhythms comes from the type of instruments used. Afro-Cuban music has a scraper called the güiro which is played with a solid stick producing a loud scraping noise. This same instrument is paralleled in Braziliam music with the reco-reco, the difference being that the reco-reco is much smaller, less resonant, and played with something like a brush. The cabasa is a gourd wrapped in beads that is incapable of extremely loud noise. The same is true of the chocalho or cylinder, and the tambourine. A regular set of drums contrasts this. The result is a light rhythm that, unlike the conga, bongos and timbales of Afro-Cuban music, does not engulf the listener but permeates him. To this is usually added the guitar (unamplified) played finger-style, which completes the subtlety.”

Clare Fischer (1928–2012) American keyboardist, composer, arranger, and bandleader

From "Clare Fischer on Bossa Nova" http://www.mediafire.com/view/fix6ane8h54gx/Clare_Fischer#3f6344g3cshffpj in Downbeat (November 8, 1962), p. 23

Music, Light