Quotes about rhythm (363 quotes, page 4)

“You know Chuck, Buddy, and Elvis paved the road
The roots are deep inside us
It's the rhythm in our soul.”

Brian Wilson (1942) American musician, singer, songwriter and record producer

The Spirit of Rock'n'Roll
Sweet Insanity (1991)

Soul

“Space expands or contracts in the tensions and functions through which it exists. Space is not a static, inert thing. Space is alive; space is dynamic; space is imbued with movement expressed by forces and counterforces; space vibrates and resounds with color, light and form in the rhythm of life.”

Hans Hofmann (1880–1966) American artist

'Excerpts from the Teaching of Hans Hofmann', p. 66
Search for the Real and Other Essays (1948)

Life , Color , Light

“So, if you played a C major chord to pretty much any person on the planet, they'd say that it sounds "harmonious" (or pleasing, or happy, etc, etc). But now when you want to put chords and melodies in an ordering and make a larger piece called a "song", then that is a much more difficult process, and gets very subjective. At that point, it's not just the chords, it's the lyrics, rhythms, instrumentation, tempo, intensity, any number of other things that goes into a song… so many variables that it's almost impossible to predict how a song will affect a given person.”

Andrew Sega (1975) musician from America

Andrew Sega Shrine interview, 2011

Personality , Happiness

“The composer (organizer of sound) will be faced not only with the entire field of sound but also with the entire field of time. The 'frame' or fraction of a second, following established film technique, will probably be the basic unit in the measurement of time. No rhythm will be beyond the composer's reach.
NEW METHODS WILL BE DISCOVERED, BEARING A DEFINITE RELATION TO SCHOENBERG'S TWELVE-TONE SYSTEM”

John Cage (1912–1992) American avant-garde composer

1930s
Source: 'The Future of Music: Credo' (1937); in: 'Silence: lectures and writings by Cage, John', Publisher Middletown, Conn. Wesleyan University Press, June 1961, 4/SILENCE

Time

“I fight, with myself in the ring of doubt and fear
The rain ain't gone, but I can still see clear
As a child, given religion with no answer to why
Just told believe in Jesus cause for me he did die
Curiosity killed the catechism
Understanding and wisdom became the rhythm that I played to
And became a slave to master self
A rich man is one with knowledge, happiness and his health
My mind had dealt with the books of Zen, Tao the lessons
of the Koran and Bible,
to me they all vital
And got truth within 'em, gotta read them boys
You just can't skim 'em, different branches of belief
But one root that stem 'em, but people of the venom try to trim 'em
And use religion as an emblem
When it should be a natural way of life
Who am I or they to say to whom you pray ain't right?
That's who got you doin' right and got you this far
Whether you say "in Jesus name" or "Al hum du'Allah"
Long as you know it's a being that's supreme to you
You let that show towards others in the things you do
Cause when the trumpets blowin', 24 elders surround the throne
Only 144,000 gon get home”

Common (rapper) (1972) American rapper, actor and author from Illinois

"G.O.D. (Gaining One's Definition)" (Track 7)
Albums, One Day It'll All Make Sense (1997)

Life , Wisdom , People , Health

“And now we step to the rhythm of miracles.”

Aberjhani (1957) author

(The Light, That Never Dies, p. 122).
Book Sources, ELEMENTAL, The Power of Illuminated Love (2008)

“The sound is beautiful, it's perfect!
The sound of her young legs in stockings,
The rhythm of her walk, it's beautiful!
Just let it twist, let it break,
Let it buckle, let it bend,
I want to hear the noise of my Zoo-Music Girl.”

Nick Cave (1957) Australian musician

Song lyrics, Prayers on Fire (1981), Zoo-Music Girl

Beauty , Music , Girl , Perfection

“The category of class was at first indistinct from the concept of the human group; it is the rhythm of social life which is at the basis of the category of time; the territory occupied by the society furnished the material for the category of space; it is the collective force which was the prototype of the concept of efficient force, an essential element in the category of causality.”

Émile Durkheim book The Elementary Forms of the Religious Life

Source: The Elementary Forms of the Religious Life, 1912, p. 488

Life , Time

“[with painting] directly tube against canvas, one soon becomes too slick... I regretfully realized that my composition was reduced to no more than a series of coloured rhythms, harmonious, discordant, monotonous and that, from simplification to simplification, I was falling into the trap of decoration. I no longer got to the bottom of things: I no longer cut through to their heart. The decorative spirit was leading me to forget painting.”

Maurice de Vlaminck (1876–1958) French painter

Vlaminck himself had become disillusioned with Fauvism, c. 1907-08
Source: Quotes dated, Dangerous Corner', 1929, p. 15

Heart , Painting , Forgetting

“To see strong acting like this is exhilarating. In a time of flashy directors who slice and dice their films in a dizzy editing rhythm, it is important to remember that films can look and listen and attentively sympathize with their characters. Directors grow great by subtracting, not adding, and Eastwood does nothing for show, everything for effect.”

Roger Ebert (1942–2013) American film critic, author, journalist, and TV presenter

Reviews, Four star reviews
Source: Review http://www.rogerebert.com/reviews/mystic-river-2003 of Mystic River (8 October 2003)

Strong , Time

“I was the living proof of T. S Eliot's assertion that poetry can communicate before it is understood. the conscious, analytical part of my response was lulled into a kind of stupor by the rhythms and richness of the imagery of the poetry I was reading.”

Vernon Scannell (1922–2007) British boxer and poet

Drums of Morning, 1992

Communication , Reading , Parting

“They praised the Mighty Forgiver,
They washed their sins in the river,
Cold water, well it made them wanna shiver.
And that's how rhythm was born.”

Nat Burton (1901–1945)

Song That's How Rhythm Was Born

Forgiveness , Water

“I love the way form and rhythm can somehow confer a higher destiny on even the most workaday words.”

Dennis O'Driscoll (1954–2012) Irish poet, critic

Poetry Quotes

Love , Way

“All this calls for an attitudinal change in the Church. An inward looking Church gives undue importance to rite and rubrics, orthodoxy and discipline. But God-ward looking Church is concerned with the great human problem of living together in freedom and equality, love, justice and peace as well as in tune with the rhythm of nature. For the world, not the Church, is the primary object of God’s love.”

Kurien Kunnumpuram (1931–2018) Indian theologian

Kunnumpuram, K. (2009) Towards the Fullness of Life: Reflections on the Daily Living of the Faith. Mumbai: St Pauls
On the Church

Love , God , World , Peace

“There was a daily exchange of courtesies between our machine guns and the Germans' at stand-to; by removing cartridges from the ammunition-belt one could rap out the rhythm of the familiar prostitutes' call: "MEET me DOWN in PICC-a-DILL-y", to which the Germans would reply, though in slower tempo, because our guns were faster than theirs: "YES, with-OUT my DRAWERS ON!"”

Robert Graves (1895–1985) English poet and novelist

Source: Goodbye to All That (1929), Ch.16.

“Let us explain again by examples. In painting a person on a balcony, seen from inside the room do not limit the scene to what the square of the window renders visible; we try to render the sum total of visual sensations which the person on the balcony has experienced; the sun-baked throng in the street, the double row of houses which stretch to right and left, the beflowered balconies etc. This implies the simultaneity of the ambient, and, therefore, the dislocation and the dislocation and dismemberment of objects, the scattering and fusion of details, freed from accepted logic and independent from one another. In order to make the spectator live in the center of the picture, as we express it in our manifesto the picture must be the synthesis of what one remembers and what one sees. You must render the invisible which stirs lives beyond intervening obstacles, what we have on the right, or the left, or behind us, and not merely the small square of life artificially compressed, as it were, by the wings of a stage set. We have declared in our manifesto that what must be rendered is the dynamic sensation, that is to say, the particular rhythm of each object, its inclination, its movement, or more exactly, its interior force.”

Umberto Boccioni (1882–1916) Italian painter and sculptor

Boccioni is referring in this quote to the 'Manifesto of Futurist Painters' of 1910, and its core Futurist concept of dynamic sensation; p. 47.
1912, Les exposants au public', 1912

Life , Sun , Painting , Housing

“Pop music provides useful perspective on Plato’s association of poetry with madness. There was something dangerously irrational in poetry that worried the philosopher. It wasn’t the semantic content but the visceral power of the sound and rhythm. Poetry compellingly communicates feelings that lie beyond or beneath rational discourse. The physicality of poetic speech separates it from the conceptual language of philosophy”

Dana Gioia (1950) American writer

12
Essays, Can Poetry Matter? (1991), Poetry as Enchantment (2015)

Lie , Music , Feeling , Communication

“When people like Genghis Khan tried to speed up the rhythm and conquer and organize a continent in a few generations, they did not create a synthesis, they only courted disasters.”

Constantinos Apostolou Doxiadis (1914–1975) Greek architect

Source: Building Entopia - 1975, Chapter 4, Definition of Entopia, p. 52

People , Speed

“There are as many Scottish roads to Socialism as there are predictions of Britain's economic doom - but most of them demand three things: a coherent plan for an extension of democracy and control in society and industry which sees every reform as a means to creating a socialist society; a harnessing of the forces for industrial and community self-management within a political movement; and a massive programme of education by the Labour Movement as a whole.

Gramsci's relevance to Scotland today is in his emphasis that in a society which is both mature and complex, where the total social and economic processes are geared to maintaining the production of goods and services (and the reproduction of the conditions of production), then the transition to socialism must be made by the majority of the people themselves and a socialist society must be created within the womb of existing society and prefigured in the movements for democracy at the grass roots. Socialists must neither place their faith in an Armageddon or of capitalist collapse nor in nationalisation alone. For the Jacobin notion of a vanguard making revolution on behalf of working people relates to a backward society (and prefigures an authoritarian and bureaucratic state), then the complexity of modern society requires a far reaching movement of people and existing conditions and as a co-ordinator for the assertion of social priorities by people at a community level and control by producers at an industrial level. In such a way political power will become a synthesis of – not a substitute for – community and industrial life.

This requires from the Labour Movement in Scotland today a postive commitment to creating a socialist society, a coherant strategy with rhythm and modality to each reform to cancel the logic of capitalism and a programme of immediate aims which leads out of one social order into another. Such a social reorganisation - a phased extension of public control under workers' sustained and enlarged, would in EP Thompson's words lead to "a crisis not of despair and disintegration but a crisis in which the necessity for a peaceful revolutionary transition to an alternative socialist logic became daily more evident."”

Gordon Brown (1951) British Labour Party politician

Introduction to "The Red Paper On Scotland", 1975.

Life , People , Education , Peace

“To one who had never made more than five thousand a year himself, it was inspiring to explain before dozens of popeyed and admiring morons how they could make ten thousand—fifty thousand—a million a year, and all this by the Wonder Power of Suggestion, by Aggressive Personality, by the Divine Rhythm, in fact by merely releasing the Inner Self-shine.”

Sinclair Lewis book Elmer Gantry

Elmer Gantry (1927)

Personality

“But I do all of this, not because I want to life scripturally, but because church culture has a certain rhythm. And when you have marched to this beat since infancy, it is difficult to break free from.”

Donald Miller (1971) American writer

Prayer and the Art of Volkswagen Maintenance (2000, Harvest House Publishers)

Life

“All my life I have been attracted by Catholicism. But what attracted me was not its Christianity, but its paganism. The Scholastic Philosophers entertained me not because they were apologists for Jesus but because they were refinements of Aristotle. The liturgical life of the Church moved me because it echoes the most ancient responses to the turning of the year and the changing seasons, and the rhythms of animal and human life. For me the Sacraments transfigured the rites of passage, the physical facts of the human condition — birth, adolescence, sexual intercourse, vocation, sickness and death, communion, penance. Catholicism still provides a structure of acts, individual and at the same time communal, physical responses to life.”

Kenneth Rexroth (1905–1982) American poet, writer, anarchist, academic and conscientious objector

"Monastic Interlude" http://www.bopsecrets.org/rexroth/autobio/4.htm
An Autobiographical Novel (1991)

Life , Death , Communication , Birth

“Jazz, often called America's classical music, so influenced our culture that Americans named a decade after it. Like the country of its birth, jazz blends many traditions, such as African-American folk, rhythm and blues, French Creole classical form, and gospel. Through the creation and performance of music like jazz, black Americans were better able to exchange ideas freely across racial and cultural barriers. Before our Nation made significant strides in truly promoting equal justice and opportunity for all, black and white musicians in the genres of jazz, blues, and country played together in jam sessions, recording studios, and small bands. In many ways, their art preceded social change, allowing black and white musicians to meet as equals and to be judged on their musical ability, rather than the color of their skin. Their music also provided an outlet for African Americans to speak passionately and brilliantly to the rest of the Nation and the world.”

George W. Bush (1946) 43rd President of the United States

2000s, 2001, Black Music (June 2001)

World , Justice , Art , Music

“The different thought-processes seem to differ chiefly in respect to their temporal rhythm. If plants have souls, then hours and days must be for them what seconds are for us. The corresponding period for the earth-soul, at least for its outward activity, possibly embraces many thousands of years.”

Bernhard Riemann (1826–1866) German mathematician

Gesammelte Mathematische Werke (1876)

Soul

“Ten Practical Experiments
1. Spacing (use gray appearance charcoal)
2. Shape (in varying proportions)
3. Arrangement
4. Rhythm
5. Drawn Line (charcoal and brush)
6. Masses(Chinese and Japanese ink painting)
7. Tone (difference)
8. Color ( suggested by stain glass)
9. Dark and Light(crayon on black paper)
10. Intensities”

Arthur Wesley Dow (1857–1922) painter from the United States

A Course in Fine Arts- Arthur Dow- Bulletin of College of Art of Association of America Vol 1 no 4 September 1918
A Course in Fine Arts

Color , Light , Appearance , Painting

“He could not be captured,
He could not be bought,
His running was rhythm,
His standing was thought;
With one eye on sorrow
And one eye on mirth,
He galloped in heaven
And gambolled on earth.”

Eleanor Farjeon (1881–1965) English children's writer

Pegasus, St. 3 & 4, p. 181
The New Book of Days (1961)
Context: He could not be captured,
He could not be bought,
His running was rhythm,
His standing was thought;
With one eye on sorrow
And one eye on mirth,
He galloped in heaven
And gambolled on earth. And only the poet
With wings to his brain
Can mount him and ride him
Without any rein,
The stallion of heaven,
The steed of the skies,
The horse of the singer
Who sings as he flies.

“His whole duty is only to sort life as it flows through him, and in the vast fragmentariness of time and space and event to discover essential and inherent order and rhythm and shape.”

Pearl S. Buck (1892–1973) American writer

The Chinese Novel (1938)
Context: A good novelist, or so I have been taught in China, should be above all else tse ran, that is, natural, unaffected, and so flexible and variable as to be wholly at the command of the material that flows through him. His whole duty is only to sort life as it flows through him, and in the vast fragmentariness of time and space and event to discover essential and inherent order and rhythm and shape. We should never be able, merely by reading pages, to know who wrote them, for when the style of a novelist becomes fixed, that style becomes his prison. The Chinese novelists varied their writing to accompany like music their chosen themes.

Life , Time

“When, in architecture, one uses a fixed unit and combinations of it, to produce harmony, the effect should be most striking and apparent… as it is in music by the measured beat and in poetry by the cadence and rhythm.”

Ernest Flagg (1857–1947) American architect

Small Houses: Their Economic Design and Construction (1922)
Context: When, in architecture, one uses a fixed unit and combinations of it, to produce harmony, the effect should be most striking and apparent... as it is in music by the measured beat and in poetry by the cadence and rhythm.<!--Ch. II

Music

“No man-made law ever, no matter whether derived from the past or projected onto a distant, unforeseeable future, can or should ever be empowered to claim that it is greater than the Natural Law from which it stems and to which it must inevitably return in the eternal rhythm of creation and decline of all things natural.”

Wilhelm Reich (1897–1957) Austrian-American psychoanalyst

Response to FDA complaint (1954)
Context: No man-made law ever, no matter whether derived from the past or projected onto a distant, unforeseeable future, can or should ever be empowered to claim that it is greater than the Natural Law from which it stems and to which it must inevitably return in the eternal rhythm of creation and decline of all things natural. This is valid, no matter whether we speak in terms such as "God," "Natural Law," "Cosmic Primordial Force," "Ether" or "Cosmic Orgone Energy."

Law , Nature , Distant , Past

“Can you hear the rhythm of all/Allah's creation? The rhythm of the clapping of the thunder and the rain? Can you see the rhythm of all creation? The lightning and the leaves and the seasons as they change?”

Dawud Wharnsby (1972) Canadian musician

"Rhythm of Surrender"
A Different Drum (2004)

“Asia is the continent rhythm forgot. At best Asian music is off-brand American pop, like Sonny Bono in a karaoke bar. At worst Asian music sounds as if a truck full of wind chimes collided with a stack of empty oil drums during a birdcall contest.”

P. J. O'Rourke (1947) American journalist

All the Trouble in the World (1994)

Music

“The commonest utterances of the commonest citizens in the time of the Colour Revolt seem to have been suffused with a richer tinge of word or thought; and to that era we are even now indebted for our finest poetry and for whatever rhythm still remains in the more scientific utterance of these modern days.”

Edwin Abbott Abbott book Flatland

Source: Flatland: A Romance of Many Dimensions (1884), PART I: THIS WORLD, Chapter 8. Of the Ancient Practice of Painting
Context: An illustrious Circle, overcome by the artistic beauty of the forces under his command, threw aside his marshal's baton and his royal crown, exclaiming that he henceforth exchanged them for the artist's pencil. How great and glorious the sensuous development of these days must have been is in part indicated by the very language and vocabulary of the period. The commonest utterances of the commonest citizens in the time of the Colour Revolt seem to have been suffused with a richer tinge of word or thought; and to that era we are even now indebted for our finest poetry and for whatever rhythm still remains in the more scientific utterance of these modern days.

Time

“We have come more and more under the dominance of mechanics and sacrificed living humanity to the dead rhythm of the machine without most of us even being conscious of the monstrosity of the procedure. Hence we frequently deal with such matters with indifference and in cold blood as if we handled dead things and not the destinies of men.”

Rudolf Rocker book Nationalism and Culture

Source: Nationalism and Culture (1937), Ch. 15 "Nationalism — A Political Religion"
Context: We have increased and developed our technical ability to a degree which appears almost fantastic, and yet man has not become richer thereby; on the contrary he has become poorer. Our whole industry is in a state of constant insecurity. And while billions of wealth are criminally destroyed in order to maintain prices, in every country millions of men live in the most frightful poverty or perish miserably in a world of abundance and so-called "overproduction." The machine, which was to have made work easier for men, has made it harder and has gradually changed its inventor himself into a machine who must adjust himself to every motion of the steel gears and levers. And just as they calculate the capacity of the marvellous mechanism to the tiniest fraction, they also calculate the muscle and nerve force of the living producers by definite scientific methods and will not realise that thereby they rob him of his soul and most deeply defile his humanity. We have come more and more under the dominance of mechanics and sacrificed living humanity to the dead rhythm of the machine without most of us even being conscious of the monstrosity of the procedure. Hence we frequently deal with such matters with indifference and in cold blood as if we handled dead things and not the destinies of men.

Men , Dead , Indifference

“Our profound human duty is not to interpret or to cast light on the rhythm of God's arch, but to adjust, as much as we can, the rhythm of our small and fleeting life to his.”

Nikos Kazantzakis book The Saviors of God

The Saviors of God (1923)
Context: Our profound human duty is not to interpret or to cast light on the rhythm of God's arch, but to adjust, as much as we can, the rhythm of our small and fleeting life to his.
Only thus may we mortals succeed in achieving something immortal, because then we collaborate with One who is Deathless.
Only thus may we conquer mortal sin, the concentration on details, the narrowness of our brains; only thus may we transubstantiate into freedom the slavery of earthen matter given us to mold.

Life , God , Light

“A pure genius of jazz is manifested when he and the rest of the orchestra run around the room while the rhythm section grimaces and dances around their instruments.”

Charles Mingus (1922–1979) American jazz double bassist, composer and bandleader

Quoted in "What'd I Say?" : The Atlantic Story : 50 Years of Music (2001) by Ahmet M. Ertegun; also partially quoted in What Is This Thing Called Jazz?: African American Musicians As Artists, Critics, and Activists (2002) by Eric C. Porter, p. 118, and Freedom Is, Freedom Ain't: Jazz And the Making of the Sixties (2005) by Scott Saul, p. 154
Context: Good jazz is when the leader jumps on the piano, waves his arms, and yells. Fine jazz is when a tenorman lifts his foot in the air. Great jazz is when he heaves a piercing note for 32 bars and collapses on his hands and knees. A pure genius of jazz is manifested when he and the rest of the orchestra run around the room while the rhythm section grimaces and dances around their instruments.

Dance

“In that instant I could feel no doubt of man's oneness with the universe. The conviction came that the rhythm was too orderly, too harmonious, too perfect to be a product of blind chance — that, therefore, there must be purpose in the whole and that man was part of that whole and not an accidental offshoot. It was a feeling that transcended reason; that went to the heart of man's despair and found it groundless. The universe was a cosmos, not a chaos; man was rightfully a part of that cosmos as were the day and night.”

Richard Evelyn Byrd (1888–1957) Medal of Honor recipient and United States Navy officer

Source: Alone (1938), Ch. 3
Context: I paused to listen to the silence. My breath, crystallized as it passed my cheeks, drifted on a breeze gentler than a whisper. The wind vane pointed toward the South Pole. Presently the wind cups ceased their gentle turning as the cold killed the breeze. My frozen breath hung like a cloud overhead. The day was dying, the night being born — but with great peace. Here were the imponderable processes and forces of the cosmos, harmonious and soundless. Harmony, that was it! That was what came out of the silence — a gentle rhythm, the strain of a perfect chord, the music of the spheres, perhaps.
It was enough to catch that rhythm, momentarily to be myself a part of it. In that instant I could feel no doubt of man's oneness with the universe. The conviction came that the rhythm was too orderly, too harmonious, too perfect to be a product of blind chance — that, therefore, there must be purpose in the whole and that man was part of that whole and not an accidental offshoot. It was a feeling that transcended reason; that went to the heart of man's despair and found it groundless. The universe was a cosmos, not a chaos; man was rightfully a part of that cosmos as were the day and night.

Feeling , Universe , Chance , Heart

“These were the rhythms of his life: indifference and violence; periods of abstract brooding and periods of intense desire; moments of silence and moments of anger- like water ebbing and flowing from the tug of a far-away, invisible force.”

Richard Wright (1908–1960) African-American writer

"Fear", pp. 31, Harper Row 1966
Native Son (1940)

Life , Silence , Water , Anger

“Oh, what a catastrophe for man when he cut himself off from the rhythm of the year, from his unison with the sun and the earth. Oh, what a catastrophe, what a maiming of love when it was a personal, merely personal feeling, taken away from the rising and the setting of the sun, and cut off from the magic connection of the solstice and the equinox!”

D.H. Lawrence (1885–1930) English novelist, poet, playwright, essayist, literary critic and painter

A Propos of Lady Chatterley's Lover (1929)
Context: Sex is the balance of male and female in the universe, the attraction, the repulsion, the transit of neutrality, the new attraction, the new repulsion, always different, always new. The long neuter spell of Lent, when the blood is low, and the delight of the Easter kiss, the sexual revel of spring, the passion of midsummer, the slow recoil, revolt, and grief of autumn, greyness again, then the sharp stimulus of winter of the long nights. Sex goes through the rhythm of the year, in man and woman, ceaselessly changing: the rhythm of the sun in his relation to the earth. Oh, what a catastrophe for man when he cut himself off from the rhythm of the year, from his unison with the sun and the earth. Oh, what a catastrophe, what a maiming of love when it was a personal, merely personal feeling, taken away from the rising and the setting of the sun, and cut off from the magic connection of the solstice and the equinox! This is what is the matter with us. We are bleeding at the roots, because we are cut off from the earth and sun and stars, and love is a grinning mockery, because, poor blossom, we plucked it from its stem on the tree of Life, and expected it to keep on blooming in our civilised vase on the table.

Love , Feeling , Sun , Personality

“Gentlemen, to the lady without whom I should never have survived for eighty, nor sixty, nor yet thirty years. Her smile has been my lyric, her understanding, the rhythm of the stanza. She has been the spring wherefrom I have drawn the power to write the words. She is the poem of my life.”

Oliver Wendell Holmes Jr. (1841–1935) United States Supreme Court justice

Attribution reported in Respectfully Quoted: A Dictionary of Quotations (1989), which states that this is not verified in works about him nor in Magnificent Yankee, the film about him. Holmes expressed a similar sentiment in a letter to Sir Frederick Pollock (May 24, 1929): "For sixty years she made life poetry for me". Mark De Wolfe Howe, ed., Holmes-Pollock Letters (1941), vol. 2, p. 243.
Attributions

Life , Smile , Spring , Understanding

“The Way of strategy is the Way of nature. When you appreciate the power of nature, knowing the rhythm of any situation, you will be able to hit the enemy naturally and strike naturally. All this is the Way of the Void. I intend to show how to follow the true Way according to nature in the book of the Void.”

Miyamoto Musashi (1584–1645) Japanese martial artist, writer, artist

Go Rin No Sho (1645)
Context: Fifthly, the book of the Void. By Void I mean that which has no beginning and no end. Attaining this principle means not attaining the principle. The Way of strategy is the Way of nature. When you appreciate the power of nature, knowing the rhythm of any situation, you will be able to hit the enemy naturally and strike naturally. All this is the Way of the Void. I intend to show how to follow the true Way according to nature in the book of the Void.

Books , Way , Nature

“I think writing is basically about time and rhythm. Like with jazz. You have your basic melody and then you just riff off of it.”

Kathy Acker (1947–1997) American novelist, playwright, essayist, and poet

Kathy Acker: Where does she get off?
Context: I think writing is basically about time and rhythm. Like with jazz. You have your basic melody and then you just riff off of it. And the riffs are about timing. And about sex.
Writing for me is about my freedom. When I was a kid, my parents were like monsters to me, and the world extended from them. They were horrible. And I was this good little girl — I didn't have the guts to oppose them. They told me what to do and how to be. So the only time I could have any freedom or joy was when I was alone in my room. Writing is what I did when I was alone with no one watching me or telling me what to do. I could do whatever I wanted. So writing was really associated with body pleasure — it was the same thing. It was like the only thing I had.

Thinking , Time

“I know a great deal about Indian music and I have tried to understand its intricacies. I am aware how complex ragas are and how specific the rhythm is. I will spend the rest of my life discovering this wonderful India. I’ve become addicted to it.”

Sting (1951) English musician

Quoted from Gewali, Salil (2013). Great Minds on India. New Delhi: Penguin Random House.

Music , Life , Understanding

“I was introduced to Langston Hughes, who became one of my favorite poets…I mean, he was a poet; he wasn’t about words, he was a poet, he had rhythm.”

Pedro Pietri (1944–2004) Puerto Rican writer

On starting off in poetry (as quoted in the book “Race and the Modern Artist” https://books.google.com/books?id=4XY8DwAAQBAJ&pg=PA208&lpg=PA208&dq)

“At the end of the day, I don’t think it had anything to do with my age; I was successful because I could speak intelligently about the products, and because I had, at the end of the day, a really high-quality product. Obviously, there was some initial pushback from customers due to my age, but it just got to the point where I found my niche and got into a rhythm.”

Ian Purkayastha (1992)

On becoming a young entrepreneur in “A Window Into the Life of a Truffle Dealer” https://www.foodandwine.com/news/regalis-foods in Food & Wine (2018 Apr 30)

Thinking , Intelligence , Age , Success

“Every phrase can be a good lyric if it has the good rhythm.”

Chris Martin (1977) musician, co-founder of Coldplay

On interview with Wall Street Journal, 2015. source http://www.wsj.com/amp/articles/coldplay-and-chris-martin-open-up-for-new-album-1447868383

“The bases of music are rhythm and harmony. Rhythm is ordered recurrence in time… As the planets move around the sun, they repeat their orbits periodically; thus there is already a primitive kind of rhythm in their motion. …Harmony …can be considered a special kind of rhythm. …pure musical tones are produced when the vibrations are… periodic or… repeat themselves regularly in time. Two tones harmonize if their intervals of repetition are in rhythm—or, in mathematical language, if their periods are in proportion.”

Frank Wilczek (1951) physicist

Kepler... in the third book of Harmonice mundi... attempted to make other... related, connections between musical harmony and mathematical proportion.
Longing for the Harmonies: Themes and Variations from Modern Physics (1987)

Music , Sun , Time , Mathematics

“The working rhythms are exhausting, so much so that the average life of an actress is only six months; for an actor, on the other hand, if he can manage himself without being fooled by the initial euphoria and the consequent physical decline, he can be better …”

Rocco Siffredi (1964) Italian pornographic actor, director, producer and entrepreneur

Interview by Andrea Di Marcantonio

Life , Fools

“A cloud gathers, the rain falls, men live; the cloud disperses without rain, and men and animals die. In the deserts of southern Arabia there is no rhythm of the seasons, no rise and fall of sap, but empty wastes where only the changing temperature marks the passage of the years. It is a bitter, desiccated land which knows nothing of gentleness or ease….. No man can live this life and emerge unchanged. He will carry, however faint, the imprint of the desert, the brand which marks the nomad; and he will have within him the yearning to return, weak or insistent according to his nature. For this cruel land can cast a spell which no temperate clime can match.”

Wilfred Thesiger book Arabian Sands

Prologue. p. 1.
Arabian Sands (1959)

Season , Nature , Animals , Men

“His use of rhythm, his timing, his footwork. Ray Robinson was the greatest combination of speed and power that ever came together in one fighter.”

Sugar Ray Robinson (1921–1989) American boxer

Mike Silver on Sugar Ray Robinson's abilities http://www.youtube.com/watch?v=8xtgUSEbT2I
About Sugar Ray sourced

Time , Speed

“The rhythm of life here is different from that of Nigeria. I really liked the efficiency and accessibility of things here, the educational opportunities. And I was touched by the beauty and tolerance it has taken to fashion America. But, for instance, the thing about old people staying in "homes" away from home blew my mind. As did how little Americans know or want to know about life elsewhere…”

Uwem Akpan (1971) Nigerian Jesuit priest and writer

On the differences between living in Nigeria and the United States in “Uwem Akpan” https://www.bookbrowse.com/author_interviews/full/index.cfm/author_number/1576/uwem-akpan in Book Browse

Home , Beauty , People , Education

“Lists make magic, the rhythm of itemized words: you do not list ten techniques, numbered and chantable, in austere prose appropriate for some early-millennium rebooted Book of Thoth, and not know that you have written an incantation.”

China Miéville book The 9th Technique

The 9th Technique (p. 102)
Short Fiction, Three Moments of an Explosion (2015)

Making love , Books

“A healing state of mind has specific benefits for the healer, however, and for the rapport between therapist and sufferer. A British scientist has observed a particular configuration of brain rhythms in most of the spiritual healers he has tested. (England has thousands of licensed healers, and they are permitted to work in hospitals.) One anxious physician wired to the brainwave device did not show that pattern. Finally the sympathetic researcher said, "Imagine you are about to treat a patient. You have no medicine, no equipment. You have nothing to give but your compassion."”

Marilyn Ferguson (1938–2008) American writer

Suddenly the physician's brainwave activity shifted into the "healing state" pattern. p. 277
The Aquarian Conspiracy (1980), Chapter Eight, Healing Ourselves

Imagination , Suffering

“I write music with my mouth — first lyrics, then song, then rhythm.”

Tato Laviera (1950–2013) Puerto Rican writer

On his creative process in “An Interview with Tato Laviera, the King of Nuyorican Poetical Migrations” https://www.latinorebels.com/2012/07/11/an-interview-with-tato-laviera-the-king-of-nuyorican-poetical-migrations/ in Latino Rebels (2012 Jul 11)

Music

“You get to contribute so significantly in the editing room because you shape the movie and the performances," she says. "You help the director bring all the hard work of those who made the film to fruition. You give their work rhythm and pace and sometimes adjust the structure to make the film work – to make it start to flow up there on the screen. And then it's very rewarding after a year's work to see people react to what you've done in the theater.”

Thelma Schoonmaker (1940) American film editor

iVillage Entertainment, The Last Temptation of Thelma, Lan N., Nguyen, March 15, 2005, dead, https://web.archive.org/web/20061022085303/http://entertainment.ivillage.com/features/0,,7hghlrfw,00.html, October 22, 2006, mdy-all http://entertainment.ivillage.com/features/0,,7hghlrfw,00.html,

Making love , Help , People

“I wrote pages of music that tell the story. Life of rhythm, friendship, love, fun and pure emotion. Pages to live and let live again, in all the hearts that beat at dance time.”

Prevale (1983) Italian DJ and producer

Original: (it) Ho scritto pagine di musica che narrano storia. Vita di ritmo, amicizia, amore, divertimento ed emozione allo stato puro. Pagine da vivere e far vivere ancora, in tutti i cuori che battono a tempo di dance.
Source: prevale.net

Friendship , Time , Heart , Music

“Is the erotic rhythm of a body that transforms emotion into pure transgression.”

Prevale (1983) Italian DJ and producer

Original: (it) È il ritmo erotico di un corpo che trasforma l'emozione in pura trasgressione.
Source: prevale.net

“The rhythm of music, akin to the human heart-beat and to the ceaseless change and motion, which is the basic fact in all life, apeals at once to our own physical vitality.”

Walter Raymond Spalding (1865–1962) American music pedagogue and author

Page 3 https://books.google.com/books?id=pQARAAAAIAAJ&pg=PA3.
Music: An Art and a Language (1920), Preliminary Considerations (Ch. I)

Heart , Music , Life , Change

“Holiness isn’t something that just happens. It’s something that is nurtured, something that grows, something that is benefited by things like rhythm, stability — if you're always rushing and never quite can fit in your nightly prayers, well, then you wind up not praying a lot of times.”

Steven J. Lopes (1975) American Roman Catholic prelate (born 1975)

Bishop Steven Lopes on Ordinariate’s Missal and Gift of English Catholic Patrimony https://www.ncregister.com/news/bishop-steven-lopes-on-ordinariate-s-missal-and-gift-of-english-catholic-patrimony (December 7, 2016)

Time

“My nails are my rhythm section, when I'm writing a song all alone. Some day, I may cut an album, just me and my nails.”

Dolly Parton (1946) American singer-songwriter and actress

As quoted in "Dolly Parton: Gee, She’s So Nice" https://www.rogerebert.com/interviews/dolly-parton-gee-shes-really-nice (7 December 1980), by Roger Ebert, Roger Ebert
1980s