I've tried as much as possible to avoid the standard nine-to-five thing. I've tried to organize my life so that I can move around, change the rhythm and the tempo.
You had to keep the mood up; you had to keep the tempo up. You had to keep the feeling of, "Hey, we're doing something that's really exciting. It's fun being with these people." And the more fun you have, the better you do it.
I like mixing things up, doing some silly stuff, along with serious stuff, up tempo, and some quiet things ... it keeps me interested.
I was off the scene for a while during the ska period and when I returned and joined the Treasure Isle studio, I came there with a different mood. The musicians picked up on that and we kept on going in that direction. The music became slower, which gave the bass player the time to play more notes. In 1965 I named it rocksteady. The first rocksteady song was 'Girl I've Got A Date'. That one was still a bit up-tempo, leaning towards ska. It turned the tide and made Treasure Isle the number one studio.
When you're really bummed out, the last thing you want to hear is up-tempo and positive. And it lets you know that you're not alone, that somebody has hurt before. It works the same way with chick songs as it does with political songs. When you hear somebody singing about these things, you know that you're not alone, that somebody else is suspicious of what's going on around us in the world. So you don't feel like you're crazy, and you feel like you might be able to make a difference.
I try to get control of the tempo, control of the flow, and get my teammates the ball in the best position to score.
What makes games so exciting is that's a whole other- there's all sorts of other considerations on what music is supposed to achieve and what you're attempting to support, it's not uncommon to think of your music and to think of the way your orchestra plays for something like Jack and Daxter where you start with- you know because it has to change tempo and intensity as the action gets more intense.
The hardest thing about an easy match is making a weak opponent play poor. A poor player isn't poor because he tends to kick the ball in his own goal. It's because when you put intense pressure on him, he loses control. So you have to increase the tempo of the game and he'll automatically give the ball away.
That's what Tina Turner did, too - sang blues up-tempo - and they called it rock 'n' roll.
You've got to go down the road you naturally go down, and for me it was pop, folk country, just feel-good music. I suppose most of my songs are very up-tempo.
'Master Blaster,' by Stevie Wonder, is up-tempo and fun, like Stevie himself. Stevie's always making jokes; he really knows how to put people at ease. He's one of my inspirations, as a musician and a person.
I think music talks to you on an emotional level, regardless of where you're from. I guess I related to the tempo of rap, the aggressiveness.
Being Slow means that you control the rhythms of your own life. You decide how fast you have to go in any context. If today I want to go fast, I go fast. If tomorrow I want to go slow, I go slow. What we are fighting for is the right to determine our own tempos.
My musical knowledge is so bad it's embarrassing. When composers discuss music with someone as primitive as myself, they have to talk about it in terms of senses and emotion, rather than keys and tempo.
A poem has a certain - a different time. For instance, a poem is a very private experience, and it doesn't have a driving tempo. In other words, you know, you can go back and forward; you can comeback; you can linger. You know, it's a completely different time reference.
The direct effect on our mind is achieved by the words, the text, the thought, which arouse consideration. Our will is directly affected by the super-objective, by other objectives, by a through line of action. Our feelings are directly worked upon by tempo-rhythm.
I like to go in the corner, in the quiet, 'cause I got to hear my thoughts. If I hear the beat for, like, five seconds, I basically got the tempo, and I don't need to hear it no more. I just focus and write.
I've used [drum machine] because I have to have the perfect tempo.
The same passions in man and woman nonetheless differ in tempo; hence man and woman do not cease misunderstanding one another.
I disregard the proportions, the measures, the tempo of the ordinary world. I refuse to live in the ordinary world as ordinary women. To enter ordinary relationships. I want ecstasy. I am a neurotic — in the sense that I live in my world. I will not adjust myself to the world. I am adjusted to myself.
Coffee has ... expand[ed] humanity's working-day from twelve to a potential twenty-four hours. The tempo, the complexity, the tension of modern life, call for something that can perform the miracle of stimulating brain activity, without evil, habit-forming after-effects.
I’d go for Scholesy as the club’s greatest ever player. I’ve seen him do things that no other player can do. The way he can control the tempo of games, and his range of passing, are both incredible. We’ve seen over the years that players just haven’t been able to get near him. And you can’t forget his goals either.
At best Americans give but a limited attention to history. Too much happens too rapidly, and before we can evaluate it, or exhaust its meaning or pleasure, there is something new to concern us. Ours is the tempo of the motion picture, not that of the still camera, and we waste experience as we wasted the forest.
I put a metronome up to all the songs, and I tried to really keep it true to the original tempos.
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