And since time sets its own tempo, like a heartbeat or an ebb tide, timepieces don't really keep time. They just keep up with it, if they're able.
People know me for up-tempo songs because of my hits.
Every one of the songs was based around picking an acoustic guitar. That was part of the concept from the beginning, that the tempos were going to go from slow to almost mid-tempo.
You noodle around with tempo and sound until you get the perfect fit for that particular song, and then, so long as you can sustain it, God is on your side and everything comes easily and even the waiters smile.
I think I learned more about writing scores for Broadway by making mix tapes in the '90s than I did in college. You're learning about rise and fall and energy and tempo shifts. You're showing off your taste and your references. You're trying to be witty by - through placement of music you didn't write.
Sam [Phillips] wanted I Walk The Line up - you know, up-tempo. And I put paper in the strings of my guitar to get that (vocalizing) sound, and with the bass and the lead guitar, there it was. Bare and stark, that song was when it was released. And I heard it on the radio and I really didn't like it, and I called Sam Phillips and asked him please not to send out any more records of that song.
Tunes have notes and tempos and rules. If the tune is "All the Things You Are," you have to adhere to its structure and to the tradition behind that structure.
The Left Opposition declared that the new tempo of industrialization were above our forces, and that the liquidation of the kulaks as a class in the course of three years was a fantastic task, if one wishes to say so, we find ourselves this time "less radical" than the Stalinists.
We created this journey [in the Begin], sonically, that people can really wrap their heads around and live with and get to know us a little bit more. The dark colors, the light colors, our up-tempos, and our down-dreamy stuff.
Movies always are open to being remade because times change so much, and the tempo of movies changes. I think of it like a James Bond. They can have different actors play the same role... I've had people come up to me and say, 'We want to remake 'The Jerk' with so and so.' And I say, 'Fine.' It just doesn't bother me. It's an honor actually.
Through the years I've accumulated this big bag of songs. When I go out I do close to two hours, and it's all just attitude - and up-tempo. I've accumulated so many of those types of songs now that the show just gets off with a bang, and I'll only do two or three ballads the whole show.
I am a big nut for kind of weird musicality things. I love key-changes and random tempo things and polyrhythms - music geek.
Someone who only wants to play sold-out shows will find a tempo that works at the shows and then focus on making that kind of music, but maybe they'll miss out on other things because of it.
As a writer, I find holidays often disturbing, not liberating, in their disruption of tempo, their open-ended time.
You know One Direction do a lot of up tempo songs, but when they did that Ed Sheeran song 'Little Things,' that was probably their biggest song off their last album, so it shows you that a ballad never goes out of fashion.
I often think it's unfair to the listener and "too easy" to just choose one tempo while I make and decide the songs.
Sometimes I'll have a whole song done without having a beat - I'll just rap on an instrumental tempo and recreate a whole new song just around the lyrics.
In times when the tempo for struggle is not very high, you prepare populations by conducting acts of courage-building, confidence-building, respect for each other. That's what the preparation is about and it requires leadership.
In this disintegrative, technologically-manic time, when public language is so debased, poetry continues to matter because it's the art that reintegrates words, speech, voice, breath, music, bodily tempo, and the powers of the imagination.
Everybody recommended me to Sinatra and Don Costa, because everybody was enjoying my music. I got a big following going on. Nino (Tempo) told Don Costa "you gotta come see this guy." And that's how Don Costa heard about me, through Nino Tempo. Then, Don Costa brought me to the attention of Frank Sinatra and Reprise Records.
I make a lot of music for different people. My audience is varied so I use different tempos for different music in order to satisfy my many fans.
We live in an age of rapid mass media, television, Internet. They determine our tempo, not books.
There are so many similarities between a startup venture and a political campaign - the rhythm, the tempo, the hours, the intensity.
It's always a blast playing the new stuff. But I feel like songs, in a way, are never finished. You get to a point where you're comfortable enough to put a stamp on it and send it out there, but even after recording it, when you're playing it live, you hear different harmonies, you hear different notes, you hear different tempos or peaks and valleys in the song.
My music is a reflection of what I really love to listen to, pop, dance, mid tempo dance and ballads.
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