Word: rhythms
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Dates: during 1990-1999
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Retreats have a particular rhythm. Visitors who choose to follow the bells chiming out the call to offices, or services, start with Lauds at 2:25 in the morning and end with Compline at 7 in the evening. Many say night and day lose their meaning as they enter monkish time. "I come screaming in off the runway," says Joyce Bock, a Santa Barbara, Calif., marriage counselor. "This cools my jets." Most monasteries either ask for complete quiet or at least have silent hours. The idea is that in silence one can't hide from one's problems, or from...
...Abner Doubleday had wanted the game to move quickly, he would have put a clock in the game; after two hours, whoever was ahead would win." Fair enough, Chuck. Nobody wants to mess with the game's rhythm. A clock? Never. A calendar would be more like...
Another sweet surprise can be found in "Raspberry Swirl," which features a bouncy rhythm and such energy that one would swear Amos and the entire band were doing aerobics while writing it. Amos also displays her stunning vocal abilities in "Liquid Diamonds" and "Northern Lad," in which her trademark in-tune howls echo well enough to send genuine shivers down anyone's back. The fairly upbeat "She's Your Cocaine" may not be anywhere near as lively as the afore-mentioned "Raspberry Swirl," but, despite its title, it remains one of the more cheerful songs on the album...
...Satchmo: My Life in New Orleans, attests, was the ceremonial vigor of the people. Ranging from almost European pale to jet black, the Negroes of New Orleans had many social clubs, parades and picnics. With rags, blues, snippets from opera, church music and whatever else, a wide breadth of rhythm and tune was created to accompany or stimulate every kind of human involvement. Before becoming an instrumentalist, Armstrong the child was either dancing for pennies or singing for his supper with a strolling quartet of other kids who wandered New Orleans freshening up the subtropical evening with some sweetly harmonized...
...sensitivity and passion were epic in completely new terms. In his radical reinterpretations, Armstrong bent and twisted popular songs with his horn and his voice until they were shorn of sentimentality and elevated to serious art. He brought the change agent of swing to the world, the most revolutionary rhythm of his century. He learned how to dress and became a fashion plate. His slang was the lingua franca. Oh, he was something...