Quotes About Rhythm

I first fell in love with music when I was a little boy. When I first heard music, I felt the beauty in it. Then, being able to tap along on a table top and box was great, but my favorite thing to do was to watch records spin. I would almost get hypnotized by it. These things are what drew me in initially.

I've always, especially through old Hollywood musicals, loved just to watch tap dancing; I adore it. I think it's fantastic.

I liked tap, because I liked hearing the results of my movements.

When I first saw tap dancing, I immediately got it: the righteousness of being able to make so much noise with your feet!

I tap dance.

The way the music comes to you starts to affect how you listen to music. When you're a kid, it's 'Does it rock? Does it make me feel good? Does it make me tap my feet? Does it make me go to sleep?'

I'm a tap dancer. Once you're a tap dancer, you're always a tap dancer. In 'After Midnight,' I get to dance, but I don't do a full tap number.

I rely heavily on rhythm when I write. You should tap your foot when you read it, all the way through.

Dance has always just been an extension of music for me. It's about putting my music into motion. It's just another dimension that I tap into with my music that not many artists do anymore.

I can tap dance a little bit.

I deal with more complex rhythmical patterns than a regular tap dancer. I even think in rhythms.

I took tap and ballet, which likely contributed to my sense of rhythm and showmanship. I love creating music that gets people moving together, free of inhibitions.

Just like a comedian has a certain joke or a jazz musician has a riff that they know will get the crowd, a tap dancer always has a step.

I grew up doing tap, jazz, and ballet, so I understand rhythm and movement and performing.

Between the ages of 10-14, I did ballet, modern and tap. So I may have a few dancing bones in my body, but I'm not necessarily very good rhythmically.

A lot of the time, when I'm choreographing, I'm not thinking about what movement look best next to the next movement - I'm actually thinking about what song and what sound sounds right next to the next thing. So kind of choreographing as if I'm always making a mix tape, so to speak.

We've always been quite clear about how we want the songs to sound. If we can imagine the song being played at a party, and it gets people tapping their feet, then it's in.

I started tapping and I was okay. Then after about two years my feet knew what they were doing!

It's probably the first type of music we had, rhythm, whether it's poetry or tapping.

When I was very young, I just loved the idea of tapping on stuff, so I was always making a lot of noise.

Pete Townshend is one of my greatest influences. More than any other guitarist, he taught me how to play rhythm guitar and demonstrated its importance, particularly in a three-piece band.

I'm very influenced by jazz drummers. I always liked drummers like Roger Taylor, Keith Moon, Ian Paice, John Densmore. I just learned from playing to those drummers.

I used to teach dance lessons.

The best argument for teaching poetry is to put a three-year-old or a four-year-old and read Dr. Seuss, or Robert Louis Stevenson, and to feel how the child and you are engaging in something that's really basic to the animal, which is passing on in these rhythmic ways, something that came from somewhere.