A Quote by Billy Collins
Emily Dickinson seems rather tame because she pretty much uses the same meter every time. It's called 'common meter.' It's a line of four beats that's followed by a line of three beats.
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In a long meter hymn, a singer - they call it 'lays out a line.' And then the whole church joins in in repeating that line. And they form a wall of harmony so tight, you can't wedge a pin between it.
I have a little tiny Emily Dickinson so big that I carry in my pocket everywhere. And you just read three poems of Emily. She is so brave. She is so strong. She is such a sexy, passionate, little woman. I feel better.
The first line is the DNA of the poem; the rest of the poem is constructed out of that first line. A lot of it has to do with tone because tone is the key signature for the poem. The basis of trust for a reader used to be meter and end-rhyme.
Even after rowing in all these pieces, it's often hard to determine who will be selected because the decisive factor in seat racing is speed not margin. Boat X beats boat Y by two lengths over 1000 meters in a time of 2:54. After exchanging "Dave" from X to Y for "Scott," Boat X beats boat Y by one length in a time of 2:51. From the rower's perspective, the result is that Dave beats Scott by a length. But in Mike's eyes, Scott beats Dave because on the second piece, X was three seconds faster-even though it only beat Y by a length.
When I was 10, I went to the Junior Olympics for the 50-meter and 100-meter breaststroke.
The most challenging aspect of the decathlon is not the events themselves, but how you train to become the best 100-meter runner you are on the same day that you're the best 1,500-meter runner.
Your heart beats 72 times a minute. Every time it beats, it does so with the permission of its Creator.
Some readers may be disturbed that I wrote 'The Secret Life of Emily Dickinson' in Emily's own voice. I wasn't trying to steal her thunder or her music. I simply wanted to imagine my way into the head and heart of Emily Dickinson.
At the beginning when you're writing and building the beats of the story, everything that you put in there seems very essential to the story. However, when you have the movie finally edited and it's 4 four hours long, you realise that some of the events and some of the beats can be easily lifted but the essence of the story remains intact.
The 14-8,000-meter-peaks-in-six-months project was something nobody could imagine was ever possible. It's tough just to climb one 8,000-meter peak, let alone 14 in such a short period of time.
Of course building a kitchen makes all the symmetric sense in the world because everybody's burning calories at 120 beats a minute. You could even register it on a graph at the DJ booth. "How fast are they burning calories, sir?" "126 a minute." "Are you sure?" "Oh, I'm very sure." You can meter that out.
My favorite piece of tech gear is my SRM power meter. It's the most accurate power meter on the market.
Sometimes I go in and try to write beats, but I just trash 'em, and then the next time I go in, I'll make like six beats - six legit, nice beats. I'm really particular with how it needs to sound.
Don't be married to a line or verse if it can't rhyme, fit the meter, or doesn't fit the outline.
I made my entire first tape using Beats headphones - the studio headphones and halfway through the second one, because I finally started making a home studio. But I record and make all my beats with the Beats headphones.
Maybe the only thing that hints at a sense of Time is rhythm; not the recurrent beats of the rhythm but the gap between two such beats, the gray gap between black beats: the Tender Interval.
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