A Quote by Isaac Hayes
I first heard African drum rhythms and chants at the movies. Then, when I had the opportunity to go to Africa and visit the villages, I heard the real, raw, true rhythms and realised the origins of the old Negro spirituals I grew up with in the South.
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Then, when I had the opportunity to go to Africa and visit the villages, I heard the real, raw, true rhythms and realised the origins of the old Negro spirituals I grew up with in the South.
In western classical music with an orchestra, you focus the orchestra on melodies and harmony. In African music, the biggest focus is on rhythms and counter-rhythms - the complexity of rhythms.
A human body can think thoughts, play a piano, kill germs, remove toxins, make a baby all at once. Once it's doing that your biological rhythms are actually mirroring the symphony of the universe because you have circadian rhythms, seasonal rhythms, tidal rhythms you know they mirror everything that is happening in the whole universe.
Yes, I heard my people singing!-in the glow of parlor coal-stove and on summer porches sweet with lilac air, from choir loft and Sunday morning pews-and my soul was filled with their harmonies. Then, too, I heard these songs in the very sermons of my father, for in the Negro's speech there is much of the phrasing and rhythms of folk-song. The great, soaring gospels we love are merely sermons that are sung; and as we thrill to such gifted gospel singers as Mahalia Jackson, we hear the rhythmic eloquence of our preachers, so many of whom, like my father, are masters of poetic speech.
I was born in South Africa during apartheid, a system of laws that made it illegal for people to mix in South Africa. And this was obviously awkward because I grew up in a mixed family. My mother's a black woman, South African Xhosa woman... and my father's Swiss, from Switzerland.
I was 15 years old when I first heard the name Mandela, or Madiba, as he is fondly known in Africa. In apartheid South Africa he was public enemy number one. Shrouded in secrecy, myth and rumour, the media called him 'The Black Pimpernel'.
For "Running Up That Hill" we had worked with a drum machine [in 1985]; the basic rhythms of "Running Up That Hill" happened because the whole track was built on a drum machine.
The common root, of course, comes out of Africa. That's the pulse.The African pulse. It's all the way back from . . . the old slave chants and up through the blues, the jazz, and up through rock. And it's all got the African pulse.
I remember when I wrote a piece, "Blood on the Fields," it was a while ago, it was about slavery and about two characters, and I studied so much of music, I would always go back to the original documents, and as much as I can get original chants and slave chants and different type of beats and rhythms and ring shout.
When I was in government, the South African economy was growing at 4.5% - 5%. But then came the global financial crisis of 2008/2009, and so the global economy shrunk. That hit South Africa very hard, because then the export markets shrunk, and that includes China, which has become one of the main trade partners with South Africa. Also, the slowdown in the Chinese economy affected South Africa. The result was that during that whole period, South Africa lost something like a million jobs because of external factors.
Because I don't play guitar any more, African harmonies and rhythms have been an inspiration to me. I love the raw origin of the sound. It complements my voice and words naturally.
I have a method of working on music: I'll get up in the morning and throw down some drums on my drum machine, and then I'll come back later and try to pop off rhythms to it.
Up to the age of 14 I had not heard a note of anything before 1750, never heard a note of Bach, never heard anything after Wagner, and never heard any real jazz.
There's something about the rhythms of language that correspond to the rhythms of our own bodies.
Harmonising your biological rhythms with the rhythms of nature minimises entropy and reverses aging.
I started as an engineer. I migrated to philosophy and international politics. And I did my studies about African - Africa democracy and democratization in Africa, taking Kenya as a model. And then, while I was doing so in 1996 in South Africa, Al Jazeera was established. So they requested me to be an analyst on African affairs.
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