A Quote by Langston Hughes
Good morning, daddy! Ain't you heard The boogie-woogie rumble Of a dream deferred? Listen closely: You'll hear their feet Beating out and beating out a - You think It's a happy beat? Listen to it closely: Ain't you heard something underneath like a - What did I say? Sure, I'm happy! Take it away! Dream Boogie Hey, pop! Re-bop! Mop! Y-e-a-h!
Related Quotes
Good morning, daddy! Ain't you heard The boogie-woogie rumble Of a dream deferred? • • • • You think It's a happy beat?
Good evening, daddy! Ain't you heard The boogie-woogie rumble Of a dream deferred? Trilling the treble And twining the bass Into midnight ruffles Of cat-gut lace.
I woke up my pop in the middle of the night 'cause the boogie man's under my bed. My pop is this big, huge man, nothing can hurt him. I went running into his bedroom like, 'Daddy, Daddy, the boogie man's under the bed!' Pop opens one eye, he's like, 'Is the boogie man bigger than me?' 'Well, no Daddy, he's not.' 'Well, you got your choice: you can deal with the boogie man or you can deal with me.'
In high school, I was always into Jerry Lee Lewis, and they decided they needed a piano player for the jazz band. I had my little boogie-woogie thing that I did, so I did my little boogie-woogie thing. I had a very high-pitched voice.
The title of that great Christmas song was 'Boogie Woogie Santa Claus,' and no one ever heard of it.
We used to play the Savoy Ballroom, and we always had a boogie tune in the set. Bands like Tommy Dorsey used to do a little boogie woogie. The big bands.
Boogie! I hate boogie, God, I mean, not the Chicago boogie like Willie Dixon or Howlin' Wolf, but all those awful white bands.
I just don't think people listen. I mean, they can't listen to a whole album closely without checking their iPhone or wanting to skip to their favorite song, or putting something else on, practically. That's why the zone out is a good thing.
I listen to anything anyone gives me. I always go back to a few basic favorites. I can always listen to Django Reinhardt and hear something I haven't heard before. I like to listen to Art Tatum and Coltrane and Charlie Parker. Those are guys who never seem to run out of ideas.
It was strictly forbidden to preach to other prisoners. It was understood that whoever was caught doing this received a severe beating. A number of us decided to pay the price for the privilege of preaching, so we accepted their [the communists' ] terms. It was a deal; we preached and they beat us. We were happy preaching. They were happy beating us, so everyone was happy.
I like to take the time out to listen to the trees, much in the same way that I listen to a sea shell, holding my ear against the rough bark of the trunk, hearing the inner singing of the sap. It's a lovely sound, the beating of the heart of the tree.
I often haven't heard the music since I've recorded it. I don't listen to it. When I do hear it, like at someone's house, I'll listen. I'm probably the most pleased with the stuff I did with New Grass Revival.
The first memory I have was my sisters dancing to the radio when they played records by Benny Goodman and Harry James and of the sort. But the record that got me was a record by Derek Sampson, who was a young guy, called 'Boogie Express,' and it was boogie-woogie. Really, it was on fire, and that got me.
My mother told me when I was a toddler and in the crib that they would have music playing, and the thing when I lit up was boogie-woogie or something out of the Louie Jordan period of sometimes big bands, and then all kinds of things.
I'm not a country music fan, so if you slide me some music and say, 'You gotta check this out; it's country,' I'm going to be a little hesitant to listen, and I think if someone says, 'Hey, you gotta listen to this guy rap; he's Christian,' you're like, 'I don't identify as Christian, so not really sure I want to listen to that.'
I used to listen to music from the frosting down. As a word nerd, lyrics are really important to me, and then the melody. Playing in the Rock*A*Teens was the first time I ever heard music from the bottom up. I was hearing songs I'd heard a million times on oldies radio, and I'd be like, "Wow, listen to what the bass is doing!" When I was first singing in bands, I'd just get out there with my machete, wildly whacking away at the foliage. But you learn how to listen. When I feel I'm doing it right, it's 90% listening and 10% output. It's not "look what I can do!"
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