A Quote by Rudolph Fisher

The rhythm persisted, the unfaltering common meter of blues, but the blueness itself, the sorrow, the despair, began to give way to hope. — © Rudolph Fisher
The rhythm persisted, the unfaltering common meter of blues, but the blueness itself, the sorrow, the despair, began to give way to hope.
When I came to The Moody Blues, we were a rhythm and blues band. I was lousy at rhythm and blues - I think the rest of us were.
Rock ’n roll is really swing with a modern name. It began on the levees and plantations, took in folk songs, and features blues and rhythm. It's the rhythm that gets to the kids – they're starved of music they can dance to, after all those years of crooners.
Our repertoire consisted of rhythm and blues, sort of country rhythm and blues, Sonny Terry things.
I want to go back to the format that radio started with rock n' roll, with country artists and rhythm and blues with that oldies type feeling. I want to put it all together and create a Top 40 of rhythm and blues and country and straight blues with Wolfman at the reins.
Sorrow in the tongue will talk itself cured, if you give it a chance; but sorrow in the eyes has a wicked, wicked way now and then of leaking into the brain.
Music and the blues, they have taught me a lot. I think in this book, 'Book Of Hours,' there is this blues sensibility. There are moments of humor even in the sorrow, and I'm really interested in the way that the blues have that tragic-comic view of life - what Langston Hughes called 'laughing to keep from crying.'
I have heartaches, I have blues. No matter what you got, the blues is there. 'Cause that's all I know - the blues. And I can sing the blues so deep until you can have this room full of money and I can give you the blues.
When I started off in Wales, I sang and accompanied myself with guitar in the '50s. And then I got a band together, which is a rhythm section, really. I used to do a lot of blues, and rhythm and blues, and '50s rock 'n' roll and country, and all kinds of stuff.
But black folks have never really been optimists. We've been prisoners of hope, and hope is qualitatively different from optimism in the way that there's a difference between The Blues and Lawrence Welk. The Blues and Jazz have to do with hope while the other is sugarcoated music which has to do with sentimental optimism.
Sorrow, terror, anguish, despair itself are often the chosen expressions of an approximation to the highest good. Our sympathy in tragic fiction depends on this principle; tragedy delights by affording a shadow of the pleasure which exists in pain. This is the source also of the melancholy which is inseparable from the sweetest melody. The pleasure that is in sorrow is sweeter than the pleasure of pleasure itself.
What means the fact--which is so common, so universal--that some soul that has lost all hope for itself can inspire in another listening soul an infinite confidence in it, even while it is expressing its despair?
In all experience, there is something to be learned. In deepest sorrow, wisdom is found. In the well of despair, hope rises.
Only where there is disillusionment and depression and sorrow does happiness arise; without the despair of loss, there is no hope.
Despair is despair, sorrow is sorrow, death is death. It's not about who is experiencing it; it's about building a bridge of empathy across these experiences.
God made both tears and laughter, and both for kind purposes; for as laughter enables mirth and surprise to breathe freely, so tears enable sorrow to vent itself patiently. Tears hinder sorrow from becoming despair and madness.
There are happy blues, sad blues, lonesome blues, red-hot blues, mad blues, and loving blues. Blues is a testimony to the fullness of life.
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