Rhumba Music Quotes

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India is constipated with a lot of humbug. Take modern Indian music of the films. It is all tango & rhumba or samba played on Hawaiian guitars, violins, accordions & clarinets. It is ugly. It must be scrapped like the rest.
Khushwant Singh (Train to Pakistan)
I went into the bar and sank into a leather bar seat packed with down. Glasses tinkled gently, lights glowed softly, there were quiet voices whispering of love, or ten per cent, or whatever they whisper about in a place like that. A tall fine-looking man in a gray suit cut by an angel suddenly stood up from a small table by the wall and walked over to the bar and started to curse one of the barmen. He cursed him in a loud clear voice for a long minute, calling him about nine names that are not usually mentioned by tall fine-looking men in well cut gray suits. Everybody stopped talking and looked at him quietly. His voice cut through the muted rhumba music like a shovel through snow. The barman stood perfectly still, looking at the man. The barman had curly hair and a clear warm skin and wide-set careful eyes. He didn’t move or speak. The tall man stopped talking and stalked out of the bar. Everybody watched him out except the barman. The barman moved slowly along the bar to the end where I sat and stood looking away from me, with nothing in his face but pallor. Then he turned to me and said: “Yes, sir?” “I want to talk to a fellow named Eddie Prue.” “So?” “He works here,” I said. “Works here doing what?” His voice was perfectly level and as dry as dry sand. “I understand he’s the guy that walks behind the boss. If you know what I mean.” “Oh. Eddie Prue.” He moved one lip slowly over the other and made small tight circles on the bar with his bar cloth. “Your name?” “Marlowe.” “Marlowe. Drink while waiting?” “A dry martini will do.” “A martini. Dry. Veddy, veddy dry.” “Okay.” “Will you eat it with a spoon or a knife and fork?” “Cut it in strips,” I said. “I’ll just nibble it.” “On your way to school,” he said. “Should I put the olive in a bag for you?” “Sock me on the nose with it,” I said. “If it will make you feel any better.” “Thank you, sir,” he said. “A dry martini.” He took three steps away from me and then came back and leaned across the bar and said: “I made a mistake in a drink. The gentleman was telling me about it.” “I heard him.” “He was telling me about it as gentlemen tell you about things like that. As big shot directors like to point out to you your little errors. And you heard him.” “Yeah,” I said, wondering how long this was going to go on. “He made himself heard—the gentleman did. So I come over here and practically insult you.” “I got the idea,” I said. He held up one of his fingers and looked at it thoughtfully. “Just like that,” he said. “A perfect stranger.” “It’s my big brown eyes,” I said. “They have that gentle look.” “Thanks, chum,” he said, and quietly went away. I saw him talking into a phone at the end of the bar. Then I saw him working with a shaker. When he came back with the drink he was all right again.
Raymond Chandler (The High Window (Philip Marlowe #3))
Another loop of influence and inspiration occurred when African musicians imitated the imported Cuban recordings they heard—which were themselves a mutation of African music. The African guitar-based rhumba that resulted was something new and wonderful, and most folks hearing it wouldn’t think it was a poor imitation of Cuban music at all. When I heard some of those African bands, I had no idea that Cuban music had been their inspiration. What they were doing sounded completely original to me, and I was naturally inspired, just as they had been. The process never stops. Contemporary European DJs were blown away when they heard Detroit techno.
David Byrne (How Music Works)
SLOWLY THE BOY SPUN the dial. He heard organ music playing on the Salt Lake City station. Then rhumba music. A swing band. An ad for Dr. Fisher’s tablets for intestinal sluggishness. “Folks,” a man asked, “do you feel headachy and pepless in the morning?” “Nope,” said the boy.
Julie Otsuka (When the Emperor Was Divine)
Take art and music. Why has contemporary Indian painting, music, architecture and sculpture been such a flop? Because it keeps harking back to BC. Harking back would be all right if it did not become a pattern—a deadweight. If it does, then we are in a cul-de-sac of art forms. We explain the unattractive by pretending it is esoteric. Or we break out altogether—like modern Indian music of the films. It is all tango and rhumba or samba played on Hawaiian guitars, violins, accordions and clarinets. It is ugly. It must be scrapped like the rest.
Khushwant Singh (Train to Pakistan)