Rumba Music Quotes

We've searched our database for all the quotes and captions related to Rumba Music. Here they are! All 8 of them:

Meetings are Satan’s way of balancing out all the beautiful things in the world, like music.
Daniel José Older (Battle Hill Bolero (The Bone Street Rumba Book 3))
It's just a pretty song until the singer starts. Then something happens. I don't know shit about music, so I couldn't tell you if it's the key she's singing in, or the way her voice slides in between the notes like she's flirting with them, or just the simple truth of her sorrow, coming straight out of her mouth, but whatever it is, the song lays me down and eases all my blissfully aching muscles. It creeps inside my heart, circulates into my bloodstream.
Daniel José Older (Half-Resurrection Blues (Bone Street Rumba, #1))
There were occasional dances at the main prison compound with live bands as well as holiday dinners, activities that Blanche greatly enjoyed. In her scrapbooks, she placed an autographed promotional photograph of one visiting band, The Rural Ramblers. ... Blanche loved to dance and by all accounts she was very good at it. She applied to a correspondence course in dancing that came complete with diagrams of select dance steps to place on the floor and practice. She also cut similar dance instructions and diagrams from newspapers and magazines and put them in her scrapbooks. By 1937, she had mastered popular dances like jitterbug, rumba, samba, and tango. The men’s prison, or “the big prison” as the women called it, hosted movies on Friday nights. Features like Roll Along Cowboy ... were standard, usually accompanied by some short musical feature such as Who’s Who and a newsreel. The admission was five cents. Blanche attended many of these movies. She loved movies all of her life. Blanche Barrow’s periodic visits to the main prison allowed her to fraternize with males. She apparently had a brief encounter with “the boy in the warden’s office” in the fall of 1934. There are few details, but their relationship was evidently ended abruptly by prison officials in December. There were other suitors, some from Blanche Barrow’s past, and some late arrivals...
John Neal Phillips (My Life with Bonnie and Clyde)
There's a jangle to the music of the dead. I mean that certain something that's so happy and so sad at the same time. The notes almost make a perfect harmony but don't. Then they do but quickly crash into dissonance. They simmer in that sweet in-between, rhythm section rattling along all the while. Chords collapse chaotically into each other, and just when you think it's gonna spill into total nonsense, it stands back up and comes through sweet as a lullaby on your mami's lips. Songs that'll make people tap their feet and drink melancholically but not realize the twisting genius lurking within until generations later. That's the kind of music I make, and the dead do too. We make it together. *
Daniel José Older (Salsa Nocturna (Bone Street Rumba #2.5))
Frank and the Transylvanians might be participants in a glam rock concert. Frank indulges in sexually provocative posturing while wearing women’s underwear, and has bisexual romps with Janet and Rocky. This, alongside Magenta and Riff Raff’s possibly incestuous relationship and their deliberately mysterious and grotesque presence, could be seen as an extension of the glam-rock personas of the early 1970s. Eddie, on the other hand, is a leather-jacketed, motorbike-riding character, originally played in the United States by Meatloaf, but often characterised as looking and sounding like Elvis. This characterisation relies on the folk or country blues associations of a nostalgic rock’n’roll sound in ‘Whatever Happened to Saturday Night’. This is regarded as passé within glam rock and he is killed. Janet and Brad are associated with the lighter pop sound of ‘Damn it Janet’, which from a rock aesthetic might be regarded as superficial. Brad is made to appear insignificant and foolish, while Janet’s musical language adapts as the plot develops. Rocky’s ‘The Sword of Damocles’, draws on associations of sensuality through the use of rumba patterns and prefigures his overwhelming sexual activity.
Dr Millie Taylor (Musical Theatre, Realism and Entertainment (Ashgate Interdisciplinary Studies in Opera))
There's a jangle to the music of the dead. I mean that certain something that's so happy and so sad at the same time. The notes almost make a perfect harmony, but don't. Then they do but quickly crash into dissonance. They simmer in that sweet in-between rhythm section rattling along all the while. Chords collapse chaotically into one another and just when you think it's gonna spill into total nonsense, it stands back up and comes through sweet as a lullaby on your mami's lips. Songs that'll make people tap their feet and drink melancholically but not realize the twisting genius lurking within until generations later.
Daniel José Older (Salsa Nocturna: Stories (Bone Street Rumba, #2.5))
If it had been totally quiet, no music, no smoking, nada? I think she would've been able to hear my heart sobbing.
Daniel José Older (Salsa Nocturna (Bone Street Rumba #2.5))
The owner of the establishment, an old guerilla fighter called Pedro Afonso, had lost his right leg when a landmine exploded. This had not robbed him of his love of dancing. To see him dance, you would never have guessed he wore a prosthesis. He came over when he heard the two friends laughing, tracing out some ornate rumba steps on the beaten-earth floor: “God invented music so poor people could be happy.
José Eduardo Agualusa (A General Theory of Oblivion)