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A New Orleans second-line beat, shaken and tapped on tambourines, started "CubaNOLA: More Than the Spanish Tinge," the concert by Arturo O'Farrill and the Afro Latin Jazz Orchestra on Saturday night at Symphony Space.
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I could only feel the beat shaking the floor under my feet.
"I know," I said after a beat, shaking my own head.
Mostly he moved his head to the beat, shaking it back and forth as if saying no-no-no, no-no-no.
After a beat, he shook his head again, starting the next round of the game.
On every beat Mr. Guerrero shook out glitter, switching to a second canister, bracing his arm when he got tired.
Nor may you beat or shake any kind of rug or carpet in the street (except a doormat, before 8am).
"With sentiment as depressed as it is, it would take an almighty beat to shake the market out of its fear, while a miss on the downside could well open up further risk aversion," he said.
But in this movie the beat icon shakes off the myths about him, seeming paternal.
Fact is, he's got a great ear for beats: Shake is edgy future-funk that would suit a soundtrack to a cyber-thriller while Shame, like Drake's Best I Ever Had, pivots on a heart-tugging old R&B lick that just demands repeat plays.
Consider these lines from the Iliad, in Richmond Lattimore's awkwardly powerful translation: "He cried out then, a great city, broken, the spear in him, / and fell, thunderously, and the spear in his heart was stuck fast / but the heart was panting still and beating to shake the butt end / of the spear".
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Since I tried Ludwig back in 2017, I have been constantly using it in both editing and translation. Ever since, I suggest it to my translators at ProSciEditing.

Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com