Duo Brother Quotes

What can I tell you about the alchemy of twins? Twins are two bodies that dance to each other’s joy. Two minds that drown in each other’s despair. Two spirits that fly with each other’s love. Twins are two separate beings conjoined at the heart!

Tearing through the room like an F5 tornado of hyperactive joy was Taylor Hawkins, my brother from another mother, my best friend, a man for whom I would take a bullet. Upon first meeting, our bond was immediate, and we grew closer with every day, every song, every note that we ever played together. I am not afraid to say that our chance meeting was a kind of love at first sight, igniting a musical “twin flame” that still burns to this day. Together, we have become an unstoppable duo, onstage and off, in pursuit of any and all adventure we can find. We are absolutely meant to be, and I am grateful that we found each other in this lifetime.

and like every guitar duo in metal, they were a little bit in love and a little bit in hate all at the same time. For Kris, Scottie was the brother she'd always wanted and the marriage she'd never had, and she suspected that if she ever did get married it would ba a shallow thing compared to what she'd shared for eleven years on the road with Scottie Rocket.

Xenia was still laughing at us when her brother walked over. "Georgi, do you remember when Katerina Alexandrovna and Dariya Yevgenienva brought the kitten to the ball?" I hadn't noticed the grand duke approaching. Dariya curtsied prettily. "Katiya's mother wouldn't let us play together anymore after that." "I thought your mother disallowed it," I said, surprised. "Both mothers were very wise," George Alexandrovich said, his lips pressed tightly together, almost as if he was trying not to smile. "You two are an extremely dangerous duo." "Nonsense." Dariya smiled. "Nothing bad has happened tonight." The grand duke was looking straight at me when he said, "But the night is young.

banjo. A plucked, fretted lute where a thin skin diaphragm is stretched over a circular metal frame amplifying the sound of the strings. The instrument is believed to have evolved from various African and African-American prototypes. Four- and 5-stringed versions of the banjo are popular, each associated with specific music genres; the 5-stringed banjo, plucked and strummed with the fingers, is associated with Appalachian, old-time and bluegrass music, while the four-stringed versions (both the “plectrum” banjo, which is an identical 22-fret banjo, just like the 5-string instrument but without the fifth string and played with a plectrum, and the tenor banjo which has fewer frets [17 or 19], a shorter neck, is tuned in fifths and is played with a plectrum) is associated with vaudeville, Dixieland jazz, ragtime and swing, as well as Irish folk and traditional music. The first Irish banjo player to record commercially was James Wheeler, in the U.S. in 1916, for the Columbia label; as part of The Flanagan Brothers duo, Mick Flanagan recorded during the 1920s and 1930s as did others in the various dance bands popular in the U.S. at the time. Neil Nolan, a Boston-based banjo player originally from Prince Edward Island, recorded with Dan Sullivan’s Shamrock Band; the collaboration with Sullivan led to him also being included in the line-up for the Caledonia and Columbia Scotch Bands, alongside Cape Breton fiddlers; these were recorded for 78s in 1928. In the 1930s The Inverness Serenaders also included a banjo player (Paul Aucoin). While the instrument was not widely used in Cape Breton, a few notable players were Packie Haley and Nellie Coakley, who were involved in the Northside Irish tradition of the 1920s and 1930s; Ed MacGillivray played banjo with Tena Campbell; and the Iona area had some banjo players, such as the “Lighthouse” MacLeans. The banjo was well known in Cape Breton’s old-time tradition, especially in the 1960s, but was not really introduced to the Cape Breton fiddle scene until the 1970s when Paul Cranford, a 6-string banjo player, arrived from Toronto. He has since replaced the banjo with fiddle. A few fiddlers have dabbled with the instrument but it has had no major presence within the tradition.

My mother can hold her own where foreign words are involved. The simple duo-syllable 'croissant' comes out variously as 'craw-sank', 'crass-ant', or 'crah-sint', the word seeming to have no business being in her mouth and getting spat out as quickly as possible like a bad oyster.

Cities fell apart in violent conflicts over a single letter: was Christ of the same being with the Father, or of like being, homoousios or homoiousios? Was he from two natures (ek duo), or in two (en duo)? Such language is seriously off-putting for most modern readers, including many educated Christians. And it uses so many technical terms that almost seem to the uninitiated like secret codes. Person? Subsistence? Nature? A critic could be forgiven for comparing the straightforward words of Jesus, with all the everyday analogies and images—sheep and harvests, the sparrows and the lilies of the field, the erring brother and the widow’s penny—to the arcane philosophical language used here. Jesus spoke of love; his church spoke in riddles. I may not be the only modern reader who hears the language of Chalcedon—two but not one—and finds his thoughts occasionally straying to the film Monty Python and the Holy Grail. A monk offers instructions for the Holy Hand Grenade of Antioch, in a deliberate parody of the Athanasian Creed: First shalt thou take out the Holy Pin, then shalt thou count to three, no more, no less. Three shalt be the number thou shalt count, and the number of the counting shall be three. Four shalt thou not count, nor either count thou two, excepting that thou then proceed to three. Five is right out.

Kelly gazed at her brother who lounged against the door, looking every inch the suave, careless player he pretended to be. She hesitated, not knowing how to answer. Finally, she said, “Yes.” The answer fit her mood and the situation.

Having been the most rambunctious of the group, Kevin and Lilian conked out first. Lilian had pulled a sleeping bag from her Extra Dimensional Storage Space, and she and Kevin had crawled into it and passed out. They lay on their side, the two of them. Lilian was snuggled against Kevin’s chest, and the blond human had an arm around her waist, pulling her close. The others had to admit, however reluctantly, that the pair made for an unbearably adorable sight. “Nya…” The cat didn’t seem to think so. It glared at the duo with something resembling irritation. “Brother?” “Yes?” “Is it weird that I have this strange urge to squeal ‘kawaii’?” Alex glanced at what his brother was looking at… then shook his head. “That… I cannot answer.” “Hmm.” Andrew pondered these words for a second. “What about wanting to wrap my hands around Kevin’s throat and squeeze until his eyeballs pop out of his head and his tongue swells and thickens as he slowly suffocates to death?” Alex took a moment to think up an answer. “… No, I think your feelings are perfectly acceptable, given the situation.” “Good.