Fiddle Band Quotes

Buela fiddles with her wedding band before looking at me. “I’m not sick, Emoni. I’ve lied to you. I haven’t had all those doctor’s appointments. I just needed a private afternoon with my thoughts where I’m not in this house. Where I’m Gloria again, and not only ’Buela. I don’t know how to explain it. And I don’t want to talk about it.

To Jung, the purpose of life was to realize one's own potential, to follow one's own perception of the truth, and to become a whole person in one's own right. This was the goal of individuation, as he later called it. If he was to keep faith with himself, he had to go his own way: it would have been impossible for him to spend his life playing second fiddle in a two-man band.

At length the whole of the combined fleet was under way: even their jury-rigged capture, the Hannibal, towed by the French frigate Indienne, was creeping out to the point. And now the shrill squealing fife and fiddle broke out aboard the Caesar as her people manned the capstan bars and began to warp her out of the mole, taut, trim and ready for war. A thundering cheer ran all along the crowded shore, from the batteries, walls and hillside black with spectators; and when it died away there was the garrison band playing Come cheer up my lads, ’tis to glory we steer as loud as ever they could go, while the Caesar’s marines answered with Britons strike home. Through the cacophony the fife could still be heard: it was most poignantly moving.

O Tell Me The Truth About Love - Poem by WH Auden Some say love's a little boy, And some say it's a bird, Some say it makes the world go round, Some say that's absurd, And when I asked the man next door, Who looked as if he knew, His wife got very cross indeed, And said it wouldn't do. Does it look like a pair of pyjamas, Or the ham in a temperance hotel? Does its odour remind one of llamas, Or has it a comforting smell? Is it prickly to touch as a hedge is, Or soft as eiderdown fluff? Is it sharp or quite smooth at the edges? O tell me the truth about love. Our history books refer to it In cryptic little notes, It's quite a common topic on The Transatlantic boats; I've found the subject mentioned in Accounts of suicides, And even seen it scribbled on The backs of railway guides. Does it howl like a hungry Alsatian, Or boom like a military band? Could one give a first-rate imitation On a saw or a Steinway Grand? Is its singing at parties a riot? Does it only like Classical stuff? Will it stop when one wants to be quiet? O tell me the truth about love. I looked inside the summer-house; It wasn't even there; I tried the Thames at Maidenhead, And Brighton's bracing air. I don't know what the blackbird sang, Or what the tulip said; But it wasn't in the chicken-run, Or underneath the bed. Can it pull extraordinary faces? Is it usually sick on a swing? Does it spend all its time at the races, or fiddling with pieces of string? Has it views of its own about money? Does it think Patriotism enough? Are its stories vulgar but funny? O tell me the truth about love. When it comes, will it come without warning Just as I'm picking my nose? Will it knock on my door in the morning, Or tread in the bus on my toes? Will it come like a change in the weather? Will its greeting be courteous or rough? Will it alter my life altogether? O tell me the truth about love.

Lady Isabeau was tall for a woman, nearly as tall as Molly, but slender where Molly was stout, with a smooth immobile face that looked as if it had been carved from ivory, pale and serene. Hob stared at her: glossy black hair bound about the brows with a broad white linen fillet and partly concealed by a veil that draped down her neck; dark eyes beneath dark brows plucked thin; unsmiling lips, full and well-shaped. There was so little expression on her face, and its beauty was so unworldly, that Hob had a moment when he thought her an apparition, or a graven figure. “Blanche comme la neige,” came to his mind, a song Molly had taught him, “belle comme le jour.” The thinnest of scars ran from her hairline down her forehead, divided her left eyebrow, and curved along her cheek to the corner of her mouth, and seemed at once to augment her beauty and to reinforce its carven stillness, as if some wright's chisel had slipped in the course of fashioning her visage. A linen band of the sort known as a barbette ran down from the fillet at her temples and passed under her chin, framing her face, and rendering her features all the more austere. Her gown was a muted purple; heavy embroidery of red and blue circled its neckline, and it was gathered by a zone of gray silk, sewn with pearls, that circled her hips. From this belt depended a silver ring, as wide around as a big man's fist. On the ring was a bunch of black iron keys, of varying sizes: the symbol and reality of her standing as administrator of the household. As she spoke, she fiddled with the keys as though they were prayer beads; they gave off a continual muted clink, just barely audible to Hob above the rumble of voices, the thuds and thumps of plank tabletops settling onto their trestles.

Jolly Marchers by Maisie Aletha Smikle Dam Dam Didley Doe Dee Daw Didley Doe Dee Dam Doe Fa So La Ti Doe Animals in a row Prancing as they go Jiggling and Wiggling Tails and head bobbing Mice on drums Elephants on flute Zebras blare the trumpets Squirrels blow trombones Skunks get funky on clarinets Bees on violins Hogs on guitar Parrots and crickets sing Aha Aha Vultures cheer Mosquitoes twirl Wings clapping and flapping Heads go up and down bobbing Marching and skanking Rocking and bobbing Wiggling and singing Dee Daw Didley Doe This is not a circus There are no clowns There is not a palace There are no crowns On and on they go Monkeys in tow Tigers in bow Onlookers stare and glow Donkey takes the podium As conductor of the band Waving his marching wand The band comes to a stand Mule takes a stool And sits in the cool They have reached the bend Where the march ends The ants were nesting So they missed the fest Some got on tambourines And insist they must join in The ants jiggle and wiggle Some play the fiddle Dancing and singing Didley Dam Didley Doe

At length the whole of the combined fleet was under way: even their jury-rigged capture, the Hannibal, towed by the French frigate Indienne, was creeping out to the point. And now the shrill squealing fife and fiddle broke out aboard the Caesar as her people manned the capstan bars and began to warp her out of the mole, taut, trim and ready for war. A thundering cheer ran all along the crowded shore, from the batteries, walls and hillside black with spectators; and when it died away there was the garrison band playing Come cheer up my lads, ’tis to glory we steer as loud as ever they could go, while the Caesar’s marines answered with Britons strike home. Through the cacophony

While the rest of the band was being a storm, she was the sun busting through thick, gray clouds. With the first thing she sang, you had to wonder why this band was called Herman E. Calloway and the Dusky Devastators of the Depression, or Herman E. Calloway and the Nubian Knights, it should be called Miss Thomas and the Dusky Devastators of the Depression and a Mean Old Guy on the Giant Fiddle.

Everything had been done to give the Titanic the best band on the Atlantic. The White Star Line even raided the Cunarder Mauretania for Bandmaster Hartley. Pianist Theodore Brailey and cellist Roger Bricoux were easily wooed from the Carpathia. “Well, steward,” they happily told Robert Vaughan who served them on the little Cunarder, “we will soon be on a decent ship with decent grub.” Bass violist Fred Clark had never shipped before, but he was well known on the Scotch concert circuit, and the line bought him away too. First violinist Jock Hume hadn’t yet played in any concerts, but his fiddle had a gay note the passengers seemed to love. And so it went—eight fine musicians who knew just what to do. Tonight the beat was fast, the music loud and cheerful.

One only had to go to Kabul airport to see a classic example of the aid community helping itself rather than Afghans. The scariest part of going to Afghanistan was flying in from Dubai on the state airline Ariana. Its planes were in such bad condition that they were banned from most places on earth. Even the model plane in the sales office was held together by sticking plaster and elastic bands. The UN has its own airline to fly staff in and out of danger spots, so it quickly began its own service from Dubai or Islamabad to Kabul. As I stood nervously fiddling with my Ariana boarding pass, I would enviously watch the foreign aid workers and diplomats boarding the shiny UN planes. What I didn’t realise was that the millions of dollars to subsidise this service was coming from the money pledged to help Afghanistan. Ghani was indignant. ‘The first thing the UN system provided through the $1.6 billion of donor money channelled to UN agencies in 2002 was an airline devoted to serving UN staff, and occasionally (after much lobbying) some Afghan government officials.

Of course, the most common response is that Bill Monroe was “the Father of Bluegrass” and its true creator. It was his melding of a band sound around fiddle playing, his high singing, his revolutionary mandolin stylings, and his distinctive surging rhythm that set bluegrass apart from the rest of country or folk music.

I thought you’d be here,” calls a rough voice over my left shoulder. I turn to find Darren only inches away, holding an unlit candle. “Hey,” I say with a smile much too large. “I was wondering if I’d see you today.” “Tate and I have been busy getting everything organized for our trip.” He returns a smile. Something looks different…something with his hair. I hold my candle higher and lean toward him, both to get a better look and to whisper, “Are you wearing a headband?” His hand shoots to the black band of fabric pulled tight above his forehead, curls redirected up and over it. “I was sort of hoping you wouldn’t notice it in the dark. I usually only wear them on dig sites to keep my hair from flying in my face.” “At least it’s not pink,” I tease. “Although I’m sure I have one of those you could borrow. It may even have flowers on it.” “Oh, could I, please?” He laughs, his hand still fiddling with it. “Seriously, should I lose it?” I shrug. “It’s practical. I get it.” He yanks it off and shoves it into the pocket of his shorts. A shake of his head lands everything where it belongs. “Here,” I say, angling my candle toward him. “I already took care of the headband. Fire really isn’t necessary, is it?

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.

Heather Howell started fiddling with her wedding band. “I really haven’t gotten all the facts yet, but before we can enter probate, this . . . Let’s call it a snafu, shall we? . . . This snafu just has to be untangled. I have my best people on it. I’ll be in touch soon.” With everyone momentarily stunned silent, Heather Howell quickly spun and left the room.

Guy brought in his studio band for the final show on September 27. Shawn Camp played fiddle and mandolin, Bryn Davies