Scat Book Quotes

The first thing that the boy called Smoke told Nick Waters was: “Your biology book’s in my locker. The combination is 5-3-5.” And the second thing he said was: “I didn’t do that fire, man. I’m innocent.

The ghosts of women once girls Somewhere a little girl is reading aloud in the middle of a dirt road. she smiles at the sound of her own voice escaping the spine of the book. she feeds her hunger to know herself. She has not yet been taught to dim, she sits with the stars beneath her feet, a constellation of things to come. as if a swallowed moon, she glimmers. Her head wrap rolls out in a gutter, bare feet scat the earth, the ghosts of women once girls make bridge of the dust dancing behind her, she decorates the ground in dimples she stomps suffering out the spirit hooves drumming the earth in circles she holds gladness in her mouth like a secret teased out of a giggle joy like her sadness overflows she is not the opinions of others she is of visions and imagination somewhere a little girl is reading aloud in the middle of a dirt road. she smiles at the sound of her own voice escaping the spine of the book. She is a room full of listening, lending herself to her own words somewhere a deep remembering of what was, she survives all.

In a restaurant, I can’t sit with my back to the door. Not sure if I’m OCD, but I excel at organizational skills. Slightly claustrophobic, not crazy about heights. Love martinis but one is enough. Tend to be opinionated at times but good at reigning it in. Love long-legged women, clueless about cars, love trucks. I read several dozen books a year, cook every night, and am uncomfortable if music isn’t playing. Don’t like scat singing or modulation, jazz is my preferred music, and my favorite colors are black and dark blue. Have no problem eating on my own in a restaurant, have to have a dog, and hate clowns and circuses. I’d never heard a Pink Floyd album until 2015, Penderecki’s “Polish Requiem” can make me cry, love trains, and am a confirmed sushi snob. I’ve never wanted to be anyone else, but if I had to choose I’d be Michael Caine.

floor.

BOOKS/AUTHORS ON THE BACKS OF LIBRARY CARDS #1 Miguel Fernandez Incident at Hawk’s Hill by Allan W. Eckert/ No, David! by David Shannon #2 Akimi Hughes One Fish Two Fish Red Fish Blue Fish by Dr. Seuss/Nine Stories by J. D. Salinger #3 Andrew Peckleman Six Days of the Condor by James Grady/ Eight Cousins by Louisa May Alcott #4 Bridgette Wadge Tales of a Fourth Grade Nothing by Judy Blume/ Harry Potter and the Sorcerer’s Stone by J. K. Rowling #5 Sierra Russell The Egypt Game by Zilpha Keatley Snyder/ The Westing Game by Ellen Raskin #6 Yasmeen Smith-Snyder Around the World in Eighty Days by Jules Verne/The Yak Who Yelled Yuck by Carol Pugliano-Martin #7 Sean Keegan Olivia by Ian Falconer/Unreal! by Paul Jennings #8 Haley Daley Turtle in Paradise by Jennifer L. Holm/ A Wrinkle in Time by Madeleine L’Engle #9 Rose Vermette All-of-a-Kind Family by Sydney Taylor/ Scat by Carl Hiaasen #10 Kayla Corson Anna to the Infinite Power by Mildred Ames/Where the Sidewalk Ends by Shel Silverstein #11 UNKNOWN/CHARLES CHILTINGTON #12 Kyle Keeley I Love You, Stinky Face by Lisa McCourt/ The Napping House by Audrey

I could articulate the meanings of 'scat,' 'rimming,' and golden showers all before my eighth birthday, though I was loath to do so. To publicly accuse gays of filthy behaviors would leave a girl open to challenge -- "How do you know?" -- and thus put her in the unenviable position of having to explain that it's in a book called The Joys of Gay Sex ... which no she had not read ... but her grandfather told her about it ... during church ... from the pulpit.

Unfolding according to the contemplative logic of their lyrical orbits, Astral Weeks’s songs unhooked themselves from pop’s dependence on verse/chorus structure, coasting on idling rhythms, raging and subsiding with the ebb and flow of Morrison’s soulful scat. The soundworld – a loose-limbed acoustic tapestry of guitar, double bass, flute, vibraphone and dampened percussion – was unmistakably attributable to the calibre of the musicians convened for the session: Richard Davis, whose formidable bass talents had shadowed Eric Dolphy on the mercurial Blue Note classic Out to Lunch; guitarist Jay Berliner had previous form with Charles Mingus; Connie Kay was drummer with The Modern Jazz Quartet; percussionist/vibesman Warren Smith’s sessionography included Miles Davis, Aretha Franklin, Nat King Cole, Sam Rivers and American folk mystics Pearls Before Swine. Morrison reputedly barely exchanged a word with the personnel, retreating to a sealed sound booth to record his parts and leaving it to their seasoned expertise to fill out the space. It is a music quite literally snatched out of the air.