Xylophone Quotes

I watch her as she leaves. Everything about her is fluid as a river. Her messy hair, her xylophone voice, the strokes of her paintbrush. Even her camouflage army jacket hangs loose, flowing like ribbons.

It should be illegal to condense xylophone music and sell it in a can as imitation duck broth, but it isn’t, and so I do. One for $20, or 19 for ONLY $19.95!

Liquid xylophone music with a hint of saxophone is too exotic to drink. But it's perfect for swimming ducks, and that sound really comes across in the taste later.

I was usually on xylophone. On my worst days she gave me a wooden block and a drumstick and tried to convince me that was a valid musical instrument.

From time to time, too, and for the space of two or three paces, an image or an echo would rise up from the recesses of time: in the little streets of the beaters of silver and gold, for instance, there was a clear, unhurried tinkling, as if a djinn with a thousand arms was absent-mindedly practising on a xylophone.

Xylophone lessons are now ON SALE when you buy a duck from me. It doesn’t matter if you’re not a good music teacher, because I’m not paying full price.

He says That he doesn’t Believe in magic. Yet when she Walks into the room His heart beats against His xylophone ribs And plays a love tune. If that’s not magic Then tell me What is it?

Finally a day will come when woken by the xylophone of sunthroughblinds you’ll realise that the beach was not the place where horses tore the sand to ribbon that the scent of him has lifted from the last of the sheets that he isn’t coming back that it hasn’t rained but the birds are pretending that it has so they can sing

Contrasts The windows of my poetry are wide open on the boulevards and in the shop windows Shine The precious stones of light Listen to the violins of the limousines and the xylophones of the linotypes The sketcher washes with the hand-towel of the sky All is color spots And the hats of the women passing by are comets in the conflagration of the evening Unity There's no more unity All the clocks now read midnight after being set back ten minutes There's no more time. There's no more money. In the Chamber They are spoiling the marvelous elements of raw material ("Contrasts")

unaccustomed to the ambushes of family life, and perhaps it is just as well that I can offer her little of that life. I would like to give her more. I would like to promise her that she will grow up with a sense of her cousins and of rivers and of her great-grandmother’s teacups, would like to pledge her a picnic on a river with fried chicken and her hair uncombed, would like to give her home for her birthday, but we live differently now and I can promise her nothing like that. I give her a xylophone and a sundress from Madeira, and promise to tell her a funny story.

Cabe wants to know if you're going to do your composition on that thing,' I said. 'Hells yeah I am. Bitches love xylophones.

He ran a hand up his side and played the xylophone on his ribs.

I’ve drawn her unpicked, ribs splayed stretched like a xylophone with the dead birds playing tunes on her bones.

The song’s advice said, “Play that funky music, white boy.” So, I took up the xylophone.

I can play on their horrible little minds like a xylophone. It’s amazing, the sheer power of mundanity. Who’d have thought that weakness could be a greater force than strength? But you have to know how to direct it.

She runs, trips and pitches down the stairs, holding her letter. She follows the letter down, down... Blackout. A clatter. Strange sounds—xylophones, brass bands, sounds of falling, sounds of vertigo. Sounds of breathing.

Chase’s laughter sounds like a waterfall of crystal bubbles. His laugh is like music class when I dragged the felt-tipped xylophone mallet gently from the long, deep bar all the way to the tiny, tinkly one to hear every note in rippled succession.

The Dead Father was slaying, in a grove of music and musicians. First he slew a harpist and then a performer upon the serpent and also a banger upon the rattle and also a blower of the Persian trumpet and one upon the Indian trumpet and one upon the Hebrew trumpet and one upon the Roman trumpet and one upon the Chinese trumpet of copper-covered wood. Also a blower upon the marrow trumpet and one upon the slide trumpet and one who wearing upon his head the skin of a cat performed upon the menacing murmurous cornu and three blowers on the hunting horn and several blowers of the conch shell and a player of the double aulos and flautists of all descriptions and a Panpiper and a fagotto player and two virtuosos of the quail whistle and a zampogna player whose fingering of the chanters was sweet to the ear and by-the-bye and during the rest period he slew four buzzers and a shawmist and one blower upon the water jar and a clavicytheriumist who was before he slew her a woman, and a stroker of the theorbo and countless nervous-fingered drummers as well as an archlutist, and then whanging his sword this way and that the Dead Father slew a cittern plucker and five lyresmiters and various mandolinists, and slew too a violist and a player of the kit and a picker of the psaltery and a beater of the dulcimer and a hurdy-gurdier and a player of the spike fiddle and sundry kettledrummers and a triangulist and two-score finger cymbal clinkers and a xylophone artist and two gongers and a player of the small semantron who fell with his iron hammer still in his hand and a trictrac specialist and a marimbist and a maracist and a falcon drummer and a sheng blower and a sansa pusher and a manipulator of the gilded ball. The Dead Father resting with his two hands on the hilt of his sword, which was planted in the red and steaming earth. My anger, he said proudly. Then the Dead Father sheathing his sword pulled from his trousers his ancient prick and pissed upon the dead artists, severally and together, to the best of his ability-four minutes, or one pint. Impressive, said Julie, had they not been pure cardboard. My dear, said Thomas, you deal too harshly with him. I have the greatest possible respect for him and for what he represents, said Julie, let us proceed.

that’s already been born. The jury is still out on these findings, but I believe them. All I have to do is think of Sophie, and how there are certain details I wish I could freeze in amber: her munchkin voice or her iridescent pink fingernails or the xylophone of her laughter. It’s

Wolln Se ´nen bestimmten Klingelton?", hatte Fräulein Krömeier gefragt. "Ich doch nicht", hatte ich spottend erwidert, "ich arbeite doch nicht in einem Großraumbüro!" "Na ja, dann mache ich halt den normalen rein." Daraufhin hörte man ein Geräusch, das klang, als spielte ein betrunkenener Clown Xylophon. Wieder und wieder. "Was ist denn das?", fragte ich entsetzt". "Det is ihr Telefon", sagte Fräulein Krömeier und fügte hinzu: "meen Führa!" "Und das klingt so?" "Nur, wenn et klingelt." "Machen sie das aus! Ich will nicht, dass die Leute mich für einen Idioten halten!

I once watched a crowd of people wearing nothing but Speedos and Santa hats jog down Boylston in the middle of winter. I met a guy who could play the harmonica with his nose, a drum set with his feet, a guitar with his hands, and a xylophone with his butt all at the same time. I knew a woman who’d adopted a grocery cart and named it Clarence. Then there was the dude who claimed to be from Alpha Centauri and had philosophical conversations with Canada geese.

Mr. Tridden told them how it had been twenty years ago, the band playing on that ornate stand at night, the men pumping air into their brass horns, the plump conductor flinging perspiration from his baton, the children and fireflies running in the deep grass, the ladies with long dresses and high pompadours treading the wooden xylophone walks with men in choking collars. There was the walk now, all softened into a fiber mush by the years. The lake was silent and blue and serene, and fish peacefully threaded the bright reeds, and the motorman murmured on and on, and the children felt it was some other year, with Mr. Tridden looking wonderfully young, his eyes lighted like small bulbs, blue and electric. It was a drifting, easy day, nobody rushing, and the forest all about, the sun held in one position, as Mr. Tridden's voice rose and fell, and a darning needle sewed along the air, stitching, restitching designs both holden and invisible. A bee settled into a flower, humming and humming.

Da steht ein Mann und spielt Xylophon. Er spielt einen rasenden Rhythmus. Und dabei schwitzt er, der Mann, denn er ist au�ergewצhnlich fett. Und er spielt auf einem Riesenxylophon. Und weil es so gro� ist, muss er bei jedem Schlag vor dem Xylophon hin und her sausen. Und dabei schwitzt er, denn er ist tatsהchlich sehr fett. Aber er schwitzt gar keinen Schwei�, das ist das Sonderbare. Er schwitzt Blut, dampfendes, dunkles Blut. Und das Blut lהuft in zwei breiten roten Streifen an seiner Hose runter, dass er von weitem aussieht wie ein General. Wie ein General! Ein fetter, blutiger General. Er muss ein alter schlachtenerprobter General sein, denn er hat beide Arme verloren. Ja, er spielt mit langen d�nnen Prothesen, die wie Handgranatenstiele aussehen, hצlzern und mit einem Metallring. Er muss ein ganz fremdartiger Musiker sein, der General, denn die Hצlzer seines riesigen Xylophons sind gar nicht aus Holz. Nein, glauben Sie mir, Herr Oberst, glauben Sie mir, sie sind aus Knochen. Glauben Sie mir das, Herr Oberst, aus Knochen!

They sat eating ham sandwiches and fresh strawberries and waxy oranges and Mr. Tridden told them how it had been twenty years ago, the band playing on that ornate stand at night, the men pumping air into their brass horns, the plump conductor flinging perspiration from his baton, the children and fireflies running in the deep grass, the ladies with long dresses and high pompadours treading the wooden xylophone walks with men in choking collars. There was the walk now, all softened into a fiber mush by the years. The lake was silent and blue and serene, and fish peacefully threaded the bright reeds, and the motorman murmured on and on, and the children felt it was some other year, with Mr. Tridden looking wonderfully young, his eyes lighted like small bulbs, blue and electric. It was a drifting, easy day, nobody rushing, and the forest all about, the sun held in one position, as Mr. Tridden's voice rose and fell, and a darning needle sewed along the air, stitching, restitching designs both golden and invisible. A bee settled into a flower, humming and humming. The trolley stood like an enchanted calliope, simmering where the sun fell on it. The trolley was on their hands, a brass smell, as they ate ripe cherries. The bright odor of the trolley blew from their clothes on the summer wind.

That's the spirit, kid," said the voice of the grown man. "Come on, Snow Scouts, let's all say the Snow Scout Alphabet Pledge together." Instantly the cave echoed with the sound of many voices speaking in perfect unison, a phrase here which means "reciting a list of very odd words at the very same time." "Snow Scouts," recited the Snow Scouts, "are accommodating, basic, calm, darling, emblematic, frisky, grinning, human, innocent, jumping, kept, limited, meek, nap-loving, official, pretty, quarantines, recent, scheduled, tidy, understandable, victorious, wholesome, xylophone, young, and zippered - every morning, every afternoon, every night, and all day long!

The rhythm built up, high resonant notes from the buzzing xylophone, the off-scale dipping warble of the flute, the eerie, strangely primeval bass of the synthesizer. The others punctuated the music with claps and sudden piercing shrieks from behind their veils. Suddenly one began to sing in Tamashek. "He sings about his synthesizer," Gresham murmured. "What does he say?" I humbly adore the acts of the Most High, Who has given to the synthesizer what is better than a soul. So that, when it plays, the men are silent, And their hands cover their veils to hide their emotions. The troubles of life were pushing me into the tomb, But thanks to the synthesizer, God has given me back my life.

I heard a variation of your life is a story but this one said I should make my story a block buster. Really? I spose there are some exceptions with blockbusters but come on! Just the same, I was inspired to create my story with renewed vigor. I thought I had dreamt that a woman had some faces on her toes. I was on a xylophone that some crows were pulling and I sang to all them toes. I am not wearing her socks(right now)but I am thinking of them. I knew she was in love with a solemn man that had once sang a love song about the sky being a dimented smurf.(I didn't bother to ask her about any symbolism that pertained to patriarch blues) Why yes, I have lived through the 80s and I still feel that bright slinkies have yet to be fully utilized, explored,( and or understood). ” —

On a break from the tour, I went south to Bali, a place the choreographer Toni Basil, whom Eno and I had met during the Bush Of Ghosts sessions, had recommended as being transporting and all about performance. I rented a small motorcycle and headed up into the hills, away from the beach resort. I soon discovered that if one saw offerings of flowers and fruit being brought to a village temple compound in the afternoon, one could be pretty certain that some sort of ritual performance would follow there at night. Sure enough, night after night I would catch dances accompanied by gamelan orchestras and shadow-puppet excerpts from the Hindu Ramayana--epic and sometimes ritual performances that blended religious and theatrical elements. (A gamelan is a small orchestra made up mainly of tuned metallic gongs and xylophone-like instruments--the interplay between the parts is beautiful and intricate.) In these latter events some participants would often fall into a trance, but even in trance there were prescribed procedures. It wasn't all thrashing chaos, as a Westerner might expect, but a deeper kind of dance. As In Japanese theater, the performers often wore masks and extreme makeup; their movements, too, were stylized and "unnatural." It began to sink in that this kind of "presentational" theater has more in common with certain kinds of pop-music performance that traditional Western theater did. I was struck by other peripheral aspects of these performances. The audiences, mostly local villagers of all ages, weren't paying attention half the time. People would wander in and out, go get a snack from a cart or leave to smoke a bidi cigarette, and then return to watch some more. This was more like the behavior of audiences in music clubs than in Western theaters, where they were expected to sit quietly and only leave or converse once the show was over. The Balinese "shows" were completely integrated into people's daily lives, or so it seemed to me. There was no attempt to formally separate the ritual and the show from the audience. Everything seemed to flow into everything else. The food, the music, and the dance were all just another part of daily activity. I remembered a story about John Cage, who, when in Japan, asked someone what their religion was. The reply was that they didn't have a strict religion--they danced. Japanese do, of course, have Buddhist and Shinto rituals for weddings, funerals, and marriages, but a weekly thing like going to church or temple doesn't exist. The "religion" is so integrated into the culture that it appears in daily gestures and routines, unsegregated for ordinary life. I was beginning to see that theatricality wasn't necessarily a bad thing. It was part of life in much of the world, and not necessarily phony either.

She laughed, a tinkling sound like a madman playing a xylophone in a hall of mirrors.

A kid and I jigged in a queue to a xylophone at the zoo and we rued the view of me being so coo-coo.

K ka kangourou (kangaroo) L el miel (honey) M em mouton (sheep) N en nid (nest) O oh olivier (olive tree) P pay pélican (pelican) Q kew queue (tail) R air raton (raccoon) S es santé (health) T tay thé (tea) U ew univers (universe) V vay végétarien (vegetarian) W DO-bluh-vay wagon (train car) X eex xylophone (xylophone) Y e-GRECK yaourt (yogurt) Z zed zéro (zero)

Other Kinds of Fun LARGE MOTOR SKILLS ♦  Take a walk on a balance beam, along the curb, or even down a line on the sidewalk. ♦  Play catch (start with a large, slightly deflated ball). ♦  Jump over things (anything more than a few inches, though, will be too high for most kids this age). ♦  Throw, kick, roll, and toss balls of all sizes. ♦  Ride a tricycle. ♦  Spin around till you drop. ♦  Pound, push, pull, and kick. ♦  Make music using drums, xylophones, flutes, and anything else you have handy. ♦  Play Twister. SMALL MOTOR SKILLS ♦  Puzzles (fewer than twenty pieces is probably best). You might even want to cut up a simple picture from a magazine and see whether your toddler can put it back together. ♦  Draw on paper or with chalk on the sidewalk. ♦  Sculpt with clay or other molding substance. ♦  Finger paint. ♦  Play with string and large beads. ♦  Pour water or sand or seeds from one container to another. ♦  Get a big box (from a dishwasher or refrigerator), then build, paint and decorate a house together. THE BRAIN ♦  Matching games. ♦  Alphabet and number games (put colorful magnetic letters and numbers on the fridge and leave them low enough for the child to reach). ♦  Lots of dress-up clothes. ♦  Dolls of all kinds (including action figures). ♦  Pretending games with “real” things (phones, computer keyboards). ♦  Imaginary driving trips where you talk about all the things you see on the road. Be sure to let your toddler drive part of the way. ♦  Sorting games (put all the pennies, or all the triangles, or all the cups together). ♦  Arranging games (big, bigger, biggest). ♦  Smelling games. Blindfold your toddler and have him identify things by their scent. ♦  Pattern games (small-big/small-big). ♦  Counting games (How many pencils are there?). A FEW FUN THINGS FOR RAINY DAYS (OR ANYTIME) ♦  Have pillow fights. ♦  Make a really, really messy art project. ♦  Cook something—kneading bread or pizza dough is especially good, as is roasting marshmallows on the stove (see pages 214–20 for more). ♦  Go baby bowling (gently toss your toddler onto your bed). ♦  Try other gymnastics (airplane rides: you’re on your back, feet up in the air, baby’s tummy on your feet, you and baby holding hands). ♦  Dance and/or sing. ♦  Play hide-and-seek. ♦  Stage a puppet show. ♦  If it’s not too cold, go outside, strip down to your underwear, and paint each other top-to-bottom with nontoxic, water-based paints. Otherwise, get bundled up and go for a long, wet, sloppy, muddy stomp in the rain. If you don’t feel like getting wet, get in the car and drive through puddles.

He had hidden, the cave in our mirror to feel his Eagle.

Bee’s Wings This washed-out morning, April rain descants, Weeps over gravity, the broken bones Of gravel and graveyards, and Cora puts Away gold dandelions to sugar And skew into gold wine, then discloses That Pablo gutted his engine last night Speeding to Beulah Beach under a moon As pocked and yellowed as aged newsprint. Now, Othello, famed guitarist, heated By rain-clear rum, voices transparent notes Of sad, anonymous heroes who hooked Mackerel and slept in love-pried-open thighs And gave out booze in vain crusades to end Twenty centuries of Christianity. His voice is simple, sung air: without notes, There's nothing. His unknown, imminent death (The feel of iambs ending as trochees In a slow, decasyllabic death-waltz; His vertebrae trellised on his stripped spine Like a 'xylophone or keyboard of nerves) Will also be nothing: the sun pours gold Upon Shelley, his sis', light as bees' wings, Who roams a garden sprung from rotten wood And words, picking green nouns and fresh, bright verbs, For there's nothing I will not force language To do to make us one — whether water Hurts like whisky or the sun burns like oil Or love declines to weathered names on stone. George Elliott Clarke, Whylah Falls (1990)

The next stage is a hornfels, a thoroughly recrystallized rock, so named after its supposed resemblance to animal horn. Hornfels has one rather unexpected quality—when suitably shaped, it can produce beautiful musical notes when struck. Indeed, it took central place in an extraordinary narrative of the English Lake District. An eccentric 18th-century inventor, Peter Crosthwaite—a fighter against Malay pirates in his youth and, later in life, the founder of a museum in the town of Keswick—built a kind of xylophone using hornfels from the local Skiddaw mountain. Half a century later, the Keswick stone-maker and musician Joseph Richardson determined to top Crosthwaite’s achievement, and almost ruined his family financially by building an even bigger instrument, which would produce a larger range of musical notes. Once built, though, it was indeed a sensation. Richardson toured England for three years with his sons, playing Handel, Mozart, and dance tunes on his rock creation—though at times restraining the power of the instrument so it would not shatter concert hall windows. Queen Victoria liked the performances so much that she requested extra concerts (although reports from the time do suggest that she was not amused at its imitation of Alpine bells). The harmonious hornfels ‘lithophones’ may still be seen in the Keswick museum—and are to this day occasionally taken on musical tour.

1/11/2020 X Marks the Spot Sound Tangler Riddle-Puzzle The X: The idea of this puzzle is like trying to say something awkward 10 times, but here each X entry has its own subtle pronunciation, which would limber up any tongue in the X-ese language. Another approach is to write them out in whatever order you want pronunciation as you go. You will find both confusingly challenging. X (chi/ki, now YZ indeed? eks, plural exes): eks __ ks gz kzh k/sh h z gzh kh kh eks __ ks gz kzh k/sh h z gzh gzh kh eks __ ks gz kzh ks/h h z z gzh kh eks __ ks gz kzh k/sh h h z gzh kh eks __ ks gz kzh k/sh k/sh h z gzh kh eks __ ks gz kzh kzh k/sh h z gzh kh eks __ ks gz gz kzh k/sh h z gzh kh eks __ xxxxxxxx8 marks the spot Sound Key: -X (own name; X-ray) not listed -(k)/eks (excite, extra, intellectual) -__ (silent: Sioux Falls, faux) -ks (exit, ox, xion, ction) -gz (exert, exaltation, auxillary, exhaust) -kzh (luxury, Tupuxuara-flying dinosaur) -k/sh (complexion, obnoxious, textual) -h (Don Quixote, Xavier) -z (xylophone, Xerox, Xanadu) -gzh (luxurious, luxuriate) -kh (chi, ki) (Overlapping is subtle) *Zenzizenzizenic8 –“the eighth power of a number.” See the archaic word site The Phrontistery online, a great collection of rare, obsolete and extinct words of all sorts. exit.... dlaurent 2 of 2 end

A perfume is in a bottle and smells like an After math.

I heard a variation of your life is a story but this one said I should make my story a block buster. I know it wasn't a joke but I wish it was. However, I was inspired to create my story story just the same. I thought I had dreamt that a woman had some faces on her toes. This woman often forced me to lay down on a xylophone and sing to all them toes. I don't wear her socks but I think of them. She was not a tattoo artist and we have never done acid. There are magically peculiar things in "this" world. Why yes, I have lived through the 80s and I still feel that bright slinkies have yet to be fully utilized, explored,( and or understood).

running back and forth along a line of stacked shields, banging his goblet on them like they were a xylophone. “ADHD,” Percy said. “You don’t say.

NEVER INDEX YOUR OWN BOOK As for the life of Aamons, Mona, the index itself gave a jangling, surrealistic picture of the many conflicting forces that had been brought to bear on her and of her dismayed reactions to them. “Aamons, Mona:” the index said, “adopted by Monzano in order to boost Monzano’s popularity, 194–199, 216 n.; childhood in compound of House of Hope and Mercy, 63–81; childhood romance with P. Castle, 72 f; death of father, 89 ff; death of mother, 92 f; embarrassed by role as national erotic symbol, 80, 95 f, 166 n., 209, 247 n., 400–406, 566 n., 678; engaged to P. Castle, 193; essential naïveté, 67–71, 80, 95 f, 116 n., 209, 274 n., 400–406, 566 n., 678; lives with Bokonon, 92–98, 196–197; poems about, 2 n., 26, 114, 119, 311, 316, 477 n., 501, 507, 555 n., 689, 718 ff, 799 ff, 800 n., 841, 846 ff, 908 n., 971, 974; poems by, 89, 92, 193; returns to Monzano, 199; returns to Bokonon, 197; runs away from Bokonon, 199; runs away from Monzano, 197; tries to make self ugly in order to stop being erotic symbol to islanders, 80, 95 f, 116 n., 209, 247 n., 400–406, 566 n., 678; tutored by Bokonon, 63–80; writes letter to United Nations, 200; xylophone virtuoso, 71.” I showed this index entry to the Mintons, asking them if they didn’t think it was an enchanting biography in itself, a biography of a reluctant goddess of love. I got an unexpectedly expert answer, as one does in life sometimes. It appeared that Claire Minton, in her time, had been a professional indexer. I had never heard of such a profession before.

You can find me desirable, but you can’t truly know me or have me unless I want you to.

A boy didn’t need the polish of celebrity to be beautiful or to grow into a beautiful man. He didn’t have to be a photographer’s dream. He only had to be Dare’s dream. And maybe one that could push the nightmares aside.