Coach Beard Quotes

Honestly, yes.” I nodded heartily. “I like Dr. West. It’s like having a—a—a relationship coach. Or a good mechanic on staff, keeping our engines cool and well oiled.” Shelly’s

There is no carriage here. The Herr is not expected after all. He will now come on to Bukovina, and return tomorrow or the next day, better the next day." Whilst he was speaking the horses began to neigh and snort and plunge wildly, so that the driver had to hold them up. Then, amongst a chorus of screams from the peasants and a universal crossing of themselves, a caleche, with four horses, drove up behind us, overtook us, and drew up beside the coach. I could see from the flash of our lamps as the rays fell on them, that the horses were coal-black and splendid animals. They were driven by a tall man, with a long brown beard and a great black hat, which seemed to hide his face from us. I could only see the gleam of a pair of very bright eyes, which seemed red in the lamplight, as he turned to us. He said to the driver, "You are early tonight, my friend." The man stammered in reply, "The English Herr was in a hurry." To which the stranger replied, "That is why, I suppose, you wished him to go on to Bukovina. You cannot deceive me, my friend. I know too much, and my horses are swift." As he spoke he smiled,and the lamplight fell on a hard-looking mouth, with very red lips and sharp-looking teeth, as white as ivory. One of my companions whispered to another the line from Burger's "Lenore". "Denn die Todten reiten Schnell." ("For the dead travel fast.")

Before the general use of these instruments of precision in time, there was a wider margin for all appointments; a longer period was required and prepared for, especially in travelling--- coaches of the olden period were not expected to start like steamers or trains, on the instant--- men judged of the time by probabilities, by looking at the sun, and needed not, as a rule, to be nervous about the loss of a moment, and had incomparable fewer experiences wherein a delay of a few minutes might destroy the hopes of a lifetime. A nervous man cannot take out his watch and look at it when the time for an appointment or train is near, without affecting his pulse, and the effect on that pulse, if we could but measure and weigh it, would be found to be correlated to a loss to the nervous system.

She bit her lips, concentrating, wishing he'd go and sit on one of the chairs before the fireplace. Or stand at the window and watch the full moon. Anything but sit there so close she could smell the sandalwood soap he used. Night had brought a shadow of a beard to his face. He no longer looked every inch the earl, but more a coach robber, someone who would march her out to the glen and kiss her until she fell to her knees. He would show no mercy to her. Instead, he would make her beg.

In Singin’ in the Rain, Lina Lamont provides both an effective “beard” for Don and Cosmo and a foil, representing both the reason for Don’s “unattached” state and the basis for their mutual contempt for women. Yet the signs are all there to be read for those interested in reading them: Cosmo and Don performing as a burlesque team, in which they sit on each other’s laps and play each other’s violins; Cosmo’s comment to Lina after the premiere of The Royal Rascal, “Yeah, Lina, you looked pretty good for a girl”;30 and their bullying, in “Moses Supposes,” of the fogyish diction coach, figuratively drawn out of his closet only to be ridiculed as an asexual “pansy” who can’t sing and dance (thus both confirming and denying homosexuality at the same time).31 On a broader scale, Kelly’s career as a dancer, offering a more masculinized style of athletic dance (in opposition especially to the stylized grace of Fred Astaire), represented a similar balancing act between, in this case, the feminized occupation of balletic dance and a strong claim of heterosexual masculinity. Significantly, the process of exclusion they use with the diction coach is precisely what Cosmo proposes they apply to Lina in converting The Dueling Cavalier into a musical: “It’s easy to work the numbers. All you have to do is dance around Lina and teach her how to take a bow.” But they also apply the strategy to Kathy, who is only just learning to “dance” in this sense (conveniently so, since Debbie Reynolds had had but little dance training, as noted).32 Early on, we see her dance competently in “All I Do Is Dream of You,” but she then seems extremely tentative in “You Were Meant for Me,” immobile for much of the number, not joining in the singing, and dancing only as Don draws her in (which is, of course, consistent with her character’s development at this point). With “Good Mornin’,” though, she seems to “arrive” as part of the Don-Cosmo team, even though for part of the number she serves as a kind of mannequin—much like the voice teacher in “Moses Supposes,” except that she sings the song proper while Don and Cosmo “improvise” tongue-twisting elaborations between the lines. As the number evolves, their emerging positions within the group become clear. Thus, during their solo clownish dance bits, using their raincoats as props, Kathy and Don present themselves as fetishized love objects, Kathy as an “Island girl” and Don as a matador, while Cosmo dances with a “dummy,” recalling his earlier solo turn in “Make ’em Laugh.

activists coached the student organizers to obey all laws, speak politely, dress nicely, and shave, because, as one union organizer explained to students, "beards make people think of things like LSD."39

a tall man, dressed in long vestments, with a white beard, and a young man in white, with large wings at his shoulders, alight from a hackney-coach,

I'm too angry to speak, or I would ask her how she could call those guys kids. They're bigger than most teachers. Their coaches buy them alcohol. Some of them have beards. How come guys like Gavin are treated like men most of the time, but when they fuck up, they're just kids?