Ensemble Street Quotes

Under the seeming disorder of the old city, wherever the old city is working successfully, is a marvelous order for maintaining the safety of the streets and the freedom of the city. It is a complex order. Its essence is intricacy of sidewalk use, bringing with it a constant succession of eyes. This order is all composed of movement and change, and although it is life, not art, we may fancifully call it the art form of the city and liken it to the dance — not to a simple-minded precision dance with everyone kicking up at the same time, twirling in unison and bowing off en masse, but to an intricate ballet in which the individual dancers and ensembles all have distinctive parts which miraculously reinforce each other and compose an orderly whole. The ballet of the good city sidewalk never repeats itself from place to place, and in any once place is always replete with new improvisations.

What the hell do you have on?” Emily looked down at her ensemble. “I have done something wrong, haven't I?” “Did Tinker put you up to this?” “Well, she said it was my manager uniform.” “You...you look like an oversexed librarian.” She blinked. “Is that a bad thing?

After all,' Magnus remarked aloud to himself, swinging his monkey-headed cane, 'attractive and interesting persons do not simply drop out of the sky.' It was then that the fair-headed Shadowhunter that Magnus had spotted at the Institute somersaulted from the top of a wall and landed gracefully in the street before him. 'Devastating ensembles made on Bond Street with red brocade waistcoats do not simply drop out of the sky!' Magnus proclaimed experimentally to the Heavens.

It was then that the fair-haired Shadowhunter that Magnus had spotted at the Institute somersaulted from the top of a wall and landed gracefully in the street before him. “Devastating ensembles made on Bond Street with red brocade waistcoats do not simply drop out of the sky!” Magnus proclaimed experimentally to the Heavens. The young man frowned. “I beg your pardon?” “Oh, nothing, nothing at all,” said Magnus. “May I help you? I do not believe I have had the pleasure of making your acquaintance.

There were about thirty of them, I think - all women; all seated at tables, bearing drinks and books and papers. You might have passed any one of them upon the street, and thought nothing; but the effect of their appearance all combined was rather queer. They were dressed, not strangely, but somehow distinctly. They wore skirts - but the kind of skirts a tailor might design if he were set, for a dare, to sew a bustle for a gent. Many seemed clad in walking-suits or riding-habits. Many wore pince-nez, or carried monocles on ribbons. There were one or two rather startling coiffures; and there were more neckties than I had ever seen brought together at any exclusively female ensemble.

Under the seeming disorder of the old city, wherever the old city is working successfully, is a marvelous order for maintaining the safety of the streets and the freedom of the city. It is a complex order. Its essence is intricacy of sidewalk use, bringing with it a constant succession of eyes. This order is all composed of movement and change, and although it is life, not art, we may fancifully call it the art form of the city and liken it to the dance — not to a simple-minded precision dance with everyone kicking up at the same time, twirling in unison and bowing off en masse, but to an intricate ballet in which the individual dancers and ensembles all have distinctive parts which miraculously reinforce each other and compose an orderly whole. The ballet of the good city sidewalk never repeats itself from place to place, and in any once place is always replete with new improvisations. The stretch of Hudson Street where I live is each day the scene of an intricate sidewalk ballet. I make my own first entrance into it a little after eight when I put out my garbage gcan, surely a prosaic occupation, but I enjoy my part, my little clang, as the junior droves of junior high school students walk by the center of the stage dropping candy wrapper. (How do they eat so much candy so early in the morning?) While I sweep up the wrappers I watch the other rituals of the morning: Mr Halpert unlocking the laundry's handcart from its mooring to a cellar door, Joe Cornacchia's son-in-law stacking out the empty crates from the delicatessen, the barber bringing out his sidewalk folding chair, Mr. Goldstein arranging the coils of wire which proclaim the hardware store is open, the wife of the tenement's super intendent depositing her chunky three-year-old with a toy mandolin on the stoop, the vantage point from which he is learning English his mother cannot speak. Now the primary childrren, heading for St. Luke's, dribble through the south; the children from St. Veronica\s cross, heading to the west, and the children from P.S 41, heading toward the east. Two new entrances are made from the wings: well-dressed and even elegant women and men with brief cases emerge from doorways and side streets. Most of these are heading for the bus and subways, but some hover on the curbs, stopping taxis which have miraculously appeared at the right moment, for the taxis are part of a wider morning ritual: having dropped passengers from midtown in the downtown financial district, they are now bringing downtowners up tow midtown. Simultaneously, numbers of women in housedresses have emerged and as they crisscross with one another they pause for quick conversations that sound with laughter or joint indignation, never, it seems, anything in between. It is time for me to hurry to work too, and I exchange my ritual farewell with Mr. Lofaro, the short, thick bodied, white-aproned fruit man who stands outside his doorway a little up the street, his arms folded, his feet planted, looking solid as the earth itself. We nod; we each glance quickly up and down the street, then look back at eachother and smile. We have done this many a morning for more than ten years, and we both know what it means: all is well. The heart of the day ballet I seldom see, because part off the nature of it is that working people who live there, like me, are mostly gone, filling the roles of strangers on other sidewalks. But from days off, I know enough to know that it becomes more and more intricate. Longshoremen who are not working that day gather at the White Horse or the Ideal or the International for beer and conversation. The executives and business lunchers from the industries just to the west throng the Dorgene restaurant and the Lion's Head coffee house; meat market workers and communication scientists fill the bakery lunchroom.

Cormac supposed he must be nearing his mid-thirties by now – but he had retained his good looks and he carried himself proudly as he disappeared around the corner. Cormac resumed his waiting. His patience was rewarded when, after half an hour had passed, the front door opened again and Miss Davison emerged with Emily by her side; they made their way across the street and vanished into the gardens. This was what he had been hoping for. Now there was nobody left in the house but Bridget and her servants. He tucked the newspaper inside his coat, crossed the street, and was approaching the building when the door opened once more and Bridget herself came out onto the top step. Anticipation mounted within him. Strangely, she was wearing a rather drab ensemble consisting

Thai prostitution was a haven for the men and a nuisance for the women. The streets of Phuket were outlined with bars ready to nourish thirsty sailors with euphoric intoxication to smother their pinched nerves from their personal lives deteriorating in their six-month absence. Thailand truly lived up to its port reputation. Hundreds of bikini-clad prostitutes littered the strip. Slim and petite, their narrow hips and flat chests appeared to be the appropriate age for the pink plaid schoolgirl skirts, dress shirts, ties, and pigtails intended to entice pedophilic eroticism. They wore heavy coats of pastel liquid shadow that clashed against their yellow tinted tans. They awkwardly wiggled to a nauseating blend of techno and Reggaeton as cotton-haired granddaddies lustfully gawked at them. Any Caucasian male cannot trek a block without the treatment of a pop culture heartthrob with a trail of Thai teens at his heels. “Wan hunnet baaht!” they taunt in a nasal screech. “Wan hunnet baht and I suck yo cock!” The oriental beauties cup their fists and hold them to their mouths as they wiggle their tongues against their cheeks to provide a clear visual for their performance skills. It’s easy to dismiss the humanity in Thai prostitutes. Their splotchy, heavily accented English allows the language barrier to muffle signs of intellect. They’re overtly sexual in their crotch bearing ensembles, loud and vulgar invitations, and provocative dancing that makes even corner butcher shops feel like Vegas strip clubs. Swarms of them linger in front of bars holding cardboard signs scribbled with magic marker that offer a blow job with the first beer purchased. Their eyes burn into passing tourists, with acute radar for creamy, sun-flushed complexions and potbellies - signals of the deep pockets of white male privilege.

The Canadian-American journalist Jane Jacobs once described this life of the city’s streets and in its neighbourhoods as a ‘dance’ of constant movement and change: not a simple-minded precision dance with everyone kicking up at the same time … but an intricate ballet in which the individual dancers and ensembles all have distinctive parts which miraculously reinforce each other and compose an orderly whole. It is this dance, this ‘ballet of the good city sidewalk’, that makes the city a place worth being, a human place.

The Wall Street Journal’s pop music critic, Jim Fusilli, for example, groused that females were underrepresented among Grammy award nominees. “There is no Grammy category comprised entirely of women,” he complained. “No groups led by women are among the nominees in the Best Contemporary Instrumental, Best Jazz Instrumental, Best Large Jazz Ensemble and Best Contemporary Christian Music album categories.”5 How many female-headed groups exist in those categories and how good are they? That question is sexist.

The Gap Band—a group made up of brothers Charlie, Ronnie, and Robert Wilson—released their sixth album of ensemble funk music, The Gap Band IV, on May 17, 1982; it peaked at number 1 on the Billboard Black Albums chart and 14 on the Pop Albums chart. Named after the acronym for streets in their hometown (Greenwood, Archer, and Pine) that were bombed by a white mob who were given weapons and airplanes by local police during the 1921 Tulsa race massacre,76 the band's second single, “You Dropped a Bomb on Me,” landed in August 1982, earning the number 2 spot on the Billboard Black Singles while also transmitting a lost history of racial