Waterfront Living Quotes

A Brief for the Defense Sorrow everywhere. Slaughter everywhere. If babies are not starving someplace, they are starving somewhere else. With flies in their nostrils. But we enjoy our lives because that's what God wants. Otherwise the mornings before summer dawn would not be made so fine. The Bengal tiger would not be fashioned so miraculously well. The poor women at the fountain are laughing together between the suffering they have known and the awfulness in their future, smiling and laughing while somebody in the village is very sick. There is laughter every day in the terrible streets of Calcutta, and the women laugh in the cages of Bombay. If we deny our happiness, resist our satisfaction, we lessen the importance of their deprivation. We must risk delight. We can do without pleasure, but not delight. Not enjoyment. We must have the stubbornness to accept our gladness in the ruthless furnace of this world. To make injustice the only measure of our attention is to praise the Devil. If the locomotive of the Lord runs us down, we should give thanks that the end had magnitude. We must admit there will be music despite everything. We stand at the prow again of a small ship anchored late at night in the tiny port looking over to the sleeping island: the waterfront is three shuttered cafés and one naked light burning. To hear the faint sound of oars in the silence as a rowboat comes slowly out and then goes back is truly worth all the years of sorrow that are to come.

A generous donor (who had no doubt lived a life that imperiled his mortal soul) had granted [the Sisters] more than one hundred waterfront acres.

A community or a country is poor or rich, depending upon who lives on the waterfronts - the poor or the rich!

This is a love story,” Michael Dean says, ”but really what isn’t? Doesn’t the detective love the mystery or the chase, or the nosey female reporter who is even now being held against her wishes at an empty warehouse on the waterfront? Surely, the serial murder loves his victims, and the spy loves his gadgets, or his country or the exotic counterspy. The ice-trucker is torn between his love for ice and truck and the competing chefs go crazy for scallops, and the pawnshop guys adore their junk. Just as the housewives live for catching glimpses of their own botoxed brows in gilded hall mirrors and the rocked out dude on ‘roids totally wants to shred the ass of the tramp-tatted girl on hookbook. Because this is reality, they are all in love, madly, truly, with the body-mic clipped to their back-buckle and the producer casually suggesting, “Just one more angle.”, “One more jello shot.”. And the robot loves his master. Alien loves his saucer. Superman loves Lois. Lex and Lana. Luke loves Leia, til he finds out she’s his sister. And the exorcist loves the demon, even as he leaps out the window with it, in full soulful embrace. As Leo loves Kate, and they both love the sinking ship. And the shark, god the shark, loves to eat. Which is what the Mafioso loves too, eating and money and Pauly and Omertà. The way the cowboy loves his horse, loves the corseted girl behind the piano bar and sometimes loves the other cowboy. As the vampire loves night and neck. And the zombie, don’t even start with the zombie, sentimental fool, has anyone ever been more love-sick than a zombie, that pale dull metaphor for love, all animal craving and lurching, outstretched arms. His very existence a sonnet about how much he wants those brains. This, too is a love story.

Hey, I got an idea, let’s go to the movies. I wanna go to the movies, I want to take you all to the movies. Let’s go and experience the art of the cinema. Let’s begin with the Scream Of Fear, and we are going to haunt us for the rest of our lives. And then let’s go see The Great Escape, and spend our summer jumping our bikes, just like Steve McQueen over barb wire. And then let’s catch The Seven Samurai for some reason on PBS, and we’ll feel like we speak Japanese because we can read the subtitles and hear the language at the same time. And then let’s lose sleep the night before we see 2001: A Space Odyssey because we have this idea that it’s going to change forever the way we look at films. And then let’s go see it four times in one year. And let’s see Woodstock three times in one year and let’s see Taxi Driver twice in one week. And let’s see Close Encounters of the Third Kind just so we can freeze there in mid-popcorn. And when the kids are old enough, let’s sit them together on the sofa and screen City Lights and Stage Coach and The Best Years of Our Lives and On The Waterfront and Midnight Cowboy and Five Easy Pieces and The Last Picture Show and Raging Bull and Schindler’s List… so that they can understand how the human condition can be captured by this amalgam of light and sound and literature we call the cinema.

Tourists and transients lived in hotels and motels along the waterfront. Behind them a belt of slums lay ten blocks deep, where the darker half of the population lived and died. On the other side of the tracks - the tracks were there - the business section wore its old Spanish facades like icing on a stale cake.

Then we'll just stay here." She laughed. "Forever?" "Sure," he said. "Seems as good a place to live as any." "Nice waterfront view." "Plenty of light." "A beachfront property. And no cameras." He nodded. "No cameras." She reached for his hand, and her fingers were warm against his. "I don't want to loose any more time," (pgs. 256-257)

This is a love story, Michael Deane says. But, really, what isn’t? Doesn’t the detective love the mystery, or the chase, or the nosy female reporter, who is even now being held against her wishes at an empty warehouse on the waterfront? Surely the serial murderer loves his victims, and the spy loves his gadgets or his country or the exotic counterspy. The ice trucker is torn between his love for ice and truck, and the competing chefs go crazy for scallops, and the pawnshop guys adore their junk just as the Housewives live for catching glimpses of their own Botoxed brows in gilded hall mirrors, and the rocked-out dude on ‘roids totally wants to shred the ass of the tramp-tatted girl on Hookbook, and because this is reality, they are all in love—madly, truly—with the body mic clipped to their back buckle, and the producer casually suggesting just one more angle, one more Jell-O shot. And the robot loves his master, alien loves his saucer, Superman loves Lois, Lex, and Lana, Luke love Leia (till he finds out she’s his sister), and the exorcist loves the demon even as he leaps out the window with it, in full soulful embrace, as Leo loves Kate and they both love the sinking ship, and the shark—God, the shark loves to eat, which is what the Mafioso loves, too—eating and money and Paulie and omerta` --the way the cowboy loves his horse, loves the corseted girl behind the piano bar, and sometimes loves the other cowboy, as the vampire loves night and neck, and the zombie—don’t even start with the zombie, sentimental fool; has anyone ever been more lovesick than a zombie, that pale, dull metaphor for love, all animal craving and lurching, outstretched arms, his very existence a sonnet about how much he wants those brains? This, too, is a love story.

The Hardys led Mr. Worth up a side street. They stopped at a wide, steamy window bearing the lettering: CHARLIE’S CLAM HOUSE “I hear the food’s good,” Joe remarked, and the trio entered the restaurant. It was a typical waterfront eating place, with sawdust on the floor. The place was crowded with diners, despite the late hour. In one corner sat a group of well-dressed people who, like the Hardys, had just left a farewell party on board the liner. But most of the customers were rough-looking men of the waterfront district. The noise of lively conversations and the odor of frying fish filled the air. Frank, Joe, and Bart Worth seated themselves at a plain wooden table in the middle of the room. As soon as the waiter had taken a dinner order for Mr. Worth and sandwiches for the Hardys, the Southerner began his story.

Hey, I got an idea, let’s go to the movies. I wanna go to the movies, I want to take you all to the movies. Let’s go and experience the art of the cinema. Let’s begin with the Scream Of Fear, and we're gonna have it haunt us for the rest of our lives. And then let’s go see The Great Escape, and spend our summer jumping our bikes, just like Steve McQueen over barb wire. And then let’s catch The Seven Samurai for some reason on PBS, and we’ll feel like we speak Japanese because we can read the subtitles and hear the language at the same time. And then let’s lose sleep the night before we see 2001: A Space Odyssey because we have this idea that it’s going to change forever the way we look at films. And then let’s go see it four times in one year. And let’s see Woodstock three times in one year and let’s see Taxi Driver twice in one week. And let’s see Close Encounters of the Third Kind just so we can freeze there in mid-popcorn. And when the kids are old enough, let’s sit them together on the sofa and screen City Lights and Stage Coach and The Best Years of Our Lives and On The Waterfront and Midnight Cowboy and Five Easy Pieces and The Last Picture Show and Raging Bull and Schindler’s List… so that they can understand how the human condition can be captured by this amalgam of light and sound and literature we call the cinema.

the cotton fields and strawberry patches of a much harsher world whose tragedies and daily burdens had blunted her temperament and quelled her emotions. But its most immediate impact on this teenage girl was not the lack of a demure coquettishness that otherwise might have defined her had she grown up in better circumstances; it was the visible evidence of the hardship of her journey. This was not a pom-pom-waving homecoming queen or a varsity athlete who had toned her body in a local gym. My mother never complained, but it was her struggles that had visibly shaped her shoulders, grown her biceps, and crusted her palms—while in a less visible way narrowing her view of her own long-term horizons. Decades later, when I was in my forties, I suppressed a defensive anger as I watched my mother sit quietly in an expansive waterfront Florida living room while a well-bred woman her age described the supposedly difficult impact of the Great Depression on her family. As the woman told it, the crash on Wall Street and the failed economy had made it necessary for them to ship their car by rail from New York to Florida when they headed south for the winter. Who could predict, she reasoned, whether there would be food or gasoline if their driver had to refuel and dine in the remote and hostile environs of small-town Georgia? My mother merely smiled and nodded, as

A BRIEF FOR THE DEFENSE Sorrow everywhere. Slaughter everywhere. If babies are not starving someplace, they are starving somewhere else. With flies in their nostrils. But we enjoy our lives because that's what God wants. Otherwise the mornings before summer dawn would not be made so fine. The Bengal tiger would not be fashioned so miraculously well. The poor women at the fountain are laughing together between the suffering they have known and the awfulness in their future, smiling and laughing while somebody in the village is very sick. There is laughter every day in the terrible streets of Calcutta, and the women laugh in the cages of Bombay. If we deny our happiness, resist our satisfaction, we lessen the importance of their deprivation. We must risk delight. We can do without pleasure, but not delight. Not enjoyment. We must have the stubbornness to accept our gladness in the ruthless furnace of this world. To make injustice the only measure of our attention is to praise the Devil. If the locomotive of the Lord runs us down, we should give thanks that the end had magnitude. We must admit there will be music despite everything. We stand at the prow again of a small ship anchored late at night in the tiny port looking over to the sleeping island: the waterfront is three shuttered cafes and one naked light burning. To hear the faint sound of oars in the silence as a rowboat comes slowly out and then goes back is truly worth all the years of sorrow that are to come.

Above the list of children she read: Mister Jackson Henry Clark married Miss Julienne Maria Jacques, June 12, 1933. Not until that moment had she known her parents’ proper names. She sat there for a few minutes with the Bible open on the table. Her family before her. Time ensures children never know their parents young. Kya would never see the handsome Jake swagger into an Asheville soda fountain in early 1930, where he spotted Maria Jacques, a beauty with black curls and red lips, visiting from New Orleans. Over a milkshake he told her his family owned a plantation and that after high school he’d study to be a lawyer and live in a columned mansion. But when the Depression deepened, the bank auctioned the land out from under the Clarks’ feet, and his father took Jake from school. They moved down the road to a small pine cabin that once, not so long ago really, had been occupied by slaves. Jake worked the tobacco fields, stacking leaves with black men and women, babies strapped on their backs with colorful shawls. One night two years later, without saying good-bye, Jake left before dawn, taking with him as many fine clothes and family treasures—including his great-grandfather’s gold pocket watch and his grandmother’s diamond ring—as he could carry. He hitchhiked to New Orleans and found Maria living with her family in an elegant home near the waterfront. They were descendants of a French merchant, owners of a shoe factory. Jake pawned the heirlooms and entertained her in fine restaurants hung with red velvet curtains, telling her that he would buy her that columned mansion. As he knelt under a magnolia tree, she agreed to marry him, and they wed in 1933 in a small church ceremony, her family standing silent.

This is a love story, Michael Deane says. But, really, what isn’t? Doesn’t the detective love the mystery, or the chase, or the nosy female reporter, who is even now being held against her wishes at an empty warehouse on the waterfront? Surely the serial murderer loves his victims, and the spy loves his gadgets or his country or the exotic counterspy. The ice trucker is torn between his love for ice and truck, and the competing chefs go crazy for scallops, and the pawnshop guys adore their junk, just as the Housewives live for catching glimpses of their own Botoxed brows in gilded hall mirrors, and the rocked-out dude on ’roids totally wants to shred the ass of the tramp-tatted girl on Hookbook, and because this is reality, they are all in love—madly, truly—with the body mic clipped to their back buckle, and the producer casually suggesting just one more angle, one more Jell-O shot. And the robot loves his master, alien loves his saucer, Superman loves Lois, Lex, and Lana, Luke loves Leia (till he finds out she’s his sister), and the exorcist loves the demon even as he leaps out the window with it, in full soulful embrace, as Leo loves Kate and they both love the sinking ship, and the shark—God, the shark loves to eat, which is what the mafioso loves, too—eating and money and Paulie and omertà—the way the cowboy loves his horse, loves the corseted girl behind the piano bar, and sometimes loves the other cowboy, as the vampire loves night and neck, and the zombie—don’t even start with the zombie, sentimental fool; has anyone ever been more lovesick than a zombie, that pale, dull metaphor for love, all animal craving and lurching, outstretched arms, his very existence a sonnet about how much he wants those brains? This, too, is a love story.

Della never set foot more than a few paces off the waterfront. A sweet little thing with brassy hair and misty green eyes, she made a living off being shapely and willing, with no other means to support herself. As the town whore, she lived above one of the ramshackle dockside establishments and catered to men coming in off a fishing boat, reeking of the

tagged along. He felt that Marvin was now his responsibility, and he wanted to keep an eye on him. No telling what the captain might say that could possibly upset Marvin. A brisk, cold wind was blowing as the passengers stepped from the ferry onto the dock at Ostend. Marvin later commented that he had never felt such raw weather, but his memory was short. He had forgotten the freezing winters we had lived through when we were growing up in Washington, D.C. From the waterfront at Ostend, Freddy led Marvin, Bubby, and Eugenie to a small boarding house at 77 Rue Promenade, just a block from the beach. Freddy’s wife, Lilliane, a joyous woman, was waiting for them with open arms. She had already prepared a room on the fifth floor for Freddy’s guests and had a hot meal simmering on the stove. The boarding house was owned by Freddy and managed by his wife. They lived in the basement apartment, along with their two young daughters. Lilliane had told them that a new playmate would be arriving, and they had eagerly anticipated meeting Bubby. Freddy seemed happy too, now that Marvin was safely in tow. As for Marvin, he was simply relieved to be warm again and on dry land. From the moment she first saw Marvin,

What is it about the Greek character that has allowed this complex culture to thrive for millennia? The Greek Isles are home to an enduring, persevering people with a strong work ethic. Proud, patriotic, devout, and insular, these hardy seafarers are the inheritors of working methods that are centuries old. On any given day, fishermen launch their bots at dawn in search of octopi, cuttlefish, sponges, and other gifts of the ocean. Widows clad in black dresses and veils shop the local produce markets and gather in groups of two and three to share stories. Artisans stich decorative embroidery to adorn traditional costumes. Glassblowers, goldsmiths, and potters continue the work of their ancient ancestors, ultimately displaying their wares in shops along the waterfronts. The Greeks’ dedication to time-honored occupations and hard work is harmoniously complemented by their love of dance, song, food, and games. Some of the earliest works of art from the Greek Isles--including Minoan paintings from the second millennium B.C.E.--depict the central, day-to-day role of dance, and music. Today, life is still lived in common, and the old ways often survive in a deep separation between the worlds of women and men. In the more rural areas, dancing and drinking are--officially at least--reserved for men, as the women watch from windows and doorways before returning to their tasks. At seaside tavernas throughout the Greek Isles, old men sip raki, a popular aniseed-flavored liqueur, while playing cards or backgammon under grape pergolas that in late summer are heavy with ripe fruit. Woven into this love of pleasure, however, are strands of superstition and circumspection. For centuries, Greek artisans have crafted the lovely blue and black glass “eyes” that many wear as amulets to ward off evil spirits. They are given as baby and housewarming gifts, and are thought to bring good luck and protect their wearers from the evil eye. Many Greeks carry loops of wooden or glass beads--so-called “worry beads”--for the same purpose. Elderly women take pride in their ability to tell fortunes from the black grounds left behind in a cup of coffee.

Denis’ cave to be such a regular haunt for hundreds of thousands of years is not usual. You can see why though. Despite the gritty weather, it’s a highly desirable residence; a waterfront property overlooking a picturesque river, the rustic estate boasts a wide rectangular south-facing entrance, into a nine-by-eleven-meter main chamber served by a working vertical chimney for a fireplace or kitchen stove, with three smaller secluded side galleries for bedrooms or even a study. Total floor plan: roughly 270 square meters. In 2008, the remains of one

British colonial disdain for human rights even left its mark on the English language. The word “coolie” was borrowed from a Chinese word that literally means “bitter labor.” The Romanized first syllable coo means “bitter” and the second syllable lie mimics the pronunciation of the Chinese logograph that means “labor.” This Chinese word sprang into existence shortly after the Opium War in the nineteenth century when Britain annexed several territories along the eastern seaboard of China. Those territories included Hong Kong, parts of Shanghai, Canton city (Guangzhou) and parts of Tianjin, a seaport near Beijing. In those newly acquired territories, the British employed a vast number of manual laborers who served as beasts of burden on the waterfront in factories and at train stations. The coolies’ compensation was opium, not money. The British agency and officers that conceived this unusual scheme of compensation—opium for back-breaking hard labor—were as pernicious and ruthless as they were clever and calculating. Opium is a palliative drug. An addict becomes docile and inured to pain. He has no appetite and only craves the next fix. In the British colonies and concessions, the colonizers, by paying opium to the laborers for their long hours of inhumane, harsh labor, created a situation in which the Chinese laborers toiled obediently and never complained about the excessive workload or the physical devastation. Most important of all, the practice cost the employers next to nothing to feed and house the laborers, since opium suppressed the appetite of the addicts and made them oblivious to pain and discomfort. What could be better or more expedient for the British colonialists whose goal was to make a quick fortune? They had invented the most efficient and effective way to accumulate capital at a negligible cost in a colony. The only consequence was the loss of lives among the colonial subjects—an irrelevant issue to the colonialists. In addition to the advantages of this colonial practice, the British paid a pittance for the opium. In those days, opium was mostly produced in another British colony, Burma, not far from China. The exploitation of farmhands in one colony lubricated the wheels of commerce in another colony. On average, a coolie survived only a few months of the grim regime of harsh labor and opium addiction. Towards the end, as his body began to break down from malnutrition and overexertion, he was prone to cardiac arrest and sudden death. If, before his death, a coolie stumbled and hurt his back or broke a limb, he became unemployed. The employer simply recruited a replacement. The death of coolies in Canton, Hong Kong, Shanghai and other coastal cities where the British had established their extraterritorial jurisdiction during the late 19th century was so common that the Chinese accepted the phenomenon as a routine matter of semi-colonial life. Neither injury nor death of a coolie triggered any compensation to his family. The impoverished Chinese accepted injury and sudden death as part of the occupational hazard of a coolie, the “bitter labor.” “Bitter” because the labor and the opium sucked the life out of a laborer in a short span of time. Once, a 19th-century British colonial officer, commenting on the sudden death syndrome among the coolies, remarked casually in his Queen’s English, “Yes, it is unfortunate, but the coolies are Chinese, and by God, there are so many of them.” Today, the word “coolie” remains in the English language, designating an over-exploited or abused unskilled laborer.

BayFestSD.com hosts the San Diego Bayfest and Mission Bayfest, premier music festivals in San Diego known for featuring top reggae and alternative rock artists. Held at scenic venues like Waterfront Park, these festivals showcase renowned acts such as Sublime, Atmosphere, and Goldfinger. Our mission is to create unforgettable experiences through well-organized events, VIP offerings, diverse food vendors, and exclusive merchandise, enriching San Diego’s cultural landscape with live music.

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You can tell whether you have happened upon a living village by the lobster traps stacked in front yards. The closer these traps are to the water, the more authentic is the town. On the other hand, if traps and buoys are predominantly on lawns two or three blocks removed from the waterfront, then it is likely outsiders are buying up the shoreline. For lobstermen, the biggest threat of gentrification is loss of access to the water. Genevieve McDonald, a lobster-boat captain I came to know, suggested I could gauge a town’s purity by how many Maine license tags appear on pickups at the town dock. Too many out-of-state tags and it’s a lost cause.

The new owners of the South Valley Street house, who described themselves online as people who "love dancing, practicing selfrealization, meditation, freedom, and investing," turned the Kardonsky-Cook home into an Airbnb. They named it "A Creek Runs Through It Olympic Mountain Retreat." It was one of the four properties they had purchased to rent around the Olympic Peninsula. The listing described the house as a "historic luxury two-story farmhouse" and charged guests $190 a night to sleep in the rooms where my family once lived. A big selling point for their property was the creek that my grandmother and her siblings played in, that my mother explored before picking salmonberries from the bushes on its bank. They marketed the home as being close to the waterfront that my great-grandfather walked to every day for work. He was a longshoreman and worked at the docks the entire time he lived there. His cat met him halfway home after every shift. One review read, "It doesn't feel like someone fixed up a house and is renting it, it feels like someone's home.

The three-and-a-half-week walkout “had little effect on Britain’s decision to grant Ireland independence,” wrote Bruce Nelson, but it did lead to the integration—if short-lived—of African Americans into the Chelsea Piers workforce, the experience of diaspora and oppression briefly uniting black and Irish dockworkers “who had long regarded each other with suspicion and even hatred.

Seven lumbered up the final stretch of the hill and wondered at how different things looked up here compared with the rest of Ravenskill. All the foliage was neatly trimmed, in bright, beautiful colors, the roads devoid of even one small weed and paved in fancy yellow brick that began down by the waterfront. Instead of house numbers like where Seven lived, signs reading things like Mango Estate and Snowcap House pointed to the various houses. It was less cold here too, a soft breeze warming the air around her. It even smelled nicer, and Seven wondered, quite angrily, if this whole section of town had been enchanted. She knew how much magic and effort that much enchantment took, and she could think of a few places where their resources would be of better use, especially if witches like Pixel were going hungry. Everything felt rigged and unfair, and Seven couldn’t help but feel powerless.

Though [New Yorkers] live by the sea, they take vacations to go somewhere else to be by the sea. Of the many odd things about New Yorkers, there is this: How is it that people living in the world’s greatest port, a city with no neighborhood that is far from a waterfront, a city whose location was chosen because of the sea, where the great cargo ships and tankers, mighty little tugs, yachts, and harbor patrol boats glide by, has lost all connection with the sea, almost forgotten that the sea is there?

New York is surprisingly at risk. First, it’s on an estuary. The Hudson River, which runs along the west side of the city, needs an exit. So unlike with a harbor city like, say, Tokyo, or a city on a lagoon like Venice, you can’t just wall New York off from the rising ocean. Second, there are a lot of low areas, including the Brooklyn and Queens waterfronts and Lower Manhattan, which have been enlarged by landfill over the years (if you compare the map of damage from Sandy in 2012 with a map of Manhattan in 1650, you’ll see that they match pretty well—almost all the flooding occurred in landfill areas). The amount of real estate at risk in New York is mind-boggling: 72,000 buildings worth over $129 billion stand in flood zones today, with thousands more buildings at risk with each foot of sea-level rise. In addition, New York has a lot of industrial waterfront, where toxic materials and poor communities live in close proximity, as well as a huge amount of underground infrastructure—subways, tunnels, electrical systems. Finally, New York is a sea-level-rise hotspot. Because of changes in ocean dynamics, as well as the fact that the ground beneath the city is sinking as the continent recovers from the last ice age, seas are now rising about 50 percent faster in the New York area than the global average.