Neighborhoods Quotes

“You swallow hard when you discover that the old coffee shop is now a chain pharmacy, that the place where you first kissed so-and-so is now a discount electronics retailer, that where you bought this very jacket is now rubble behind a blue plywood fence and a future office building. Damage has been done to your city. You say, ''It happened overnight.'' But of course it didn't. Your pizza parlor, his shoeshine stand, her hat store: when they were here, we neglected them. For all you know, the place closed down moments after the last time you walked out the door. (Ten months ago? Six years? Fifteen? You can't remember, can you?) And there have been five stores in that spot before the travel agency. Five different neighborhoods coming and going between then and now, other people's other cities. Or 15, 25, 100 neighborhoods. Thousands of people pass that storefront every day, each one haunting the streets of his or her own New York, not one of them seeing the same thing.”

“I came from a real tough neighborhood. Once a guy pulled a knife on me. I knew he wasn't a professional, the knife had butter on it.”

“(2002) In Rome, month upon month, I struggled with how to structure the book about my father (He already had the water, he just had to discover jars). At one point I laid each chapter out on the terrazzo floor, eighty-three in all, arranged them like the map of an imaginary city. Some of the piles of paper, I imagined, were freestanding buildings, some were clustered into neighborhoods, and some were open space. On the outskirts, of course, were the tenements--abandoned, ramshackled. The spaces between the piles were the roads, the alleyways, the footpaths, the rivers. The bridges to other neighborhoods, the bridges out...In this way I could get a sense if one could find their way through the book, if the map I was creating made sense, if it was a place one would want to spend some time in. If one could wander there, if one could get lost.”

“First, with the establishment of a state and territorially defined state borders, “immigration” takes on an entirely new meaning. In a natural order, immigration is a person’s migration from one neighborhood-community into a different one (micro-migration). In contrast, under statist conditions immigration is immigration by “foreigners” from across state borders, and the decision whom to exclude or include, and under what conditions, rests not with a multitude of independent private property owners or neighborhoods of owners but with a single central (and centralizing) state-government as the ultimate sovereign of all domestic residents and their properties (macro-migration). If a domestic resident-owner invites a person and arranges for his access onto the resident-owner’s property but the government excludes this person from the state territory, it is a case of forced exclusion (a phenomenon that does not exist in a natural order). On the other hand, if the government admits a person while there is no domestic resident-owner who has invited this person onto his property, it is a case of forced integration (also nonexistent in a natural order, where all movement is invited).”

“To do things right, we need to UNITE black and white, red and blue, blue and white - all stars and stripes. We need to either apply all the lessons from the past - or get rid of all the stories and START AGAIN. We are moving towards a rainbow world. Our children are intermixing and so are our colors. You can keep your religions and traditions, but always stand with what is good for the greater good of ALL as a united neighborhood instead of a segregated team. This is what America needs. This is what the world needs. Our unity. In our schools, neighborhoods, communities, state offices and economic equations. Choosing to stand with the right wing or left wing, or this group or that group, is only going to keep this country divided and grounded. In the end, all human needs are the same and they will never change. So what is there to fight about? Let's hit restart and unite. Flip the script and start again. To make America truly great again, it must be united. Every bird needs two wings to fly. Any nation torn at the wings will never soar the skies. So we can all start here. The only political party anyone should be an active part of is the one called concerned.”

“Almost immediately after jazz musicians arrived in Paris, they began to gather in two of the city’s most important creative neighborhoods: Montmartre and Montparnasse, respectively the Right and Left Bank haunts of artists, intellectuals, poets, and musicians since the late nineteenth century. Performing in these high-profile and popular entertainment districts could give an advantage to jazz musicians because Parisians and tourists already knew to go there when they wanted to spend a night out on the town. As hubs of artistic imagination and experimentation, Montmartre and Montparnasse therefore attracted the kinds of audiences that might appreciate the new and thrilling sounds of jazz. For many listeners, these locations leant the music something of their own exciting aura, and the early success of jazz in Paris probably had at least as much to do with musicians playing there as did other factors.In spite of their similarities, however, by the 1920s these neighborhoods were on two very different paths, each representing competing visions of what France could become after the war. And the reactions to jazz in each place became important markers of the difference between the two areas and visions. Montmartre was legendary as the late-nineteenth-century capital of “bohemian Paris,” where French artists had gathered and cabaret songs had filled the air. In its heyday, Montmartre was one of the centers of popular entertainment, and its artists prided themselves on flying in the face of respectable middle-class values. But by the 1920s, Montmartre represented an established artistic tradition, not the challenge to bourgeois life that it had been at the fin de siècle. Entertainment culture was rapidly changing both in substance and style in the postwar era, and a desire for new sounds, including foreign music and exotic art, was quickly replacing the love for the cabarets’ French chansons. Jazz was not entirely to blame for such changes, of course. Commercial pressures, especially the rapidly growing tourist trade, eroded the popularity of old Montmartre cabarets, which were not always able to compete with the newer music halls and dance halls. Yet jazz bore much of the criticism from those who saw the changes in Montmartre as the death of French popular entertainment. Montparnasse, on the other hand, was the face of a modern Paris. It was the international crossroads where an ever changing mixture of people celebrated, rather than lamented, cosmopolitanism and exoticism in all its forms, especially in jazz bands. These different attitudes within the entertainment districts and their institutions reflected the impact of the broader trends at work in Paris—the influx of foreign populations, for example, or the advent of cars and electricity on city streets as indicators of modern technology—and the possible consequences for French culture. Jazz was at the confluence of these trends, and it became a convenient symbol for the struggle they represented.”

“Earth is a small town with many neighborhoods in a very big universe.”

“Just growing up in Pittsburgh and knowing different neighborhoods, having family there and just loving it, it's like no other place.”

“Natural gas is hemispheric. I like to call it hemispheric in nature because it is a product that we can find in our neighborhoods.”

“Jesus' fathomless love changes how you and I will live in our moments, how we'll love in our neighborhoods, and what we'll be known for in eternity.”