But why would the word be in Elmo's vocabulary to begin with?
The incident reminds me of two pull-string dolls my sisters had when I was a boy: Matty Matel and his Sister Belle.
A man with a ponytail sold tickets to a comedy club, while guys in green vests hawked tickets for a bus tour. In the interstices of the mob were a Power Ranger, a Spider-Man, a Woody from “Toy Story,” Minnie Mouse, two Cookie Monsters, a Super Mario, Hello Kitty, two more Elmos, and a Batman. “There are too many characters out here,” she told me. I have too much respect for my body for that.”The characters in Times Square work for themselves. ”) They also set their own hours, which, for Reyes, typically amount to eight-hour shifts five days a week, with breaks on Tuesday and Wednesday, when there’s a lull in tourist traffic.Guests are getting more for their money when compared to other properties in this city. Last Saturday, a few blocks north of Times Square, a nineteen-year-old named Virgilia Reyes was wearing a red Elmo costume, with a drawstring bag slung across her back and an Android phone in her hand.Like Lennon and Mc Cartney, neither Brubeck nor Desmond was as good without the other.Most high-modern architects hew more to the sober side of the discipline-play equation, but Niemeyer—best-known for the government buildings in the capital city of Brasilia, built largely from scratch on utopian lines in the late 1950s—is the rare practitioner whose work, with its visual rhythms frequently broken up or teased by curves and swoops, can be as sensuous and sometimes witty as it is rigorous and austere.A friend suggested I write something about the “link” between their influences, which at first I thought was an intriguing if glib idea, but you know…What I most love about Brubeck’s classic quartet, which he led from 1951 to 1967, is the interplay between the pianist, an unusually percussive, sometimes heavy-handed player whose solos at times come across as more thought than felt, and the alto saxophonist Paul Desmond, Brubeck’s longtime musical partner, who had a lucid but warm, even sexy tone and was given to long sinuous lines.Most jazz thrives on the tension between discipline and playfulness, but rarely has that tension been so built into the clashing but complementary musical personalities of the players, into their very sound together.“Here, there’s no telling.” She had spent eight hours on the same corner a week earlier and came away with fifteen dollars; she was still distraught about it, and told me that she’s started looking for another job.To hear Emer and Reyes tell it, they suffer all sorts of indignities.To my friend’s point, some of Neimeyer’s buildings, like his National Congress of Brazil, below, could serve as three-dimensional schematics for Brubeck performances.Modern architecture and modern jazz are too often dismissed as forbidding and unapproachable—egghead stuff, for adepts only.