Bill, It's reasonably interesting stuff, especially the guy in "Indecent Exposure" whose apparatus is banging around upside down. That gal off to the left probably is singing "Straighten up and fly right." To me they all seem to be straight documentary shots. I don't get ambiguity from any of them. But it's not just ambiguity that makes a street shot. To learn what does make a street shot, study the work of HCB, Andre Kertesz, Robert Donsneau, Willy Ronis, Elliott Erwitt, Marc Riboud, Helen Levitt, Robert Frank, Lee Friedlander, Todd Papageorge, and Garry Winogrand, to name just a few people who did very fine street photography. HCB and Kertesz defined the genre, but the others in the list expanded and, in the case of Frank and Winogrand created branches off the original tree. At the risk of seeming to brag, I'm including a picture I think I posted once before that has all the elements of a good street shot. Notice that it's not on the street.
But far be it from me to discourage anybody who wants to pursue street photography. As Peter pointed out, good street is damned difficult. In fact, after having done street, landscape, weddings, wabi sabi, portraits, and just about every kind of photography in the sixty years I've been shooting seriously, I'd say that street easily is the most difficult of all. Landscape is like fishing with a net. Street is like fishing with a flyrod. Street can be maddening, mainly because you miss the vast majority of your shots, but when you win one it's a real joy -- maybe even as good as sex. (Well, in that ballpark anyway.)