Quotes of All Topics . Occasions . Authors
I consider what I do on Deadspin to be based in the foundations of journalism, yes, based on the foundations of journalism that I have been trained and that I certainly use when I write for GQ and The New York Times and so on. Certainly, I think the language can be a little looser on the web, but I am held to the same standards and accuracy everyone else is.
With recidivism algorithms, for example, I worry about racist outcomes. With personality tests [for hiring], I worry about filtering out people with mental health problems from jobs. And with a teacher value-added model algorithm [used in New York City to score teachers], I worry literally that it's not meaningful. That it's almost a random number generator.
If you can remember all the accessories that go with your best outfit, the contents of your purse, the starting lineup of the New York Yankees or the Houston Oilers, or what label "Hang On Sloopy" by The McCoys was on, you are capable of remembering the differences between a gerund (verb form used as a noun) and a participle (verb form used as an adjective).
I never think of people's nationality too much. I always look at everybody the same. It's impossible for me to just say one group of people over separate groups of people. Maybe it's because I was raised in New York City which is this melting pot. Everybody was always the same and the whole point of my whole film existence was to say that we're just one race.
New Jersey boasts the highest percentage of passport holders (68%); Delaware (67%), Alaska (65%), Massachusetts (63%), New York (62%), and California (60%) are close behind. At the opposite end of the spectrum, less than one in five residents of Mississippi are passport holders, and just one in four residents of West Virginia, Kentucky, Alabama, and Arkansas.
Everybody in New York thinks the Knicks are Playboy bunnies, and I have been telling them for years the Knicks are a rabbit. They're closer to a Playboy bunny this year but for the last few years these guys are like, 'We have a really good team!' And I say, 'You really think that?' And I say, 'No, they don't.' But this is the best team they've had in a while.
Bob Dylan was really mad with my wife. I had asked by Rolling Stone - the only assignment I ever had for them - to do a story on the Rolling Thunder Review, which was Bob Dylan, Alan Ginsberg, Joan Baez and a host of stars. My wife, some weeks before, had written in The New York Times that The Kid wasn't The Kid anymore and he wasn't all that winning anymore.
I was also thinking that I only had a certain amount of time to make music and to spend it in that city. And everybody else... you know the story 'Oh, New York it's such a great place, but it's so expensive to live here and there's so much to do.' You go there for inspiration and you end up getting a job to pay bills. I thought I must fight that at all costs.
People are taking a closer look at Donald Trump. I think the best look they got was at the last debate. I think Ted Cruz and Marco Rubio prosecuted their case effectively. Donald doesn't have some great answers. When they talk, for instance, about immigration and releasing those tapes from The New York Times, we began talking about flexibility and immigration.
I paid a worker at New York's zoo to re-open it just for me and Robin (his wife). When we got to the gorilla cage there was 1 big Silverback gorilla there just bullying all the other gorillas. They were so powerful but their eyes were like an innocent infant. I offered the attendant $10,000 to open the cage and let smash that silverback's snotbox! He declined.
Brooklyn Heights itself is a window on the port. Here, where the perspective is fixed by the towers of Manhattan and the hills of New Jersey and Staten Island, the channels running between seem fingers of the world ocean. Here one can easily embrace the suggestion, which Whitman felt so easily, that the whole American world opens out from here, north and west.
To start with, there's the alien accent. "Tree" is the number between two and four. "Jeintz" is the name of the New York professional football team. A "fit" is a bottle measuring seven ounces less than a quart. This exotic tongue has no relationship to any of the approved languages at the United Nations, and is only slightly less difficult to master than Urdu.
The thing that always attracted me to New York was the sense of being in a place where a lot of people had a lot of stories not unlike mine,' Rushdie says. 'Everybody comes from somewhere else. Everyone's got a Polish grandmother, some kind of metamorphosis in their family circumstances. That's a very big thing - the experience of not living where you started.
There are still many writers out in the Bay, extraordinary writers like Gina Valdez, a poet who I just saw in Portland. We have young people like Eduardo Corral, who won the Yale Younger Poets Award. José Antonio Rodriguez, published by Luis Rodriguez. But there are only a few of us who are paid attention to in New York. There are legions behind us who are not.
I fell in love with New York. It was like every human being, like any relationship. When I was a young New Yorker, it was one city. When I was a grown man, it was another city. I worked with many dance organizations and many wonderful people. In the '90s, it became kind of a hard and unwelcoming city in many ways. It became conservative, like the whole country.
Look, there's no denying that comics have moved dramatically into the mainstream in North American culture in the last 10 years, and for someone like me who's always tried to make a living at it, it's been great, I'm very grateful for it. But at the same time, it's not a subculture-y thing anymore; it's something that's in the New York Times and the New Yorker.
The 1980's witnessed a new dance genre in New York City and Los Angeles. Slam Dancing was perhaps a way for adolescent males to deal with the stressors of maturation, aggressive personal feelings, and violence in the society at large. Through dancing, the youths expressed raw power and rage while achieving euphoria, enhanced self-concept, and a healthy fatigue.
I'm pretty slapstick in my life but nobody sees that. You get typecast. I'm from New York and I have a sh*t-detector that's outspoken. I'm very streetwise and the producers detect that. So they get me on a movie and kill me. I go into their offices and I'm sure when I leave they say, 'You know, he'd be great to kill'. I've been killed every way you can imagine.
Being in New York and having worked at Time Out New York and then being at Time, living in New York for a long time has helped because I know everybody. And they're the people who call me and give me jobs. So that kind of real networking, which is just living in a place and having jobs where people around you are extremely successful, has helped me tremendously.
I'm in an odd place right now in New York where I routinely get trashed by every daily drama critic and have a few allies among weekly/monthly drama critics, and you sort of plot these things out and figure it out. But it's just what any writer goes through, periods of favor, periods of disfavor. And the trick is just to keep writing and to not let an obsession.
To say this sacred prayer [the Kaddish, prayer for the dead] for a Gentile is a most uncommon proceeding, but so unanimous and ardent is the feeling of the people of the New York ghetto in the present instance that Pres. William McKinley is spoken of in that quarter as "the loving brother of all of us," as one who "died a martyr to the freedom of Jew and Gentile.
Why? Why did you do this to me?" "He's going to come after me. He won't just kill me. He'll go after you, too." "That's right, He can't take the chance. I didn't tell you about it...why?" He repeated on a sob? "Why did you-" You wouldn't take me to New York" His mouth dropped open "NEW YORK?" he shouted. "You did all this because I wouldn't take, you to New York!
I’m going to kill myself. I should go to Paris and jump off the Eiffel Tower. I’ll be dead. you know, in fact, if I get the Concorde, I could be dead three hours earlier, which would be perfect. Or wait a minute. It -- with the time change, I could be alive for six hours in New York but dead three hours in Paris. I could get things done, and I could also be dead.
There [is] a feeling of recognition, as of meeting an old friend, which comes to us all in the face of great artistic experiences. I had the same experience when I first heard an English folksong, when I first saw Michelangelo's Day and Night, when I suddenly came upon Stonehenge or had my first sight of New York City - the intuition that I had been there already.
I was in New York last Christmas - it's snowing; there's a guy in a t-shirt. I'm like, 'Dude, aren't you cold?' 'No, I'm from New York. I don't get cold.' Just 'cause you're from a cold place doesn't mean you're genetically predisposed to not feeling cold. You're not a penguin. I was like, 'In fact, sir, you're Puerto Rican, so if anything, you should be more cold.
Media is everything, and when you live in Los Angeles and you live in New York, it's almost impossible to run into a conservative point of view because the conservatives that exist in Hollywood, where much of the media's done, and the conservatives that live in New York where a lot of the media's done are fearful of even expressing their conservative point of view.
The more boring a newspaper is, the more it is respected. The most respected newspaper in the United States is The New York Times, which has thousands of reporters constantly producing enormous front-page stories about bauxite...The [New York] Post would write about bauxite only if famous celebrites were arrested for snorting it in an exclusive Manhattan nightclub.
Vermont is such a small state, and the most money that's ever been spent in the history of political campaigns there is $2 million. That number is going to be surpassed many times. Vermont remains a "cheap state" for the Republican National Committee. So putting $5 or $10 million into Vermont - compared to New York or California or Illinois - that's small potatoes.
It is a world completely rotten with wealth, power, senility, indifference, puritanism and mental hygiene, poverty and waste, technological futility and aimless violence, and yet I cannot help but feel it has about it something of the dawning of the universe. Perhaps because the entire world continues to dream of New York, even as New York dominates and exploits it.
I walk into office, which is the casting office for CBS in New York. Mainly what they cast out of this office was the CBS daytime shows. I go in and walk into this room which every seat is filled with young African-American boys and girls and they were in their teens. I went, "I'm in the wrong place. Why am I here? What's going on?"So I go in and meet Norman [Lear].
New York was a new and strange world. Vast, impersonal, merciless.... Always before I had felt like a person, an individual, hopeful that I could mold my life according to some desire of my own. But here in New York I was ignorant, insignificant, unimportant--one in millions whose destiny concerned no one. New York did not even know of my existence. Nor did it care.
Some of us seem to be born with a drive to try to make the world kinder. In my twenties, living in New York City, I worked in a soup kitchen every Sunday for many years, just trying to do my part. Then I read Animal Liberation and learned about factory farming and the killing of animals for oven cleaner and realized nobody needed my help as badly as the animals did.
For my family and Howard's partner, who is like family, for 10 years we were in a state of shock. It takes time to appreciate fully what was going on then. That's connected because post-9/11 New York is so completely different from the way it was and the counterculture movement going on before then was so remarkable; I think people are appreciating it a lot more now.
But then when I'm in a halfway successful movie, it irritates the hell out of the critics in New York, because they'd like to kill my pictures if they could. So maybe I'm pretty good in the movie. Then they use all these words like I'm 'surprisingly' good, or 'shockingly enough,' I'm good. It's like I crawled out from under a magazine and they're surprised I can act.
New York does nothing for those of us who are inclined to love her except implant in our hearts a homesickness that baffles us until we go away from her, and then we realize why we are restless. At home or away, we are homesick for New York not because New York used to be better and not because she used to be worse but because the city holds us and we don't know why.
New York has become an example of everything that is wrong with America. White Americans, fearing the crime and social alienation in New York City, commute endless hours to raise their families in safe, clean neighborhoods. The numbers of non-Americans, especially those from the Third World, are growing, and it is the hard working White New Yorker that pays the bill.
My grandfather is from Ireland. His name is Florence McCarthy. He moved to New York in 1920. They used to beat him up because his name was Florence. He had to switch his name to Frank. And then this Christmas, he made an announcement - he goes, 'I'm switching me name back to Florence.' And we beat him up, 'cause it's a dumb name and he's old and weak and it was easy.
Of agitating good roads there is no end, and perhaps this is as it should be, but I think you'll agree that it is high time to agitate less and build more. [Here is] a plan whereby the automobile industry of America can build a magnificent "Appian Way" from New York to San Francisco, having it completed by May 1, 1915 and present it to the people of the United States.
I have actually programmed a fair bit in Perl, like I have C++ code published with my name on it. Other things I have tried and have no intention to do again if I can at all avoid it include smoking, getting drunk enough to puke and waste the whole next day with hang-over, breaking a leg in a violent car crash, getting mugged in New York City, or travel with Aeroflot.
New York is just New York. It's a hard city, it's a hard city to live in. It's a desperate city. It's filled with scam artists and people who are always looking for a way in and a way out and the majority of people have to really negotiate their way through that jungle to get to the other side; the other side being a place of tranquility and peace and home and safety.
There's a certain kind of conversation you have from time to time at parties in New York about a new book. The word "banal" sometimes rears its by-now banal head; you say "underedited," I say "derivative." The conversation goes around and around various literary criticisms, and by the time it moves on one thing is clear: No one read the book; we just read the reviews.
Since 1950 I have been keeping a film diary. I have been walking around with my Bolex and reacting to the immediate reality: situations, friends, New York, seasons of the year. On some days I shoot ten frames, on others ten seconds, still on others ten minutes. Or I shoot nothing. Walden contains material from the years 1964-1968 strung together in chronological order.
What inspires me is what I see people wearing on the streets of the world from New York to London and beyond. I get my ideas and inspiration from pounding the pavement all over the world. Today, fashion is dictated by individual style. To me, the fashion of the future is anything that a young guy or girl feels good wearing as long as it's put together in the right way.
Of course, in Los Angeles, everything is based on driving, even the killings. In New York, most people don't have cars, so if you want to kill a person, you have to take the subway to their house. And sometimes on the way, the train is delayed and you get impatient, so you have to kill someone on the subway. That's why there are so many subway murders; no one has a car.
In the streets of New York between seven and nine in the morning you will see the slow procession of dog and downer proceeding from street to tree to hydrant to trash basket. They are apartment dogs. They are taken out twice a day, and, while it is a cliché, it is truly amazing how owner and dog resemble each other. They grow to walk alike and have the same set of head.
The idea (for the painting 'Room in New York', 1932, ed.) had been in my mind a long time before I painted it. It was suggested by glimpses of lighted interiors seen as I walked along city streets at night, probably near the district where I live (Washington Square, New York, fh) although it's no particular street or house, but is really a synthesis of many impressions.
I did a great show Off-Broadway called Leave It To Beaver Is Dead that was at the Public Theater in New York. It was written by Des McAnuff, who's an illustrious director now, and it starred... Well, I was in it, Mandy Patinkin, Dianne Wiest, Saul Rubinek, and Maury Chaykin. It was an amazing show. But it was definitely ahead of its time, and people didn't quite get it.
The New York Times will tell you what is going on in Afghanistan or the Horn of Africa. But it is no exaggeration that The New York Times has more people in India than they have in Brooklyn. Brooklyn is a borough of two million people. They're not a Bloomingdale's people, not trendy, sophisticated, the quiche and Volvo set. The New York Times does not serve those people.
In my neighborhood - West 121st Street in New York, "white Harlem" - there were only two drugs: smack and marijuana. By the time I was 13, some friends and I were using marijuana fairly regularly. The Reefer Madness myth was still very strong then, but I'd been into jazz and those lyrics included so many casual references to pot that it was completely demystified for me.
Journeys become very good metaphors. They always have the character put into circumstances that reveal him. If I had based my characters in New York and had them just sitting and thinking about life, it would be like what contemporary U.S. fiction is about. That is very heavy, literally, for me. It doesn't become mainstream enough because the pages don't turn themselves.