Quotes of All Topics . Occasions . Authors
Chicago theater vs. New York theater. There's just nothing to say about it really. If you've seen Chicago theater, you know that the work is true to what is there on the page. It's not trying to present itself with some sort of flashy, concept-based thing. It's about the work, and it's about the acting you're about to watch. So acting-based theater feels like it was born there to me.
I follow my own nose. So I read things that are different. People will always say to me, "Have you read Robert S. Bosco's latest novel?" or "Have you read so and so's history of Peru, which is reviewed in the New York Review of Books and the New York Times and has a buzz about it?" I don't even know what you're talking about. I'm like from another planet. I'm a pygmy from the jungle.
I love New York very much, and it was very important for me to spend my 20s in New York City. You're exposed to so much here, whether it's other people or just the grind of it and how hard you have to work. I think it forces you to define yourself: what kind of person do you want to be? What kind of woman do you want to be? And then inevitably, what kind of actress do you want to be?
Our inventions are wont to be pretty toys, which distract our attention from serious things. They are but improved means to an unimproved end, an end which it was already but too easy to arrive at; as railroads lead to Boston or New York. We are in great haste to construct a magnetic telegraph from Maine to Texas; but Maine and Texas, it may be, have nothing important to communicate.
Recently it's become much to my surprise, something that does happen. For example, I used to get almost all of my stories, and it's probably still true, from newspapers. Primarily from The New York Times. No one ever really thinks of The New York Times as a tabloid newspaper and it isn't a tabloid newspaper. But there is a tabloid newspaper within The New York Times very, very often.
Well I remember the first thing that from coming from New York that just stunned me and I couldn't understand was that you valet park for everything. Even - you valet park to go to the dry cleaner. And that, you know, that just blew my mind. I was like, okay, you have to pay $5 to a guy to just drop off your dry cleaning. And so that, to me, was nuts - the fact you're always arriving.
When I started looking for pointed shoes, I used to go to Fairfax on Orchard Street in New York City, one of those little pushcart guys. I'd say, 'You got any pointy shoes?' They would go way, way in the back and come back with a dusty box, blow the dust off the top, and say, 'What do you want with these things? Give me twenty bucks. Go on, get outta here!' And that was the beginning.
I took over a city that had two riots in four years and I had none. And they knew they couldn't riot on me. And when I saw the people on the street in New York City, I said to myself, you're breaking Giuliani's rules. You don't take my streets. You can have my sidewalks, but you don't take my streets, because ambulances have to get through there, fire trucks have to get through there.
At the time there was a hospital strike in New York and the Catholic hospitals were part of a general consortium, and the head of the consortium had decided that they were finally going to replace some of the striking workers. And I hear [John] O'Connor yelling, `Over my dead body will you replace any of those workers! They have a right to strike.' So I figured, `This is interesting.'
The Tarahumara would party like this all night, then rouse themselves the next morning to face off in a running race that could last not two miles, not two hours, but two full days. According to the Mexican historian Francisco Almada, a Tarahumara champion once ran 435 miles, the equivalent of setting out for a jog in New York City and not stopping till you were closing in on Detroit.
For me, I was born in the Bronx, and I moved to Virginia Beach, Virginia at a very young age. I had the luxury of going back to New York, visiting my grandmother who would spoil me endlessly, and I could buy whatever was the hot kicks in the summertime of 1990. Being able to shop and then going back to Virginia Beach, where they weren't as fast in regards to fashion, I had that luxury.
Everyone wins the marathon. We all have the same feeling at the start-nervous, anxious, excited. It is a broader, richer, and even with twenty-seven thousand people-more intimate experience than I found when racing in track. New York is the marathon that all the biggest stars want to win, but has also been the stage for an array of human stories more vast than any other sporting event.
My upbringing was very un-Hollywood. I was born in New York and grew up on a ranch. I was never really smitten by the business in those days, never a fan type - just a basic kid watching TV. It wasn't like I was an insider. I was never really brought into the show business side of my father's life. I guess that's been a blessing and a downfall. But it's made my own work the initiation.
Though editorialists at The New York Times and The Washington Post still don't get it, most Democrats in Congress finally do: Today's trade disputes are no longer mostly about tariffs, quotas, or free entry of goods. They are about the ground rules for capitalism. Are there to be only property rights? What about the other rights that liberal democracies have fought for since the 1880s?
In 1996, the late, great New York Times columnist William Safire published a column, 'Blizzard of lies,' in which he laid out a series of falsehoods by Hillary Rodham Clinton and declared 'Americans of all political persuasions are coming to the sad realization that our First Lady - a woman of undoubted talents who was a role model for many in her generation - is a congenital liar.'
Every time someone does a Western movie, people flock to it. It's like, we're continually programming to people who are least likely to watch us. People in Nebraska aren't watching things on the computer, they're watching television. Why aren't we programming things for them? We only program things that appeal to New York and Los Angeles and in many ways spit on the rest of the country.
I went to the University of Georgia for a year before I left, and then I went to live with Eileen Ford in New York for the modeling agency. I thank god I could do that because all the other kids were getting jobs doing other things, and when I got to New York, I was very blessed. I didn't have to stop and be a waitress. I started making money at a very young age and was just very lucky.
Wherever you go, whether it be a college campus or the New York Times or ABC News or Venezuela or Cuba or the former Soviet Union, it's amazing how the speech codes and the trying to shut up dissent is a defining aspect of the left because they believe so firmly in their utopian ideals that anyone who would disagree with that utopia is an enemy of the state, and they treat them as such.
The technologies which have had the most profound effects on human life are usually simple. A good example of a simple technology with profound historical consequences is hay. ... It was hay that allowed populations to grow and civilizations to flourish among the forests of Northern Europe. Hay moved the greatness of Rome to Paris and London, and later to Berlin and Moscow and New York.
Early on in life I knew that I was a writer, that I just wanted to write, I love books, I love literature and after graduating college, I kind of wandered around in Europe learning languages and writing novels and never led anywhere. And then I got into like journalism in New York as a way to kind of maybe find my way into the field and it wasn't a good fit. It just wasn't right for me.
Over the great bridge, with the sunlight through the girders making a constant flicker upon the moving cars, with the city rising up across the river in white heaps and sugar lumps all built with a wish out of non-olfactory money. The city seen from the Queensboro Bridge is always the city seen for the first time, in its first wild promise of all the mystery and the beauty in the world.
As a kid, I was fortunate that we grew up near a children's theater, with all different classes and things; so as a kid I took classes there and as I got into high school I did all the community theater stuff. Then I came to college here in New York, going to Marymount Manhattan, and studied acting there. But most of the training I got was from working. Working with really great people.
To me the biggest waste of time is commuting. First, there is no place that is less than a two-hour commute from New York. You can be half a mile outside of the city limits; you're two hours away by car. I don't care how close they tell you it is. "Oh, it's only thirty miles." Thirty miles? At 8:30 in the morning, thirty miles outside New York, you might as well be starting out in Omaha.
I have always loved jazz music and as a teen growing up in New York City and then later on as an adult have great memories of the jazz clubs that were all located on 52nd Street. I still catch as many jazz shows as I can when I am in New York. And when I perform, I have my jazz quartet by my side. Jazz musicians keep things spontaneous and very "live," which is the way I like to perform.
New York! The white prisons, the sidewalks swarming with maggots, the breadlines, the opium joints that are built like palaces, the kikes that are there, the lepers, the thugs, and above all, the ennui, the monotony of faces, streets, legs, houses, skyscrapers, meals, posters, jobs, crimes, loves... A whole city erected over a hollow pit of nothingness. Meaningless. Absolute meaningless.
Maybe in writing about and through trauma it was therapeutic in a way, but it didn't feel like it at the time. I was in a very dark place, in lots of foreign cities, far from New York. A lot of personal trials and tribulations took over my life in those years. It might be some time before I see what therapeutic function this book did serve. But for now, it's not even easy to read from it.
I live in New York, and I was thinking about the lagoon in Central Park, down near Central Park South. I was wondering if it would be frozen over when I got home, and if it was, where did the ducks go? I was wondering where the ducks went when the lagoon got all icy and frozen over. I wondered if some guy came in a truck and took them away to a zoo or something. Or if they just flew away.
The politicians of New York as not so fastidious as some gentlemen are, as to disclosing the principles on which they act. They boldly preach what they practice...if they are defeated, they expect to retire from office. If they are successful, they claim, as a matter of right, the advantages of success. They see nothing wrong in the rule that to the victor belongs the spoils of the enemy.
When I was 11, I moved to the United States with my two brothers and my mom. We moved to northern New York, up near the Canadian border, from Argentina, and there was nobody there that spoke Spanish, and because there was no internet at the time, not even cable TV yet, I lost the connection with my childhood friends and the culture I had been brought up with for my first decade completely.
The most disgusting, appalling horror of our world that we live in, to me, is sex trafficking and the enslavement of men and women, boys and girls, in the sex industry. That is the most horrific, horrific thing that's happening and it's happening in all of our towns here in Los Angeles, in New York, in London, in Paris, all over the world, and I think that's really what has to be addressed.
I don't really think in terms of the future of literature. I think literature will be around "forever" - but in a relatively niche way, like jazz and poetry, although probably more widely consumed than jazz and poetry since it's fundamentally a narrative form. And I think that's important and places like Word Riot and 'The New York Tyrant' and 'n+1' will be responsible for keeping it alive.
The gay marriage thing to me, I don't understand why it's so important for the secular progressives in this country, the people who want to change America fundamentally and every way, why this is the lead issue. The L.A. Times, New York Times, San Francisco Chronicle, Boston Globe. These people are going, 'Oh, my God, what are you doing? How can you not see the civil rights aspect of this?'
My first feature film was a movie called 'A Gunfight,' with Kirk Douglas, Johnny Cash, Karen Black, Jane Alexander, Raf Vallone... It was shot in Santa Fe, Mexico, in 1970, and it was directed by Lamont Johnson. It was the first gig I did when I got to California from having done 'Hair' in New York on Broadway for a year. It was a Western, though! But that film was not a successful release.
New York remains what it has always been : a city of ebb and flow, a city of constant shifts of population and economics, a city of virtually no rest. It is harsh, dirty, and dangerous, it is whimsical and fanciful, it is beautiful and soaring - it is not one or another of these things but all of them, all at once, and to fail to accept this paradox is to deny the reality of city existence.
I've worked with the Warrens. For about 20 years. I was really good friends with Ed. Ed and Lorraine. We went our separate ways, there were a few differences. In their organization, being that they were from Connecticut, I started the New York City chapter of the organization and handled things in New York. But eventually I was out on my own. But I've been friends with them for a long time.
I think the worst professional advice I've received... I feel I've been lucky in that I've gotten a lot of wonderful guidance, but I remember - and I would never do this to someone - I remember going into a manager's office, the manager I had in New York, and this was way back when. And she said to me, immediately, "You should never wear striped T-shirts. You look much bigger than you are."
... my father loved to take photographs of me. When I was nine I made my own costumes for a school play and I experienced becoming different characters. I loved to document myself as different images and I think my work evolved after this favorite activity. The photographs I exhibited in New York juxtaposed reality and fantasy. There was everyday life and fantasy was dismantling that reality.
We are very encouraged that the results from our monitoring of air quality and drinking water conditions in both New York and near the Pentagon show that the public in these areas is not being exposed to excessive levels of asbestos or other harmful substances. I am glad to reassure the people of New York and Washington, D.C. that their air is safe to breathe and their water is safe to drink.
I have a number of symptoms that are neurotic and are constricting in the sense that if I had a brilliant idea for a film that had to be shot in Tulsa, OK I would tear it up and throw it away. Anything outside of New York, 'cause I can't exist in a hotel outside of my own home, I have to be in my own home and my own environment. This is a neurotic symptom that is constricting to my work even.
I truly believe my job starts the minute I leave the baseball field. Going out and catching ground balls and hitting, that's a job, and that's what I've wanted to do ever since I was a kid. But when you think about leaving that field, that's when the job and the demands really start. In New York, Seattle, every city. The community, the media, business stuff. You have to stay on a narrow path.
It's common to think things will never happen where you are-never in Cambridge, never in New York, never in Seattle-that sort of thing, whatever it is, never happens here, not in our community. Then it happens, right in front of you, and you realize you were blind to it, that you forgot that intolerance and zealotry and viciousness are human currency everywhere, and it takes your breath away.
So if you look at the writings of intellectuals, there are two kinds. One said, l"Look, if we fought harder we could have won.But the others, who were way at the left, people like Anthony Lewis of the New York Times, way out in left stream, his view in 1975 was the Vietnam war began with blundering efforts to do good. But by 1969, it was clear that it was a disaster, that was too costly to us.
I mean if it wasn't for Earl Scruggs, guys like me wouldn't be doing what we're doing. I mean, he's changed so many people's lives, honestly. I was thinking about all the thousands of people that live in Nashville, like myself, that there's no reason a guy from New York would end up down there if it wasn't for the sound of Earl Scruggs' banjo coming over the airwaves and just changing my life.
Chapter One. The Bride." He held up the book then. "I'm reading it to you for relax." He practically shoved the book in my face. "By S. Morgenstern. Great Florinese writer. The Princess Bride. He too came to America. S. Morgenstern. Dead now in New York. The English is his own. He spoke eight tongues." Here my father put down the book and held up all his fingers. "Eight. Once in Florin City...
I don’t trust painting. At least not in New York. Most painting here relies on formula and repetition, whoring itself to the market. There seems to be no risk and once a painter gets a strategy, very little exploration. As a result, I stopped thinking about painting a long time ago. I prefer forms of art that are more market-resistant, more idea-based, more - for lack of a better word - risky.
I’m not doing anything wrong, I’m not obstructing anyone’s access. When I have a crowd I make sure that the crowd makes room for people. I’m an artist who cares about the cultural fabric of New York City. I care about New York as a harbor for street culture - and I care about street culture as a base-level populist diffusion of ideas. And I believe in making those ideas accessible to everyone.
America has borders. You have quite strict borders, actually. Even getting a work permit in New York actually is quite a difficult thing to do. I've got to prove I've got an address. I've got to prove I have private health care. And when my work permit runs out, if I haven't left, there'll be a knock at the door, they'll put me in handcuffs and take me to JFK Airport. That's how you guys do it.
I read something in the paper that really confused me the other day. It said that 80 percent of the people in New York are minorities. Shouldn't you not call them minorities when they get to be 80 percent of the population? That's a very white attitude, don't you think? I mean, you could take a white guy to Africa and he'd be like 'Look at all the minorities around here! I'm the only majority.'
But it's also the beginning of another level of liberation for her]Eleanor Roosevelt], because when she returns to New York, she gets very involved in a new level of politics. She meets Esther Lape and Elizabeth Read, and becomes very involved in the women's movement, and then in the peace movement. And ironically, the years of her greatest despair become also the years of her great liberation.
The one that sticks out in my mind and has all along was the New York Times piece on Melania Trump.Calling her a mannequin and a trophy wife, which if anybody had ever said that about any - Michelle Obama was a lawyer. But Melania Trump has been a successful businesswoman. She speaks several languages. A mannequin and a trophy wife and it was just - fine, they were allowed to say that about her.