I actually went to study with the Ramapoughs in New York. I wanted to be able to see the mountains and the forest, be around the people.
I wish I’d lived in New York in my early twenties. Or learned to speak more languages at a young age. I didn’t do either.
New York seems to be thriving, which I’m grateful for. But I would hope that they would figure out how to negotiate the traffic and limit the pedicabs, because it seems to me that it’s becoming a more chaotic city.
I actually would love to live in New York. But I need land; I need space. I’d love to move to a place where I could have a lot of land and a goat.
I get the ‘The New York Times’ and ‘Los Angeles Times’ thrown at my door every morning. I’ll read the front page of ‘The New York Times,’ then the op-eds, then scan the arts section and then the sports section. Then I do the same with the ‘L.A. Times.’
I’ve lived in New York for 40 years. I came right after college.
I don’t know how many of you have been to New York, but if a building is two blocks away from anything, you can’t see it.
One can’t paint New York as it is, but rather as it is felt.
It is ridiculous to set a detective story in New York City. New York City is itself a detective story.
‘Boyz-n-the-Hood’ was actually supposed to be written for Eazy’s group. He had a group out in New York called Home Boys Only, called HBO. One of them looked like LL Cool J. Eazy wanted to write a song for them, a street song, like what we were doing on the mix tapes. So when I wrote it, it was too West Coast for them.
You’re surrounded by electronic music in New York. I mean New York is one of the few places in North America where electronic music is the prevalent form.
New York sounds like something that I could really listen to. It’s like a vibe; it’s a hit song. It’s a song that you could listen to in five years and still like.
A woman’s body should be stronger than the environment. Strong enough to overpower the negative elements, especially in cities like New York and Los Angeles.
I had known Cole Porter in Hollywood and New York, spent many a warm hour at his home, and met the talented and original people who were drawn to him.
I love that about New York: You just dress the way you want to dress and feel really comfortable because nobody is judging. You can just be yourself, and it’s perfectly normal.
In my opinion, New York City police officers are brave.
When I am in New York, you know, my studio is big, about 20,000 to 25,000 square feet, and I have painting rooms and rooms I do etching in, rooms I do lithographs.
Without a doubt, at the end of the day, Neom will be floated in the markets. The first zone floated in the public markets. It’s as if you float the city of New York.
Mike and Heather and I rapped once or twice in New York and then we all wound up on a train together on the way out to Maryland. I think it was about a month and a half from the time we got cast until the time we shot the thing.
Whenever I go to New York or any European country, they say: ‘Nawal, why don’t you get a facelift?’ I tell them, ‘I am proud of my wrinkles. Every wrinkle on my face tells the story of my life. Why should I hide my age?’
Go for a walk through Central Park and stop at the Met. It’s the best way to get a feel for what makes New York so special.
We had three cows and a goat. People from New York and L.A. are like, ‘Oh my gosh, that’s a farm!’ But people in Tennessee are like, ‘That’s not a farm.’ I’ve never milked a cow or anything like that.
I know what it’s like to be from an incredibly small town and the oppressiveness of it and the desire to get out. But I didn’t realize that readers in Seattle, New York, and San Francisco might not get that so instinctively.
To get recognized in New York is weird because that’s definitely a place you shouldn’t be recognized.
If the plane lost all my luggage, and I was somewhere sunny like Ibiza, I would just get a bikini, shorts, T-shirt, and sandals. If it was somewhere colder like New York, I’d go for jeans, jacket, and a pair of Louboutins.
New York City is a great monument to the power of money and greed… a race for rent.
Everybody in New York is looking for something. Once in a while, somebody finds it.
I grew up with my parents screaming and yelling at each other for the rent in Bronx, New York City at the time. It was $36. So my mind hadn’t stretched out to that place where I could spend a whole month’s rent on a 45-minute plane flight to Fargo, N.D.
I actually had the pleasure of meeting David Bowie at his 50th birthday party in New York City. I handed him the cassette of ‘Eight Arms to Hold You,’ which I had just got an advance of that day. He very graciously thanked me and tucked it into his jacket pocket.
We identify New York with the great bridges and tunnels and roadways and subway system and so forth.
I do the ‘New York Times’ crossword puzzle every morning to keep the old grey matter ticking.
I was always crazy about New York, dependent on it, scared of it – well, it is dangerous – but beyond that there was the pressure of being young and of not yet having done work you really liked, trademark work, breakthrough work.
Flying back from New York, the flight attendant said ‘God, I wished you were here yesterday, we had a stroke on the plane. I said, if I have a stroke on a plane, I hope the pretend doctor isn’t the one on the plane. I want a real doctor.
Living in N.Y.C. has truly awakened me to the New York elite and their penchant for the city’s self-described brilliant public transit system. I think it sucks… just like public transit always does.
A lot people who hear that ‘Go New York Go’ assume that I must be black.
All of a sudden I had a baby, because it went really quick. It was like, ‘Oh! I have a baby!’ So, it’s great. I’m just having a great time with my children. They’re here in New York with me.
In March 1950, in New York City, I was married to Marietta Soffer. We have three children: Vilhelm, Tomas, and Margrethe.
I never thought of myself as a New York poet or as an American poet.
I really would rather have gone to New York, since all my training had been in theater, but I didn’t have the guts to go there alone. I knew only one person in New York, and that was a man. What I needed was a woman. That’s the way Southern girls thought.
If you’re not in New York, you’re camping out.
All I really want is a three-room house. The home I have designed at my new farm in Bedford, New York, is a three-room house: bedroom on top, living room in the middle, and kitchen on the ground.
I was born in New York and raised in South Florida, so I’m an East Coast girl.
Without New York, I wouldn’t be the person I am today.
I’m noticing a new approach to art making in recent museum and gallery shows. It flickered into focus at the New Museum’s ‘Younger Than Jesus’ last year and ran through the Whitney Biennial, and I’m seeing it blossom and bear fruit at ‘Greater New York,’ MoMA P.S. 1’s twice-a-decade extravaganza of emerging local talent.
On landing at New York I caught the yellow fever. The kind man who commanded the ship that brought me from France took charge of me and placed me under the care of two Quaker ladies. To their skillful and untiring care I may safely say I owe my life.
When I brought ‘El Topo’ to New York, no one understood the picture. But John Lennon understood. John and Yoko Ono, they presented ‘El Topo’ in the United States; they introduced it.
Far from being dominated by ideas from Paris and New York, Latin American artists were often the innovators. They were doing drip paintings in advance of Pollock, creating language art before the American conceptualists, and fashioning shaped canvases decades before Kelly or Stella.
I worked a lot on ‘Conan’ as an actor, and when I moved to New York, a lot of my friends were on the first staff of that show. I started doing bit parts, which was the first thing I’d done on camera in front of a live audience.
When I was growing up in New York, we were the anomaly. Our family stayed, but back then families didn’t stay. Once you had a second kid, you immediately left, so the kids could run around outside.
I never do a whole new set of new material. I do one new joke at a time, and I wedge it in between two good jokes. Or if it’s a long story, I don’t do it in L.A. or New York; I do it in Kansas and Omaha, all these places I’m going this weekend.
’25th Hour,’ like a lot of my films, takes place in New York City. I’ve been very fortunate to make films in the city that I live. I mean, it’s great going home at night instead of being on location.
I knew no one in New York City was going to hire me if I had a southern accent.
Once you live in New York, you can’t live anywhere else. Living in Paris is like going in slow motion. It’s so bourgeois. I get so bored.
I started acting as a teenager, but it wasn’t until I moved to New York when I was 20 that I made any kind of commitment.
I’m from New York. My grandparents were settlers of Long Island City. When they came here, there was no bridge, and they had to hire a boat across the river. They had a farm, and my grandmother had to go once a week to Manhattan to buy provisions – very primitive.
I remember New York in the ’80s as a place with vacant lots that would eventually give over to nature. Weeds would grow up, squirrels would move in. That entropy is gone now. It’s too expensive to let a vacant lot go natural.
