New York rushed to get students into early childhood programs, but the research is clear that it has to be high quality. What we are giving poor kids now in early childhood is nothing like what we are giving middle-class kids in most places.
A cupcake is like a great pop song. The whole world in less than three minutes. And it's impossible to have a bad cupcake. In New York you walk everywhere. So I'm always looking, always on the eternal search for the perfect cupcake. I take them very seriously. It's like hunting and gathering for me.
Education is huge for me. I went to public school until I turned thirteen, and was lucky enough to afford college once I became successful as an actress. I cannot believe that quality education costs as much as it does in this country. Ghetto Film School is a remarkable public high school in New York City where students get to learn to express themselves through filmmaking, and have hands-on access to equipment.
I started as an artist and I had a side job moving some heavy boxes for a publishing company. They had just gotten a Mac for their art department, the department that creates the book covers. I was kind of showing the art director a thing or two about how to use a Mac. And one day everyone went out to lunch and I jumped on the computer and designed a book jacket and slipped it in the pile to go to the review board in New York. They picked my jacket and when the art director got back to Boston, he wanted to know who designed it and I said, "Me." He was like, "The box guy?"
There are a lot of sources of information out there, so why don't you curate for yourself a list, like a real timeline of information, like the New York Times, or JetBlue, or your friends, or this comedian, or this guy who pretends to be a cat, or whatever it is, whatever entertains you, whatever you find useful.
What if the New York Times gave out free, cheap Kindles to everyone and said this is how we're doing it now. You know? Maybe that's a way to go. The technology gets cheaper and cheaper, and at some point it has to be cheaper than all these trucks and all this gas, to just say, let's give away a Kindle to everyone.
New York has inspired more remarkable music than any other city I can think of.
If you make a street poster and literally paste it on the street in a city like New York, where it's such a mixed population and so densely populated, and it stays up for a full week and doesn't get covered up by something else or pulled down, you will have fifty thousand people who will have seen it. It will be the poorest of the poor - some homeless man who lives on the street will see it and probably appreciate it, or some businessman or landlord will see it. Everyone will see it. And whether or not they even realize that they saw it, on some level it's affecting their consciousness.
I don't even believe in magic, or ghosts or anything like that, and yet in a city like New York, on the subway, I definitely see ghosts and art seems to have some magical properties.
New York is such a special place. It's really intense for people because they live here when they're young. On top of the energy of the city there's a visceral experience a lot of people have because it's a time in their lives where they're just absorbing a lot. Things take on a significance that they might not otherwise.
I've always been a late bloomer in some ways, and extremely precocious in other ways. When I was twenty I was living in New York and working a job and could barely bother to be a college student and had my own apartment, but I couldn't possibly get married before I was thirty-nine.
In New York the stakes are so high. In urban centers the stakes are so high. You marry the wrong person, you go to the wrong college, you take the wrong job. Any of these things could really get you in trouble down the road. Or in your mind anyway. You're afraid to make any move, it's paralyzing.
The thing that got me about the Orphan Trains was that the experiences were so varied. Some of the kids went from neglect and hunger in New York to loving farm families who couldn't wait to fatten them up, who gave them medical care, an education, affection. And some of the kids became the victims of terrible cruelty, and more hunger, and more neglect - it all depended on who adopted them off of the train.
I had ancestors who were slave-holders, which is a difficult piece of family history to say the least. In a recent New York Times article on the subject of modern attitudes toward our slave-holding past, the writer noted that we all want to be from "innocent origins." I _know_ I'm not. Then again, I suspect most of us are not.
I think I can work anywhere, but you don't get the same kind of inspiration everywhere. New York theater has become a big inspiration for me. I only started writing for the stage myself because I like to see the good, mostly off-Broadway plays in New York.
I really don't feel good about leaving my house anymore. I don't feel really good about being anywhere in New York City alone anymore.
New York City is one of the most vulnerable cities in the world to climate change, so I see Keystone as the central threat to New York.
Public education is so important - resisting privatization and charterization, high-stakes testing, and defunding. It's important for New York, but it's also important for the country.
What happens in New York affects national policy in very significant ways.
Something I've learned over time, and trying to remind myself this week as I am back in New York and feeling pretty anxious, is that things always seem less dire when you're in the country than when you're outside. I don't exactly know why it is, except that people just have to get on with their life, so they do. And you don't have time to do anything other than keep going.
I have people who come up to me and say, 'Oh, seeing your work in my little home town in the middle of nowhere on the internet inspired me to move to London, or New York and pursue a creative career.' It makes me quite emotional.
I was always around people who were in the business from the time I was an absolute baby. I grew up in New York City, and my parents, my sister, and I had a house on Fire Island, and they were part of a set of people that were all close and friendly, most of whom were involved in show business in one regard or another. So it was always familiar to me, and I kind of enjoyed it.
I feel like fashion was much more exclusive. There weren't as many parties. There weren't as many social gatherings. It wasn't required that designers have events to lure customers or editors or any of that - it was about a show. If there was a dinner or a party, people would go out after. New York nightlife was about late nights and dancing.
I both loved and hated South Pasadena. On the one hand, it was so diverse - all my closest friends were immigrants or had immigrant parents. On the other hand, it was a bit conservative - in a sort of wholesome, Midwestern, small-town sense. I never met a single writer until I moved to New York City for college.
In South Pasadena, artists were around but invisible somehow. Even though it was just a fifteen-minute drive from Downtown LA, it felt worlds apart. That suburban American experience can both protect and stunt you. I couldn't wait to move to New York to become the person I've always wanted to become.
Follow AzQuotes on Facebook, Twitter and Google+. Every day we present the best quotes! Improve yourself, find your inspiration, share with friends
or simply: