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.
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 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.
I think we need to be fighting for the working men and women of this country, not the moneyed New York interests.
I really want to write a novel. A few years ago I went so far as to do the cliché thing and rent this house in upstate [New York]. I still have the story, but I got 15,000, 20,000 words in and it was like, This is falling apart. I can't figure out.
Practicality continues to be a challenge for me - it's at odds with being an artist. I actually had a career on stage in New York - not a brilliant career or I'd still be doing it - but I got enough work to keep my agent and my union health insurance.
Especially students. I love to turn them on to a story. Some of them have to go see me as an assignment, like kids from the schools in New York will go to the Y. I want them to know why I love this and why they should too.
A lot of writers choose to live in New York, partly because of the literary culture here, and partly because Brooklyn's a pretty nice place to live. And a lot of writers who might not geographically reside in New York still point their ambitions towards New York in some sense.
I have three boys. And I wanted to make sure it connected with them and then those guys who grew up like me, in environments like me.And then I knew something about science that your New York Times reader would be interested in. So I was thinking about it in multiple ways: I'll connect with the people who grew up like me first, and then the New York Times reader will be interested in the science because it's so good and they want to be "in the know."
When you have the national narrative being "crack is awful and black people are using it," why go against that narrative when you want to get that publication in The New York Times or wherever? It encourages people to play right into it.
Sometimes people ask me to do stuff in New York, like "Can you read at this thing?" And I say, "Nooo, I can't just get on a plane with these two screaming children - I can't just get rid of them on such short notice and take vacation and fly over to New York."
I lived in New York, and I was the guy who was flying home almost every week, so there was a physical exhaustion and an emotional exhaustion for me, and a need to be home more.
I don't have many actors in my family, but I do have a Great Uncle that is a film-maker in Philadelphia, and my great-great-grandparents were Flamenco dancers in the 30's in New York, they were Spanish dancers.
I never thought to look at the New York Times one, even though I knew people were pissed off. I've seen YouTube videos from people who are pissed off at me about that and that takes a lot of effort to go find.
When a colleague of mine had a notable New York Times book, I said, turn one of the chapters in the collection into a pitch for a novel and sell it to your publisher.
Odd things happen in New York, which is why it's such a great source of stories.
I admired the earnestness of these people, many of whom had joined Greenpeace and marched for noble things in their youth. But I didn’t share their hatred of the establishment. After all, the establishment had given me so many of my favorite things: Nick at Nite, the New York Knicks, Stephen King, Taco Bell, Green Day. The list went on and on.
Whenever I go to New York I try to soak up as much live music as I can, including as many nights at the opera as I can manage.
It's funny, I write lyrics in a bizarre way - I'm always writing lyrics, mostly when we're traveling or walking around New York, that's when I'm writing most of the stuff.
I always think about Katharine Graham - she was the publisher of The Washington Post. In her autobiography she talks about the way her parents met. Her father was, I think, in New York just walking by on his way home and looked into a store and saw the lady that became his wife. It was just pure luck. And she said that it once again reminds her of the role that luck and chance play in our life. I really believe that, too.
I remember what a thrill it was to go from the back streets of Birmingham to Madison Square Garden in New York...it's like playing on Mars. You can't buy that.
The New York Times is an institution that attracts careerists, who are drawn to power and access. This gave me a kind of a free hand. The kind of work that I wanted to do, most of the other reporters didn't want to do. I was not doing lunch. I was not sucking up to officials. I was writing from the street.
eah, you don't get a lot of meatheads doing improvised theater to begin with, and that's always been my thing. I talk about the nerd/meathead dichotomy on my podcast a lot, but there was a time when I was doing UCB full-time and playing men's league rugby in New York City, and I was like the funniest, artsiest rugby player, and the bro-iest improv comedian. I've always managed to sort of be in both sides.
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