The other day I read that last year 58 million tourists came to New York ... where a puny eight million people are trying to live. Unless they own a hotel chain, I don't think a single one of these eight million people are happy about this.
I have a double policy, which would also solve immigration: I would stand at the border of New York City and I would say, "You can come here to live, but you can't come here to visit."
I'd like to decide who comes here. I'd like to be the admissions director of New York.
In New York we have zillions of different kinds of people, many of them hate each other, but violence based on that hatred is really uncommon here.
It is important that New York, in addition to its fashion, and finance, and tourism, and communications infrastructure, also begin developing venture infrastructure that's for real.
Boston fans - and New York fans are the same - it doesn't matter what you do outside of baseball, they don't forgive or forget that you play in pinstripes and they don't care about your interests off the field.
A lot of people realize "I don't have to work in this job that I'm miserable at every year, or every day, and I don't have to live in, for example, New York City where it's super expensive and if I live somewhere else that is less expensive and could pursue my passion like, I can afford to do that."
Without these tourists, New York would be fantastic. I don't want them to come. Stay home!
For a lot of women who don't go to college, or for a lot of women who aren't in New York or D.C. or someplace where there's like a large feminist organization they can get involved in, they may be doing feminist work, right, like locally or with a grassroots organization or in their own lives, but if they don't have that support system and if they don't have that availability to feminist language, I think we're missing out on something.
It used to be, if you wanted to have a strong, influential voice in the feminist movement, you really needed to be part of this New York/D.C. elite group of feminists, or part of a mainstream feminist organization. And now it's kind of an amazing thing that you can just start a blog and put your voice out there and build your readership.
The housing crisis may not be the worst thing that's happened to New York City because it was becoming impossible for some of the young doctors, for some of the young artists, for some of the people that make the city so special to be able to live here.
I grew up in New York and I've always lived here, so I look at myself as a regular person. When somebody recognizes me from the film - and it can be a wide range of people, which shows the power of film - I feel like they're talking about someone else we both know. I just find it hard to believe that anyone would stop me to share how much they loved something that I was a part of.
I ended up training only for four years before I was accepted into American Ballet Theater in New York City.
I used to audition for musicals when I was in New York before I moved to L.A., but I couldn't quite hit a certain note, so I saw a teacher in L. A. who helped me get better at it. She showed me how to use a different part of my voice. You are never too old.
I have a little gypsy palace here in New York. It's all mirrors, and I have my own garden. It's so secluded - the closest thing to a caravan I could find!
Donald Trump is not stupid. He knows exactly what he's saying. And he's just saying out there - I mean, forget about Muslims. He said I could go down on Fifth Avenue in New York and shoot someone in the face and people - and the voters will have no problem with it. This transcends any kind of religion and any kind of belief. This is actually an offense and attack on human values. He's just saying out there I will shoot people in the face and people wouldn't care.
I was the first - I was extremely unpopular with the establishment of the United States, particularly the New York Times was always an enemy, and Time magazine, off and on, the enemy, because I said things and took positions that other people didn't do.
New York is dead. It's too expensive.
When I came to New York, it was cheap!
There's a great variety of people in Washington, but I think because of the great concentration of people in New York, that variety is more visible. You walk the streets and there are people of every color, shape and size, ethnic background, religion, it doesn't matter. It's always present.
The idea of the book ["The Japanese Lover"] came in a conversation that I had with a friend walking in the streets of New York. We were talking about our mothers, and I was telling her how old my mother was, and she was telling me about her mother. Her mother was Jewish, and she said that she was in a retirement home and that she had had a friend for 40 years that was a Japanese gardener. This person had been very important in my friend's upbringing.
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.
I was in a Broadway musical called Big Time Buck Wright.The play didn't make it but I was a success. It lasted six days but I sung four songs and there were critics, seriously, in New York who said that my part was perfect. So I can beat Joe Frazier singing.
We were friends with Jonathan Demme. We were all down on the West Side of New York, and I think I met Kurt Vonnegut through Edith Demme. And then I was lucky to do Who Am I This Time? 1982, which was an adaptation of his short story that Jonathan Demme directed with Chris Walken and I, and that really cemented the friendship.
But if I did read, say, [Maurice] Merleau-Ponty, for instance, it always seemed to me that the parts that I understood in what he was talking about - and I read him because - well, he wrote a book, well, the Phenomenology of Perception [New York: Humanities Press, 1962]. And it seemed to me that perception had a lot do with how we take in art.
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