A Quote by A. J. Liebling
The country's present supply of foreign news depends largely on how best a number of dry goods merchants in New York think they can sell underwear.
Related Quotes
With foreign officials come foreign merchants, and with foreign merchants come foreign soldiers. They will usurp our authority and influence to begin with, and in the course of time, our guests will have become our hosts.
Creativity depends on a number of things: experience, including knowledge and technical skills; talent; an ability to think in new ways; and the capacity to push through uncreative dry spells.
Number one, we need to get in shape, number two we need to shoot, number three, we need to learn self-defense, and number four, we need to study small-unit tactics... If you do not have 5,000 rounds of .223, 5,000 rounds of .22 and 1,000 rounds of handgun ammo, as a MINIMUM, you're wrong. We need to train our families how to shoot as well. We need to get food. We need to have a year's supply of food, two years supply of seeds, we need to have a year's supply of sundry items. That's what it means to be an American. We prepare for the worst but hope for the best.
European merchants supply the best weaponry, contributing to their own defeat.
When good news about the market hits the front page of the New York Times, sell.
All I can do is present what I think is in the best interest of this country and how I can best serve this country and the president of the United States. And I feel very good about that opportunity I've had.
New York publishing is about, 'What's the next Harry Potter? What's the next Twilight?' When I've approached people, I've asked, 'What is the book you've been dying to do, but New York won't do?' I want the books that they think won't sell - because I think they will.
If you've ever tried to move from L.A. back to New York, that's a pretty hard move. You forget how cramped things are in New York. You forget how dirty it is in New York. But, it's been the best move of my life, not necessarily for my career, but for my soul.
The New York book was a visual diary and it was also kind of personal newspaper. I wanted it to look like the news. I didn’t relate to European photography. It was too poetic and anecdotal for me… the kinetic quality of new york, the kids, dirt, madness—I tried to find a photographic style that would come close to it. So I would be grainy and contrasted and black. Id crop, blur, play with the negatives. I didn’t see clean technique being right for New York. I could imagine my pictures lying in the gutter like the New York Daily News.
I've been in New York for 15 months. Winning two stars in the Zagat number one best newcomer within ten months of opening in New York has taught me a big lesson.
Being in New York as a whole, Brooklyn as well, you can do anything you want. That's by far the best part about New York, besides just the hustle and grit and grind of Brooklyn specifically, but the best food. Anybody you want to get in contact with, odds are if they don't live in New York, they're passing through New York at some point in time.
I didn't have to do that much research to present a post-apocalyptic New York because I basically grew up in that New York. That old New York is gone, and that's one thing that's undiscoverable now but I explore in my fiction.
I think in New York we had respect and we would pretty much fill up the places where we went, but I never got the sense that we really were Number 1 here in New York among the Latin crowds.
It is solely bigness in business which makes it possible to supply the masses with all those products the present-day American common man does not want to do without. Luxury goods for the few can be produced in small shops. Luxury goods for the many require big business.
Foreign policy is about trying to deliver for them the best possible economic benefits, the chance to travel, to study, to work, the opportunity through trade to be able to sell their goods and services and as much peace and security so they can live and bring their kids up so they don't have to fear war.
It's a chicken-and-egg thing. You could send cards to everyone in San Francisco, but if the merchants don't have the terminals, what's the point? What you need is a cooperative effort with merchants in a metropolitan area to create a tipping point where you can justify advertising and merchants are willing to attempt this new payment system.
Related Authors
Ambrose Bierce Quotes
American
Journalist
Andy Rooney Quotes
American
Journalist
Ann Coulter Quotes
American
Journalist
Anna Quindlen Quotes
American
Journalist
Bill Vaughan Quotes
American
Journalist
Dave Barry Quotes
American
Journalist
Dennis Prager Quotes
American
Journalist
Erma Bombeck Quotes
American
Journalist
Fran Lebowitz Quotes
American
Journalist
George Will Quotes
American
Journalist
Glenn Beck Quotes
American
Journalist
Hunter S. Thompson Quotes
American
Journalist
Mignon McLaughlin Quotes
American
Journalist
Molly Ivins Quotes
American
Journalist
Rachel Maddow Quotes
American
Journalist
Walter Lippmann Quotes
American
Journalist