A Quote by Aries Spears

I'm from the streets of New York. I know what tough talk sounds like. — © Aries Spears
I'm from the streets of New York. I know what tough talk sounds like.
Growing up in New York is like living in a horror museum because there are so many strange people walking the streets and riding the subways. You learn to develop a tough front if you live here, just in case you get into any kind of trouble and you need to talk your way out of it.
It's super trippy coming to America because we know everything about it - from music and film. I know what a Southern accent sounds like; I know what a New York accent sounds like.
New York is something awful, something monstrous. I like to walk the streets, lost, but I recognize that New York is the world's greatest lie. New York is Senegal with machines.
My advice for aspiring writers is go to New York. And if you can’t go to New York, go to the place that represents New York to you, where the standards for writing are high, there are other people who share your dreams, and where you can talk, talk, talk about your interests. Writing books begins in talking about it, like most human projects, and in being close to those who have already done what you propose to do.
In New York, as long as you're not peeing in someone's doorway, everyone thinks you're a gentleman. I feel like my behavior goes over better on the streets of New York.
I have very specific advice for aspiring writers: go to New York. And if you can't go to New York, go to the place that represents New York to you, where the standards for writing are high, there are other people who share your dreams, and where you can talk, talk, talk about your interests.
Weekdays, New York City's financial district bustles with activity. Its streets are rivers of rushing humanity, its air is thick with the sounds of traffic.
I have to say, opening up in New York taught me a lot about that level of attention to detail. London's a tough market, Paris is a tough market, but New York, well, that's extraordinary.
I kinda feel like if I can do what I like in New York - and I like New York, I was born in New York, I have a lot more of a connection to New York - the hope is to stay in New York.
I began working within the streets of Harlem, where, after graduating from Yale [University, New Haven, CT], I became the artist in residence at the Studio Museum in Harlem [New York, NY]. I wanted to know what that was about. I would actually pull people from off of the streets and ask them to come to my studio.
New Yorkers know how to borrow wildly. You know, Louis Armstrong was not a New York musician. He went from New Orleans to Chicago to New York, and when he arrived here, he taught those New Yorkers. New York needs that infusion.
I really have a love-hate relationship with New York. I will talk to New York and be like, 'You are so hard on me. You are so difficult to be around. Why?'
New York was the inspiration for The Heart of Rock and Roll and Workin for a Livin. There are a lot of songs in the streets of New York.
Every night, half an hour before curtain up, the bells of St. Malachy's, the Actors' Chapel on New York's 49th Street, peal the tune of 'There's No Business Like Show Business.' If you walk the streets of the theatre district before a show and see the vast, enthusiastic lines it sounds like a calling: there is certainly no place like Broadway.
When people, especially from France, would ask me to talk about or so they could write about New York Jewish humor, I'd say I don't know anything about New York Jewish humor. I know who Zero Mostel was and I know Mel Brooks, but that's about all I could tell you about New York Jewish humor.
I had this temp receptionist job in New York, and I kind of hated it, and in the morning I would come out of the subway and just walk along the New York streets with all these people around me and kind of sing to myself. Like, 'She's gonna make it!'
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