A Quote by Cynthia Ozick
Early in the 1990s, I flew alone in a dandelion-yellow, single-engine, 180-horsepower Piper Cherokee from Westchester County Airport in New York westward to the Rocky Mountains, landing and refuelling a good many times in middle-sized cities and towns along the way.
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I was raised in an Italian-American family in the suburbs of Westchester County, just a little north of New York City.
My first show at MoMA in New York was pictures of new developments along the eastern edge of the Rocky Mountains. They were housing developments that were brutal in many ways, that cared almost not a thing for the human beings inside. They were just designed to make money.
My district is centered around the progressive college town of Boulder, Colorado, and the high-tech U.S. 36 corridor. It goes from the well-established suburbs of northwest Denver in Adams County to the beautiful mountain towns of Vail and Breckenridge and the majestic Western Slope of the Rocky Mountains.
Kanan is a big road through the Santa Monica Mountains. Between mid-March and mid-April, when you get over to the western side of the mountains, it's populated by Spanish broom - this beautiful, yellow, flowering weed that smells the way I imagine it smells along the Yellow Brick Road.
It's in every single county. It's in our cities but it's also in our wealthier suburbs. It's in our small towns. There is no place in Ohio where you can hide from drug epidemic .
We were in New York, and we were performing at a morning show. This fan literally ran from that studio in the middle of New York City to our airport, which was very far away. That fan ran all the way there to see us, and we were so in awe of that guy.
When Caroline Kennedy managed to say 'you know' more than 200 times in an interview with the New York 'Daily News,' and on 130 occasions while talking to 'The New York Times' during her uninspired attempt to become a hereditary senator, she proved, among other things, that she was (a) middle-aged and (b) middle class.
No matter how many times I visit New York City, I am always struck by the same thing - a yellow taxicab.
Events in the early 1990s in New York City, Texas, and Florida appear to have raised, in the eyes of CBS News, for example, the question of whether religion as such is incompatible with good social order.
I love New York. New York is busy. It's dirty. It's smelly. I'm a real urban animal: I love cities. I like being in the middle of it all.
I'm actually from Mt. Kisco, New York, which is in Westchester County, and when I auditioned for 'Dukes,' I told them I was from Snailville, Georgia, which doesn't exist, and I'd just graduated first in my class from the Georgia School of High Performance Driving, which also doesn't exist. But they bought it.
My heart and my love is in the country because something feels pure and noble and good there, but at the same time, obedience draws me to cities, which are full of cultures that are interesting and fun. I always swore I hated New York. Since having this revelation that cities are where people are, where the need is, I'm growing to love New York.
I wrapped a movie called 'Zombieland,' in which I was constantly under assault by zombies, then flew to New York, still very much in character. With my daughter at the airport I was startled by a paparazzo, who I quite understandably mistook for a zombie.
I'm from New York. I grew up there. I grew up in Westchester County, the suburbs. For me, that was always the best of both worlds. I was super lucky to have a place where I could pretty much practice drums unperturbed. Obviously there were neighbor's complaints, but not very often, and I could get to the city easily by myself or with my parents.
People in all walks of life, and especially business, do not want to experience the collapse of cities like New York along with global finance and economy in chaos, but this is what business faces if we continue to attribute climate change to fossil fuels alone.
While I began writing 'Rules of Civility' in 2006, the genesis of the book dates back to the early 1990s, when I happened upon a copy of 'Many Are Called,' the collection of portraits that Walker Evans took on the New York City subways in the late 1930s with a hidden camera.
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