A Quote by David Byrne
I came to New York to be a fine artist - that was my ambition.
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You're supported by everything in New York if you want to be a performing artist. You come here, you can change your name. You leave home, you come here, you're severed from family obligations - the old identity drops away as soon as you come to New York because you're coming to New York, if you're an artist, to be someone else.
I think I'll be fine in New York. If I could stay here and just get jobs in New York, that would be fine and that's what I'd want to do. I don't want to move.
I always thought it's not that the greatest players in the world come from New York. It's just the guys who shouldn't have made it, they came from New York. That's what makes New York special.
I dreamt of being an Aerie model before I came to New York. That was one of the main reasons I came to New York and wanted to get signed.
I love New York. I went to New York to become an actress, and I did it. And I won all the awards known to man. And I'm happy. And I came home. I came, I saw, I conquered. And it feels great.
There are roughly three New Yorks. There is, first, the New York of the man or woman who was born here, who takes the city for granted and accepts its size and its turbulence as natural and inevitable. Second, there is the New York of the commuter — the city that is devoured by locusts each day and spat out each night. Third, there is the New York of the person who was born somewhere else and came to New York in quest of something.
My parents were very humanistic, but where we lived was not the cultural center of the world. Hardly. So I came to New York for two reasons: to find my own kin and also to get a job. And that's what I came to New York for in '67.
As I came to New York, it was for me a new beginning. To discover what people are living here. What do they need, what do they expect, what would they like to be the image and the performance of the New York Philharmonic?
So that when I came to New York again, it was, I'm not too sure right now, but it was '74 or '75. I went to Miami in '74 and then I came to New York, I think, at the end of '74.
I spent a whole year in New York without going back to France. And I always came back because my mother was living in New York since I was 13. So I went to summer camps, hang out at the Roxy, go to class for ballet, so I always had part of my life in New York.
Bernstein grew up in my building in New York. He's a very, very fine player. When he was a kid, he came by to find out what was going on in the world of jazz.
I came to New York and in only hours, New York did what it does to people: awakened the possibilities. Hope breaks out.
I'd excluded New York from my writing, and then I came back and I fell in love with it all over again. The energy comes from an absence, that yearning for New York when you are not there.
I'd excluded New York from my writing, and then I came back and I fell in love with it all over again... The energy comes from an absence, that yearning for New York when you are not there.
I've always liked New York, as I like towns with an edge and New York has a European feel, so when I came to play music here in the '80s it was a surprise to me.
Everything I learned and didn't do in New York I would put into place here in the London West Hollywood. It's fascinating, when you look at the critics' reviews, and we had a great one in the New York Observer and all that, and then the New York Times came and it was a devastation; two stars out of four. They said that I played safe because it wasn't fireworks. Then they judged the persona over the substance that was on the plate.
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