A Quote by Ilana Kloss
You need coaches and players that are connected to the community, and I think all of those elements came together in New York.
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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.
The future belongs to those who have the courage to create it. We need a new humanity. We need a new expression of community. We need the Church to bring the world together. This makes me excited.
New York - I'm connected. This is my core. I feel like if I'm not connected to New York, then I don't even know what to do with myself.
Our community is like many around the country that have, as the gentleman from New York referenced, sophisticated planning and zoning regulations. These are elements that are developed as a result of local community pressure to balance interests.
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?
It is chiefly in New York that I feel induced to urge this, because New York is, by innumerable ties, connected with Europe - more connected than several parts of Europe itself.
As soon as I went to painting school in New York, I took an experimental film course, and everything clicked and came together. I realized my love of music and drama and the visual arts all came together.
What is left that only the family can do? According to the new economy - nothing. The leading view today is 'It Takes a Village,' that even love can be outsourced to teachers, coaches, clubs and mentors. The truth is that it does take a village, a community, but a community of families working, playing, cooperating and facing obstacles together, not a community of government institutions.
Before I came here, I had people telling me what a tough place New York is, how other players came here and struggled. But I never let that bother me. I came here because I want to win.
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've always created solo work. When I first came to New York I was working in a few different areas; I was working as a drummer, a vocalist, an actor, and a dancer. I had gotten picked up more on the music side and that sort of went, and that's where I found my community in New York and that's the path that I went down.
The New York Times ,the New York Times is actually telling the Clinton, both of them that they need to come clean on all the money where it came fr?m.
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.
As soon as I went to painting school in New York, I took an experimental film course, and everything clicked and came together. I realized my love of music and drama and the visual arts all came together. This happened in 1989. Since then, it's been a long road of educating myself in every possible way.
I was a child but weirdly uninhibited. I talked to people and inserted myself in all kinds of absurd situations. I think some of those life experiences influenced me in terms of the main character of The Flamethrowers. But for the parts where the community of artists are speaking above her level of participation, that probably came more out of my experience of being in New York in the '90s as an adult.
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.
