A Quote by Jason Momoa
I actually went to study with the Ramapoughs in New York. I wanted to be able to see the mountains and the forest, be around the people.
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I remember, at one point, I was actually studying it kind of intensively around 2001, when Hrithik Roshan was big. I wanted to learn more about it, as I've always been intrigued by the craft of Bollywood, in that how well they were shot in glorious widescreen. I would actually go to see Bollywood films in the theaters in New York and New Jersey.
I see a New York where there is no barrier to the God-given potential of every New Yorker. I see a New York where everyone who wants a good job can find one. I see a New York where the people can believe in a grounded government again.
I didn't want to go see mountainous areas as a kid - I wanted to be around town, around New York, around Connecticut.
Before practicing meditation, we see that mountains are mountains. When we start to practice, we see that mountains are no longer mountains. After practicing a while, we see that mountains are again mountains. Now the mountains are very free. Our mind is still with the mountains, but it is no longer bound to anything.
I actually started playing in little cafes around New York, and I have a lot of good friends of mine who are musicians who are struggling in New York.
Actually, New York is great for playing around. I made a lot of studies for New York-a big vacuum cleaner lying on the Battery in Manhattan.
In New York, the buildings are like mountains in some ways, but they are only alive because of the people living in them. Real mountains are alive all over.
There are so many things to do in New York. I try to get to the theater and see some plays. I have a bicycle over here, and I ride around New York.
I want to retire in New York, let's be quite frank. I think a lot of people jumped the gun when I said I wanted to be a free agent. And yeah, I want people to come to play in New York. I want them to want to play in New York. I want New York to be that place where guys want to come play.
If you just live in New York and you only know New York, you know a certain kind of condition of formality and informality. By being able to go to another context and to be able to use that as a counter foil to the context you know, you are about to see a wider range.
The only time I would like to see was the 20s and 30s in America because I love the music and the style and the optimism, I wanted to see New York being built. I wanted to see all that, you know.
The Green New Deal is for elitists who live in their high rises in New York City and see a dirty world around them because they're in New York City. I said New York City can pass a Green New Deal... Why not try it? Why not try it?
I guess I see 'Goo' half as a really New York record because I think there are a lot of really particular New York references on it, but I also see it, for us, as the first of our records that really opened up to the larger world around us.
The mountains are fountains of men as well as of rivers, of glaciers, of fertile soil. The great poets, philosophers, prophets, able men whose thoughts and deeds have moved the world, have come down from the mountains - mountain dwellers who have grown strong there with the forest trees in Nature's workshops.
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.
Climbing is actually a great sport for blind people and that carried me on to climbing bigger and bigger mountains, snowy mountains, ice faces, and developing different techniques to be able to do that.
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