A Quote by Jon Cryer

I can't imagine Jon Cryer performing with the New York Philharmonic isn't one of the signs of apocalypse. — © Jon Cryer
I can't imagine Jon Cryer performing with the New York Philharmonic isn't one of the signs of apocalypse.
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?
I think Jon Cryer and Charlie Sheen have a lot of chemistry between them.
My whole childhood was filled with classical music and going to concerts of the New York Philharmonic and other New York ensembles and organizations, but interestingly, I didn't become conscious of wanting to be a musician until I was about 11. I was a rather late starter.
It seems always to have been difficult to have been a New York Philharmonic conductor because of the nature of New York. We are in direct competition with the great orchestras in the world who come to play in our hall or in Carnegie, and we are constantly compared. I think that 's a good thing.
The New York Philharmonic is a tremendous opportunity, a great orchestra.
In the sense of media saying this about themselves, I drive to my kids' school in upstate New York through rural Virginia, Maryland, Pennsylvania, New York; [Donald] Trump signs everywhere.
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 miss the standard of the New York Philharmonic's playing very much. It has certainly been a high point in my life.
I think I infuse the music with a new passion. Part of this is because I have fallen in love: I am in love with the New York Philharmonic. The chemistry has just been right. Beyond expectation.
I've been lucky to conduct the very best orchestras in the world: New York, San Francisco, Chicago, Berlin, the London Philharmonic.
And to understand this, I think this is a most important point where I would like always to be understood what we do with the New York Philharmonic. That the meaning of the music is number one.
Performing in each city is a different experience. But somehow, New York is unique. It is like performing in the entertainment capital of the world.
After the 9/11 apocalypse happened in New York City, people, particularly New Yorkers, who breathed in the ash, or saw the results of that, have a tendency to keep seeing echoes and having flashbacks to it.
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.
I'm from New York and I love New York and I'm always repping New York, but what I represent is something deeper than just being a New York rapper.
"Smooth Sailing" and "Hall of Fame" are my top two nicknames. "Cool Guy." "Jolly Jon." "Fun Jon." There's a lot of derivatives of Jon. "Cool Jon." Some people took "Smooth Sailing" and "Fun Jon" and made "Smooth Jon." That's a good one. It's just starting to catch on with the general public. Just every now and then, "Hey! Smooth Jon!" Or "You're Smooth Jon, right?!" People aren't quite sure. I'm like, "Yeah." "Okay, cool, that's what I thought!"
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