A Quote by Liz Phair
It makes sense - you wanna gather a lot of people together, and Vegas really does that well. New York can, but you know the hassles. I've lived there. It's an entirely different beast.
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When I was in New York, I put together a show; I put together this really great band and performed at this place called Littlefield in Brooklyn. It was really fun. I did, like, 10 standards, and then I just hopped around different bars like Mona's and different jazz clubs in New York just singing because I know all the standards so well.
We were going to do 'Reno 911!: New York, New York, Las Vegas,' which was like a 'Die Hard' set not in New York, but in the New York, New York casino in Las Vegas. We were really excited about being locked into the one casino and doing a bad action movie.
I really love New York, and I've lived here for a long time. I know not just the different neighborhoods but the different kind of class cultures in New York from the up-and-coming, down-and-out kind of artist to the powerful worlds of finance.
I really believe that you grow up a certain way in New York. There's a New York morality, a sense of loyalty. You know how to win and lose. There's a thousand kids outside, you know who to push and who not to push. There's a sixth sense you develop just because it's New York.
Well the thing is that the New York of 1846 to 1862 was very different from downtown New York now. Really nothing from that period still exists in New York.
I can be much more creative with my menus in the casino cities. In New York, there are certain things I can't make. In Las Vegas, they're much more receptive. Rabbit, some seafoods - they won't necessarily do well in New York, but I'll try them in Las Vegas, and they'll be a success.
One big disturbance, I think, between L.A. and New York is that New York is so condensed and together that it's very hard to be private there. There's a lot of constant interchange, people know what you're doing all the time. Here in L.A. it's the opposite, it's very spread out, unless you make a conscious effort to go someplace and look at something, you don't see it and we hear about it. So in that sense, it's a city where you can be very anonymous if you want to be, or even if you don't want to be.
For me, the only drag about the whole thing is that a lot of my childhood friends had to be relocated to the outskirts of New York because of the gentrification. But I think it's always a good thing when you bring people of all different backgrounds together, that's sort of what New York is.
The best part about fighting in New York is the New York fight fans, man - Vegas does not compare to the New York fight fans.
I would stay two years in San Francisco, then move to New York in the summer of 1991, for the love of a man who lived there. When I arrived in New York, I had a job waiting for me, courtesy of a bookstore I'd worked at in San Francisco, A Different Light. They had a New York store as well, and arranged an employee transfer.
There are three capitals of entertainment in the world: Las Vegas, New York and London. So far the only one I truly conquered is Vegas. New York and London are still on my checklist.
Patti [ Scialfa] was an artist and a musician and she was a songwriter. And she was a lot like me in that she was transient also. She worked busking on the streets in New York. She waitressed. She had - she just lived a life - she lived a musician's life. She lived an artist's life. So we were both people who were very uncomfortable in a domestic setting, getting together and trying to build one and seeing if our particularly strange jigsaw puzzle pieces were going to fit together in a way that was going to create something different for the two of us. And it did.
A lot of the reason I left New York, in addition to being so broke, was that I just felt I was becoming provincial in that way that only New Yorkers are. My points of reference were really insular. They were insular in that fantastic New York way, but they didn't go much beyond that. I didn't have any sense of class and geography, because the economy of New York is so specific. So I definitely had access and exposure to a huge variety of people that I wouldn't have had if I'd stayed in New York - much more so in Nebraska even than in L.A.
You meet a lot of people in New York who are different than you and have different stories, so I see everyone as super individual. I feel like I can be infinitely inspired because New York is huge.
I think, you know, for someone who does play, let's say, old music or, you know, Baroque music or Renaissance music - and you know, and I do play a lot of that, obviously - engaging with new composers, engaging with young composers, is really exciting because it makes me look at people of the past in a very different way that they are also living, that there was a lot of subjectivity in the decisions that they were making.
New York was always more expensive than any other place in the United States, but you could live in New York - and by New York, I mean Manhattan. Brooklyn was the borough of grandparents. We didn't live well. We lived in these horrible places. But you could live in New York. And you didn't have to think about money every second.
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