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.
I didn't have to do that much research to present a post-apocalyptic New York because I basically grew up in that New York. That old New York is gone, and that's one thing that's undiscoverable now but I explore in my fiction.
I was very limited as a women. Getting the men in the military to see that the medical facilities were unhealthy was very difficult, along with many other things such as getting a good education and also finding a good career.
RyanAir have been getting a hard time because they've launched a £7 flight to New York. Although as always with RyanAir it does land slightly outside of New York. In Dublin.
I just got back from New York, and I realized in New York, it's very difficult to hear a New York accent. It's almost impossible, actually - everybody seems to speak like they're from the Valley or something. When I grew up, you could tell what street in Dublin someone's from by the way they talked.
I was very involved in back of the house, and finding good people is by far the hardest thing. So, when you're living in a place like New York or San Francisco, where the cost of living is so high, finding great people is very hard. Even finding remotely reliable people.
In June 2002, I had just finished 'Laurel Canyon' and decided to move back to Los Angeles after nearly a decade in New York. Post-9/11 New York felt different.
Things that are good are good, and if one is responding to that goodness one is in contact with a truth from which one is getting something. The truth is doing us good. The truth of the sunshine, the truth of the rain, the truth of the fresh air, the truth of the wind in the trees, these are truths. And they are always accessible!
Most of my work in New York has been on new musicals. And all through the preview process, they throw you new songs, new lyrics, new choreography, new scripts; you're constantly getting new material. You might get it in the morning and put it in the show at night. It happens every single day, so those muscles are pretty toned.
When I was in New York, I took my bike everywhere for transportation. I didn't have a fixed-gear bicycle, like a lot of the messengers do, but I had a stripped-down deal - having lost a few good ones in New York - and I did 10 to 15 miles a day just getting around the city.
Note that both of these papers [the New York Post and the New York Daily News] are big sellers in a city whose residents like to go around saying they'd never live anyplace else on account of they'd miss the opera.
It's been so overwhelming, the people in New York. That's why they call New York, New York - because they care about things and know real situations. My love for the fans, it's mouth-dropping.
I'm writing songs about New York. A lot of them carry the names of neighborhoods in Long Island. Maspeth, Montauk. I'm getting into the idea of a F. Scott Fitzgerald-esque Long Island back when New York was...New York.
It had always been a dream of mine to come to New York to work. Coming to New York and looking for work is one thing, but coming to New York and already having a job and feeling like you are already part of the city has been an amazing experience for me.
England's not a bad country? It's just a mean, cold, ugly, divided, tired, clapped-out, post-imperial, post- industrial slag-heap covered in polystyrene hamburger cartons. 286
Mayors of New York have been elected not because of their party label, but because of their philosophy and their approach overall, and that has been since time immemoriam in New York, that people are not party-oriented in New York.