A Quote by Ronnie Wood
During the Eighties, when I was hurting for money, I thought, 'Hang on a minute - I can paint.' I was living in New York and I thought it would get the grocery money coming in, and it escalated from there.
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During the Eighties, when I was hurting for money, I thought, "Hang on a minute - I can paint." I was living in New York and I thought it would get the grocery money coming in, and it escalated from there.
When you have no money in New York, you're living in a shoebox, and it's freezing. When you have no money in L.A., you're living in a slightly larger shoebox, and you can go outside and feel okay about your life for a minute.
I always thought I would move to New York after graduation, but, instead, I moved to Los Angeles. I realized I was more scared of that choice than I was of New York, and I thought, at 22, I should get it over with.
I thought I would make so much money and be the next Ray Leonard. Maybe it was farfetched, but I thought I could be a megastar. I could fight, and I had a lot of crossover appeal that was necessary to promote myself. I thought I'd make a ton of money and live off of it the rest of my life.
The idea that money brings power and independence is an illusion. What money usually brings is the need for more money - and there is a shabby and pathetic powerlessness that comes with that need. The inability to risk new lives, new work, new styles of thought and experience, is more often than not tied to the bourgeois fear of reducing one's material standard of living. That is, indeed, to be owned by possessions, to be governed by a sense of property rather than by a sense of self.
I thought New York had it coming, that it needed a kick in the balls. When I returned to New York, I wanted to get even. Now I had a weapon, photography.
To walk in money through the night crowd, protected by money, lulled by money, dulled by money, the crowd itself a money, the breath money, no least single object anywhere that is not money. Money, money everywhere and still not enough! And then no money, or a little money, or less money, or more money but money always money. and if you have money, or you don't have money, it is the money that counts, and money makes money, but what makes money make money?
Somewhere along the way, New York became all about money. Or rather, it was always about money, but it wasn't all about money, if you know what I mean. New York's not Geneva or Zurich yet, but we're certainly heading in that direction. London is, too.
I never thought about living in New York. I just thought it was great.
When I was a little kid, all I wanted to do was to escape what I thought was the country and get to a city. Probably film and television had influenced me so much, I really thought the key to happiness was living a very artificial life in a penthouse in New York with martini glasses.
Extravagant is, I think, the word we all thought when we met ... A lot of money went into that [The Grand Tour's ]. I just thought it would be a good idea to have a bridge from the old to the new and that was a way of saying 'Right, well now look where we are.'
Stephen King writes mass fiction but gets reviewed by the New York Times and writes for the New Yorker. Critics say to me, "Shut up and enjoy your money," and I think, OK, I'll shut up and enjoy my money, but why does Stephen King get to enjoy his money and get reviewed on the cover of the New York Times Sunday Book Review?
New York can get on top of you if you don't have much money, but if you have money, it's kind of a playground.
In New York, the currency is money. You have money, and you get anonymity.
I've lived in New York when I've had nothing, and I've lived in New York when I had money, and New York changes radically depending on how much money you have. It's the texture of life.
I went to Europe in '52 or '53, and when I came back, I stopped in New York. I remember looking out of a window on a glorious October morning and there was New York. And I thought, 'I'm coming here. This is for me.'
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