A Quote by Ruth Westheimer

It's good to be a widow in New York, because I can do something every night. — © Ruth Westheimer
It's good to be a widow in New York, because I can do something every night.
I'm in New York a lot. And every time I'm in New York, I'm out every night - it's a bit much. After a week, I'm ready to go home.
There are roughly three New Yorks. There is, first, the New York of the man or woman who was born here, who takes the city for granted and accepts its size and its turbulence as natural and inevitable. Second, there is the New York of the commuter — the city that is devoured by locusts each day and spat out each night. Third, there is the New York of the person who was born somewhere else and came to New York in quest of something.
I felt I had to share Idaho with my friend from New York because he'd shared New York with me, so I was going to share the beauty of nature with a man who went to museums and clubs late at night. But there was nothing to do where I lived at night.
Woody Allen stayed so good because he never left New York. Howard Stern stayed so good because he never left New York - Mel Brooks when he just got out of New York was doing 'Blazing Saddles;' when he left New York he started doing stuff like 'Robin Hood Men In Tights' - he was in L.A. too long. He lost the edge.
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.
It was Night. In most places, Night is a time for sleep, for calm, and for mystery. But not in New York City, where many things conspired every evening to murder the night.
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.
New York is something awful, something monstrous. I like to walk the streets, lost, but I recognize that New York is the world's greatest lie. New York is Senegal with machines.
I love it. It's all good to me. Whether I'm performing in New York, L.A., Columbus or Des Moines, I give 110 percent every night.
I love holidays in New York. I love 'em. I want to celebrate something all the time, and New York has holidays for every day of the week, practically. I like holidays in New York City.
I love holidays in New York. I love `em. I want to celebrate something all the time and New York has holidays for every day of the week, practically. I like holidays in New York City.
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.
Believe me, it jabs you. When you're on the side of buses and New York loves you, you love to go out there every night. It's like a race. Curtain opens, out you go, and New York is yours.
But the good thing about performing every night is I don't have any excuse not to try something new every day.
My heart and my love is in the country because something feels pure and noble and good there, but at the same time, obedience draws me to cities, which are full of cultures that are interesting and fun. I always swore I hated New York. Since having this revelation that cities are where people are, where the need is, I'm growing to love New York.
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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