A Quote by Zubin Mehta

New York for a long time was a kind of conductor's graveyard. — © Zubin Mehta
New York for a long time was a kind of conductor's graveyard.
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.
Being in New York and having worked at Time Out New York and then being at Time, living in New York for a long time has helped because I know everybody. And they're the people who call me and give me jobs. So that kind of real networking, which is just living in a place and having jobs where people around you are extremely successful, has helped me tremendously.
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 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 love New York. It's kind of perfect. I'm in New York part of the time and in L.A. part of the time. That's always been a goal, to be bicoastal in a real way.
In the neighborhood that I grew up in - in New York on Long Island - there were a lot of musicians. For some reason, that time in history in our town in New York, everybody played. So it was all around me.
'All In' is like the Giants motto, so I kind of took that, and I kind of used New York as the backdrop - how diehard New Yorkers are for their team. Me being a New Yorker, I just had to show my love for the city as well as my love for the New York Giants.
I never do a whole new set of new material. I do one new joke at a time, and I wedge it in between two good jokes. Or if it's a long story, I don't do it in L.A. or New York; I do it in Kansas and Omaha, all these places I'm going this weekend.
I lived in New York for a long time. Right after college I went there. So I got my first cell phone in New York. Back when you would flip the phone up. Way back when.
The most important thing for the conductor is that he or she listens. Her listening will make things sound a certain way. If the conductor listens well, the musicians listen each other better. The conductor can in effect impose a certain kind of listening for everybody.
New York is not a place that lets you be indifferent. New York is this kind of place that, wherever you go, wherever you move, you are always confronted by your own time.
Being in New York as a whole, Brooklyn as well, you can do anything you want. That's by far the best part about New York, besides just the hustle and grit and grind of Brooklyn specifically, but the best food. Anybody you want to get in contact with, odds are if they don't live in New York, they're passing through New York at some point in time.
I've been living in New York City almost seven years, and my mentality has changed a lot. Just from being in New York this long and going across America, I realize that in New York, nobody really cares. They are just like, "We're New Yorkers." I feel like that is really the way it should be.
I kind of grew up on the East Coast, lived in New York for a while, then moved to L.A. So I'm not a New Yorker at all, but I'm much happier in New York; I've always liked it better.
I had this temp receptionist job in New York, and I kind of hated it, and in the morning I would come out of the subway and just walk along the New York streets with all these people around me and kind of sing to myself. Like, 'She's gonna make it!'
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.
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