A Quote by Jesse Owens
In the space of less than seven days, I attended a track meet in Boston, flew from there to Bowling Green for the National Jaycees, then to Rochester for the blind, Buffalo for another track meet, New York to shoot a film called The Black Athlete, Miami for Ford Motor Company, back up to New York for 45 minutes to deliver a speech, then into L. A. for another the same night.
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I've been in radio, God, twenty years. I started as a stand-up comedian. I wanted to be Carol Burnett when I was growing up. Radio was just kind of an accident. I did morning radio in my hometown of Buffalo, then went to Rochester, then Chicago, and then New York.
I'm drawn to write about upstate New York in the way in which a dreamer might have recurring dreams. My childhood and girlhood were spent in upstate New York, in the country north of Buffalo and West of Rochester. So this part of New York state is very familiar to me and, with its economic difficulties, has become emblematic of much of American life.
When I came to New York in 1978, I was a full-time school teacher and track runner, and determined to retire from competitive running. But winning the New York City Marathon kept me running for another decade.
I absolutely love the balance between New York and Miami because I go to New York and I get so inspired and it's really busy and it's like the real city and then I come to Miami and I'm just in a happy place.
In America, we happen to be living in a third world country from the point of view of economic and social development. I came back from New York yesterday and I took the fastest train in the country, the Acela. My wife and I took the New York-Boston train sixty years ago - it wasn't called the Acela then - and I think it's improved by about fifteen minutes since then. Any other country in the world would be about half the time. In fact when it's riding along the Connecticut turnpike it's barely keeping up with traffic, which is just scandalous.
I started freelancing for Serious Eats while I was still living in Boston. I was born there, grew up in New York City, but went back to Boston for school, and then I lived in Boston for about ten years.
I was raised in New York and then moved to Miami in my teenage years, returning to New York later on.
'Leverage' is meant to be based in Boston. But in one episode we're in New York, then another in Chicago, Florida, and Eastern Europe.
I can call up a friend and have them meet me for a drink in 20 minutes, and suddenly, the night unfolds into this glorious, uniquely New York situation. I wouldn't give it up for the world.
When I went to Scotland to do another movie, I would sing with a coach up there and then when I went to New York I sang with a coach over there-I mean I've now sung with coaches in LA, New York, London, Glasgow, St Louis and Rio de Janeiro!
I have friends in New York that won't leave New York, and they're really talented people, but they'd rather take an acting class in New York than do a play in Florida or Boston. That's just weird to me, but they get into that I've-got-to-be-in-the-center-of-the-universe mentality. I'm not that way.
The night before my amputation, my former basketball coach brought me a magazine with an article on an amputee who ran in the New York Marathon. It was then I decided to meet this new challenge head on and not only overcome my disability, but conquer it in such a way that I could never look back and say it disabled me.
I feel the change. I feel the relationship with New York changing. It's a personal relationship you have with the city when you move there. I definitely romanticize the early 2000s. As much as I prefer the city then as opposed to now, I'm sure if I were 23 and I moved to the New York of right now, I could have the same exact experience. I don't really hate the cleaning up of New York, even though it's not my preferred version of New York.
The New York Dolls did not think of themselves as punk rock. There was no such term at the time. They were just another band in what was called the New York scene.
I think people fail to realize that teams and organizations have been stacking teams since way back in the day. The Lakers had the Showtime era. Boston had six hall of famers on one team. You had Detroit, the New York Knicks, and now the Miami Heat. They were stacking their teams back then, it just fell off over the years and now it picked back up. Boston did it first, then LA. I was fortunate enough to play against them when they had Shaq, Kobe, Rick Fox, Gary Payton, Karl Malone... that's five hall of famers on one team! So you can't get mad at Miami for doing what they did.
I became interested in the delay, having sounds recorded and played back and then come back. I did many different configurations of sending signals from one track back to another track, or to the same track, or crisscrossing them and so forth. I worked on masking the delays so when I played into the machine, I would make long tones and collect sounds in such a way that you didn't hear the delay, although sometimes you did.
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