What is a danger is that we stay stuck in a new normal where unemployment rates stay high, people who have jobs see their incomes go up, businesses make big profits. But they're learned to do more with less, and so they don't hire.
I got out of the Army - in my world - I came to New York, for instance, when the civil rights movement was just beginning, and that created a certain energy, a certain rumble, a certain impetus for black actors.
I was born on 7 September 1917 at Sydney in Australia. My father was English-born and a graduate of Oxford; my mother, born Hilda Eipper, was descended from a German minister of religion who settled in New South Wales in 1832. I was the second of four children.
I am suspicious of the idea of a new paradigm, to use that word, an entirely new structure of the economy.
In general, great companies prefer to grow 'organically,' as Wall Street likes to say. That is, from the inside out, by finding new markets or by taking market share from their competitors.
I've played some gangster roles, but that's obviously not me. When you're an Italian-American New York actor, it's just an easy way to get cast.
I'm tired of hearing people say 'Reggie Jackson needs New York, needs the media, needs the attention.' I've always gotten it whenever I wanted it.
Usually I like to have them, but going drum-less pushes everything in a new direction and makes it easier to keep things sounding different.
It was always something I knew I was capable of and from an early age my mother was involved in the film industry. She used to work at a production company. So I was exposed to a renaissance period of films in New Zealand back in the early 80's.
The Muslim Brotherhood and the Salifist parties are a real force in the Egyptian society. No civil, liberal government can succeed, even after new elections, if the Islamists are forced to work underground as a foe and the country remains divided.
Honestly, six months before getting 'Orange Is the New Black,' I remember telling my manager I was done.
This is due partly to the fact that Americans are much better fed than Europeans, and partly to the undeveloped resources of a new country, but more largely to our climate, which acts as a constant stimulus.
In the Thirties, when I was in New York, I did the first surrealistic ballet in a show of mine.
We shall require a substantially new manner of thinking if mankind is to survive.
When I began to think about the head of the family, the storyteller, the rise of television which became the new storyteller, the break-up of the American family as an idea and then Avalon came.
Someone called all the newspapers in New York and told them I'd died. I've been told by almost everyone it was an ex-wife - I've had a few so it's hard to pinpoint which one - but who knows for sure?
Every time I collaborate with an artist, I want to surprise fans. I want to do something new.
The New Deal is plainly an attempt to achieve a working socialism and avert a social collapse in America; it is extraordinarily parallel to the successive 'policies' and 'Plans' of the Russian experiment. Americans shirk the word 'socialism', but what else can one call it?
Therefore we have to go over the fact that all human beings are afraid by what is new. It is our work to convince them that they will enjoy it, and even if they don't, to allow us just for 14 days to create that work of art.
I also feel that the only thing more gratifying than working with someone who you've worked well with is working with someone new and coming up with something great.
Actually, every time I am back in New York, I read for as many plays as I can.
Going to New York to do whatever - show business - it just seemed fun. It seemed fun to go to the big city and meet all kinds of different people and maybe be famous. It was just exciting. So I wasn't scared.
I don't like anything new.
Higher education must lead the march back to the fundamentals of human relationships, to the old discovery that is ever new, that man does not live by bread alone.
I was very much a tough New York street kid. I went to a school where you had to learn how to get along with everybody or fight with everybody, and I did my fair share of both. But you have to learn how to get along. I did an awful lot of fighting. I was tough, but I'm also relatively small, so I learned very early on to use my mind.
I've directed a fair amount of television series - so I'm always trying to learn new things. One episode was all hand-held and I'm trying to get better at when you should do things and when you should just shut up and watch what the people are saying.
Dad built houses and when they were sold, he moved on to a new town, so I know a lot about my native state.
The public is usually slow to catch on to new things, and it's important that musicians stick to their guns and not look for that instant gratification.
I've watched so-called 'New Order' playing in Auckland, and Tom Chapman is miming along to my bass on tape... He's got his fingers on the low, and you can hear my high bass in the background. So he's miming.
There is nothing new except what has been forgotten.
At Horace Mann High School in affluent Riverdale, New York, one of the top schools in the country, those who receive double time on tests are plentiful enough to qualify as their own segment of the student body. Known to their peers as 2Ts, they participate in the same activities, get the same grades, and attend the same range of colleges.
There's such an energy bounding around New York, I can't help but get swept along in it.
Unlike Chicago or New York, small-town Minnesota did not allow a man's failings to disappear beneath a veil of numbers. People talked. Secrets did not stay secret.
In 1989, SimCity introduced an entirely new brand of game play.
It could be fun to sing with Prince or Michael Jackson. Justin Timberlake has an amazing new sound now.
New York was breaking my concentration and disintegrating my thoughts.
