I like porterhouse steak, rib-eyes and New York strip. This works for me because I have very low cholesterol and low blood pressure. It's not good for everyone; you have to talk to your doctor about that. I also eat fish and cheese. I like clean food prepared as simply as possible.
I had to take driving lessons in New York, which were really weird because it's not the safest thing in the world.
I was a girly-girl until I moved to New York. Then I got really into the androgynous look of the early-'90s club scene. I had really short hair and started blurring the line a bit. But for me, grade school was about Benetton, Esprit, and Guess jeans.
If you fill your Agriculture Committee with representatives of commodity farmers, and you don't have urbanites, you don't represent eaters, okay? You don't have people from New York City on these committees, you are going to end up with the kind of farm bills we have: a piece of special interest legislation.
I have been a journalist, off and on, since I was 17. I was a copy boy for the 'New York Times,' when it had an edition in Paris, in 1963. I sold the paper in the streets by day and tore wire copy off the tele-printer for the editors making up the edition by night.
There's no borders or lines you can't cross anymore. Everything is getting blended with everything. That's the dope thing about music now. Some people don't like it, more of the older people. They want to, you know, go back to old-school New York hip-hop.
I didn't do a masters in creative writing until I was 26, which is quite old, and then I found myself in New York and I needed money, so I started working full time as an editor.
According to New York publishers, Bill Clinton will get more money for his book than Hillary Clinton got for hers. Well, duh. At least his book has some sex in it.
In those years of the Fifties, in London and New York, I lived, without knowing it, in a time when the profoundest changes were happening: when a radical alteration was getting ready to happen in the way a society saw young girls. And, as a consequence, in the way they saw themselves.
When there's not ten feet of snow on the ground, I ride my bike down the streets of New York, and I literally hear two things out of car windows as cabs pass by me: They either yell, 'Hey, dummy,' or 'Hey, Mayhem.'
It was a really interesting time in New York in the late 70s and early 80s, and the music scene was really, really interesting because you didn't have to be a virtuoso to make music, it was more about your desire to express things.
The whole time I was modeling, I had a place in Paris, and a place in New York, and I was really single.
I was a hostess in a restaurant in New York when I was 21, and I was too good of an employee. I was putting most of my energy into that instead of acting. But my father told my sister and me to look at whatever needed to be done and do that job well, no matter what it was.
You can get stuff done in New York that you can't in Los Angeles. If you wanted to get some milk and get your shoes repaired and drop something off at the dry cleaner, that's an all-day adventure in Los Angeles. In New York, you can bang that out in half an hour.
The New York City Ballet is always about the realm of possibilities, the realm of what the human body can do, what the human spirit can do. And it's about listening, it's about listening to remarkable music and how we respond to that.
I know if I had the chance of going aboard the Titanic in those days, I would have gone - I know I would have. I adore going on the Queen Mary - I think it's the only way to travel from New York.
Like I said, a 30-year-old hockey player, even when I came to New York when I was 30, I was on the downside of my career, pretty much the end of my career.
In the New York Times, you're going to get completely different information than you would in the USA Today.
I love Edith Wharton. And I love old New York. Anything to do with New York.
I think I'll be fine in New York. If I could stay here and just get jobs in New York, that would be fine and that's what I'd want to do. I don't want to move.
A trait which differentiated New York from European cities was the incredible freedom and ease in which life, including sexual life, could be carried on, on many levels.
One of the things I've always loved about New York is there is so much precedent for ornament on industrial buildings.
I love New York City in the fall, and one of my favorite events of the season is the annual World of Children Award Gala, at which I have the profound pleasure of meeting the newest class of changemakers for children who are there to receive their World of Children Award.
'Kitchen Confidential' wasn't a cautionary or an expose. I wrote it as an entertainment for New York tri-state area line cooks and restaurant lifers, basically; I had no expectation that it would move as far west as Philadelphia.
At 18 I began painting steadily fulltime and at age 20 had my first New York show at the Macbeth Gallery.
I moved up over Lower East Side and I was adopted by eight foster parents; I lived all over New York City with these parents, man, till I was about ten years old.
Every time I get on an airplane I have a routine. I cover the inside of my nostrils with anti-bacterial ointment. I'm popping Zicam like it's candy. And I drink, literally, from L.A. to New York, six bottles of water.
One of the first auditions I had in New York was for a commercial where I had to go in and audition to be a snake charmer... It was either some bank commercial or something where they wanted a guy charming a snake... I remember they wanted to know if I actually knew how to snake charm.
I had a really negative look at the night-life side of Hollywood, which I really didn't like. I went to New York to focus on modeling, and then of course found that New York was not any different from Los Angeles.
I've made so many films in New York. There was an assumption I think a lot of people had that I am a New Yorker, that I am from New York, and I always felt like nothing could be further from the truth.
I would describe Los Angeles as actually not having taste. In New York, there's taste. But you have to remember that taste is censorship. It's a form of restriction.
As soon as I went to painting school in New York, I took an experimental film course, and everything clicked and came together. I realized my love of music and drama and the visual arts all came together. This happened in 1989. Since then, it's been a long road of educating myself in every possible way.
Believe it or not, I used to be obsessed with shoes. I have maybe 50 pairs... until I moved to New York, when I realized I couldn't walk anywhere in any of them.
I'm not trying to take New York by storm. I just want to sneak in there, keep my head down, batten down the hatches and cook.
Since fantasy isn't about technology, the accelleration has no impact at all. But it's changed the lives of fantasy writers and editors. I get to live in England and work for a New York publisher!
Working on 'Lonely, I'm Not' - I love the material so much, and it's spring in New York, so I'm walking home whistling every day.
