So at last the communists who piled out of the Berlin Wall and into the environmental movement and took over Greenpeace so that my friends who founded it left within a year because they'd captured it. Now the apotheosis is at hand. They are about to impose a communist world government on the world.
The hardest thing about Berlin is letting it belong to other people.
To those who charge that liberalism has been tried and found wanting, I answer that the failure is not in the idea, but in the course of recent history. The New Deal was ended by World War II. The New Frontier was closed by Berlin and Cuba almost before it was opened. And the Great Society lost its greatness in the jungles of Indochina.
My grandfather had been a well-known judge in Berlin.
I've outdone anyone you can name - Mozart, Beethoven, Bach, Strauss. Irving Berlin, he wrote 1,001 tunes. I wrote 5,500.
There are several really interesting clocks in Berlin.
The events in Prague, together with the Berlin blockade, convinced the European recipients of American economic assistance that they needed military protection as well: that led them to request the creation of a North Atlantic Treaty Organization, which committed the United States for the first time ever to the peacetime defense of Western Europe.
Germany is a country that has absolutely had to since the Second World War ask itself massive moral questions. And it's reforged its identity based on culture. I mean, the amount of artists living and working in Berlin is unparalleled. It's one of the strongest economies, not only in Europe, but globally, and it's because of its understanding of the importance of culture.
But Hitler didn't strive for the annihilation of the Jews - he stressed that fact in public life and in the newspapers. Hitler merely said at the beginning that Jewish influence was too great, that of all the lawyers in Berlin, eighty percent were Jewish. Hitler thought that a small percentage of the people, the Jews, should not be allowed to control the theater, cinema, radio, et cetera.
Isherwood did not so much find himself in Berlin as reinvent himself; Isherwood became a fiction, a work of art.
The Freedom Bell in Berlin is, like the Liberty Bell in Philadelphia, a symbol which reminds us that freedom does not come about of itself. It must be struggled for and then defended anew every day of our lives.
If a man, in a lifetime of 50 years, can point to six songs that are immediately identifiable, he has achieved something. Irving Berlin can sing 60 that are immediately identifiable. Somebody once said you couldn't have a holiday without his permission.
When I come to a new city is I combine: I say, well, it's like Barcelona and Edinburgh, though I can't imagine what that would be. But Toronto, the last few times I've been here, what always comes up is Chicago and West Berlin. It's a big, sprawling city beside a lake, of a certain age and a certain architectural complexity. But the high-end retail core looks more like West Germany than the Magnificent Mile. Yonge Street is like K-Damm. There's an excess of surface marble and bronze: it's Germanic and as pretentious as pretentious can be.
I am a bohemian person. I don't speak German, and I live in a foreign country where all the signs are in German. I did that deliberately. I'm like a ghost. Look at how much media and advertising you're subjected to, this mindless chatter of advertising. I just block it out so effortlessly because it's all a foreign language to me. It's really a good thing for my head, living in Berlin.
I've never done a [Berthold] Brecht. In the 1960s when the Berliner Ensemble came over [to England] with Helene Weigel [Brecht's second wife], I saw all the Berlin actors. It was an amazing time, very exciting early 1960s.
It is a question in that case of breaking up one piece of art, and whether that piece of art can be as best as possible put back together. So it's an argument to say, maybe that's one of those instances, like the bust of Nefertiti, I think that should be given back [Egyptian piece currently in Neues Museum in Berlin]. It's one of those pieces you look at and think that would probably be the right thing to do.
I met with many of - a number of [Syrian] refugees in Berlin the other day, and I was struck by how educated, intelligent, and patriotic they are. They want to go back. They love their country. And there are so many of them still in Jordan and in refugee camps in Lebanon and in Turkey, that if you could create the climate within which they could begin to come back, I believe there is such a history of secularism within Syria, even tolerance within Syria, that if we can deal with ISIL, yes. That's the key. And with ISIL there, not a chance.
[Isaiah] Berlin's observation is accurate enough, and applies at home as well, and even more harshly for the reasons already mentioned: the apparatchiks and commissars could at least plead fear in extenuation.
Isaiah Berlin described the intellectuals of [Mikhail] Bakunin's "Red bureaucracy" as a "secular priesthood.
There was a time, with the Berlin Wall down, that [it looked as if] the UN finally could do what it was set up to do, the rivalry between the two camps would dissipate, and we could all co-operate. And then, of course, Iraq came and blew it all apart. These upheavals will always take place in the world, and the design and construct of the UN ideally should be such that it can deal with these upheavals, and possibly influence them, and survive and thrive, but it doesn't work out that way, because as an organisation we are so dependent on the same member states.
Whereas the slums in Hamburg are the slums of its sailors, Berlin is a big slum.
As one looks back, one sees that the fall of the Berlin Wall opened the door to three developments - the Eurozone, which was crafted around German unification, the free movement of peoples within Europe, particularly people from the new democracies of Eastern Europe, and, more broadly, it opened the door to globalization.
Ironically, even the fashion in New York or Paris or Milan or whatever, or music in Berlin, or art in, I don't know, Madrid - all these scenes come and go. Everything leads back to Hollywood.
There was a moment when the Berlin Wall came down and some people felt, "Oh capitalism won. That's the ideology we can believe in now."
Photography today is accomplishing a lofty mission in which every German should collaborate by buying a camera. The German people is ahead of every other in the technical domain and, thanks to its exceptional qualities, the small camera has conquered the whole world... Much is at stake here from the point of view of popular consumer goods and, furthermore, photography has a particularly important political role to play. (Addressing the Berlin Photography Fair, 1933)
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