David Hasselhoff Quotes

I have a whole box full of pieces of the Berlin Wall and a heart made from the barbed wire of the Iron Curtain. It's - they're cherished treasures to me now, of course.

With each passing decade, history becomes less real for us, less immediate and essential to our way of life, and so, like 'green' nature, more of a commodity or an advertising gimmick.

My father loved to take us on historical vacations, and you should have seen the stares we received in East Berlin.

It is important never to forget our history, but parts of our history are more appropriately displayed in museums, not on government property.

Societies need heroes. So we travel to places where the revisionists cannot dismantle the great.

Hold those things that tell your history and protect them. During slavery, who was able to read or write or keep anything? The ability to have somebody to tell your story to is so important. It says: 'I was here. I may be sold tomorrow. But you know I was here.'

The English have always been greedy for news of times past, with that mixture of fatalism and melancholy which is part of the national character.

Preserving tradition has become a nice hobby, like stamp collecting.

Never, ever forget history.

The monuments of the nations are all protests against nothingness after death; so are statues and inscriptions; so is history.

I subscribe to William Faulkner's' view that history is not just about what we were before but who we are now.

Soon, nostalgia will be another name for Europe.

Everything in New York seems to merit preserving. If it's not historical, it's personal. If it's not personal, it's cultural. But you can't. You can't save everything. You just have to pack it up in your brain and take it with you when you go.

I am intrigued by inanimate objects. They're a piece of history, someone's statement and ideas of life.

Jewish history has been in my cultural DNA since I was a child growing up in post-war London. In the midst of that dark, gray, lamenting monochromatic world of the '50s, I had a sense that both Jewish and English history were full of color and light and animation.

Jazz in itself is not struggling. That is, the music itself is not struggling... It's the attitude that's in trouble. My plays insist that we should not forget or toss away our history.

Monuments are for the living, not the dead.

Any nation that forgets its past cannot have a future.

I know that collector types can be a pain in the neck and seem perpetually frozen in time - or at least in their parents' basement - but someone has to look out for the past, lest it slip away forever.

Part of my whole project from the beginning was to make an absent world present for my parents, which was India.

It's sad to see these old buildings go because they have so many memories, and it's a real personal kind of thing when you play these places. It's part of our history just gone.

I'm in a museum. I'm a relic.

For me, history is always personal. And it's how your personal history interacts with the history of your time. I'm very attracted to characters who were cursed, as the Chinese say, to live in interesting times.

The Greeks, the Italians, and the Indians, from whom we get our ideas, erect monuments to ideas; we erect ours to men, and of such monuments we have an oversupply.

The Louvre for me is a wonderful experience. Because it continues; it didn't get cut off. It was actually a continuous involvement all the way, and a lot of people have come and gone, come and gone; but I'm still here.