Quotes About City

I believe that George Washington knew the City of Man cannot survive without the City of God; that the Visible City will perish without the Invisible City.

New York remains what it has always been : a city of ebb and flow, a city of constant shifts of population and economics, a city of virtually no rest. It is harsh, dirty, and dangerous, it is whimsical and fanciful, it is beautiful and soaring - it is not one or another of these things but all of them, all at once, and to fail to accept this paradox is to deny the reality of city existence.

Since its founding, Detroit has been a place of perpetual flames. Three times the city has suffered race riots and three times the city has burned to the ground. The city's flag acknowledges as much. Speramus Meliora; Resurget Cineribus: We hope for better things; it shall rise from the ashes.

King Croesus, watching Persian soldiers sack [his capital city], is supposed to have asked the Persian King Cyrus, 'What is it that all those men of yours are so intent upon doing?' 'They are plundering your city and carrying off your treasures,' Cyrus replied. 'Not my city or my treasures,' Croesus corrected him. 'Nothing there any longer belongs to me. It is you they are robbing.'

The city of cats and the city of men exist one inside the other, but they are not the same city.

When I choose the picture of the cover of the book 'Instant City: Life and Death in Karachi', I thought, gosh, many people in Karachi may not like this image; I'm representing the city as a burning bus. But to the contrary, they loved it, because that is people's understanding of their own city, of going on with life no matter what.

The city was asleep on its right side and shaking with violent nightmares. Long puffs of snoring came out of the chimneys. Its feet were sticking out because the clouds did not cover it altogether. There was a hole in them and the white feathers were falling out. The city had untied all its bridges like so many buttons to feel at ease. Wherever there was a lamplight the city scratched itself until it went out.

I belong to the Kingdom of God, that's my Country! I'm from Space City, that's my City! I'm from the City that hath foundations, whose Builder and Maker is God!

I certainly was surprised to be named Poet Laureate of this far-out city on the left side of the world, and I gratefully accept, for as I told the Mayor, "How could I refuse?" I'd rather be Poet Laureate of San Francisco than anywhere because this city has always been a poetic center, a frontier for free poetic life, with perhaps more poets and more poetry readers than any city in the world.

I am my city. Nobody from my city wants to hear about my city.

Cities originally surrounded by a wall can produce an urban population cut off from the surrounding fields and from agriculture altogether. At the same time, the greenbelt laws eliminate the possibility of the unchecked expansion of a city into a monstrous megalopolis. If there is a need for additional homes, a new city must be established.

Venice is not only a city of fantasy and freedom. It is also a city of joy and pleasure.

I think Sin City is a good example. Nobody would accuse Sin City of being historically inaccurate because it takes place in modern times.

The beautiful came to this city [Hollywood] in huge pathetic herds, to suffer, to be humiliated, to see the powerful currency of their beauty devalued like the Russian ruble or Argentine peso;to work as bellhops, as bar hostesses, as garbage collectors, as maids. The city was a cliff and they were its stampeding lemmings. At the foot of the cliff was the valley of the broken dolls.

How soon country people forget. When they fall in love with a city it is forever, and it is like forever. As though there never was a time when they didn't love it. The minute they arrive at the train station or get off the ferry and glimpse the wide streets and the wasteful lamps lighting them, they know they are born for it. There, in a city, they are not so much new as themselves: their stronger, riskier selves.

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'm not nostalgic about the old city. I don't enjoy it that much. It was just a city with one emperor and the rest of them just rats or meaningless people.

My ideal city is more like the city (New York and Paris come to mind, but it sort of applies to all) that existed up to and including the 1930s, when different classes lived all together in the same neighborhoods, and most businesses of any sort were mom-and-pop, and people and things had a local identity.

New York city is full of great spaces. The best spaces of the world are here. This is the new Europe, where the settlers came and busted out their ideas and put it down so there's nothing but great space in this great city.

Eventually, I decided that if I was going to really write a novel, I couldn't do it in New York City while holding down a job. You need a constant money source to live in New York City unless you're independently wealthy, which I'm not.

The most important part of a city is its people. In fact, people for me are like little cities. When you meet someone, it's like you've found a new city to explore. You take a tram, visit the museums and operas and cafes.

Touring is very grueling. It's very taxing on the body and living out of your suitcase, going from city to city, night after night. It's a tough job.

I think everyone should live in New York City if they ever get the chance at least once in their life. It's such a great place to live; there's a different energy about living in the city.

I've always seen myself as one of those 'show people.' My earliest memories are wanting and needing to entertain people, like a gypsy traveler who goes from place to place, city to city, performing for audiences and reaching people.

A city without books, a city without a library is like a graveyard.

I think this kind of bohemianism doesn't really exist in the New York city anymore - the bohemianism that I was trying to record in Carnegie Hall that completely defined our culture. The people who lived and worked in Carnegie Hall studios, they defined our culture in music, dance, theater, fashion, illustration. It wasn't so much nostalgic as a celebration of that and an acknowledgment of that and saying that it's really important. And it's actually something that is a loss for the city, I think.

Whenever I go to a new city, in order to help get on the right time zone and actually get a chance to see that city, I like running.

Mortal City was really influenced by geography. [The song] "The Ocean" is the Pacific Northwest. Southern California and New York also figure into songs, and Iowa. "February" is very much about New England. "Mortal City" is Philadelphia. The whole album is this anthropomorphized landscape where the metaphors live in this geography.

I found Bombay and opium, the drug and the city, the city of opium and the drug Bombay

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.

Ever since ROME, OPEN CITY, I have maintained a conscious, determined endeavor to try to understand the world in which I live, in a spirit of humility and respect for the facts and for history. What as the meaning of ROME, OPEN CITY? We were emerging from the tragedy of the war. We had all taken part in it, for we were all its victims. I sought only to picture the essence of things. I had absolutely no interest in telling a romanticized tale along the usual lives of film drama. The actual facts were each more dramatic than any screen cliche.

The only sustainable city - and this, to me, is the indispensable ideal and goal - is a city in balance with its countryside.

It's basically a city of songwriters and that's what gives it it's strength, that's what gives it its lasting ability. You've got people making all different kinds of music and that's what attracts me to Nashville as Music City.

It is the Late city that first defies the land, contradicts Nature in the lines of its silhouette, denies all Nature. It wants to be something different from and higher than Nature. These high-pitched gables, these Baroque cupolas, spires, and pinnacles, neither are, nor desire to be, related with anything in Nature. And then begins the gigantic megalopolis, the city-as-world, which suffers nothing beside itself and sets about annihilating the country picture.

The British bombed German cities [during World War II] to keep the workers awake at night. So instead of dropping one bomb, we sent a thousand planes and, yes, we took out the factory sometimes, but we also took out the city. It reached the point where we wanted more efficient ways to destroy a city. The result was nuclear weapons.

For the masses who do the city's labor also keep the city's heart.

The city's contradictions and frailties drive me to the church. The church, in turn, binds my wounds and soothes my troubled heart, and sends me right back out into the city again.

The City that God is building for you and me, not even death can pass its gates! God's City of Tomorrow, His garden of the gods, will have no pain nor death nor sorrow!

If Paris is a city of lights, Sydney is the city of fireworks.

A city is composed of different kinds of men; similar people cannot bring a city into existence.

Without individuals feeling safe and having an environment of safety, they then have reluctance of taking part in the city of being active. They wind up wanting to leave the city. Thats more detrimental.

My favorites are Stevie Wonder and Marvin Gaye, but those are a little off in terms of getting Detroit right on the head. But of course, you know, "Dancing In The Streets." You can't forget the Motor City. And we can't forget the Motor City.

Butte was once a grand city. To me, that city is like one big stage for Edward Hopper. You could put your camera anywhere, and you felt you were looking at his paintings.

Downtown Cairo is at the center of the city, it is a place that has to be shared between different classes. It's a place where you see the bigger picture of the city's social fabric. It's also a place where you see all the contradictions of having all these layers, classes, and differences at the same time. And this is also where they clash, and where they negotiate. They negotiate their demands, their tastes, the lifestyles they want to have. So it's a very interesting space. I think that Downtown has maintained that identity before, during, and after the revolution.

My belief, for what it is worth, is that city dwellers cannot understand the world. Insulated from reality by complex and expert systems of provision and police, baffled by fashion and spectacle, city dwellers can distinguish neither the sources of their existence nor the consequences.

LA isn’t a walking city, or a subway city, so if someone isn’t in my house or my car we’ll never be together, not even for a moment. And just to be absolutely sure of that, when I leave my car my iPhone escorts me, letting everyone else in the post office know that I’m not really with them, I’m with my own people, who are so hilarious that I can’t help smiling to myself as I text them back.

However, the moral center of New York City, I believe, is the New York City Ballet.

There may have been somewhere, as a few eighteenth-century philosophers dreamed, a group of peaceful men who got together one evening after work and drew up a Social Contract to form the state. But nobody has been able to find an actual record of it. Practically all the governments whose origins are historically established were the result of conquest-of one tribe by another, one city by another, one people by another. Of course there have been constitutional conventions, but they merely changed the working rules of governments already in being.