A Quote by Pierre Berge

I met Andy Warhol in the '60s, a wonderful time, with wonderful people. There was Fred Hughes, and Jed Johnson, who I liked a lot. Jed Johnson decorated my apartment in New York, at the Pierre. It was his first job.
I liked blues from the time my mother used to take me to church. I started to listen to gospel music, so I liked that. But I had an aunt at that time, my mother's aunt, who bought records by people like Lonnie Johnson, Robert Johnson, Blind Lemon Jefferson and a few others.
I liked blues from the time my mother used to take me to church. I started to listen to gospel music, so I liked that. But I had an aunt at that time, my mother's aunt who bought records by people like Lonnie Johnson, Robert Johnson, Blind Lemon Jefferson, and a few others.
I had, in college, a professor called Walter Jackson Bate, and he taught a course called The Age of Johnson. It's about Samuel Johnson and his period, 18th-century British writing. So we all got to endure Samuel Johnson, and Boswell's 'Life of Johnson' is now my favorite book. I read it all the time I can; it's great for going to sleep.
Lyndon Johnson (with Abraham Lincoln close behind). Johnson was able to get things done, to read other people, and to adjust his own approach accordingly. One of the reasons he has so fascinated biographer Robert Caro over the years is Johnson's consummate skill in acquiring and using influence.
I believe that Ryan Murphy is a genius. His instincts remind me of Andy Warhol. I recently went to the Warhol museum in Pittsburgh, and you can see a lot of echoes of Andy in Ryan's work. Like Andy, Ryan's finger is so on the pulse of culture that he's ahead of culture. Their aesthetic and their vision of the world are very similar.
I believe that Ryan Murphy is a genius. His instincts remind me of Andy Warhol. I recently went to the Warhol museum in Pittsburgh, and you can see a lot of echoes of Andy in Ryan’s work. Like Andy, Ryan’s finger is so on the pulse of culture that he’s ahead of culture. Their aesthetic and their vision of the world are very similar.
What I did suffer when I was young was because I was sort of a hick coming into New York City. I was made fun of by a lot of the Factory people. Even Andy Warhol thought I was a hick.
Whenever people say, 'You should be president,' I say, 'I thought you liked me.' Listen, I thought being mayor of Stamford was a wonderful job. Being governor of a state for a period of time is a wonderful job, and I'm not sure I'm at all attracted to Washington.
They were all wonderful [on Andy Griffith Show], but I enjoyed Andy and Don and Ron the most. Ron played little Opie so well. He really took acting seriously and worked hard to deliver his lines well. Andy was always fun and liked to tease. Don was nothing like Barney. Don was very quiet, which shows what a good actor he was.
All I want is to become someone new. In this case, Tobias Johnson, son of Evelyn Johnson. Tobias Johnson may have lived a dull and empty life, but he is at least a whole person, not this fragment of a person that I am, too damaged by pain to become anything useful.
There was an exchange between me and Andy Warhol. We met, we liked each other, we appreciated each other. He would come to us for Easter in Marrakech. In September we would meet up in Venice. And every time I went to New York I would spend some time with him at the Factory, where we would have dinner together. He's a man that I admired deeply. He shook up the notion of painting - not as much as Marcel Duchamp had done, but he was part of the same general movement. And then we both admired art deco.
I first came on the scene during the Johnson years and that crowd was out all the time enjoying themselves. Nixon wasn't particularly social but a lot of the people in his administration were.
25 years ago, when I started in New York, I had the pleasure to cook for Andy Warhol. At the time, I could have traded art for food - I should have done so, because I could get his work for nothing!
My guitar heroes are Eric Clapton and Jeff Beck and people like that - so I've tried to make an album of Robert Johnson covers that, well, while not totally faithful for blues purists, is faithful for people like me that grew up with the '60s and the electric blues-rock versions of Johnson's songs.
The comparison between Coleridge and Johnson is obvious in so far as each held sway chiefly by the power of his tongue. The difference between their methods is so marked that it is tempting, but also unnecessary, to judge one to be inferior to the other. Johnson was robust, combative, and concrete; Coleridge was the opposite. The contrast was perhaps in his mind when he said of Johnson: "his bow-wow manner must have had a good deal to do with the effect produced.
I'd love to work with Jed Whedon on 'S.H.I.E.L.D.'
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