“it's true what they sang in that song, that video killed the radio star-how in the long war between the senses, the eye, in its unstoppable scorched-earth campaign, has mobilized a kind of technologi­cal Gresham's Law against radio, and has almost entirely sidelined it;”

“...but what is vibrato if not a breaking down of the rigid divisions between pitches, a temporary ending of our sundered musical segmentation; we evoke the deepest and richest of our feelings by bending tones between the line spectrum of the Western scale, by ending its divisiveness; we locate what is most human in between, where we are no longer quantized, constrained...”

“I mean, Ken has a policy of never taking even a one-granule snort when he's doing a show, and, though he's never said anything, it's assumed he expects the same from us; but there it is, God's terrestrial goodness, in exceedingly admirable quantity, and all of us just start giggling because, well, we just can't believe it... ; and we're all just standing there with our brains salivating, and then Kenny, y'know, while kind of looking down at the ground, Kenny hauls off and says:-Aw, what th' fuck ... ; it's our last week, i'n' it...? and he heads to the table in the corner and sits down;”

“The man holding me had a pistol in his other hand; I saw it in the comer of my eye just before I felt its cold hardness crunch into my temple; pressed against my face, the pistol was hard in a way that seemed absolute, bone-smashing, beyond argument, and cold in a way that seemed perfect and permanent;”

“or is that too straightforward a statement, have I been insuffi­ciently artful in encoding my sentiments...in camouflaging them for esthetic effect. well, too fucking bad...my life has convinced me of few things, but the absoluteness of the negative is one of them... light bends, it diffracts, it scatters, but darkness fucking endures... it is what remains when the strayed-in rays and scintillas have long disappeared... it is the fundament, the ground... and I am one who can tell you this: behold my black body..”

“...and the smells, you know, the smells- I mean, if only our customers knew; they haven't got a clue about the greatness of these things when they buy them the next morning; you see, when the muffins come down the conveyor belt, and they're thrown from their pockets in the rack pans as the belt turns down-well, this paddlewheel action, if you're standing right there, flings this absolutely amazing hot aroma right into your face-from the Oat Brans, from the Banana-Rhubarbs, especially from the Double Double Chocolates; and then the muffins themselves are so warm and nice-shaped, like these great little trumpet mutes of cake like texture, and you're feeling this kind of glistening inside your cheeks, this liquidy glowing, and you're thinking that these muffins would, you know, just fit so well right in your fist, where you could take them and shove them sugar-warm right into your face-just fill up your mouth and chew and chomp, densely, sweet-texturedly, liquidly ... ; and then, you know, while you're sweet-chomping, it would be like you could smell them with your entire mouth, with your entire sinuses, with your pores...; but all this is gone by the time the muffins are distributed to the delis and diners in the morning, all dead and cold and dry; in fact, no one out there even has the beginning of a clue how good this shit is;”

“...And all the while, accompanying my every step, The Photographer is sounding in my head, purling incessantly through my clamped-on Walkman; it's a good piece, Glass's homage to Muybridge, minimalism used to maximal effect: with its repeating rhythms, endlessly rechurning, the music resembles a wave that doesn't move, a standing wave; that's what you listen to, the change and unchange of the wave, not any emergent melody: listening not above, but within;”