Phil Ochs, from the liner notes of The Broadside Tapes:When they show the destruction of society on color TV, I want to be able to look out over Los Angeles and make sure they get it right.
Leaving America is like losing twenty pounds and finding a new girlfriend.
A protest song is a song that's so specific that you cannot mistake it for bullshit.
And if there's any home for America, it lies in a revolution, and if there's any hope for a revolution in America, it lies in getting Elvis Presley to become Che Guevara.
The final story, the final chapter of western man, I believe, lies in Los Angeles.
"I teach horizontally, meaning that while I might begin with a fixed idea of what I'm going to teach that day, I let it drift rhizomatically way off topic, often pulling it back when it gets too far. I rely on non-fixed materials to teach this way; the whole world is at my fingertips. Should I go off on a tangent about John and Rauschenberg and their love relationship as expressed in Rauschenberg's bed, an image of that bed is always a click away. From there, we can head anywhere into the non-fixed universe, be it film, text or sound. And of course, that always takes us elsewhere. As Cage says, 'We are getting nowhere fast.'" 
that anyone has yet got the imaginative measure of that terrifying day six years ago. Certainly our Tolstoy has not crawled out of the rubble. The closest we have, Don DeLillo, succeeded as an essayist-journalist ("In the Ruins of the Future: Reflections on Terror and Loss in the Shadow of September,” Harper’s, December 2001) but, to my mind, failed as a novelist ("Falling Man"). One reason, perhaps, is that the remembered emotion was instantly buried under a pile of cultural junk.' - Tod Gitlin in his review of Susan Faludi's The Terror Dream (written for 
