Diana Passy

“I attempt all day, at work, not to think about what lies ahead, but this costs me so much effort that there is nothing left for my work. I handle telephone calls so badly that after a while the switchboard operator refuses to connect me. So I had better say to myself, Go ahead and polish the silverware beautifully, then lay it out ready on the sideboard and be done with it. Because I polish it in my mind all day long—this is what torments me (and doesn't clean the silver).”
― Lydia Davis, The Collected Stories of Lydia Davis

“If the early English and LA punk bands shared a common sound, the New York bands just shared the same clubs. As such, while the English scene never became known as the '100 Club' sound, CBGBs was the solitary common component in the New York bands' development, transcended once they had outgrown the need to play the club. Even their supposed musical heritage was not exactly common -- the Ramones preferring the Dolls/Stooges to Television's Velvets/Coltrane to Blondie's Stones/Brit-Rock. Though the scene had been built up as a single movement, when commercial implications began to sink in, the differences that separated the bands became far more important than the similarities which had previously bound them together.
In the two years following the summer 1975 festival, CBGBs had become something of an ideological battleground, if not between the bands then between their critical proponents. The divisions between a dozen bands, all playing the same club, all suffering the same hardships, all sharing the same love of certain central bands in the history of rock & roll, should not have been that great. But the small scene very quickly partitioned into art-rockers and exponents of a pure let's-rock aesthetic.”
― Clinton Heylin, From the Velvets to the Voidoids: A Pre-Punk History for a Post-Punk World

“Os chapéus também servem para isso, para esconder o cabelo. Não só quando se trata de um penteado feio, porque o melhor é esconder o cabelo sempre, até com penteados que dizem ser bonitos. O cabelo é uma parte morta do corpo. Por exemplo: quando você corta o cabelo, não dói. E, se não dói, é porque está morto. Quando alguém o puxa sim que dói, mas o que dói não é o cabelo, mas o couro cabeludo da cabeça. Pesquisei isso nas pesquisas livres com Mazatzin. O cabelo é como um cadáver que você traz em cima da cabeça enquanto está vivo. Além do mais é um cadáver fulminante, que cresce sem parar, o que é muito sórdido. Talvez quando você se converte em cadáver o cabelo já não seja sórdido, mas antes sim. Isso é o melhor dos hipopótamos anões da Libéria, que eles são calvos.”
― Juan Pablo Villalobos, Festa no Covil

“The 46-year-old recipient of the Jarvik IX Exterior Artificial Heart was actively window shopping in Cambridge, Massachusetts’ fashionable Har­vard Square when a transvestite purse snatcher, a drug addict with a crimi­nal record all too well known to public officials, bizarrely outfitted in a strapless cocktail dress, spike heels, tattered feather boa, and auburn wig, brutally tore the life sustaining purse from the woman’s unwitting grasp.
The active, alert woman gave chase to the purse snatching ‘woman’ for as long as she could, plaintively shouting to passers by the words ‘Stop her! She stole my heart!’ on the fashionable sidewalk crowded with shop­pers, reportedly shouting repeatedly, ‘She stole my heart, stop her!’ In response to her plaintive calls, tragically, misunderstanding shoppers and passers by merely shook their heads at one another, smiling knowingly at what they ignorantly presumed to be yet another alternative lifestyle’s re­lationship gone sour. A duo of Cambridge, Massachusetts, patrolmen, whose names are being withheld from Moment’s dogged queries, were publicly heard to passively quip, ‘Happens all the time,’ as the victimized woman staggered frantically past in the wake of the fleet transvestite, shouting for help for her stolen heart.”
― David Foster Wallace, Infinite Jest