Impulse, subjectivity and profanation, the old adversaries of materialistic alienation, now succumb to it. ... The representatives of the opposition to the authoritarian schema become witnesses to the authority of commercial success. ... In the service of success they renounce that insubordinate character which was theirs.

Music for entertainment ... seems to complement the reduction of people to silence, the dying out of speech as expression, the inability to communicate at all. It inhabits the pockets of silence that develop between people molded by anxiety, work and undemanding docility.

We are really no longer ourselves a part of nature at the moment when we notice, when we recognize, that we are a part of nature.

In America I was liberated from a certain naïve belief in culture and attained the capacity to see culture from the outside. To clarify the point: in spite of all social criticism and all consciousness of the primacy of economic factors, the fundamental importance of the mind-"Geist"-was quasi a dogma self-evident to me from the very beginning. The fact that this was not a foregone conclusion, I learned in America, where no reverential silence in the presence of everything intellectual prevailed.

In organized groups such as the army or the Church there is either no mention of love whatsoever between the members, or it is expressed only in a sublimated and indirect way, through the mediation of some religious imagine in the love of whom the members unite and whose all-embracing love they are supposed to imitate in their attitude towards each other. ... It is one of the basic tenets of fascist leadership to keep primary libidinal energy on an unconscious level so as to divert its manifestations in a way suitable to political ends.

Advancing bourgeois society liquidates memory, time, recollection as irrational leftovers of the past.

If one is to take Lulu's twelve-tone chord as the integral totality of complementary harmony, then Berg's allegorical genius proves itself within a historical perspective which makes the brain reel: just as Lulu in the world of total illusion longs for nothing but her murderer and finally finds him in that sound, so does all harmony of unrequited happiness long for its fatal chord as the cipher of fulfillment - twelve-tone music is not to be separated from dissonance. Fatal: because all dynamics come to a standstill within it without finding release. The law of complementary harmony already implies the end of the musical experience of time, as this was heralded in the dissociation of time according to Expressionistic extremes.

The aim of jazz is the mechanical reproduction of a regressive moment, a castration symbolism. 'Give up your masculinity, let yourself be castrated,' the eunuchlike sound of the jazz band both mocks and proclaims, 'and you will be rewarded, accepted into a fraternity which shares the mystery of impotence with you, a mystery revealed at the moment of the initiation rite.

Jazz is the false liquidation of art - instead of utopia becoming reality it disappears from the picture.

When I made my theoretical model, I could not have guessed that people would try to realise it with Molotov cocktails.