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1 " Hey - Duggie! Duggie! Duggie!" He came running up to me, sparkler in hand. I felt like sticking one on him, the cheeky bastard. Nobody called me Duggie.He held the sparkler up in front of my face and said, " Wait. Wait." I was already waiting. What else was there to do?" Here you are," he said. " Look! What's this?" At that precise moment, his sparkler fizzled out. I didn't say anything, so he supplied the answer himself. " The death of the socialist dream," he said.He giggled like a little maniac, and stared at me for a second or two before running off, and in that time I saw exactly the same thing I'd seen in Stubbs's eyes the day before. The same triumphalism, the same excitement, not because something new was being created, but because something was being destroyed. I thought about Phillip and his stupid rock symphony and I swear that my eyes pricked with tears. This ludicrous attempt to squeeze the history of the countless millennia into half an hour's worth of crappy riffs and chord changes suddenly seemed no more Quixotic than all the things my dad and his colleagues had been working towards for so long. A national health service, free to everyone who needed it. Redistribution of wealth through taxation. Equality of opportunity. Beautiful ideas, Dad, noble aspirations, just as there was the kernel of something beautiful in Philip's musical hodge-podge. But it was never going to happen. If there had ever been a time when it might have happened, that time was slipping away. The moment had passed. Goodbye to all that.Easy to be clever with hindsight, I know, but I was right, wasn't I? Look back on that night from the perspective of now, the closing weeks of the closing century of our second millennium - if the calendar of some esoteric and fast-disappearing religious sect counts for anything any more - and you have to admit that I was right. And so was Benjamin's brother, the little bastard, with his sparkler and his horrible grin and that nasty gleam of incipient victory in his twelve-year-old eyes. Goodbye to all that, he was saying. He'd worked it out already. He knew what the future held in store. "
2 " Sometimes guitar riffs get repeated over and over (" vamping," in the lingo of musicians), but generally there is a soloist proving variation that runs above that background, lest the song sound monotonous. Philip Glass's minimalist compositions (such as the soundtrack to 'Koyaanisqatsi') deviate from much of the classical music that preceded them, with much less obvious movement than, say, the Romantic-era compositions that his work seems to rebel against, yet his works, too, consist not only of extensive repetition but also of constant (though subtle) variation. Virtually every song you've ever heard consists of exactly that: themes that recur over and over, overlaid with variations. "
3 " God is not looking for incredibly high notes, intricate riffs or award winning ad-libbing. God is looking at the heart. "
― Temi Peters , Instruments of Praise & Acts of Worship
4 " Something amazing happens when the rest of the world is sleeping. I am glued to my chair. I forget that I ever wanted to do anything but write. The crowded city, the crowded apartment, and the crowded calendar suddenly seem spacious. Three or four hours pass in a moment; I have no idea what time it is, because I never check the clock. If I chose to listen, I could hear the swish of taxis bound for downtown bars or the soft saxophone riffs that drift from a neighbor's window, but nothing gets through. I am suspended in a sensory deprivation tank, and the very lack of sensation is delicious. "
― Anne Fadiman , At Large and at Small: Familiar Essays
5 " Reverend Don Marxhausen disagreed with all the riffs on Satan. He saw two boys with hate in their eyes and assault weapons in their hands. He saw a society that needed to figure out how and why - fast. Blaming Satan was just letting them off easy, he felt, and copping out on our responsibility to investigate. The " end of days" fantasy was even more infuriating. "
6 " The nineteenth century, especially the second half of it, was a time of restatement in Ireland. After the famine, after the failed rebellions of the Forties and Sixties, the cultural and political desires for self-determination began to shape each other in a series of riffs on independence and identity. "
7 " I think the best riffs and the best songs come when you're jamming and having a good time. "
8 " I'm always working on new songs. With the technology these days, any idiot can record on Pro Tools on your laptop. All you have to do is plug a microphone into the input jack and anybody can have their own recording studio. So I'm always down in my basement, singing along to riffs or whoever I'm collaborating with. "