Perhaps the safest thing to do at the outset, if technology permits, i — Lewis Thomas

"The need to make music, and to listen to it, is universally expressed by human beings. I cannot imagine, even in our most primitive times, the emergence of talented painters to make cave paintings without there having been, near at hand, equally creative people making song. It is, like speech, a dominant aspect of human biology."

"Statistically the probability of any one of us being here is so small that you would think the mere fact of existence would keep us all in a contented dazzlement of surprise. We are alive against the stupendous odds of genetics, infinitely outnumbered by all the alternates who might, except for luck, be in our places."

"We are endowed with genes which code out our reaction to beavers and otters, maybe our reaction to each other as well. We are stamped with stereotyped, unalterable patterns of response, ready to be released. And the behavior released in us, by such confrontations, is, essentially, a surprised affection. It is compulsory behavior and we can avoid it only by straining with the full power of our conscious minds, making up conscious excuses all the way. Left to ourselves, mechanistic and autonomic, we hanker for friends."

"I can think of a few microorganisms, possibly the tubercle bacillus, the syphilis spirochete, the malarial parasite, and a few others, that have a selective advantage in their ability to infect human beings, but there is nothing to be gained, in an evolutionary sense, by the capacity to cause illness or death. Pathogenicity may be something of a disadvantage for most microbes, carrying lethal risks far more frightening to them than to us. The man who catches a meningococcus is in considerably less danger for his life, even without chemotherapy, than meningococci with the bad luck to catch a man."

"I must mend the ways of my mind. This is a very big place, and I do not know how it works. I am a member of a fragile species, still new to the earth, the youngest creatures of any scale, here only a few moments as evolutionary time is measured, a juvenile species, a child of a species. We are only tentatively set in place, error prone, at risk of fumbling, in real danger at the moment of leaving behind only a thin layer of our fossils, radioactive at that."

"The future is too interesting and dangerous to be entrusted to any predictable, reliable agency. We need all the fallibility we can get. Most of all, we need to preserve the absolute unpredictability and total improbability of our connected minds. That way we can keep open all the options, as we have in the past."

"Under the shifting hegemony of now this, now that science or art, the Game of games had developed into a kind of universal language through which the players could express values and set these in relation to one another. Throughout its history the Game was closely allied with music, and usually proceeded according to musical and mathematical rules. One theme, two themes, or three themes were stated, elaborated, varied, and underwent a development quite similar to that of the theme in a Bach fugue or a concerto movement. A Game, for example, might start from a given astronomical configuration, or from the actual theme of a Bach fugue, or from a sentence out of Leibniz or the Upanishads, and from this theme, depending on the intentions and talents of the player, it could either further explore and elaborate the initial motif or else enrich its expressiveness by allusions to kindred concepts. Beginners learned how to establish parallels, by means of the Games symbols, between a piece of classical music and the formula for some law of nature. Experts and Masters of the Game freely wove the initial theme into unlimited combinations."

"When an orchestra of the Journeyers first publicly performed a suite from the time before Handel completely without crescendi and diminuendi, with the naïveté and chasteness of another age and world, some among the audience are said to have been totally uncomprehending, but others listened with fresh attention and had the impression that they were hearing music for the first time in their lives. In the Leagues concert hall between Bremgarten and Morbio, one member built a Bach organ as perfectly as Johann Sebastian Bach would have had it built had he had the means and opportunity."

"Hitherto he has found in Western music, in Bach above all, everything he needs. Now he encounters something that is not in Bach, though there are intimations of it: a joyous yielding of the reasoning, comprehending mind to the dance of the fingers. He hunts through record shops, and in one of them finds an LP of a sitar player named Ustad Vilayat Khan, with his brother — a younger brother, to judge from the picture — on a veena, and an unnamed tabla player. He does not have a gramophone of this own, but he is able to listen to the first ten minutes in the shop. It is all there: the hovering exploration of tone-sequences, the quivering emotion, the ecstatic rushes. He cannot believe his good fortune. A new continent and all for a mere nine shillings! He takes the record back to his room, packs it away between sleeves of cardboard till the day he will able to listen to it again. — Chapter 11, pages 93–4."

"Now, I should like to say something else to you about the connection with music, primarily that of Bach, i.e. the Fugue or, put more simply, the canon.. .It has a great deal in common with my own motifs, which I make turn on various axes too. Nowadays I have such a powerful sense of relationship, of affinity, that when I am listening to Bach I frequently get inspired and feel an overwhelming instinct for his insistent rhythm, a cadence seeking something of the infinite. In the Fugue everything is based on a single motif, often consisting of just a few notes. In my work, too, everything revolves around a single closed contour.."

"There is current in our land (and several European countries) at this moment a kind of nit-picking worship of historic im-po-tence. They say, they say, that Bach must not be interpreted and that he must have no emotion, his notes speak for themselves. You want know what that is? Pure unadulterated rot! Bach has the red blood. He has the communion with the people! He has all of this amazing spirit and imagine that you could put all the music on one side of the agenda with his great interpretation and great feeling and put the greatest man of all right up on top of a dusty shelf underneath some glass case in a museum and say that he must not be interpreted! Theyre full of you know what and they are so untalented that they had to hide behind this thing cause they couldnt get in the House of Music any other way!"

"Dr. Drew: What will you remember most about the 90s? Sebastian Bach: The album Grace by Jeff Buckley. Unless youve heard it, you wouldnt know why. Dr. Drew: Whats your favorite album for a night of steamy monkey love? Sebastian Bach: Jeff Buckleys Grace is the most romantic, sensual album Ive heard in my life."