"[W]hen T. S. Eliot, in 1921, first heard Stravinsky’s The Rite of Spring, he wrote that the music seemed to 'transform the rhythm of the steppes into the scream of the motor-horn, the rattle of machinery, the grind of wheels, the beating of iron and steel, the roar of the underground railway, and the other barbaric noises of modern life.' In other words, the most up-to-date factory noises were audible within an evocation of pagan Russia: the australopithecine and the man with the jackhammer inhabit exactly the same acoustic space, make the same sort of cry. Twentieth-century music is full of convergences of opposites . . ."
"In June, 1907, Pablo Picasso's (1881–1973) Les Demoiselles d'Avignon caused outrage when it was exhibited in Paris as part of the first Cubist exhibition: Art was never the same again. T. S. Eliot's (1888–1965) The Waste Land caused outrage when it was published in October, 1922: Poetry was never the same again. On February 2nd of that same year, James Joyce's (1882–1941) Ulysses caused such outrage when it appeared in Paris that the author could not find an English publisher: The novel was never the same again. It is difficult to imagine a ballet causing this kind of scandal. However, when Igor Stravinsky's [1882–1971] music for Sergei Diaghilev's (1872–1929) The Rite of Spring first reached the ears of the public on May 29, 1913, there were riots on the streets of Paris: Music was never the same again."