The high contrast black and white emphasizes the play of light on the landscape and his face, which goes along with his vivid descriptions of the city.

He represents New York because he discusses the city as though he is in a personal relationship with it, as if it were a living being that can be angry with him or pleasant to him. He is able to see past the drudgery of everyday life and find beauty in the simple play of light in the city.

He uses similar language to discuss the various landmarks on the tour as he uses to describe his relationship to the city in an attempt to convey his passion to those on the tour.

New York, as any organism, must grow or it will die. But this grown necessitates a constant restructuring of  its physical manifestation, leading to cycles of destruction and creation for the urban landscape and the inhabitants.

Cruising is his definition of how to enjoy life. One meanders and observes the confusing and undulating city before them with great awe and wonder, not concerned with the actual intent, but rather what is. The grid is both the subject of observation and a limiter to the cruise, as most of New York rests on the skeletal framework of grid roads, but he feels New York could do without the grid and be much more alive.

Memory and storytelling are understood when he addresses the tour bus occupants. He uses anecdotes of famous inhabitants of the surrounding blocks to instill wonder in his listeners, give them a sense that things happened right where they are. By telling stories so directly, they almost seem like recent happenings rather than distant historical events. He talks about George Washington's visit to a church after the first inauguration as if it had happened last week.

He moans about terracotta facing on a building, orgasms at the reflected light, embraces the piers of the Brooklyn Bridge as an impassioned lover, and notes the phallic structure of the Empire State Building. This erotic interaction with architecture is stronger than anything they are teaching us here. They tell us to think about architecture in school, when we really must learn to feel. All school has done so far is numb, I hardly note the passing of weeks and even physical pain is no longer as sharp as it once was. I am in a constant out of body experience, with the world only snapping back into focus for brief moments during a clear morning or in a dirty subway making a temporary journey home in a vain attempt to scoop up the bits I lost on my way to New York.