I'm just trying to understand why David Crosby liked it.

I'm only seeing this because I follow David Crosby and he liked this:

This has been the news, from Samuel Beckett. https://t.co/RWyz5vcrGI

— Eric Rauchway (@rauchway) February 23, 2019

I can't not look at a tweet involving David Crosby, Dan Rather, and Samuel Beckett. But let me get back to my reading....

Emptiness, silence, heat, whiteness, wait, the light goes down, all grows dark together, ground, wall, vault, bodies, say twenty seconds, all the greys, the light goes out, all vanishes. At the same time the temperature goes down, to reach its minimum, say freezing-point, at the same instant that the black is reached, which may seem strange. Wait, more or less long, light and heat come back, all grows white and hot together, ground, wall, vault, bodies, say twenty seconds, all the greys, till the initial level is reached whence the fall began. More or less long, for there may intervene, experience shows, between end of fall and beginning of rise, pauses of varying length, from the fraction of the second to what would have seemed, in other times, other places, an eternity. Same remark for the other pause, between end of rise and beginning of fall. The extremes, as long as they last, are perfectly stable, which in the case of the temperature may seem strange, in the beginning. It is possible too, experience shows, for rise and fall to stop short at any point and mark a pause, more or less long, before resuming, or reversing, the rise now fall, the fall rise, these in their turn to be completed, or to stop short and mark a pause, more or less long, before resuming, or again reversing, and so on, till finally one or the other extreme is reached. Such variations of rise and fall, combining in countless rhythms, commonly attend the passage from white and heat to black and cold, and vice versa.

That's from "Imagination Dead Imagine," which you can read along with me in "I Can't Go On, I'll Go On: A Samuel Beckett Reader" (pp. 551-552). I remember seeing that in the theater in NY in 1984. From the NYT review:

On tape, we hear the resonant voice of Ruth Nelson offering a precise and lyrical reading of the text, with its futuristic tale of a man and woman confined in a white rotunda. In the background, we hear a delicate overlay of John Lennon's ''Imagine.'' At the same time, a beam of light falls on a catafalque and the intricate design on the exterior changes color and texture as we watch it - from gold to bright white, from sandstone to marble. Faces and objects seem to appear on the surface. Atop the catafalque floats a holographic image of a prone ''woman-child,'' played by Clove Galilee. She rotates and swims as if she were a mermaid in a miniature fishtank. Light, voice, hologram and music play against one another in undulating patterns.....