Über Akzeptanz

Jesse: „You either run from things or you face them, Mr. White.“
Walter: „Now what exactly does that mean?“
Jesse: „I learned it in rehab. It’s all about accepting who you really are. I accept who I am.“
Walter: „And who are you?“
Jesse: „I’m the bad guy.“

„Breaking Bad“ („No Más“, Episode 1, Season 3), Jesse Pinkman & Walter White.

Über Neal Young

„Neil Young. Ein grummelnder Holzhacker. Musik wie ein schweres Baumwollhemd. Die Axt, die am Wald vorbeigetragen wird. Voller bester Übellaune am Feuer das Steak wenden. Fast etwas Fränkisches an ihm. […]

Er spuckt einem vor die Füße, zu Recht, seine Musik, die keine sein will. „Drifitin‘ Back“, das mit 28 Minuten längste Stück, das Neil Young jemals aufgenommen hat, schubst die Probenraumgitarre in die Boxen und läßt sie – unfrisiert, ungeflickt – wabern, schleichen, kreisen, schlieren, über einem schlurfenden, humpelnden, hingewurschtelten Rhythmus, der sich stolpernd als solcher verachtet und in seiner lächelnden Faulheit ganz okay einrichtet.

Ein Wort zur Hopp-hopp-Gesellschaft. Jede verquietschte Solonote haucht.“

Jürgen Roth in: „Vielleicht Hunsrück“ (2020), S. 374/75

Über Drum & Bass in den frühen 1950s

„In the early [19]50s bass players would’ve been used to not being amplified. They would be very good at getting a lot of sound out of an acoustic bass. They might put themselves in a corner so they might get more bass out of it. They’d find all sorts of clever ways of getting more bass. Drummers would be really clever at playing quietly, they might be really good with brushes or they might be great swing drummers, who had a light touch but could play quietly but still in an exciting way. I think a lot of their skills possibly have been lost because people now have everything amplified. […] Particular for bass, there is no reason for guys to play loud anymore, they just plug in.”

Lincoln Grounds, Chief Engineer in: Recording, ‚50s Style by sound on sound magazine, 2017

Über Künstler zweiter Reihe

„Gelernt wird am besten von Künstlern der zweiten Reihe, weil sie oft brillante Techniker sind und Handwerk das Einzige ist, was tatsächlich erlernbar ist. Die Genies machen mitunter haarsträubende Fehler, die aber von der Einzigartigkeit ihres Charakters vollends aufgewogen werden.

Martin Mosebach in: „Aggressionen sind mir lieber als Langeweile“ (SZ Magazin Nr. 9 / 2021, S. 14)

Über Happiness

„Happiness is bullshit. It’s the great myth of the late 20th century. You think Picasso was happy? You think Hemingway was? Hendrix? They were miserable shits. No art worth a damn was ever created out of happiness, I can tell you that much. Ambition, narcissism, sex, rage. Those are the engines that drive every great artist, every great man. A hole that can’t be filled. That’s why we’re all such miserabel assholes.“

(from the movie „Kodachrome“, 2018)

Über Zuversicht

„I won’t let you down, I will not give you up,
Gotta have some faith in the sound,
It’s the one thing that I’ve got,
I won’t let you down, so please don’t give me up,
Because I would really, really love to stick around, oh yeah.

Heaven knows I was just a young boy,
Didn’t know what I wanted to be, […]
But today the way I play the game is not the same, no way,
Think I’m gonna make myself happy. […]

I won’t let you down, I will not give you up,
Gotta have some faith in the sound,
It’s the one thing that I’ve got,
I won’t let you down, so please don’t give me up,
Because I would really, really love to stick around, oh yeah. […]“

(George Michael: „Freedom! ’90“, 1990)