Karl E. Stier

“One of the things that Ed loved so much about guitar was that suddenly, he had more control over his sound—he had more nuanced ways to express himself because he was now in charge of the strings themselves. “With a guitar you can bend or use vibrato to reach all those microtonal notes and those feelings that fall between the cracks on the piano,” is how Ed put it. “There’s a touch involved with the piano, but you’re not actually touching the strings. So there’s an agent between you and the strings—a middleman.” Ed could now enjoy an unmediated relationship with his instrument, and he made the most of that.”
― Alex Van Halen, Brothers: An Intimate Account of Brotherhood and Rock Music

“He didn’t back down in the face of William Lyt”
― Fredrik Backman, Us Against You

“When I think about Moe, I think about a line from a Leonard Cohen song: “There’s a crack in the world, that’s how the light gets in.” Moe represents a crack. By being in the world, he let some light in. People laughed at me because I made it look so easy.”
― Lorne Rubenstein, Moe and Me: Encounters with Moe Norman, Golf's Mysterious Genius

“Rather than domesticating animals for hides and meat, Indigenous communities created havens to attract elk, deer, bear, and other game. They burned the undergrowth in forests so that the young grasses and other ground cover that sprouted the following spring would entice greater numbers of herbivores and the predators that fed on them, which would sustain the people who ate them both. Mann describes these forests in 1491: “Rather than the thick, unbroken, monumental snarl of trees imagined by Thoreau, the great eastern forest was an ecological kaleidoscope of garden plots, blackberry rambles, pine barrens, and spacious groves of chestnut, hickory, and oak.”
― Roxanne Dunbar-Ortiz, An Indigenous Peoples' History of the United States