Beck: Wikis


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Beck in concert, playing his primary guitar, a Vintage Silvertone - September 29, 2006.
Background information
Birth name Bek David Campbell[1][2]
Born July 8, 1970 (1970-07-08) (age 39)
Los Angeles, California,
United States
Genres Alternative rock, anti-folk
Occupations Singer-songwriter, musician, producer
Instruments Vocals, guitar, keyboards, bass, drums, harmonica, percussion, sitar, banjo, slide guitar, twelve-string guitar, glockenspiel, vocoder, kalimba, melodica
Years active 1988–present
Labels DGC, Interscope, Geffen, XL, Bong Load
Associated acts The Flaming Lips, Devendra Banhart, Charlotte Gainsbourg
Notable instruments
1962 Vintage Silvertone Danelectro[3]

Beck Hansen (born Bek David Campbell; July 8, 1970)[4] is an American musician, singer-songwriter, and multi-instrumentalist known by the stage name Beck. With a pop art collage of musical styles, oblique and ironic lyrics, and postmodern arrangements incorporating samples, drum machines, live instrumentation and sound effects, Beck has been hailed by critics and the public throughout his musical career as being amongst the most creative and idiosyncratic musicians of 1990s and 2000s alternative rock.

The four time platinum artist rose to underground popularity with his early works, which combined social criticism (as in "MTV Makes Me Want to Smoke Crack" and "Deep Fried Love") with musical and lyrical experimentation. He first earned wider public attention for his breakthrough single "Loser", a 1994 hit.

Two of Beck's most popular and acclaimed recordings were Odelay (1996) and Sea Change (2002).[5][6][7] Odelay was awarded Album of the Year by American magazine Rolling Stone and by UK publications NME and Mojo. Odelay also received a Grammy nomination for Album of the Year. Sea Change was also awarded Album of the Year by Rolling Stone.


Early life

Beck was born in Los Angeles, California, to David Campbell, a Canadian musician, and Bibbe Hansen, a visual artist and former Warhol "star". His maternal grandfather was Al Hansen, a visual collage artist of the Fluxus school of art. His paternal grandfather was a Presbyterian minister, while his maternal grandmother was Jewish;[8] Beck himself is a Scientologist, as are his wife and his father. Beck's mother, Bibbe, also has Norwegian and Swedish ancestry. When his parents separated, Beck stayed with his mother and brother in Los Angeles, where he was influenced by the city's diverse musical offerings—everything from hip hop to Latin music and his mother's art scene—all of which would later reappear in his recorded and published work.[9]


1985-1992: Early performing and first releases

After dropping out of high school in the mid-1980s, Beck traveled to Europe and developed his musical talent by busking. In Germany, he spent time with his grandfather Al Hansen. The late 1980s found him in New York City, involved in the punk-influenced anti-folk music movement.[10]

In 1988, Beck recorded a cassette entitled Banjo Story, which has since become available in bootleg form.[11] He returned to Los Angeles at the turn of the decade. He lived in a shed and took a variety of low-paying, dead-end jobs (at one point working as a leaf blower operator), all the while continuing to develop his music. Beck also sought out (or sneaked onto) stages at venues all over Los Angeles, from punk clubs to coffee shops and busking on the streets. During this time, he met Chris Ballew (founder of The Presidents of the United States of America). They performed on the streets as a duo for a while. Some of his earliest recordings were achieved by working with Tom Grimley at Poop Alley Studios, a part of WIN Records.[12]

In 1993 Beck released his first studio album, Golden Feelings, on Peter Hughes's Sonic Enemy label. It was initially released only on cassette (though later on CD in limited quantities). It has been estimated that only between 500 and 750 copies were made, making it a rare artifact.[13] would later describe the album as "an extremely interesting, entertaining, and humorous document that proves that from the start, Beck had his heart set on making experimentation his only gimmick".[14]

1993-1995: "Loser", Mellow Gold, and independent albums

1993 saw Bong Load Custom Records (owned by Tom Rothrock, Rob Schnapf, and Bradshaw Lambert) sign Beck to their fledgling label.[15] His first release for Bong Load was "Loser", a collaboration between hip hop nuance producer Carl Stephenson and Beck. The song created a sensation when radio host Chris Douridas played the song on Morning Becomes Eclectic, the flagship music program from Santa Monica College radio station KCRW.[16] That exposure and a subsequent live performance on the show July 23, 1993, led to a bidding war among labels to sign Beck. Eventually, he chose Geffen Records, who offered him terms that included an allowance for the release of independent albums while under contract.[17] Of all the record labels to offer Beck a contract, Geffen offered him the least amount of money, but the greatest amount of creative freedom.[citation needed]

On February 22, 1994, Flipside Records released Stereopathetic Soulmanure. A sprawling 25-track album, it contained the fan favorites "Satan Gave Me a Taco", "Rowboat", and "Thunderpeel", as well nonsensical spoken tracks, noise (such as leafblowers), and live recordings. Johnny Cash would later record "Rowboat" and include it on his 1996 album Unchained. Cash later said that the song "sounded like something I might have written or might have done in the [1960s, when] I was kinda going through some weird times."[18]

In March 1994, Geffen released Beck's major label debut, Mellow Gold. The album, created with Bong Load's Rothrock and Schnapf, as well as Carl Stephenson, turned Beck into a mainstream success.[15] The record received the best ratings possible from Spin, Robert Christgau, Rolling Stone's Album Guide and AllMusic.

On June 27, Olympia, Washington–based independent label K Records released Beck's third album of 1994, One Foot in the Grave. The recording featured a number of notable musicians from the independent music scene, including Beat Happening's Calvin Johnson, Presidents of the United States of America's Chris Ballew, and Built to Spill members Scott Plouf and James Bertram.

Beck took his act on the road in 1994 with a worldwide tour, followed by a spot on the main stage of the 1995 Lollapalooza tour. Some critics at the time dismissed him as a one-hit wonder off the success of "Loser."

1996-1997: Odelay

When the time came to record his follow-up to Mellow Gold, Beck enlisted Rothrock and Schnapf as producers and began recording an album of moody, low-key acoustic numbers to showcase his songwriting. Eventually, Beck shelved the album and pursued a more upbeat approach. Beck was introduced to the Dust Brothers, producers of the Beastie Boys' album Paul's Boutique, whose cut-and-paste, sample-heavy production suited Beck's vision of a more fun, accessible album.[15]

The result, 1996's Odelay, would put the "one-hit wonder" criticisms to rest. The lead single, "Where It's At," received much airplay, and its video was in heavy rotation on MTV. Within the year Odelay received praise from Rolling Stone magazine,[19] appeared on countless "Best of" lists (it topped the Pazz & Jop Critics Poll for "Album of the Year"), and earned a number of industry awards, including two Grammys. Besides "Where It's At", three other singles were released from the album: "Devils Haircut", "Jack-Ass" and "The New Pollution".[20]

Beginning in 1993, Beck made contributions Mellow Gold contributor Carl Stephenson's experimental trip hop project, Forest for the Trees. The project released a self-titled record in 1997, followed by an EP in 1999. Beck added spoken word, harmonica, and various other instruments.[21]

1998-2001: Mutations and Midnite Vultures

Odelay was followed in 1998 by the release of Mutations. Though the album was originally slated for release by Bong Load Records, Geffen intervened and issued the record against Beck's wishes.[22][23] The artist then sought to void his contracts with both record labels, and in turn the labels sued him for breach of contract. The litigation went on for years and it remains unclear to this day if it has ever been completely resolved.[24] Mutations was produced by Beck and Nigel Godrich (frequent producer and collaborator with Radiohead) and is believed to have been intended as a stopgap measure before the proper next album[citation needed]. Recorded over two weeks, during which Beck recorded one song a day, the sessions produced fourteen songs. Mutations was a departure from the electronic density of Odelay and shows heavy folk and blues influences. Tracks on the album consisted of older songs, some dating back as early as 1994.[25]

In 1999, Beck was awarded Best Alternative Music Performance for Mutations at the 42nd Grammy Awards.[26]

In November, Geffen released the much-anticipated Midnite Vultures,[27] which was supported by an extensive world tour. For Beck, it was a return to the high-energy performances that had been his trademark as far back as Lollapalooza. The live stage set included a red bed that descended from the ceiling for the song "Debra", and the touring band was complemented by a brass section.[28] Midnite Vultures was nominated for Best Album at the 43rd Annual Grammy Awards.[29] Beck released a number of B-sides and soundtrack-only songs as well, including "Deadweight" from the A Life Less Ordinary soundtrack, "Midnite Vultures" (curiously, not on the album of the same name), David Bowie's "Diamond Dogs" from Moulin Rouge!, and a cover of The Korgis' "Everybody's Got to Learn Sometime", which appeared in two memory-alteration-themed productions: the 2004 movie Eternal Sunshine of the Spotless Mind and the last episode of the first season of Dollhouse. He is also credited on the French band Air’s 2001 album 10 000 Hz Legend for vocals on the songs "Don't Be Light" and "The Vagabond" (as well as harmonica on the latter). He duetted with Emmylou Harris on Return of the Grievous Angel: A Tribute to Gram Parsons, performing "Sin City".[30]

2002-2003: Sea Change

In 2001, the Beck EP, which consists of B-sides from the Midnite Vultures era, was released. The EP was only available from Beck's website, and only 10,000 copies were printed.

In 2002, Beck released Sea Change, which, like Mutations, was produced by Nigel Godrich. It became Beck's first US Top 10 album, reaching #8. The album also received critical acclaim, earning five stars from Rolling Stone (the magazine's highest rating) and placing second in the Pazz & Jop Critics Poll for 2002. Sea Change was conceptualized around one unifying theme: the end of a relationship. The album featured string arrangements by Beck's father, David Campbell, and a sonically dense mix reminiscent of Mutations. Although some radio singles were released, no commercial singles were made available to the public. In August 2002, prior to the release of Sea Change, Beck embarked on a solo acoustic tour of small theaters and halls, during which he played several songs from the forthcoming album. The post-release Sea Change tour featured The Flaming Lips as Beck's opening and backing band.[31] A song Beck co-wrote with William Orbit, "Feel Good Time", was recorded by pop singer Pink for inclusion on the soundtrack of the 2003 film Charlie's Angels: Full Throttle.[32] Beck also covered the Bruce Haack song titled "Funky Lil Song" for Dimension Mix, a tribute album dedicated to the music of electronic music pioneer Haack and his Dimension 5 Records, which his long time friend and collaborator Ross Harris produced to benefit Cure Autism Now.

2004-2007: Guero and The Information

In 2004, Beck returned to the studio to work on his sixth major-label studio album.[33] The record, Guero, was produced by the Dust Brothers and Tony Hoffer and features a collaboration with Jack White of The White Stripes; it marked a return to Odelay-era sound.[33] The album was released in March 2005 and enjoyed critical acclaim from most mainstream press, earning four of five stars from Rolling Stone,[34] as well as a "Critic's Choice" recognition from The New York Times.[35] The album received a less enthusiastic response from Pitchfork Media, which ran a lukewarm and disappointed 6.6 out of 10 review;[36] it was also given poor reviews by Q magazine, Dusted and Mojo.[37] The album debuted at #2 on the Billboard charts, pushing 162,000 copies in the first week and giving Beck his best week ever in terms of commercial sales and chart position.[38] Since the release of Guero, the album's first single, "E-Pro" (which samples the drum track from the Beastie Boys hit "So What'cha Want"), has been well received by the mainstream rock community, receiving significant play time on mainstream radio.[39] The second single, "Girl," received decent play time on mainstream radio and heavy airplay on college and independent radio.[40] The third and final single of the album was "Hell Yes."[41] The deluxe edition DVD version of the album featured more than 100 videos. Viewers could use the two additional video streams and four subpicture streams to create their own visual remixes for each track. The DVD package was so advanced that a small percentage of DVD players were unable to access certain tracks, due to the complicated nature of the technology used by video artists D-Fuse.

On February 1, 2005, Beck released an EP featuring four remixes of songs from Guero by independent artists who use sounds from various early 8-bit video game devices like the Game Boy. The EP, GameBoy Variations, featured "Ghettochip Malfunction" [Hell Yes] and "GameBoy/Homeboy" [Que' Onda Guero], both remixed by the band 8-Bit, and also had "Bad Cartridge" [E-Pro] and "Bit Rate Variation in B-Flat" [Girl], the last two being remixed by Paza {The X-Dump}. The EP cover art shows a long-haired person headbanging to his Game Boy, which is plugged into an amplifier like an electric guitar. This EP was featured in an issue of Nintendo Power. A music video for "Gameboy/Homeboy" was made by Wyld File.[42] Also at this time, Beck released A Brief Overview, a promotional retrospective album featuring tracks from Guero, Sea Change, Mutations, Midnite Vultures and Odelay. This compilation also features "Ghettochip Malfunction" and two versions of "E-Pro," the lead single from Guero.[43]

Beck plays at the Sasquatch Music Festival in George, Washington. The screens show puppets that emulated the band throughout the show.

Beck performed at the music and arts festival Bonnaroo in Manchester, Tennessee on June 17, 2006, with a set that featured many songs from Guero. In addition to his band, Beck was accompanied by a group of puppets, dressed as him and members of his band. Live video feed of the puppets' performance was broadcast on video screens to the audience. The puppet show was included throughout his 2006 world tour.[44] On December 6, 2005, the remix album Guerolito was released, featuring the entire Guero album remixed by acclaimed musicians as well as cover art by Marcel Dzama.

Beck's seventh major-label studio album, The Information, which again reunited him with Nigel Godrich, was released on October 3, 2006. The release marked the first time in seven years that Beck released studio albums in consecutive years. The album reportedly took more than three years to make and has been described as "quasi hip-hop". It came with a sheet of stickers, which were to be used to "make your own album cover." Because of this, The Information was disqualified by the Official Chart Company from entering the UK Albums Chart,[45] but in the US it gave Beck his third straight Top 10 studio album peak on the Billboard 200, reaching #7.[46] The lead US single, "Nausea," officially went to radio on September 5, 2006. In the UK, the first single was "Cellphone's Dead".[47]

A non-album single, "Timebomb," was released on iTunes on August 21, 2007, and the limited edition vinyl 12" was released on November 2, 2007, with an instrumental version of the song on the B-side. In December, 2007, it was announced that "Timebomb" had been nominated for a Grammy in the category of Best Solo Rock Vocal Performance.[48]

2008-present: Modern Guilt and Record Club

In February 2008, Beck stated in an interview with Rolling Stone that he had been working on a new album "with an unnamed producer" and that he expected it to be released by the end of the year. In early March 2008, the unnamed producer was revealed to be Danger Mouse.[49] On May 5, 2008, revealed that Beck would release an as yet untitled 10-song album within the next four to six weeks. It was also reported that singer Cat Power had contributed to the album.[50] The new album Modern Guilt was released on Interscope in North America and on XL Records in the rest of the world.[51] The single "Chemtrails" was made available on Beck's MySpace and website. In early June, Beck performed several songs from the new album at The Echo in Los Angeles. Modern Guilt was released in July 2008. A complete acoustic version of Modern Guilt, recorded in Japan, was featured as videos on Beck's website in 2009.

On June 19, 2009, Beck announced Planned Obsolescence, a weekly DJ set put together by Beck or guest DJs. Soon after, on July 7, Beck announced that his website would be featuring "extended informal conversations with musicians, artists, filmmakers, and other various persons" in a section called Irrelevant Topics. Then, on July 12, he added a section called Videotheque, which he said would contain "promotional videos from each album, as well as live clips, tv show appearances and other rarities".

On June 18, 2009, Beck announced that he was starting an experiment called Record Club, in which he and other musicians would record cover versions of entire albums in one day. The first album covered by Beck's Record Club was The Velvet Underground & Nico. Starting on June 18, the club began posting covers of songs from the album on Thursday evenings, each with its own video.[52] On September 4, 2009, Beck announced the second Record Club album, Songs of Leonard Cohen. Contributors included MGMT, Devendra Banhart, Andrew Stockdale of Wolfmother and Binki Shapiro of Little Joy.[53] In the third Record Club venture, Wilco, Feist, Jamie Lidell and James Gadson joined Beck to cover Skip Spence's Oar. The first song, "Little Hands", was posted on Beck's website on November 12, 2009.[54]

Also in 2009, Beck collaborated with Charlotte Gainsbourg on her album IRM, which was released in January 2010. Beck wrote the music, co-wrote the lyrics, and produced and mixed the album. The lead single, "Heaven Can Wait", is a duet by Beck and Gainsbourg.[55]

In March 2010, Beck revealed that he had produced songs for the new Jamie Lidell album, entitled Compass, which is due to be released in May 2010.[56]

Musical style

Beck's musical style has been considered alternative[57] and indie.[58] He has been known to play many of the instruments in his music himself.[59] Beck has been known to synthesize several musical elements together in his music, including folk, Hip hop, funk, many types of rock and blues.[60] He has also taken music from Los Angeles as a reference point in his songs.[60]

Pitchfork Media applauded Midnite Vultures, saying, "Beck wonderfully blends Prince, Talking Heads, Paul's Boutique, 'Shake Your Bon-Bon', and Mathlete on Midnite Vultures, his most consistent and playful album yet." The review continued to comment on Beck, saying that his mix of goofy piety and ambiguous intent helped the album.[61] Sea Change was called "evocative music", with country rock roots. The songs on the album also had "a warm, enveloping sound" with the help of his acoustic guitar.[62]

Art career

During 1998, Beck's art collaborations with his grandfather Al Hansen were featured in an exhibition entitled "Beck & Al Hansen: Playing With Matches", which showcased solo and collaborative collage, assemblage, drawing and poetry works.[63] The show toured from the Santa Monica Museum of Art to galleries in New York City and Winnipeg, Manitoba, in Canada. A catalog of the show was published by Plug In Editions/Smart Art Press.[64]

Personal life

From 1991 to 2000, Beck was in a relationship with designer Leigh Limon. Their breakup is said to have inspired his 2002 album, Sea Change.[65] He wrote most of the songs for the album in one week after the breakup.[66] Beck married actress Marissa Ribisi, the twin sister of actor Giovanni Ribisi, in April 2004,[67] shortly before the birth of their son, Cosimo Henri.[68] Ribisi gave birth to their daughter, Tuesday, in 2007.[69]


Beck has been involved in Scientology for most of his life; his wife is also a second-generation Scientologist. Marissa and her twin brother, Giovanni, were delivered by Beck's mother, Bibbe.[70] Beck publicly acknowledged his affiliation with the controversial religion for the first time in an interview published in The New York Times Magazine on March 6, 2005. Further confirmation came in an interview with the Irish Sunday Tribune's i Magazine on June 11, 2005, where he was quoted as saying, "Yeah, I'm a Scientologist. My father has been a Scientologist for about 35 years, so I grew up in and around it." When questioned by the interviewer about Scientology's core beliefs, he replied:

What it actually is is just sort of, uh, you know, I think it's about philosophy and sort of, uh, all these kinds of, you know, ideals that are common to a lot of religions....There's nothing fantastical...just a real deep grassroots concerted effort for humanitarian causes. I don't know if you know the stuff they have. It's unbelievable the stuff they are doing. Education...they have free centres all over the place for poor kids. They have the number one drug rehabilitation programme in the entire world (called Narconon). It has a 90-something percent success rate...When you look at the actual facts and not what's conjured in people's minds that's all bullshit to me because I've actually seen stuff first hand.[71]

Appearances in media

The 1986 punk rock musical Population: 1 features a young Beck in a small nonspeaking role alongside legendary rocker Tomata du Plenty of The Screamers.[72]

Beck has performed on Saturday Night Live six times; these shows were hosted by Kevin Spacey, Bill Paxton, Christina Ricci, Jennifer Garner, Tom Brady and Hugh Laurie. During his 2006 performance in the Hugh Laurie episode, Beck was accompanied by the puppets that had been used on-stage during his world tour. He has made two cameo appearances as himself on Saturday Night Live: one in a sketch about medicinal marijuana, and one in a VH1 Behind the Music parody that featured "Fat Albert & the Junkyard Gang."[73]

Beck performed a guest voice as himself in Matt Groening's animated show Futurama, in the episode "Bendin' in the Wind."[74] He performed in episode 10 of the fourth season of The Larry Sanders Show, in which the producer character Artie (Rip Torn) referred to him as a "hillbilly from outer space".[75] He also made a very brief voice appearance in 1998 cartoon feature film, The Rugrats Movie,[76] and guest-starred as himself in a 1997 episode of Space Ghost Coast to Coast entitled "Edelweiss."[77]

Beck has also made appearances in the Adult Swim show Mission Hill. Accepting an award, he comes up on stage wearing the new "Spicy pants" trend. In consequence the main character begins throwing all of his "Beck" albums out his upper-story window.

On January 22, 2010, Beck appeared on The Tonight Show with Conan O'Brien's last show as a backup guitarist for a Will Ferrell–led rendition of Lynyrd Skynyrd's "Free Bird" alongside ZZ Top guitarist Billy Gibbons, Ben Harper, and Conan O'Brien himself on guitar.[78]


Studio albums


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External links


Up to date as of January 14, 2010

From Wikiquote

Beck Hansen (born Bek David Campbell, July 8, 1970) is an American musician, songwriter and multi-instrumentalist.


  • Our whole culture in this country now is so conformist. I don't even meet that many freaks any more.
    • Q magazine, April 2000
  • I think it's interesting being American, the expectations for an American guy, and the image that has to be projected. 'Oh, I can't wear pink,' that kind of stuff. There's none of that in Europe.
    • Black Book magazine, Fall 2002
  • We had one night where I wanted a bunch of percussion noises at the end of song. We went into this room with three cases of percussion. Everybody just grabbed different shakers and things and was just throwing them around.
    A few of the guys in the band got a little carried away and I just remember looking up and somebody was running into a wall. Another guy was leaping head first about three of four feet in the air. But other than that it was pretty sedated.
    • The Aquarian Weekly, 15 December 1999
  • I think I gave indications early on that mine wasn't just going to be a commercial, er, career. If that were the case, then the first record would have been 10 versions of 'Loser.' I always thought it would be interesting if there was no such thing as gold and platinum records, or record deals, and people were just making music. What would the music sound like?
    • Blender magazine, October 2002
  • I don't need to cry so much. I think whatever you let loose with crying, I let loose with singing. I tend to be the one who wants... I'm trying to say this without sounding too touchy-feely. I'm usually the one who's better at comforting the person who's crying, you know?
    • Jane magazine, April 2000
  • I'm not good at the protocols of dating. [laughs] I'm not really experienced in that. My girlfriend is my second or third girlfriend. I think in the past none of us really knew when we were "dating"-we were just hanging out and doing things. I didn't go to high school so I missed the prom.
    • Jane magazine, April 2000
  • I never really had them. I always get the eccentric kids who dress funny and sit and write poetry for three months in their bedrooms...
    ...I was going to see tons of shows when I was a teenager, so if I was a girl, would that have made me a groupie? If I wanted to shake Thurston Moore's hand or something?
    • talking about groupies in Bust magazine, Fall 2002
  • I have a fear of heights, so falling off something very tall. But I've conquered a good amount of my fears. I guess most people would have the fear of getting up in front of a large audience of people and making a fool of themselves. I've gotten over that.
    • 'Beck - On the Couch', NME
  • My mother was mistrustful of the education system, so it was all right with her if we didn't go to school. She was taking us to Truffaut films, and I was busy getting through a Knut Hamsun book or something, so she felt satisfied we weren't wasting our lives watching The Brady Bunch. Because of where we lived, I would've had to go to Belmont High, so the year I was supposed to start high school I tried to get into the High School for the Performing Arts, which had just opened. I sent them a tape of me playing blues guitar and some short stories I'd written, but they didn't want me.
    • LA Weekly, 23 June 2000
  • About a year ago, I started seeing these ads in the paper for 'Laser Vaginal Rejuvenation'. First it was a little ad. The next week, it was twice as big. And after a month, it was a full page-it just took over. Something in that triggered a bunch of associations and projections. Like, what kind of activities do you have to engage in to get to the point where you need to bring a laser into the equation?
    • Spin magazine, December 1999
  • You'd have to be a total idiot to say, 'I'm the slacker-generation guy. This is my generation.' I'd be laughed out of the room in an instant. I didn't even connect ['Loser'] at all to that kind of message until they were playing it on the radio and I heard it, and they said "This is the slacker anthem," and I thought, 'Oh shit, that sucks.' It's not some anguished transcendental 'cry of a generation.' It's just sitting in someone's living room eating pizza and Doritos.
    • Spin magazine, July 1994
  • I think it would be great to have a mall that looked like stores but you weren't selling things. You were just going to hang out or do things. Or if somebody bought a mall and turned it into a house that people could kind of come to and you could build rooms, and it's all orange furniture. Or you could just build environments. Reclaim a mall just in the name of aesthetics or to make something beautiful or something that has no real purpose. Wouldn't that be amazing?
    • Black Book magazine, Fall 2002
  • I try not to obsess about recording. I'm definitely the one who will leave all the mistakes-to have that balance between what's undone and done. I try to move on to the next thing. I have friends who have been working on the same song for five, six years. They just won't let the songs go.
    • Rolling Stone magazine, 1996
  • There are so many elements flying in so many different directions that you really have to go with what feels like instinctively. The nature of the universe is fairly whimsical and nonsensical. In the most somber, beatific peacefulness there's complete chaos and maniacal laughter. I think music that doesn't reflect that is boring.
    • Guitar magazine, January 1999
  • Oh, the tragedy and the anguish. You just gotta Rage Against the Appliance, man. The toast is burning and you just gotta rip it out and free it before it fills the house with smoke. Rage Against the Toaster.
    • Spin magazine, July 1994
  • We played a gig in the Swiss Alps at a snowboarding convention. Red Bull-this energy sports-fuel drink-sponsored the whole thing. It has some ingredient believed to be bull-testicle extract. We went way off our tour route, had to take two planes and missed a night's sleep. We got up there and there's no snow-it's all mud. You couldn't walk. You'd step and then be up to your knee in mud. So you had several thousand disgruntled snowboarders tanked up to the max on bull-testicle extract. Of course, for some reason, these strapping brutes were made to wait out in the mid and the rain before coming into the tent for the show. When we get up to play, I see this forty-foot gap between us and the audience-they still managed to nail us with empty cans of Red Bull. After a few songs, I wasn't really playing my guitar, I was using it to bay cans back into the crowd of disgruntled sports enthusiasts. It felt like we were A Flock of Seagulls opening for Napalm Death.
    • Rolling Stone magazine, 1996
  • I remember being really shocked after Mellow Gold came out and going on tour, and all these kids were there. It totally disturbed me. Who are all these young people? I'd been playing Mississippi John Hurt covers in coffee shops to a bunch of thirty-, forty-, fifty-year olds. Then all of a sudden there were these teenagers.
    • Rolling Stone magazine, 1997
  • I recently saw The Last American Virgin, one of those early-'80s coming-of-age movies. And the actors, they look like kids you grew up with! Today's teen movies, I didn't know anybody who looked like that. The standards now are so unbelievably high.
    • Spin magazine, December 1999
  • One of the reasons I'm a musician is because music isn't divisive. It's a medium where you don't have to abide by divisions. The whole idea is anarchy and the best music just doesn't give a fuck. And too much music is just so conservative these days. So I really don't want to be careful about anything. And there's so much music that's trying to be offensive these days, trying to be aggressive and abrasive. But it's just cheap and manipulative. So if I can offend someone in a good way and challenge their belief system, then I think that's positive. I mean, I wonder what their problem with it is? I don't have a problem. Wanda Coleman doesn't have a problem with me singing like that.
    • The Boston Phoenix, 25 November 1999
  • But people like to say, Oh, it's in the blood. But art comes from nowhere. It comes from a vague, scary place. It's scary because you don't know when it's coming or if it will ever come again. It's this Other.
    • Q magazine, April 2000
  • There were definitely lyrics and they were very meaningful. I think.
    • Rolling Stone magazine, February 2008, on the song .000.000
Wikipedia has an article about:


Up to date as of January 15, 2010

Definition from Wiktionary, a free dictionary

See also beck




  1. A botanical plant name author abbreviation for botanist Günther von Mannagetta und Lërchenau Beck (1856-1931).

External links


Up to date as of January 23, 2010

From Wikispecies

Günther von Mannagetta und Lërchenau Beck (1856-1931) German Botanist (Beck)

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