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Trey Spruance didn't want to tour for ages. And Dean Menta has always been our guitar-roadie during Angel Dust, and I remember him playing fantastically during soundchecks. During each gig, he was watching from the side of the stage, seeing Big Jim play stuff that he could play better.
--
"Dangerous Jokers" - (Nieuwe Revu, 17-24 May 1995)

 

Mike Patton

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What interested me about Chuck Berry was the way he could step out of the rhythm part with such ease, throwing in a nice, simple riff, and then drop straight into the feel of it again. We used to play a lot more rhythm stuff. We'd do away with the differences between lead and rhythm guitar. You can't go into a shop and ask for a "lead guitar". You're a guitar player, and you play a guitar.

 

Keith Richards

 

That night at the "Eagle's Nest", I remember, he was playing a D-18 Martin acoustic guitar and he was dressed in the latest teen fashion, but the thing I really noticed though, was his guitar playing. Elvis was a fabulous rhythm player. He'd start into "That’s All Right" , with his own guitar, alone, and you didn't want to hear anything else.

 

Elvis Presley

 

When I was a kid, my parents got me into piano, viola, and trombone. They were the three instruments I went through. The moment I started playing trombone, which was the last one before guitar, I knew I wanted to play guitar really badly. I was a huge Metallica fan, and I’m really into Slash. I’ve always thought he was the coolest dude, and like the greatest guitar player. He’s awesome, and I love the fact that he did everything himself. He made the world of guitar fit around him, rather than him fitting around the world of guitar, which I think is really cool.

 

Joe Trohman

 

People here are always asking me, "Can you play 'Lips Like Sugar' on an acoustic guitar?" And I'm like, "No!" It was an OK song, I suppose, but it didn't sound like us. We just got sucked into a new mentality on that last album, the sound of Radio America. It did great here, but by then I just thought we weren't good enough any more. It was pretty happening, the States was building and building but it didn't feel good on stage. We weren't really communicating as mates and stuff. I mean, I was used to believing that we were the best group going.

 

Ian McCulloch

 

From the point of view of the practice or application of rules four successive stages can be distinguished.
A first stage of a purely motor and individual character, during which the child handles the marbles at the dictation of his desires and motor habits. This leads to the formation of more or less ritualized schemas, but since play is still purely individual, one can only talk of motor rules and not of truly collective rules.
The second may be called egocentric for the following reasons. This stage begins at the moment when the child receives from outside the example of codified rules, that is to say, some time between the ages of two and five. But though the child imitates this example, he continues to play either by himself without bothering to find play-fellows, or with others, but without trying to win, and therefore without attempting to unify the different ways of playing. In other words, children of this stage, even when they are playing together, play each one "on his own " (everyone can win at once) and without regard for any codification of rules. This dual character, combining imitation of others with a purely individual use of the examples received, we have designated by the term Egocentrism.
A third stage appears between 7 and 8, which we shall call the stage of incipient cooperation. Each player now tries to win, and all, therefore, begin to concern themselves with the question of mutual control and of unification of the rules. But while a certain agreement may be reached in the course of one game, ideas about the rules in general are still rather vague. In other words, children of 7-8, who belong to the same class at school and are therefore constantly playing with each other, give, when they are questioned separately, disparate and often entirely contradictory accounts of the rules observed in playing marbles.
Finally, between the years of 11 and 12, appears a fourth stage, which is that of the codification of rules. Not only is every detail of procedure in the game fixed, but the actual code of rules to be observed is known to the whole society. There is remarkable concordance in the information given by children of 10-12 belonging to the same class at school, when they are questioned on the rules of the game and their possible variations.

 

Jean Piaget