A Quote by Bill Kaulitz
For me, it was pretty hard to go into the studio and sing English for the first time, because I always sung in German, and we've been making music for seven years and it's always been in German.
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In the beginning, for the first English record it was really hard for me because I'm a perfectionist and I really wanted it to sound natural and not like a German who tries to sing in English.
The biggest issue for me has been the language because I speak so much German now. I've had to focus on my English and find more words to describe what I want to say and also soften my tone. It was quite stiff from 20 years of speaking German, so when I started speaking more English, oh my god, my tongue was like: 'Argh'!
German is more familiar now since I live part of the year in Rome and part in the German part of Switzerland. But it's not difficult to sing in German; it's difficult to feel in German. This takes time. It's a culture.
I always thought those World War II films with German people speaking English with German accents was weird.
The larger the German body, the smaller the German bathing suit and the louder the German voice issuing German demands and German orders to everybody who doesn't speak German. For this, and several other reasons, Germany is known as 'the land where Israelis learned their manners'.
In the late '70s I was asked to sing for the first time in Germany. I'll never forget it. It was at a festival in Bremen. The German audience went berserk and the reviews were a phenomenon. For some reason the German audience understood how technically challenging this music was; it wasn't just someone yelling their head off.
German has always felt the language that I come back to. It's given a very hard time by most people for being ugly and guttural. In fact, it's one of the most melodic, lyrical languages around. And German literature is amazing. It's just a treasury for me.
That Hegelian dialectics should provide a wonderful instrument for always being right, because they permit the interpretations of all defeats as the beginning of victory, is obvious. One of the most beautiful examples of this kind of sophistry occurred after 1933 when the German Communists for nearly two years refused to recognize that Hitler's victory had been a defeat for the German Communist Party.
I work in Hebrew. Hebrew is deeply inspired by other languages. Not now, for the last three thousand years, Hebrew has been penetrated and fertilized by ancient Semitic languages - by Aramaic, by Greek, by Latin, by Arabic, by Yiddish, by Latino, by German, by Russian, by English, I could go on and on. It's very much like English. The English language took in many many fertilizations, many many genes, from other languages, from foreign languages - Latin, French, Nordic languages, German, Scandinavian languages. Every language has influences and is an influence.
Not now, for the last three thousand years, Hebrew has been penetrated and fertilized by ancient Semitic languages - by Aramaic, by Greek, by Latin, by Arabic, by Yiddish, by Latino, by German, by Russian, by English, I could go on and on. It's very much like English.
The first song I remember listening to in a language other than German was 'Goldfinger,' by Shirley Bassey. I was seven years old at the time and I had no idea which language it was or who the lady was singing it, but it touched me and I realised that it was the sort of music I liked.
I lived in L.A. for seven years, and if you're a German actor, they always throw the Nazi parts at you.
When has there ever been a government in German history that came to the people and revealed its detailed plans for the coming years? That could not happen before, since German governments planned war and conquest.
I studied German at school. I lived in Berlin for two years and had a German girlfriend for five years, so I don't find speaking German particularly difficult. Singing was slightly more difficult.
My father read Günter Grass. He introduced me to German literature. I believe the first book I read by a German author was from Grass. After that, Thomas Mann accompanied me for a few years during my literature studies. I tried again and again to read the original German text, but I never really succeeded.
People around me are always an inspiration due to their love of the music and they help me to generate ideas for music. But it's really the passion and drive I have for my music that keeps me connected. I recorded my first song in the studio at 8 years old and I've taken it seriously since then. Making music is fun to me so I aim to translate those feelings into the music.
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