Thanks so much to Frank Werner for the interview! I wrote about one of the Fast Weltweit bands, Die Bienenjäger, on the blog and Frank was kind enough to get in touch and give me more details about the band. So, I took the opportunity and asked if he’d be up to tell the story of the superb later he ran with his friends back in the 80s, and he was! There is quite some information about it in German on the web but very little in English, so this might be a great way to introduce the label to many! For those that German is their first language the interview is now also available on the Fast Weitwelt website. Also to get a good idea of which bands and how they were connected Frank has shared a Fast Weltweit family tree that might prove useful to read the interview (and to collect the records too of course!). So sit back, and enjoy a trip to memory lane with the one and only Fast Weltweit from Bad Salzuflen.
++ Hi Frank! Thanks so much for being up for this interview! We got in touch thanks to my post about Die Bienenjäger here on the blog. You shared with me an interview with Jochen and could learn a bit more about the band. I’m curious of course if there are any more unreleased songs and perhaps any plans to re-release their songs?
Hi Roque, thank you! That’s a difficult question. Jochen does not want recordings from that time to be published. In the interview you translated, he talks about himself as a Girke-Begemann imitator on his way to himself. There were several demo recordings with Die Bienenjäger and Jochen considers them as a development phase in themselves. He also asked me several times “not to give anything to anyone”. I think we will have to wait a very long time for Die Bienenjäger publications…
++ I asked that as I’m aware some of your label’s bands have had some retrospective releases on Tapete Records lately. How did their interest come about and how is your relationship with them?
We owe this in any case to the interest and the untiring work of Carsten Friedrichs of the Tapete label. The first collaboration came about with the Tapete sampler “Falscher Ort, falsche Zeit” in 2015. Carsten was looking for pieces and bands that fit the theme with their history and effect. The two samplers featured Die Antwort, Jetzt! and the Time Twisters. The collaboration with the label is going very well; we, the musicians involved, are involved and informed in everything.
++ Speaking of Tapete, they do seem like a much bigger label compared to Fast Weltweit. But there must be some things in common, right? What do you think that is? And what other German labels do you have a soft spot for?
Tapete Records has just celebrated its 15th anniversary and has put out over 300 releases to date, including those of Robert Forster, The Monochrome Set, Fehlfarben and many more.
Gunther Buskies and Carsten Friedrichs from the label play in the band Die Liga der gewöhnlichen Gentlemen, which has a lot in common with the Time Twisters, e.g. humour, carefree attitudes and a very own joy about the lightness of being. In any case, what they have in common is the will to give the respective bands the artistic independence and to provide support in the right places.
Other important labels are fore example Staatsakt in Berlin, Trikont in Munich, but also small labels like Kleine Untergrund Schallplatten in Augsburg. 😉
++ You shared with me a couple of German-language interviews and they were great for me to get some background of the label. I still think that most English speakers need some of the basics of the label even if it is a bit repetitive. To start Fast Weltweit was formed by many people. That is kind of uncommon. Who were the people behind the label and how easy or complicated was to work altogether?
The label was founded in 1985 by Michael Girke, Achim Knorr, Andreas Henning, Frank Spilker and myself in the back room of a small Greek pub in Herford. It was a long night and there was a lot of discussion and table football in between.
“It was me who at some point had the idea of getting together with these people in a pub to discover what they have in common, perhaps to support each other and not to stand alone (with a raised and disguised voice) against a ‘big, bad world’. That certain shortcomings that everyone has, can be absorbed, compensated for and perhaps even converted into strength in a network. So first of all, to have an interest group.” (quote Michael Girke)
Beyond the discussion, we planned to organize a tour through northern Germany. The organisational logic of this project followed a simple idea: Since the individual bands already had their “bases” in different cities in northern Germany (Berlin, Hanover, Cologne, Bielefeld, Hamburg), it would not mean a considerable additional effort to find a suitable venue for the other groups instead of just for their own band.
A few days later, the idea of a starting point for the media world was born: a sampler, a record on which all groups are represented, would be a suitable advertising to radio stations, record companies, concert agencies, etc.; the media association of records, performances, advertising material could achieve at least a respectable success vis-à-vis these bodies with appropriate personal commitment.
The realization of the project took a corresponding amount of time. The performances had to be organised, the record pressing was commissioned, a record cover had to be designed in consultation with a designer and then printed – that is, a large number of activities had to be coordinated and realised that we were not yet familiar with before. The design of the cover alone led to countless discussions until a common consensus was finally reached.
It was a world without the Internet. Experts had to be contacted, a lot of telephone work had to be done, demos had to be sent out and conversations had to be held.
In spring 1986 the record was released and the first “Fast-Weltweit-BRD-Package-Tour” took place. The response of the press to this tour was surprisingly good. Fast Weltweit was mentioned in the most important city newspapers, the “scene pages” of the tour sites. Even the insider magazine “SPEX” dealt with the phenomenon in the category “Fast & transient” (Schnell & Vergänglich) and had room for quite positive record criticism. In the Berlin “taz”, a record review even spoke of the “almost worldwide movement”. The record and the tour were performed by the regional radio stations. Thanks to Michael Girke’s organisational talent, various radio interviews took place. The euphoria of the hour was great. The “home game” in Enger and the performance in Cologne were audience successes. The concert in Cologne’s “Salznuß” was sold out. The “Fast-Weltweits” attributed this interest above all to a mention in the WDR scene programme “Graffiti”. The DJ played two tracks from the LP in the afternoon before the concert and repeatedly expressed his astonishment at how such a thing would be possible: on the one hand the self-produced record, on the other hand a concert with five different bands in one evening.
Jochen Distelmeyer and Bernadette Hengst joined the label in 1987.
Jochen had read from us in “SPEX” and contacted Andreas Henning of the Time Twisters in Bielefeld. This was followed by a joint performance of the Time Twisters with Jochen’s first band, the White Palms, at the Bielefeld Youth Centre in Jöllenbeck. Bernadette had supported Michael Girke as a singer at the Jetzt! and Achim Knorr at the Der Fremde recordings and got to know the other musicians.
Several releases followed, e.g. Die Sterne singles, the Time Twisters single, the single of Der Fremde, two joint cassette samplers and many demo recordings.
We helped each other with recordings and performances, talked about our songs, played them and stormed the parties and discotheques in the area. Through the contact with our creatively work, so many friendships have been established that have lasted to this day, despite different places of residence, biographies and living conditions.
In October 1988, at the Berlin Independence Days (BID), an indie fair financed by Senate funds, we had a three-day “showcase” at Café Swing. The main acts of BID were to be seen in the “Metropol”, only a hundred meters away, e.g. Mudhoney. So the “Swing” was a strategically excellent place to be noticed by the professional audience. The response to the performances was good and a few promising dates with media representatives followed. Our main goal was to find sponsors for the label and a better distribution opportunity.
The Germany Way Of Making Pop Exciting
In the early 90s the relationships between the musicians diverged. Some of the bands had signed contracts with other labels with newly formed formations and something that was not granted us in the Fast Weltweit time, namely success (e.g. Die Sterne at L’Age D’Or and Sony Music, Blumfeld at ZickZack and Die Braut haut haut at the BMG). I mean with success not wealth, but artistically self-determined work, continuity and simply the possibility of being able to live from this activity.
Today’s interest in Fast Weltweit is certainly also due to the popularity of these bands.
(The original Textversion of the early history of Fast Weltweit is found here::
Frank Werner: Zur regionalen Szene der Alternativ-Labels. In: Dieter Baacke (Hrsg.): Handbuch Jugend und Musik. Leske + Budrich, Opladen 1997)
++ How did you all know each other? And how did you decided to start this label? Most of you were in bands too, so I wonder, where did you all find the time to make all these things happen?
In 1982 I started recording demos with a Teac 4-track tape recorder in the practice rooms of bands. Through this work I got to know most of the musicians. Bernd Begemann should be mentioned here above all as a former influence. He had the first punk band in town (called Vatikan with Bernd Begemann, Frank Jacobs and Martin Stammeier) in 1979 and we met in the smoking area of our school centre. I recorded his band at the Christian youth centre with a tape recorder and borrowed equipment*. The priests thought it was a religious band because of its name, and so they were allowed to rehearse there. Bernd went to Hamburg very early in 1984, had contact to bigger labels with his band Die Antwort since 1985 and already signed a contract with RCA and accordingly airplay in 1986. Bernd helped us a lot with some productions and we could learn from his experiences with the “industry”.
https://soundcloud.com/fastweltweit/vatikan-was-geschieht-aus-den-leuten
*Bernd gets upset at the beginning of the recording about the “disturbing” church bells. The building was only 50 meters away..
++ But you weren’t part of any of the bands on the label, is that right? I only see that you were part of a band called Maramu, but that in the 90s? How come?
After Fast Weltweit I had the recording studio until 1998 and from 1990 I had a permanent job in a local computer company as a supporter. This work proved to be more and more time consuming.
I definitely wanted to continue with music and founded a new company with the musician Thomas Welzel* in 1992. Maramu was our joint project for the world music band Dissidenten. In 1996 we created a very teutonic techno mix from samples of the dissidents for an album (“Mixed Up Jungle”). They called the track the „Evolution Mix“. The contact to Marlon Klein from the group has been maintained and we are still good friends today.
Marlon comes from Herford and was the drum teacher of Volker Seewald, the first drummer of the Time Twisters, and his brother Pitty Klein was the guitar teachers of Jürgen Jahn and Andreas Henning.
*(not to be mistaken for Thomas Wenzel von den Bienenjägern and Die Sterne)
++ Would you say there were any other labels influence in Fast Weltweit?
Musically the influence is surely Creation, Postcard or Stiff Records – still Independent Labels. With reference to the release of singles and sound also Motown. With regard to radical independence, Schneeball. It was a definitely small German Krautrock label that sought its own economic way of production and distribution for the first time in Germany in the 1970s. This also closes the circle to the Dissidenten who used to be members of Embryo, Missus Beastly and the Real Ax Band; they were all snowball bands.
Schneeball later became Efa and Indigo. Indigo is today one of the most important independent German music distributors for independent labels. The headquarters are in Hamburg.
Today, indigo distribution is also used by Tapete Records and many others.
https://de.wikipedia.org/wiki/Indigo_(Vertrieb)
++ Discogs lists a sister label, Werner Klangforschung that released some cassette albums in the first half of the 80s. I suppose, because of your last name, that you ran it? What did you learn from this experience that helped establish Fast Weltweit? And care telling me a bit about the bands that were on this label?
After the split of Vatikan, The Toll was the first band in the early Fast Weltweit history. The group had energy and charm and a changing line-up (with Michael Girke, Jürgen Jahn and Rolf Birkfeld, later with Heike Hickmann on saxophone and Christian Methe on drums). They had keyboards and horns, used Super 8 movies on stage. That was very pleasing. Michael Girke left the band in 1982/83 and continued working with Bernd Begemann. There were ambitions for a common band and there were recordings. 1983 The Toll split up. Andreas Henning and Heike Hickmann formed the Milk-pops – pop folk with much Jonathan-Richman and Cherry-Red influence. Later followed the formation of the Time Twisters with Andreas Henning, Ralf Wendler, Volker Seewald and Jürgen Jahn.
Frank Spilker and Mirko Breder I met in 1983 through Veto recordings. In 1984 we recorded with the new band “the discount” (Frank Spilker, Mirko Breder, Christian Böhm) an audio cassette with the significant title “Linoleum im Hirn” (Linoleum in the Brain).
++ And what sort of infrastructure did the label had? Did you run it from your bedrooms perhaps?
It was more of a garage studio at the nearby forest with 43 square meters and a telephone. The equipment got better and better over time: 16-track Fostex, Seck mixer, Eqs, Reverbs etc. and a digital Sony PCM 601 for mastering. For the masters, analog 2-track copies were pulled on a Tascam 22-2.
The main advantage was our network and the “branches” in the northern German cities mentioned; communication took place via telephone, letter and mutual visits. We also had an internal newsletter, produced with Atari and dot-matrix printer. It was the time before the internet.
++ The label was based in the town of Bad Salzuflen. To be honest I’ve only heard the name of the town when the label is mentioned. Don’t know much about it. How was it back in the day? Did you get many concerts? Were there any good venues to check out bands? Were there any like-minded people aside the Fast Weitwelt gang? Were there any good record stores?
Oh, Bad Salzuflen is a spa town with a very old population and thermal baths. In some parts of the city one cannot get rid of the feeling of being an integral part of a perpetual therapy session (physical education). There is a large spa park, a lot of forest and good possibilities to go for a walk.
The first natural reflex as a young person is to quickly leave the city and its sometimes strange inhabitants behind. I am a little hospitalized with Stockholm Syndrome, live in a suburb and like to visit the nearby bigger city Bielefeld. Many friends of mine have left the city over the years.
Bielefeld is a university town with over 330,000 inhabitants and a few good clubs. That’s an alternative.
https://en.wikipedia.org/wiki/Bad_Salzuflen
https://en.wikipedia.org/wiki/Stockholm_syndrome
Radio was very important for us, especially BFBS as an local English-language station of the British Army of the Rhine, with a much more relaxed program compared to the Westdeutscher Rundfunk, with its cruel hit & german „Schlager“ program.
Our region was occupied by the British Army. English soldiers, army cars and the white english school buses were part of the street scene in Bad Salzuflen and Herford. In Salzuflen there was even a small district where the British officers and their families lived.
I started listening to Nightflight by Alan Bangs and John Peel’s Music early. A large English garrison was stationed in Herford and concerts in the old „Scala“ in Herford were almost like a home play for many English bands.
And there were good clubs, e.g. the Forum in Enger, a privately organised music club with an excellent concert programme. This was a regular meeting place and extended living room for many.
https://de.wikipedia.org/wiki/Jaguar-Club
There was a good local record store in the 80s; unfortunately it had to close later.
The small “Rock Shop” in Schießhofstraße was a meeting place in the early 80s. When we finished the first The Toll cassette, the owner, Frank Lenschen decorated the whole shop window with it and we were really proud.
The record store owner was local hero and sometimes a little dictator.
They’ve heard increasingly gloomy industrial stuff from Manchester & London, Throbbing Gristle…
And if you had bought a nice pop record, there was a saying, “What do you want with that shit?”
Support your local record shop!
++ What’s the story behind the name of the label?
The name was invented by Michael Girke. Big-mouthed, but with a wink.
“Fast” means almost, not fast in the sense of speed.
++ What about the artwork for the label? Was the aesthetics of the label important for you all? Who came up with the label’s logo?
Again Michael, he insisted from the beginning that we needed a proper logo and organized the contact to young graphic artists in Bielefeld. Rena Tangens and padeluun designed it, as they did the cover of his first single.
My girlfriend Susanne Beimfohr designed the cover of the first Fast Weltweit LP. She studied graphics and design in Bielefeld. Through my work with her I learned a lot about typography and design. She also designed the cover of the first Die Sterne single. In return, Frank Spilker and Mirko Breder created a soundtrack for a slide animation about El Lissitzky, a Russian artist – “Von zwei Quadraten”. That was part of her thesis.
++ You also produced most of the records if not all. How did that work for you? Which studio did you use? and what would you say were the easiest and most complicated records to produce?
I was lucky enough to have been able to renovate and use an old garage near my house since 1984. I recorded the Milk-pops in my little apartment.
The easiest and most difficult recording at the same time was the first Time Twisters single at the beginning of 1989. We had to postpone the recording. It took several weeks until a spare part was available because the sales department of Fostex in Germany went bankrupt. I was able to purchase a spare part in Frankfurt from a former employee and have it installed there. We recorded the single in three days – soundcheck, recording and mix. The Twisters were very straightforward and had a new drummer, Matthias Reth, with beat and very good timing.
++ And was it easy to distribute your records? Did you manage to create interest abroad?
It was very difficult. We didn’t have any real distribution. Achim Knorr did mailorder from Cologne. We also sold at concerts. Record shops were often only willing to record the records under commission.
++ Also do tell me about the catalog numbers of the label, they seem quite odd to me, like they don’t follow a logic! But I’m sure there is one!
No, no logic. The names were more important, like Ikea. The red sampler, the blue sampler etc. These were the toner colors in Mirko Breder’s parents’ Xerox.
++ Another thing that surprises me, is that there is a website for the label. That is not common for a small 80s label, to have an online presence these days with so much memorabilia and more. Who runs it? Is it updated often? And who kept safe all of these photos and articles?
In 2008 there was a major exhibition in the Museum of Literature in Oelde about Die Sterne, Blumfeld, Bernd Begemann, Bernadette La Hengst, Erdmöbel and Fast Weltweit – “Stadt.Land.Pop. The Literature Commission for Westphalia was responsible for the event, in particular Moritz Baßler, Walter Gödden, Jochen Grywatsch and Christina Riesenweber.
We were all quite surprised at the interest in the topic – a lot of press and over 6,000 visitors. There was a very extensive volume accompanying the exhibition with a lot of journalistic and scientific research. “Stadt.Land.Pop.” was an interdisciplinary project and had support in teaching at the universities of Paderborn and Münster. There were also some concerts during the six months of the exhibition.
I had conversations and compiled a lot of material, digitized interviews, scanned covers, texts etc. for the book, restored the sound for the almost-worldwide promo video shown at the exhibition, etc. Michael Girke and I gave a video interview, which can be found on the DVD supplement to the exhibition catalogue. The others have written wonderful contributions to the book, given concerts and interviews. However, the main work was done by the staff of the Literature Commission and the participants of the „Museum für Westfälische Literatur“ in Oelde-Stromberg. We have deliberately not interfered in their work.
The wealth of material that came to light during my research prompted me personally to revamp the Fast Weltweit website. Dirk Bogdanski of the Nottbeck House of Culture has made many photos available and thus an impression of this exhibition is virtually preserved. The work on the blog developed a momentum of its own, also because I mix old references and new ones. The preparatory work for the four Tapete records also caused many pictures to reappear.
++ Well, let’s talk about the label’s releases! I believe the first release was Jetzt’s „Acht Stunden Sind Kein Tag“ 7“, right? I notice that this was a co-release with Hit-And-Run Records. Who were they?
Oh, that was Michael Girke. Pastell, a label from Dortmund, had promised him financing and distribution. We have included the single in our program. It was mixed and produced by Thomas Schwebel von Fehlfarben.
++ There are two „Fast Weltweit präsentiert“ compilations. The first on vinyl, and the second on tape. Of course, I have to ask, why the second on tape?
Cassettes were very popular, easier and cheaper to create and send. We used the tapes as a demo for concerts at the same time. Cassettes were also a statement for the still new DIY and independent culture.
++ Not all of the artists that are related to the label, got a proper release. Only a few did like Jetzt!, Die Sterne, Die Time Twisters or Der Fremde. Why was that?
For the first single of Bernadette La Hengst we had already finished the recordings and photos. Horst Luedtke, producer of “Monarchie und Alltag” of Fehlfarben, produced Bernadette in the Klangforschung for a week in 1989. He came in a Mercedes, wore cowboy boots and lived in the Maritim hotel. The recordings were very exciting and had a positive influence on me. A little later Bernadette met her comrades-in-arms at Die Braut… and the story took a different turn.
++ Speaking of bands released by the label, just as an introduction to the English-speaking fans, maybe in a line or two could you explain or tell who formed these bands, or which song would be a great entry point each of them?
The Time Twisters – Jürgen Jahn, Andreas Henning and Frank Jacobs. A good start would be the first single or – even better – the album “Guten Morgen Sommer” released by Tapete.
http://www.tapeterecords.de/artists/dietimetwisters/
Jetzt! – Michael Girke, solo and in different line-ups with band (Klaus Mertens, Mijk van Dijk, Oliver Mills etc.). Here, too, the publication of Tapete should be mentioned: JETZT! – Liebe in GROSSEN Städten (1984–1988)
http://www.tapeterecords.de/artists/jetzt/
Mijk van Dijk has published a wonderful report about his time at Jetzt! on his website. All in English language: http://microglobe.de/jetzt-liebe-in-grossen-stadten/
Die Sterne – Mirko Breder and Frank Spilker. (The other Die Sterne band was founded in Hamburg in the early 90s with a different line-up but with the same name.)
Especially the first single “Ein verregneter Sommer” is recommended.
https://www.youtube.com/watch?v=IGD7VVcFuWE
Der Fremde – Achim Knorr, Andreas Reth and Andrea Kilian; later with Frank Spilker on bass and Thomthom Geigenschrey on violin. German grunge with a lot of Dinosaur Jr. influence. The recommendation: “Stunden dazwischen” – live with the support of Frank Spilker and Mirko Breder. https://www.youtube.com/watch?v=8udCYt2bkbw
Bernadette La Hengst – here the cover version of Michael Girkes “Das Dorf am Ende der Welt”. https://www.youtube.com/watch?v=5kAk9c103t8 The woman is incredible, climate activist, musician, actor & theater.
Jochen Distelmeyer, Die Bienenjäger – “What will we find”.
At that time with Thomas Wenzel, Mikro Breder and Jochen Distelmeyer.
https://www.youtube.com/watch?v=4335RV7PgkM
++ And if you were to choose your top five releases on Fast Weltweit, which would they be and why?
I can’t decide. 😉
++ I must say that my favourite band on the label is Die Time Twisters, as they are perhaps the most jingle jangly band on it. I believe they could have been much bigger maybe if they sang in English. But at the same time I love that the bands in your label are true to themselves and were all singing in German. I do wonder what you think about that? Do you think this limited in any ways the bands and or the label?
We deliberately chose the German language. As a “native speaker” it is much easier to express yourself in it. A large part of the bands in Germany sang English at that time. People thought it was cooler, didn’t understand the strange lyrics and the funny accent of these bands. We also saw each other as a result of the early German punk and new wave bands, which were distinguished by the then new use of German lyrics. Even if music as a language is universal, the decision to use one language limits the target group. On the other hand, we wanted to be understood and it is more obvious to speak the same language.
++ Are there any other German bands from that period that you would have loved to release on the label?
There were contacts to other bands, but nothing came out of it.
++ And is there a complete discography of the label somewhere? Is the Discogs one complete?
Discogs is a good introduction and almost complete in relation to the official releases. Of course, the many demos are missing. The German Wikipedia entry also mentions some demo recordings.
++ When and why did you decide to stop the label? What did you do after? Did you continue being involved with music?
It was a creeping process. Due to my computer job I had less and less time at my disposal. At the same time there were changes in the bands. Michael Girke stopped making music and became a journalist for the “Bielefelder Stadtblatt”. Jochen also stopped making music for a year and later reinvented himself with Blumfeld. Bernadette founded her band Die Braut haut ins Auge. The drummer of Der Fremde, Andreas Reth, founded a new label for his band in 1990, Reth Tonträger, and we produced the album “Daneben” together with Achim Knorr.
Die Sterne were also newly founded in Hamburg.
https://www.discogs.com/de/Der-Fremde-Daneben/release/1988984
++ Probably the question most people are asking by now, do you still have any stock of the label’s records?
No, all out of stock.
++ Did the label get much support from the German press or radio?
The fanzine “Straight” of the Grether sisters supported us very much. There were some mentions (“Spex” and others) and articles in the local newspapers.
In the mid-90s the Münster fanzine “komm küssen” published a big article and a fat CD supplement to the magazine with Weltweit-Tracks with the help of the Hamburg label L’âge d’Or. This was a great honour for us, as the magazine about Christoph Koch, Linus Volkmann, Ivo Schweighart and Michael Brandes was one of the best German-language fanzines.
++ Looking back in time, what would you say was the biggest highlight of the label?
Live the performances at Café Swing in Berlin, musically the red and the blue cassette sampler.
++ I’m curious, as I also run a small label, did you lose much money with the label? Or maybe you were one of the lucky indiepop labels that could break even or make a little?
I wasn’t in debt 😉
++ Aside from music, what do you do these days? And what other hobbies do you have?
I live off my job as a computer supporter.
My hobbies: still listening to music and sometimes also producing. 😉
++ I think this has been a long interview Frank!! I could probably keep asking questions but let’s wrap it here. Just one more question, as I’ve never been to Bad Salzuflen, do you recommend visiting at all? Are there any sights or maybe traditional foods or drinks one should definitely try?
Maybe “Pickert” This is a pancake-like dish that used to be a “poor people meal”. It is a dough dish and is fried in a pan and served with butter, plum or plum jam, jam, compote, applesauce and others. It’s definitely very tasty. 😉
https://en.wikipedia.org/wiki/Pickert
++ Anything else you’d like to add?
Michael and Bernd met through a tip from The Toll drummer “Balou”. He said to Michael: “I know someone who is just as crazy as you are”.
Some of the band names have their own meanings. „Toll“ means “great, awesome and fantastic” in German. “Die Braut haut ins Auge“ is a “bride that bangs the eye”. All the band members had just been through a divorce. “Die Bienenjäger” are “bee hunters” and “Die Sterne” are “stars”. “Der Fremde” is a “stranger” and “Arthur Dent”, an early band of Frank Spilker has a quote to the fictional character of the comic science fiction series The Hitchhiker’s Guide to the Galaxy by Douglas Adams.
Many thanks for your interest!
Best, Frank
PS: Many thanks to Roque for the interview. Thanks to Andreas Henning, Bernadette La Hengst, Michael Girke, Marlon Klein, Carsten Friedrichs and Sarah Wassermair for the reading and the comments and Volker Koring for the correction.
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