"In a way, yes, because I was starting something fresh, and it was something totally independent"
About this Quote
There is a musician’s shrug in Skitch Henderson’s phrasing, but it’s a carefully tuned one. “In a way, yes” is the soft pedal: he grants the premise without surrendering the whole story, signaling that whatever he’s answering (a breakup, a departure, a reinvention) is both true and not the point. Then he pivots to the real claim: agency. “Starting something fresh” is less about novelty than about permission to reset the terms of the work, especially in a mid-century entertainment ecosystem where bandleaders, networks, and producers often owned the spotlight.
The sentence keeps insisting on authorship. “Starting” frames him as the initiator, not the hired hand. “Totally independent” is the loudest note, and it lands because it’s slightly overemphatic, the way people talk when they’ve had to negotiate for control and are still feeling the imprint of being managed. For a working musician who moved between radio, television, and big-name institutions, independence isn’t romantic bohemianism; it’s practical power: choosing repertoire, shaping a sound, deciding the pace, refusing the endless compromise of being “the guy who plays” in someone else’s machine.
Contextually, this is the language of reinvention without melodrama. Henderson doesn’t burn bridges; he redraws the map. The subtext is professional self-respect: leaving behind an arrangement that limited him, and calling the next chapter what it is in show business - not a spiritual quest, but ownership.
The sentence keeps insisting on authorship. “Starting” frames him as the initiator, not the hired hand. “Totally independent” is the loudest note, and it lands because it’s slightly overemphatic, the way people talk when they’ve had to negotiate for control and are still feeling the imprint of being managed. For a working musician who moved between radio, television, and big-name institutions, independence isn’t romantic bohemianism; it’s practical power: choosing repertoire, shaping a sound, deciding the pace, refusing the endless compromise of being “the guy who plays” in someone else’s machine.
Contextually, this is the language of reinvention without melodrama. Henderson doesn’t burn bridges; he redraws the map. The subtext is professional self-respect: leaving behind an arrangement that limited him, and calling the next chapter what it is in show business - not a spiritual quest, but ownership.
Quote Details
| Topic | New Beginnings |
|---|---|
| Source | Help us find the source |
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