Parágrafo apócrifo (seria Deaffy a autora?) e discreto logo abaixo da letra de “Winterdreams” e o crédito de editora e direitos autorais no encarte em “Balls to the Wall” (1983), de minha versão remasterizada:
(provavelmente consta da versão LP original)
“This album is dedicated to all the people in the world, to an unknown majority, who have the same problems, the same dreams and the same rights, like you and me…”
Trecho de texto de Don Kaye na versão remasterizada de meu “Balls to the Wall” (1983):
“Lyrically, Accept bypassed the standard ‘let’s party’ shoutouts for an altogether more provocative poetry that tackled politics on a sexual, social, and global level. The title track alone was a paean for the rights of the oppressed and a call for revolution a decade before political consciousness would seep into the songs of hard rock acts like Rage Against the Machine and System Of A Down. But Balls to the Wall was an attention-getter in other, unexpected ways as well. From its controversial cover art to songs like ‘London Leatherboys’ and ‘Love Child’, in which Dirkschneider sings about ‘feeling the power of lust as the guy’s passing by’, the band raised eyebrows everywhere with a lyrical viewpoint about sex that strayed outside the usual metal ortodoxy.
Adding fuel to the fire was the mystery surrounding the identity of Deaffy, who wrote the lyrics for this and every Accept album that followed. It was later revealed that Deaffy was the pseudonym of Accept manager Gaby Hauke, one of the first female managers in the business and handler of Accept’s affairs for twenty years. The band’s fearlesness in utilizing such an unusual approach – which at the time led to widely circulated rumors that Accept was a ‘gay metal’ band – earns them even more respect in a genre that, unfortunately, was not always known for its open-mindedness“.