I have a 6-year-old, and his thing is to turn on Radio Disney in the car, and I get such an allergic reaction to listening to that music and the context into which it falls. I'm really working on him about that.
I probably would've kept slogging on that same chord change, because there's a tendency to have that happen. You get into the cadence in your mind, and it's hard to make the kind of left turn that you probably need to keep it really interesting.
Everybody kind of understands, Oh yeah you take drugs and it does something to your brain and then you can't stop. It's easier to describe that shame, that horrible feeling of not being able to control your own life.
Better take the keys and drive forever. Staying won't put these futures back together. All the perfect drugs and superheroes wouldn't be enough to bring me back to zero.
Everyone's just extracting meaning and feeling and emotion from almost every aspect of music, and I think that for me, it's a huge antidote to that to have a concept album.
I thought everything was interesting. I wanted to go scuba diving and I wanted to learn how to surf. Because I grew up in the 60s girls were not allowed to do anything. As I've gotten older and realized that women can do things like that I thought, 'Why not? Now's the time.'
What's interesting to me is drama and conflict. Things aren't interesting without conflict and resolution of conflict - or striving towards a resolutions of conflict.
One of the things I've really gotten past in the last couple of years is the idea of being made uncomfortable by the way things appear, rather than how things are. Clearly in this business you have to contend with a lot of that.
For me, there's a fine line between telling a story that's fictional with lots of details and then removing yourself too much from it, so it's bloodless, a little too fictional.