Trying to get my music performed live by bar bands was a self defeating experience. It really just distracted me from what I should've been doing all along, writing and recording.
New Orleans has a unique history as a great melting pot of all kinds of cultures, and that manifests itself now through the food, the music, and the kinds of people who live there.
I don't live in as much fear as I used to. I'm not afraid of the music business. Life is too damn short. I know what's important, and the tasks are very clear.
I like thinking of myself as invisible. I find it a very advantageous way to live. Unfortunately, its not the way the music business works. If you don't create some kind of public image, it gets created for you.
But we got up there and decided to stick to this mix of power chords and funk and that's where it really started for us. In having the courage to take that decision. To take a gamble not just with our music but our lives.
I'm really looking forward to it because it will give me the opportunity to do the whole other kind of approach to the music live that I haven't had a chance to do. and I think is important for me to do.
I'm one of those guys that is still a bit afraid of the telephone, its implications for conversation. I still wonder if the jukebox might be the death of live music.
But then I'm one of those guys that is still a bit afraid of the telephone, its implications for conversation. I still wonder if the jukebox might be the death of live music.
If I have to work in McDonalds, fine - I had a really great run and made a living at music for 20 years, and how many other people can say that?
I treat the photograph as a work of great complexity in which you can find drama. Add to that a careful composition of landscapes, live photography, the right music and interviews with people, and it becomes a style.
At 3 A.M., I'm still up watching videos of jazz heroes I never saw live. It's so thrilling. And not just the music. The Internet is changing the future of fund-raising. I'm thrilled by the potential.
English is really free for me; there's no limits to the music and the imagination. And French, it's just I live in Paris, and it's really a poetic language where you can really play with words.
To be alive, to be able to see, to walk, to have houses, music, paintings - it's all a miracle. I have adopted the technique of living life miracle to miracle.
I live a normal life. But I'm always thinking about what I'm going to do next, musically. 'Do I need a fresh producer? What was Peter Gabriel doing when he was 32?'
Adult life is dealing with an enormous amount of questions that don't have answers. So I let the mystery settle into my music. I don't deny anything, I don't advocate anything, I just live with it.
I know I want to work for my whole life because I know I can't live without music or dancing. But I don't know if I want to be a big star.
Unlike motor sport, I didn't get into music for the live performances. I like writing and studio work and seeing how a song can come to life.
I find it very, very hard. He was part of the fabric of my life. We were kids together, and teenagers. We spent the whole of our lives with each other because of our music.
I love music, and I love acting, so if I can just live and be able to do those two things, I can be happy, you know?
It's a constant challenge to get your arrangement and musical expression across to a new audience, especially when you're playing live every night like we are.
I think that what we were doing with the live musical version of 'Shrek' was taking the ideas and the structure of the movie and not necessarily reinventing it but reimagining it. It is a very different medium to perform.
