I'm glad that our music motivates people to exercise. If I had to pick just one song to run to, it would be 'Violet' by Hole. It makes me want to run.
When something really hits me, it makes me want to either jump off something really high or lie down and be buried. I want people to get hit and caught by my music.
I always seem to feel that everything is about to cave in on me. I think that maybe music is my protection from that and in some senses it's an outlet to turn it into something euphoric: embracing the eventual decline.
Music is my way out. I keep things locked up and never say anything. I guess in order to say something to one person, I have to sing it to a couple of thousand. It doesn't make for healthy relationships.
I'm really careful with what the music gets put with, and we say no to so much stuff, loads of it, for things that might quadruple the sales of my album. But if it doesn't fit then it doesn't fit, you know?
I was too restless as a boy to sit through an entire mass. It was akin to aversion training. I looked at it like a puppet show with a totally predictable story line. The only aspect I really liked was the music.
Everything about the music industry takes away from you as an artist. They're always wondering what the next thing is: 'What do you have?' It's a very introverted process.
Pop just didn't have enough substance for me. All this nyah-nyah-nyah, you know, 'Paper Tiger' and 'Hold the Ladder, James' and 'Crimson and Clover.' That wasn't music!
While I'm playing baseball, I'm still writing songs and having tapes sent to me. I'm sure I'll spend a lot of time in the whirlpool resting these tired bones, so I'll be thinking of music then.
You can rebel against everything adults say. When I want to find out what the new music is, I find out what parents hate.
I pick up the New York Times or Time and it's talking about the latest rock group, which I'm sure is exciting to some people, but it neglects a huge area of music.
Manchester has it's own pride and London has it's sort of pride and sometimes we can be a bit mean to each other, but I think if we dig the music we can get on really well.
Whether I'm doing music or I'm walking down the street or I'm in a record store buying a record or I walk into a comic store and I'm buying comics or having a drink with my friends, it's the same me.
As an artist, you dream about accumulating enough successful music to someday do just one greatest-hits album, but to reach the point where you're releasing your second collection of hits is beyond belief.
There's not much music I'll listen to if it doesn't have pretty heavy swing. Rhythm is so important. Punk rock would have more power and feeling if it had swing.
We were excited when we sold our first 10 records. I always felt that if we could get the music out there, and if people became accustomed to it, then a substantial number of them would enjoy it.
I guess rock stars are role models for the kids who listen to that music. My role models have all been geologists - you know, the guys who are doing fieldwork until they're 70.
I struggled to keep one foot in music and one in academia. I had worked on my Ph.D. for three years full time before I realized Bad Religion could be a legitimate career.
Music therapy was so important in the early stages of my recovery because it can help retrain different parts of your brain to form language centers in areas where they weren't before you were injured.
The less people that are on the stage, there's more drama. You start living the music with each individual. When you see a band with ten people on stage, just a huge ensemble, you don't know who's doing what.
I was fifteen years old, and I hardly knew how to play a simple Bach prelude on the piano when I began to compose music, and at the most advanced level. I had never studied such things as harmony.
