I am not facing the problem of emigration. I want my music to be acknowledged here first of all, in this country: after that, we shall see - perhaps the question will than become urgent.
To some degree, yeah, because I have to play a certain number of originals that might be considered avant-garde material. I realize though, that only a few people in the audience actually know what that music is, or understand it.
One of my biggest personal holdings is Rotana. That company has a very dominant force in the Middle East. It has around 45% of all the movie industry and around 75% of all the music.
'Hatful of Hollow' and 'The Smiths' were lent to me, and they made me want to create music that might make another person feel like they made me feel - to have an effect on someone.
That's why so much of the music today sounds so much alike, because there's no in-between. So it's kind of nice to still turn some buttons every now and then.
I compose my own stuff. I've been writing songs with words. I've been playing more on the keyboard because I can transpose it to sheet music on the computer.
I am severely distracted these days. It's hard to sit in front of the computer, uploading bad music for hours, when you have a wonderful boyfriend who treats you like a Goddess.
When I was younger I didn't really know what genre of music I'd want to do because I'd always done so many different types, so many impressions.
I let the song come to me. Then that thing comes to you, and you just know what that thing is. Music isn't like a 9-to-5 job. You never know. It's just the most unpredictable thing.
I feel like I've spent the majority of my time touring and traveling, so if I reduced the actual time making music, it's probably four and a half years at the most.
The repercussions of what you put out and what people gravitate to in your music never registered at all. I never had that thing that maybe other bands have - a specific idea of what they are and what their sound is.
I did a lot of work without thinking about it in a calm, rational way. Stopping and thinking about what I was doing made my music calmer and deeper in tone.
Look, when I started out, mainstream culture was Sinatra, Perry Como, Andy Williams, Sound of Music. There was no fitting into it then and of course, there's no fitting into it now.
The biggest misconception about us is that we're just a rock band. We think our music is a cross-section of many genres; a hybrid of what the six of us have grown up on.
'Music for Relief' has played a vital role in helping get aid to people who most need it. We are deeply honored to participate in what will likely be our biggest event to date.
When I was 14, I came very close to becoming a gay teen suicide 'statistic,' but I then turned to music, my piano, my loved ones, and discovered that it does in fact get better.
Musicians are there in front of you, and the spectators sense their tension, which is not the case when you're listening to a record. Your attention is more relaxed. The emotional aspect is more important in live music.
Music in itself carries a whole set of messages which are very, very rich and complex, and the words either serve to exclude certain ones or point up certain others.
I'm older than I was, and I'm still washed-up, and I haven't changed my music one iota. It's just much easier to do this when people are being nice to you.
Certainly being in California has encouraged a sustained commitment to rethinking the nature, purposes, and relevance of the contemporary arts, specifically music, for a society which by and large seems to manage quite well without them.
You know, there're no rules between Russell and I. We don't want to have to have to talk too much, because it's really precious, really special to play music.
