I was totally involved in Bobby's World from the time we started the idea to sitting with the artists on how he would look, to the script meetings, the music, the lyrics, the songs.
I didn't start playing music really until I was 18/19, so it was a relatively new thing. I didn't play much music in school.
The moment you start to talk about playing music, you destroy music. It cannot be talked about. It can only be played, enjoyed and listened to.
When I started out, I wanted to be the kind of artist who could play the CMA Music Festival and then turn around and play Bonnaroo, and I've managed to do both.
I know that starting out as a young band, it's really easy to get lost with bands that sound the same or with the plethora of music that's out there.
I've been into music for a long time. I started playing drums when I was 8 and piano when I was 10, then bass and guitar when I was 18.
I started writing music when I was around twelve. My current record company saw a video of me performing at my school's talent show.
The way I work on music is that I go into my studio, and I start playing music, and I see what happens, and... I never think about it.
There's a pattern when tours start - a pattern of infighting, of making up, of breaking up, of addiction. There's a pattern of going to jail. There's a pattern of passion for music.
First, it doesn't surprise me that traditional music has experienced a kind of exhaustion in the 20th century - not forgetting that many musicians started to look outside the traditional structures of tonality.
During college I realized I had a music predisposition and really got involved in it. I started playing bass guitar. That was how I began to fit in.
I never went to acting school. I started in the circus, music hall, I was in a group, did kids' bits. I've always had this kind of insecurity being uneducated.
You start to accumulate your library of music. You want that music everywhere - that's the point where we monetize. If you want portability, mobility, and access, then you buy it.
I started playing the piano when I was about two and got a scholarship to the Peabody Conservatory of Music in Baltimore when I was five. But I left when I was 11.
I think the thing I've always tried to do is - and I didn't plan it, it just started to come out that way - is try to make challenging music that flirts with accessibility.
My thing is, once you start to put a backbeat on your music or something that has a machine in it, you have popularity, but you lose the flexibility. And you lose a richness.
It was clear to me from the start that I would need to combine both a medical degree with a research qualification, to keep at the cutting edge of medical science and technology.
I'm terrified of writing at night, for then I can't sleep. So I start slowly, slowly writing in the morning and go on into the late afternoon.
I always do an all-night horror marathon on Saturdays where we start at seven and go until five in the morning.
You always say 'I'll quit when I start to slide', and then one morning you wake up and realize you've done slid.
It's important for young women and men coming out of the fashion schools to think seriously before starting their own collections.
