There was a very obnoxious phase for Axl Rose. I'm sure if I had experienced as much success as he had, I would probably be a third as obnoxious. I'd probably be obnoxious, too. But not that much.
It's not about success. Whatever happens, it doesn't matter. I would like to not go bankrupt or get some incurable disease, but other than that, I'm just happy to keep going.
Nashville has a formula, and it works a lot of the time, but it wasn't right for me. They're afraid to step outside the box - even though, with me, my success came because I was outside of the box to begin with.
I'm a kid who grew up in an all African-American neighborhood and got into schools and aspired to just be me, and didn't worry about labels or anything. Just wanted to be a success at what I did.
Commercial success still hasn't come to an artist that isn't signed to a record label. There are very few artists that can succeed without the help of a record label. The role of the record label is still required, it's still necessary.
To put it bluntly, there isn't one economic theory that can single-handedly explain Singapore's success; its economy combines extreme features of capitalism and socialism. All theories are partial; reality is complex.
I don't know what keeps me going. Sometimes I wonder... I think it's just pure perseverance and wanting to succeed and having that burning desire to always have success.
My main point in this regard was to compete for my country and my people and to receive the support of the entire Cuban society, to carry my flag in whatever competition I was in, the Olympic Games, Pan-American Games.
Society can take two roads - the road to genuine prosperity, or the road to artificial stimulus. The first results in a permanent higher standard of living for all; the latter creates an inflationary boom that cannot last.
I feel sympathy for the working class lad. I've always championed about ticket prices and try to equate that to people's salaries.
I'm absolutely obsessed with The Jesus And Mary Chain and Patti Smith, but I'm a massive pop fan. I love pop culture, It's a total reflection of the zeitgeist.
Music is an extraordinary vehicle for expressing emotion - very powerful emotions. That's what draws millions of people towards it. And, um, I found myself always going for these darker places and - people identify with that.
'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.
I have always made commercial music. The people who vote for the Grammy nominees are mostly in their 40s and have other jobs or are musicians themselves. They like music that they can relate to - they like commercial music.
Drawing and visual pursuits were first. Music came and found me in a way. Really, what it's about is creative problem solving, and music is a lot more an expression of that than painting is for me.
When you're playing music, say for instance, you're playing a part of the band and you're looking at your music, your horn is down into the stand. This way, it's up and it goes right on out to the audience, you know?
Miles Davis turned his back to the audience when he came out on stage, and he offended people. But, he wasn't there to entertain; he was all about the music. I kind of do that.
At the same time all this was happening, there was a folk song revival movement goingon, so the commercial music industry was actually changed by the Civil Rights Movement.
Whatever I do, I do for the universal. It's not like an individual thing; it's not like something from me. What I present to the people is for all of us, you know. I present music for the people.
I was a schooled musician. When I made 'Blue Velvet', I told everyone what to do. I was an arranger. I learned music in school I told the band to play this. I told the guitar to do that.
Actually, I feel music becoming more and more important. It's a big source of inspiration. With what's going on in the world, we feel almost desperate. Music also brings you peace.
