But I can’t confront the doubts I have. I can’t admit that maybe the past was bad, and so, for the sake of momentum I’m condemning the future to death so it can match the past.
You know what, the drummer is my manager. He’s busy. And I’m busy. I don’t need the dough, though. But having said that, there’s a limit to how much bad music I wanna play.
One of the things I’ve really gotten past in the last couple of years is the idea of being made uncomfortable by the way things appear, rather than how things are.
It’s more important for me to have a good record with good music and be part of a movie that’s good and where the music is used in a really great way. That’s the important thing. The other stuff you want to say about it, I don’t care.
What’s interesting to me is drama and conflict. Things aren’t interesting without conflict and resolution of conflict – or striving towards a resolutions of conflict.
I have a 6-year-old, and his thing is to turn on Radio Disney in the car, and I get such an allergic reaction to listening to that music and the context into which it falls. I’m really working on him about that.
If you’re an artist trying to put out your own record on your own label, it’s hard to get a distribution deal because no one wants to sign a deal with one entity.
