I find it painful when I'm without anything. But I work in multiple fields. If I can't write, I find myself taking photographs. I can go on the road and perform. But the most important thing for me is writing, and when I hit those walls, it's painful.
The sea is greater than us - it has its rhythm, its art. It comes with our earliest memory, of respiration, breathing in and out.
What is the impulse that drove to direct? To me, it seems so immense. Just having a rock 'n' roll band, or to go from the solitude of writing and to having to collaborate, is almost schizophrenic.
Sometimes I get lost in watching a film. The sorrow, or the frustration, is when it doesn't happen for a long time.
John Coltrane, he talks to god. He starts playing his solo, he might play for 14 minutes. For 14 minutes, it seems like he's talking to god, but he always takes a hold of the melody.
Talking to god and coming back because that's what we have to do. That's your responsibility as a director, as an artist, as a performer. Your responsibility is back again to your people.
As a child I was such an intense daydreamer; I could be so gone that I had to be smacked to come back. They were really worried that I had some kind of catatonia or something because I would go so far out. Because all I wanted to do was talk to god as a child.
I have disciplined myself when I'm working. When I discovered art, I realized that one could keep that search going within creation. But I also realize that in order to create the art, you have to stay, you can't go too far.
In any performance, you're on stage for two hours, and there's 40 seconds or maybe a whole five minutes where you feel like the whole universe is in place, and you've gone even beyond the universe that you know.
We have to believe, as creators - just like a doctor doing heart surgery has to believe that he can save that person's life. You have to believe that your pursuit is not just a noble pursuit, but a necessary and inborn pursuit to uncover something.
That's what artists do, that's what poets do - we all do it. We start with something, and sometimes we destroy everything that we've made in order to get to the core place where we started from.
I started going to Bible school really early in life. Being raised a Jehovah's Witness, I had to read the Bible over and over. These stories were so horrifying and really difficult to reconcile. For me, Noah wasn't the story of the graham cracker box with the little animals it was horrifying. I would ask the same questions as a child. "Well, what about the little kids? What about the dogs and cats?"
A lullaby should be timeless because it's a timeless concept - the birth of the child.
When I was working on the lyrics, I thought of all the lullabies we learn as children: "Away in the Manger," William Blake's lullabies. I realized that the key to lullabies is simplicity.
I can't bear working with a click track, we're not click track people. But for "Mercy Is ..." we all got in one mind because the song is delicate; it's not a song that showcases a vocal or some virtuoso.
The best thing is to motivate people to do their own work. I'm not opposed to making money. But I started to play rock 'n' roll to motivate others, to shake things up, wake people up and to let other skinny, pimply marginalized weirdos know they're not alone.
I like photographing dresses in windows. I actually wore a lot of dresses in the '70s. I like them on other people now.
We all make choices. Believe me, I would like to write the hit of the world. It's not like I have any desire to be in the shadows. My vision isn't marketing. Some people want to sell 6 million albums. There's nothing wrong with that. It's just not what I do. I'd rather look at a piece of work and say it's great rather than it's successful.
I always know that everything I do is the best I could do.
I don't feel that censorship keeps me from doing the work, though. I'm my bigger censor.
When you do controversial work, you're going to upset a certain amount of people.
America is run by corporations, it is run by banks and Wall Street. That's why we can't get guns under control. It's because all these lobbyists don't want gun control, they don't want us to have strong environmental safety guards. Young people can become aware of that and they are the most powerful lobby. With a click of a text, you can have millions of people voting for one person.
I worked for Hillary [Clinton] when I was young - when she was running for the Senate. I was fundraising and things, I see all of these people as political in a way that isn't humanistic. I'm just watching and hoping that someone is going to distinguish himself or herself as comprehending what we need.
Look at Obama - he is now [2015] trying to help us environmentally but he should have done it eight years ago. He's trying to salvage his legacy and trying to do something good but we needed for him to show leadership from day one.
In the '50s you had to wear pink ribbons if you were a girl, and you were supposed to become a hairdresser or a secretary. I couldn't stomach it. Later on, when I fell in love with my husband and had children, that's when my mother's earthiness or sense of femaleness kicked in.
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