That's what I'd rather be doing more than anything. I love to play and perform and write, record, do whatever - just stay in music.
Things like 'Lucky Man' were never written to even be a record, let alone a hit record.
In my younger days, I used to visit record shops and covet boxed sets of Beethoven symphonies, Wagner operas, Bach cantatas, Mozart piano concertos. Only rarely was I able to find the money for such luxuries.
'Moonwalking with Einstein' refers to a memory device I used when I memorized a deck of playing cards at the U.S. Memory Championship. When I competed in 2006, I set a new U.S. record by memorizing a deck of cards in one minute and 40 seconds. That record has since fallen.
You know you're a hopeless record nerd when your time travel fantasies always come around to how cool it would be to go back to 1973 and buy all the great funk and jazz and salsa records that came out that year on tiny obscure labels and are now really rare and expensive.
What people unfortunately relate to when they think of Alaska oil was when the Exxon Valdez went aground because of a captain that was drunk. But when you look to how we have been safely producing and moving Alaska's oil for decades, it is a track record that is enviable.
You put it out there, you go film it, you go write it, you go record it... but the fans are the ones who decide it.
My record was so bad that I was first rejected by the Peace Corps as a poor risk and possible troublemaker and was accepted as a volunteer only after a great deal of explaining and arguing.
I'm always writing songs, and I've got a bunch that I want to record.
'Supermodel' was a hard record for me; it was an emotional record to write. I was purging a lot of stuff with that album, and I think the one thing I didn't really consider, that I'd be supporting it for two years and living in that state of mind every night.
After my second-to-last record, 'The Greatest', I had gone on tour for a while, and I didn't play an instrument for about five years. And I got kind of - it's not self-esteem or whatever, or anger toward myself - but disappointed in myself that I hadn't been challenging myself to learn musically.
The most important thing is winning, not breaking the world record.
The only thing I have no control over is the politics that goes on within the record company. It's always been the same, but it's far tougher now, because record companies are run by financial people; before, they were run by creative people.
A band like Depeche Mode would go out and record them hitting a trash can with a steel rod or something and recording it. And that would be one of their sounds of the drums. I love the creativeness of that kind of really raw sampling.
People are interested in writing, and often there's an unjustifiable sense of people to believe my talking to them for the book is going to accord them any sort of fame. Which it won't. At the same time, they can be more circumspect if they know they're on the record.
At midnight every night, I would methodically leave the house for a couple hours' walk, come back in, and record. And then the sun came up. If I had done something good, then I'd be happy and go to sleep.
I record stuff all the time, like little vocal things. I write random things down... Sometimes I just get things stuck in my head and I record them, and that actually becomes a song quite a lot of the time.
My guitar survived Kosovo, then I went to visit a record company back in London and fell off my motorbike with it on my back, smashing it to bits. I was travelling at two miles per hour.
Once you have a felony conviction on your record, one of the most difficult things to do is to break the cycle of recidivism.
Just as the best way to judge an adult is by his or her record collection, the best way to judge a pub is by the albums on its jukebox.
The music industry is really funny, when you have a hit record, everyone knows who are you, everyone wants to do duets with you, then if you have a miss, people suffer from amnesia.
My record as a pro-life governor is not in dispute. I am completely pro-life, and I believe that we should have a culture of life. It's informed by my faith from beginning to end. And this not just as it related to unborn babies - I did it at the end of life issues as well. This is something that goes way beyond politics.
From an early age, I had the idea that writing was truth-telling. It's on the record. Everybody can see it. Maybe it goes back to the sacred origins of literature - the holy book. There's nothing holy about it for me, but it should be serious, and it should be totally transparent.
At 13 years old, I realized I could start my own band. I could write my own song, I could record my own record. I could start my own label. I could release my own record. I could book my own shows. I could write and publish my own fanzine. I could silk-screen my own T-shirt. I could do this all myself.
Back in the early days like for the Temptations, Supremes and Four Tops, artist development was alive in record companies. Every artist had a moment to develop the record visually. When the web took over and camera phones, it stripped the artists of the power to figure it out. So there's a need to bridge that gap and that's my job.
The fossil record is incredible when it preserves things, but it's not a complete record.
All of my plays are about people who have been marginalized... erased from the public record.
I've always loved doing covers. Some artists don't like covers. Some listeners don't like covers. But I love them. It gives you a new perspective production-wise. It's easier for me, if I'm starting a new record, I like to produce a few songs that aren't mine just so it frees me up not to worry about it so much.
I get bored easily, so I need to do a lot. I've started a record label, so I get to nurture new talent and talk about music, which is a passion of mine. I've written another book. And I get to come to work and do the TV show, which is always really fun.
Oh, I'll tell you about 'Anyone Can Whistle' - the lesson I learned with doing that record is that the simplest songs are the hardest to do.
The CD, it should be noted, was born out of greed. It was devised to prop up record sales on the expectation of people replenishing their record collections with CDs of albums they had already purchased.
I certainly have gotten caught up in the music business at various times in my life, mostly because you want to get along with whatever record company you're dealing with. I don't want to be flaky. I don't want to be some temperamental, hard-to-work-with musician.
No breed of cats in its proper condition can by any stretch of the imagination be thought of as even slightly ungraceful - a record against which must be pitted the depressing spectacle of impossibly flattened bulldogs, grotesquely elongated dachshunds, hideously shapeless and shaggy Airedales, and the like.
So you know, everyone points out Greece's default record, but the history of a lot of sovereign nations is not a good one when it comes to lending them money.
Being a pop-leaning, female artist, you'd think that I'd have my record company breathing down my neck and trying to control everything I'm doing. Actually, they've just kind of let me take the wheel.
I find that the time that goes by is actually your best friend when you are making a record. The passing of time gives you perspective on what you recorded and what you wrote. If something sounds good to you 12 months after you recorded it then chances are pretty good that there's something valuable about the part or the song.
