The older I get, the more I realize that you don't have to be around people you don't want to be around, and you don't have to be in a situation you don't want to be in. You have the power to rise up and leave.

I don't take myself that seriously when it comes down to that stuff. My drummer is my favorite drummer in the world, and he also happens to be the funniest person you'll meet. He's a constant reminder every time stuff gets a little too heavy, maybe I have a bad show or I'll hit a horrible note on some recorded TV thing or something, and he's like, "Man don't take yourself so seriously - this is a joke, we're playing music." And that's a great thing to keep me grounded at all times. We're not saving lives, but the power does help us.

There's a bunch of songs that I call B-sides on the record that you could argue could maybe have some potential commercial success with another artist, but for me, they just felt really whack.

I like to write pop songs and the stuff I write is fairly poppy, so I thought maybe my lot in life was to write pop songs for people. It never felt right writing songs for other people to sing, though.

Growing up from Nirvana to all the bands I was listening to at the teenage time, those were my best friends, more than my real friends. Those were the people that sang me to sleep or gave me the confidence I needed to go to first period. When we're all so insecure with weird stuff, when we're having weird feelings toward girls or guys, or whatever. It's the insecurity of life that we all go through. So music helped me.

In fact, on a side note, after the success of the first record, I got asked to write for some pop artists, as everybody does, and I did a couple songs for some of these massive stars and the review that I got back was, "This artist likes the song but it's too POP-y for them." I was like, "What do you mean, I thought I was writing for a pop star."

I've always found it pretty difficult to write a happy song.