I like to deal with my dark side in a creative way, and just sing about killing people instead of actually doing it.

With the first kid, you micromanage it, making sure there's no hair out of place when it goes off to school. But by the third kid, it's more like, "Oh, you want to wear a splatter-painted, Hard Rock Café T-shirt for seven days in a row and not brush your hair? Go for it. Be who you want to be."

I wouldn't say I'm a very technical [guitar] player. I'm more intuitive - it's always more about chasing an abstraction.

I think anything that you can't poke fun at is a little too precious.

I think cults are probably a little less scary. To me, it's scarier that 25 people would wear robes and jump up and down and try to convert everyone to happiness than a Kool-Aid suicide.

All these things that we are very nostalgic for come from a place of technology dictating [art]. This time and place is no different.

I was like the roadie, I was carrying gear, checking things in at airports, making sure they had flowers backstage and interfacing with promoters who were sometimes really nice and sometimes a little seedy. It was a great apprenticeship, to be in the music industry.