Mostly, the people in "the room" are paid lobbyists representing interests that could afford to pay them. No wonder policy isn't being made that helps smaller, independent musicians or those unaffiliated with a larger entity.

Lenelle Moïse's poems render the abstract - policy, disaster, history, diaspora - specific. Her words make the political not just personal, but corporeal: the beautiful system of the human body as canvas and subject, perfect in all its attendant complications and complexity, and still ruled, undeniably, by a warm, beating heart.

So many policy decisions that effect musicians are being made without any input from musicians at all.

My approach to writing and recording now is pretty much the same as when I started. Except now I worry even less about what people will think of what I made. And I am not drunk.

As a consumer of culture, I like a wide range of emotions to be touched in art. It's funny but on the other side of it, I do feel that people that are trying to sell culture would like to see a narrower range of expression from their content-makers. Easier to sell I guess.

As I've gotten older, I have gotten a lot better at finding the pleasures of making music despite the business of it.

I learned how to have a little bit of distance when I explained songs and a little bit of distance when I wrote them. I think this is more interesting any way in art.