It is different [to perform in Israel] because it arises from very deep wells of affiliation.

I was 15 when I first became deeply touched by the rhythm and structure of words.

Everyone has a kind of magical system that they employ in the hopes that this will open up the channels.

Today [people] are ready to take emergency cures, whatever they are, if it's violence, if it's a fascination with serial killing or whatever - the discomfort is so intense. Maybe it's always been like that, certainly it is now.

this is every musician's dream, to stand in front of an audience and not have to prove your credentials.

It's the notion that there is no perfection - that there is a broken world and we live with broken hearts and broken lives but still there is no alibi for anything. On the contrary, you have to stand up and say hallelujah under those circumstances.

I've never thought of myself as a singer anyway. . . I've been free from those considerations because so many people over the years told me I don't have a voice. I kind of bought that. I never thought that much about it to begin with. I knew I didn't have one of the great voices. As my Damon Runyanesque lawyer used to say, "none of you guys can sing. If I want to hear singing, I'll go to the Metropolitan Opera."