There was a point in the '80s when I looked out at my audience and I saw people that - were I not on the stage - they'd sooner slug me as they walked by me on the sidewalk. And I realized that I was way beyond the choir.

By the time [of modern] generation was coming of age sexually, there was already this idea of safe sex. But that didn't exist for me. I came out of the free-swinging '60s and '70s. It was free love, baby. That was it. We had very liberal sex-ed classes in 1973, a yearlong environmental science class, and then Women's Lib and Gay Liberation. So it's insane to go from that to Reagan and AIDS. It was like, "What happened? Where's my future?"

I really wanted to be on Six Feet Under as a corpse. That would be hysterical.

I think my apocalyptic feelings went deeper than [heavily influenced by Reagan and AIDS]. I'm really at peace with how afraid I am.

I simply constructed a project to try to snap Kurt [Cobain] out of a frame of mind. I sent him a plane ticket and a driver, and he tacked the plane ticket to the wall in the bedroom and the driver sat outside the house for 10 hours. Kurt wouldn't come out and wouldn't answer the phone.

When I write, I tend toward melancholy, and the few times that I've tried pure joy in music, it doesn't really work that well. The joy can be through catharsis. I think that's what I do well, and observation.

The artwork for the record is kind of an homage to that. It's a collage, which rhymes with homage, I just realized. It's an homage to this kind of almost like a teenager's idea of what the future might look like, if he were using a Xerox machine and cut-and-pasting it together. Which is exactly what we did to come up with the artwork.