A great show means we have to connect; we have to prove to [the audience] that we do something great or blow their socks off, but it has to be with them if it's going to be sustained for any length of time.

Whether it's about children or not, we have to move forward.

One of the things that I love about painting is that I never consider myself to have an audience.

I had a dream that Louis Armstrong was playing the 'Swept Away' melody. I have no idea where it came from. But Louis Armstrong was playing it and singing the song to me. I woke up-it's a borrowed melody no doubt-and wrote it down. If I hear a song and I choose not to put it down, that's me neglecting to accept that song. I think there's a very spiritual and godly-type ting that happens, and it happens to way more people than we know. It's just that very few of us choose to engage it.

In the music world, when we're making work, we are obligated to no longer be completely free from what we are to someone else - sort of like an athlete, where you become a role model to someone.

Someone like John Prine can write a song that tears into your soul, turn it over, and write a song that makes you laugh and feel light as a feather. With someone like him, you're getting a real picture of a person, a real expression.

It was Rick's Rubin idea to have the 'Brooklyn' verse repeat. It already was a story, but having that made it a folk song. Instead of this rambling march of verses, Rick understands that music needs hooks. You need that repeated chorus, that everyone can sing along to.