Then little writings and recordings that thankfully continue to come up. I'm in this kind of wonderful, kind of awkward, off-putting, and strange position where there's nothing I want to do more than continue to make music, but the ways that I do things are not in tune with how I can do them commercially.

I think that what trips up a lot of great musicians is that they become involved with too many things that aren't where their strengths lie.

I still make music. I still write music and I record music, I just don't trust music promotion [and] distribution right now enough to record a new set of diligently worked-upon compositions. I do trust the audience and the audiences very much.

I don't like going to cities. I don't mind maybe being in a city sometimes for a few hours, but I pretty much don't like cities. I don't even like passing through them.

To me, recordings are little fourth-dimension artifacts, because they already are representatives of past, present, and future, just inherently in their existence.

It's definitely important to be open enough to seize an opportunity when the opportunity is there.

With women, you always have to make an educated decision to figure out what they're thinking. It's not one that's necessarily sympathetic, always. Of course, we're all human beings, but the gender thing is big thing. And a great thing.