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I did 13-something years of talking to wrestlers and promoters about why they did certain things and why they booked matches a certain way and what they were thinking and whether they were satisfied with the draw. And I got a lot of insight in the business.
I was fantasising about my own death, I started thinking what my funeral would be like and what music would be played, I was at that level of insanity.
I mean my point as an artist is I'm on my own little weird journey across the sky here and whether or not anybody's listening, or listening to the degree I would like them to, at the end of the day has to be an inconsequential thing because I can't chase this culture.
Most of my arguments with musicians through the years have had more to do with their attitude about music, or their attitude about their own lives, or their personal responsibility. Music has never really been the big centerpiece of the fight.
I think long and hard about what it is I'm actually trying to do, and then I kind of have to narrow my focus into that. If I don't, I'm too all over the place.
I think a spiritual journey is not so much a journey of discovery. It's a journey of recovery. It's a journey of uncovering your own inner nature. It's already there.
I don't think people are fans of me because I wrote hit songs. I think they're fans because I'm a lunatic or a weirdo. The hit songs came out of my idiosyncratic personality, not the other way around.
The ideology of the Smashing Pumpkins was ultimately more valuable than the music of the Smashing Pumpkins. That's what critics can't put their finger on.
More than any audience in the world, Americans will cross their arms, stare at you and say, 'OK, whaddya got?' - no matter how many times you've proven it to them.
I don't think people buy records because of anything that happens on Facebook. They buy records cause they're friends say 'I bought this record and I love it.'