If you do anything long enough, people can't ignore you anymore.

A lot of bands, they'll try to jump on the bandwagon or the fad or the fashion, and they'll skyrocket, have this quick overnight fame. But as soon as that fad or fashion changes, they'll go out with it.

I remember waking up Tuesday, September 11th, 2001, to my wife telling me to put on the TV because I wasn't going to be going into N.Y.C. as planned. Dream Theater was working in N.Y.C. at the time mixing our album 'Six Degrees of Inner Turbulence,' and I would've been driving in that afternoon for our session.

I'm very outgoing, an extrovert, a control freak.

I don't care about technique. I have kind of been pigeonholed as a technical drummer since I was in Dream Theater for all those years, but it's actually very far from the truth.

I am not a technical drummer at all. I'm more from the Keith Moon/Lars Ulrich school of, 'Hey, look at me!' I just get up there and bash.

I have no interest in playing 'perfect.' To me, it's more about being an entertainer. Having a connection with the audience.

In all of my years in this business, I've always been part of either a progressive band or a metal band.

It's all about the music, and I work as hard as I do strictly because of the music. It's not a money thing; it's not a career thing. It's simply to do with me being a music fan with a broad taste, wanting to do different styles and wanting to work with lots of different people.

As far as I know, you only live once. So, I want to make the most of it while I can and work with as many different people as I can.

Any time I say anything about Dream Theater... Honestly, I'd rather not talk about it. Because no matter what I say, it will be twisted and... So I kind of have made myself promise that I won't talk about Dream Theater anymore.

I don't think I was ever meant to be tied down to one band for the rest of my life, playing one style of music.

I live a very open life. I value my relationship with the fans, and I utilize Twitter and Facebook and my web site, so my day-to-day activities are an open book for me to share with the fans, for better or for worse.

My time and my legacy with Dream Theater will always be a part of me. It's something I'll always be proud of.

I don't even like doing drum solos live; to me, it's like, 'Ehhh.' It doesn't really interest me.

A Dream Theater without me was never in the plan; I never expected that.

I am looking forward to working with the great staff of Loud & Proud Records, some of whom I worked very closely with during their time at Roadrunner and my time with Dream Theater. I look forward to continuing that relationship with The Winery Dogs!

I'm a very sentimental guy; I'm a very nostalgic guy.

One of the biggest misconceptions was, after I left Dream Theater, I went off and did, like, five different bands and side projects. Everyone was like, 'We thought you wanted a break.' And it was like, well, I didn't want a break from making music; I just needed a break from the Dream Theater camp.

I really do care what people think, and I revolved my whole career and all the twenty five years with Dream Theater... I ran that band and made decisions based on caring what the fans thought and wanted.

I find myself a much happier person when I turn off my computer and live my life.

There are no prog elements to Adrenaline Mob; it's very song-oriented, with shredding and grooves.

I love playing drums and helping out.

My favorite color is jungle green. At least, that's what it said on the side of my favorite crayon in first grade. I don't know if it's an official color.

I wanted to be the most famous. And it wasn't until I hung out with Justin Bieber that the whole thing got demystified. The mystique of it was gone.

I think it should be socially acceptable for men to like 'You're Beautiful' by James Blunt.

It's always hard for an artist from the U.K. to break into the United States. It's especially harder for a rapper because hip-hop is such an American art form.

What I'm trying to do is maintain some mindfulness about being popular - I wasn't so great at that last time around.

I wanted to break into producing, so I would peddle my tracks and beats to labels. I always heard the same thing: They liked the music, but it didn't fit any of the artists on their roster.

If they want to party and do all the things I say brought me sadness in my song, with my song as the soundtrack... so be it.

I'm kind of like a rapper trapped in a singer's body.

In my short career, I tend not to repeat myself. I have no interest in redoing something. Sometimes that makes people angry, and maybe it's not the best thing for me commercially. But it's the best thing for me artistically, and it's the best thing for my heart.

It's like, we all grow up thinking it would be so nice to have hundreds of people falling over themselves trying to grab us, telling us we're great, that they love us.

I've remixed lots of other people's songs, from Adele to Electric Light Orchestra to Beyonce, so when my record label said, 'Why don't you give 'Ibiza' to someone to remix?' I said, 'Sure,' because I like the idea of people reimagining art and making something new out of it.

It's easier to make art for a society at a certain point in time with an understanding of what's going on.

I co-produced 'Boyfriend' by Justin Bieber and worked on Labrinth's album, so I've been keeping busy.

I looked at myself and realized I had a lot of boundaries up about what I would talk about, what was private for me and what wasn't. I decided to just get rid of them. It was quite liberating.

If anyone has listened to my stuff over the years, they know I tend not to do the same thing twice.

I believe in the ethos of the remix, like Andy Warhol making a painting of a Campbell's soup label.

When I started picking out music for myself, I was a hip-hop kid. DMX, The Roots, Outkast, people like that.

If a song about blowing your shot becomes popular, that's really funny.

When I recorded 'Cooler Than Me', I had been singing for like, three months at the most. I was just a producer experimenting with my voice on tracks, and now I'm, like, a really good singer in a legit way.

I realized that a lot of people in my family had sacrificed for me to have the opportunity to go to a place like Duke. I owed it to them to finish. I graduated with a 3.6.

I know it sounds corny, but I look for a girl that has a beautiful personality on the inside.

My songs are all personal.

Just be yourself and be upfront about your expectations and desires. Don't be ambiguous and play hard to get. It doesn't work. You'll end up in the friend zone.

I realized I could do music for the sake of music, not the other things that come with it. That was a major shift.

When you know it's a game, you can have more fun playing it. When things seem serious, you tend to take less risk and have less fun.

I remember being 24 in Los Angeles. And up until that moment, when my mom would call my cell phone and it would ring, I would be flushed with some sort of excitement that we all have - a little dopamine rush, when my phone rings - and I'd look down, and it would say, 'Mom.' It used to feel like a job to pick that up.

When I was a kid, my parents were always like, 'Money doesn't buy happiness.' I thought, 'You just didn't make enough money.' I had to go find it out for myself.