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When I'm afraid of something, I'm going at it twice as hard. I don't believe any fear can be conquered by avoiding it.
I wouldn't start writing songs like 'Name' all the time just because I thought that's what people wanted to hear. I'll write a song in the same vein because it's what I want to write.
The business of making music is changing so radically because of the Internet. It's become a lot more democratic in one respect, but in another respect there's no one left to guide and mentor young bands.
I got really sick of playing just, like, 'Bop-bop-bop-bada-bop-bop-bada-rapa-pah.' Just playing that 190-beats-per-minute punk-rock songs, I didn't feel it anymore. And I always loved melody - when you looked back on those early records, there's always a hook buried in there somewhere.
There's always those few people that are like, 'Why don't you play any of the material off your first two records?' And I'm like, 'For the same reason that I don't play with G.I. Joe dolls anymore.' It's like, 'I'm a grown-up.' I wrote that music when I was a kid.
Everybody was a democrat where we grew up. It was a blue-collar town and the democrats represented the working class and the unions. But very, very super-conservative Catholic, very proud immigrant community, very stoic.
Punk was key to the early part of me playing guitar. I was really into melodic punk-rock. I related to punk more than Lynyrd Skynyrd or Yes or Van Halen.
You know what the most amazing luxury problem in the world is? When you've got a bunch of hits you have to play. That means the show's going to have to be a little longer.