I'm really kind of a little bit romantic for the lost era. There's a lot of us that are - kind like James Murphy, same thing - we feel like it's this magic era that happened before us. And it wasn't even necessarily disco.

Each time you present a tour, you're faced with these questions of, 'How do you want to present visual information? How do you want to take the music that we're making on stage and visualize that?'

I'm the first to admit that we were totally dependent on a particular place and time... for us, seeing Minor Threat at the CBGB hardcore matinee was just as necessary a force in our lives as the Treacherous Three at Club Negril or the Funky Four + One More at the Rock Lounge.

Dub has been a big influence in terms of production. It's inspired so many people and so much music - in terms of music where mixing desk was the instrument. Central to that is the echo chamber, and I think there's a little bit of a romantic thing there.

Having to wake up at seven and go take the subway every morning, having to get over there with all these commuters and see every possible face of humanity and realizing that you're just the same as these other people is actually an amazingly positive thing.

We're banned from a whole lot of hotels, and we're running out of hotels we can stay in.

The amazing thing about music is that however many thousands of records I've got now, I know that there are still thousands more that I haven't even begun to discover.

Hopefully everybody in the audience thinks, 'That's cool. I could do that.' I don't like the thought that they say, 'I saw the Beastie Boys last night, and they're mega-stars.' I'm a lot happier when the kids who come backstage or to the hotel try to give us tapes of what they've done instead of just getting an autograph.

We're kind of doing what Bob McAllister did with 'Wonderama,' which is making people realize that kids are people, too.

I kind of idolized older punk-rock and hip-hop bands, and I was, like, 15 when I started the Beastie Boys. And what business did we having doing that at that age?

I feel no compunction to defend L.A. People criticize it, and for the most part, it's well-founded.

It might shock you, but I haven't been to that many fashion shows, and I'd never done a commissioned piece for a fashion house.

When I first became aware of music, it was probably the same way a lot of people do - even more suburban or rural people - from my older brothers playing music.

I was going to clubs in Manhattan when I was 14.

Music is more available than ever. It's up to people to figure out. Ultimately, it's up to the business to figure out what the business is, monetizing that.

I was a nerdy punk-rock kid.

For 'Paul's Boutique,' we had a lot more money and a lot more time. It was definitely more on our own terms.

When you get to a point where you're not beholden to a record company, then it's up to you to say, 'OK, enough knob-turning. We're done.'

We're downtown New Yorkers and had very close proximity to the events of September 11th. Like everybody on the island of Manhattan, we were impacted by it in so many ways in terms of what we saw, what we felt, what our daily experience became in the wake of it.

We just have to be careful of our actions as world citizens.

The initial notion for 'Check Your Head' was just all three of us getting back to playing instruments.

Real life is much stranger than fiction, man.

I wanted to create this dialogue between music and visual art and vice versa. No matter what part of the spectrum they fill, whether it's visual, music, or whatever, artists are interested in other art forms. Your brain is already kind of firing in that way.

What was interesting about grunge was that it was this death sentence to the rock that had preceded it, which was hair metal.

New York isn't segregated the way many American cities are, where there are specific ethnic neighborhoods that don't necessarily co-exist, or they co-exist but in a much separate sense.

I have an equal amount of patience as my grade-school children, which is not great.

For me, growing up in New York, it started with Elvis Costello and the Clash and then got into louder things like Bad Brains and Stimulators, because those were, like, the local bands. Then I started getting into bands from England like the Slits. I remember seeing Gang of Four at Irving Plaza; that was a really big show for me.

When you start rhyming, it's hard to find things that rhyme with Yauch, Horovitz and Diamond.

On 'Check Your Head' and 'Ill Communication,' most of the lyrics are much more, 'OK, you take that, and I'll say that' - they're split up.

All the music I listened to in high school that I loved and that moved me wasn't the same music other kids were listening to in school. I got into punk rock and new wave, then dub and hip-hop.

Arrogance generally is a bad thing, but with a band, somehow you have to have this gang mentality or this certain degree of arrogance to push forward an idea that's new enough that people aren't comfortable with it at first.

LL Cool J is very well known in Hollywood. He's an established commodity across several platforms, including motion pictures.

Obviously, there are moments that you look back at and cringe - things in the past involving violence or disrespect to women or disrespect to other people that are so far away from what I want to put out there now. But it's actually a privilege to be able to change and be making records that reflect that change.

With '5 Boroughs,' we were each working on beats, sitting in front of our laptops and samplers.

Leaving Def Jam was kind of a blessing in disguise because we can make whatever record we want.

That's the thing with all of us music geeks - music is the soundtrack to the things that happen in our lives, and there's music that's unique to that movie.

Wine is similar to music in that it's a purely experiential realm, and it's a purely subjective practice. That's sort of the funny thing about wine criticism or, for that matter, music criticism. At times, those are useful guides, but ultimately it's all about how you react to that music or wine.

We never set out to be superstars.

L.A. is a town built upon segregated, individual fantasies.

When I was growing up in New York, we were the anomaly. Our family stayed, but back then families didn't stay. Once you had a second kid, you immediately left, so the kids could run around outside.

No Catholics in my family.

Lofts are great. But with a home, there is a lot to be said for delineated space. To have the luxury of a little separate work space is huge - and to have the dream-sequence master bath.

I'm in need of a man apron. A very manly apron.

I don't think about Yauch in the form of his death. I think about him in the form of his life. He was like my closest older brother. There's just so much that we lived through together.

We do not let our music get used in commercials for commercial products.

The bottom line with a lot of bands that funk is being applied to is that they don't really listen to funk and aren't versed in funk. Like, you know, Gordon Lightfoot.

It's really hard to find a lot of things that rhyme with Michael Diamond.

I do really enjoy Jay McInerney's wine writing. He's a good writer. He brings his fiction-writing skillset. He's not afraid to put wine in kind of a racy context and speak very candidly about it.

Growing up in New York City and hip-hop are two inseparable things, two things that are totally intertwined in our lives.