'Prima Donna' is my kind of love song to opera but it's not the full experience.
I've paid the price; I definitely have a reputation that precedes me, and there is a camp that plots my demise. But then again... it's funner that way.
I'm very fit on tour. I try to eat well, try to sleep. But it's still rock n' roll.
I bemoan the fact that all my famous friends have places in St. Bart's and I have to go to Montauk.
I'll be honest, I worry sometimes about what I've done. I have tied my whole person to my art and, whatever it takes to get that hook, I will go there and do it.
The Germany I was enthused with was more old fashioned and kind of romantic. I just got there, and the next thing you know, I had this huge gilded album. It was kind of an amazing experience because I didn't intend it to be that way.
I believe a lot of our lives are spent asleep, and what I've been trying to do is hold on to those moments when a little spark cuts through the fog and nudges you.
I'm definitely a fan of juxtaposition. Using the most beautiful line to say the most horrific thing - I think one of the main things in songwriting is definitely friction between the words and the melody.
When I'm in the classical world, I really treat it as exactly classical and I don't try and spruce it up or jazz it up or make it easier for the masses.
In the music business, to survive for so long, you have to be able to cut off from your emotions sometimes. And being a father, you're faced with that situation. I know that my father was, with me. I understand why he had to be distant, because to rip yourself away, time after time, is almost more devastating.
The thing I hate most is false modesty. The artists who are, like, 'Oh, you know, I'm really not that good. Oh, I can't believe I'm here.' I find it vaguely sinister, even.
I've had my ups and downs, and I definitely have a sense - in America, especially - that once you've made your mark and gotten your Rolling Stone piece and your Grammy nomination, that they're on to the next piece of meat, and they don't necessarily like to follow the twists and turns of an artistic career.
My love of maple syrup. I've been known to knock back a can over a couple days: A swig here, a swig there, and next thing you know it's gone. It's a habit I have to stave off. I don't want to lose all my teeth.
I could always escape into this demi-monde of homosexuality, which I feel really indebted to. It stopped me being a 'mummy's boy.'
To me, songs come of their own volition - and with an open-ended philosophy.
I'm very much a romantic. I'm highly attuned to an older sensibility, which I believe is alive and well. We're not that far ahead of the Romantic Age in society.
You know the question: 'How do you get to Carnegie Hall?' Answer: 'Practise?' Well, in my case, I got there by not practising. I didn't finish my music degree. And when I got into the pop world, I decided not to conform because I figured that the point of being an artist was that you shouldn't be like anyone else.
Crazy as it sounds, I'm a believer in destiny and serendipity, and I have had cosmic experiences all my life. Something told me I was meant for greater stuff. And look, I've had a baby! And I've written an opera!
I do not consider myself a guitar player. My father is a guitar player - I'm not.
The artist who gave me the most inspiration and direction, especially as a singer - and I absolutely consider myself a singer, 100 percent - is Nina Simone. She's my ultimate pianist-singer-type person.