I appreciate an audience that reacts to the music, even if they jump on stage and try to beat us up, I think that's a fantastic reaction. I think that they're really hearing something then.
It's not an anti-sex trip. Like, we're taking sex, which is probably another half of American entertainment, sex and violence, and we're projecting it, and we're saying this is the way everything is right now.
It's like this - these five members have been influenced of course by other groups, because that's where this generation's groups came from - an environment like the Beatles, the Rolling Stones, the Yardbirds, and The Who. People like that.
It's Frank's painting on the cover. We were originally going to use a Salvador Dali painting that we got permission from Salvador Dali to use, and Frank found this one, and it really did fit the music much more.
It's a big flash of all these things and whatever you take out of that statement's one statement, one mind, one statement, one act, one show, and all the songs are one.
If you confine it, you're confining a whole thing. If you make it spontaneous, so that anything can happen, like we don't want to confine or restrict anything. What we can do, whatever we can let happen, you just let it happen.
If it's total freedom, I guess the ultimate thing you can go into is total silence between the audience and performer, with the performer projecting something he doesn't even have to play.
From the moment I leave my house or my hotel room, the public owns me. The public made Alice Cooper and I can't imagine ever turning my back on my fans.
City people live the city. We live in L.A., New York, we live in places where it's chaotic and you never know what's gonna happen. And that's the music - you never know what's gonna happen.
