It's a big, big advantage because understanding what changes we might make takes time and it takes time to work out settings and to understand everything about the new machine.
A feeling that was possibly generated by experiences in my previous work on cosmic rays; more likely it was inborn and was the reason why, as a young man, I went into the field of cosmic rays.
I love what I'm doing most of the time, but it's hard work. People only see your albums in the charts. They see us at award shows and after-show parties. They don't know about your doubts, the hard work that goes in.
So I'm not worried about the emotions I carry with me, because I'm happy that I have them; I think it's good for the work I do. The emotions that are not healthy are the ones you hold inside, like anger.
This is my sixth series, and I'm burned out wondering if a show is going to change my life. Don't get me wrong, I love when people recognize my work. But I've given up worrying about whether it'll be seen by two people or two million or 22 million.
I've been doing TV for fourteen years, and I've always had a fascination with the political business side. It's ruled my life. Ratings or no ratings have decided where I live, who I work with, and how long I'll be doing that particular job.
A lot of artists are much more concerned about how their work is used and how it's disseminated. That, to artists, is as important as the money, for some people.
There are some very real areas where working together is critical, whether it's talking about public policy issues, enforcement, or how to work together to facilitate new business opportunities. The RIAA has gotten much more involved in that.
