The moth don't care when he sees the flame
He might get burned, but he's in the game
And once he's in, he can't go back
He'll beat his wings till he burns them black
No, the moth don't care when he sees the flame
The moth don't care if the flame is real
'Cause flame and moth got a sweetheart deal
And nothing fuels a good flirtation
Like need and anger and desperation
No, the moth don't care if the flame is real.
In the '70s, everybody thought drugs were just good times. People didn't really know about drug addiction, or that such a thing existed. When I grew up in the '70s I thought you had to take drugs. It was almost like I didn't think you had a choice.
Better take the keys and drive forever. Staying won't put these futures back together. All the perfect drugs and superheroes wouldn't be enough to bring me back to zero.
I certainly understand that we're all trying to make a living, but I'm not thinking about that when I'm making it. And if that's your sole motivation, it's going to reflect that narcissistic greed and you're going to hear it in the music.
It's more important for me to have a good record with good music and be part of a movie that's good and where the music is used in a really great way. That's the important thing. The other stuff you want to say about it, I don't care.
I thought everything was interesting. I wanted to go scuba diving and I wanted to learn how to surf. Because I grew up in the 60s girls were not allowed to do anything. As I've gotten older and realized that women can do things like that I thought, 'Why not? Now's the time.'
Everyone's just extracting meaning and feeling and emotion from almost every aspect of music, and I think that for me, it's a huge antidote to that to have a concept album.