When I’m writing a book, I start gathering material for years before I start writing it. I will find newspaper clippings, overheard dialogue, images that come to my head, sort of vague scenes from a plot, and I just make a huge, messy list of those things. I’m doing that for the next book, and I’ve been doing it for a long time, and I’m still not even close to being ready to start. Maybe in the fall I’ll start it, but I’m not on the cusp of starting it really. I’m just gathering that raw material. And what deserves to go in that document? It’s hard to say, but I know that things come together. I know that this article about Chinese surveillance definitely belongs in the same place with my son telling me about this dream he had. These are somehow connected. I have no idea how, but it’s just a feeling that I have, like an instinct. The Need and The Beautiful Bureaucrat very much began that way.

I usually start with a structure. The structure is quite rigid. So I have a strong form or frame. A work like Einstein on the Beach is like that: Act One, Two, Three, Four. Act One is A and B. Act Two is C and A. Act Three is B and C. And Act Four is all three together, A, B, and C. So, I knew it was going to be based on theme and variation, and once I get that, I can be freer to fill in the form. Without it, I don’t know how to fill it in – it’s like an architect builds an apartment building: you can live in the building, I can live in the building, other people can live in the building. They each have their apartment to their own liking, but the building has a cohesion because the architect has built it.

First I like to do the guitar part, just because I feel like the guitar parts in most of my songs provide the foundation of the song. Then I’d go back and record the drums, and then figure out what other instruments were needed to fill out the song. It’s pretty exhausting being the only person in the studio, especially when it came to the arrangements. It made me miss being in a band with other people, because at least then you could be like, “What do you think? What should go here? Does this sound OK?” Whereas if you’re just by yourself, you’re like, “What do I think?” That was definitely hard because we had to do things quickly and it was easy to lose perspective and get lost in it.

With a lot of fear and trepidation. It’s totally improvisational because I work with collage, and cut up found warehouse paintings. I’ll sometimes stick a fragment or two on, and just try to figure out where to go from there. I’ve begun to think that I make each piece so differently from the other, and I don’t think that’s the way the art world likes things at this point. I think they like increments of change. While you would know it’s my work, I think I just always liked the challenge of how I’m going to compose. I get myself into a lot of trouble and hot water, and I just have to work on it, and work on it. I think that’s why some of my paintings are so awkward and odd, because I’ve had to deal with mistakes that I’ve made, and tried to correct them in some way.

Our business everyday is to make money for people. And I take it as seriously as doctors who are trying to cure cancer, because by giving people financial freedom, we allow them to do great things in their lives - from retire to send their kids to college, to buy their first house, to fund a business that they might want to start.

I'd say be just like you. I once had someone tell me that I don't remind them of anyone that they ever met. And I took that as a huge compliment, which meant I was original. And so I would suggest to her that she speak her truth with her life, with her own sense of purpose and pursue her dreams.

He says: Take your gloves off, Mellody, but use your power for good. He's giving me my hands back. Use your power for good. And I have never - I've used that analogy in all things in my life, something as simple as getting my hands back, using my powers for good in the water but also day-to-day life using your power for good no matter who you are.

We cannot afford to be color blind. We have to be color brave. We have to be willing, as teachers and parents and entrepreneurs and scientists, we have to be willing to have proactive conversations about race with honesty and understanding and courage, not because it's the right thing to do, but because it's the smart thing to do, because our businesses and our products and our science, our research, all of that will be better with greater diversity.

I really appreciate the fact, and I constantly tell Reverend Jackson and Reverend Sharpton that I appreciate the fact that they're fighting for us, because I am an accident of birth.

We would constantly have to move because we couldn't quite afford the places that we were living. And sometimes we got evicted. And it was just very, very difficult as a child to try to understand that.