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“As much as I can, as much as I can afford, I keep ticket prices down. Rock 'n' roll was developed as the people's voice, the people's art, it was grassroots. I don't believe that the people should be estranged from their rock stars. They're not kings and queens - all rock stars are those who are able to give back a bit of culture to other people. It's people's heritage.”

“Once you introduce the issue to young people and suggest to them that they have the ability to vote with their forks, either by positively going for certain kinds of foods or rejecting other kinds of foods, they realize that this is a responsibility and an opportunity to shape the world a little bit by their own choices.”

“When people are too present, too familiar or too in our face, something happens to us psychologically. We begin to tune them out, we begin to get sick of them, we begin to know them so well and become so familiar with who they are that we loose a bit of respect for them. You pass a certain threshold with the fact that you're too present in their lives, too much in their face and once that threshold is passed you're never going to repair it they have lost a certain respect for you.”

“Right now, the technological world plus God or spirituality is evolving. I think America has become a little bit too corrupt, government's a little too corrupt, too greedy. Many corporations are too greedy. The labor unions are too greedy. That effects charities and religious organizations. I just think it's greed. That's why, in 1985, I had to figure out how to give before I received. The more I focus on giving, for less and less, the more and more I make.”

“A lot of people will say, "what's Facebook's business model?" I always find that a kind of funny question. Our business model is out there, which is: we monetize largely through advertising and a little bit through the gift revenue, the virtual gifts we have on our site. I think those continue to be the most promising avenues going forward.”

“Stories ought not to be just little bits of fantasy that are used to wile away an idle hour; from the beginning of the human race stories have been used - by priests, by bards, by medicine men - as magic instruments of healing, of teaching, as a means of helping people come to terms with the fact that they continually have to face insoluble problems and unbearable realities.”

“In the end, I feel that one has to have a bit of neurosis to go on being an artist. A balanced human seldom produces art. It's that imbalance which impels us. I often think that all I want to do now is to avoid suicide, accidental or otherwise. Other than that, I think living on the edge is what drives my work and me beyond a certain point. The artist lives with anxiety. When you finally reach a plateau of achievement, there comes a new anxiety - the hunger to push on still further. That angst is what makes you go forward.”

“Their [artists'] essential effort is to catapult themselves wholly, without holding back one bit, into a course of action without having any idea where they will end up. They are like riders who gallop into the night, eagerly leaning on their horse's neck, peering into a blinding rain. And they have to do it over and over again.”

“I feel like we're all here on this planet, and intimacy is important. I can't bear small talk, it's awful. I want to get beyond that thing of discussing how the weather is a bit better today than it was yesterday, and how this is a nice restaurant. I want to get to what are the problems, what's really going on. Are you in love? Are you in a lot of pain? What's really going on in your life? I'm interested in that area, whether it's on stage or in real life.”

“The flat tax I got on my first meeting with Margaret Thatcher, who I admired very much and who was a great admirer of Milton Friedman. I met her first when I had been prime minister I think for some months and so on, and when I told her what I am planning to do, she looked at me with these big eyes and said: "You are one brave young man." And then a little bit introduced me on the realities of the Western world on which I was not very well informed. But I didn't stop.”

“Jim Grimsley's unflinching self-examination of his own boyhood racial prejudices during the era of school desegregation is one of the most compelling memoirs of recent years. Vivid, precise, and utterly honest, How I Shed My Skin is a time-machine of sorts, a reminder that our past is every bit as complex as our present, and that broad cultural changes are often intimate, personal, and idiosyncratic.”