Being in front of all these people staring at you and it helps you to dig down and become more emotional and get lost in it as you're feeding on people's energy.
I think they'd rather us follow our hearts and I hope that's what some people will understand.
There's definitely an obstacle in developing a brand for yourself that people can rely on when you're so eclectic.
As much as I want to go out and tour every single day and I'm ready to rip it right now, there's five people in the band, there's five people who've evolved and grown and there's five people who have to get on the same page and want the same things, and it takes a lot to tour.
People evolve and grow, and life is fascinating and fun and tragic.
One of the things that was confusing about Limp Bizkit to some people is that our tastes were very different.
I loved the Cure and Bauhaus and the Smiths. The people in my town weren't privy to that kind of music and I got abused. I discovered the microphone to get out some of that angst.
I don't fight people for fun.
There's some people who are not understanding what Limp Bizkit is about. But, then again, who am I to tell people what they can use art for or how they can interpret it?
You know, in my music career there was a moment where the irony was just so heavy. There were people in my audience that were the reason I developed neuroses. These people that tortured my life were using my art, my poetry, as fuel for them, to torture other people.
It's not about how much movement you do, how much interaction there is, it just reeks of credibility if it's real. If it's contrived, it seems to work for a while for the people who can't filter out the real and unreal.