That's the philosophy that we have always had. Going and playing in front of people and leaving an impressive from that standpoint.

One day I said to my dad, 'Are you disappointed that I'm working a minimum-wage job and I didn't go to college?' I'll never forget his response. He said, 'It's not about how much money you make or what your job is, but it's more about your character. For that, I'm proud of you.'

It doesn't sound that cool to say it, but I still get nervous for any show. But it's different degrees - playing a small basement of a club versus playing a festival like Firefly or Bonnaroo. The feeling is, 'Crap, I'm about to be blasted in the face,' and once you get started, then it's like, 'OK, I've done this before. I know what I'm doing.'

It's hard to be in the limelight and write songs that cater to fans that have expectations of you. We just want to write songs that we love, but all the different people with different ideas coming in make it difficult. We have to ask ourselves if we're writing for the most important people: the fans.

People were always like, 'Oh my God, you're going to be working with your girlfriend? Are you freaking out? Is that going to, like, destroy your relationship?' I think it emboldened the relationship.

The reason that I started the Black Futures Lab is because I have some clarity about what I think needs to happen in relationship to electoral organizing. It's not a destination. It is a set of tools that we use to engage people that we care about, en masse, around issues that are important to us.

More people work at Walmart than anywhere else in the United States, but you wouldn't know that from our literature. I'm trying to get at the reality of this country by portraying the lives of many of my friends who I left behind in Pittsburgh.

Friendship is a very taxing and arduous form of leisure activity.