 If anything, you've been wanting to know all the time, we've got a question by our way, and I'll do my best to answer it. I actually wanted to know, did that actually affect you? Did it hurt the band at all? Did they try to actually shut you down in any way back in the day? It changed my life. If that's what you mean. You know, I mean, it made me more of a recluse. Yeah, you know, a couple thousand death threats and bomb scares and getting shot at a couple of times. It usually has a tendency to alter your outlook on life a little, you know? But also, I mean, we were exposed to extreme fame very early. And fame is kind of like this, if this table is a smorgasbord, it's like an evil genie stands down at the end of the smorgasbord and said, you can take anything you want. But if you take one thing, you take it all. You do not get to pick and choose. So, all the good stuff that you like in the smorgasbord, that's wonderful. But you got to take the bad stuff, too. You know, so it ends up being a life-altering experience. The one I don't think you can ever really go back to, at least I haven't been able to go back to. Yes, sir? Know that over the past few decades, music has kind of changed a little bit of people get exposure to bands and popularity and all that kind of stuff. What kind of advice would you give somebody that's really trying to make a name for themselves to come and do that kind of thing? Let me ask you, would you be one of those people? Yes. I hate to have you come all this way here to hear what I'm going to tell you, but I really have no clue. You know, I was having this conversation just a couple of years ago. You know Rod Small with this? You know Rod Small with the manager he manages on Snire and Main. We were having this very conversation a couple of years ago. And before I could get the question out of my mouth, which you just asked, he goes, I have no clue. I mean it's like, and if we don't know, I mean that doesn't mean that there's not ways to do it. You know, but the way, I mean we were part of the original mold. There was a guy named Emmett Birdigan and he was the president of Atlantic Records. He built or he largely built the model that we sold records by for 50 years. And when the record industry collapsed, you know, after the whole Napster thing, that model went away and hasn't really returned the way we knew it. That's not to say that something new won't take its place. I know that every time technology changes, it sinks and decimates one part of show business and then another one will rise up. Think about Vaudeville. Vaudeville was killed by silent movies and radio. And then when talkies came into being, they killed the silent movies. And then modern movies and TV as we know it, modern movies and TV as we know it now changed it all again. So every time some new technology comes along, it radically revolutionizes everything. And we're in the middle of another one of those right now. What the model is going to end up looking like? If I tried to tell you, it would be a guess. So I wouldn't even try to go there and give you some advice that maybe wouldn't be useful at all. First of all, I want to say thank you for everything. I'm going to ask you to repeat the second half. What's the one side of your title that you say you're the most proud of? I mean, it was a labor of love. And it was the one I thought was probably the closest to being perfect. I wouldn't say that it is. But it's probably the closest one. And it's funny because over the years I learned appreciated in different ways that I didn't in the beginning. You know, when you're the person that makes a record, you never get to hear it for the first time like somebody else does. I mean, I can remember where I was the first time I heard an album that really includes me. And that you remember where you were and the setting where you were and all those things. When you're the person that makes it, you never get that opportunity. You know, so for me to watch it change over the years. I'll give you an example. Operation Mind Crime has been compared to the idol a lot and vice versa over the years. When Mind Crime, I thought in the beginning Mind Crime was a better record. But over the years, and really it's only been probably the last two years, I would say. I don't think it's a better record. I think they're both really good. They're just different. They're apples and oranges. So like I said, my opinion of it is more over the years. It's still better. Well, like I said, all art is subjective. So depending on who you ask, you have 10 people here with 10 different opinions. First of all, my best friend, Stetsens, is love to you. Second, what was it like working with all those musicians on Ronnie's Heronade project? We were only there for an evening. So you don't really get the full treatment, I guess, as if you would have been there. They were recording for three, four days before we got there. And we had been on tour and we were late getting there and all that. So we only got there the evening of the last thing. So it wasn't like we were there for the whole project. But I would say this, that the guy that produced it was a guy named Ken Kraken. And he was Kenny Rogers' manager and stuff. He did the original We Are the World. And he had the same sign, because we were in the same studio that they did We Are the World. It was over at A&M. And he had the same sign on the front door for us that he had for the We Are the World. And it said, check your egos at the door. And it was funny because once we got in there, I don't think the sign was even necessary. Because everybody was looking at everybody else in there. And it was like the awesome respect that everyone had for everybody else. That, like you said, that sign was not needed at all. So for what it was, it was a fun experience. Do you ever keep it in the old props from the stages? Because I know it would be sure to detrain the lake, your original train of lake microphones in the UK. Bad Rock, but did you know that it's underneath? It says it's Paul Stanley's. It's an episode. Get him! So you do that stuff in the warehouse? What? So you have stuff like, you know, a store in the warehouse? Yeah, it's funny because this past summer we went through, we archived all the two inch masters. And while we were doing it, we decided to go into the storage lockers that we have. And just rip it all apart and see what was there. And we found stuff we had in some of the pages. And one of the guys that does our social media force is, he told us he goes, throw nothing away. He says we'll do an auction next year and give people a chance to get some of this. Yeah, that's awesome. I've seen you perform The Crimson Isle in its entirety. Is there any other album that you're considering doing the same thing for? No, I don't think so. I think that's the one that people... I mean, we're going to do Part 7 tonight and even the little snippets that we're going to do this evening. It's a pretty good reaction. You know, we did it in Europe five, six years ago. And it's interesting because that record, it humbles me because I, every night, and I'm not joking, every night I look down at that audience, we get to the end of misconceptions and there's people crying out. And that's every night. And it's humbling for me because, you know, to write the lyrics enough to move people, to see them have that reaction, I don't take that lightly. Because when you're writing the lyrics, you always think, well, you know, probably eventually whatever I'm cooking up here right now is sooner or later somebody's going to be in the audience and Malcolm was back at me. It's always an interesting phenomenon when it happens to me, you know, and I see it because a lot of times I can remember exactly where I was when I wrote whatever line it might be that they're mouthing back to me. And I, you know, I have that juxtapose in my head of thinking, yeah, somebody's been a mouthless back at me and now they're mouthing back at me. And everything goes into slow motion when that happens. It's a very kind of surreal experience, but it's pretty cool. Okay, so for fans older like me, do you have any tips about to approach our 50s? What kept you going all the years? Fashion, you know, I've often said the greatest thing anybody can be blessed with is obsession. If it doesn't wreck your life, you know, because obsessions can wreck your life, the word that we keep using is balance, you know, trying to find balance, you know, in our lives, in our professions. The one thing I've learned though over the years is that balance is not just going to come in and sit down in your lap, you've got to grab it and force it with both hands because it will not just come in and do that. You have to make a conscious effort to really do it. And if you don't, you're going to look back. We were watching a special on Motown the other night and we were on the bus and somebody said if you had it, they were asking one of the guys that had run Motown, they said, if you had it to do over again, what would you do differently? He goes, I would have slowed it down and tried to afford it because this is a whirlwind out here doing what we do. You lose track of the days and you can't remember, you know, I mean, we're halfway through with this U.S. tour right now. And in one way it feels like we've been out here three months and in another way it feels like we've been out here a week. You know, and it's like, you know, I was thinking about it today and it's like, shit, this thing is halfway done. You know, it's like, I wish I could slow it down and enjoy it more. It's that, again, that's back to that duality that juxtaposed what I was talking about, you know, where you wish you could absorb it all with some punch. You have two quick questions about the Princeton Idol. Do you have any other songs that are sitting on the shelf that you didn't use yet? Like, you know, you may put it out later on. And number two, do you have that putting Princeton Idol like on Broadway, or like Off-Broadway, like who did the tummy? When we did the extended video for it, that was, that's all it was ever going to be. It's funny you ask about that. There was a song called Crazy in Paradise that did not make it on the record. We did re-idolize. I entertained it. It's a really good song. Really good. But it's a little more pop oriented. And it was about Jonathan's relationship with his girlfriend, who he was breaking up with, you know, or she was leaving him effectively. And the lyrics in it are really, really good. I hate to tease you with this, but it's never, it's never going to, there's no place for it because when you write a record like that, I had never done one. So I didn't know really how to do that. When you make a regular record, you just compile the songs, and you know, when you're done with them, you create a running order. You know, what order do you want these to be in? And you'd be surprised how fans labor over those running orders to get it where the pacing feels just right. Kind of like doing a live show. Well, when you do a story, you don't have that option, because the first song is the beginning of the story, the second song is the second part of the story, so forth down the line. When you get finished, if you don't like the running order, that's too bad. You know, you better like it. You have to build it as it goes. So to get the pacing of the record to feel right, you want to, like, we started out, obviously, with the overture on that. Then it goes to the invisible boy. You know, what's the pacing of those things feel like? So we really had to get the music in place first, then you start to lay the story in, because you can't do it backwards once it's finished. So that's all part of the learning curve that you go through when you've never done one of those before. And it's not like writing a story, because the story, yeah, you might come up with ideas that you think, well, I'll use this in the middle, and I'll use this idea in the end. But that's still a whole lot easier than doing music. Because, like I said, once that music is laid in place, it goes in stone. You can't fix it. Chris Holmes has just come back recently with Mean Man and Video and DVDs. Would you ever consider working with him again? He's doing what? He has a DVD out, videos. He's been touring Canada, Europe. Would you ever consider working with him again? Have you ever been in a bad relationship where a woman left you? Have you ever been in a bad relationship where that same woman left you two times? Oh, yeah. Well, you're nodding your head, yes, and you're a lot more sympathetic than me. But would you do it for a third time? I guess not. I don't think I would either.