Dean Wareham quotes:

My favorite Galaxie 500 album is the first one, 'Today,' recorded in three days at Noise New York and produced by Kramer. It contains my favorite Galaxie 500 songs: 'Temperature's Rising,' 'Tugboat,' and our interpretation of Jonathan Richman's 'Don't Let Our Youth Go to Waste.'

Things can turn ugly so quickly in the music business, especially if you have an unexpected success.

It's easy enough to foist your music collection on your kids. Lectures are not required; you just play the stuff while they are prisoner in the back seat on a long drive, or softly in the background while eating dinner.

The fact I have an education forms my lyrical style, I'm sure. I studied the social sciences, history, stuff like that. I have an interest in politics, which maybe works its way into the songs in small, subtle ways.

We are drowning in a sea of Myspace, blather, and too much information. Music is everywhere and nowhere. The independent record store is the solution, a place staffed by friendly (or not) people who are actually paid to weed through this crap and help you find the good stuff.

They didn't teach Nietzsche in the philosophy department at Harvard; philosophy there was strictly analytical stuff and the poetic ramblings of Nietzsche did not belong. And see - you are teaching it in a literature class - so they must have been right.

People forget that keeping a band together is hard; man, it's really hard. All the cliches apply about living in each other's pockets; of it being a relationship, a marriage, a family.

I guess, for me, what started me getting real excited about music was the New York punk and new-wave scene. All those bands looked back to the Velvet Underground and the Stooges and the Modern Lovers as well. But that was back when Television were punk, and the Talking Heads were punk.

Rock is periodically pronounced dead by clear rock critics - killed by world music, or by hip-hop, or electronica, or the Backstreet Boys. But if you wait a year, it comes back to life.

You have to love yourself or you'll never be able to accept compliments from anyone.

Once you hit 40, being in a band - a committee voting constantly on what you're going to be doing next month - it's more of a challenge. And when you have a kid as well.

There's all kinds of ways to be misunderstood, and one of them is via the interview.

My favorite Luna disc is our third, 'Penthouse,' a sparkly, moody album that works from track one all the way to track 11. Tom Verlaine of Television and Laetitia Sadier of Stereolab make guest appearances. I am also fond of the final Luna album, 'Rendezvous.'

Writing a song is a long road. Or it can be.

The thing about interviews is that if someone interviews you, and they're an idiot, then they make you sound like an idiot, too. They ask you stupid questions, and they bring you down to their level. It's tempting to not ever want to talk to anybody, but you can't do that.

It's weird being an author because it's different than writing songs. You put so much more of yourself out there to be judged because it's a memoir. So when the reviews come in, they all feel really personal. Some people are just going to hate you no matter what. Personally, I never believe good reviews.

I'm tired of being in a band, but I do want to continue making records and performing, at least a little bit. Making the records isn't always fun. It's fun to be finished with them. Making beautiful things can be quite painful.

I have a slightly bourgeois upbringing, I guess. My parents paid for me to go to school, which is nice, but I haven't gotten a dime since then. I have no trust fund. I wish I did.

I know I get a real kick, an emotional charge, out of playing a song I haven't played for 10 years. It just takes you back to that point in your life.

You have to love yourself or you'll never be able to accept compliments from anyone

It's a scary question for a musician or songwriter today - what does the future hold? It is a strange time in the music business too; it feels like we are all in some kind of transitional period, stuck between old technology and new.

Writing songs does not get any easier, and that might be because I am harder on myself than I was twenty years ago. Hopefully, as we grow older and change, there are fresh topics, new perspectives, or at least there should be.

Great guitar players are a dime a dozen. It is sometimes your very limitations as players that set you apart from the crowd.

I don't really listen to the radio anymore, but some of the more contemporary people I like are Stereolab, Spiritualize, Yo La Tengo and Bedhead. There are other things too, like Pavement. They're a great band, with really good lyrics. But generally, I'm not overwhelmed by the state of indie-rock.

One of the nice things about being in a band is that you depend on each other for ideas, so it's not all up to me to do everything myself. There's always that fear that you'll run out of stuff. The most difficult part for me is writing lyrics, and that starts to get difficult after you've written, like, 120 songs.

I am interested in politics but have stayed away from writing overtly political songs, or message songs, because I find it difficult to discuss politics intelligently in a 4-minute song. But I am finding there are ways to get bits and pieces of political thought across without preaching that the people have the power or we shall not be moved. Of course these sentiments have their place too - I'm not knocking Phil Ochs - but that's a different kind of music, songs to play at rallies, not to achieve a state of bliss.

My standards are higher than they used to be, I think. They don't necessarily have to make sense, but I certainly work on them a lot harder now -- partly because I do them on the computer, and I print them out and fix them, and print them and fix them over and over again, whereas in the early days I used to just scratch down a few things on a piece of paper.

I guess I could be singing about Superman, or about Zarathustra coming down from the mountain, but in my mind I was singing about Julian Assange. I wish I could say that Nietzsche inspired my lyrics but all I can honestly say is I was inspired by the graphic design of these '70s paperback covers for Beyond Good & Evil and The Birth of Tragedy and The Gay Science.

I don't pretend to understand him, but I can enjoy him as a poet and comedian. I liked the idea of the eternal return. Sometimes I think that being on tour year after year is an eternal return; you play a certain club in Copenhagen and then ten years later you are back again, traveling the same roads year after year.

If I look at my own recordings, I think generally there is a focal point within the song and often it's the instrumental bridge or a guitar solo where we try to do something unexpected, something beautiful or weird, or beautiful because it is weird. And of course I fail half the time, but yes that is the goal, to create even a few seconds of bliss, or sadness. The electric guitar is a great instrument for doing this because it is capable of surprising you. There are so many different sounds available.