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At Burning Man, the audience is the show: the boundaries between stage and public overlap and melt. Every form of self-expression, every fantasy... everything has a place. It's kind of a utopia, and everyone who sets foot in it is so impressed that they do their best to respect it and keep it alive.

The spirit of L.A. is untamed wilderness. It's earthquakes and wildfires and oceans and mountain lions and fog. There's great physical beauty.

The entertainment industry and my place in it is a place where you burn brightly for as long as you can.

But with rap music - not just N.W.A. - but rap music in general, seeing these artists wearing these team logos all the time started bringing a synergy and energy about having to rep your city, your team, everywhere and all the time.

I love L.A., but I don't live there. I spent some time there when I was recording 'Kaleidoscope,' mainly working with some of the artists I collaborated with. The city and people in L.A. have a great vibe and the weather is always beautiful.

When I was in my late 30s, I lit a figure on fire on Baker Beach in San Francisco. It was me, a friend, and maybe eight people, tops. There wasn't any premeditation to it at all. It was really just a product of San Franciscan bohemian milieu.

'Burn Notice' is a show that definitely has some levity to it and it's a fun show, but it's also, you fully believe, you're fully invested that Michael Westen does this stuff. You want Michael Westen on your team.

When I first went to L.A., I really hated it. I had this preconceived idea of what it would be like. You think of Hollywood as this beautiful place, but everything looks rundown and old.

I don't mean this grandly, but it was never my intention to live in L.A. and do a big network show.