I feel that part of my life's artwork is creatively dealing with all this negativity and anger and rage and hatred coming from whatever corners it's coming from and somehow manifesting all of that anger into something positive, which is such a hard job.

It feels like it is a daily work and an ongoing task to undo all of the f - - g programming that I have had all my life about who I am supposed to be and how I'm supposed to look and that I'm supposed to win. It's a daily deconstruction of all that bullshit.

I wanted to feel like I could extend someone else's joy and not crush it, and that is the giant paradox nowadays of being a powerful woman: you want to live in a space of compassion and helpfulness and joy and expression, and the world is standing there, pointing the finger at you and telling you that you're greedy and domineering and attention-grabbing, and all you can do is shrug and just say, "Hopefully, someone out there understands and isn't misinterpreting."

I kind of rely on my artist friends to make my physical music worth buying by having them all come together and create beautiful artwork that everyone is gonna want to own to support my record.

I think the thing you're seeing now with the music industry is that the people who have tight-knit communities are now able to really hold each other up because of the internet tools. And the really top-down pyramid scheme of major labels and typical superstars isn't sustainable anymore because the system has collapsed.

I think I've been addicted to openness since long before my rock career. I was terrible as a teenager. I used to go out of my way to make people uncomfortable with personal details. I was always fascinated by the idea that we have these weird, random boundaries between what we do and don't show.

The stage show is, in some sense, highly theatrical. It's definitely not just a band in jeans playing rock and roll.