There are very few pop people I'm interested in working with.

I'm fascinated by evil queens. They're very alluring and repellent at the same time, and I'm into that dichotomy.

For instance, members of the elite will never allow their children to become musicians normally, because it's - not embarrassing - but it's not done. There's a very famous composer from the '70s from a well-known family that disowned him, and he's a man, so there's this historical precedence with their relationships with musicians - not so much music as it's this abstract thing - but externally with artists.

I feel like there is an emphasis against teaching geography in American schools. Americans don't say, "I'm going to Germany." They say, "I'm going to Europe."

I only have a Bachelor's Degree but I've had professors who have instilled this kind of academic rigor in me where I don't make any generalizations or closed statements. There always has to be room for interpretation.

I've been exploring gender performativity in the Gulf since I was a teenager. I'm not a gender anthropologist, but I feel like there's an extreme binary between femininity and masculinity in the Gulf. From a young age, I knew I didn't want to be part of it. Gender is a huge gray area, and the problem with defined roles is that they cover up undefined ones.

I'm sure that a lot of my friends - even though they're curious about the music of nations that are not on their radar - still don't know what Kuwaiti music sounds like.