I wasn't listening to that much classical music - not much more than anything else. I was really lucky to have parents who loved all kinds of music.

I had a hole in my voice. It's an area in the voice where it's air. It's just - there's no - it's just very airy. And my classical teachers were just so frustrated with me because I would have these deep, low notes that were really strong, and the higher register was strong, but right in that middle area, it was really hard. It was like a passage. And many singers go through this and work it out. But I realized in jazz, I could just take advantage of that and take advantage of having a voice that was very different in different areas.

I just don't like to be in my own - I'm already myself, so I don't like to be in my own - like, watch myself.

I do love being onstage. And I've always loved playing a character and being watched doing that.

I think I'm fascinated with history and - just in general. And I'm always interested in how did - how did this come to be? Why is this the way it is? And even singing classical voice, I quickly became more and more interested with early music, baroque voice. And that became an obsession to me - just figuring out how - who are the ancestors of whatever it is.

I never wanted to sound clean and pretty. I always wanted to have kind of a certain natural quality to my voice, and I wish it were more rough than it is.

I wasn't listening to that much classical music - not much more than anything else. I was really lucky to have parents who loved all kinds of music.