I'm totally into the emotional aspect of things.

We had spent a lot of time in London [with Lucas Goodman], which has been amazing, but also it was kind of a homecoming and we felt so surrounded by a specific community of people who are just so New York, so unapologetically themselves and so creative.

The freedom I experienced as a dance major in college gave me so much, but the reality of being in school is that you are still forced to work under restrictions.

I've always been kind of surrounded by music my whole life, so my earliest memories of it were just hearing it in the house.

What kind of art do I want to make? What do I stand for? What inspires me? And then to have people in return respond to that... I think that's the greatest thing because throughout dancing, I'm always looking for that.

Lion Babe, on a work day, is definitely a process. I obviously could do it by myself, but I definitely prefer not to. It's a lot of hair. I used to start with little pieces, and then it just got bigger, and bigger, and bigger.

It's definitely evolved from where it started - for 'Treat Me Like Fire,' I wanted something extremely wild because I was going to be running through the woods and I wanted it really nappy and crazy.