I'm really going off of watching John Waters speak one time and I remember he just kind of talked and it was totally interesting. I wanted to hear about his life and how he got started and when did he think he made it, stupid stuff like that. And what his relationship with the mainstream is because he's so far out there, but then he became part of the mainstream in this weird way. He was really funny, though. Yeah, I have to work on my jokes.

The exciting thing about getting a label together and doing press for it is that hopefully some 15-year-old girl who is the only feminist in her junior-high class will hear about it and be like, "Oh, cool, I hadn't heard of that, I'm going to check it out."

Me and my friends in high school were the only girls who went to hardcore shows. It was three of us, and the rest of the audience was male. We didn't really think about it. We weren't thinking we were alienated or whatever, but eventually, as there started to be violence in the scene we were in during high school, we started to be turned off by the violence.

I was in a band in the '90s called Bikini Kill, and we were so freaked out about documentation then, and there was the whole thing, not just about the male gaze, but that people were going to misrepresent you... a kind fear of the mainstream that a lot of us had.

My mom and I had secret from my dad that we didn't think we were stupid, that we didn't think we needed feminism to be explained to us.

There's still a lot of misogynist pop music out there, and I think that hearing something that's so explicitly feminist and so angry - when we're still growing up in a culture where girls and women are not supposed to be angry - is a real revelation for young women.

I think open adoption is a great idea, because it allows a relationship between the birth mother and her child so that the kid isn't like, "Where did I come from?" And to have it be like, "Look, you have a bunch of people who love you."