That's exactly what's exciting for me - the idea of infiltrating the male structure and affecting change from within.

Like, I kind of developed my musical style in a vacuum. Even though I listen to a lot of stuff, the way I wrote was in my bedroom, really privately. It's still the way I write, actually.

The license said you had to stick around until I was dead, but if you're tired of looking at my face I guess I already am.

I think good art happens on that edge between comfortable and in a lot of pain, you know what I mean?

I grew up with a lot of brothers and male cousins, so I had to worm my way in to get heard. But that's sort of what excites me.

I would argue that the uncomfortable feelings she elicits are simply the by-product of watching a woman wanting and taking like a man.

My identity has everything to do with me and my instrument. It doesn't have to do with what production style I use, or how many people played on it, whether it's sparse or grandiose or whatever. And I'm social, frankly.