The whole process of working with Steven [Sebring] and being filmed by him helped me psychologically to get my feet back on the ground.

When I was a teenager, I had trouble getting a boyfriend, so I imagined Arthur Rimbaud or Bob Dylan as my boyfriend.

I daydream a lot - that's how I get my ideas. If I'm sitting in a café, I'm not on my phone because I want to hear my mind. I think that those periods of small solitude that we are really losing are so important.

I had met Michael Stipe, and he was such a kind person, and extremely understanding, so I asked him if he knew a photographer who would come to Detroit, where I lived, who would be child friendly and who would respect my home. Michael suggested Steven [ Sebring]. One day a knock came at my door, and when I opened it, there was Steven. He's been like a brother ever since.

I hated the soup and felt little for the can.

It was like being at an Arabian hoedown with a band of psychedelic hillbillies (p. 171).

I always hesitate when people call me a musician.I have had no musical training. I can't play anything. I really think of myself as a performer. It's always been writing for me. I evolved with my band in rock 'n' roll through poetry, not through music.