I always like junkyards. All this metal piled up - they're filled with pathos, those places. Much more pathos than most of the music I've heard. You look at it, and there's more feeling, even though it's depressing, than there is in a lot of music I hear these days. A junkyard is what it is, whereas listening to a record by, say, Styx, is something else.

Places like Belgium and the south of France, Sweden and Copenhagen are really alive. They really love rock 'n' roll, they really respond.

I really don't have that much interest in stardom.

Boogie! I hate boogie, God, I mean, not the Chicago boogie like Willie Dixon or Howlin' Wolf, but all those awful white bands.

My non-career. My excuse for a career? Honestly, I never think about the word 'career.' I've had managers, the minute they say it to me, they look at me and just roll their eyes.

With my records, it's just a matter of trying to create something fresh for myself in a very finite context, which is the pop song. I don't know anything about the people who buy my records, and what, if anything, they get out of them.

I think almost every woman artist I've ever met has this ideal of being in a partnership working situation with a man, that men don't seem to share. They seem to want this ideal thing, that we'll always be together and work together.