I think performance art comes from a simple place of wanting to express things beyond just sound.

I think I've always felt as a band and as a musician and a music business person, I've always felt like an outsider, period.

I think one of the greatest gifts you can give to someone is just access to the possibility of freedom that you don't have to be totally depressed and enslaved by your own environment.

I think I've been addicted to openness since long before my rock career. I was terrible as a teenager. I used to go out of my way to make people uncomfortable with personal details. I was always fascinated by the idea that we have these weird, random boundaries between what we do and don't show.

Meditation, especially for people who dont know very much about it and think its this very hippy dippy thing, can really be powerful, terrifying even, as it lifts the rug up on your subconscious and the dust comes flying out.

There's something advantageous about being a woman in rock versus, say, a woman in chemistry or construction. There's definitely a built-in sexism across the board, but I think you're afforded a degree of freedom in rock because, historically, the rules have been flexible.

I think to say that meditation is helpful to artists is true and it's great, but it's also essentially helpful to any kind of process of, just, life.

I think the thing you're seeing now with the music industry is that the people who have tight-knit communities are now able to really hold each other up because of the internet tools. And the really top-down pyramid scheme of major labels and typical superstars isn't sustainable anymore because the system has collapsed.

I think people have been obsessed with the wrong question, which is, ‘How do we make people pay for music?’ What if we started asking, ‘How do we LET people pay for music?’