Father Lucifer, you never looked so sane.
This was a time frame when dance music and clubs were having a real impact on culture, and it had an impact on me.
I’ve got tonnes of aboriginal and Native American art, but I’d like even more.
I’ve been known to throw watermelons, backstage, at people who are giving me news I don’t want to hear. But I never aim for the head.
I’m very at home working with mythology.
I’m not very social when I’m off the promo trail, because I step into wife and mother mode. It’s very reclusive.
I’m a hard worker. I get my hands dirty.
I would love to compose something for dance before I kick the bucket, and I’m not closed-minded about the dance, or the dance company.
I was very close to my mother as the youngest of three. She was my playmate.
I was two and a half when I first climbed up and sat at a piano.
I wanted to do something creatively, having been a beached whale for many months and nursing my daughter.
I want to be an integrated woman.
I think doing variations on a classical theme is a dangerous thing to do.
I love the classic crooners, but I got that from my mother – she worked in a record store.
I like involved projects. I’m driven by the idea of characters and the song-cycle form is similar to a musical.
I’ve had to keep exploring different ways of presenting the music so I don’t repeat myself.
I’ve worked with many powerful men in the music industry.
If I was writing songs just for me I’d only play them in my living room, alone.
There is a phenomenal amount of pressure on women in this industry: they are considered vintage by the time they hit their mid-30s.
There are ways to stimulate being prolific, and part of that is making pilgrimages, and being open to listening, changing up the routine.