I think, bad times, I sit down and I play - there's definitely certain songs that touch in certain ways. I go back to 'Moonlight Sonata' by Beethoven; that usually takes care of everything.
I'm a devotee of Stephen Sondheim. I think he's a genius.
I don't think it's that I don't like Sondheim. It's that I find it really... I don't know how to describe it. Doing it is the most extraordinary thing. Because it's like Shakespeare times 100 with singing. It's that satisfying - and that demanding.
I think I enjoy Sondheim so much because of the lyrics. The lyrics, the cornucopia of options.
I think Stephen Sondheim is a - and I hardly ever use this word - but this is as close as it gets to a genius.
I really didn't think about song writing.
I think, as an artist, you want to keep going - you want to keep taking challenges; you want to be pushed, in a way - and I think Sonic Evolution does that, it makes me feel a little uncomfortable and get out of my comfort zone.
Every kid has a laptop; everyone can make music, so in order to stand out, I think it's important to find that sonic identity, I think my sonic identity - and mine is finding these weird sounds that may not necessarily sound that musical, and make them sound musical.
I think Thurston's and my weird tunings lent Sonic Youth a very different sound from the get-go. In the band's 30 years - aside from covers - there are maybe two or three songs we wrote using traditional tuning.
I really feel like social media - it's like all these tiny stages that you put yourself on. And you come to rely on these likes and favorites, and it's this applause and this validation that you start to need. Then it's like you don't know how to soothe yourself, and I think it's very pernicious.
By junior high, I was a horrible student. But during my sophomore year of high school, I did have a fabulous English teacher, and I would go to school just for her class and then skip out afterwards. That's actually when I started writing, although I didn't think of it then as something I might someday do.
I don't want to see a 'Sopranos' movie. This is just me. I like to think the end is where it was on TV as opposed to becoming a movie.
Personally, I don't think we could do such a show if we didn't get along. The subtext of all this is that we're women in a show so we can't possibly get along. It's not like they write about The Sopranos like that.
I think that the ideal space must contain elements of magic, serenity, sorcery and mystery.
I think cricket and cinema are two big entities in the country. If you are part of either, you are sorted.
Sorting through what social conventions we ought to adopt for the Internet is a pretty tricky and complicated topic. I think we are just going to live through a lot of these issues until we discover what social norms make sense.
I think that when you're young, you carry the weight of the world on your shoulders. You're anxious; the world seems like a scary place. You don't know where you're going to fit in, what you're gonna do with your life - but actually, life has a way of sorting itself out, and universal law takes over.
I think with me and the type of music that I'm trying to make, it's always going be soulful because I grew up listening to different types and variations of soulful melodies and jazz, but experimenting with different types of stylistic souls.
I don't think the Bonzo Dog could have evolved in America, nor could the old Nice: because of their musical discipline. This is one thing that British groups do have, a sort of discipline. Sometimes it can get a bit soulless, but on the whole I think it's preferable to the American alternative.
The problem with modern politics is everybody is doing sound bite stuff. In my stump speech, I give 20 minutes on why I think we're off track. And I think people do really want to engage in a serious high-level discussion on how to get the country back on track because people care about their own country.
