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A lot of women these days, a lot of young women don’t want to call themselves feminists. You have this cheap, hideous ‘girl power’ sort of fad, which I think is pretty benign at best, but at worst, I think it’s a way of taking the politics out of feminism and making it some kind of fashion.
Love is a piano dropped from a fourth story window, and you were in the wrong place at the wrong time.
I know there is strength in the differences between us. I know there is comfort where we overlap.
Patriarchy is like the elephant in the room that we don’t talk about, but how could it not affect the planet radically when it’s the superstructure of human society.
Why do you think I write these feminist songs, to try and teach myself to respect myself. You know, it’s not because I’m a hero.
Pop stardom is not very compelling. I’m much more interested in a relationship between performer and audience that is of equals. I came up through folk music, and there’s no pomp and circumstance to the performance. There’s no, like, ‘I’ll be the rock star, you be the adulating fan.’
Sometimes the beauty is easy. Sometimes you don’t have to try at all. Sometimes you can hear the wind blow in a handshake. Sometimes there’s poetry written right on the bathroom wall.
I seriously hate pop music and all things super-commercial.
I see a lot of connections between folk and punk music just because they’re both subcorporate music – I mean, traditionally.
I basically get stereotyped a lot in terms of being a girl and writing ‘chick’ music for teenage girls or something. I think, if anything, the press kind of, because of my gender and my age, tends to kind of relegate my work to this sort of special-interest group. It’s part of the cultural dynamic, I guess.