We became somewhat household names really quickly, within a matter of - what? - three, four months. So it's hard to get used to, and it's really sometimes hard to understand.
You know, Simon he's an artist representative, but Randy and Paula actually were in the industry as artists so they had, you know, the information that they offered to us from their aspect.
May I propose a little toast? For all the ones who hurt the most. For all the friends that we have lost. Let's give them one more round of applause.
Influence, people think about it as someone you like but influence is also what you're revolted by. In fact, often it's what you're running away from.
I was stranded in Disco. I went to dozens of darkened places with enough flashing lights to drive the average person mad. I felt lost in the pulse of sheer panic.
I went from elementary school to proper training, operatic training, and I went on to the Motown University and learned a lot of things from some wonderful people.
One of my big inspirations was Chuck Berry, and his playing was always about the rhythm and the lyrics. So I've always been that way in my playing, really.
We're so quick to go to make things black and white, and to put things in their box. But everything is this mixture - and that's what this world is - is this blend of different things.
I started out in the Chabad movement, and I started pretty closed up, with the idea of there being that 'this is it.' I bought into that fully. I really explored in depth the Chabad ideology.
I feel there's a lot of anti-Israel sentiment in the world and a lot of ignorance about what Israel is and does. But it's not for me to speak on Israel's behalf.
I always prefer other people's interpretations over my own, so I'm not very quick to make explicit what exactly a song or record is about.
It's no fun for me to cover a song and produce it the exact same way as it already exists. When I hear that happening, I have to say, 'What's the point?'
The way I teach people to sing... I have them talk the lyric out until it sounds like something they really believe, like an actor with a monologue.
Rosemary was a little nervous about going onstage, but she went on with us. I saw her at a party, and a couple of months later they called me about doing the act.
So I think rather than being attracted so much now to working with my heroes, I'm sort of more attracted to working with completely unlikely strangers because it's more exciting really.
I remember attaching a wire clothing hanger to the antenna of my radio in my bedroom, so I could get the frequency and get that station and listen to the top 10 every night.
I've got my own style on the guitar, sure, and I play rhythm in a certain way, and I use certain inflections. People have said that to me, and I understand it.
I know there's bands that might write something that sounds like The Smiths, and they'll go, 'Oh, it sounds like The Smiths, we've got to make it sound not like The Smiths.'
There's a lot of people over time who have brought out all these funky records that everybody has started jumping on like a catch phrase... When Planet Rock came out, then you had all of the electro funk records.
The thought of someone spending $20 to come and see me and saying, 'Oh, I prefer the record and she's completely shattered the illusion' really upsets me. It's such a big deal that people come give me their time.
It's nice to be in a creative world that's kind of isolated, but you can get led astray down some pathway while you're recording that you might not like later. And there's a lot of time to get in your own head and stay there.
