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I don’t, really. I mean, the one thing is more women playing music. That allows you to have different personalities, so it kind of cuts through the clichés about how women are perceived. But I don’t really think things in the mainstream have changed so much. In the underground, it seems like there’s a lot more women involved in the scene, which mostly comes out of male record collectors, so it was surprising in the late ’80s to start seeing more girls and women involved with experimental music as that scene grew. That’s pretty cool.”

If people are listening, you can feel this intense concentration, and it builds a level of trust…I can be vulnerable in a way that I otherwise wouldn’t be able to be if I was just talking. There’s something about music and electricity and the free-flowing, less-contained aspect – it’s like being in the ocean. What’s the inside and what’s outside?

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When I was growing up in the seventies, there were more open spaces. There weren't McMansions really. L.A. always had an interesting array of architecture in the houses. Like one would be a ranch house, another could be a Tudor house. It is fitting that there are all these different styles that almost were predetermined by L.A. being a place where different people moved.

Well, it sort of bothers me that if a man is doing it, then it's fine. Like, if a woman had Bob Dylan's voice, how far would she have gotten? Or Leonard Cohen? And men can get away with saying more things that are—I don't know, it's kind of like, everyone could sit around and pat each other on the back. And that's not very interesting.