I would never say anything's over forever. How could you possibly know how you feel? How could you shut the door on anything?

When I was 18, I took a trip to Thailand with a friend. We stayed for a month. Bangkok was very raw for a teenager: there were no cellphones, no Internet, and the only music I had with me was this cassette by Liz Phair. I was writing a lot of poetry, and she embodied a talky style of songwriting that I found very accessible.

When something is coming off of a Neve board and being laid down on tape, it's like a warm blanket for the brain. When you're working in a digital form, it's so harsh; it's almost painful. Your ears get more fatigued if you're mixing all day.

I'm constantly dodging people in L.A. There are some people I don't ever wanna see again, but if you live where you grew up, you're running into people constantly.

I am a huge hip-hop fan, and growing up, I only listened to hip-hop, so I dressed accordingly.

The Rilo Kiley song 'A Better Son/Daughter' is my most requested song - especially for people who are at the age I was when I wrote it. It's sort of a mid-twenties lament.

I don't feel unlucky in love anymore, and it's not all emo. It's a scary place to be in when you're like: 'What am I supposed to write about now? I don't feel heartbroken, so now what?'

It's weird because I am accessible to people on Twitter, and I can choose to read good things or mean things, and people can reach out to me directly and tell me how much they hate me or love the song. It's a very strange new paradigm as an artist to find yourself among this kind of connectivity.

As hard as I try to sound tough and dark, I still sound cute.

When I think people like one record more than the other, then someone will surprise me.

In the past, like for the last Rilo Kiley record, 'Under the Blacklight,' I wore exclusively hot pants because the themes in that record were the underbelly of Los Angeles.

I'm more in the Stones camp than the Beatles camp.

Losing your parent is unlike anything.

I write music, really, to make myself feel better.

I'm not a religious person by any means. But I'm curious.

I've always tried to get around writing love songs, I guess because I've always had a hard time saying, 'I love you.'

I love kids, but there's always time for them later. You can always adopt; you can have a puppy. The songs are my children.

I'm a huge reggae fan. I want to go to Jamaica and make, like, Bob Marley 'One Love' positive songs. That's what the world needs.

Sometimes you don't understand what you're going through until you're on the other side of it.

I was a big fan of 'Days of Our Lives' growing up.

For me personally, I just try to prove myself in my work. I'm just trying to get better at what I do, and hopefully that will impact women in music, and hopefully the girls in the crowd will see my up there as a bandleader and think, 'Wow, maybe I can do that one day.'

I come from a duo, actually, quite literally. My parents are Linda and Eddie, and they had an act in Vegas called 'Love's Way.'

When you're talking about your own music every day, listening to bands, going to festivals, you can kind of lose sight of your initial connection with music. Instrumental music - especially jazz - helps me refocus.

I have a great work ethic - from watching Lucille Ball, not necessarily my own family.

That is the true joy of being a solo artist. I can do whatever I want. I can go wherever I want. I can show up with my guitar and my song, and it can sound a hundred different ways. That's the freedom of being on your own. The flipside is: That's you on the cover. If it sucks, it's your fault.

It sounds cheesy, but music has saved me in a lot of ways. If I had just continued acting, I don't think I would be alive.

I've always just had sort of a dark take on life, I suppose, and hopefully, the music transcends that in a way.

When I was a teenager, I went to Europe on a backpacking trip by myself, and I met a woman who was following Sebadoh. It was the early 1990s, and that was my introduction to indie rock.

It's funny how a song can start in your mind, and then when it goes through all the filters, it ends up in a totally different spot.

In your mid-30s, you have to take inventory, or you'll stumble.

My mother had a great vinyl collection, and she was constantly playing female singer-songwriters. I first learned about classic song structures by listening to them, and Laura Nyro particularly stood out. Her voice was outside what you'd usually hear on the radio; that really appealed to me.

I demo all of my songs on Garage Band, where I pretty much play everything - not very well, but I manage to hammer out a drum beat and a bass idea.

I felt like onstage I have to have a certain amount of anonymity, like, personal anonymity, to feel loose and free. When you're up there with people who've known you for a decade, and you make a bad joke and you hear the cackling behind the drums, it's hard to get lost in the moment.

It really helps me to get into the character of the record when I have a designated look. It just really simplifies things for me.

When you make a solo record, it's you. It's your name. It has to be the right songs for how you feel.

My hair looks so good out in the desert, it's unbelievable. It's, like, perfectly not frizzy.

I can't imagine how people will react to my music. For me, it's a really fluid process from one record to the next, but it's really up to the listener.

Being in a band is a really magical thing because you've got a family and you operate as this one entity. It's very democratic; everyone is involved in the output. But within that, there can be a lot of disagreements and strife.

I'm always pretty nervous when I do anything! I walk very slowly. I'm very careful.

Certainly, we all wonder what is beyond, and when you lose a loved one, I think part of the grieving process includes where that person might have gone or if you'll ever see them again. I think it forces you to look up to the sky, to the cosmos.

Rock n' roll is a pretty fun job.

Sometimes people come to my shows and think I'm a Christian artist, and they put their hands up in the air, like they do. But first of all, I'm a Jewish girl from the Valley, and I'm from Los Angeles. It's funny to be misinterpreted.

I think regardless of where people are from, country music is a through line.

Songs are really interesting in that way. Sometimes, they grow with you. Sometimes, you outgrow them.

There's always a bit of fiction in everything that I write.

I find most modern country virtually unlistenable. I can't relate to the music or the lyrics.

I like babies, but not in the front row. I don't want to sing directly to a baby.

I can parallel park pretty well - I'm a great driver.

I love 'Wowee Zowee.' That was the first Pavement record I bought.

I felt like hip-hop was my music, it was like my outsider music... but then my mom started answering our phone, 'Yo, what's up.' She was hearing me talk to my friends. I was like, 'No, mom, don't cop the hip-hop talk.'