It's a really bad idea to be in a band and get involved with each other.
What's important to me is love, especially that. What's important to me is growing and evolving. But ultimately, what's important to me is being real and being authentic. I've spent enough time in my life holding poses, playing roles.
You have to also provide a video for it, look a certain way and big hair... If you're a woman it's even more strange with fake fingernails and corsets and all this stuff that was big in the 80s.
Rock evolved out of rebellion, so when you turn on the Billboard Awards or something like the Grammys, and there's no rock on there, that's a good sign - because that means that rock is not welcome inside of a pop format.
I'm a little bit more unusual so I consider myself as the black sheep.
Heart's always been sort of like a cockroach. You can set off a bomb, and it'll still be alive underneath.
Just being out in the world, you see so many things, and every day, you experience so many concepts and different people and their coolness and weirdness. It's a feast of ideas.
It was darn nigh impossible for women in rock in the '70s. There wasn't a mold if you were a woman and you were in the entertainment in the '70s. You were probably a disco diva or a folk singer, or simply ornamental. Radio would play only one woman per hour.
Back when I started, you could either be a folk singer, or you could be a disco diva, or you could be a secretary or maybe a disc jockey, but there was no room for anything alternative yet.
The original Heart logo was made back in the real early '70s by Mike Fisher, who I used to be in a relationship with. He was first our manager and then our soundman. When I met him, he was in design school for architecture, so he was always drawing.
Fleetwood Mac are more like a folk-rock band.
When you become famous, people can have a powerful yet illusory idea of who you are. You want to live your life, but still, you don't want to let anyone down. I know Ed Vedder, Kurt Cobain, Jerry Cantrell, all those guys felt it. They're smart, real, and all of a sudden, they're put on a pedestal.
I care a lot about Heart; I was there at the inception of Heart.
I trained myself by doing other people's songs in clubs way back when. And so I have no pride about doing covers. I love it. And being a song interpreter, to me, is just as important as, you know, putting your own thing out there. It's all about the soul - where the soul comes from.
I would be on dates with guys, and the radio would be on, and if the Moody Blues song came on I couldn't concentrate on the guy; I would go straight into the music.
Romantic love is just one aspect of love.
When 'Quadrophenia' came out, I turned on to that because of the whole story with it, and there were just some really amazing songs on there. 'Love Reign' being the quintessential song on that record, I think. That was always one of the cornerstones of my temple, that song.
Music became less understandable in the wake of the new MTV era. You weren't supposed to be anything other than a pop star, to not go deeper than that. It was really strange. It was suffocating, image-wise. What you could talk about in a song changed; if you were misunderstood, you were really misunderstood - taken literally.
I like The White Stripes and I like the kinda twang American thing right now.
