Neve Be(ast) a.k.a.

Lyric Seal
Neve: People really wanted me to be like a Lana Del Rey impersonator for a while - like do Lana
Del Rey drag. And the thing is that it’s only interesting if you're interested in performance art.
It’s not really interesting if you want it to actually be like drag or burlesque or something like
that. Because I really am doing it as like comical performance art. I really want people to
understand. [laughter]
Nia: What is it you want them to understand?
Neve: I want them to understand the absurd specificity of Lana Del Rey's aesthetic and the
absurd specificity in both fantasy and reality of me layering myself over Lana Del Rey. In the
sense that like me being the Black Lana Del Rey and the disabled, Black, punk Lana Del Rey
necessarily gives what she's doing a completely different context. And yet, growing up mostly
around white people in a small town not thinking I was ever going to get out, romanticizing punk
boys and bad boys, and wanting to take black and white photos of myself smoking cigarettes,
and wearing red lipstick and having big hair; I did exactly what she's doing.
And so she is like speaking to my tiny, young self in this very profound way. And yet, there are
ways that it is like hard to know if we would be able to actually speak to each other, you know?
Because I have, at this point, such a radical context and such a queer context for how I see that
aesthetic, you know?
I do really feel like in a lot of ways her lyrics are like speaking to wanting to be valued and
wanting to be adored and wanting to be valued over someone's money and valued over some
aesthetic. And I feel like she's found that the aesthetic works for her. So she’s pushing that as
hard as she can but she's still an artist, so I do really love Lana Del Rey. Like I genuinely do.
Nia: Yeah, so for context we are in your bed right now under a giant poster of Lana Del Rey.
And she has a tattoo that says Beast, which is one of your many monikers.
Neve: Yes. [laughter]
Nia: How did you first become… Like when did this obsession begin? What’s the root?
Neve: The root of Lana?
Nia: The root of your relationship with Lana.
Neve: I was my friend Nico - who is this very awesome radical queer Salvadoran girl who I went
to college with - and we became very close around my second year. So we've been friends for a
long time. She's really into punk and we were just kind of in the same scene and not necessarily
close, close at first. But, the more years that we spent together, the more and more things we had
to talk about. One time we were in the car and… Nico is great because Nico really understands
liking things that don't necessarily fall in line with everything you want to represent about
yourself.
She was like, "You're going to love this singer. I have to play this song for you." And she played
Dark Paradise for me by Lana. And the first thing I thought was, "This is the most ridiculous shit

I've ever heard." Like that was my first, initial, thought. And I couldn’t get it out of my head at
all.
Her voice was… 1) I really appreciated that she was an alto. I feel like that's something that—in
her genre which is like those very like breathy airy, fairy phantomtress area of pop music—it’s
rare to find people who sing that low. And so I was really excited about her voice and then it was
like her lyrics are just absurd. Like they are so good in the way that they felt like a very accurate
—like just the best young adult author. It just felt like, "Oh, this is someone who's very
realistically taking on the voice of a 16-year-old who is worried that they're going to die before
they find true love.” [laughter]
Nia: Okay.
Neve: So it just felt like very much an act to me, and like a very well done act. And the ways that
it's genuine matter to me, and the ways that it is a persona, and the ways that it an acquired
aesthetic also really matters to me. So, I just kind of started listening to her a lot as a joke, in a
way, and it became kind of like a social game. And my friends and I would all sing these songs
really dramatically to each other; do like oi punk covers of them, you know? And then it just
kind of like… I couldn’t get through a few days without listening to her. And I dressed up as her
for Halloween three years ago, and I did a burlesque performance as her. And I just started
watching all of her videos and like studying them. (5:37)
I saw National Anthem with Asap Rocky; blew me away. I did not know what the fuck was
happening. And I just showed it to more and more people whose opinions I respected and was
like, "There is something going on with Lana Del Rey. She has something going on. We need to
pay attention." And so it just kind of kept carrying from there. I saw her live last year and that
was what really hit home for me that I was like, "Oh no, this is not just a joke anymore." Like, I
love her. I love her so much. So that’s yeah, that’s my... [laughter]
Nia: There was like a period where I feel like a lot of my friends were really into her, but wasn't
she also called out for racism? I don’t remember any of the details. What are her race politics?
Neve: Let the record show that I am nodding.
Nia: Oh yes. [laughter] I guess I'm curious how you reconcile her race politics with your love of
her. I mean, I get loving things that are problematic—
Neve: The same way that I reconcile the race politics of friends of mine that I grew up with that I
love, you know? I didn’t grow up around a community of color, other than my dad's family. My
dad had to reconcile so many white people who were fucked up, who he also loved in his life.
My white family I had to reconcile. Like friends of mine whose politics were nowhere near
perfect when we were teenagers that—in my absence—I'm seeing how much their politics are
growing and changing. And we keep in touch on Facebook. And there are still moments where I
might have like an, "Oh no," kind of moment but I still love them, you know?
I don’t know, I think fame is really strange and I think that with fame we have an opportunity to
ask people to really be a talking head, or to be a platform, or to be representative in a coherent

way of themselves in a no way that is fucked up, you know? And I don’t know that that is
realistic.
So it's like, do I see her as my ally and as someone who is working in solidarity with me? No.
But do I love her? Yes. And I just think that those things can be different. If it was like, "shit’s
going down. [The] Rev[olution]'s starting." Lana Del Rey's maybe not who I'm going to call. But
am I going to play her music while I'm like pushing my power chair for dear life; seeing how
long it fucking lasts, like yeah, you know? So I can love her and not have unrealistic
expectations of her, I think.
Nia: Yeah, that makes sense. You said something like if you met her you'd be unsure if you'd be
able to communicate. What did you mean by that?
Neve: So allow my nerdy-ness about Lana Del Rey to continue because James Franco wrote a
book about her, right? Because they're friends. They take lots of Polaroids of each other and go
to the beach. And I think that’s what people like that do. [laughter] It makes so much sense that
they're friends. Like it makes so much sense. They're trying to do such a similar thing.
Nia: Which is what?
Neve: Which is like live in the past while looking to the future. I mean I think it's what a lot of
white hipsters are doing, particularly in New York. I think Lana Del Rey is doing it better than
James Franco. I hope that there's like any reason that he would hear me say that. Like I want to
believe that he is going to listen to this podcast and be like, "Ohhh, burn James Franco!" You
know? Unfortunately, he would probably agree with me because he is obsessed with Lana Del
Rey. So he wrote this book and he asked her permission to write it. And she said, "Don't write
about me. Write around me." Which I was like, "Ughhh, you're a genius! How could you be
anymore the woman that I love?"
It means that 1) when trying to capture—in poetry, in literature, in film—when trying to capture
someone's essence you can never really get it. You can only really get your lens and your
representation of them. You're writing a love letter to your love. You're not writing a love letter to
the person that you love. Because it’s only possible to really write an ode that speaks to as much
as you know about someone or as much as you want to know about someone. And we all have
blocks, of various kinds, when it comes to actually knowing someone.
So I think she was talking about like, "Don’t try to be an investigative journalist. Don't try to like
get inside my head. Don't try to write about me realistically. Write around me. Like write a poetic
piece about me that is your interpretation of me." So I think in a way that is kind of brilliant. She
invites all of her friends, fans, whatever to do that. So I feel a little bit like I've been given
permission by Lana Del Rey to have my own interpretation of her. Which is why I feel like I
have chosen to be the Black Lana Del Rey. I am gonna do this like, "Okay, I am going to do this
sort of strange, skewed performance art version of what you're doing.” Not 24 hours a day, but
just like in moments.
Nia: So there is something that you said that I feel like really captures what I love about your
writing. [laughter] I was saying before we got started that I think you’re a really amazing writer.

I really love your writing, but I have a hard time articulating why or like what I think makes it so
powerful. And when you said… and now I’m going to misquote it, and then it will be transcribed
and so you can see how I’m misquoting it. “You said you're not really writing...” What did you
say? “You're writing a letter to your love. You're not writing a letter to the person that you love.”
It's like a letter to the infatuation itself. And I don’t know what that means but it sounds really
deep… [laughter] Like it sounds really beautiful and poetic, and I think that’s how I feel about a
lot of your writing. Where I'm like not a 100% sure what’s going on, but I kind of think I get it.
It sounds really smart and poetic and deep. It's kind of like you're painting with words a little bit.
I did a lot of editing today and so I've been thinking a lot about how talking or writing or editing
is sort of like painting with words. Where it's not like you are capturing I guess like a
photographic image of what you're trying to say, it's like you're writing around what you're trying
to say. You're painting a portrait of what you're trying to say, and it's not going to be 100%
[accurate] because words are just an approximation of thoughts, right? And the better at writing
or speaking the closer what you say is to how it sounds in your head. Does any of this make
sense?
Neve: Yeah, yeah. It makes me think of a lot of different mediums also, like photography. When
photography first came out as a medium people were very interested in it being something that
was presentative as opposed to representative. People thought, "Oh this is going to be the most
realistic art form that we have, because we are just capturing life." But then it was revealed how
many tricks you can do with photography and how you can make photography interpretive, you
know? And that’s why we understand film as representation or not as just like you're representing something. You're not presenting something.
Nia: Like it’s not objective.
Neve: Yeah.
Nia: That’s interesting. I feel like I also heard that when photography first came out—like it was
a record or something—people said it wasn't art.
Neve: I mean, I use the phrase “art form” just as a substitution for the word “medium”. But yeah
I think that people did think that because they thought it was like too realistic to be art, kind of
almost.
Nia: Yeah. So I think what I’m trying to say about your writing is that it’s kind of like… it leaves
a lot of room for interpretation. I was going to say it’s kind of like an impressionistic painting.
Not that it’s a mess, but— [laughter]
Neve: When you get up close you're like, “them's just dots!”
Nia: No, but it’s like there are parts that are really clear and then there are parts that are much
more like up for interpretation, I think. I think everything you write is poetry. Like it’s all very
poetic. And I don't mean that in a way that it's difficult to understand or like I feel like you're
trying to be pretentious. I mean there is always a level of… there's just always some degree of
poetry in everything that I’ve read that you've written.

Neve: Mhm.
Nia: Sometimes more than others. Like the performance that you did... so we were on tour
together with Mangoes With Chili in 2014 and I saw you do the same performance in like 18
[actually 15] different cities.
Neve: I’m sorry. [laughter]
Nia: There’s no need to apologize! It was really interesting to see how it changed overtime but,
that piece was much more intentionally abstract than something like what you wrote for
Everyday Feminism or what you wrote for Plenitude Magazine.
Neve: Right.
Nia: Where those things are more like straightforward essays. In the case of Everyday Feminism,
it's more educational. And they, I think, have a very specific voice that they try to use in all of
their articles regardless of who's writing them.
Neve: I know I haven’t found the place that wants the dragon voice or wants the other stuff. That
wants the way that I write my book or the way that I'm writing.
Nia: Well, we're going to get to that. [laughter]
Neve: Okay. I just don't feel… I don’t know. It's like I haven't tapped into more of the literary
magazine kind of world which I feel like would be more interested in that kind of stuff, maybe.
Nia: Yeah maybe. I feel like it’s hard to… who knows what they want? [laughter]
Neve: Who knows what anyone wants? I don’t.
Nia: But the piece in Plenitude, like it started… I guess with the piece in Plenitude Mag, I felt
like it started out. How do I… I feel like—I’m worried about what I’m saying coming off wrong
or bad or like hurting your feelings.
Neve: Oh.
Nia: But I think… I have a hard time with things that are abstract in general. Like my preference
—my sort of aesthetic preference—is for things to be super concrete and super linear, and that’s
like very different than your aesthetic and the way you do things. But I still really enjoy your
work.
Neve: Thank you. [laughter]
Nia: But I feel like with that piece it kind of started off kind of like a straightforward essay. Like
it wasn't… It kind of gets abstract and poetic in the middle, so it's not just like you're thrown into
like, "what’s happening?"
Well, I don't know because it starts with you talking about how the best sex you had was when
you were 16, but then it's revealed that you weren't actually sixteen. The piece was called Virgins

in Time, which is an amazing name for an amazing piece that describes exactly what it's about
and tells you nothing. [laughter] This is a lot of me talking about your work.
Neve: I like it. It's fun! I mean maybe you should redo your podcast so that it’s actually you
giving live reviews of someone while they listen to you. [laughter]
Nia: While I'm in bed with them. [laughter]
Neve: I’m down.
Nia: Well, I guess I think it's hard for people to describe their own work. Like, I don't think
artists like being asked to describe their own work.
Neve: Uh huh.
Nia: So I'm trying to help you out here. [laughter]. I feel like I'm making a mess in the process.
Neve: No, you're not. You're not being a mess at all.
Nia: But yeah I feel like it starts out… you know how some movies start in the middle? It
doesn’t exactly start in the middle, but it kind of does. But you go to the beginning quick enough
that it's not disorienting. Like, if you can get through the first couple of sentences then
everything that comes after that makes sense.
Neve: Mhm.
Nia: And then you come back to it. It's really good.
Neve: It's like How to Get Away With Murder.
Nia: I don't know. I haven't seen it.
Neve: Oh my god. I was hoping I would be able to talk to you about it…
Nia: Oh no.
Neve: …because it's just been my whole world.
Nia: This has been, so far, the most pop culture-heavy episode I've ever done. [laughter]
Neve: You are with Lyric Seal/Neve Be/Beast Ly right now. It's all pop from here, baby!
Nia: Okay. Can we talk about your names?
Neve: Yeah.
Nia: Why do you have so many?
Neve: I really like the way that this is jumping around. I also want to respond to what you were
saying about the...?
Nia: The painting.
Neve: Yeah, the abstract-ness.

Nia: Please do. I don't know what the question is, but I'd love to hear your thoughts.
Neve: Yeah so I think that the trick… this is the trick that I have discovered. I really feel like I set
my own writing free when I stopped trying to force the cognitive descriptions from happening
and allow myself to write feeling-based descriptions. I'm extremely analytical. I'm actually
very… I'm capable of being in my head too much, for sure. But I also have these deep watery
Cancer feelings and—my moon is in cancer—I like to write with those.
When I am like… when I write my best writing that really carries itself is when I pick a
structure, with my sort of more Sagittarius Aquarian brain, and then delve into it with the
feelings part of me. And I feel like in college I was very, very intimidated by theory. And thought
like, "Oh, I’m never going to understand it. I’m never going to be able to write that way. I’m
never going to be able to do whatever." And I realized eventually when I started listening to
people, it's really like doing an immersion class in another language. It really is like forcing
yourself to speak it.
Nia: Theory?
Neve: Mhm. Even though you don't think you know what you're talking about. Because I feel
like understanding kind of comes later. Because there are so many people who've been writing in
that way for so long that it is extremely comprehensive to them. That they don’t even remember
anymore that there are other ways to talk. That it’s like…
Nia: That's terrifying to me
Neve: I know. But that it's not comprehensive to other people and so it feels a little bit like a… a
little bit like a crème brûlée. Where it's this nice shelled candy on the top that’s really hard but if
you crack it… If you crack it, it's like this soft, goopy, really interpretive… you can just kind of
swim in it kind of thing that’s really creamy and delicious and like maybe nonsense or maybe
substance or maybe whatever. And so I realized I understood more theory than I thought I did.
Because when I stopped searching for some kind of difficult meaning I found a kind of intuitive
meaning that made more sense to me, you know?
And I realized that everybody—when they're sitting around some kind of ridiculous ivory tower
circle table and they're all saying their thoughts and they're all using their theory-brain language
and stuff—they're all making it up too. They're all making up what they think it means. And I
realized that you can write intuitively. And so I think that I, through practice, just started to
approach every genre of writing that way. I just started to trust myself more about what I really
thought and what I really felt, and allowed myself to say things that might not make sense to
other people. Because if they were within the context of this very trusting environment—because
I like to make my readers trust me by saying things that they believe are true or know are true or
can understand—and then kind of like when they're like, "okay, cool" then I’m like "and…”
Nia: “Magic!”
Neve: …blue feathers!" You know just describing something that it's like, "I didn’t know that
was what was going on. I thought we were talking about human beings why are you talking

about blue feathers?" You know? And it’s like because human beings have blue feathers then
people are like, "they do?" It's like all the sudden you can just kind of tip the scale. So I feel like
I like to write intuitive fantasy for the discerning social justice, theoretically-grounded audience.
Nia: Do you want to talk about your sex work career? Who is Lyric Seal? [laughter]
Neve: Lyric Seal is like my nemesis. No, no they're not. Lyric Seal is this very adorable person
that I became in order to be in porn in 2012. And I chose a name that was like… it felt like me,
you know? Because it's very whimsical, and like fairytale-grounded, and seemingly has nothing
to do with sex. So I wanted to like pick something that as kind of romantic and kind of like… but
if we want to take it into like a geeky, furry kind of direction we can be like, "I’m a seal" and
stuff. Even though I do like kind of light-heartedly have different animal identities that I embody
in a sexual way. But I'm not part of like a furry community or identity yet. Who knows what will
happen?
I kind of was just like going with the flow. Like I wanted to be in porn. I knew that I wanted to
be in porn. I had been doing different kinds of sex work prior to that and I knew that I like… I
have always had this kind of obsession and fascination with how people come to sex and how
people are sexual. And it feels pretty… I don’t want to say scientific, but it definitely feels like a
researcher's fascination in a certain way.
I think that I immediately felt very accepted and very excited by the porn community in San
Francisco. And all the sudden I was like getting my picture taken at events and getting free
drinks and gogo-ing parties and feeling very glamorous and sexy and accepted. And various porn
stars who I admired were now like some of my best friends and I just was like, "Oh my god, this
is amazing." The reality is that sex workers of all kinds work really hard. They work really hard
to get all of the gigs that they get. And it is… it never stops being a hustle, you know?
Nia: You think that's more true than in other creative fields, other types of art?
Neve: I think it depends on what your identity is. But I would say, yes. Because on top of
hustling all the time, you're constantly being evaluated on the worth of your body. You're
constantly being evaluated on whether or not your body is good enough to get some nameless,
faceless person off on the internet. And whether or not your body is going to help this website do
better or whether or not it’s not going to, you know?
It's like other artists get their sexuality and their bodies called into question at various times and
that's difficult and can be complicated. But sex workers… sex workers have to fight to own that
their sexual desirability is not the totality of their worth. And I think a lot of people do it really
beautifully and really well, but I just like… I just respect the fuck out of sex workers.
Because I feel like sex workers right now… I feel like disabled people and sex workers are still
the two groups of people across the board that it's okay to make a joke about in a movie or a TV
show and no one will think it’s offensive. I think trans people, starting to be dubious. Starting to
be like, "Oh, maybe that's offensive." You can still get away with it. But it might be offensive.
People of color: you can still get away with it, but it might be offensive. Disabled people: people
hardly even know that we're people. Sex workers: Of course you can make a hooker joke. Of

course you can make a dead hooker joke. You know what I mean? So I just really respect the
fuck out of sex workers in all fields, in all genres.
So in a lot of ways I’m extremely proud to be a sex worker. But in other ways I think that like
I'm kind of anti-brand, and I’m kind of anti- presenting yourself in a sexy, palatable way all of
the time. Which makes being successful in that field complicated and difficult. Like it’s
already… it’s bad enough that it's like not everyone is going to want to shoot me because I have
a very apparently disabled body and I have, you know, face tattoos and I'm a brown person, and I
have scars on my body. But then, I also like to push into monstrosity and like to push into humor
and like to push into all this stuff. So it's like I push the envelope on that rather than kind of blur
it and make it less offensive, I want to make it more offensive. So I’m very much what you
would call niche. [laughter]
But it's just that I think that people expect that Lyric Seal will be the boat that I will ride out on.
Like they expect that will be like how I will become successful or how I will become known or
how I want to represent myself 100% of the time, and I feel very resistant to that. Because Lyric
Seal, to me, is very much a facet of me and a way that I have made art and a way that I have
made money and a way that I have related to people, which I am very proud of. But I don't really
care about the name, you know? And I don't care about… I’m just having—it’s fine. I'm just
having a Prince moment so it's, it's…
Nia: What does that mean?
Neve: You know; I want to become “the artist formerly known as”. I want to have my little face
tattoos become like the symbol of [me], you know?
Nia: I can see that.
Neve: Yeah, I just want to un-name myself. I've changed my name so many times. Now I just
want to have no name. But Beast is good. I like being Beast.
Nia: Why do you want to have no name?
Neve: Because having a name is exhausting, I guess. I’ve just never—I mean, I have found a few
names now. Neve is a name that feels resonant with me, and feels comfortable, and feels good,
and like I can introduce myself as that. But you know I'm multi-gender, and I am multi-sexual,
and I am mixed-race, and I have so, so, so many different interests. And I just feel like… I'm just
someone who is very cagey. I just feel like it is very easy for me to feel trapped, and for me to
feel like pinned down, and it’s something that I avoid at all costs. As soon as people are like,
"Oh, yeah I get it." I'm like, "Nope!" [laughter]
Nia: On to the next thing?
Neve: Yeah.
Nia: I don't know. It's interesting. It's interesting that you feel trapped by having a name. You've
had a couple different names since I’ve known you. And then you also have like a couple
different brands, in terms of like your presence on social media. [Neve sighs.] I know you hate

that. And now you're trying to, what’s the word? Like integrate, merge? You're trying to have,
like… one brand to rule them all. [laughter] I know you hate this.
Neve: You're saying like the worst, worst things.
Nia: I know but it's not inaccurate, right? I mean you're trying to… Okay, so a lot of sex
workers, I think, have like a name that they use for sex work and then a name that they use for
maybe everything else.
Neve: Actually, in the Bay a lot of sex workers just have their sex work name. And that's been a
lot of pressure to me. Especially because a lot of the sex work recognition that I've gotten has
been, partially for porn scenes, but also just for how I speak; for how I show up in the world. You
know, people ask me for panels and interviews and workshops and things like that. And writing.
And really what I think has become more… Well, I wouldn't say more interesting to people than
my sexuality, but I feel like it has layered on and it has integrated with my sexuality to kind of
bolster my “brand”. I'll humor you now. My brand.
Nia: [laughter] You said that that so much hate in your eyes!
Neve: I know! I didn’t. I didn’t. I was like chagrin or something. I'm not sure. I even also
grinned.
And that's honestly the way that a lot of porn performers make their careers, is by also being
personalities, and by also being people who speak. Madison Young, and Annie Sprinkle, Nina
Hartley; people who have an opinion and are smart and make art, you know?
Nia: Oh no, I totally lost my train of thought.
Neve: I’m sorry, I’m sorry.
Nia: No, no, no it's fine. I was starting to say—and then you corrected me, which is fine and fair
—basically, that the way you use your names is not about splitting your sex work persona from
your other persona/real life persona/whatever you want to call it. It's something totally different,
which is just that you don’t want to have a name. Or like, you don't want to be pinned down by…
I mean, it’s partially interesting to me because it’s so anti-capitalist, in a way. I was going to say
“bad for business,” but I thought you would like “anti-capitalist” better.
Neve: Yeah, thank you. Thank you, that's very nice. That's very nice of you.
Nia: In order to be successful as a public figure or an artist of any kind, people have to know
who you are. And for that, it helps to have a consistent thing that you call yourself, and you are
resisting that in so many ways. Do you see that as like an anti-capitalist [thing]? Is your intention
behind that to make yourself like… Are you trying to be un-Googleable? Is that part of your like
performance art? [laughter]
Neve: I just really like being a hustler and I really like being a turncoat. It takes a lot of work to
make a life out of that. I definitely think that being disabled, and being a person of color, and
being female-assigned and queer has necessitated a lot of that sort of hustling lifestyle, you
know?

I think I just kind of realized, at one point, that I wasn't like a punk who was going to grow up,
you know? Like, I think I have grown up and matured in a lot of ways. I take accountability for
myself, and I pay my bills so that it doesn't fuck over my housemates. And I make sure I'm
someone people can count on, and I like, show up in my relationships and for myself, you know?
I definitely don't think I have like graduated from being someone who feels kind of like, "fuck
everything” about cohesion and order. I think I'm just always going to be like that.
And so, yeah, it is kind of performance art in and of itself. You know, like, whatever, Frank
Ocean doesn't have all these different social media accounts. There's lots of artists who don't
indulge in using those kinds of things that people expect from them and want from them.
To be honest, I think I really just didn't understand Twitter. So that's the reality. And I feel like
I'm starting to understand it now. It feels like a relief to have an account that is not my name. It
feels really great. It feels great because there’s… but there are other people who do that. You
know what I mean? It's just that then, in and of itself, whatever is not your name has to become
what is associated with you, right? So it's like, if something isn't your name on Twitter then
people have to know that like… that it's you. I think it's a lot of different things. I think it is, yes,
a desire to kind of be like un-Googleable and not cohesive and whatever.
I also really like being someone who is kind of network/community/word-of-mouth connected. I
like to rely on that more than I like to rely on someone’s birds-eye view of who I am in the
world, you know? I really like being sought out by a friend of a friend of a friend of a friend
who's like, "Hey, I heard you do this thing, that'd be cool to talk about." You know what I mean?
And I do really believe in community even if it's via the internet and I do kind of have this like
diva attitude that it's like, "If you know me, you know me," you know?
And I’m obsessed with fame! Like I am. I want to be famous. So it's like that's the truth. But it is
also the truth that I hate capitalism. And it is also the truth that I am not interested in assimilating
into some kind of like pre-prescribed mold for fame for celebrity or success or whatever. And I
would like to be very multi-dimensional, and I would like for—if I ever actually did blow up in
some huge way for—it to be known that I am all of these things. And not that I am like "Lyric
Seal sex-star, sexpert," you know? Or “magazine writer” or whatever it is. It's like I just—I'm
just greedy. I just want it all. I just want to be able to be all that I am. I want everyone to be able
to be all that they are.
Transcribed by Malcolm LaSalle