With her bangles and her spangles and her stars

the making of "beauty and crime"

[...] “I met Philip Glass as I was walking down the street,” she explains over the phone from, of course, Manhattan. “I run into him fairly often. And he said, ‘How’s it going?’ I said that I was without a record deal, and he looked really happy and said, ‘Congratulations. That means you can do what you really want and finally have freedom.’

“I wasn’t clear how I felt about it at the time. I wasn’t seeing it from that point of view. Two weeks after 9/11, I found out my deal with A&M was up and asked them for another year on the label, and they didn’t pick up the option, so I quietly went away.”

But she began thinking about Glass’s reaction. “I decided to hire an engineer to work with, Brit Myers, and we just played music into the computer. I riffed around and made loops and things, without lyrics. It was a new way for me to work, and part of the sleekness of these songs may be that I was working on a computer, which compresses everything and allows you to edit and alter your work in really interesting ways. It becomes like a collage." [...]

That's from Ted Drozdowski's "Village Folk" in The Phoenix