"That’s the words: "So I’m back to the velvet underground"—which is a clothing store in downtown San Francisco, where Janis Joplin got her clothes, and Grace Slick from Jefferson Airplane, it was this little hole in the wall, amazing, beautiful stuff—”back to the floor that I love, to a room with some lace and paper flowers, back to the gypsy that I was."

“We all did everything we could do to try and talk her out of . But you look in someone's eyes and you can tell they're finished. As Taylor Swift would say: 'We are never ever getting back together ever!' That's what Chris was saying... But I'd beg, borrow and scrape together $5 million and give it to her in cash if she would come back. That's how much I miss her.”

“…If I had not had that abortion, I’m pretty sure there would have been no Fleetwood Mac. There’s just no way that I could have had a child then, working as hard as we worked constantly. And there were a lot of drugs, I was doing a lot of drugs … I would have had to walk away…And I knew that the music we were going to bring to the world was going to heal so many people’s hearts and make people so happy. And I thought: you know what? That’s really important. There’s not another band in the world that has two lead women singers, two lead women writers. That was my world’s mission.”

“…The reason I chose that kind of a platform boot was because the rest of my outfit is so filmy and floaty that I thought: If you’re going to wear that outfit, if you just wore a pair of stiletto high heels with ankle straps, it would look really pretty, but it would be way too airy-fairy. But if you put on a pair of really strong suede boots to your knee, that have got a substantial little platform and a really good heel, then if somebody tries to drag you off that stage, you can seriously kick them with that boot. And so those boots are not just a fashion statement. They are to make people understand that I’m not a ballerina. As much as I would have loved to be a ballerina, I’m not a ballerina — I’m a rock ‘n’ roll singer. And so when people get too close to me, I can just feel my foot starting to raise, you know? It’s like my karate moment. A few times I’ve said, “Let go of my hand,” and some people don’t. And my foot starts to raise, and they get it, like, “I don’t want to be kicked with that boot. So I better back off.” So they have their moments where I feel like they’re a weapon.”

“I'm going to spend my life writing poems, turning them into music that will affect people and touch their hearts. I'm going to write the songs that people can't write for themselves.”

“…I put them in my journal. And if I have a really big, important show, I call in all my spirits, and I say, “Tom, stand behind me. Prince, stand with me.” I ask for their help, because I know they’re up there. The Prince thing started a long time ago, because sometimes even before Prince died, I would say that. I wish Prince was here and he could just walk with me out there; because of his performing ability and how good he was on stage, sometimes I’d just go, “Come with me.” And I really do feel the presence, you know. I mean, Tom and I were way, way better friends than I was friends with Prince, because I hardly ever saw Prince. When I did see Prince, we’d have some really important conversations, and we talked on the phone sometimes for a couple hours. But Tom was a different kind of friend. Tom was really my buddy friend. I spent a lot of time at Tom’s different houses, and a lot of time with his family when he was still married to Jane. And that was a very hard loss for me.”

“I sat at my piano, a feminist woman, and I wrote it, to say that nothing you or anybody else can do to me can change the fact that, as the opening line goes: ‘Every night that goes between / I feel a little less.’...Freedom…I am a totally free woman, and I am independent, and that’s exactly what I always wanted to be.”