I came in in a unique position in that “Video Games” had so many views, and that was the reason why Jimmy Iovine at Interscope and Ferdy Unger-Hamilton at Polydor had called me on that day and wanted to revisit the record and hear it again.

So I got signed on great terms because the discussions we were having were that it was always going to be my way. I liked coming from this DIY place where if I had a single that they really felt like they wanted to put money behind or promote—I liked knowing it was an option that I could make my own video at home for it, like I did with “Video Games.” Eventually I tired of that, graduated to working with other people. But in that way I was in a really good place after the record was done with its cycle.

I think the label was half-and-half on this record [Ultraviolence] because there were a lot of jazz undertones and West Coast references. I think they were happy that I was happy with it and that I made it. I don’t think they felt like there were singles that could work at radio. And I kind of felt that, because I have such a good relationship with Jimmy and Ferdy. I’ve been working, “working” [makes air quotes], singing, for years. So the people I’m closest with are like my product manager and the video commissioner, because they’re really good girls. The A&R guys—Larry Jackson and John, if I go out at night I probably go out with them. We’re pretty flexible with each other, but it always come down to differences. For example, the bonus tracks on this record I didn’t feel like had any relation to the atmosphere of the record itself. I think iTunes was like, “You would have trouble promoting a record if it didn’t have a deluxe edition,” so, there’s stuff like that.