"Looking back, I wouldn't have wanted to be anywhere else in the 80's than as a working musician in L.A. There was a wonderful decadence about that time, even being on the bottom of the food chain in the underground scene. Going up to Melrose, buying your outfit from Retail Slut, spraying and teasing up your hair...happy times." - Atlantic Records 9/9/99

"Well, the 80s...that was just a time where LA was a great place to be on the bottom of a food chain, because there was a real Underground at the time. And a lot of bands got their start coming out there. There was a real club life. There was an exchange going on between musicians, that was very exciting. And LA wasn't so PC then. I mean, I'll tell you no lie. During that Live Aid' thing, you know, that big Live Aid thing', there would be people that I know making that phone call when they would see that little baby, that little starving baby, that you know obviously would touch their heart, but at the same time, you know (mimes someone sniffing cocaine) they'd be just, d'you know, waiting on the phone it'd be like (mimes someone holding a phone receiver in one hand and sniffing cocaine with the other) you started to see that they would first go and give $50 and then they decide 'No, no, no, $25 - we're running out!' And that was what that time was about. And I kind of...I love the paradoxes of things, cause they're always living together, they're always circling and now, LA, for me, it holds those memories. I don't buy into the commercial radio, you know, they can suck my dick. I am not seduced by that anymore." - Documentaire French TV 9/23/99

"I was out of my mind at the time. I used to chase Mexicans when they would cut in front of me driving. I'd chase them down, yelling at them -- why did they cut me off? I would go on and on, and my best friend would say to me, 'I'm not getting in this car if you're going to start chasing Mexicans.' I loved chasing Mexicans; I'd get off on it! They were kind of cute. They thought I was just ready to check into an asylum." - Rolling Stone 9/30/99

"The Glory Of The 80's video is coming out and this director said to me, he goes...he's French so I'll do his accent all wrong. But he goes, 'I have zis idea' and I said 'ok'...(interviewer interrupts to ask, 'would it be Steven Sinowi(sp)?')....nononono, Eric Kifigan(sp?). And he come and he goes, 'so I see you in a torture chamber...futuristic!'. And I'm like, 'ok'. He goes, 'no 80's reference *sound of disgust*'. And I said, 'yeah yeah ok' and he goes, 'so you're hooked, ya?' and I'm like that (Tori does a body movement to show how she's hanging in the video). 'Like a mother Joan of Arc, but, mmm, strange, like sexual, oui?'. And he's going on and on and he goes, 'and you will morph into these different creatures'. And I'm like, 'ok...Glory Of The 80's.' So I'm in this torture chamber that is supposed to be quite fashionable, in his mind. And there you have it " - Musique Plus 10/13/99

"My days in LA when I would get up and...I went to 'Retail slut' and got my skull and crossbones and Tank top, before breakfast...and it was a good time." - This Morning With Richard And Judy 10/28/99

"Well, the harpsichord is very much in 'Glory of the 80's.' She's part of the bed; I cut it live, with the piano. You might not notice it, but she's there. I love that, because 'Glory of the 80's' could be the 1780s. I love some of the Minimoogs and those old sounds, and also the new sounds. What I have a hard time with is a lot of electronica. I don't like a lot of it, because it's real cheesy, [from] people who don't know keyboard sounds...not just the sounds, but the choice of the notes with the sound; that's so fundamental. It's not just the sound, but how you use the sound. Rather than rely on sequencing to pound out a dance beat, you bring your micromanaging aesthetic to the technology. On 'Glory of the 80's' you drop a quick synth gliss behind the words, 'the end is nothing to fear.' Whether phrasing a vocal line or using electronic tools, you're still aware of the details." - All Music 10/99

"It was such a mad, politically incorrect and, finally, much funnier time as you might think today. No matter what you did no one ever thought about any consequences at all." - UNICUM-Abi Magazine 10/99

"(the inspiration for the song was) Mainly the honesty of the decadence of that decade. There's the line 'and then, just when it all seemed clear you go and disappear'. I knew a lot of great people in the eighties but at the time I didn't always understand them. Now, there's such a void in the art world, people with vision have physically passed on. It's also a stab at political correctness - you can't say this, you can't say that; now everybody has to be called a Spanish American, an African American and I mean, Oh bloody, fucking hell!!! I understand the abuses that have happened and I absolutely think recompense should be paid, but you don't do it just on a surface level. Everybody thinks that the debt has been paid to the 'quote unquote' Indians who had their land taken away from them because we call them Native Americans. It's hard when everything is so eggshell, eggshell, eggshell. I do miss the eighties. It was great, knowing that friends were on one hand dialling a charity and on the other hand doing a line of blow -- but not lying about it, being honest. None of us are this light and dark fantasy. What's dark to you may be light to me and vice versa. There's that media-created thing that says that you're either a Chrisitian family type with 2.4 kids or unemployed junkie - that if you're gay or have taken drugs or whatever, you can't be a good person. Or conscious. I believe you can be conscious without those extremes. Some people are addicts, I accept that, but you know not everybody is. You can walk into realms of altered states and experience that and also drink water. Do you know what I mean? You don't have to crave an E tab every five minutes." - Attitude 11/99

"The decadence of the '80s in L.A. brings out a smile. I wasn't into the L.A. rock scene even though I had big hair and I had thigh-high plastic boots. I think I was more into the gothic witch thing. Pirates. It was that whole dressing-up moment, Adam Ant with tits, but not really - his were much cuter than mine or my friends'. We used to wake up and go to Retail Slut and pick up a few pieces for the week. There was a balance of thigh-high plastic boots and going to see your shaman. I liked that. It was all happening at the same time. Everything was so much on the outside, pleasing things on the outside, but there was a lot of camaraderie that I really adored. A lot of us were friends, going to see different bands. It wasn't competitive in the way it became in the nineties. In the '90s...well, you're doing your yoga thing, you're eating the right foods, your friends at PETA aren't giving you too much shit - and I like my friends at PETA. [In the '80s] people were calling in to the Live Aid charity and doing blow at the same time. And I found that very honest. There was a shadow aspect that people weren't hiding as much." -VH1 Wire Feature 12/99