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It's kind of like I'm Phil Spector, and I'm forcing a young girl to make pop music and perform exhaustively. Except, instead of it being someone else, that girl is also me.

I knew the full 'Judy Garland Carnegie Hall' double album set at age 2. And then my mother wondered why I was gay. I was like, 'Are you nuts? You would make me get on the table to sing Judy Garland songs and you're upset?'

I didn't want to do anything my mother wanted me to do so surely I wasn't going to sing for her.

Hey, don't knock Judy Blume. Without her, my younger self would never have been able to decode the random acts of madness perpetrated by the fascinating creature known as the teenage girl.

We didn't know anything about Judy Murray until we met her, but once we got to know her, we found she was an absolute scream.

Edith Piaf knocked my socks off when I was 8, but I didn't know what she was singing about.

A friend of mine wrote a script, a feminist romantic comedy. She had a feminist scholar consult on it. My friend said, 'Oh, my friend Gillian read it and really loved it.' She goes, 'Gillian Jacobs, you mean: Britta Perry, feminist icon?'

When we talk about my music, it's a cross between Tina Turner, Alanis Morrisette, and Diana Ross. It's the glamour and the showiness of Diana Ross; the ferociousness and pain of Tina Turner; and the vocals of Alanis.

One of the oddities about being Judy Garland's daughter was that everyone treated my mother with such awe that they would never have asked me the normal questions kids get about their moms.