Quotes of All Topics . Occasions . Authors
You had to wear a hat to go to church. We weren't allowed to straighten our hair. We couldn't wear jewellery, nail polish, open backed shoes, skirts above the knee... trousers were forbidden because male apparel on a female was not godly.
It doesn't surprise me that people can't see beyond my image. It's amazing, but I can understand it. That's what image is for. But it's never a problem for me. It's only a problem for them. I don't really care. I do what I want regardless.
Hiding, secrets, and not being able to be yourself is one of the worst things ever for a person. It gives you low self-esteem. You never get to reach that peak in your life. You should always be able to be yourself and be proud of yourself.
I have been so copied by those people who have made fortunes that people assume I am that rich. But I did things for the excitement, the dare, the fact that it was new, not for the money. And too many times I was the first, not the beneficiary.
I think I'm doing a service to black women by portraying myself as a sex machine. I mean, what's wrong with being a sex machine, darling? Sex is large, sex is life, sex is as large as life, so it appeals to anyone that's living, or rather it should.
I see myself as no color. I can play the role of a man. I can paint my face white if I want to and play the role of white. I can play a green, I can be a purple. I think I have that kind of frame and that kind of attitude where I can play an animal.
I didn't think I had a voice at all, and I still think of myself as an interpreter of songs more than a singer. I thought it was too deep; people thought I was a man. I had a very strong Jamaican accent, too; the accent really messed me up for auditions.
There're lots of musicians in my family, too. My mother sings incredibly well. I've got to make a record with my mother's voice on it. She sings a lyric soprano. We do the opposite. I'm a baritone. She's a star singer in her church. She always does her solo.
I always had to mask my emotions. I could never show that I missed my mom or my dad, especially when they moved to America. My grandparents were tough. I was not allowed to receive letters that had not been read before. Everything was controlled - everything!
Women and men grow up with both sexes. Our mothers and fathers mean a lot to us, so it's just a question of finding a balance between their influences. I've found mine. And it tends to be more on the male side. I mean male side the way we understand it in the West.
My dad's family were political and he was always a theatrical creature, whereas my mum is really musical and her father was the touring pianist with Nat King Cole. My family was an explosive mixture of politics, religion and music - no wonder I turned out how I did.
Listen to my advice; I have some experience. In a way, it is me being a teacher, which is what I wanted to be. I still feel I could go into teaching. What is teaching but passing on your knowledge to those who are at the beginning? Some people are born with that gift.
I've had more misrepresentations than I can handle, and people have told the wickedest lies about me. A lot of them have taken their frustrations out on me, and I don't like that because it can wound. Not necessarily me, but those around me. Journalists can be so bad.
I've lived long enough to feel the sway of corporations both legal and illegal. Corporations give you drugs and they prescribe and prescribe them and they can be worse for you. Whereas you have illegal drugs and that is all about moderation. You have to know your body.
Most performers take themselves too seriously. They forget there is a difference between the characters they play on the screen or stage and themselves, but the public doesn't forget there is a difference. They see how silly it is if you try to be the same person all the time.
My mum was very glamorous, an incredible seamstress. She made up those Vogue, Givenchy and Yves St. Laurent patterns they used to sell. It was church couture, darling! Because my dad was a pastor, she could get away with more than other women. Her skirts were that bit tighter.
For me, a diva is like the great opera singer, the great film star - out of reach, in their own world, with a real gift for invention: attention-demanding performance artists with a flamboyant, compelling sense of their own importance so special and inimitable it verges on the alien.
Crying is not a weakness. It's something that should be able to work for you. It should also be a strength. I think if you can cry when you feel like crying it's a strength. If you feel like crying and you can't cry, that's a weakness. That means you're holding all that stuff inside.
I loved all those classic figures from the '30s and '40s... Bette Davis, Joan Crawford, Humphrey Bogart, Rita Hayworth. They had such glamour and style. I loved the movies of those times too - so much attention paid to details, lights, clothing, the way the studios would develop talent.
For some reason, I can inspire things that are in good taste, but then sometimes I can also inspire, like, wooooow. Some producers have this really sexual idea, and they're like, "Now I can do this, with her!" And I will just go: non, non, non. That's not me, it's you. You're projecting, man.
Mum was a high-jumper and qualified to go to the Olympics, but it got into the newspapers that she was married to my father, and the church put pressure on her to pull out of the Olympic team, saying, 'You can't be exposing all your legs.' That's how strong the influence of the church was on us all.
I was born into a very religious family where everything was about setting the right example for the community and having to obey orders blindly. I felt that everyone was growing up in the world, except me. This is probably one of the reasons why I had such a rebellious attitude towards any form of authority.
The problem with the Dorises and the Nicki Minajes and Mileys is that they reach their goal very quickly. There is no long-term vision, and they forget that once you get into that whirlpool, then you have to fight the system that solidifies around you in order to keep being the outsider you claim you represent.
Disco existed before we were all born and will exist afterwards. It is a ritual - it is a celebration - and it is the same kind of music that we call disco or rock'n'roll or a whole list of names that we can call it. Call it what you will, nothing will change the fact that certain kinds of music will make you want to celebrate or party.
This is what I would say to my pupil: 'You have become only your fame and left behind most of who you were. How are you going to deal with that? Will you lose that person forever? Have you become someone else without really knowing it? Do you always have to stay in character for people to like you? Do you know that you are in character?'.
They used to call me Firefly when I was a little girl, and I always tried to figure out why I was being called a firefly. I was really black, black, black from the sun. After being in Jamaica for 13 years, my eyes were really beady and white, and my skin was really black. I must have really looked like a fly. My eyes looked like lights, like stars.
I think it's somewhere in my head, in my travel space, and it just comes out. It's a visual thing that happens unintentionally. People will tell me, "You do realize you just spoke with that accent, right?" And I'll go, "Oh, did I?" So it's not something I think about. As we talk, I have a visual about my speech and it just comes out like that. If that makes any sense!
I see myself as no color. I can play the role of a man. I can paint my face white if I want to and play the role of white. I can play a green, I can be a purple. I think I have that kind of frame and that kind of attitude where I can play an animal. If you think in color, then everyone around you is going to think in color and that puts limits on the way you think. I don't think like that. A lot of the roles that I'm doing are roles that a man or a person of any color can do.
In Jamaica we had the English way of schooling from the age of four, so when I got to America I was already a few years advanced because I started school at the age of three-and-a-half rather than six and my grades moved up accordingly. In America, they start you at school at six because the grades are different. I had to take a test and they didn't know what to do with me. It wasn't that I was any smarter; I had just started younger. All of a sudden I was jumped from eighth to tenth grade. They said I was very smart, but I was only smart in languages, really.