Quotes of All Topics . Occasions . Authors
I have worked long and hard to try to reduce my debts, and I am devastated that it came to this conclusion. I now intend to focus on the remaining dates of the Westlife tour and my commitments to the band before looking to rebuild a future for my wife, my three children and myself.
Island Records was the first record label to... acknowledge me. After that, quickly, Republic Records, and then Atlantic Records, Sony Records and Warner Bros. It was all the labels at once. It was absolutely insane, like, knowing that this many record labels were interested in me.
I haven't talked to any young artists for a long time. But if we did sit down, I'd definitely tell them my viewpoint. If it was Lady Gaga, I'd say: 'You're talented, and you've obviously got the goods... what the hell are you doing with your image? How can anyone take you serious?'
Red is such an interesting color to correlate with emotion, because it's on both ends of the spectrum. On one end you have happiness, falling in love, infatuation with someone, passion, all that. On the other end, you've got obsession, jealousy, danger, fear, anger and frustration.
I look out at the stadiums full of people and see them all knowing the words to songs I wrote. And curling their hair! I remember straightening my hair because I wanted to be like everybody else, and now the fact that anybody would emulate what I do? It's just funny. And wonderful.
I don't look at women as groupies. To me, a groupie is a stalker. If you're a fan, then you're a fan. But I can look at a woman and become a fan of hers instantly. I'll tell a woman, "Look, I don't want your phone number. Just give me your autograph. Can I take a picture with you?"
I always knew, since I'm the one making the movie, if I didn't like it, I'd just simply build another set and do it again. I was the one doing it all, so I never really worried about if I didn't like it. I just thought, "Well, if I didn't like it, I'll just do it again! Who cares?"
I felt so liberated when I first saw Charles Mee’s 'The Glory of the World' at BAM play, because for me this is the gateway to contemplation, or this is the gateway to love, or this is the gateway to faith, not sitting and reading a book by an isolated monk, god bless him. This is.
I do consider myself an actress now. I think Dig and Transparent have given me the confidence. I've been working as an actress, it's something that I have to continue to earn, but I do feel like it's a part of me. It's something that I love, and to not acknowledge it would be false.
I just wanted to be who I was, which was like so many other girls I knew. We grew up in the city, had a hard edge and obstacles to overcome, but we were still young and beautiful. I didn't want to be all dressed up, all made up - I wanted to be myself, which hadn't been done before.
I rather be divisive than boring. The last thing I want to be is a bowl of sugar free vanilla pudding, it's not something you necessarily hate but it's not something you ask for. I'd rather be something people passionately care about one way or another than be kind of in the middle.
When I was a teenager in the '80s, I was the only girl in the guitar shop. Now if you walk into a music store, it's mostly teenage girls. It's great! It's an expansion of possibilities for young women, finding a way to tools even if they aren't directly handed those tools by adults.
Fashion is temporary; fashion is a race. What it's doing is giving you something that you say, "This is the outer wrapping of me." Style is something else. It's not quantifiable. Fashion is about selling. Fashion is about what's in. Style is independent of that; style is individual.
Just imagine how boring life would be if we were all the same. My idea of a perfect world is one in which we really appreciated each other's differences: Short, tall; Democrat, Republican; black, white; gay, straight-a world in which all of us are equal, but definitely not the same.
I feel empathy for people who are trapped in a prison of self-consciousness in an uncomfortable way. We can be free, but we're so held back. So perhaps that's why I feel a duty to make my work. I feel liberated when I'm doing it, and I want other people to feel liberated through it.
My mother told me Homer Ditto was not my father. Nope. Mom had had a fling with some other guy who was my dad. Some dude who didn't stick around too long who Mom was happy to get rid of. She chose Homer, and Homer chose me, so he lent me his name even though I didn't have his blood.
In 1967 I entered Harvard as a freshman, confident - in the way that only 17-year-olds are - that I could change the world. My major was African Studies, and my plan was to travel to Tanzania, where President Julius Nyerere was creating a government based on democracy and socialism.
My audience here in America is so eclectic. It's a real mix of people, which is great. Like what I was doing with Culture Club - world music, multiculturalism - not defining everything in terms of sexuality or color. It was about everyone coming together and being part of something.
When you're with somebody as iconic as Mick Jagger or John Fogerty, I'm really aware that, in asking these guys to collaborate with me, I don't want to add a footnote to their career that's like, 'Shouldn't' have done that.' It's important to make sure that they're well represented.
When the label came to me to say, 'would you like to do another record,' I said, 'Well I got these sixteen songs sitting here, so let's do it.' And that was pretty much it... I never stopped writing, it's just the way that the business is now; you just try to find a different model.
I realized that women are still not seen as equal to men. We had a big wave of feminism just before my generation was born. We're still sitting on this wave. There are very militant people and very aggressive women at the top of that wave but I think we have a new version of it now.
To me, it's always been a challenge to look for the light: to look for those spaces in your heart where there is hope and faith and try to embrace that rather than crush it. I've spent so many years trying to crush those feelings of hope, and I certainly succeeded for quite a while.
Music is like a mirror in front of you. You're exposing everything, but surely that's better than suppressing. You have to dig deep and that can be hard for anybody, no matter what profession. I feel that I need to actually push myself to the limit to feel happy with the end result.
I was raised really strongly on The Beatles; they were huge in my family, my parents loved them, and they used to quiz me on who was singing which song, and we'd play certain records for certain events, and things like that. So I mean, they were sort of my introduction to pop music.
I'm not going to lie: There are times I play mind tricks on myself, like that the french fries are poison. With desserts, I'll let myself have just one bite, but I'll look like a freak when I'm eating it, like when I did Duncan Hines commercials as a kid, just savoring every morsel.
You either evolve or you don't. I don't like old people on a rock n' roll stage. I think they look pathetic, me included. And the fact that I represent an era means I can't just go out there and do all new stuff. They would all say, 'Sing 'White Rabbit,' and I'd say no? That's rude.
I used to have an eBay addiction. I was really good at selling stuff. My sister needed to get to a funeral in Ireland - the airlines were on strike - so I listed her on eBay: damsel in distress. Guys were outbidding guys to be the hero and help her. A guy who owned a helicopter won.
I tour alone. There's no sound check, no back up. I stay with the hosts I am in a family home and it's really nourishing. I just have to remember after the show not to run out into the living room in my pyjamas. Every day, it's a new relationship being built. It's odd and wonderful.
I had a vague idea of the song's impact in the '60s, but that was tempered by the hate mail and threats I was receiving. It was only about ten years ago, when I finally put it back in my show because so many people were asking for it, that I understood 'Society's Child' real impact.
Transformation is my favorite game and in my experience, anger and frustration are the result of you not being authentic somewhere in your life or with someone in your life. Being fake about anything creates a block inside of you. Life can’t work for you if you don’t show up as you.
There are times when what you do will be mysterious to everyone... times when you have to change directions before people are ready. Just because someone does something that critics don't like or understand doesn't mean you're failing as a musician. It probably means you're growing.
It's pretty amazing to write under any circumstances when someone gives you an assignment to write a song, even if it doesn't get accepted. I've written songs a couple of times, some for Disney, that haven't actually ended up in their films, but then you're left with a song forever.
All I watch is the Food Network. I took a cheese making class a few weeks ago, and I told my family and friends to only get me kitchen stuff on my birthday. I'm into every kind of cookbook and anything by Anthony Bourdain. I'd love to own a restaurant if I could find the right chef.
Singing and acting suit me. I made a vow to myself to do everything that I can do with this life that I have, and I have to find the time to do this. Sometimes I need to be an actress. Sometimes I don't need to be Jill. However, everyone is always looking for the Jill in everything.
Well, what's interesting, I try not to think about the radio when I'm writing a song. I want people to love the song, and that means it might not be exactly thinking about the radio, but it's thinking about your audience and saying, 'I want people to like this song after it's done.'
'Lollipop Opera' is the backdrop to Finsbury Park. A place that is very thriving, interracial and lot of music stores, Greek, Turkish, all sorts of immigrant music. It's utter Englishness. It blends the Jamaicans, the Irish. It's like what Jim Reeves did with American country music.
My songs examine and explore little specific emotions or situations or stories... They're kitchen table songs, like a conversation between me and one other person. It's almost like an alien has been sent to get emotional samples from human beings and put it all together on a record.
Growing up I was always prone to obsession, partly because of the way I am, but partly because after feeling so lonely for such a long time, when I found someone or something that I liked, I felt helplessly drawn to it. I suppose that accounts for some of the creepiness in my music.
There's a relationship between music and spirituality and inspiration and to a certain extent improvisation that draws me in, because I don't totally understand it. I know that those relationships have been telling me, since I started making records, where to go. What to write down.
I shouldn't have stayed so long away. Every time I come here, I get so supercharged with energy. I truly believe that Israel is the energy centre of the world. And I also believe that if we can all live together in harmony in this place, then we can live in peace all over the world.
I think that life is a paradox and you have to embrace that in your work and your belief systems... You can't be a literalist, and that's the trouble that people always find themselves in. That's why people always hit a wall with any of my stuff, because you can't take it literally.
Writing is a very intimate thing, especially when you write lyrics and sing them in front of someone for the first time. It's like a really embarrassing situation. To me, singing is almost like crying, and you have to really know someone before you can start crying in front of them.
I grew up in Baltimore which is a one of the biggest drug cities. I've seen a lot of drugs... so it was always around me, but I never really indulged in those type of activities. I never used drugs in my life and I was blessed enough with the wisdom and the strength to move forward.
Wonderful songwriting, beautiful production, and deeply rooted in what makes American Roots Music great: Deep Southern Pain. It's the hurt that brings the songs, and it's the songs that heal the hurt. Jonathan's songs bring us there, and back. Check this record out, it's a good 'un.
I'm lucky to have friends who inspire me all the time. Watching other people teaches me and helps me to carve out my own sound. We're all just recycling on our influences. What you hear is the sound of those artists swirling around our insides and finding their way back out somehow.
I may have a little bit of a talent for music, but I've learnt to tap into my own self when I write. When I put the drill bit inside my heart, sometimes I come up with something light and frothy, sometimes with something deep and painful, but it's great to connect with the audience.
Some songs started from a bass line, some started from having the full lyric and Jim, my drummer, who's also the first guy I've been in the studio with him since 16, sometimes he'd have an idea and I'd put a lyric to it and then the track evolves, there's no set way to write a song.
My mission is to communicate, to wake people up, to give them my energy and accept theirs. We're all in it together, and I respond emotionally as a worker, a mother, an artist, and a human being with a voice. We all have a voice. We have the responsibility to exercise it, to use it.
My father left his piano at the house when he left, and I wasn't allowed to play it when he was there because I wasn't as good as him. So when he left, I was determined to get as good as him, and I taught myself how to play music, and I just stuck with it, and I did it all the time.
There's just something about being on stage and being with the people that, once that camera turns on, you find the strength to keep it cool, look good, act like you're not cold, act like you ain't nervous, act like you aren't scared. I think that comes with confidence and practice.