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People don't realize that, you know, we have - "we" meaning people in show business have the same problems as everybody else. Money don't change that. Fame don't change that. Sometimes that brings on more problems. You know, it's just a - different kind of problems. As they say, money ain't everything.
The sad truth is that opportunity doesn't knock twice. You can put things off until tomorrow but tomorrow may never come. Where will you be a few years down the line. Will it be everything you dreamed of. We seal our fate with the choices we take, but don't give a second thought to the chances we take.
I think we should all live the moment. But you also have to think ahead. You have to think, 'Am I going to be happy with this five, ten years from now? Is it going to let me evolve and grow, or am I going to grow to one day wish I had never done it?' Sometimes you just have to think a little bit ahead.
If you're stuck in a situation that's painful or there's something that makes you angry, it can enable you to step back from your own experience of it and realize that this is just a part of what it is to be human. It can allow you to accept it a little bit more and make you feel like it's less unfair.
I don't think it's an artist's responsibility to be political all the time. I think your first responsibility as an artist is to make music that people will listen to and enjoy. However, I think that when you are able to say something that is moving and put it in a great song, then that is even better.
I was one of those guys, you know, playing and singing, and there was no reason for me to write a song, because there were so many beautiful songs out. And Bob Dylan was always the ultimate songwriter, and nobody could ever write a song as good as him, and nobody ever has written a song as good as him.
My father was a cotton farmer first and - but he didn't have any land or what land he had, he lost it in the Depression. So he worked as a woodman and cut pulpwood for the paper mills, rode the rails in boxcars going from one harvest to another to try to make a little money picking fruit or vegetables.
War is big business. It's a lot of money going to and fro, and unfortunately a lot of angst, and a lot of fear, and a lot of doubt. And eventually a lot of wonderful people, like soldiers, like men and women that are out there trying to do the best they can, they come back being wounded on many levels.
I’m from a small town so, like, everyone’s married with children or about to have children. So it’s a little hard when you go home and people are like - and that’s why people think I’m gay - because they’re like ‘Why aren’t you married?’ And I’m like, ‘it doesn’t happen for everyone right off the bat.’
I'm from a small town so, like, everyone's married with children or about to have children. So it's a little hard when you go home and people are like - and that's why people think I'm gay - because they're like 'Why aren't you married?' And I'm like, 'it doesn't happen for everyone right off the bat.'
When you do the first season, you're putting your life out there and you're kind of hesitant about it, and then by the time you get around to the second season, you don't care. It's like, "This is who I am - like it, accept it, or don't." There are so many misconceptions that now they can see who I am.
In My Secret Life" "I saw you this morning, you were moving so fast. Can't seem to loosen my grip On the past. And I miss you so much, there's no one in sight. And we're still making love In my secret life. I smile when I am angry, I cheat and I lie, I do what I have to do to get by, In my secret life.
When I first came to New York I was a dancer, and a French record label offered me a recording contract and I had to go to Paris to do it. So I went there and that's how I really got into the music business. But I didn't like what I was doing when I got there, so I left, and I never did a record there.
I've really come into my own as an artist. I'm much more sure of my identity and understand it much better, and have accepted the fact that I like to jump around a lot in terms of who I am and what kind of music I create, and that it is okay - in fact, that is my main identity, the fact that I do that.
When I`m going to do a Christmas album I had to put my mind in Christmas mode. I had to go back to being a child and remembering all of that. When I go to do a project, I'm serious about it, so I wrap my world around it, and it becomes Christmastime for me and I'm singing songs like it's Christmas day.
To be honest, I've never looked really hard for musicians. I'll just randomly meet people. I've never interviewed bandmates or anything like that. The reason I like playing with Chad and Devin is that they're just really, really good musicians and good players. There's not a lot of sloppiness going on.
I always tell people I'm grateful for my cancer diagnosis because it was the greatest gift because it completely changed my life. I was able to stop and let my whole life and world just crash over me like a wave. And I stood there and went, 'Wow.' And for the first time, I stopped everything. I had to.
I got involved, for the most part, in the actual song construction, lyrics even. I didn't want to write the lyrics, but if there was a howler in there, I definitely pointed it out. Just trying to bring it up to a higher level. Of course, after a couple records, people get fed up with that. That's fine.
What people don't tell you is freedom comes with a lot of work! I'm definitely grateful for the freedom to call my own shots. However, you don't have the luxury of leaning on a squad of people to put stuff in motion. It's just you and your homeboys trying to figure it out. It gets challenging at times.
I worked for Hillary [Clinton] when I was young - when she was running for the Senate. I was fundraising and things, I see all of these people as political in a way that isn't humanistic. I'm just watching and hoping that someone is going to distinguish himself or herself as comprehending what we need.
God as 'He,' as a patriarchal thing, is offensive to me. It's standard fare for America, 'He, He, He.' Every time I hear that it's like another blow against females. It's very radical talk at this point for females to say this kind of stuff, but nationwide I still hear females referring to God as 'He.'
What a lot of people don't realise about me is that I have no idea what's going on in the media. I don't pay any attention to it, as I consider it mind pollution. The last time I touched a computer was in 2001, and my phone is too old to use the Internet. I just don't enter into it at all on any level.
I've written with people who aren't like me, then I've written with people who totally get it. It's like a blind date, and you never know what's going to happen. But it's really cool because they learn from you, and you learn a little bit from them. And sometimes it works out, and sometimes it doesn't.
I have great family and friends that do not treat me like Queen Latifah. We've all grown with this thing, they have sacrificed part of there anonymity; they've had to deal with rumors and things in the paper and they've had to take this ride along with me and they've taken it and we've had a good time.
If we focus on our health, including our inner health, our self-esteem, and how we look at ourselves and our confidence level, we'll tend to be healthier people anyway, we'll tend to make better choices for our lives, for our bodies, we'll always be trying to learn more, and get better as time goes on.
Well, you can't throw heavy, analytical, thought-provoking songs at people 24/7. It's been my experience over the last 20 years that on a rare occasion, in a live setting, if you can slow people down to listen to two good ballads, then you're doing pretty good. Then throw a tempo at 'em. Then have fun.
In the middle of 'Bleed Red' coming out, a huge disproportionate majority of people in radio came to us and asked if they could have 'Cost of Livin' as a single. There was even talk behind closed doors about pulling 'Bleed Red' because they had caught wind and heard 'Cost of Livin'.' We went with that.
The dilemma I have is that everything I do at work is all about me, and at what point is that selfish? I'm just talking and singing about myself, or I'm standing on a stage and hoping that everybody likes me. Obviously, it's also about the music and feeling and connecting; I know it's deeper than that.
I've never been a fan of personality-conflict burgers and identity-crisis omelets with patchouli oil. I function very well on a diet that consists of Chicken Catastrophe and Eggs Overwhelming and a tall, cool Janitor-in-a-Drum. I like to walk out of a restaurant with enough gas to open a Mobil station.
The Eternal Kansas City song came from a dream sequence. It was actually kind of weird. I had this dream about a Kansas City type of thing while I was up at Stevie Winwood's place near Cheltenham, in Britain. I went into this small town and I was walking along and this dream thing was still in my head.
When people connect to my work, it makes me feel great. A lot of that stuff is really deep, and when I play something and people feel what I feel, and use it in important situations in their lives, like at weddings or funerals, that's so powerful. It means I can connect with them on an important level.
If you're a novelist, you have sort of themes that run throughout novels. You start a novel and you finish a novel. With record-making in the singer-songwriter world or whatever it is that I do, it's a little different because there is no specific arc that is necessarily, like it's not a concept record.
To be labeled as a strong woman when you feel vulnerable is a strange place to be, because then you're, like, "Oh, I have to be strong now. But I don't feel strong. I feel alienated. I feel isolated. I feel that things are very surreal, and they're not authentic, and this is all just very overwhelming."
I wouldn't have known when I was a teenager that when I was coming up to being a sixty-year-old woman that I'd be making music, I'd be recording music, talking about music, and incorporating my views on the world into the music-making. So it's a very rarefied place to be, and I'm very grateful for that.
I think, is wonderful about growing older, is appreciation for the miracle of existence, of life. I thank God every day. I also do believe that belief and imagination manifests reality. And therefore, even though it took twenty-five years, I did find the house, eventually, and the man I could live with.
The reason I do photographs is to help people understand my music, so it's very important that I am the same, emotionally, in the photographs as in the music. Most people's eyes are much better developed than their ears. If they see a certain emotion in the photograph, then they'll understand the music.
All men are created equal and all women are created equal as well, but [equality] seems much clearer when it comes to race issues. In the realms of man/woman, man/man, woman/woman love, it seems all up for grabs now. We are exploring so much, but I think we gotta go for the fight for all equality first.
For me, the moment the mic is on and it's rolling, it's impossible to vocally relax for some reason. But one day, I'm going to be able to sing the way I sang when I was a little kid, completely open and free. That's, I think, the one thing that's changed: Growing older, I'm not ashamed to hear my voice.
After my second-to-last record called "The Greatest," I had gone on tour for a while and I didn't play an instrument for about five years. And I got kind of - it's not self-esteem or whatever, not anger towards myself - but disappointed in myself that I hadn't been challenging myself to learn musically.
I think it's so fun when I get to work with women writers in particular because we really understand the core story or foundation as women. That's so important to me that the authenticity is there, you know, from the place that I speak from for my women. Having other females with me helps me dig deeper.
Besides my fast and slooow songs, I further divide my work into three main song types: the ballad or story song, the variation on a theme (saying the same thing over and over and over again) song, and the weird song. It's important to have weird songs, but I find that a little weirdness goes a long way.
If it's a whole show of my own, I'll do more of what I think Del Shannon is. But for shows like Disneyland, I'll just do mainly hits. That's what they want to hear. I don't want to bore people. If I wanted that much to play nothing but 12 new songs, then I should go do it in a bar somewhere for peanuts.
Every day I'd say I look different. Sometimes I look really formal, sometimes I love the classic Stella McCartney, Chloe Sevigny and Gwyneth Paltrow thing. Other days I like being rock star and wearing leather jackets and studs. I love wearing Burberry - it's the perfect combination of formal and punky.
Well, there's just some universal truths in a way that I've just observed to be true. You read Voltaire. You read modern literature. Anywhere you go, there's these observations about romantic love and what it does people, and these rotten feelings that rarely are people meaning to do that to each other.
YouTube was really good for building a kind of core, loyal fanbase. I didn't want to be a YouTube artist as such. I mean, there are people who are able to release albums and live off YouTube, but I felt - and not in an arrogant way - that I could be commercial and credible if I really put my mind to it.
Good tired, ironically enough, can be a day that you lost. But you won’t even have to tell yourself, because you knew you fought your battles, you chased your dreams, you lived your days. And when you hit the hay at night, you settle easy, you sleep the sleep of the just, and you can say, “Take me away.
I'm from Louisiana, and that's where I got my start, in Cajun music. There's a huge music scene down there centered around our culture. Those are people that are not making music for a living. They are making music for the fun of it. And I think that's the best way I could have been introduced to music.
Every demo I do has a mandolin or resonator on it - some element of the bluegrass or classic country world that I grew up listening to and that first drew me in. And then I always try to find somewhere for a bluesy guitar sound, because that's also what I love. Musically, I'm always finding my way home.
I started dealing with my emotional pain by writing. I always had been a writer, but just not songs. Saying things on paper that I would never, ever say, and saying things to myself, admitting things to myself, about myself and my personality, just putting it on paper, is how I deal with emotional pain.
I don't think I was ever designed to be a ubiquitous worldwide star. I'm a singer-songwriter writing quite personal songs. You're not supposed to chuck me on a stage with bells and whistles. There was a struggle ahead after that happened, and perhaps I was trying to write songs to compete in that arena.