I think everybody has a purpose. Everybody is made to be a picture of how good and glorious God is, and I think sometimes we'll get it confused and think because we mess up, we make mistakes or we have some blemishes in our record, that our purpose is somehow messed up. But actually that only serves to further paint a picture of how good God is when he uses people who are messed up just like me.
As far as my solo record, I don't want a gold record or anything, I'm happy to be small and to have the people appreciate the music who really like me for being me.
I'm more interested in what I'm going to leave behind me than in making a big hit record. I've refined what I do for a long time. If getting better at it means it goes over the heads of those who only wanted to party, then so be it.
I don't have to be working on an album to record a song.
Luther Vandross was doing fine, but he said, "Man, I want to do my own project. " So he got us all to do a demo, and that demo was "Never Too Much. " It took him a year and a half to get signed, because he didn't have a gimmick. The record companies were looking for his gimmick. They said, "What's your gimmick?" He said, "I sing. That's my gimmick. " Anyway, he finally got signed and the record was released, and the rest was history.
PETA has a proven track record of success. Each victory PETA wins for the animals is a stepping stone upon which we build a more compassionate world for all beings - and we will never give up our fight until all animals are treated with respect and kindness.
I'm happy when things are just kind of calm. I love going to the ocean. I love driving. I love going to shows. Just being with people I really have fun with. I love the summer. I'm happy in the summer. Love hot, hot weather. I'm happy when I'm making a record, most of the time.
Superficial to understand the journal as just a receptable for one's private, secret thoughts - like a confidante who is deaf, dumb, and illiterate. In the journal I do not just express myself more openly than I could to any person; I create myself. . . . The journal is a vehicle for my sense of selfhood. It represents me as emotionally and spiritually independent. Therefore (alas) it does not simply record my actual, daily life but rather - in many cases - offers an alternative to it.
I have a very poor record at multiple choice questions.
The new record started out being about loss, but it's morphed into being about how relationships go on even though one person is not in a body anymore.
I'm training myself to go back to the way I used to record before electronic programs.
When you're given a song, it's my job to record the lyrics, story and emotion, and make everyone who is listening to the song believe that it was my words and experience.
The biggest shock of your life is when you first make a record and go to a show and then people start singing the words. Because it occurs to you that they've listened to it!
I don't think they like the idea that the people who are buying the record get to choose what goes out, because it's their job. The fans even pre-ordered stock to make sure that I had some sort of presence.
I want to have complete control over every media so that when I make my record I put on it what I want to put on it. Not what society wants me to put on it.
As you warm to the ideas expressed in Total Recall, you find yourself reaching for your digital camera to record the moment just gone by.
Every record we do there are always two camps. There's the camp that's like, "I love it. It sounds different than the last one. " There are the people that are like, "I want it to sound like the last one. " You can't please everybody all the time, but I think for the most part we tend to maintain a healthy level of self-reference to kind of make sure we continue to push things forward.
And I remember that about three years before that, her first record had come out. And I just remember really liking this one song off it called "In My Bed" and being a little bit enamored. This, you know, this young kind of Jewish girl from North London, you know, I have the same thing - from a Jewish family from North London - with this incredible voice.
Pop was initially ignored as a moneymaker by the recording industry. In the seventies they were still relying on Frank Sinatra and Tony Bennett for their big hits. You know, most of the budget for the record companies in those days went to the classical department - and those were big budget albums.
In those days it was pretty cut and dry. If you had a record company believing in you enough to cut an album then you had better have the ability to work the album on the road.