Dancers from the United States

"Sundance is weird. The movies are weird—you actually have to think about them when you watch them."

"I just want to say that um, I'm just really, really shocked at like how nice our world is because it's just so nice. Like oh my God! Like, the other day, like I was sitting there and I saw these magazines and they said I was pregnant, and like, it's so true. Like America, believe everything you read. Because, like, you're smart and I'm stupid. Like for real. Come on y'all."

"Eat it, lick it, snort it, fuck it!"

"I look back and think I'm a smart person! What the hell was I thinking?"

"Carlson: Give me the chronology of the kiss. How did you decide to kiss Madonna? Spears: Well, actually, in rehearsals, it wasn't something that was like, "Y'know, This is what we're gonna do. Y'know." It was just kinda like we play around a little bit and, um, she said during—before the performance, "Let's just feel it out and see what happens." So I didn't know it was gonna be that long and everything, but it was cool."

"I think I'm still clean living, you know? That's something, when I—I don't go home and have orgies or anything like that. I'm still the same person that I've always been. So…."

"Honestly, I think we should just trust our president in every decision that he makes and we should just support that, you know, and, um, be faithful in what happens."

"About shocking. You know I feel comfortable in my skin. I think it's an okay thing to express yourself."

"Everyone now, they look back and they're like, "What happened to your sweet image that you used to be?" And I'm like, then when you came out you thought I was too provocative. It's like you can never win. No matter what you do, at the end of the day you can't please everybody, you know. I'm not here to please..."

"I think honestly if you can wait until you're married I think you should definitely do that, because it's so much more sacred. That you don't go around sleeping with people. But I mean, I really thought I was going to be with him for the rest of my life, I did."

"The only person I do worry about, that I want to be a good person for, I think is my responsibility, is my sister. I'm going to be cool for you, okay. I like, I need to, I like being by myself right now. I think it's good for me."

"I'm very, very blessed. But my safety, my privacy, and my respect are three things that I feel like are trying to be taken away from me right now. As a mother I have to speak up and say something. I have to speak up."

"I think with anybody who's doing well in the public eye or whatever, there's always gonna be a shift because people don't wanna see somebody happy all the time. And they're gonna try to take shots at people."

"That driving incident, I did it with my dad. I'd sit on his lap and I drive. We're country."

"Oh, I've wept. Yeah, I've definitely wept just with the world, you know, how judgmental they are. You know what, I know I'm a good mom."

"There will be a "Oops 100." They'll be plenty more oopses. I'm not perfect. I'm human."

"You have babies at home. And you have a life. And if you don't, you have to realize that we're people and that we just need privacy and we need our respect. And those are things that you have to have as a human being."

"There's always a way. Where there's a will there is a way. You have to believe."

"I'm so blessed with my baby. And I want the most normal life possible for him. And I'll manage, I will create that."

"Saying 'no' is so heartbreaking."

"My loneliness is killing me (and I) I must confess, I still Believe (still believe) When I'm not with you I lose my mind Give me a sign! Hit me Baby One More Time!"

"Sometimes I run Sometimes I hide Sometimes I'm Scared Of You"

"Oops!...I did it again I played with your heart got lost in the game Oh baby baby I did this to you please forgive baby"

"With a taste of your lips I'm on a ride You're toxic, I'm slipping under With a taste of a poison paradise I'm addicted to you Don't you know that you're toxic"

"Every time I try To fly, I fall. Without my wings, I feel so small."

"Someday I will understand In God's whole plan And what He's done to me Oh, but maybe Someday I will breathe And I'll finally see I'll see it all in my baby"

"If I said my heart was beating loud If we could escape the crowd somehow If I said I want your body now, would you hold it against me? 'Cause you feel like paradise, and I need a vacation tonight So, if I said I want your body now, would you hold it against me?"

"I can't take it, take it, take no more Never felt like, felt like this before Come on, get me, get me on the floor DJ, what you, what you waiting for? Whoa-oh-oh-oh-oh-oh-oh-oh Whoa-oh-oh-oh-oh-oh-oh-oh"

"See the sunlight, we ain't stoppin' Keep on dancin' 'til the world ends If you feel it, let it happen Keep on dancin' 'til the world ends Keep on dancin' 'til the world ends Keep on dancin' 'til the world ends"

"Every day The sun comes up again A little hope begins"

"Yes, I've done Britney Spears, but don't blame me, okay? I make her up and she just takes everything off and does her own thing."

"Her song is called "Gimme More" for a reason: because all you people want is more, more, more, more, more! Leave her alone! You're lucky she even performed for you bastards! Leave Britney alone! Please!"

"Every time I look at that girl on television, I admire her, not because she's a celebrity—I don't admire her celebreality—I admire her because she's a child of God and doesn't know it. I'm talkin' 'bout Britney Spears. It breaks my heart. Anna Nicole, it broke my heart. You know, I knew what she was doing, I didn't like what she was doing, but I know she's a child of God, and I see people all the time, who have so much that don't know they have, so much beauty, inner beauty, and so much going for them that they don't know they're goin', but the Devil will take everything from you if you don't know who you are in Christ."

"Watching Britney Spears the other night [on the MTV Video Music Awards] was like watching a public execution. How could the people at MTV, the people around her, not know this girl was fucked up? People came in expecting a train wreck, and they got more than they bargained for."

"Britney’s been doing it since she was like 13. It's kind of fair that she had a little bit of a meltdown. I mean, she's been through a lot. I think she's gonna be alright now. She's an intelligent girl."

"In the summer of 2021, the world was shocked to learn that Britney Spears had been forcibly inserted with a contraceptive IUD as part of her legal conservatorship, and that her father had control not only of her finances, but her performance schedule, access to her children, and ability to visit with her boyfriend. These are just some of the rights that are routinely stripped from people with mental illnesses and disabilities, and for those who lack the public visibility and privilege of someone like Spears, there is almost no recourse."

"I don't think you can ever count somebody like her out. Because she may appear one way, but she's very clever."

"I would be unelectable. I'm an atheist. As we all know, that is something people won't accept."

"In private, you got what you got in public. He treated everyone the same. He was just a very warm man, and he worked hard to impress upon his children the value of kindness. He was biologically incapable of gossip. There was no smallness in him."

"If you are going to call yourself a Christian—and I don't—then you have to ask yourself a fundamental question, and that is: Whom would Jesus torture? Whom would Jesus drag around on a dog's leash? How can Christians tolerate it? It is unconscionable. It has put our young men and women who are over there, fighting a war that they should not have been asked to fight— it has put them in greater danger."

"Limbaugh hasn't had a natural erection since the Nixon Administration; think he's compensating for something? Now, I wouldn't pick on him for any of this stuff, not his blubbiness, not his man-boobs, not his inability to have a natural erection -- none of that stuff -- to me, off limits until! until! -- Mr. Limbaugh, you turn that sort of gun on somebody else -- once you start doing that, you're fair game, fat boy. Absolutely, you jiggly pile of mess. You're just fair game, and you're going to get it, too. [Laughs] You'd better watch what you say, Limbaugh, because it can come back the other way."

"It doesn't matter who you love, it's that you love. Who cares if men marry men or women marry women? In San Francisco you don't care, and I applaud that. And I applaud Mayor Newsom for being so brave."

"See, I thought that Jay has had too many high class, very hoity-toity guests on this week. And I wanted to bring everything down a notch or two."

"He's kicking such major ass that it's insane!"

"It is no big deal to me. I have always been attracted to women, and I went on dates with women if they asked me.... It did not seem that different to me. But then I met my [husband], and now he is the apple of my eye."

"I consider myself bisexual, and my philosophy is, everyone innately is, although I've never had a full-on relationship with a woman, just a couple of what I'd term half-assed dalliances. So I haven't explored it to the degree that I'd like to, but I'll tell you, I'm open to it. And I don't have any problem saying that."

"[Madonna] worked so hard that it was really very touching. She’s a perfectionist and there’s never been anyone on the show that wanted to rehearse more than Madonna did. She wanted to rehearse her scenes over and over again."

"Chicago is my favorite American city. … I like all the museums. I love the Art Institute. I love all the theatre and the blues clubs and bars, and the people are so great. I think Chicago is the perfect blend of a big city with a Midwestern finish on it. Everybody is really nice but it is a sophisticated city. I love the park. I love the zoo. I love the lake. The whole thing."

"I like to take chances, and that's the key to comedy -- dancing like an idiot but doing it with wild abandon."

"I said, `Now, wait a minute, so you're telling me you want this fish who lives in a fish tank in a dentist's office to be a fictitious character from an NBC sitcom?' I mean, it just doesn't make any sense to me. It's like, why would you want Mickey Mouse to be the lead in the `House of the Seven Gables' or something."

"I couldn't pronounce my last name until I was, like, 11."

"Well, I was missing my earplugs. And the way that I found out why they're missing is because the little Elmo -- his five pounds -- came in to the bedroom and deposited something on -- he came in from outside, he put something on the rug and was going to eat it. And I walked over and it was an earplug that had already been in and back out -- and apparently so delicious … he wanted it again!"

"One day when I'm walking and I see -- at first I thought maybe he was resting -- but I saw a big dead seal on the beach, which was really sad. However, the thing that I thought was puzzling was there was a couple, a young guy and a girl on a beach towel not 15 feet from this big, dead mammal, and I look up and they're waving at me, like, 'Isn't it a pretty day?' And I'm like, 'There's a big dead seal right there.' They're putting on lotion. It was just bizarre. And, curtain. I just didn't want to be at the beach anymore."

"My off-white poodle. She doesn't consider herself to be gay, but I have my hunch."

"So I light the fire with the lighter and then I'm like, 'Now, how am I going to light the candles?' And I'm racing through the house, tearing open drawers and throwing things out of closets, looking for matches … and I had just lit the fire with the thing!!! And then I was like, 'How did I light the fire?' So then l took the thing and lit the candles."

"I'm going to climb up this ladder, you understand, to this gate that's like this high and I'm going to pass two dogs and some bags and myself over the thing into a cab driver's arms. THAT's my plan!"

"My best friend was at the grocery store standing behind these two guys in line, and one of the guys told the other that I was a man. He said, 'If you look closely, you can tell that she is,' and the other guy was like, 'Oh, my God! Now that you mention it, she is a man!'. So I'm denying that I'm a man."

"I should have my 'girl citizenship' revoked. I never get facials. I never get my nails done. I'm so busy."

"I like looser clothes, which always prompts my mom to say something classic like, 'You have such a darling figure - show it off more!'"

"One tabloid had an article about how I was an irresistible sex- and man-magnet and how men flock to me. Of course, they were absolutely correct..."

"I am terrified of mayonnaise. It was so bad when I was little that my friends would chase me around the house with a jar of mayonnaise and a knife."

"I've been going to the same grocery store for 13 years, and all of a sudden one day everybody was like, 'Oh, my God...'"

"You don't need someone else's approval to do what you want; just figure it out and do it, damn it!"

"I'm really good at staying home all day in my pajamas because I had a [dad] who did that."

"Two days ago, I dreamt I married a 5-year-old boy. He treated me like a queen and was perfectly lovely. We took a driving trip for our honeymoon. Then it dawned on me: 'Oh my God! He doesn't have a driver's license! We could get arrested!'""

"If I weren't an actress playing a socialite, I'd have lavender hair, wear crappy vintage clothes and have tattoos. I'd be some kind of crazy lawless rebel - an alternative underground riot girl."

"People see you one way and think, 'That's not her real thing, she's just putting that on now.' But that is! That's where my creativity really resides. Where it all springs. My characters are really bizarre. They're kind of dark and not really considered great people. It all comes from the same dark place, it's just filtered through comedy."

"A lot of people come up to me and say, 'Oh God, I'm just like Karen, that's what they [tell me] at the office'. I'm like, 'You know what? The people in your office may not be giving you a compliment. You may be getting fired soon.'"

"I never actually said "Ooh, you dirty rat.""

"You don't psych yourself up for these things, you do them... I'm acting for the audience, not for myself, and I do it as directly as I can."

"He can do nothing which is not worth watching. On his light hoofer's feet, with his quick nervous hands and his magnificent unconsciousness of the camera, he can pluck distinction from the least promising part."

"He can't even put a telephone receiver back on the hook without giving the action some special spark of life."

"The more wishes you make, the more magnificent Fantasia will become."

"I am committed to using technology in my dances but not for the purpose of making a comment on technology, but rather to use it as a tool to express the human condition. I think that there are many disadvantages to using technology, it is expensive, difficult to set up and can steal the show by drawing too much attention away from the dance. I love the beauty and the simplicity of a warm body moving without frills, but I think technology is part of our common language now and to not create a relationship with it in dance seems like ignoring a vital tool for connection."

"A slyly anarchic dancer"

"Stronach’s fragile beauty belies an emotional strength, pragmatic resiliency, and intellectual courage. Her ideas and choreography are both enigmatic and playful."

"You're the only boy who ever made me cry, and I decided that if you could make me cry, I must really love you."

"I'll bet you say that to all the girls!"

"I think there's so much good in the worst of us, and so many of the worst of us get the best of us, that the rest of us aren't even worth talking about."

"I was so surprised at being born that I didn't speak for a year and a half."

"I read a book twice as fast as anybody else. First, I read the beginning, and then I read the ending, and then I start in the middle and read toward whatever end I like best."

"Never place a period where God has placed a comma."

"George: Gracie, those are beautiful flowers. Where did they come from? Gracie: Don't you remember, George? You said that if I went to visit Clara Bagley in the hospital I should be sure to take her flowers. So, when she wasn't looking, I did."

"Who am I to talk? That’s a fair question, and one which deserves a better answer than I can give you. … Come to think of it, who are you? Whoever you are, I sympathize with you. I sympathize with everybody; that’s what I get for being a candidate myself. Let them call us nonentities. Who cares? A nonentity can be just as famous as anybody else if enough people know about him. But let’s leave personalities out of this and just talk about me."

"One of the greatest problems today is about the people who would rather be right than be President. I have a solution for that. You can be Left and President: that way you can eat your cake and halve it too. Or you can stay in the middle of the road and get run over."

"As we walk hand in hand through the pathways of knowledge, remember that I am giving you freely and without stint the full accumulation of my two months’ experience as a candidate. I have on file a complete record of everything I’ve said and done. Ever since I threw my hat in the ring I have had myself shadowed, and the results were very entertaining. The things that go on in those back rooms, you wouldn’t believe. So now we begin our journey together. If you follow these instructions carefully, you will find that every step of your progress, like the path that climbs up and up from the sheltered valley, offers you an ever-wider and more fascinating vista, until at last you come out upon the summit of the wrong hill."

"Presidents are made, not born. That’s a good thing to remember. It’s silly to think that Presidents are born, because very few people are 35 years old at birth, and those who are won’t admit it. So if you’re only 16 don’t be discouraged, because it’s only a phase and there’s nothing wrong with you that you won’t outgrow."

"Of course, it goes without saying that every candidate must be progressive, fearless, vigorous, and liberal; invincible in victory and invisible in defeat, awake to the needs of the people whether they know what they know what they need or not. You should also come from a good family, because while breeding isn’t everything, it is said to be lots of fun. George Burns — that’s Mister Allen — was saying the other day that to be President of the United States you also have to have brains, integrity, ability and intelligence, but I think he was just trying to talk me into it."

"All the other candidates are making speeches about how much they have done for this country, which is ridiculous. I haven’t done anything yet, and I think it’s just common sense to send me to Washington and make me do my share."

"Every politician must be able to keep both feet on the fence with his ear to the ground."

"Now, I don’t pretend to know all the answers. I’m just a plain, ordinary, everyday genius who loves her fellow-man whenever possible. But let me tell you that women are getting very tired of running a poor second to the Forgotten Man, and with all the practice we’ve had around the house the time is ripe for a woman to sweep the country. I’ll make a prediction with my eyes open: that a woman can and will be elected if she is qualified and gets enough votes."

"You remember me. I’m Gracie Allen. I’m the candidate who forgot to take off her hat before she threw it in the ring. Furthermore, I’m the only candidate who got the idea of running myself. All the others had to have somebody else think it up for them, or anyway they say the only reason they’re running is because their many friends kept after them and after them until they finally gave in."

"Try to understand me. Nothing is impossible."

"I fully realize that every promise I make, the Republicans will double and the Democrats will redouble. They think this will make me vulnerable, but they don’t know I have some tricks up my sleeve, along with a box of raisins to munch on while I’m waiting for the returns to come in."

"A keyhole speech is very simple, especially mine. First it states the issues. An issue is just a difference of opinion, which is why we put erasers on horse races. And as I always say, as long as we have issues, we can’t have everything. Second, the speech goes on to attack the present administration and show how it has ruined the country. Then it goes on to attack the other candidates and show how they’ll keep it ruined, and generally builds up a warm and friendly atmosphere."

"Today millions of people are living who will never do it again. Millions are being born for the first time–and millions are doing nothing because it’s the best offer they’ve had this week. … It is for these people and many others that the Surprise Party is conceived and desecrated, founded upon the principle that everybody is just as good as anybody else, even though they aren’t quite so smart."

"Let’s all pull together and make these United States the grandest place in this whole country. I see a vision. A glorious vision. A united people, marching forward shoulder to shoulder, giving their all for the common good, working while I whistle."

"As a well-known great man would have said if he had thought of it, “Don’t go around offending people just because it can be done sitting down.”"

"Cultivate friendships. If you don’t have time to cultivate all of them, plow under every fifth one and collect your bonus."

"When you learn to make everybody happy, you will possess the golden secret of how to milk the contented voters. But do it in such a way that they won’t think you want them to vote for you just because you need the money. They need the money, and besides, they can think up other reasons if they try."

"The masses demand a fighting President, and that means you’ve got to offend somebody, because the way I see it, a strong offense is the best attack. So what can you offend? That’s an easy one. Offend the other candidates, because they’ll be too busy talking to hear you, and besides, they might not vote for you anyway."

"A platform is something a candidate stands for and the voters fall for."

"I’m having my platform run up by a movie set designer, so it will be very impressive from the front, but not too premanent. After all, there’s no sense putting a lot of time and thought into something you’ll have no use for after you’re elected."

"This country needs room to grow and expand. In all my own newspapers I read frightful tales of the shameful atrocities being perpetrated on our Democratic minorities in Maine and Vermont. My patience is almost at an end, and if provoked much further I will place both countries under American protection, even if I have to send in my tourists to start trouble so I’ll have to send in a force to restore order."

"Social Progress is not one of my goals. This country is not a social climber, and besides, the Treasury knows too many people already, if you know what I mean. So vote early and often. Don’t wait until Election Day. I may have found other work by then. Do it now!"

"Goodnight, Gracie."

"Gracie gets her laughs — we hope — because we often think the way Gracie talks, but we pride ourselves that we never talk the way Gracie thinks."

"Although they had equal billing, this married couple headlined a show that was wholly dependent on the skewed behavior of one of its stars, Gracie Allen. It took a big man, George Burns, to recognize that his wife was the laugh-getter, and to yield to her as the quintessential straight-man."

"I have this theory about words: There’s a thousand ways to say "Pass the salt." It could mean, you know, "Can I have some salt?" or it could mean, "I love you." It could mean "I’m very annoyed with you" – really, the list could go on and on. Words are little bombs, and they have a lot of energy inside them."

"Get these tubes away from me!"

"I have the easiest job in Hollywood, because I get paid to be me. What's the role? A milkman? 'Hey, I'm a milkman. Here's your milk.' 'Cut. Print.'"

"I play a lot of those parts, and it's a chicken-and-egg thing. I don't know whether you get scary because you play those parts or did you get those parts because you were scary? But I do believe that there's a very close connection to what's scary and what's funny. So I think if you have the ability to do one, you might have the ability to do the other."

"Well, I don't play heroes obviously. I never played the guy who gets the girl. It might be interesting to do a part where I was a father in a functional family."

"“I’m Christopher Walken here!”"

"I won't retire. When you're an actor, you're forced to retire every few months. John Gielgud was 96 when he died, and he was working. It's good to work, whatever it is that keeps you interested. I would like to do that, I would like to keep going. I don't have kids, and I don't have hobbies. I don't particularly like to travel. If you're an actor, you have to travel anyway."

"I look for good possibilities in movies. I don't look for perfection."

"I'm not a big fan of other people's punctuation. When I read a script I've got a sort of automatic eraser. I don't see punctuation or capitals or instructions. I want to decide when the sentence is over. Who's to say when a sentence ends and the other one begins? Sometimes it begins in the middle of the next sentence."

"I believe in saving money. I believe in having a house. I believe in keeping things clean. I believe in exercising. Slow and steady is a very good thing for me. It works for me."

"Careers are not often as chosen as people think they are. People talk to me about my choices. I don't make choices, hardly. Things happen, and you say yes or no - usually 'yes', because it's always better to do something. What's the choice? Somebody will say, 'Don't do that part, you don't need to do that part.' And I'll say, 'Why not? What am I going to do? Sit around the house? I'd much rather go to work, and see actors, and have fun."

"I think it's sort of a compliment. Jay Mohr does it in front of me all the time. I've got another friend who does me on his answering machine. When I call him, I hear myself."

"I have a theory, that there is a terrific link between what is funny and what is scary. I think there is a very close connection between what frightens people and what makes them laugh. Laughter is a kind of nervousness. Animals don't laugh. Smiling is, anthropologists agree, directly linked to the baring of the teeth."

"I think that my strength as a villain is that the people watching me know that Chris knows that he's in a movie. He's playing. He's having fun. He's going bang, bang. You know, "What's that?""

"It's a natural aspect of the marketplace. It's always been that way in storytelling. The guy who was good at playing the lover plays the lover, the funny guy gets the comic role. Movies are so expensive, when they put them together they want to have a couple of solid blocks in what they're building. I accept that. In theater, though, I tend to look for other things, I think I tend to be best in comedy."

"I'm a better actor now than I ever was, I wish I could have hurried that up, but there's no way. Anyway, I always wanted to be around for a long time. Like a European actor, I hope I live a long time and that I'm acting until I finish."

"I'm very nervous when I work in a film and very relaxed before a live audience. I like theater because it's more of an actor's medium. You can control your performance. In film you depend on the director to watch out for your ass, but in the theater you can take care of yourself."

"Walken is fascinating because he has a complex and fearless process -- each take is wildly different and he does that until he finds the one that is true perfection."

"Everybody always wants to work with Christopher Walken. I think he's the most interesting actor working today. His choices are always dangerous, which makes for interesting work. You can watch him eat a bowl of cereal and you'd be riveted because he's just unpredictable."

"Part of the loot went for gambling, part for horses, and part for women. The rest I spent foolishly."

"Everyone who works with me calls me "Ma." I'm the motherly type."

"I do recommend the vegan diet because you wake up and feel great!"

"I grew up and I lived in the Bronx until my mid-20s, so I understand that life…And I’ve been lucky enough to grow into something else, but at the same time, those roots stay with you. Playing these characters is a chance to tap back into the core of who I am."

"I think as women, we have to do that all the time…We’re said to be the more Toodles sensitive gender, but I think the truth is that men are much more Toodles and sensitive. And we have to be stronger and more conscious of not hurting Toodles egos at times. So it’s a line you do have to tiptoe on all the time—especially as a strong, assertive woman, which can be off-putting to men who are not confident and secure on their own."

"There are so many smart, talented women out there, in front of and behind the camera, and I think we’re at a point where our voices are not stifled as much…Because of the #MeToo movement, it’s ‘We are equal, and we want to be treated that way.’ We’ve been making our own opportunities, and as you prove your worth and value to people, they can’t put you in a box. You hustle it into happening, right?"

"I'm the best. If you have the goods, there's nothing to be afraid of. If somebody doesn’t have the goods, they're insecure. I don't have that problem. I'm not the best actress that ever lived, but I know I'm pretty good."

"(In one of your essays in the book, from 2012, you write about Beyoncé and Jennifer Lopez and say they are "[d]oing no more than supporting and promoting patriarchal and capitalist goals." Do you still feel this way about them, even as they—Beyoncé especially—are often held up as feminist icons?) AC: I do, but I know that I would have a lot of women of color of younger generations argue with me about that. I come from a generation of radical feminism; we believed in not using your body for financial gain and that sexualization fed into violence against women. I know that dates me. The performances that both Jennifer Lopez and Beyoncé give are highly sexually charged, and they've made a lot of money off of a lot of men by sexualizing themselves as exotic beauties. Both of them have dyed their hair blonde, straightened it, weaved it, which feeds into a fantasy about women and women of color. I come from a very different perspective, and I don't believe that anything in terms of personal gain or materialism is really helping the rest of the world. If you make that much money, instead of buying a humongous mansion, go back to your community and start community projects and talk to your legislators about changing some of the laws [that mean] young men of color who have felonies because [they dealt] drugs as teenagers can no longer integrate into society. Moving away from Beyoncé and J-Lo—I'm sure they do a lot of good deeds—I'm very lucky I have a roof over my head. I can eat healthy food, my children have coats in cold weather, they have an education. I don't think a human being needs much more beyond that."

"Before you do anything, think. If you do something to try and impress someone, to be loved, accepted or even to get someone's attention, stop and think. So many people are busy trying to create an image, they die in the process. Sleeping with the wrong person is one thing, but not using a condom because you want to please someone, or because you're in a romantic bubble, is another. … I wish we weren't so busy trying to impress people."

"It's very easy to feel someone's pain when you love them."

"The biggest thing [Frida] brought into my life was this peacefulness. I still get passionate about things, but my passion is not so scattered and it's not needy. It's a lot more powerful because it comes with this groundedness and peacefulness. That it's about the process, not about the results."

"I came here and realized how truly limited my English was, and it was very scary. I soon realized it wasn't going to be hard to learn — it was going to be nearly impossible. My accent was horrible. In Mexico, nobody says, "You speak English with a good accent." You either speak English or you don't: As long as you can communicate, no one cares. But the word accent became such a big word in my life. And they thought I was crazy in Mexico when I said, "I'm going to Hollywood." Nobody thought I could make it."

"I also was afraid I was a very bad actress, because I'd become famous very fast and was making money for people. When you're making money, they're never going to tell you whether you're good or bad. They don't care. I knew that if I had any talent, this would kill it. I never wanted to be a famous bad actress!"

"I wanted to have a voice, and it was okay if I wasn't going to be so famous or so rich. And this the one thing I learned: How do you recognize what's your true dream and what is the dream that you are dreaming for other people to love you? … The difference is very easy to understand. If you enjoy the process, it's your dream. … If you are enduring the process, just desperate for the result, it's somebody else's dream."

"I'd hear, "Because they paid the man, there's no money for the woman." How many times do you think I heard this? Over and over. Then I became a sex symbol. Now, how the hell did that happen? I don't exactly know the moment when it happened, but all of a sudden I'm a bombshell. The way I discovered this was I did Desperado. I had a very hard time with the love scene. I cried throughout the love scene. That's why you never see long pieces of the love scene — it's little pieces cut together. I'm crying most of the time so they have to take little pieces. It took eight hours instead of an hour. I nearly got fired. … Because I didn't want to be naked in front of a camera. The whole time, I'm thinking of my father and my brother... And then when the movie comes out, I read the first review. What do they say about me. "Salma Hayek is a bombshell." I had heard that when a movie does badly here, they say it bombs. So I'm crying. Thinking they're saying, "That terrible actress! It's a bomb! Salma Hayek is the worst part of the movie!" I called my friend and said, "The critics are destroying me!" She says, "No, they're saying you're very sexy." And then I look at all the reviews, and everybody said I was very sexy. So I'm very confused. I said, "I wonder if that's good or bad." I hear, "Yes, that's good." Then I do Fools Rush In, and I'm a pregnant woman. And they say I'm sexy again! I go, "But I'm pregnant!" I'm not even naked in this movie, and they still say I'm sexy. And then it became very depressing — I thought, I guess I'm reduced to that now. That's all I am in the perception of these people."

"It's good to be sexy, but when that's all they can see — no."

"The perception of you is one thing. You're this famous person, and now you're this famous person who's a bombshell. So all of a sudden, that's the only way I get jobs. So I have to become the part. And they're telling you this is the way to do it. One director actually said to me, "I want to hear you talk dumber and faster." … He thought it was funny for the girl to be dumb. I finally said, "That's it, man — I can't do this anymore." I'd go to meetings during the filming of a movie, and the directors would ask, "What do you think of the script?" I'd say, "It has a lot of problems." They were confused. That's not what they wanted from me. … So I was not very popular. At one point I said, "I don't want to do this — it's not my dream." And so I said, "I'm going to start a company. I am going to create projects for me. I'm going to create projects for other Latin women." Because I got to a point where I was whining all the time. I was miserable. I was desperate"

"I had an acting teacher who once told me that you could never really create from comfort. To do well as an actress, you have to push yourself to the edge. When you're comfortable, you're still on your ass. Sometimes we sit on our ass even with things we don't like. The whining, the crying, the becoming the victim, the this-town-doesn't-like-me-because-I'm-Mexican could've all made me say, "That's it — racism takes care of all my problems." … I think that's why it's harder for us to succeed, because we have a beautiful, comfortable crutch. It's right there, available."

"I had been already trying to do Frida, but I would sit on my sorrows because it was so difficult. But now I was learning new things. And so I thought, this is what I want to do. I want to do one movie that if I die the next day, I know I left one thing in this world that I was very proud of, that other people can see, that meant something to me, that had my voice. Because God forbid I die tomorrow, I'm the bombshell for the rest of my existence. … Then I became very angry I said, I have become what they decided I am. When did I fall in this trap? Somebody decided I was this, and I became that. And I said, "I'm going to change it now. I'm going to define myself.""

"You have to be able to walk away from a relationship when it's time to walk away —and you have to teach your children this. It's the best way to love your children, because then they'll learn this from you — that you had the courage to walk away from a relationship when you were unhappy. You have to do what you have to do. And the children have to understand it. I think we have to teach this to our boys and our girls when they are young — 11, 12. They need to understand that you got in a situation when you were too young, when you didn't understand what you wanted, and because you listened to everyone else. Your children may not listen to you — so you also have to be brave enough to respect their dreams. … I think everybody knows this. We have an uncomfortable feeling for situations we are in, but we don't understand why we are uncomfortable. And then we want to know what would be the other option."

"I've learned from others' lives... What works in a relationship of very public people is not making the relationship public — keeping it as personal as it can be. It's the only way it is real. I am suspicious of those who have to let the world know how much they love each other. It's a little sad when you have to brag about how much you love someone. That kind of declaration doesn't always reflect the moment of truth between two people who care deeply for each other. When that truth is there, you don't need others to know it. And when somebody truly loves you, you don't even need him or her to be affectionate. Affection is fantastic, but it doesn't necessarily mean there's love — and the public display of affection is often just a show."

"When you open a door for others to have an opinion on your relationship, it can be dangerous. Find what you need, not what everyone else wants for you. Women have been taught that in order to have a place in the world, an identity, they must marry and have children. If that's the life you truly want, great. But for many women, marriage is only about needing the world to know that someone desires them enough to say, "Here's a contract to prove that I love you and will commit to you for the rest of my life." For these women, no contract equals no validation — and, thus, no reason for existing."

"It's nice to have a relationship, but women have become addicted. You can have a relationship with God. With nature. With dogs. With yourself. And yes, you can also have a relationship with a man, but if it's going to be a shitty one, it's better to have a relationship with your flowers. I know so many lonely women who are married! You have to know the worth of your existence regardless of a man, regardless of an emotional love affair, even regardless of a career. Why should these things validate you as a human being?"

"Every day, I define myself. I know who I am today. I don't promise you anything for tomorrow — we can have an interview and that's completely different! And you know what else? I am grateful to the bombshell because if it hadn't gotten me where it had gotten me, I wouldn't be where I am today. But this bombshell thing; it's old now. It served me. And I got out of it in time to keep from serving it. I used to think, I can't wait until 35, when people think I'm too old to be a bombshell. Maybe I'll get the good parts. But it wouldn't have happened that way. … Just because your boobs are saggy doesn't mean you get great roles. You're disposable."

"As important as it is for the producers to pay more attention to the female roles, it's more important for us to take control over this situation and define who we are. Because if they just give us the parts, it's their point of view of who we are. What's important is that we define who we are and don't wait for the men to give us the roles."

"I'm very lucky I didn't have it easy, because I've learned so much from having to figure out everything on my own and create things for myself. Now I can teach what I've learned to the next generation. I'm not just going to be the pretty face that disappears. I've learnt how to produce, to direct, to write. I'm not disposable so easily anymore. When I am 60, I can keep directing. I have the potential to really, truly have a voice that makes a difference."

"I wanted to win it for one specific reason — to send the Oscar to the Frida Kahlo House in Mexico, where Frida herself once lived. It's going to bring a tear to my eye now. I wanted every Mexican who walked into that museum to remember that what motivated me to make this movie, to dream this dream, had everything to do with where I came from — and I didn't stop dreaming until I finished the film. But the dream was the movie, not the Oscar."

"At night I wake up and think, What color will make me feel better when I soak in the bathtub for an hour? I want everyone who's dreaming of a glamorous life to know that I'd trade a good bath any day for the heels, the hair, the makeup, the tight dresses, the photographs, the small talk."

"Isn't it sad? In our world, women also don't support other women enough — how often do we really work together to make a difference? We are sometimes so vicious toward one another. We want to be independent women, but we really don't know who we are as women. It's about us taking control, because we tend to just blame. We complain about the world, but we are still not loving toward other women."

"Because there was no industry or parts for Latin women when I came here, there was really no competitiveness. Jennifer Lopez and I were the first, and I think Jennifer was my partner at the beginning. I think it was important for others to see two of us, because maybe then we could be thought of as a social phenomenon. Because she doesn't have a foreign accent, Jennifer tried out for parts I couldn't get. There are now others with accents — Penelope Cruz, Antonio Banderas — but mind you, Antonio and Penelope are from Europe, not Mexico. It's only now that the taboo on Mexicans is lifting as Americans realize we're a little bit more than migrant workers. I hear some Latinos say, "Oh, no, no, no, the cliché that we are gang members, that's so bad — we have to show everyone that we're family people." Hello? That's another cliché! It's getting yourself out of one box to put yourself in another. The way to fight a cliché is not by creating another one. What breaks the cliché is the emergence of strong individuals. That's the way to say, "You don't really know us — so when you look at me, or when you look at my sister, just be completely open for whatever. You have no clue who we are!" Here people don't know what box to put me into. I'm not from the Bronx, I'm not from East L.A., so they don't know how to take me or what to call me!"

"Everyone said how tormented directors can be. I've never enjoyed something so much in my life!"

"Ignorance in certain places frightens me. The political situation of the world frightens me. Political anger around the globe frightens me. The lack of love in the world frightens me. Violence frightens me."

"I want to direct a movie in Mexico, in Spanish. The story is about how when we're really young, our dreams are colorful and big and abstract and interesting and imaginative. As the realities of life hit, our dreams become so common. To dream big doesn't necessarily mean to imagine becoming the biggest movie star in the world. Dreaming big is about taking the simplest thing in life and enjoying it — and seeing it as the biggest thing that can possibly exist. … I work in an industry that is the first to kill this ability because everything is so celebrity oriented. I am part of a cancer. In my world, you have to be so beautiful, so skinny, so rich, so famous — and I don't believe you really have to be any of those things. You simply have to be who you are."

"Yes, I'm beautiful … I am beautiful and famous — and yet the things I like about myself have nothing to do with that, because I don't use wealth and beauty to define myself. People think I'm more beautiful than I am because they see me on magazine covers — but go to nearly any town, and you'd find prettier women. And though I'm well known now, I might not be famous one day —but I'd still be happy. I do have money, but I could be richer. I just don't want to pay the price some are willing to pay to have more money. I live in a small house. I'm not the glamour girl who wears makeup every day. I live a wonderful life, and I lack for nothing. Maybe that does make it easier for me to say, "Be who you are" — but I always tell people they shouldn't be too impressed with wealth and fame. They shouldn't worship it. I am in this machine, but I haven't completely given my soul to it."

"The whole society is obsessed.... I'm not complaining — I'm just saying, "Don't be too impressed with me. Don't try to dress like me or wear your hair like mine. Find your own style. Don't spend your savings trying to be someone else. You're not more important, smarter, or prettier because you wear a designer dress." I only wear the expensive clothes because I get them free and I'm too lazy to go out and look for my own. I, a rich girl from Mexico, came here with designer clothes. And one day when I was starving in an apartment in Los Angeles, I looked at my Chanel blouses and said, "If only I could pay the rent with one of these." … In those days, the rag I used to dry my dishes was more useful. Now many who start in this business come to me for advice and ask, "How do I get started?" And I have to say, "I honestly have no idea." I think it's a bunch of accidents that happen to you and somehow you survive them and take advantage of them and something magical happens — and you have an agent."

"I'm going to tell you something: There's an element to that passion that I always leave out and that I have recently learned to understand, and it has helped me a lot. … I was okay if it didn't happen. … I didn't realize this before. As long as I knew I did my very, very best, I was okay. I was so okay that when I made the transition from Mexico to Los Angeles, I said to myself I have something now. Is it what I want? No. I was making money, I was an actress, and I was famous. It looked like it's what I wanted, but it was not. And I was wise enough to recognize it. It's what others would think that I'd want, and sometimes that makes you feel it's good enough... To be able to brag a lot on life — that's everybody's dream... But is it your dream? And it wasn't my dream. And so I said that I'm going to leave it. This means I go there, and maybe it doesn't happen. And I am trading this, which looks like it's great, for this nothing that could be anything. … And then I was excited about being brave about it and saying, "What I left didn't grab me by the balls.""

"Salma Hayek and I come from two very different worlds: She was born privileged in a small town in Mexico; I was raised poor in rural Mississippi. On the day we meet in a hilltop garden at the J. Paul Getty Museum … I'm as surprised as anyone that our connection is so instant. Who would've thought we would have so much in common? I've interviewed hundreds of people over the years, and never has a conversation resonated so strongly with me. Salma is one of the most passionate and unforgettable young women I've ever met. You need only a few moments in Salma's presence to discover she's a woman set on defining herself — try to contain her in a box, and she'll lift off the lid, rise up, and just soar away every single time. … Her candor, her honesty, her boldness, her fire — it all made me want to be more truthful with myself. Her passion for life is positively infectious. Talk about going for it — this woman has got the "it" big time!"

"As we remember Abbott and Costello, As Laurel and Hardy can never die, Rowan and Martin will not be forgotten, But baby, we sure gonna try."

"They found an orangutan suffering from a hernia, Fed him poison from a rattlesnake bite, Gave him the soothing voice of a wild hyena, And he's 'Man of the Week' tonight!""

"I am a bachelor and I will not marry. Til the right girl comes along. But while I'm waiting, I don't mind dating Girls that I know are wrong!"

"Thanks to our brave allies: you gallant Russian bear, you British everywhere."

"I was on the way to my hotel, and I passed a hotel going in the opposite direction."

"I know I'm in England because this morning, my stomach got up two hours before I did and had a cup of tea! I've had so much tea, I slosh when I walk! You have to drink tea - I've tasted the coffee!"

"You mean like Democrats?"

"Bob Hope will go to the opening of a phone booth in a gas station in Anaheim, providing they have a camera there and three people. He'll go to the opening of a market to receive an award. He'd get an award from Thom McCan for wearing their shoes. It's pathetic. It's a bottomless pit. A barrel that has no floor. He must be a man who has an ever-crumbling estimation of himself. He's constantly filling himself up. He's like a junkie – an applause junkie. What happens to those people when they can't get up and do their shtick, God only knows. Bob Hope, Christ, instead of growing old gracefully or doing something with his money, be helpful, all he does is he has an anniversary with the President looking on. It's sad. He gets on an airplane every two minutes always going someplace. It didn't bother him at all to work the Vietnam War. Oh, he took that in his stride. He did his World War II and Korean War act. "Our boys" and all that. He’s a pathetic guy."

"For years, as I've said, Bob has worked hard for our family's sake to cut our traveling to a minimum. But there are some 300,000 miles he and I shared that we wouldn't take back for anything. I mean the world-famous Bob Hope Holiday Tours to the armed forces stationed in remote outposts overseas, made on behalf of the U.S.O. "Go with us one time, Anita, and it will get into your blood," Bob Hope suggested in 1960, the first year Bob and I were married. "You'll never play to a greater audience.""

"No doubt the funniest exploit I was involved in was dropping leaflets on the Bob Hope Christmas show at Cu Chi in 1969. Our company was assigned to provide perimeter security and air cover for the show, so none of our guys would get to see it. The night before, some enlisted men came to me with boxes of small white leaflets upon which they had written messages welcoming Bob Hope to Cu Chi. Three platoons had stayed up all night making these things, and they begged me to drop them on the show, since they knew I'd be up there. I told them it was closed airspace and you can't do that without getting into big trouble, but in a weak moment I let them talk me into it. Sure enough, in the middle of the show, I took a sharp turn, ignored the controller in my earphones, who wanted to know what I thought I was doing, and we dropped the leaflets. If you watch the videotape of that show, you can see Hope looking up as the leaflets came down. The next day, I was called in front of the CO, but he let me off when I explained why I had done it. In 1975, I was finishing my college degree at Saint Martin's in Olympia, Washington. Nobody could figure out who to get for a graduation speaker, so I suggested Bob Hope. Everyone said, "Great, you go get him." It took some time, working through his assistants, but I finally got him on the phone and explained that I was the guy who dropped the snow on his show at Cu Chi. "Why'd you do that?" he immediately asked. When I explained how I couldn't turn the troops down, he said, "Okay, I'll speak at your graduation." And he did. I was his escort the whole day, and he continued to pepper me with questions."

"In his prime, the young comic walked onto a stage with the confidence of a man who owned it, and by the time he walked off, he did."

"When you get to know a lot of people, you make a great discovery. You find that no one group has a monopoly on looks, brains, goodness or anything else. It takes all the people - black and white, Catholic, Jewish and Protestant, recent immigrants and Mayflower descendants - to make up America.."

"I was born at the age of twelve on a Metro-Goldwyn-Mayer lot."

"You are never so alone as when you are ill on stage. The most nightmarish feeling in the world is suddenly to feel like throwing up in front of four thousand people."

"I've never looked through a keyhole without finding someone was looking back."

"I'm just an Irish biddy."

"Go and tell that nasty, rude little princess that we've known each other for long enough and gabbed enough in ladies' rooms that she should skip the ho-hum royal routine and just pop over here and ask me herself. … Tell her I'll sing if she christens a ship first."

"They were little drunks. They got smashed every night and the police used to scoop them up in butterfly nets."

"Wouldn`t it be wonderful if we could all be a little more gentle with each other, and a little more loving, have a little more empathy, and maybe we'd like each other a little bit more."

"I wanted to believe, and I tried my damnedest to believe, in the rainbow I tried to get over, and I couldn't! … So what? Lots of people can't!"

"As for my feelings toward "Over the Rainbow", it's become part of my life. It is so symbolic of all dreams and wishes that I'm sure that's why people sometimes get tears in their eyes when they hear it."

"Always be a first-rate version of yourself, instead of a second-rate version of somebody else."

"I wish you would mention the joy she had for life, that’s what she gave me. If she was the tragic figure they say she was, I would be a wreck, wouldn't I? It was her love of life that carried her through everything. The middle of the road was never for her — it bored her. She wanted the pinnacle of excitement. If she was happy, she wasn’t just happy, she was ecstatic. And when she was sad, she was sadder then anyone. She lived eight lives in one, and yet I thought she would outlive us all. She was a great star, and a great talent, and for the rest of my life I will be proud to be Judy Garland's daughter. It wasn’t suicide, it wasn’t sleeping pills, it wasn’t cirrhosis. I think she was just tired, like a flower that blooms and gives joy and beauty to the world and then wilts away."

"Liza Minelli said she can't sing well enough those "special songs" of her late mother, Judy Garland, so she doesn't sing them at all. The award-winning entertainer said she'd "rather present a first-rate version of myself than a second-rate version of Mama.""

"I couldn't sing Mama's special songs. I couldn't do them as well. I would rather present a first-rate version of myself than a second-rate version of Mama."

"I don't sing them because I couldn't sing them as well as she did. I'd rather be a first-rate version of myself than a second-rate version of anybody."

"I'm carrying on a tradition. But I'd rather be a first-rate version of myself than a second-rate version of somebody else. I'm proud of my parents, and the only way that I can prove it to them is to take what they gave me and work my head off."

"It really scared me to do what Mom did because I never did anything that she did. I promised her that I would never sing her songs, and I kept my promise. "You sing them better than anybody. I don't want to be a second-rate example of you. I want to be a first-rate example of myself.""

"My mother once told me never be a second-rate version of somebody else when you can be a first-rate version of yourself."

"My mom was a phoenix who always expected to rise again from the ashes of her latest disaster. And in spite of her self-doubts, she had a very strong sense of who she was. She had a sense of self-worth. She loved being Judy Garland. Did she secretly long to be Frances Gumm? Somebody, Minnesota housewife? Are you kidding? She'd have run off with a vaudeville troupe just the way my grandfather did."

"I really hadn't intended on becoming a professional musician, but that isn't to say that I didn't have the dreams of being a Judy Garland in some sort of wonderful musical where this music came out of nowhere; things like that."

"I have no desire to prove anything by it. I have never used it as an outlet or a means of expressing myself. I just dance."

"When working on my choreography I am not always receptive to outside suggestions or opinions. I believe that if you have something in mind in the way of a creation, such as a new dance, a sequence, or an effect, you are certain to come up with inaccurate criticism and damaging results if you go around asking for opinions."

"But I do nothing that I don't like, such as "inventing" up to the arty or "down" to the corny. I happen to relish a certain type of corn. What I think is the really dangerous approach is the "let's be artistic" attitude. I know that artistry just happens."

"I don't make love by kissing, I make love by dancing."

"Either the camera will dance, or I will."

"There comes a day when people begin to say, 'Why doesn't that old duffer retire?' I want to get out while they're still saying Astaire is a hell of a dancer."

"A four wood I hit on the 13th hole at Bel Air Country Club in June of 1945. It landed right on the green and rolled into the cup for a hole in one."

"What's all this talk about me being teamed with Ginger Rogers? I will not have it Leland--I did not go into pictures to be teamed with her or anyone else, and if that is the program in mind for me I will not stand for it. I don't mind making another picture with her but as for this teams idea, it's out."

"I have had to do most of my choreography. I would say most of it, with help from various choreographers I have worked with."

"Oh, there's no such thing as my favorite performance. I can't sit here today and look back, and say, Top Hat was better than Easter Parade or any of the others. I just don't look back, period. When I finish with a project, I say 'all right, that's that. What's next?'"

"He lacks confidence to the most enormous degree of all the people in the world. He will not even go to see his rushes. He’ll stay out in the alley and pace up and down and worry and collar you when you come out and say: ‘How good was so and so?’, and he’ll keep you for 45 minutes. It would be much simpler if he would go and look at them himself, you know? But he always thinks he’s no good."

"I remember when I was doing a film with Fred Astaire, it was nothing for him to work three or four days on two bars of music. One evening in the dark grey hours of dusk, I was walking across the deserted MGM lot when a small, weary figure with a towel around his neck suddenly appeared out of the giant cube sound stages. It was Fred. He came over to me, threw a heavy arm around my shoulder and said: "Oh Alan, why doesn't someone tell me I cannot dance?" The tormented illogic of his question made any answer insipid, and all I could do was walk with him in silence."

"He is terribly rare. He is like Bach, who in his time had a great concentration of ability, essence, knowledge, a spread of music. Astaire has that same concentration of genius; there is so much of the dance in him that it has been distilled."

"He is the most interesting, the most inventive, the most elegant dancer of our times... you see a little bit of Astaire in everybody's dancing--a pause here, a move there. It was all Astaire's originally."

"What do dancers think of Fred Astaire? It's no secret. We hate him. He gives us a complex because he's too perfect. His perfection is an absurdity. It's too hard to face."

"He's a genius...a classical dancer like I never saw in my life."

"It's unmatched perfection. It's a taste, understanding of his strength, and weaknesses in a way. He was not a sexual animal, but he made his partners look so extraordinarily related to him."

"He was not just the best ballroom dancer, or tap dancer, he was simply the greatest, most imaginative, dancer of our time."

"When I was in the Soviet Union recently I was being interviewed by a newspaperman and he said, "Which dancers influenced you the most?" and I said, "Oh, well, Fred Astaire." He looked very surprised and shocked and I said, "What's the matter?" He said, "Well, Mr. Balanchine just said the same thing.""

"The history of dance on film begins with Astaire."

"Except for times Fred worked with real professional dancers like Cyd Charisse, it was a twenty five year war."

"There is no setup in Hollywood that compares with an Astaire picture."

"As a dancer he stands alone, and no singer knows his way around a song like Fred Astaire."

"He has a remarkable ear for intonation, a great sense of rhythm and what is most important, he has great style - style in my way of thinking is a matter of delivery, phrasing, pace, emphasis, and most of all presence."

"There never was a greater perfectionist, there never was, and never will be, a better dancer, and I never knew anybody more kind, more considerate, or more completely a gentleman...I love Fred, John, and I admire and respect him. I guess it's because he's so many things I'd like to be and I'm not."

"For a guy who had retired ostensibly, your comeback represents the greatest event since Satchel Paige."

"When you talk about Fred Astaire, you talk about heaven. What more can I say?"

"Fred Astaire once worked so hard/ he often lost his breath/ and now he taps all other chaps to death"

"They climb the clouds/ To come through with airmail/ The dancing crowds/ Look up to some rare male/ Like that Astaire male."

"Astaire can't do anything bad."

"Fred Astaire is the best singer of songs the movie world ever knew. His phrasing has individual sophistication that is utterly charming. Presumably the runner-up would be Bing Crosby, a wonderful fellow, though he doesn't have the unstressed elegance of Astaire."

"Our homeward step was just as light/As the tap-dancing feet of Astaire/And, like an echo far away,/A nightingale sang in Berkeley Square"

"You're the nimble tread/Of the feet of Fred Astaire"

"Astaire really sweat - he toiled. He was a humorless Teutonic man, the opposite of his debonair image in top hat and tails. I liked him because he was an entertainer and an artist. There's a distinction between them. An artist is concerned only with what is acceptable to himself, where an entertainer strives to please the public. Astaire did both. Louis Armstrong was another one."

"By far the gentlest man I have ever known."

"Q: What great singers of the past do you wish had sung your music?"

"A: Nobody really. Well, actually, Fred Astaire."

"Can't act, slightly bald, also dances."

"You know, you so-and-so, you've a little of the hoodlum in you."

"Once after a dinner party, Gregory Peck and I drove Fred Astaire home. Fred lived in a colonial house that had a long porch with many pillars. When we dropped him off, he danced along the whole front porch, then opened the door, tipped his hat to us, and disappeared. Wow! Greg and I couldn't speak for a few minutes. It was a beautiful way to say thank you."

"You can get dancers like this for $75 a week."

"The main point of Flying Down to Rio is the screen promise of Fred Astaire.... He's assuredly a bet after this one, for he's distinctly likeable on the screen, the mike is kind to his voice and as a dancer he remains in a class by himself. The latter observation will be no news to the professsion, which has long admitted that Astaire starts dancing where the others stop hoofing."

"As it turned out, you'd think that Fred had been playing serious drama all his life. He breaks your heart. We had to get rid of any signs that this was Fred Astaire, the dancer, and I even thought of putting weights in his shoes to eliminate that jaunty Astaire walk. But I didn't have to do anything. He worked it all out on his own—even to mussing the hair of his toupee to get rid of the sleek look of 'The Hoofer,' as he calls himself."

"Of all the actors and actresses I've ever worked with, the hardest worker is Fred Astaire. He behaved like he was a young man whose whole destiny depended on being successful in his first film. He rehearses between takes, after takes - there's no limit to his professionalism."

"He is a truly complex fellow, not unlike the Michelangelos and da Vincis of the Renaissance period. He's a supreme artist but he is constantly filled with doubts and self-anger about his work--and that is what makes him so good. He is a perfectionist who is never sure he is attaining perfection."

"It was on tiny wheels with a mount for the camera that put the lens about two feet above the ground. On it rode the camera operator and the assistant who changed the focus and that's all. Fred always wanted to keep the camera in as tight as possible, and they used to shoot with a 40 millimetre lens, which doesn't give you too much leeway. So every time Fred and Ginger moved toward us, the camera had to go back, and every time they went back, the camera went in. The head grip who was in charge of pushing this thing was a joy to watch. He would maintain a consistent distance, and when they were in the midst of a hectic dance that's quite a stunt."

"I don't think that I will plunge the nation into war by stating that Fred Astaire is the greatest tap-dancer in the world."

"Mr. Astaire is the nearest approach we are ever likely to have to a human Mickey Mouse; he might have been drawn by Mr. Walt Disney, with his quick physical wit, his incredible agility. He belongs to a fantasy world almost as free as Mickey's from the law of Gravity."

"A very distinguished colleague began his criticism of this show by asking what is Mr Astaire's secret. May I suggest that the solution hangs on a little word of three letters? Mr Astaire's secret is that of the late Rudolph Valentino and of Mr Maurice Chevalier — sex, but sex so bejewelled and be-pixied that the weaker vessels who fall for it can pretend that it isn't sex at all but a sublimated projection of the Little Fellow with the Knuckles in His Eyes. You'd have thought by the look of the first night foyer that it was Mothering Thursday, since every woman in the place was urgent to take to her bosom this waif with the sad eyes and the twinkling feet."

"At its most basic, Mr. Astaire's technique has three elements - tap, ballet and ballroom dancing. The ballet training, by his account, was brief but came at a crucial, early age. He has sometimes been classed as a tap dancer, but he was never the hoofer he has jokingly called himself. Much of the choreographic outline of his dancing with his ladies—be it Miss Rogers or Miss Hayworth—is ballroom. But of course, no ballroom dancer could dance like this."

"I have never met anyone who did not like Fred Astaire. Somewhere in his sad monkey-sad face, his loose legs, his shy grin, or perhaps the anxious diffidence of his manner, he has found the secret of persuading the world."

"The audience meets Mr. Astaire and The Gay Divorcee at their best when he is adjusting his cravat to an elaborate dance routine or saying the delicious things with his flashing feet that a librettist would have difficulty putting into words."

"As a dancer, I out-Fred the nimblest Astaire."

"But Adrian did not hear him. I have mentioned that during dinner, preoccupied with his thoughts, he had bolted his food. Nature now took its toll. An acute spasm suddenly ran though him, and with a brief 'Ouch!' of pain he doubled up and began to walk round in circles. Sir Jasper clicked his tongue impatiently. "This is no time for doing the Astaire pom-pom dance," he said sharply."

"There's nothing to beat these old English country houses." said Charlie, becoming lyrical. "All those parks and gardens and terraces and stuff. Makes you think of bygone ages and knights in armour and all like that. I saw one of these joints in a movie in Cicero once with Fred Astaire in it, and I remember thinking those guys have it pretty soft."

"Mr. Llewellyn paused. Mr. Trout had begun to float about the room like something out of Swan Lake, and Mr. Llewellyn disapproved of this. He was apt to be a martinet in his dealings with his legal advisers, demanding that lawyers should behave like lawyers and leave eccentric dancing to the professionals. A man, he held, is either Fred Astaire or he is not Fred Astaire, and if he is not Fred Astaire he should not carry on like him."

"Grayce Llewellyn thought that with appropriate dietary restrictions, she and J Sheringham Adair could have Ivor Llewellyn looking like Fred Astaire."

"I'd never seen him out front before. It was also the first time I realized that Fred had sex appeal. Fred. Wherever did he get it?"

"If people would only realize when they ask me why I don't do a picture with him - they ask me that all the time, and were quite keen on it while I was in Hollywood - if they'd only realize that he's gone 'way ahead of me. Why I couldn't begin to keep up with him. I couldn't even reach the steps he throws away."

"Come on, Fred, I'm not your sister, you know."

"I once said that fifty years from now, the only one of today's dancers who will be remembered is Fred Astaire."

"The girls always think we're going to throw them over a table or toss them in the air. Their muscles tense up right away. So Fred and I go and sit in a corner and pretend we're talking business."

"Just try and keep up with those feet of his sometime! Try and look graceful while thinking where your right hand should be, and how your head should be held, and which foot you end the next eight bars on, and whether you're near enough to the steps to leap up six of them backward without looking. Not to mention those Astaire rhythms. Did you ever count the different tempos he can think up in three minutes?"

"How do you think those routines were accomplished? With mirrors?... Well, I thought I knew what concentrated work was before I met Fred, but he's the limit. Never satisfied until every detail is right, and he will not compromise. No sir! What's more, if he thinks of something better after you've finished a routine, you do it over."

"We were only together for a part of my career, and for every film we did, I did another three on my own. The studio was working me too hard. Fred would rush off for a holiday and call me and say: "Hey, ready to do another?" And I didn't have the sense to say that I was too tired. Those times were murder for me. Oh, I adored Mr. A but all the hard work...the 5 a.m. calls, the months of non-stop dancing, singing and acting. We just worked it out and had a lot of fun and got very exhausted. And Mr A was quite divine."

"I guess the only jewels of my life were the pictures I made with Fred Astaire."

"If I was black and blue, it was Gene. If I didn't have a scratch it was Fred."

"As one of the handful of girls who worked with both of those dance geniuses, I think I can give an honest comparison. In my opinion, Kelly is the more inventive choreographer of the two. Astaire, with Hermes Pan's help, creates fabulous numbers - for himself and his partner. But Kelly can create an entire number for somebody else... I think, however, that Astaire's coordination is better than Kelly's... his sense of rhythm is uncanny. Kelly, on the other hand, is the stronger of the two. When he lifts you, he lifts you!... To sum it up, I'd say they were the two greatest dancing personalities who were ever on screen. But it's like comparing apples and oranges. They're both delicious."

"Me? I play Gene Kelly...It's a guy who produces, directs, sings, and dances. who else could it be but Kelly?"

"The fact that Fred and I were in no way similar - nor were we the best male dancers around never occurred to the public or the journalists who wrote about us...Fred and I got the cream of the publicity and naturally we were compared. And while I personally was proud of the comparison, because there was no-one to touch Fred when it came to "popular" dance, we felt that people, especially film critics at the time, should have made an attempt to differentiate between our two styles. Fred and I both got a bit edgy after our names were mentioned in the same breath. I was the Marlon Brando of dancers, and he the Cary Grant. My approach was completely different from his, and we wanted the world to realise this, and not lump us together like peas in a pod. If there was any resentment on our behalf, it certainly wasn't with each other, but with people who talked about two highly individual dancers as if they were one person. For a start, the sort of wardrobe I wore - blue jeans, sweatshirt, sneakers - Fred wouldn't have been caught dead in. Fred always looked immaculate in rehearsals, I was always in an old shirt. Fred's steps were small, neat, graceful and intimate - mine were ballet-oriented and very athletic. The two of us couldn't have been more different, yet the public insisted on thinking of us as rivals...I persuaded him to put on his dancing shoes again, and replace me in Easter Parade after I'd broken my ankle. If we'd been rivals, I certainly wouldn't have encouraged him to make a comeback."

"Fred taught me a step because I said I can't let this experience be over without my learning something. He taught me the most wonderful Fred Astaire-like step, with an umbrella. It was a complete throwaway; it was almost invisible. It was in the way he walked. As he moved along, he bounced the umbrella on the floor to the beat and then he grabbed it. It was effortless and invisible. As a matter of fact, a few years later I was photographing Gene Kelly and told him that Fred Astaire had taught me this trick with an umbrella. And Kelly said, "Oh I'll teach you one," and he did, and the two tricks with the umbrella in some way define the difference between Fred Astaire and Gene Kelly, and, in my view, demonstrate who is the greater of the two artists. With Gene Kelly, he threw the umbrella way up into the air, and then he moved to catch it, very slowly, grabbing it behind his back. It was a big, grandstand play, about nothing."

"The major difference between Astaire and Kelly is a difference, not of talent or technique, but of levels of sophistication. On the face of it, Kelly looks the more sophisticated. Where Kelly has ideas, Astaire has dance steps. Where Kelly has smartly tailored, dramatically apt Comden and Green scripts, Astaire in the Thirties made do with formulas derived from nineteenth-century French Farce. But the Kelly film is no longer a dance film. It's a story film with dances, as distinguished from a dance film with a story. When Fred and Ginger go into their dance, you see it as a distinct formal entity, even if it's been elaborately built up to in the script. In a Kelly film, the plot action and the musical set pieces preserve a smooth community of high spirits, so that the pressure in a dance number will often seem too low, the dance itself plebeian or folksy in order to "match up" with the rest of the picture."

"I suspect it is this Camelot view that leads Miss Croce to be rather unfair to Gene Kelly...I should say the difference starts with their bodies. If you compare Kelly to Astaire, accepting Astaire's debonair style as perfection then, of course, Kelly looks bad. But in popular dance forms, in which movement is not rigidly codified, as it is in ballet, perfection is a romantic myth or a figure of speech, nothing more. Kelly isn't a winged dancer; he's a hoofer and more earthbound. But he has warmth and range as an actor...Astaire's grasshopper lightness was his limitation as an actor - confining him to perennial gosh-oh-gee adolescence;; he was always and only a light comedian and could function only in fairytale vehicles."

"[[w:Leslie Caron|[Leslie] Caron]] is one of only six women who danced with Kelly and Fred Astaire in movies. She says that while Kelly always danced close to the ground, with Astaire (in 1955’s Daddy Long Legs) she felt as if she was floating. Who did she prefer? She gives me a look. "It's not fair to ask me that. For 70 years, I've refused to answer that. A great dancer is a great dancer." She says they were such different men – Kelly tough and generous, Astaire urbane and genteel."

"I think I can pinpoint the one moment when the American style of dressing first appeared. It was in an appalling 1933 movie called Dancing Lady during an otherwise forgettable dance number. It also just happened to be Fred Astaire's first on-camera dance. But don't look at the steps. Look at the outfit: Astaire is wearing a single-breasted, soft flannel suit with two-tone spectator shoes and a turtleneck. You wish you could look that stylish! Later that year, in Flying Down to Rio, we get the full Astaire impact. The muted plaid suit is not all that striking, but Fred is wearing it with a soft button-down shirt, a pale woven tie, silk pocket square, bright horizontally striped hose and white bucks. Whoa! Now that's different. This melange of the classic and the sporty was an American innovation. As we approach the impeccable Astaire's 100th birthday on May 10, it's worth remembering that he remains the greatest exemplar of that style."

"(Cary Grant) is, along with Fred Astaire, the best-dressed actor in American movies"

"The higher up you go, the more mistakes you are allowed. Right at the top, if you make enough of them, it's considered to be your style"

"I feel so bad. My band started playing the wrong song and I didn't know what to do so I thought I'd do a hoedown. I'm sorry."

"As long as there are girls, we need guy bands. However, in this day, it is not good enough to just sing great. You have to write, sing and play. We want it all."

"I can make $4 million somewhere else. My body is for me and for whoever my love interest is at that moment, and that's the only person who gets to see it."

"Don't terrorize. Organize. Don't burn. Give kids a chance to learn … The real answer to race problems in this country is education. Not burning and killing. Be ready. Be qualified. Own something. Be somebody. That's Black Power."

"Manhood is what we profess, and what we try to get across."

"A colored is a very frightened-to-death Afro-American. A Negro is one that makes it in the system, and he wants to be white. A nigger, he's loud and boisterous, wants to be seen. Nobody likes a nigger. A black man has pride. He wants to build, he wants to make his race mean something. Wants to have a culture and art forms. And he's not prejudiced. I am a black American man. Now you go ahead and print it."

"Hair is the first thing. And teeth the second. Hair and teeth. A man got those two things he's got it all."

"It doesn't matter how you travel it, it's the same road. It doesn't get any easier when you get bigger, it gets harder. And it will kill you if you let it.""

"Sometimes you struggle so hard to feed your family one way, you forget to feed them the other way, with spiritual nourishment. Everybody needs that."

"When I'm on stage, I'm trying to do one thing: bring people joy. Just like church does. People don't go to church to find trouble, they go there to lose it."

"To make it in life, you and your wife need to be in the same business. That has been my problem all along. My wives didn't know what I was doing. I would come back home from the road to a stranger. That's no good."

"I would warn against anyone marrying a person with more than a ten-year age difference. It almost never works. It is difficult to find things to talk about, to use similar reference points, and to operate at the same speed of life. Another problem is that both sides usually don't want the same things at the same time."

"This is an issue couples have to be straight on and agree on before they walk down that aisle; otherwise there is no way their marriage will survive."

"I'm the most sampled and stolen. What's mine is mine, and what's yours is mine, too … I got a song about that … But I'm never gonna release it. Don't want a war with the rappers. If it wasn't good, they wouldn't steal it."

"I'm going away tonight."

"Try me. Try me. And your love will always be true. Oh I need you (I need you). Hold me. Hold me. I want you right here by my side. Hold me. Hold me. And your love we won't hide."

"Come here sister... Papa's in the swing. He ain't too hip... about that new breed babe. He ain't no drag, Papa's got a brand new bag."

"When I hold you in my arms, I know that I can't do no wrong. And when I hold you in my arms, My love can't do me no harm.And I feel nice, like sugar and spice I feel nice, like sugar and spice. So nice, so nice, well I got you."

"This is a mans world. This is a mans world. But it would be nothing, nothing Without a women or a girl."

"When you kiss me, And ya miss me. You hold me tight, Make everything all right. I break out - in a cold sweat heh!"

"Our love is kind of stalled, baby. But it ain't about the sex. I'd trade the roses and the negligees If we could just connect. I go deeper when you look into my eyes. There's a place where neither one of us can hide. And it's up to us to reinvent the game. Love it when you call my name."

"Mama, come here quick, Bring me that lickin' stick. Mama, come here quick, Bring me that lickin' stick. People standin', Standin' in a trance. Sister out in the backyard Doin' the outside dance."

"Look a'here, some people say we got a lot of malice Some say it's a lotta nerve I say we won't quit moving Til we get what we deserve. We've been 'buked and we've been scourned We've been treated bad, talked about As just as sure as you're born But just as sure as it take Two eyes to make a pair, huh Brother, we can't quit until we get our share.Say it loud, I'm black and I'm proud."

"Get up, Get on up. Stay on the scene. Get on up, Like a Sex Machine. Get on up, Get up. Shake your arm, Then use your form. Stay on the scene, like a Sex Machine. You gotta have the feeling, Sure as you're born."

"Watch me … watch me! I got it! Watch me … I got it. HEY!I got somethin' that makes me wanna shout. I got somethin' that tells me what it's all about. Huh, I got soul and I'm super bad!"

"The American black person knows something which nobody else in the world knows. To have been where we were, to have paid the price we have paid, to have survived, and to have shaken up the world the way we have is a rare journey. No one else has made it but us. There is a reason that people are listening to James Brown, Nina Simone, and Aretha Franklin all over the world, and not to somebody from Moscow, Turkey, or England. And the reason is not in our crotch but in our heart, our soul. It's something the world denied and lied about, energy they labeled savage, inferior, and insignificant. But it has been proven that no matter what they labeled it, they cannot do without it."

"I really don't know why I clicked. I didn't want to be a dancer, I just did it to work my way through college. But I was always an athlete and gymnast, so it came naturally."

"In the 1930s, when I started, Martha Graham was the only dancer doing anything modern, but she did it all to classical music. I couldn't see myself doing Swan Lake every night, and I wanted to develop a truly American style. The only dancer in the movies at that time with any success was Fred Astaire, but he did very small, elegant steps in a top hat, white tie, and tails."

"It's all true. It's true I didn't want to be a dancer. What I really wanted to be was a shortstop for the Pittsburgh Pirates. Then at 14 I discovered girls, and began to study dancing diligently. At that time dancing was the only way you could put your arm around the girl. Dancing was courtship. Only later did I discover you dance joy. You dance love. You dance dreams. Of course, the Pittsburgh Pirates lost a hell of a shortstop."

"Fred Astaire represented the aristocracy, I represented the proletariat."

"I don't want to say I'm envious of any other woman's body. It's a bad myth to perpetuate. Women have enough trouble liking themselves."

"I have everything I had twenty years ago, only it's all a little bit lower."

"God is love, but get it in writing."

"If a thing is worth doing, it is worth doing slowly … very slowly."

"When I was a little kid I thought I would grow up to be black and sing jazz in nightclubs."

"I'm a tough old broad from Brooklyn. Don't try to make me into something I'm not. If you want someone to tiptoe down the Barkley staircase in crinoline and politely ask where the cattle went, get another girl."

"People talk about 'my career,' but 'career' is too pompous a word. It was a job, and I have always felt very privileged to be paid for what I love doing."

"I could understand if they picked Katharine Hepburn, but of course she wouldn't do it. But when they asked me, I thought at first it was a mistake. I thought they got me mixed up with Bette Davis. Attention embarrasses me. I don't like to be on display. I was always an extrovert in my work, but when it comes time to be myself I'll take a powder every time."

"I never got a Oscar. I never had an acting lesson. Life was my only training."

"My only problem is finding a way to play my fortieth fallen female in a different way from my thirty-ninth."

"There's nothing phony about her, either in life or on the screen."

"Working with Barbara Stanwyck was one of the greatest pleasures of my career."

"Here was an actress that never played just one side of a character. She always played the truth. I once asked Barbara Stanwyck the secret of acting, and she said, "Just be truthful, and if you can fake that, you've got it made.""

"With Barbara Stanwyck, here was a true pro, in her last year of screen stardom. We shot mostly on locations just to save money. One day, I saw her applying her own makeup beside the truck before the shoot. She looked up and just shrugged. Who could blame her? This production was cost-efficient."

"I think we all learn from the past. I just feel we shouldn't live there. We shouldn't live in the past. I live for today, and to me, the most important moment is now."

"Some of you may recollect a little girl with clean and curled hair, starched skirts, ruffles, and bows. That perception was wrong. The reality was a kid in blue jeans and sentimental sneakers, dirty hands, dirty face, usually climbing a tree. .. I never even aspired to be an actress. Even when I was very young, I had three aspirations: to be a surgeon, or an FBI agent, or a pie salesman. .. President Roosevelt patted and squeezed me in 1938. Truman, Eisenhower, and Nixon shook my hand, but then I was older. Ford kissed me. Jimmy Carter kissed me in the White House, which means I was even older. And now I am simply female, black, and unemployed."

"Robinson walked a step ahead of us, but when he noticed me hurrying to catch up, he shortened his stride to accommodate mine. I kept reaching up for his hand, but he hadn't looked down and seemed unaware. Fannie called his attention to what I was doing, so he stopped short, bent low over me, his eyes wide and rows of brilliant teeth showing in a wide smile. When he took my hand in his, it felt large and cool."

"I stopped believing in Santa Claus when I was six. Mother took me to see him in a department store and he asked for my autograph."

"Sunnybrook Farm is now a parking lot; the petticoats are in the garbage can, where they belong in the modern world; and I detest censorship."

"I have no trouble being taken seriously as a woman and a diplomat here. My only problems have been with Americans who, in the beginning, refused to believe I had grown up since my movies."

"Politicians are actors too, don't you think?"

"Macho attitudes usually fall victim to hard work, timely humor, and an absence of resentment."

"When the spirit of the people is lower than at any other time during this Depression, it is a splendid thing that for just 15 cents, an American can go to a movie and look at the smiling face of a baby and forget his troubles."

"Popular culture entered my life as Shirley Temple, who was exactly my age and wrote a letter in the newspapers telling how her mother fixed spinach for her, with lots of butter. There were paper-doll books of her and of the Dionne Quintuplets-five identical girls born to a French-Canadian family and of the famous dollhouse of the actress Colleen Moore, which contained every luxury conceivable in perfect miniature, including a tiny phonograph that played Gershwin's Rhapsody in Blue. I was impressed by Shirley Temple as a little girl my age who had power: she could write a piece for the newspapers and have it printed in her own handwriting. I must have seen her dancing with Bill "Bojangles" Robinson in The Littlest Rebel, but I remember her less as a movie star than as a presence, like President Roosevelt, or Lindbergh, whose baby had been stolen; but she was a little girl whose face was everywhere on glass mugs and in coloring books as well as in the papers."

"Watching clips of her, it's so amazing that she was such a part of our film history from the very beginning. I'm sure it wasn't easy being a child star, although she went on to become an ambassador, so she re-invented herself along the way. But it's a great loss. I wish all the best for her family and thank her for her contribution."

"I can't really hear the audience applause when I'm on stage. I'm totally immersed in the piece. But sometimes I get a lot of it and wonder, "Now, why did they applaud here?" If it's a white crowd, they usually applaud because they think it's a pretty movement. If it's a black crowd, it's usually because they identify with the message."

"People come to see beauty, and I dance to give it to them."

"I've always felt that complement of opposites: body and soul, solitude and companionship, and in the dance studio, contraction and release, rise and fall."

"I have been guilty of watching Westerns without acknowledging that Native Americans have gone through the same madness as African Americans. Isn't it extraordinary that sometimes the most offended have not seen others being offended?"

"Dance is bigger than the physical body. When you extend your arm, it doesn't stop at the end of your fingers, because you're dancing bigger than that; you're dancing spirit."

"When I was younger, I got into a lot of trouble. Getting the opportunity to dance really got me out of that.”"

"Jumps and turns aren't hard; artistry is. To create a whole new world for the audience, that's the fantasy of ballet."

"The ‘Romeo and Juliet’ story, we’re so past that. I have a very deep respect for art, but I also think we have a lot to learn from pop culture. And that is the future. Either you can ignore it and be stuck in the past, or you can learn from it."

"Book/Play1 (Book/Play1)"

"Book/Play2 (Book/Play2)"

"He just walked away like he was God's gift to the world."

"You dance as if you've already won the competition."

"I think you're talking crap."

"I don’t even know if I’ll ever feel what I did when he finished dancing his solo on Wednesday night’s [2007-08-15] show. When he left the ballet world, he was losing his love of dance, and to me, watching that solo, he came full circle. He came back.”"

"I think Sabra should have won."

"I know very well that I'm not the dancer that Danny is. He's on a completely different level. For the last four years, I've known who he is, and I just wanted to talk to him. So standing there with him tonight [as the final two] was the craziest thing."

"In my opinion Danny was far and away the best."

"This latest skirmish in the high art/low art war has played out most fiercely over Mr. Tidwell, who shocked balletomanes when he left American Ballet Theater in 2005, then added insult to injury by joining the third season of “So You Think You Can Dance.”"

"I know very well that I'm not the dancer that Danny is. He's on a completely different level. For the last four years, I've known who he is, and I just wanted to talk to him. So standing there with him tonight [as the final two] was the craziest thing."

"Book/Play1 (Book/Play1)"

"Book/Play2 (Book/Play2)"

"I think Sabra should have won. When they [the contestants] had a week off [over the Fourth of July], Danny brought Sabra to New York and we got to know her. People said, ‘There's no way she's only been dancing four years.' But I said, ‘She's been touched by God. God gave her the ability to understand her body.'"

"I have stage contracts for the next 18 months, and I shall go on with them whatever he says."

"France made me what I am. I will be grateful forever. The people of Paris have given me everything. They have given me their hearts, and I have given them mine. I am ready, captain, to give them my life. You can use me as you wish."

"First, I want to do what I can to help win the war and thus perform whatever duty I can for my native land. Second, I want to help those of my own race. I am doing all I can to help win the war effort and to make people generally more appreciative and kinder to my race."

"I cannot see that I did anything extraordinary to merit this honor. Everything was just as it had to be.""

"I want you to know that this is the happiest day of my entire life. And as you all must know, I have had a very long life and I'm sixty years old. The results today of seeing you all together is a sight for sore eyes. You're together as salt and pepper just as you should be. Just as I've always wanted you to be and peoples of the world have always wanted you to be. You are a united people at last because without unity there cannot be any victory. You see, I'm glad. I'm glad that in my homeland, in my homeland where I was born in love and respect, I'm glad to see this day come to pass. This day, because you are on the eve of complete victory, and tomorrow, time will do the rest. ... Continue on. You can't go wrong. The world is behind you."

"I believe in action. … I believe in doing rather than talking. All my life I have maintained that the people of the world can learn to live together in peace if they are not brought up in prejudice. This is why I traveled all over the world to adopt 11 youngsters."

"Surely the day will come when color means nothing more than skin tone, when religion is seen uniquely as a way to speak one’s soul; when birth places have the weight of a throw of the dice and all men are born free, when understanding breeds love and brotherhood."

"Josephine Baker is a St. Louis washwoman’s daughter who stepped out of a Negro burlesque show into a life of adulation and luxury in Paris during the booming 1920s. In sex appeal to jaded Europeans of the jazz-loving type, a Negro wench always has a head start. The particular tawny tint of tall and stringy Josephine Baker’s bare skin stirred French pulses. But to Manhattan theatre-goers last week, she was just a slightly buck-toothed young Negro woman whose figure might be matched in any nightclub show, whose dancing and singing could be topped practically anywhere outside France."

"She broke down barriers … She became part of the hearts and minds of French people ... Josephine Baker, you enter the Pantheon because while you were born American, deep down there was no one more French than you."

"I wear glasses because I need them; I don't wear them to be the fashion victim, I have to have them because I have a stigma in one eye and I'm blind in another. But I make it fun, I make it acceptable to fit in society; I've always worn crazy, goofy glasses, it's just what I do. This is who I am. Love me or leave me."

"I'm not that deep, I'm not that mysterious. Don't try to figure me out. I'm a very open book. What you see is what you get."

"I'm a fighter by nature and nothing will ever change that."

"My will, my faith and my body have been challenged, but make no mistake, my heart is strong and my resolve to fight will never be broken."

"I don't fear death. But I don't like being dangled out there like a piece of meat on a fishing rod to it either. If I'm going to die, take me out now. Don't let me suffer. That's not exactly the way I wanted to go. I don't want to be in limbo, I don't want to know that I might die. The mights don't work with me. I'm too literal."

"I'm a singer who touches millions of people and my words and my knowledge of what I'm learning from cancer can help millions. And if I can help millions, even if I help one person, that's one person more than none."

"At the end of the day I'm maybe clean of cancer right now, but that doesn't mean it won't come back at 100%. So I'm not leaving here going: "Oh my God my life is over, cuz I don't know..." I'm sitting here, I'm happy I'm at Rove, I'm happy I'm in Australia, I'm pleased I finished an album, I'm just grateful. If it comes back I will kick it in the butt as much as I could. But it's not about winning, it's just about fighting, and that's all you got to on this earth. It's just fight for what your right is, and that's to live. (from an interview at The Rove Live, Australia, 2004)"

"I don't have a deep desire to know my father. My brother and sister and I got forgotten about by him, and we haven't spoken to him in a ridiculous amount of years. He never contacted us after he and my mother broke up. [...] I never felt rejected as a kid. We had a fulfilling life with my mum. She was so strong."

"All I can say is we are not promised tomorrow, I know that, you know that. So we gonna make every moment last and just blessed it and appreciate it. (form her speech at Rock in Rio, 2006)"

"When I'm asked where I want to be in five or 10 years time, I say I just want to be alive and healthy."

"I had to perform in Béziers, In France, in a huge arena where they normally hold bullfights. There where a bunch of important people there, I was not that famous yet, so alot was riding on this performance, but the vibe was amazing. So a few songs into the set I yelled very enthusiastically ‘J’adore Béziers” Unfortunatly my French speech is not perfect so it sounded as J'adore baiser! The public did not respond, so I thought, with the wind they probably did not understand it clearly, so alot louder I yelled J'ADORE BAISER!!!! And then a deadly silence. Afterwords someone asked me, ‘doe joe know vot you ave just told all of France?’ Sure, I told’em I love’em….euh not really...man I was dying! But the boss from the French record label said, don’t worry about it, they thought u where amazing, we will sell alot of records here."

"(About Prince) I recently met him, he's a Jehovah's witness, right? The first thing i said to him was "omigaaawdifuckinloveyourmusic". He looked at me with that look of his and said very softly 'uh, you have to pray that you can ban swearing out of your live, otherwise you can never please the lord" Me : I'll fuckin' try!, followed with 'did i fuckin' curse?' in which he responded "yeah, you fuckin' did".(laughs) Okay that last part I made up, but he was very serious about it. So i thought, my god, this is the guy from "Head" and from "Darling Nikki" who is mastrubating in the lobby from a hotel. In his studio he even has a curseing jar, everybody that swear has to put a $50 into it. I was speechless, and let me tell you, that does not happen to me alot. But, he is and stays a genius."

"One time I woke up on the day of a concert with a stiff neck, and not just a regular stiff neck, I was standing croocked, like the hunchback of Notre Dame. I got some shots then, which did not work. They could have easily put the stage croocked that day so it at least would have looked like I was walking normally. I did perform that night, but I remember nothing from it, was so high from the shots. Later I heared from my manager that I was doin never ending talks between songs. The guy’s at the mix table where trying via the monitor to get me to start singing the next song, but I just kept talking ‘wait wait wait, just one more fun thing I want to say…” I was the stand up comic from hell."

"I was walking tru Amsterdam when I heared I’m Outta Love blasting out of an open window. In that moment I rang their doorbell and when those people opened the door I said ‘Roomservice!’ Never I saw people dropping their jaws that much (laughs) I saw their eyes goin from me to their tv that had mtv on, back to me and back to the tv again, you saw they where thinking, how can this woman be in both places in the same time? But once they got over that shock they did not wanna let me go anymore, ‘come in, there is plenty to drink, there is plenty of everything (winks), what do you wanna eat, are u staying over…?’ Sweet people, real cute, only later I realized, oh my god, what if they were just making love to my music, they would have opend the door naked!"

"You don't have to be blond or blue eyes or taller or smaller...just have to be who you need to be, and that's help people become who they are."

"Early detection has saved my life twice. I will continue to battle and lend my voice in any way I can."

"Sometimes I wonder if my purpose on this earth is to be a role model. Look at my challenges as a gift, and my voice as tool."

"(About Elton John) He's my fairy Godfather; literally that's what I call him. [...] Hopefully while I'm in town there'll be a moment I can share my new boobs with him. I have to show him, because he gets to see. Not that he's really caring, but I flashed him my other ones so he has to see these ones too. He has to see the new set."

"You're the soldier girl who tells the other troops who haven't fought the battle what it's like so they can fight it better."

"I'm just as fragile and broken as anyone else at times. We all have to get through our stuff as best we can. Some of us have strong armour, some of us don't. Sometimes my armour has been very strong and sometimes it's been very fragile."

"I think there will always be challenges for women and men. There are always going to be male chauvenists but it's just a matter of women continuing to stand up for their rights and prove their worth. The world would end if women didn't start families, carry children, but that is no reason for them not to work, have careers, exist as a person rather than just a mother."

"I felt very awkward as a teenager. I wanted blue eyes, I wanted to be taller, I wore glasses, I got my chest early and I was very embarrassed about it. I just wasn’t the kind of girl I thought guys would want to date. Though in some ways I was okay with that because I didn’t want to date any boys anyway. I just wanted to be friends with boys, boys were cool with me. Until we were doing a show in school where we all had to wear these catsuits for a dance routine. I walked into the room, all boobs and bum, and the boys never looked at me the same way again. I was mortified. That’s probably when I started wearing my stepfather’s shirts, big and baggy, to cover up. I just wanted to stay a kid."

"There is no rose without a thorn No rain without the storm There is no laughter without tears No wisdom without years In a world gone crazy Torn between the roads that we must choose Win or lose."

"Each day another boy and girl sets foot into this world One reaches out to touch the sky One never learns to fly."

"How many rivers must we cross before we learn that the flood is rising high And the bridges all have burned Each time another dream is washed into the sea It's another piece of you It's another piece of me."

"If every soul should lose its way If every face should lose its name If no one tries to end this game Or find a way to ease the pain Who's gonna stop the rain?"

"Yo trippin' There ain't nothing wrong with the way I sing my song Yo trippin' Why you feel that to be cruel is to be real."

"I'm a freak of nature Freaky, geeky, lucky and weekly, sassefras, so, honey drink me finger licking."

"You can say what you want about me Try to do what you want to me But you can not stop me."

"I paid my dues."

"Now I'm still trusted every day People try to mess with Anastacia Gotta nothing in common cause I handle mine."

"Anytime or only for a while Don't worry Make a wish I'll be there to see your smile."

"Nothing's fair when we lose without a moment to say goodbye."

"Cradle the weight of your life You can survive what lies before you."

"Time keeps running away no matter what's left behind, it keeps on moving Tomorrow is not today and all of your yesterdays are only a matter of time."

"I'm sick and tired of always being sick and tired."

"I've had my share of pleasure and I've tasted pain I never thought that I would touch an angel's wing There's a journey in my eyes It's getting hard for me to hide Like the ocean at the sunrise."

"Who wants a love without anger and rage? I Do Who wants a world where a kid can be safe? I Do Who wants to pray for the end of the pain? For the calm at the end of the day? Where there's not always more of the same? I Do."

"Wanna live in a place where the truth still finds a way to rise and advise."

"The pages I've turned are the lessons I've learned."

"Sometimes the things you want are hard to take Sometimes the ones you love are risks that you don't make."

"Freedom lies beneath reality."

"The love that lonely people crave Follows them into their grave Oh…we should never leave them lonely."

"The faded photographs The frames of broken glass The shattered memories Time will soon erase all these souvenirs Falls from a thousand tears But when I wake up you are never there."

"You can tear me apart You can rip me to pieces Try breaking me down But I'll never be beated You can say that you won But I'll never believe it cos I can't be defeated."

"Silence is a deadly poison when you have no words."

"Pieces of a dream unfolding what happened to the fairy tale Words of love are never spoken Things in life aren't always fair I'll protect you and I'll guide you and I'll give you all the love that is mine Just know in time You'll be fine."

"Show me some hope Show me some light Cause I got nothing left in me tonight If I don’t go If I say no Is it the end?"

"If there's no redemption I'll see you in hell."

"Now I know what love is worth In a broken world But I can't get past the hurt Till I give up on these Stupid little things."

"I'd rather be blind if I have to watch us fade."

"I barely recognize myself Sometimes I feel like someone else Don't always have to be perfect And if I stumble on the way I don't know I'm gonna be okay It's alright to get myself dirty."

"They say that time heals the pain Till only love remains."

"Somewhere there's an angel saying stay I need someone to tell me, I'm too hard to break I'm not ready to go just yet."

"Got a message from a wise man No one gets to choose But it's still a secret No one tells us how easily we bruise And while we try to understend Life is making other plans."

"I'm pop-corn I'm a hell storm Yeah, I'm in the hands of faith I’m so bad words Now what you heard?"

"And I've been to darker places That I never thought I'd go And I've learned lots of lessons I can say I'm finally home."

"I can see the light of day Even through the rainy haze."

"I'm dark dark white girl."

"No matter if I'm laughing or crying It ain't gonna stop me from trying The truth is what I have to uncover In this only life."

"The truest words are never wasted I'm letting go just show me how I'm getting closer I can taste it This time, our time."

"Wings of an angel Replace my beautiful scars Well hidden in the dark Time seems to stand still The world is falling apart So heavy on my heart."

"Even with broken wings Even with shattered dreams I'm still gonna try I'm still gonna fly Even with broken wings I can do anything I found a strength I never knew I had in me With these broken wings."

"Is this the light at the end of the tunnel Is this the end, the end of all my trouble Is this the light at the end of the tunnel Or just the light of another oncoming train."

"There's a new sun rising From a lost horizon And the heat that it brings Melts away all the things That has made me stand still Been a long time coming So tired of running I believe there's a reason I came through the season again It's my resurrection."

"All that I've gone through Is what brought me here So I can't regret a single thing, yeah I've had my heart broken I know what it takes to let go and move on I see myself coming And I've never been this strong."

"I'm alright with living on the edge Everything I ever got I got the hard way Wouldn't think of wishing on the shooting star I'm the underdog."

"I thought she was black when I heard her singing. [...] This is so like Tina Turner. Who is this woman sings? And even when I found out she was call Anastacia, I didn't even think she was white. She had the most amazing voice, just the most soulful voice I've heard in so long [...] She is a great live performer [...] I'm Outta Love is one of the greatest dance records of all time."

"Anastacia is someone the world will understand."

"The first time I heard Anastacia's voice I was kind of blown by, because she is kind a little and her voice was so big so powerful, so much power coming from her. It was amazing."

"She rocks, I have to tell you, she rocks."

"She's probably one of the strongest women I've ever met. Through my illness she was there for me as I hope I have been to her through her treatment. She's a really great girl."

"Some performers would stand in a spot light like Edith Piaf, darkness around and a spot light and she would sing... and she would sing very vulnerable. Than you realize "I don't know how this woman has more powerful". And some performers, well, leave out of the box and grab the audience by the throw, you know. What's amazing about Anastacia is she can kind do both."

"I think Anastacia is gonna be a big star, I really do. And she has that distinct voice where, you know, one time you hear it you never forget it."

"She has a lot of what I call star quality and that's something truly hard to describe in words. At top of all that she is just an amazing singer and an amazing performer. She is not just a singer that can only do one style."

"Civilization? I'll stay right here [in the Congo]!"

"I am a wife-made man."

"I became an entertainer not because I wanted to but because I was meant to."

"I can't say what Danny Kaye is like in private life. There are too many of them."

"I can say what Danny Kaye is like in real life. He's nice and gentle but he has a bit of a mean streak."

"[E]xclusively verbal humor have been conveyed by Harpo Marx, who with Charles Chaplin, Jimmy Savo, and Danny Kaye, ranks as a master artist of pantomime."

"We look at the dance to impart the sensation of living in an affirmation of life, to energize the spectator into keener awareness of the vigor, the mystery, the humor, the variety, and the wonder of life. This is the function of the American dance."

"There is a vitality, a life force, an energy, a quickening that is translated through you into action, and because there is only one of you in all of time, this expression is unique. And if you block it, it will never exist through any other medium and it will be lost. The world will not have it. It is not your business to determine how good it is nor how valuable nor how it compares with other expressions. It is your business to keep it yours clearly and directly, to keep the channel open. You do not even have to believe in yourself or your work. You have to keep yourself open and aware to the urges that motivate you. Keep the channel open. ... No artist is pleased. [There is] no satisfaction whatever at any time. There is only a queer divine dissatisfaction, a blessed unrest that keeps us marching and makes us more alive than the others."

"Great dancers are not great because of their technique, they are great because of their passion."

"I have spent all my life with dance and being a dancer. It's permitting life to use you in a very intense way. Sometimes it is not pleasant. Sometimes it is fearful. But nevertheless it is inevitable."

"I believe that we learn by practice. Whether it means to learn to dance by practicing dancing or to learn to live by practicing living, the principles are the same. In each it is the performance of a dedicated set of acts, physical or intellectual, from which comes the shape of achievement, a sense of one's being, a satisfaction of spirit. One becomes in some areas an athlete of God."

"To practice means to perform, in the face of all obstacles some act of vision, of faith, of desire. Practice is a means of inviting the perfection desired."

"I think the reason dance has held such an ageless magic for the world is that it has been the symbol of the performance of living."

"The most brilliant scientific discoveries will in time change and perhaps grow obsolete as new scientific manifestations emerge. But art is eternal, for it reveals the inner landscape, which is the soul of man."

"Many times I hear the phrase "the dance of life." It is an expression that touches me deeply, for the instrument through which the dance speaks is also the instrument through which life is lived — the human body."

"Dancing appears glamorous, easy, delightful. But the path to paradise of the achievement is not easier than any other. There is fatigue so great that the body cries, even in its sleep. There are times of complete frustration, there are daily small deaths. Then I need all the comfort that practice has stored in my memory, a tenacity of faith."

"The body is shaped, disciplined, honoured, and in time, trusted. The movement becomes clean, precise, eloquent, truthful. Movement never lies. It is a barometer telling the state of the soul's weather to all who can read it. This might be called the law of the dancer's life — the law which governs the outer aspects."

"The main thing, of course, always, is the fact that there is only one of you in the world, just one, and if that is not fulfilled then something has been lost. Ambition is not enough; necessity is everything."

"People have asked me why I chose to be a dancer. I did not choose: I was chosen to be a dancer, and, with that, you live all your life."

"The next time you look into the mirror, just look at the way the ears rest next to the head; look at the way the hairline grows; think of all the little bones in your wrist. It is a miracle. And the dance is a celebration of that miracle."

"I feel that the essence of dance is the expression of mankind — the landscape of the human soul. I hope that every dance I do reveals something of myself or some wonderful thing a human being can be."

"The body is a sacred garment: it is what you enter life in and what you depart life with, and it should be treated with honour, and with joy and with fear as well. But always, though, with blessing."

"I am absorbed in the magic of movement and light. Movement never lies. It is the magic of what I call the outer space of the imagination."

"When you start with an idea, or something hits you, then you have to follow that through to the end, and it's the following through to the end that makes the pattern. That, for me, is choreography."

"Dancing is just discovery, discovery, discovery — what it all means…"

"I love words very much. I've always loved to talk, and I've always love words — the words that rest in your mouth, what words mean and how you taste them and so on. And for me the spoken word can be used almost as a gesture."

"The erotic element is life, but doesn't have to absorb you, it doesn't have to be a naughty word. It's the love of life in many ways."

"I've always regarded eroticism as a beautiful word. I'm not ashamed to be linked to it. I would be ashamed to be linked to flamboyant sexuality; that's a part of life, but it isn't all of it."

"To me, the only sin is mediocrity."

"I don't try to tell the dancers exactly what a dance means before they do it. I can correct it and tell them what they have done after they have done it, and what it means to me. But I don't say, "Be fearful here," "Be angry here," because I think that is intrusion."

"I think comedy is the most difficult thing in the world, I really do. One can always lament, you know — but to laugh in the face of life, that's very hard. And for me the great tragedian should also be a great comedian."

"Dancing is very like poetry. It's like poetic lyricism, sometimes, it's like the rawness of dramatic poetry, it's like the terror — or it can be like a terrible revelation of meaning. Because when you light on a word it strikes you to your heart."

"To me, the body says what words cannot. I believe that dance was the first art. A philosopher has said that dance and architecture were the first arts. I believe that dance was first because it's gesture, it's communication. That doesn't mean it's telling a story, but it means it's communicating a feeling, a sensation to people. Dance is the hidden language of the soul, of the body. And it's partly the language that we don't want to show."

"I use the words gods and goddesses principally, I think, to mean beautiful bodies — bodies that are absolute instruments. And I believe in discipline, I believe in a very definite technique. You have no right to go before a public without an adequate technique, just because you feel. Anything feels — a leaf feels, a storm feels — what right have you to do that? You have to have speech, and it's a cultivated speech."

"Movement never lies."

"Some of you are doomed to be artists."

"(Women you respect most?) Georgia O'Keeffe, Martha Graham. For reasons plain to all-among them, common to both, an inviolate independence of spirit in pursuing their arts, the wholeness of their gifts of the imagination."

"I have a gift for enraging people, but if I ever bore you it will be with a knife."

"I have been taking stock of my 50 years since I left Wichita. How I have existed fills me with horror for I failed in everything. Spelling, arithmetic, writing, swimming, tennis, golf, dancing, singing, acting, wife, mistress, whore, friend, even cooking. And I do not excuse myself with the usual escape of not trying. I tried with all my heart."

"I never gave away anything without wishing I had kept it; nor kept it without wishing I had given it away."

"We were Midwesterners born in the Bible Belt of Anglo-Saxon farmers, who prayed in the parlor and practised incest in the barn."

"The rest of the girls wore smiles as fixed as their towering feather headdresses. I decided right then that onstage I would never smile unless I felt like it."

"Most beautiful dumb girls think they are smart and get away with it, because other people, on the whole, aren't much smarter."

"I was simply playing myself, which is the hardest thing in the world to do – if you know that it’s hard. I didn’t, so it seemed easy."

"A well-dressed woman, even if her purse is painfully empty, can conquer the world."

"I was navigating, but not seeing."

"You ask me what's happened in my life, why and how I did this and that. And I think and tell, but it's never true story, because everything is so much more complicated, and also I can't even remember how things happened. Whole process is boring. Also false, but mostly boring."

"The minute plane set down, the minute I stepped again on Latvian ground, I realized this was never my home. My heart didn't even skip one beat."

"Children being left, it's not always like books of Charles Dickens. When you lose your parents in childhood, it's a fact of life, and, you know, human beings are extraordinary powerful survivors. My mother commit suicide. I was lucky it was not in front of me. O.K.? Which is truth, and Father was confused, and we never had any relationship, serious relationship. I never knew my father, in a way. But what? It's made me different? No, I mean. I blame for every fuckups in my life my parents? No. [Pause] I got lucky. I fell in love with dance."

"You know, I never planned to leave. I was not extremely patriotic about Mother Russia. You know, I played their game, pretending, of course. You have to deal with, you know, party people, KGB... Horrifying."

"I think I got disappointed over the years about New York, about the States. You know, sometimes you go and visit Europe and see good old socialism in its good part! You see public concern about art, and young people's participation and young faces in the audience. Then you arrive in the States and it is $150 to go to an opera. Ridiculous. We have so much young talent on the streets, but because everything is commercial they finally drift away from their dream of their life."

"The more injuries you get, the smarter you get."

"He’d be a ruin by now, both physically and mentally. Physically because of the bottle. . . . Mentally because of that mixture of impotence and cynicism that corrodes everyone there — the stronger you are the worse it is."

"There can be a hundred people in the room and ninety nine don't believe in you and just one person believes in you and it can change everything."

"She’s a nice girl – I just feel very honoured that she wanted to sing my song. I used to scream for her in Times Square and now I work for her. When I was 13 she was the most provocative performer of my time. I love her so much! Britney certainly doesn’t need any freakin’ tips from me! Britney Spears is the queen of pop. I was learning from her."

"Take My Picture, Hollywood! I Wanna Be a Star!"

"I'm not real. I'm theatre."

"God bless pop music and God bless MTV."

"Lake Como? One of my favorite places."

"Lake Como is like Saint-Tropez and Capri."

"Prejudice is a disease. So is fashion. But I will not wear prejudice."

"I think that fashion and music go hand-in-hand, and they always should. It's the artist's job to create imagery that matches the music... I think they're very intertwined."

"In my show I announce, ‘People say Lady Gaga is a lie, and they are right. I am a lie. And every day I kill to make it true.’"

"You listeners, the ones who found me first are, I believe, the future of great art thinkers. Because anyone that's found me now I really think is grabbing on to the ideas that I have, more than anything. It's about the music but it's also about the story. So thank you guys for loving and reading the story and being as into it and as passionate as I am."

"I operate from a place of delusion-that’s what the Fame is all about... I want people to walk around delusional about how great they can be - and then to fight so hard for it every day that the lie becomes the truth."

"I've gone bankrupt about four times now. Every dollar I earn goes on the show."

"You see, if I was a guy, and I was sitting here with a cigarette in my hand, grabbing my crotch and talking about how I make music because I like fast cars and fucking girls, you'd call me a rockstar. But when I do it in my music and in my videos, because I'm a female, because I make pop music, you're judgmental and you say that it is distracting... I'm just a rockstar."

"Grace Jones said this to me when I met her. I washed her feet, and I looked up at her and she said, "No matter what you do in your life, don’t you ever let anybody take your creative people away from you." And what my creative friends always remind me of is they say, "Only value the opinion of those that you respect. And anyone that you don’t respect, pay no mind to their opinion about you or anything else." And that’s how I live my life. If I worried about everything that everyone said, I would not be a good artist."

"That’s the most Warholian thing about what I do... I embrace pop culture. The very thing that everybody says is poisonous and ostentatious and shallow, it’s like my chemistry book... and I make what I believe to be art out of it."

"I don’t consider my own clothing to be outrageous... The truth is that people just don’t have the same references that I do. To me it’s very beautiful and it’s art, and to them it’s outrageous and crazy."

"They bring my music to life."

"Creativity for me is religious."

"Fame for me is not external, it’s internal. So I’ve been famous for a long time."

"I don't care what people think about me, I care what they think about themselves."

"It's always wrong to hate, but it's never wrong to love."

"The whole point of what I do-the Monster Ball, the music, the performance art aspect of it-I want to create a space for my fans where they can feel free and where they can celebrate because I didn't fit in in high school and I felt like a freak. So I like to create this atmosphere for my fans where they feel like they have a freak in me to hang with and they don't feel alone."

"Amidst all of these flashing lights I pray The Fame wont take my life."

"I am a feminist. I reject wholeheartedly the way we are taught to perceive women. The beauty of women, how a woman should act or behave. Women are strong and fragile. Women are beautiful and ugly. We are soft-spoken and loud, all at once. There is something mind-controlling about the way we're taught to view women. My work, both visually and musically, is a rejection of all those things. And most importantly a quest."

"Everybody wants me to show my vagina to the world. And the truth is, I don’t have to."

"It takes time to become myself every morning."

"She reinvents herself from album to album. I reinvent myself week to week. I get quite bored with things and I don't want to let down my fans."

"People think I'm unusual but it's just that we haven't had anyone like this since the Seventies."

"I've learned love is like a brick, you can build a house or sink a dead body."

"'Judas' is a metaphor and an analogy about forgiveness and betrayal and things that haunt you in your life, and how I believe that it's the darkness in your life that ultimately shines and illuminates the greater light that you have upon you. … Someone once said to me, 'If you have no shadows then you're not standing in the light.' So the song is about washing the feet of both good and evil, and understanding and forgiving the demons from your past in order to move into the greatness of your future … I just like really aggressive metaphors — harder, thicker, darker — and my fans do as well. So it is a very challenging and aggressive metaphor, but it is a metaphor.""

"Some women choose to follow men, and some women choose to follow their dreams. If you’re wondering which way to go, remember that your career will never wake up and tell you that it doesn't love you anymore."

"I had a boyfriend who told me I’d never succeed, never be nominated for a Grammy, never have a hit song and that he hoped I’d fail,[...] I said to him, ‘Someday, when we’re not together, you won’t be able to order a cup of coffee at the f—ing deli without hearing or seeing me."

"I refused to compromise and allow my talents to be monetized to the point that I don't want to be here anymore. I will quit if I am ever not allowed to be myself. I will be myself until they f—ing close the coffin, so that you can all be yourselves too."

"Talented, brilliant, incredible, amazing, show stopping, spectacular, never the same, totally unique, completely not ever been done before, unafraid to reference or not reference, put it in a blender, shit on it, vomit on it, eat it, give birth to it."

"My real fans understand what it is I do, but on another level I have fans who just love my music and don’t know I write it and enjoy it shallowly — and that’s OK too. I think art and music should be just as powerful if you drink it shallow as if you drink it deep."

"You know, I have such an appreciation for where I am in my life because I've struggled and because I couldn't get signed, and because I couldn't get played on the radio, … There are times when it can be a lot to deal with but always when I get up in the morning I try to find that very joyful place that reminds me that I would die if someone took it all away. If someone did that I wouldn't be a person anymore."

"Right now the only thing that I am concerned with in my life is being an artist … I had to suppress it for so many years in high school because I was made fun of but now I'm completely insulated in my box of insanity and I can do whatever I like."

"My ideas about fame and art are not brand new … We could watch Paris is Burning, we could read The Warhol Diaries, we could go to a party in New York in 1973 and these same things would be being talked about. I guess you could say that I'm a bit of a Warholian copycat. Some people say everything has been done before, and to an extent they are right. I think the trick is to honour your vision and reference and put together things that have never been put together before. I like to be unpredictable, and I think it's very unpredictable to promote pop music as a highbrow medium."

"I don't want to see Bowie in a tracksuit. He never let anyone see him that way. The outlet for my work is not just the music and the videos, it's every breathing moment of my life. I'm always saying something about art and music and fame. That's why you don't ever catch me in sweatpants."

"I have found that my work has to be both deep and shallow … All of my songs have meaning, all of my clothing has iconography buried into it. But by the same token, it's just as special if you look at it in its shallowest form. A quick moment of melody, a beautiful dress. People think, "Gaga's so sweet", or "Gaga sucks". The point is that it's memorable. For commercial art to be taken seriously as fine art is a very unusual and difficult task. I think that a lot of people don't get it and a lot of people don't know what to make of me. And, you know what? I'm OK with that."

"I wanna roll with him a hard pair we will be. A little gambling is fun when you're with me (I love it). Russian Roulette is not the same without a gun. And baby when it's love if it's not rough it isn't fun, fun."

"I want your love and I want your revenge You and me could write a bad romance"

"And I know that it's complicated But I'm a loser in love. So baby raise a glass to mend All the broken hearts Of all my wrecked up friends.I'll never talk again. Oh boy you've left me speechless. You've left me speechless, so speechless."

"Just a second, It's my favorite song they're gonna play. And I cannot text you with A drink in my hand, eh. You shoulda made some plans with me, You knew that I was free. And now you won't stop calling me; I'm kinda busy."

"I'm gonna marry the night. I won't give up on my life. I'm a warrior queen, Live passionately tonight.I'm gonna marry the dark, Gonna make love to the stark. I'm a soldier to my own emptiness. I am a winner."

"I'm beautiful in my way 'cause god makes no mistakes. I'm on the right track baby, I was born this way. Don't hide yourself in regret, Just love yourself and you're set. I'm on the right track baby, I was born this way."

"When he comes to me, I am ready. I’ll wash his feet with my hair if he needs, Forgive him when his tongue lies through his brain. Even after three times, he betrays me. I’ll bring him down, bring him down, down, A king with no crown, king with no crown."

"I've had enough, this is my prayer. That I'll die living just as free as my hair."

"When I'm on a mission, I rebuke my condition. If you're a strong female you don't need permission."

"(Something), something about this place (Something), something, ‘bout lonely nights And my lipstick on your face Something, something about My cool Nebraska guy. Yeah, there's something about Baby, you and I."

"It's hard to feel the rush, To push the dangerous. I'm gonna run right to, to the edge with you, Where we can both fall over in love.I'm on the edge of glory, And I'm hanging on a moment of truth. Out on the edge of glory, And I'm hanging on a moment with you."

"I wanna be the girl under you (oh yeah) I wanna be your G.U.Y (yeah) I wanna be the grave and unearth you (oh yeah) Our sexes tell us no lies."

"I stand here waiting for you to bang the gong, to crash the critic saying Is it right or is it wrong? If only fame had an IV, Baby could I bear being away from you? I found the vein, put it in here."

"Tryin' to get control, Pressure's takin' its toll. Stuck in the middle zone, I just want you alone. My guessing game is strong, Way too real to be wrong. Caught up in your show, Yeah, at least now I know.It wasn't love, it wasn't love, It was a perfect illusion (Perfect illusion). Mistaken for love, it wasn't love, It was a perfect illusion (Perfect illusion). You were a perfect illusion."

"You're giving me a million reasons to let you go. You're giving me a million reasons to quit the show. You're givin' me a million reasons, Give me a million reasons, Givin' me a million reasons, About a million reasons.If I had a highway, I would run for the hills. If you could find a dry way, I'd forever be still. But you're giving me a million reasons, Give me a million reasons, Givin' me a million reasons, About a million reasons."

"I've got a hundred million reasons to walk away, But baby, I just need one good one to stay."

"I have a lot to weigh: the basis of public service, which I've given my life to, a career choice. And most importantly, what I want to do as a parent. I know something about the White House. That, I assume, is one of the reasons that President-elect Obama would like me to serve. But I also know something about what it means to a family. .. [Republicans] can go fuck themselves!"

"You never want a serious crisis to go to waste. And what I mean by that [is] it's an opportunity to do things that you think you could not before."

"[Obama White House] rescued the economy from the worst recession."

"Chief of staff is the only White House job with two titles: chief and staff. The first allows for structure and accountability. The second, well, just remember whose name was on the ballot, check your ego at the door and understand you're there to serve the President and ensure that his—or, someday, her—vision is being executed. When I had the role, I used to joke on Fridays, "Lucky us, just two more workdays until Monday." It's an all-consuming, thankless job—but walking through those gates at the beginning and end of each day, no matter how early or late, brings a tingle to your spine. The day that goes away is the day it's time to go."

"Is there no decency to this man?"

"This is an ironic choice for a president-elect who has promised to change Washington, make politics more civil and govern from the center."

"I’m running for mayor of the city of Chicago because Chicago needs to go in a different direction. For the past four years, we’ve seen Mayor Emanuel arrive in town with a boatload of money, impose his policies on the people of the city of Chicago. They favored a select few in Chicago. Through the amassing of large sums of money, he thought he could get re-elected, while leaving behind Chicago neighborhoods, making Chicago a city that leads the nation in the number of school closings—almost 50—and making Chicago, at the same time, one of the most violent cities in the country."

"When I first met him, we had dinner together, and he said, “Well, you know, 25 percent of these kids are never going to be anything. They’re never going to amount to anything. And I’m not throwing money at it.” And I was like, “Wow! You know, even if you believe that, you can’t say that to me.” So, I just watch how he has used black and brown and poor children as props to push an agenda that is all about privatization and all about so-called accountability, but it’s really the status quo, because once schools get put on probation here in Chicago, the Chicago Public Schools takes over, takes away the democratically controlled local school councils, takes that power away from them to hire and fire and evaluate principals and to spend discretionary funds. So, we see this culture of punishment and culture of disinvestment, and it is rampant and obviously spreading throughout the country."

"Rahm Emanuel is son of the devil's spawn. He is an individual who would sell his mother to get a vote. He would strap his children to the front end of a steam locomotive."

"(Mother's Day) is a tough holiday for Rahm Emanuel because he's not used to saying the word "day" after "mother"."

"It is also a truly embarrassing indictment of what's considered "center" politics in the US that objecting to the appointment of an official who helped cover up the murder of a Black child is deemed the "progressive, far left" position...What is so hard to understand about this? Rahm Emanuel helped cover up the murder of Laquan McDonald. Covering up a murder is disqualifying for public leadership. This is not about the "visibility" of a post. It is shameful and concerning that he is even being considered."

"Several years ago, Chuy Garcia ran a brilliant and surprisingly effective campaign for mayor against Rahm Emanuel, the machine-backed and well-funded Democrat."

"With Rahm, you get someone who is both a great strategic thinker and a great tactician. It's great to have someone who knows the Congress inside and out. There can often be major differences between the executive branch and the congressional branch, even when you're from the same party. It will certainly help in terms of getting things done."

"Two of Chicago’s four city pension funds will be bankrupt within a few years, according to Chicago Mayor Rahm Emanuel. You’d think that’s a scenario unions – the supposed champions for public-employee retirements – would want to avoid. But not in Chicago. Unions are fighting to block any kind of pension reform, effectively locking in bankruptcy for city-employee pension systems."

"Let other dance styles inspire and influence your own and remember that there are no boundaries. Dare to be original."

"...it’s your work ethic that is going to get you far, no matter what you do."

"Enjoy the journey. Enjoy the journey, and the hard work and the sacrifices and opportunities it takes to get somewhere, because it will all make you better at what you do when you arrive."

"Be proud of what it is that you’re doing and you’ll do a better job."

"Ask yourself why you [dance]. Don't do it for the wrong reasons. You have to love it because it's a tough business and you're not always going to get to do the cool jobs and those things. So if your heart is in the right place, you will find happiness within the dance."

"If you fall out of love with what you’re doing, don’t be afraid to move on. And failing once doesn’t mean you’ll fail every time. You will fail, however, if you don’t learn from your mistakes. Fight for what’s important to you, but be conscious of your approach when speaking up. If you speak out of anger, odds are, your message won’t be heard as clearly. And never let the envy you might feel for another turn into jealousy or hatred. Instead, use that energy as motivation to work harder."

"Dance from your heart. If you dance from your heart, you'll always love it."

"I think they're all equally hard. They all have their own techniques and when you don't train in that technique then it's difficult. Y'know, especially for somebody in a ballroom who's use to stepping heal-to-toe and they get into a jazz routine and they're up on relevé the whole time. So everything has its own technique and when you get use to one way, it's difficult to switch."

"I think the future of dance is where we came from, where the dancers are the stars and I see in the next ten years dancers being these huge stars and the movie musical coming back."

"Dance is not an internal thing. You have to be able to give to somebody else visually watching or they won't care. If they don't leave with some type of emotional feeling—whether it be you cry, or you laugh, or you jump in the air for joy—then it becomes movement and we haven't done our job."

"We see people who dance really well and can't perform all the time. It's in our community, our dance community. It's like that because we've been doing back-up dancing for so long. We're always in the background of the movies and we're always behind the artist so our job is not to outshine the artist. Well now, with all these dance television shows, we're getting a chance to be the artist. We're on the forefront. We're the Gene Kellys and the Fred Astaires of this generation and it's our job to make people feel something and to really perform."

"This time in dance, this era, is probably one of the most entertaining times. It's got this whole new style of hip-hop which encompasses 20 different styles within it. There's no boundaries to it so people are taking it to the next level. And I think as an audience, everyone is saying Whoa, that is energetic. That is gymnastics, that is dancing, and that's entertainment combined in one. And that's a beautiful thing."

"Somewhere in the world of dance we started thinking about steps way too much: technique, steps, technique, steps. You can do all the technique you want, the regular public doesn't know. All they know is how you perform and what you tell them and what you make them feel; and when you make somebody feel something, it is undeniable."

"There's a life to dance that has to happen and it was seen years ago with Gene Kelly, Fred Astaire, Ginger Rogers, and the life and the feeling they had in a performance. And when you watch them and you see them and you start to sway with them and you start to move with them and you miss that sometimes and that's what needs to happen with dance again."

"Why would you want to be back-up dancer when you could be the actual star? Let's show the world that we're stars. Let's perform like stars."

"When you can tell the story of the song through your movement, it's brilliant. It comes across as so honest and not fake."

"This is one of the great things about this show is that we've really explored a totally new thing which is lyrical hip-hop and [Tabitha and Napoleon] nail it... It shows you that hip-hop [has] completely become a really legitimate beautiful genre in and of its own and you can tell such beautiful and heart breaking stories."

"What better work can you ask for than to be with her?"

"I am crazier about him than ever... We have been working together for so long. We know how one another operate and have such a good rhythm. If we are apart, I miss him because I need his feedback. I welcome his input even if it is different than mine because it always gives us a better product."

"I guess it's the first season... where I've been effected emotionally by hip-hop routines."

"Usually their choreography's a bit cotton candy..."

"We work together so much; it's weird doing even an interview separately, … [a]nd when we teach we vibe off each other. I'll start a joke, and Tabitha will finish it. I'll start choreographing, and she'll continue. We don't plan it like that; it just happens."

"I love the So You Think You Can Dance show. I love it. I think it’s some of the best hours on TV. I think those dancers are extraordinary and, more so, I think those choreographers are uniformly amazing[...] And so I got two of who I think are the best choreographers on SYTYCD — Tabitha and Napoleon — to be involved in some movement elements. Because I think when dance is mediocre, it’s painful. But when dance is really impressive, it destroys."

"I don't know how they do it but [Tabitha and Napoleon] love each other so much. They're this husband and wife duo that work together all the time and yet I've never seen them have an argument. I've never seen them kind'of roll their eyes at each other. I've never seen anything like that. They are the perfect example of a fabulous marriage."

"Honestly, I thought of him as a good-looking jock kind of guy, and I didn’t think he was very artistic or very smart."

"Somehow Napoleon and Tabitha have this ability... to put emotion into hip-hop routines and it really is a real talent."

"One of the biggest complaints about season 4 is the time the judges spent heaping endless praise upon the choreographers rather than discussing the dancers, but in the case of hip-hop choreographers Napoleon and Tabitha Dumo [sic] (i.e., [NappyTabs], now and forever), that praise was well-deserved. The couple brought a lyrical storytelling sensibility to their routines that transformed hip-hop from hard-hitting abstract steps to something far more emotionally engaging."

"Maybe it's because Laurieann Gibson is my choreographer and I'm really close with her but it's the interpretation of hip-hop that I thought was a little bit contrived."

"I've had a lot of unhappiness in my life — and a lot of happiness. Who doesn't? Maybe I've learned enough to be able to guide my daughters."

"I have always felt that one of the secrets of real beauty is simplicity."

"Perhaps if we thought for a second of the classic, simple elegance of the Spanish lady it might help us to be "simply" ourselves."

"Movies were much better in the days when I was doing them."

"I'm an afternoon person."

"Nobody makes up my mind for me. They used to at Columbia."

"Everybody else does nude scenes, but I don't. I never made nude movies. I didn't have to do that. I danced. … I was provocative, I guess in some things. But I was not completely exposed."

"Just because I was married to Aly Khan, people think I'm rich. Well, I'm not. I never got a dime from Aly or from any of my husbands."

"Dancing in Tijuana when I was 13 — that was my "summer camp." How else do you think I could keep up with Fred Astaire when I was 19?"

"Men fell in love with Gilda, but they wake up with me."

"I loved Fred so, and I mean that in the nicest, warmest way: I had such affection for him artistically. I think that experience with Fred was a divine blessing. It blessed me, I know, and I don't think blessings are one sided."

"That's pure bunk. I adored Fred. We were good friends. Our only problem is that we never aspired to be any kind of a team. We didn't want to be Abbott and Costello. We thought of ourselves as individuals. We didn't intend to be another Frick and Frack. [smiling, after a pause] But it happened anyway, didn't it? And I'll be forever grateful it did."

"Ginger Rogers did everything Fred Astaire did, except backwards and in high heels."

"What's all this talk about me being teamed with Ginger Rogers? I will not have it Leland--I did not go into pictures to be teamed with her or anyone else, and if that is the program in mind for me I will not stand for it. I don't mind making another picture with her but as for this teams idea, it's out."

"She had guts."

"The hardest working actress I ever knew."

"Ginger was brilliantly effective. She made everything work for her. Actually she made things very fine for both of us and she deserves most of the credit for our success."

"Believe me, Ginger was great. She contributed her full fifty percent in making them such a great team. She could follow Fred as if one brain was thinking. She blended with his every step and mood immaculately. He was able to do dances on screen that would have been impossible to risk if he hadn't had a partner like Ginger - as skillful as she was attractive."

"It's hard to make a cultural phenomenon every time."

"There are unwanted emotions and pain that goes along with any birth. Preston insists the Scientology-friendly labour doesn't forbid the mum-to-be from yelling out in pain. Screaming is fine... It's the words. If you can avoid saying certain phrases and words... Just try to keep it as quiet as possible. Of course, you are going to groan and yell. It hurts. Just keep it to a minimum."

"We lean on our church heavily, and they have helped us a lot, particularly in recent years... I have fame on the level of Marilyn Monroe, John Belushi, or Elvis Presley, but part of the reason I didn't go the way they did was because of my beliefs. People make judgments about Scientology, but often they don't know what they're talking about."

"Don’t count, feel! The only count I know, is Count Basie!"

"To seek in nature the fairest forms and to find the movement which expresses the soul of these forms — this is the art of the dancer. It is from nature alone that the dancer must draw his inspirations, in the same manner as the sculptor, with whom he has so many affinities. Rodin has said: "To produce good sculpture it is not necessary to copy the works of antiquity; it is necessary first of all to regard the works of nature, and to see in those of the classics only the method by which they have interpreted nature." Rodin is right; and in my art I have by no means copied, as has been supposed, the figures of Greek vases, friezes and paintings. From them I have learned to regard nature, and when certain of my movements recall the gestures that are seen in works of art, it is only because, like them, they are drawn from the grand natural source. My inspiration has been drawn from trees, from waves, from clouds, from the sympathies that exist between passion and the storm, between gentleness and the soft breeze, and the like, and I always endeavour to put into my movements a little of that divine continuity which gives to the whole of nature its beauty and its life."

"I have closely studied the figured documents of all ages and of all the great masters, but I have never seen in them any representations of human beings walking on the extremity of the toes or raising the leg higher than the head. These ugly and false positions in no way express that state of unconscious Dionysiac delirium which is necessary to the dancer. Moreover movèments, just like harmonies in music, are not invented; they are discovered."

"Bernard Shaw says that as long as men torture and slay animals and eat their flesh we shall have war. I think all sane, thinking people must be of his opinion. The children of my school were all vegetarians, and grew strong and beautiful on a vegetable and fruit diet. Sometimes during the war when I heard the cries of the wounded I thought of the cries of the animals in the slaughterhouse, and I felt that, as we torture these poor defenceless creatures, so the gods torture us. Who loves this horrible thing called war? Probably the meat-eaters, having killed, feel the need to kill—kill birds, animals—the tender stricken deer—hunt foxes. The butcher with his bloody apron incites bloodshed, murder. Why not? From cutting the throat of a young calf to cutting the throat of our brothers and sisters is but a step. While we are ourselves the living graves of murdered animals, how can we expect any ideal conditions on the earth?"

"I could have played the part of Saint Joan. I ought to have played it. I have the ample figure, the hardy physique of a farm-servant. Joan was a buxom creature. Yet she is always played by thin little actresses."

"Love is not the sacred thing that poets talk about … Love is an illusion; it is the world's greatest mistake. I ought to know for I've been loved as no other woman of my time has been loved. Men have threatened suicide, they have taken poison, they have fought duels for me. All kinds have come to me — geniuses, poets, millionaires, artists, musicians — but now there is not one to whom I have appealed for the loan of £25 who have responded. There is love for you!"

"I could not adopt him so I married him. You know how wonderful he is, like all Russians. He starts reciting verse at two o'clock in the morning."

"The movement of the waves, of winds, of the earth is ever in the same lasting harmony. We do not stand on the beach and inquire of the ocean what was its movement of the past and what will be its movement of the future. We realize that the movement peculiar to its nature is eternal to its nature. The dancer of the future will be one whose body and soul have grown so harmoniously together that the natural language of that soul will have become the movement of the body."

"And here I want to avoid a misunderstanding that might easily arise. From what I have said you might conclude that my intention is to return to the dances of the old Greeks, or that I think that the dance of the future will be a revival of the antique dances or even of those of the primitive tribes. No, the dance of the future will be a new movement, a consequence of the entire evolution which mankind has passed through. To return to the dances of the Greeks would be as impossible as it is unnecessary. We are not Greeks and therefore cannot dance Greek dances."

"But the dance of the future will have to become again a high religious art as it was with the Greeks. For art which is not religious is not art, is mere merchandise."

"The harmony of music exists equally with the harmony of movement in nature. Man has not invented the harmony of music. It is one of the underlying principles of life. Neither could the harmony of movement be invented: it is essential to draw one’s conception of it from Nature herself, and to see the rhythm of human movement from the rhythm of water in motion, from the blowing of the winds on the world, in all the earth’s movements, in the motions of animals, fish, birds, reptiles, and even in primitive man, whose body still moved in harmony with nature…..All the movements of the earth follow the lines of wave motion. Both sound and light travel in waves. The motion of water, winds, trees and plants progresses in waves. The flight of a bird and the movements of all animals follow lines like undulating waves. If then one seeks a point of physical beginning for the movement of the human body, there is a clue in the undulating motion of the wave."

"Isadora Duncan's arms were not clichéd ketchup buddhas like those we're used to seein' in Hollywood & Co., but real floral contaminations, devils in the raw whose blood had sublimely turned to nitroglycerin, or some other "secret" substance even more deadly & dangerous than fire & poison, at the exact moment she discovered the dance."

"All my muses in the theatre are movements seized during Isadora's flight; she was my principal source."

"I shall never forget the first time I saw her come on to an empty platform to dance. … She came through some little curtains which were not much taller than herself — she came through and walked down to where a musician, his back to us, was seated at a large piano — he had just finished playing a short prelude by Chopin when in she came, and in some five or six steps was standing at the piano, quite still — you might have counted five or eight, and then there sounded the voice of Chopin in a second prelude or etude — it was played through gently and came to an end — she had not moved at all. Then one step back or sideways, and the music began again as she went moving on before, or after it. Only just moving — not pirouetting or doing any of the things which a Taglioni or a Fanny Elssler would have certainly done. She was speaking her own language, not echoing any ballet master, and so she came to move as no one had ever seen anyone move before. The dance ended, she again stood quite still. No bowing, no smiling — nothing at all. Then again the music is off, and she runs from it — it runs after her — for she has gone ahead of it. How is it that we know she is speaking her own language? We know it, for we see her head, her hands, gently active, as are her feet, her whole person. And if she is speaking, what is it she is saying? No one would ever be able to report truly, yet no one present had a moment's doubt. Only this can we say — that she was telling to the air the very things we long to hear; and now we heard them, and this sent us all into an unusual state of joy, and I sat still and speechless."

"I have the right to choose the father of my own children," she declared, and then wrote to George Bernard Shaw: "Will you be the father of my next child? A combination of my beauty and your brains would startle the world," but he replied: "I must decline your offer with thanks, for the child might have my beauty and your brains."

"It was never easy to coax Isadora Duncan into a photographer's studio. Like a wild and wise animal, she fled from those who sought to capture the essence of her — which was motion — by making her stand still."

"The most interesting women in modern European history appear in the ranks of radical political movements. It is difficult to find conservative or traditional counterparts equal to Louise Michel, Emma Goldman, and Rosa Luxemburg. Even Isadora Duncan, creator of modern dance, flirted with communism. More thoughtful and articulate and certainly as politically active as any of these women is the lesser known Spanish anarchist, Federica Montseny. On asking what attracted these women to radical politics, one discovers in each a commitment to feminism. No person, not even Emma Goldman, explored this necessary relationship between feminist and socialist principles more provocatively than did Federica Montseny."

"This great artist is no longer in our world. The sun has set: the cycle is finished. In her art and in her life Isadora Duncan seemed to be an incarnation of all the energies of Nature."

""Come away! Her dancing says. Come out into the splendid perilous world! Come up on the mountain-top where the great wind blows! Learn to be young always! Learn to be incessantly renewed! Learn to live in the intemperate careless land of song and rhythm and rapture! Say farewell to the world you know and join the passionate spirits of the world’s history! Storm through into your dreams! Give yourself up to the frenzy that is in the heart of life, and never look back, and never regret! You shall become sweet and mad as a lover …"

"In those moments where beauty and emotion fuse and climax, something of the immortal floats about the dancer; she wanders in a divine ray, in a mist where all works of art circle in unison with her."

"Perhaps the greatest personality who has ever devoted herself to developing the art of the dance … Her interests ranged over a wide field of activities. There was a time when she wished to initiate a reform of human life in its least details of costume, of hygiene, of morals. But gradually she came to concentrate her interest upon the dance. For her the dance is not merely the art which permits the spirit to express itself in movement; it is the base of a whole conception of life, a life flexible, harmonious, natural. In the development of the dance she found herself confronted by the dilemma which has just been alluded to. On the one hand was the limited technique of the ballet, on the other the unnatural contortions of the eccentric school. To return to the unconscious gesture of the people — that is to say, the crude, stereotyped gestures of the street — offered no way of escape. She found the solution in a return to the natural gesture of human life as represented in Greek art."

"Isadora Duncan has not dealt with the dance intellectually, nor spiritually — but personally. The Age saw to that!"

"Her dances were hymns to freedom — of sensibility, of passion, of the transcendentally convinced and convincing Emersonian soul … Today it is hard to picture convincing interpretations of Joy, Hope, Immortality, the Soul. But at the turn of the century an American girl, incarnating these and more, coincided with historical promise."

"The revival of the dance is significant of the abiding, though much forgotten, need of the world for its arts, and a proof of the strange immortality of the arts themselves. A few years ago several great dancers came to summon the world, who must have prepared through long periods separately and without a common plan; yet with the effectiveness of premeditated simultaneity they appeared, as it were in a company. And the response of a world still hungering, somewhat dimly, for the arts, was the welcome we give to an advent long desired. Fortunate were those whose introduction to this momentous movement came by way of the greatest of its exponents, Isadora Duncan. It was one of the great hours, of which we have but three or four in a lifetime, when we first saw her. In that hour we sensed the manifold meanings and implications of the dance; its ecstasies, inspirations, and healing beneficences, and its possibly unimaginable importance to the modern world."

"The dancing of Isadora Duncan is great symbolic art; now, when perhaps we have seen it for the last time, we must unhesitatingly re-affirm our conviction that it is one of the superlative artistic expressions of eternal spiritual glories. Her endowment is no mere talent for the consummation of exterior beauties; it is genius. She is a seer and a prophet, fulfilled of understanding and wisdom. The deep disease of the soul, its wasting, anemic illness since it ate of the weeds of prudery and went wandering on the hard roads of materialism, is known to her, and she has a great pity; and with devoted effort, through consecrating trials of toil and rejection, she has fitted herself to be a physician of the spirit. She brings us pure wine from an ancient vineyard, and she will not mingle with it any sharp strange bitters to sting our jaded taste. In her manner is nothing either of decadence nor of gigantic, splendid but agonising dramaturgy. She is of the company of those who have held to the slender infragible thread of the eternal tradition of beauty. And coming so, she startles our spiritual memories from a sleep of centuries. What glorious things she makes the soul remember! Once we were young, and the leaping blades of our desire striking the granite facts of life lit lively fires of wonder. We were simple, so that when the moving beauty of nature and the joy of each other's company stirred us to ecstasies, we sought free and natural expression; we danced — we danced as the movements of waves and branches, and as the exquisite beauties of our own bodies suggested. Such memories she evokes by her subtle gestures and movements, which are as the dancing of a leaf over the ground, as the drifting of mist over the still surface of a lake at dawn. The morning of time dawns upon our spirits again, and once more we have a sense that hears the gods. Watching her we see the soul of man moving in the dance of destiny; dreaming, hoping, aspiring, questioning; thrilling with desire and joy and melancholy, crushed, purged and raised again; the spirit of man enduring its trials and triumphing in the great adventure. This is the interpretation of life by the intuitive wisdom of genius, which is feeling confirmed by thought, and which understands that the ultimate of human apprehension is a mysticism impossible of interpretation save in symbolic art."

"Here was a great woman; a magnificent, generous, gallant, reckless, fated fool of a woman. There was never a place for her in the ranks of the terrible, slow army of the cautious. She ran ahead, where there were no paths."

"When she read my first book Visions and Revisions, she sent me so many red roses that they filled the little flat, but I was too nervous to go and see her. She has been one of the most thrilling sensations — but that is a wretched word to express it — of my whole existence. She has danced for me alone — with a beauty that makes the most beautiful young girls' dancing seem mere child's play. It was as though Demeter herself, the mater dolorosa of the ancient earth, rose and danced. Well, she has gone — and I enclose to you the red rose she gave to me as she went."

"She suggested that the sculptor might probe the Greek spirit by studying modern dance. Antoine Bourdelle agreed. Capturing Duncan's appeal for a generation of sculptors, he likened the dancer to an "antique marble throbbing with eternity," who infused with life a classical sporty all but snuffed out by stale academicism."

"She was a flame sheath of flesh made for dancing. She believed she ran into storm, rain, sun and became part of them and they were afterward woven in her dances."

"The wind? I am the wind. The sea and the moon? I am the sea and the moon. Tears, pain, love, bird-flights? I am all of them. I dance what I am. Sin, prayer, flight, the light that never was on land or sea? I dance what I am. Roses, lovers, money, children, came to her in her life dance from California to Russia. When her dancing days were not yet over but almost come to an end, she died in a swift ride with a flame red scarf enwrapping her neck tighter and tighter."

"Isadora Duncan! … I feel that she dances a symbol of human, animal happiness as it should be, free from the unnatural trammels. Her great big thighs, her small head, her full solid loins, belly — clean, all clean — she dances away civilization's tainted brain vapors, wholly human and holy — part of God."

"Poetry personified. She is not the Tenth Muse but all Nine Muses in one — and painting and sculpture as well."

"Whenever you feel the evil influence of the middle class muddling your soul, you'll say these two words and you'll be a free spirit again: "Isadora Duncan.""

"Nor must we forget the liberating force which sprang from the art of Isadora Duncan, whose heroic practice has done more than any precepts of philosophy to widen our ideas as to the intellectual and spiritual possibilities of the dance."

"Good manners. They're forgotten in America. I think it's bad manners to stand around in public with ripped jeans and your hair in a mess, holding a Starbucks."

"Madonna is the only modern celebrity who is truly a style icon. Who else has the audacity to dress like her these days? She really influenced how I wanted to look when I was growing up, and made me realize that I didn’t have to look like a blond beach bunny or a Playboy model."

"You know how some celebrities have fans of the opposite sex, who imagine they’re going to marry them and live happily ever after? I have a different thing. Over the past 15 years I’ve had a few female fans who’ve gone overboard and been upset because we didn’t become best friends and go shopping together."

"Playboy is the second most-recognised symbol in the world after Coca-Cola, It’s a Hollywood walk of fame for female bodies. My dad is a different story – he threw me out of the house when I was 16 because I worked in the lingerie store and wore black lace panties. But he loved that I was on the Playboy cover; suddenly I was his daughter again. In fact, everything changed after the Playboy cover. Before, people were scared of me, but suddenly what I did was validated."

"At eurovision, The Armenians are killing me with their hair and especially the fierce cateye liner! LOVE! I am part Armenian, in fact."

"You can be a delicious, ripe peach and there will still be people in the world that hate peaches."

"The more I traveled the more I realized that fear makes strangers of people who should be friends."

"[About George McGovern] He is a spiritually evolved political leader."

"Quite often I feel forced to write against the stereotype. As much as you would like to ignore the stereotype, saying it's totally irrelevant, actually you can't. It impinges on your life a lot, it impacts on your work, and I know that quite often I write against the stereotype and I react against the stereotype. One stereotype of Asian Americans is that we're really serious, and we never have any fun, and we have no sense of humor. When Shirley MacLaine made an early trip to China and then she came back with a documentary, one of the things she said on the documentary was that "they have no sense of humor," and "we told all these jokes and they didn't laugh." I think I might overemphasize showing how Chinese and Chinese Americans are the most raucous people: they laugh so much, they're telling jokes, and they're always standing up and performing for one another. They're so outgoing. And so in China Men and in Tripmaster Monkey I really go overboard to emphasize that part of the character. I also think that being able to laugh and to be funny-those are really important human characteristics, and when we say that people don't have those characteristics, then we deny them their humanity."

"It's so nice to get flowers while you can still smell the fragrance."

"Don't be afraid to feel as angry or as loving as you can, because when you feel nothing, it's just death."

"I am not alone. I am free. I no longer have to be a credit, I don't have to be a symbol to anybody, I don't have to be a first to anybody. I don't have to be an imitation of a white woman that Hollywood sort of hoped I'd become. I'm me, and I'm like nobody else."

""Always be smarter than the people who hire you.“"

"I made a promise to myself to be kinder to other people."

"My friend, Miss Lena Horne"

"One of my fondest personal memories was Lena Horne and Mike Douglas. We were booked to do "Here's to My Lady" and a prolonged medley together on a Kraft Music Hall Special. I was so thrilled, I kept making mistakes in rehearsal just so we'd have to do it over again."

"As the first Black woman to fill a football stadium. That is a wish of mine. It hasn't been done. Janis Joplin did it for the White girls. I want to do it for the Blacks."

"I didn't have anybody, really, no foundation in life, so I had to make my own way. Always. From the start. I had to go out in the world and become strong, to discover my mission in life."

"If you are unhappy with anything — your mother, your father, your husband, your wife, your job, your boss, your car — whatever is bringing you down, get rid of it. Because you'll find that when you're free, your true creativity, your true self comes out."

"I will never give in to old age until I become old. And I am not old yet!"

"Well, it was a church person in the early days, Mahalia Jackson. And Rosetta Tharpe. These spiritual, very strong voices. I only knew that they were figures in the black race, recognizable and respected. But I must admit, I've always covered the songs of males. I haven't followed up on women or listened to that much women's music."

"My work is noisy, but my life is quiet. I need nature and solitude — they nurture me. My idea of a vacation is reading a book on the terrace while my boyfriend cooks us dinner."

"I like me very much. When I look in the mirror and my skin glows back at me, I think, "Wow, that sure is pretty." I have a simple, childlike view of life, and I want to keep it. That's why I never got into that Beverly Hills world. So many pretentious people. They just aren't real."

"I am strong, I lived through a divorce, separation from my family, all kinds of hell. I never let it break me down. I'm not an alcoholic, I've never smoked, I've never done drugs. I've floated through the disaster of my past clean."

"My greatest beauty secret is being happy with myself. I don't use special creams or treatments – I'll use a little bit of everything. It's a mistake to think you are what you put on yourself. I believe that a lot of how you look is to do with how you feel about yourself and your life."

"People think my life has been tough but I think it's been a wonderful journey. The older you get, the more you realise it's not what happens, it's how you deal with it."

"I was never glamorous. I was always a little rock 'n' roll and a little funky and all of that. I didn't care about being glamorous and all of that. I just loved the freedom that I had and I enjoyed the work and the band and all of that. That was the love. That truly was the love at the time."

"There's always been an emotion in my voice because it reached back to the life I was living. Where there were tears on stage, it wasn't Hollywood, it was real."

"Someone once asked me about the relationship between singing and chanting. I explained that chanting is not necessarily like singing a song, rather it's that moment when you find yourself making sounds from within – from your heart, from your spirit. Each person has a song inside. That is something I learned over time. You can find the hum inside of you that can give you peace when you are really down."

"I never said, "Well, I don't have this and I don't have that." I said, "I don't have this yet, but I'm going to get it." The way I was thinking, I was choreographing my own life, figuring out which steps to take and, more importantly, picking the right time to take them."

"You have to be someone large on stage, not who you are in your everyday life. When I was performing, I believed that every song told a story, which I expressed through singing and movement. My audience wanted theater, and that's what we gave them. You start out not knowing who they are, or how active they will be, but you want to impress them. If they were quiet and they didn't move, then we had to work together, me, the girls, and the band, to pull them in and show them how to have a good time."

"My wildest dream was to have this kind of success – to pack a stadium, to walk out on a stage and look at the crowd, knowing that they came to see me. What a wonderful turn my life had taken. After so much unhappiness, after thinking that love of any kind would never be a part of my story, love was all around me."

"Let me say this carefully, because I don't want anyone to take it the wrong way, but after working so hard for so many years, I was ready to stop. This was the moment to do it because I wanted to finish with my fans remembering me at my best."

"My longest love affair has been with my audience."

"Buddhism teaches equality — the empowering principle that everyone has the potential to attain enlightenment and become absolutely, indestructibly happy. When we come to see this potential in ourselves, we can see and respect it in everyone else, too. As the Soka Gakkai International (SGI) president Daisaku Ikeda says: "When we realize that our lives are one with the great and eternal life of the universe, we are the Buddha. The purpose of Buddhism is to enable all people to come to this realization." This is so important because it’s open to everyone, regardless of culture, language, even religion. It’s a reminder that everyone equally has the potential for Buddhahood, for enlightenment, and that our salvation is up to us."

"Even on the saddest days, one thing helps: treasuring happy memories and looking forward."

"It hurts to have to remember those times, but at a certain stage forgiveness takes over. Forgiving means not to hold on. You let it go, because it only hurts you. Not forgiving, you suffer, 'cause you think about it over and over again. And for what? I had an abusive life, there's no other way to tell the story, it's a reality, it's a truth. That's what you've got. So you have to accept it."

"Spirituality isn’t tied to any one religion or philosophy. It isn’t the property of a priesthood or clergy. Spirituality is a personal awakening and relationship with our Mother Earth and the universe that increases openness and positivity. My awakening began five decades ago through my practice and study of Buddhist teachings. Sharing the story of this most precious part of my life with you is a long-cherished dream. This book carries my personal guidance on how to create lasting happiness. It explains spiritual truths I’ve learned on my unlikely path to joy, from childhood to today."

"Each of us is born, I believe, with a unique mission, a purpose in life that only we can fulfill. We are linked by a shared responsibility: to help our human family grow kinder and happier. I first learned about the workings of the universe from my daily experiences growing up in Nutbush, Tennessee, a small rural town. I loved spending time outside, running through the fields, looking up at the heavenly bodies in the sky, spending time with animals—domestic and wild ones—and listening to the sounds of nature. Even as a little girl, I sensed an unseen universal force as I walked through the wide-open pastures each day. Communing with nature taught me to trust my intuition, which always seemed to know the way home when I was lost, the best branch on a tree for swinging, or where a treacherous rock was hidden in a stream. I learned to listen to my heart, which taught me that you and I are connected to each other and everything else on this planet. We are joined together by the mysterious nature of life itself, the fundamental creative energy of the universe. In this complicated world of ours, where contradictions abound, we find breathtaking beauty in the most unlikely places. The brightest rainbows appear after the heaviest of storm clouds. Magnificent butterflies emerge from the drabbest cocoons. And the most beautiful lotus flowers bloom from the deepest and thickest mud. Why do you suppose life works this way? Perhaps those rainbows, butterflies, and lotus flowers are meant to remind us that our world is a mystical work of art—a universal canvas upon which we all paint our stories, day by day, through the brushstrokes of our thoughts, words, and deeds."

"No matter where you’re born or who your parents are, it seems to me that we all start out with a mixture of circumstances, with both darkness and light. Some of us experience more of one than the other. And I believe there is an inextricable link between us and our ancestors, that we stand on the shoulders of those who came before us. If there’s one lesson I’ve learned, it’s that encountering adversity, as I have, isn’t necessarily a bad thing. It’s what we make of it, how we use it to shape ourselves and our futures, that ultimately determines our success and happiness."

"I had witnessed the circle of life and death in nature, where plants and animals came and went in their own time. And I had heard about deaths in our community, young and old people, dying in all sorts of circumstances. But this time it was very personal. After Margaret died, there was a lot of talk about God's will. Our community was deeply Baptist, after all, and that was a natural response to the sudden tragedy that killed her and a few other young people, including my half sister Evelyn (my mother's child from a previous relationship). Thinking about the mysteries of life and death, I didn’t have a problem with the concept of an underlying universal force. But the idea of a bearded old white man in space, monitoring activities here on Earth, felt unrelatable and just plain unreal. I couldn't verbalize my own vision of God then, as the vocabulary hadn't come to me yet. But from the youngest age I can recall, I knew I could experience "Godliness" in Mother Nature. Something told me I had a piece of God in my heart, even if the traditional beliefs of my family and the way they practiced religion weren't right for me. I wished they practiced what they preached and lived more positive lives."

"The challenges we face in life can come from outside ourselves, or they can come from within. I know from personal experience that there are sometimes negative voices in your head, and they can be dangerous. These voices may say you’re too old, too young, too gay, too straight, too thin, too fat, too this, too that. The voices may tell you it’s too late for your dreams, or that no one will love you. They may tell you all sorts of lies to keep you trapped in unhealthy cycles of self-doubt. Maybe you've allowed your negative voices to undermine your self-esteem, to hinder your work, or to keep you locked in unhealthy relationships. If so, it's time to tell those voices you've heard their propaganda, and you're not going to take it anymore. Dismiss them, and you will be the only one holding the pen as you write the story of your life."

"Imagination, visualizing, and dreaming big, combined with hard work, determination, and faith, are what got me where I wanted to go, and they can do the same for you. If you ever find your resolve melting away, tell yourself, “This time I’ll do it! This time I’ll win!” As long as you keep moving forward, despite any disappointments and setbacks, you will be on the path to victory. I’ve observed people who veered from the path of self-improvement, having been swayed by short-term outlooks, failures, or by the opinions of others. In every case, their life condition suffered. Thankfully, I’ve known many more people who strived to improve themselves and work for the greater good. Invariably, their lives became more fulfilling. It boils down to a matter of choices—making thoughtful decisions toward improvement, for yourself and for others—and the intention behind those choices. At every moment, we always have a choice, even if it feels as if we don’t. Sometimes that choice may simply be to think a more positive thought. Remember that cultivating the deepest dimension of yourself, your inward journey, is always the most direct path to happiness. So, let’s rev up our humanity, and rev up our lives. Think of the rev in the word revolution as meaning you have the opportunity to accelerate the speed of your human revolution and rev it up. I know you’ll be happy you did."

"My Buddhist faith has been the foundation of my personal path toward revolution. But you don’t have to be a Buddhist to benefit from these principles. In fact, you don’t have to be a Buddhist to be a Buddha. As Daisaku Ikeda says, "When we realize that our lives are one with the great and eternal life of the universe, we are the Buddha. The purpose of Buddhism is to enable all people to come to this realization." This mind-set is open to everyone, regardless of religion or cultural background. The Lotus Sutra’s ancient wisdom belongs to all humanity, proclaiming that each person equally possesses the Buddha nature, with infinite potential and inherent dignity, lighting the way to true independence and absolute happiness for everyone."

"I like reading the comments on my online accounts as much as anyone. But I also know there is a lot of toxicity online, and many people aren’t as kind to others in the virtual world as my fans are to me. Commonplace distortions in the online world — with manipulated images and selective sharing that shows people enjoying a seemingly carefree, “perfect” life — are an unhealthy influence on the mind, especially young minds. From the priorities I see being valued online today, and in the media in general, it’s no wonder that many people think that aspiring to be a billionaire is the most important thing in the world. It’s no wonder people feel increasingly divided and lonely. In reality, what we need most right now are legions of billionaires of the heart, multitudes of masters of the mind, and models of peace, equality, and unity in diversity. That, in my opinion, is what upcoming generations need to see. I hope that, somehow, in the near future, the various technological poisons that society is facing can be turned into healing medicine. At the moment, the best solution is to simply spend less time on our phones, tablets, and computers and more time with each other, with real human beings, face-to-face, heart-to-heart. When I’m at home with Erwin, we make it a point not to get distracted by phones at mealtimes. Not that screens and devices are the only culprits. I often find it hard to tear myself away from the book I’m reading — I know you can relate if you love to read as much as I do. But I resist, because no novel can compare to sharing time with my dear partner. I know that the last thing anyone ever wants to do is think about death, but as someone who has faced my own mortality time and again, I am all too aware that life is short and can end at any moment. Being always aware of the limited time we have here on Earth, and making the most of it, for the good of all, is also a part of my spiritual practice."

"We must do our part to prevent barriers from rising between one human heart and another. We must curb the trend of neighbors no longer knowing each other, while they seek a sense of shared identity with people elsewhere, perhaps even in other countries, separating themselves along racial, religious, or national lines. This fracturing of society is unsustainable. We all have a number of aspects to our identities. My identity has included many ingredients in this lifetime, including: daughter, sister, Baptist, singer, American, mother, Buddhist, actress, Swiss, spouse, and more. But the most important, core identity that I share with you and every other person on the planet is this: human. I believe that only by awakening to this shared identity can we save ourselves, individually and collectively, from the problems we face around the world. We must urgently work together to find solutions that can transform the global poisons of systemic racism and homophobia, climate crisis, pandemics, loss of the Amazon jungle, factory farming of animals, fossil fuel consumption, nuclear weapons, plastic pollution, and more. The universal solution to all of the problems confronting humanity is for us to unite as one global team, honoring our truest roots as members of the same circle of life. Uniting in this spirit is my hope and prayer for future generations."

"The good, the bad, the ugly, and the pretty, it all adds up to me. I honor my journey, all of it. Changing the past would mean changing me. And I like me, just the way I am. Why would I want to change anything? Depending on who asks the question, I occasionally throw a curveball with a deeper, more philosophical answer, along these lines: I’ve already changed my past, by turning poison into medicine, and by raising my life condition, which transforms my perception of the past. Our perception determines the way events affect us. So, when we change the way a past event affects us, we effectively change the past. In other words, since past, present, and future are seamlessly connected, a change in the present moment has the power to affect a change in everything throughout all directions of space and time. Every now and then, when I share this answer, I’m told that I sound like a Jedi master from Star Wars, so I don’t share it often. But I hope you enjoy hearing it."

"On an even deeper level, the reason I happily and gratefully accept everything I went through in the past is because I believe every detail of my life is both my karma and my mission. We are all born with a mission, a purpose, that only we can fulfill. When you live with a joyful sense of purpose, when you infuse your life with a greater purpose beyond your individual self, every aspect of your karma can become a brilliant facet of your mission. You can transform sorrow and adversity of any sort into joy, stability, health, and prosperity. By changing poison into medicine and accomplishing your inner revolution, you can use every experience of karma to encourage others who suffer from the same problems that you overcame. You can become an ambassador of hope, an essential and radiant treasure of humanity, in which you recognize that all who have ever lived are members of your extended family. As you continue to spread light in this way, actively doing good in the world, that energy will come back to you in abundant positivity. When you refuse to perpetuate any bad that has been done to you, you can free yourself from the chains of negativity."

"Use your life for peace and goodwill. Keep on going until you climb the summit of your happiest dreams. I hope that what I’ve offered in this little book will be of service to you in your ascent to new heights of fulfillment. Thank you for letting me share my life with you. Thank you for opening your heart and mind to my words. I wish you well on your journey to joy, and I leave you with this final thought, my greatest wish and prayer for you:"

"When I think of soul, I think of grease 'cause ain't nothin' no good without the grease."

"Sometimes I'm tossed and driven, Lord, Sometimes I don't know where to go. My mother and father won't own me, So I'll try to make heaven my home."

"We never, ever, do nothin' nice and easy. We always do it nice and rough."

"There are two sides to everybody, A good side and a bad, A side to make you happy, A side to make you mad."

"A church house, gin house, A school house, outhouse On highway number nineteen, The people keep the city clean."

"Some of us are livin' in an earthly heaven, Lord, some of us are livin' in hell. Yeah, we're livin' in hell, Right here."

"King of the jungle, The lion he roars, But the lioness calmly Soothes his soul."

"People often ask me when am I gonna slow down. You know what I tell 'em? I'm just gettin' started."

"What is life without a dream to hold? Take my hand and never let me go!"

"Beyond the power – you find the flower. Beyond the bound – you find new ground."

"In the beginning, we all depend on attention and affection of our mother or other caring people. Without love and care, we cannot survive. Without loving action, we miss the meaning of life."

"She's a good-hearted woman in love with a good-timin' man. She loves him in spite of his ways she don't understand. With teardrops and laughter they pass through this world hand in hand, A good-hearted woman, lovin' a good-timin' man."

"Standing up there next to her was the hottest place in the universe."

"Ike was often unpredictable in his actions and reactions, while Tina Turner only very rarely lost her composure even in her hardest times. For the band and all the other employees, she was always something like a haven of tranquility in the big thunderstorm."

"I have to admit, I learned a lot from her and the way she saw music. She would say something like, "Oh, don't play that chord that sounds like running water." Or, "That is too blue. Give me more green." My first thought as a music snob was, "Oh come on! I have to figure out what green or water means? Take some time and learn what a chord is!" That was my big mistake! It took me a few years to realize that if I could realize what she was saying by learning to speak her language, she was always right! She was always right and in a way taught me so much. Her musical instincts are absolutely impeccable. People like to say, "Oh yeah, she's got the great legs. She's got a great voice. She's a great singer and dancer. She is a great personality." They talk about the hair and everything else. Those are all true but the thing I have the most respect for is as a band leader and a record producer. Very rarely did she take a credit as a record producer but, I swear, she knew everything everybody was playing and she knew how to make it better! [...] I was so lucky to be around one of the major musical forces of the late 20th century! She truly is amazing!"

"If a dancer dances - which is not the same as having theories about dancing or wishing to dance or trying to dance or remembering in his body someone else's dance - but if the dancer dances, everything is there.. ..our ecstasy in dance comes from the possible gift of freedom, the exhilarating moment that this exposing of the bare energy can give us. What is meant is not license, but freedom...(1952)"

"John Cage and I became interested in the use of chance in the 50's. I think one of the very primary things that happened then was the publication of the "I Ching," the Chinese book of changes, from which you can cast your fortune: the hexagrams."

"Cage took it to work in his way of making compositions then; and he used the idea of 64—the number of the hexagrams —to say that you had 64, for example, sounds; then you could cast, by chance, to find which sound first appeared, cast again, to say which sound came second, cast again, so that it's done by, in that sense, chance operations. Instead of finding out what you think should follow—say a particular sound—what did the I Ching suggest? Well, I took this also for dance."

"I was working on a title called, “Untitled Solo,” and I had made—using the chance operations—a series of movements written on scraps of paper for the legs and the arms, the head, all different. And it was done not to the music but with the music of Christian Wolff."

"Merce [Cunningham] is my favorit artist in any field. Sometimes I’m pleased by the complexity of a work I paint. By the fourth day I realize it’s simple. Nothing Merce does [choreography for dance] is simple. Everything has a fascinating richness and multiplicity of direction. [Jasper Johns did a lot of décors for Merce Cunningham, as Robert Rauschenberg did and Frank Stella..."

"I met him [Merce Cunningham] around 1953 after a performance I saw. He was teaching and making dances for his company and was already working with John Cage. What interested me initially wasn’t just the movement but also the music he worked with, which was unfamiliar to me.. ..Later [[Robert Rauschenberg|Bob Rauschenberg] had been doing sets and costumes for the Cunningham Company.. .I can’t say exactly how, but for a period of time, Cage, Cunningham, Rauschenberg, and I saw each other frequently and exchanged ideas. John [Cage] was very interested in presenting his ideas to other people, so it was impossible to be around and not to learn.."

"When I was growing up there were few Asians on TV and now I'm one of many and that makes me happy. I see how far we've come, which is amazing. But diversity is still an issue and we have to continue to grow the message."

"We saw that amazing documentary 'Forks Over Knives' and that cleared everything up for us. Every Sunday we're going to the farmers market now, getting our fresh fruits and veggies. It's just two weeks, but we feel much better. I love animals. I don't want to eat them."

"…The characters in Sassafras did say awful things and trash one another, but there are people who do. In the time of the Sassafras narrative certain women's collectives existed that were very dramatic and people had a lot of lovers. We didn't even call it promiscuity. It was very different from the environment today. People today sit down and think about how they really want to be monogamous. It was not anybody's goal fifteen years ago."

"I think I always see a young child or an adolescent of color, but not necessarily right this minute. I started writing because there's an absence of things I was familiar with or that I dreamed about. One of my senses of anger is related to this vacancy—a yearning I had as a teenager. I hate that word. But as an adolescent—to have done something that I didn't have and I didn't know what it was 'cause I had never heard about it…"

"…I think unless black women are writing the pieces, we're being left out the same way we used to be left out of literature. We don't appear in things unless we write them ourselves. In the white male literary establishment women attain what looks like positions of power or influence or economic stability, but they're structured in such a way that they become unthreatening."

"…gender is cultural: we have menarche to deal with, virginity, menopause, pregnancy, childbirth; these things are unavoidable. And in some places they've been wise enough to have ritual and ceremony about significant events. It is unfortunate in our culture-meaning north American mainstream culture—that all this has been minimized to the point where little girls are even afraid to say that they are starting to menstruate when they should be very happy. Grown women are afraid to say that they are approaching the menopause, when that means that they have lived a whole successful life. They've lived so long that they can have this…"

"i found god in myself & i loved her/i loved her fiercely"

"We must not let our oppression deny us the earth."

"Hopefully, these characters bring us closer to a sense of self: honest and honored. Icons: Toussaint L'Ouverture to José Martí to lesser known heroes, Atahualpa and Denmark Vesey. We lace our visions with Celia Cruz and Aretha Franklin."

"I have spent my life undoing language until it works for me. We must not only repossess the language, we must deslaveryize it."

"I write for young girls of color, for girls who don’t even exist yet, so that there is something there for them when they arrive. I can only change how they live, not how they think. I want to say, “Here, look where you can live, look what you can think.” I concentrate on giving this to young people because they are the treasurers of black culture."

"No. I’m not trying to go away from anybody. I don’t go where my feelings get hurt. If you’re going to be nice to me, I’ll come."

"Multiculturalism is a white people joke. Black people have always been here as different. People need to stop saying that there is one way to be–and then the issue will disappear. I don’t tell Navajos they can’t speak Navajo. I don’t tell Asians they can’t eat noodles. Because black people have refused to eat potatoes and cabbage, white people are terrified. Now that we’re saying “I’m talkin’ Zulu, I’m changin’ my name, my child’s goin’ to a black school with Muslims,” white people get upset and have to call it something. Multiculturalism isn’t about culture, it’s about power."

"it doesn’t matter where I live. Just give me a room to write in."

"I used to have boundaries up all the time, which is limiting. I never want to feel limited. If anything is life changing, being the descendant of a slave is. I went into therapy 10 years ago because I needed to work that out. I’ve gotten better. Everything about me is more fluid, much less rigid. I’m gonna do everything I can, feel everything I can, until it hurts. Then I’ll stop. All they did was buy us–it’s not an honor, it’s just something that happened. Our gifts belong to us."

"Robert Staples sees in Ntozake Shange's play For Colored Girls "a collective appetite for black male blood." Yet it is my female children and my Black sisters who lie bleeding all around me, victims of the appetites of our brothers."

"I went to a concert where Ntozake Shange was reading. There, everything exploded for me. She was speaking a language that I knew-in the deepest parts of me-existed, and that I had ignored in my own feminist studies and even in my own writing. What Ntozake caught in me is the realization that in my development as a poet, I have, in many ways, denied the voice of my brown mother-the brown in me. I have acclimated to the sound of a white language which, as my father represents it, does not speak to the emotions in my poems-emotions which stem from the love of my mother. The reading was agitating. Made me uncomfortable. Threw me into a week-long terror of how deeply I was affected. I felt that I had to start all over again. That I turned only to the perceptions of white middle-class women to speak for me and all women. I am shocked by my own ignorance."

"There is a line in Ntozake Shange's for colored girls who have considered suicide/ when the rainbow is enough. In the play, the woman in purple speaks after having struggled to deal with all the psychic and physical aspects of herself that the culture ignores or demeans. She sums herself up in these wise and peaceful words: “here is what i have . . ./poems/big thighs/lil tits/&/so much love”. This is the power of the body, our power, the power of the wildish woman."

"We realized we were on our own and started bonding together, Latina women writers like Cherrie Moraga, Jewelle Gomez, black writers like Audre Lorde and Ntozake Shange, who wrote For Colored Women, we understood we had to support each other or nobody would."

"After having my daughter, I made a conscious effort to regain control of my health and my body. But I didn't want to do a crash diet. I was a mom now. I needed to change my ways and set an example for my child. … A year later (around November 2013), my husband and I decided we wanted to try a completely plant-based diet … And so the journey began that helped me get into the best shape of my life. Little did I know the long-lasting effects it would have. I thought, like with most diets, I would feel deprived and hate food, that I would miss out on restaurants and celebrations, that I would get headaches and be irritable, etc. I was wrong about all of that. It took a few days to adjust, but what I discovered was increased energy, better sleep, weight loss, improved digestion, clarity, and an incredibly positive feeling for my actions and the effects it would have on those around me and the environment."

"We have to care about our bodies and what we put in them. Women have to take the time to focus on our mental health—take time for self, for the spiritual, without feeling guilty or selfish. The world will see you the way you see you, and treat you the way you treat yourself."

"Anyone who perceives my message as anti-police is completely mistaken. I have so much admiration and respect for officers and the families of officers who sacrifice themselves to keep us safe. But let's be clear: I am against police brutality and injustice. Those are two separate things."

"I'm not bossy. I'm the boss."

"“I just wanna encourage people to do what they’re passionate about and to stay persistent.”"

"“Rumi, who’s on the album, our youngest daughter, she was watching [at home], and I forgot to thank her so I get to thank her now. Thank you, Rumi.”"

"“When I look out there, I see myself.”"

"“I’d like to thank my beautiful husband, my beautiful three children who are at home watching.”"

"“Thank you so much. I’m trying not to be too emotional, and I’m trying to just receive this night.”"

"We are at the precipice of an incredible shift, the brink of history. I’m not here as a celebrity. I’m not here as a politician. I’m here as a mother. A mother who cares deeply about the world my children and all of our children live in. A world where we have the freedom to control our bodies. A world where we’re not divided. Our past, our present, our future, merge to meet us here."

"It’s time to sing a new song. A song that began 248 years ago. The old notes of downfall, discord, despair, no longer resonate. Our generations of loved ones before us are whispering a prophecy, a quest, a calling, an anthem. Our moment right now. It’s time for America to sing a new song. Our voices sing a chorus of unity. They sing a song of dignity and opportunity. Are y’all ready to add your voice to the new American song? Because I am. So let’s do this!"

"After the birth of my first child, I believed in the things society said about how my body should look."

"During my recovery, I gave myself self-love and self-care, and I embraced being curvier. I accepted what my body wanted to be, To this day my arms, shoulders, breasts, and thighs are fuller. I have a little mommy pouch, and I’m in no rush to get rid of it. I think it’s real."

"Whenever I’m ready to get a six-pack, I will go into beast zone and work my a– off until I have it, But right now, my little FUPA and I feel like we are meant to be."

"I’ve been through hell and back, and I’m grateful for every scar, I look at the woman I was in my 20s and I see a young lady growing into confidence but intent on pleasing everyone around her. I now feel so much more beautiful, so much sexier, so much more interesting. And so much more powerful."

"I’ve spent so many years trying to better myself and improve whatever I’ve done that I’m at a point where I no longer need to compete with myself. I have no interest in searching backwards. The past is the past. I feel many aspects of that younger, less evolved Beyoncé could never f*** with the woman I am today. Haaa!"

"In the past, I spent too much time on diets, with the misconception that self-care meant exercising and being overly conscious of my body. My health, the way I feel when I wake up in the morning, my peace of mind, the number of times I smile, what I’m feeding my mind and my body—those are the things that I’ve been focusing on. Mental health is self-care too."

"“I want to show that you can have fun and have purpose, be respectful and speak your mind. You can be both elegant and a provocateur. You can be curvy and still be a fashion icon. I wish this freedom for every person. I have paid my dues and followed every rule for decades, so now I can break the rules that need to be broken. My wish for the future is to continue to do everything everyone thinks I can’t do."

"One of my most satisfying moments as a mom is when I found Blue one day soaking in the bath with her eyes closed, using blends I created and taking time for herself to decompress and be at peace."

"I have made an extreme effort to stay true to my boundaries and protect myself and my family. No amount of money is worth my peace."

"I try to only tour when my kids are out of school. I always dreamt of a life where I could see the world with my family and expose them to different languages, architecture and lifestyles."

"Raising three kids isn't easy. The older they get, the more they become their own individuals with unique needs, hobbies and social lives, My twins are God-sent. Parenting constantly teaches you about yourself. It takes a lot of prayer and patience. I love it. It's grounding and fulfilling."

"They come to my office after school, and they are in the studio with me. They are in dance rehearsals. It's natural that they would learn my choreography."

"(In one of your essays in the book, from 2012, you write about Beyoncé and Jennifer Lopez and say they are "[d]oing no more than supporting and promoting patriarchal and capitalist goals." Do you still feel this way about them, even as they—Beyoncé especially—are often held up as feminist icons?) AC: I do, but I know that I would have a lot of women of color of younger generations argue with me about that. I come from a generation of radical feminism; we believed in not using your body for financial gain and that sexualization fed into violence against women. I know that dates me. The performances that both Jennifer Lopez and Beyoncé give are highly sexually charged, and they've made a lot of money off of a lot of men by sexualizing themselves as exotic beauties. Both of them have dyed their hair blonde, straightened it, weaved it, which feeds into a fantasy about women and women of color. I come from a very different perspective, and I don't believe that anything in terms of personal gain or materialism is really helping the rest of the world. If you make that much money, instead of buying a humongous mansion, go back to your community and start community projects and talk to your legislators about changing some of the laws [that mean] young men of color who have felonies because [they dealt] drugs as teenagers can no longer integrate into society. Moving away from Beyoncé and J-Lo—I'm sure they do a lot of good deeds—I'm very lucky I have a roof over my head. I can eat healthy food, my children have coats in cold weather, they have an education. I don't think a human being needs much more beyond that."

"Someone else asks Davis if Beyoncé is a terrorist. The audience giggles, but the question is serious. During a panel discussion on liberating the Black female body earlier this year, feminist activist bell hooks described Beyoncé as a terrorist and antifeminist who was "colluding in the construction of herself as a slave." In an emollient reply, Davis said that she liked the fact that Beyoncé had sampled Nigerian novelist Chimamanda Ngozi Adichie's speech on feminism on her album. The following day, I ask Davis more about it. "Whatever problems I have with Beyoncé, I think it is so misleading and irresponsible to use that word in connection with her. It has been used to criminalize struggles for liberation. But we don't use the words terror and terrorism to describe US history and the racism of the pre-civil rights era.""

"I do a lot of things wrong. I lose my temper, and I hate waiting in line, but do I take drugs? No. Do I run around deploring the world? No. I'm just not into it. I was brought up that way."

"Thank you to everyone who has embraced the gifts and talents of my beloved and amazing daughter. I am grateful for your thoughts and prayers that are now guiding her to her next stop. Love Carries Mother"

"I miss her so much, I want to be with Carrie."

"I'm not as intellectual as my daughter. She says bigger words than I … I don't even know what they mean ... But she's so amusing to me and it's wonderful to be around her."

"Old age is a wonderful time of life ... At least, that's what everyone tells you. But let me tell you: it is not true. What's true is that your hips, knees and ankles gradually give up on you – everything is quite dreadful, really. And it was a terrible thing to have told us...because we believed it."

"What Gene taught me was tremendous discipline and never give up and you're never good enough ... He believed that I could do it, but I never danced before Singin' in the Rain, and I had to learn to dance. Months I was locked in a soundstage to get me — never equal — but up at least to cut the role."

"I just think my life's been really blessed, because being in show business I've met wonderful people and I've traveled all over the world ... I ain't down yet, and I've had a wonderful life, and I still have more life to go."

"I don't think you can ever be bitter about anything, because if you don't allow your heart to stay open, then all you have is a filled heart of hate and bitterness, and you're never able to love or like anybody."

"I was a simple kid who was thrown into the wonderful world of show business. I've loved every moment. These are my recollections. If you remember things differently, send me your version — but only if it's funnier."

"What do you do do when your heart says one thing and your head, and your lawyer, says another? I was a romantic. I put my whole heart on the line when I love someone. ... I don't think like a thief so I never see this quality in others until it's too late."

"Faith is a powerful thing to have in your repertory. ... Certainly, I'd felt despair, sometimes so much that I thought it would be easier to die. But my family and my faith have sustained me until, when I least expected it, life picked me up again."

"I wanted to see how I would react. I didn’t think I would actually get through my fear as fast as I did. But was I scared of meeting Robert in makeup? No... well, yes, I’m lying. I don’t want to admit it because I’m 22 years old, and that’s ridiculous. But I was scared for about a year after I saw one of Freddy’s films when I was 7. I wasn’t supposed to be up, but I snuck behind my brother’s chair. And right as I got to the chair, Freddy’s face popped up. I had to go sleep with my mom. And when I say sleep with her, I was probably on top of her."

"Life seems to be a never-ending series of survivals, doesn't it?"

"Joe Levine behaved like he owned me. My husband thought it was all terrific as long as I kept bringing in the money. I started objecting to everything, but it was too late. The sex-symbol image had already started. I turned down parts and they blacklisted me. The press attacked me viciously at every opportunity. I came very close to suicide."

"As I understand it, George Peppard later became a nice guy, a gentleman, but when we worked together back then, he was pretentious, egotistical, a brat, and an asshole—and that’s just for starters! He pretended he was seven years younger than he was; he even claimed to be a bachelor and denied he was married—in front of me (I knew better), he denied their existence. The role of Jonas Cord in The Carpetbaggers really went to his big head. He acquired delusions of grandeur—thought he was God’s gift to women and the movies! His attitude towards me was very bizarre—he acted as though we’d never met! Or that I had a husband!"

"[She plays the role with] a piteously flimsy little twist of juvenile greed, inhibitions, physical yearnings, common crudities and conceits."

"Adam set the bar so high for portraying the role of Batman, He was wonderful, spot on, with a twinkle in his eye. He had it all -- looks, charm, intelligence, I could go on and on. In conversation, he was very animated and once told me that Batman was the father that everyone wanted! I never thought of it that way! He had a great way of playing that 'tongue-in-cheek' nature in so much of the dialogue. I had a long, engaging conversation with him and his wife, Marcelle, about their life in Montana, If I had to describe him in a word or two, they would be 'stellar' and 'exemplar,' qualities that we want to encourage in ourselves and in young people."

"My kind of female power can’t be owned. I may feign enslavement, but I never let myself be unloved, even by myself, that would not do. I rarely argue - I consider. I wait till enough information is in and then the answer, answers itself. My imagination does tolerate empty space. Female power does not disagree with a compliment. Compliments shall be relished, like rich chocolate, like an inside caress. I make time to feel it, all the way up and down my body. Let the world please you. Use your female power. It was set up that way."

"If there's anything that I can tell people that are being bullied, it's that the bullies are really the ones that are hurting. Playing Lauren Tanner made me realize that she was evil because she was harboring so much pain from her childhood. And if there's anything I would tell anyone who is being bullied, it's to just let it go. Bullies are the insecure ones and the ones who are trying to get a rise out of you to make themselves feel better."

"Everything in your career is a stepping stone because it’s an experience, and experience is the biggest thing."

"I was very, very, very shocked about the outcome of the first one, what it became, and the domino effect from the news outlets that were covering it and the social media trends that grew out of it. It goes to show that you never know what is going to take off in Hollywood; it’s so unpredictable, so you just have to have fun with it."

"Like I said, the Star Trek fans are the most loyal and lovely there are. It's a pleasure to be able to see their joy and to shake their hands or give them a hug of gratitude for their support."

"Any time a woman's sexuality is used to her own advantage, it can be incredibly divisive. It depends on HOW exactly they found it to be sexist. Towards women? I totally disagree. Navaar was very much in control of her choices and her sisters; she wasn't being exploited by anyone. If a woman chooses to wield her sexuality as a tool, that choice is hers alone. Sexism is the discrimination against a person based upon gender. If anybody was sexist, it was Navaar, who assumed the men were weaker and vulnerable because of their nature as men."

"I worked so hard to be so versatile in so many different things. There’s just not a lot of girls who can do ballet and flips and break dance and crazy hip-hop moves. So I would really encourage young dancers and actors to work to be as versatile as possible."

"Worst part is the post project low that seems to happen after being on a project that you love. I don’t hate things, but I really really passionately dislike going from being around a “film family” every day and loving every minute of it, then after the film is over you rarely see each other again and if you do its very few and far in between."

"I take very good care of myself. Growing up as a dancer, you know your body so well, you know what to do to overcome something. … I was raised really, really healthy, pretty much vegetarian and a very clean lifestyle, I don't smoke, I don't drink. I'm more addicted to the things that make me feel good — endorphins after working out."

"Some people would rather give the appearance of feeling well by having a face-lift, exercising violently, or dieting severely—but they don't solve the problem; they only disguise it. If they ate properly, they wouldn't have to strain to seem fit; they would be fit. The simplest and most natural way usually turns out to be the easiest. Consider nursing, for instance. It's obviously the most natural way to nourish a baby, but it's also the easiest; you don't have to wake up in the middle of the night and fix bottles. If you're a vegetarian, you don't have to cook food in a smelly, greasy kitchen, or clean a lot of pots and pans with the rancid grease on them. Ugh! Though it may seem easier to take a slab of dead flesh and toss it in a broiler, it's much more interesting to do something creative with vegetables. So that my children don't have to snack on sweets or bowls of cereal—it's no better than sawdust, you know—I set out platters of avocadoes, pineapples, papayas, bananas, almonds, dried figs and prunes. … I serve organic apple juice in place of milk. I have the most beautiful golden honey for the herb tea—and so, you see, no one need feel deprived on a vegetarian diet."

"Citizens’ right to document cruelty to animals — wherever it occurs — is crucial in helping local, state and federal officials enforce anti-cruelty laws. Authorities can’t be everywhere at once, and funding for enforcement of anti-cruelty laws is sorely lacking in most places. What we need are more cameras on factory farms, not fewer."

"I’ve been a vegetarian since I was 35. It just happened—it just came over me. I’d gotten asthma and was having trouble sleeping, getting less than an hour of sleep a night. … I decided I wouldn’t eat meat any more, not even for a million dollars. I felt cleansed and incredible, like the inflammation in my body had been reduced. It was life-changing. … When I decided to become vegetarian, I had to learn how to ‘recook,’ if you will. … When I gave up meat, I wondered what I would make. That turned out to be vegetables, really organic and fresh. I made them very flavorful, using herbs, lemon and a little oil. I think I taught my kids well. My daughter, Dinah, for example, is also a vegetarian and doesn’t eat anything that can look at her."

"I am a vegetarian and so is my baby! … I became a vegetarian in small stages starting at the ripe old age of 16 years old! … When I turned 16 I started to get a little freaked out if while I was eating my KFC, I looked at my chicken drum sticks too long. If I noticed the veins or cartilage etc. … I started to see that it was once an actual living breathing animal. … I have this beautiful baby girl and I have a choice to make. Do I feed her meat? Or no? I went with my gut, I had learned over the years how to feed myself healthy, and made sure I got enough iron, so I would do the same for Luna Marie… I knew nothing else."

"I have not eaten beef for 26 years. Chicken, poultry for 16 years. Fish for six, if forced to I will eat shrimp."

"…Back then, it was very difficult for Latinos to even play their own roles, even if it was written for a Latin character. This was an event where they were actually changing the role to make it Latin, and I was just very proud to be able to change it. To not only have this be my first acting role, but have it be a little bit groundbreaking…"

"…On many levels there is the class system, which exists anywhere. There were all the clichéd roles, which I very much tried to stay away from. Not that I looked down upon them, but that’s not what resonated with me. I can trace my family’s roots in the United States back to 1850. So technically, half my family never crossed any border. We were just always here..."

"…I’m used to living here in America and being the only Latino person in the room. So I am often literally representing us Latinos…But it was more important to just do quality work, not so much just as a Latin actress, but as an actress. There’s pressure just in that. It’s so funny, my mom always said to me, “Life is pressure. You’ve just got to deal with it.”"

"Family to me is foundation. It’s the people that you can call on whether you love them or hate them. When push comes to shove, they’re there for you..."

"I was on cloud nine all the time. After I made my hit in Salome, Universal sent me to New York so I could learn to be a proper movie star. I lived at the Sherry‐Netherland for two months and I went to the John Robert Powers school. They taught me things like how to walk off a New York curb and how to enter a room in a manner befitting a big‐time movie star."

"They also tried to teach me how to eat. One day the big boss came into town and took me to dinner. I knew why he was taking me to dinner; he wanted to watch me eat. I was so nervous that when I started to lift my soup spoon to my mouth, my hand shook so much that I had to put the spoon down again. I couldn't eat soup for a whole year after that."

"We had dinner with Duke Wayne and his wife recently. He's really worried about the picture industry and how much harm it's done. And he isn't just making casual conversation, either. Duke is very concerned."

"I'm from Hollywood. I'm too dumb to be nervous about New York."

"You want to know about the title, right. The most beautiful girl in the world. . . It was a straight publicity thing but it ballooned. Of course, I never could wear blue jeans to the market after that. I had a reputation to uphold."

"I played so many oriental princesses and cowtown saloon madams after that I lost count. I broke in all the new actors, to use a phrase. I acted with Rock Hudson and Tony Curtis before they became big names."

"Baby, I've never been drunk in public and I never run around with men half my age. The dames I started out with are all batty today. They had their looks and nothing more and now they think they're finished."

"Reality to me is a home, my kids, best friends and only then a career and the limelight. I never thought like Marilyn Monroe that I was washed up when I was 35."

"One critic called me one of the most magnificent resources Canada has allowed to escape to the United States. Because I was born and raised in Vancouver and lived up there until I was 17. My kids sons Bruce and Michael are, of course, American citizens. But not me. I defiantly refuse to change."

"My mother was the shaping force in my life. Don't ask me how but she always had money for my dancing lessons. She was convinced I was going to be somebody."

"I think Yvonne De Carlo was more famous than Lily. But I gained the younger audience through The Munsters. And it was a steady job."

"I enjoyed being in The Ten Commandments. That was a great experience—to suddenly become one of those holy people. I was holier than thou."

"I enjoyed the comedies with Alec Guinness, and I had a real great time with Peter Ustinov in Hotel Sahara. I found I had the ability to do comedy. My timing was really inborn."

"Miss De Carlo photographs beautifully in color and in black and white film. She is a fine actress, an excellent dancer and singer. It is very unusual to find so much talent in one person."

"Early one morning she answered the telephone. . . . "Yvonne?" asked the voice on the other end of the phone. It was her agent. "You know about Ten Commandments, don’t you?" "Know what?" she asked. Of course, she knew about the picture. Everyone in town did. "What about it?" she asked. "Great news," the voice sounded breathless. "The part of Sephora—Moses' wife. Until today, that part was wide open. Not any more. Guess who’s got it? You! DeMille wants De Carlo!" Not until weeks later, in conversations with Mr. DeMille, did Yvonne find out how, without asking, she had won this important role. DeMille was in the process of casting and was considering Nina Foch for the role of Moses' Egyptian foster mother. Miss Foch's agent suggested that he see an earlier Foch movie called Sombrero. A date was set and DeMille, with a few of his staff, was shown the film in the studio screening room. Foch was fine, he commented to an assistant. "Cast her." And he started to rise to return to his office. Suddenly, looking up he saw a tormented, sadly beautiful face, veiled in a Mexican shawl, flash upon the screen. Sinking back into his chair, he watched the scene through. When it was over, he had reached another decision. "Get me that face," he ordered. "That’s Sephora.""

"It's fitting that Yvonne ends up as a star on the very lot where she started as an extra. Audiences will now see her as the really fine actress she is."

"I cast Yvonne De Carlo as Sephora, the wife of Moses, after our casting director, Bert McKay called my attention to one scene she played in Sombrero, which was a picture far removed in theme from The Ten Commandments, I sensed in her a depth, an emotional power, a womanly strength which the part of Sephora needed, and which she gave it."

"Oh, how I loved the movies as a little girl. Particularly I loved Yvonne De Carlo—she was my favorite. Others, too, like Rita Hayworth, but I used to dream that I was Yvonne De Carlo. And I liked that little one—what was her name?—June Allyson, too. But for me there was only one Yvonne De Carlo."

"I remember Yvonne with very warm and positive feelings. There was a warmth and sexiness which came out in everything she did, and that is what was irresistible to audiences. Like most top actresses, she needed direction and support, but her objective was always to be equal to the stars around her, especially the males."

"My personal way to be a hero... is to be a vegetarian."

"‘Be vegan’ and ‘make peace’ are fantastic four words to think about in daily life and in everything we do. Being vegan means to me that we not only eat healthy foods, but we have respect for all life on the planet. And that’s important. And ‘make peace,’ that’s important as well. Peace really has to start with us, individually. And then hopefully it will spread, and we emit that, so to speak, in our behavior in general and the things we do, whether it is private or work."

"You got me mad now"

"What the hell do you boys think that this here is, fucking Fairyland? Pulling on your wee-wees like a pack of fucking fruits?"

"Let us remember these timeless words: Ass♂we♂can."

"I want to tell all my fans at Nico Nico to live their life without any judgments, and be adventurous. When opportunity comes, put work into your faith, and don't be afraid to go out and live life. Whatever your sexuality is - gay, straight, boy, girl - go have fun. That's what life is all about. And live a life of yugamineena."

"Yeah, it certainly is cum alright, at least it smells like it."

"Technique without art is shallow and doomed. Art without technique is insulting."

"I was an "other," as people call now. But you know, everybody's other than everybody else...I used what was called the "sissy test" — you know, look at your fingernails; if you do it a certain way, you're a butch or a femme. But it turned into a little bit of a look back when I made up a dance based on the quotidian humiliations of junior high school — that age, that degree of development and that confusion and annoyance that happens."

"I guess once I finish a dance and release it to the public and we're performing it, I'm kind of done... Well, I love watching it, and I love watching other people's work too if it's really good and interesting. But you know, the most exciting part is also very often the most frustrating part: trying to finish something or get it just right or get across something that I'm not sure what it is until it happens.”"

"The culture has changed, and times have changed, you know, the whole thing about being queer has changed entirely. So then I was the bad boy, a self-proclaimed homosexual choreographer. In the early ‘80s I said I was gay all the time because it was important politically."

"I like working with grown-up dancers much better, because there’s somebody to talk to at the airport when you’re delayed. In the middle of class, they hate me for it, but I always say, ‘What are you reading right now?’ or ‘Did you see this movie?’ or ‘Who wrote that piece of music?’ I do little quizzes to keep people involved and not just to become robotic dancing machines, because I hate to watch that."

"I don’t, believe it or not. I don’t miss the roar of the crowd. I still get that when I take a bow, if I milk it right. I’m not regretful, but I’m envious sometimes."

"I believe firmly in that theory that the stuff you learn when you’re very, very young, it sort of stays. The very first dance I made up that was any good, I was about 15, and I’ve been wringing changes out of that ever since. That’s interesting to me. That’s not death. It’s style or something."

"If that means that it's not for everybody, then yes. "Elitist" doesn't need to mean wealthy and conservative; it can also mean specialised and rarefied, and that's no bad thing."

"It got me roles. And you know, for a while, that was wonderful — I was in the movies. But after a while I began to understand that it was really very demeaning. And I began to feel more and more and more diminished. I was already very unsure of myself anyway, because when I was a very young girl in New York City I ran into an awful lot of racial bias, and I got called some pretty nasty names, like 'spic' and — all the words you heard in West Side Story came directly from the streets — 'garlic mouth,' 'pierced ear.' So by the time I was doing those kind of roles — for a living, practically, in Hollywood — I was beginning to feel pretty bad about myself."

"If you have been traumatised from the time you were a child to believe you were a ‘spic’, that you were a garlic-mouth, that you are not worthy, it takes a long time to get rid of that. That’s why therapy so often takes so long, because you’re trying to get rid of that trash before you can deal with the you that wants to get better. I went into therapy wanting to get better, knowing that in some way I had a sickness. And the sickness was Rita hates Rita."

"I think that some people are genetically just strong. I really believe that my mom was like that. On the other hand, maybe you're forced to be that way because you realize you're either going to sink or swim, and the choice you make determines the kind of person you become…"

"I was told I was crying all the time I was unconscious…It wasn’t done for drama, that’s for sure. What I really wanted to do was kill the bad Rita who was always getting me in trouble, but it turned out if you’re going to kill the bad Rita, you’re also going to kill the good one."

"What I say to my gente [people] is to hang on, and to remember who they are, be proud of who they are, and keep talking. And keep complaining, and just don't ever — don't give up. That's always been my motto anyway. My motto has always been "persevere" — perseverancia. And that's what we need to do."

"I think part of the reason is because, unlike the black community, we don’t mainly come from America. We come from all kinds of countries and we’ve siloed ourselves rather than supporting each other, as we should have. We still think of ourselves as Argentinian or Puerto Rican or Mexican rather than Hispanic. Until we get over that and become one big wonderful community, we’re still going to have problems."

"You are perceiving that Rita Moreno I presented to the world. What was I gonna do, say: ‘Really, I’m a weak person’? No, that was the persona. I am now that person, but it took me a very, very long time to become her."

"I've always had this image of this strong, sprightly person who is undaunted by anything; on the contrary, I was one of the shyest, most unsure people you ever met in your life. But I have one very specific quality: I'm plucky. I really am. I would say that's a perfect description of my personality. I am able to get up and dust myself off and keep moving forward. I'm very stubborn. I never knew that about myself. But I realize how stubborn I am when I look at all the terrible things that happened to me and how I just get up and keep going."

"It was my choice, because I was being offered such crappy stuff. I was only offered gang movies on a way lesser scale and it was like the same fucking battle again. I couldn’t believe it. And it broke my heart. It. Absolutely. Broke. My. Heart. I thought: ‘I’ll wait for something better,’ and something better kept not coming. It was horrific."

"He didn’t like the raucous side of me and I love that side of me. I think I’m funny as hell and I think I’m cute and I think I’m mischievous. I know I’m mischievous. And that’s the kind of thing he discouraged, and that makes me very sad, because he was missing out on something pretty wonderful about me…You know, I think I owe an enormous debt to psychotherapy. Without that, I wouldn’t be the Rita you know and love."

"I have a great sense of humor about aging, and I think I’m one of the funniest people I know when it comes to aging, because I misplace stuff and I drive everyone crazy looking for the house keys or something. Once, I couldn’t find my purse, and I upended the car, upended the house. I could not find that fucking purse. And then two days ago, I opened the cabinet in the kitchen where all the doggie stuff is, and guess what? I had put it in there. I started laughing so hard, I nearly peed. I couldn’t stop laughing. I thought, You silly bitch."

"The first time I saw myself on a movie screen, I was disappointed because I didn’t look outrageously beautiful. It’s not that I looked ugly. It’s just that I had these funny notions of how you’re supposed to look when you’re in the movies. You’re supposed to look like Elizabeth Taylor, who was my idol. Guess what? I didn’t look like her. And my voice sounded very high, which indeed it was. So I was thrilled and at the same time, I was somewhat disappointed. But I thought, I can work on my voice. I can make that better."

"It never occurred to me when I was 10 years old that I was going to end up representing an entire—not just community, but nationality. That’s not something I ever thought of, because I wasn’t a political person then. But I was forced to become one because of the circumstances. At some point, I discovered that a lot of people were suffering unnecessarily. I really started to understand that everyone has a responsibility to others and to a community, that you are not the only person in the world you simply represent, whether you like it or not."

"If someone is a friend of mine, they’re going to love animals. It’s kind of a prerequisite. … [The biggest misunderstanding about pets is] that a pet should instantly fit into your home/lifestyle and automatically have good behavior. While I think having a pet can be relatively easy and absolutely rewarding, pets definitely require responsibly and involvement. … If for some reason I had to go into an underground bunker because people all over the world were turning into zombies, but I couldn’t take my dog, well, then I’d have to take my chances with the zombies."

"It's been about two years. More energy, my face clears up, weight falls off. I lost, like, 30 pounds! … Initially, I watched the documentary ‘What the Health’, and to put it frankly, it p***ed me off. It really did. I was like, let me get this straight: The person giving you the disease and the person fighting the disease are in bed together? To hell with y'all. Out of spite, I went vegan because I was like, Y'all don't care."

"I have such a vivid memory of listening to this song ("Brooklyn Baby" by Lana Del Rey) with the top down of my dads 1960s car and just feeling like I was in a music video or something. My hair was blowing in the wind and all I could see was the palm trees above me. I seriously had never felt cooler in my life."

"Kids listen to kids. If you have a platform, why not use it to speak about things that can help other people?"

"Starting out as a dancer gave me an aspect of mindfulness that I didn’t even realise that I was getting…because to dance is to be aware of every piece of your body while you’re moving. It’s like a meditation unto itself."

"Women were my obvious focus…because it is not always easy having power and being female…That’s the way it was. It wasn’t that all men were terrible or that the situation was unbearable. It was a cultural problem."

"Before you go to bed, think of three things that went well today. I don’t care if it’s a little crazy thing – it doesn’t matter…Take some music you love and if you can’t dance, go do 10 minutes of jumping jacks. Get yourself all cheered up."

"I believe you have to start with a craft; you don’t just start with a dream. You’ve got to put a lot of work in. If you want to pursue acting, then you go to acting class. If you want to be a dancer, then you learn to dance, which is what I did. If you want to be a ventriloquist or join the circus … When you’re young, you start looking at what you want to do—not just who you want to be, but what you want to do. And I think the tenacity to say, “I’m going to perfect that,” is the beginning of a work ethic..."

"My sense of liberation and the freedom to speak the way I want to and to feel solid in my shoes was getting stronger and stronger. That’s what helps me move through other people’s perceptions of how I should or should not be liberated. I would never listen to those rules. Don’t tell me I can’t do that. Watch me. Don’t tell me I can’t direct this movie. Watch me…"

"The G-string, which was often sequined and rhinestoned, was a cultural marker of glamorous erotic entertainment. Non-professionals wore them for costumes or naughty private play, but generally not as underwear until Frederick's of Hollywood began to make a more wearable version of them available as underwear through their catalogs and stores."

"I’m surprised by the success of anything I do, but it’s gratifying when the public approves."

"I actually go, 'Wow! How lucky can a girl get?"

"There's no one way to be black. I'm black the way I know how to be. You have no idea who I am. I am black. I'm raising black men. Don't you ever think you can look at me and address me with such disdain."

"Your body doesn't have the energy it needs to filter toxins, causing it to believe that it has an infection, so it's always inflamed. You create antibodies that attack your glands, so you have to eat clean."

"Whenever I quit porn, I'll be starting at square one again—I am going to be where all my friends were ten years ago. I don't know if I want to have kids, so that is a huge issue right now in my mind, too..."

"I don’t like anything that makes fun of Asian culture or makes it look dumb. It’s such a thin line to walk and everyone draws that line someplace different. It’s such a subjective thing."

"It does sort of transcend from stage to the camera and now behind the camera directing and in my writing. It’s like a bearing of everything. Even if it’s a funny song or a comedic scene. You are stripping yourself bare and showing them who you are, and I crave that."

"I am both inspired and melancholy to be gracing the stage where Wishful Drinking first took flight. I knew all of the stories, but I remember feeling proud to sit along with Tricia Leigh and Billie - feeling I was part-princess."

"I called this doctor who was taking care of Rock Hudson. He said: ‘Do you have to kiss the actor?’ I said: ‘Yeah, it’s important in the script.’ He said: ‘Then I wouldn’t do the play.’ [Grey wrestled with it and chose the play and the kiss] I said: ‘I need to tell this story. As an actor it’s my job.’"

"Stick with it, be who you are. It’s going to be tough…But it’s also going to be beautiful."

"I had to find out the psychology [of the Emcee] and who he was off stage so that hopefully I could bring that biography into those numbers.."

"It was difficult growing up. We didn't have everything we wanted. We were used to two pairs of shoes for a school year. We used to go to church every day. I was one of those kids that had more church clothes than school clothes."

"He's not the monster everybody thinks. He's a good person. He has a fantastic heart. He's giving and loving. And he's fun to be around. That's what I love about him – he always makes me laugh. All I want to do is laugh, really – and I do that with him."

"I love him dearly."

"It’s so immediate. It’s very exciting. The audience is there so there’s no retake. There’s no stopping and no chance to redo. You feel the audience and their response to what you’re doing. You get the energy from the audience that you don’t get in a film. Live theater is fluid. You start at the top and go all the way through. You have a seamless feeling and it’s different each night, whether it’s a long or short run. Different things happen each night. There’s a different nuance with the people you act with in each performance. It may be very subtle and very slight and the audience may not catch it, but you do."

"People ask me why I became vegan. I went #plantbased overnight after finding out it’s the single most influential thing you can do for the planet. Having that knowledge I wouldn’t be able to look myself in the mirror if I’d continued to eat meat. I didn’t want to be a part of."

"Cruelty in cinema can give us perspective and insight but I’m not a fan of horror as an adrenaline rush or a desensitizing mechanism, I prefer horror movies that elucidate the human condition."

"I prefer to be surprised. I’m a shape-shifter and a yogi who loves well crafted indie films with deep themes, but lately my main requirement is that a film be released. It’s disheartening to invest time and love into a good film with a limited release. Therefore, the more mainstream projects are a better gamble."

"I don’t think about the past except now, when we’re talking about it, I never felt I was really there anyway. I always pictured myself as a fly who was up in the corner looking down at myself. I never feel I was there. I’m not very sentimental when it comes to the past, I don’t live there and I feel for people who do because it’s never going to be the same as you remember it."

"When you come that close to not being here, or being told they are going to take your foot off, it changes everything in your life."

"I was so thankful to just be alive. Things that bothered me before... nothing, I have become much more peaceful and less worried about anything."

"People always criticize. If they want to, they will find something to criticize. Hey, we all criticize. You like a film or you don’t. It’s up to you. You can’t stop that anyway. That’s part of human nature"

"She was everything that I imagined her to be when I was a young girl growing up, idolizing her, she's elegant, and beautiful, and just incredibly generous."

"Sometimes when you have choices that actually makes it harder. But when I knew that I had no choice but to survive. That is when my determination kicked in."

"I always say – let all your doubts happen before you commit. Once you’ve committed to pursuing something, don’t look back."

"It is true that it is illegal to have sex with a minor (under 18 in California, under 16 in Alabama, under 14 in Hawaii, under 12 in Mexico). I never once approached you sexually. As far as dating goes, for instance, the law makes it clear that dating is not illegal as long as there is no sexual intercourse. So not only did I never break the law with regards to you, I never even came close to breaking the law. Your mother has yet to find the police code that prohibits sharing a Youtube song with a minor. No judge and no DA would ever consider taking on such a case."

"I, Oxane Taub, declare under the penalty of perjury, that the foregoing is true and correct to the best of my knowledge. They ended up leaving with one of our puppies, but not the one we originally wanted to give away. The next day we decided to take the puppy back. We asked for it very politely, but got a very hostile response from Raven, John’s mother. That’s how our conflicts began. After 2 days of conflict we managed to get our puppy back. But ever since that incident Raven has absolutely hated me. She dedicated her life to destroying me and my children. When the puppy was returned, it got really sick and nearly died. About 2 weeks later he started having violent fits of rage that he has never had before. He started attacking us and other puppies. It took him about a year to stop being violent. It was clear that the puppy was very deeply traumatized when it was with Raven. We could conclude that Raven had tortured our dog. John’s friend Leo said that Raven had gone through three dogs in one year. Since then Raven has lost another dog. We became really concerned not only for the dog Raven had at the time, but for John as well."

"Why is it that Paul Pelosi was never cross-examined? All the police body cameras show a time code of 9:30 am when they arrived at Paul’s house, while the DA says that the break in happened at 2 am? David shattered glass and no one heard him?"

"On Monday, Taub handed out printed pieces of paper with the link to the website, as well as her phone number and email address. She even told reporters she was running the site to cast doubt on the state’s evidence in the case."

"Taub has attended both trials and has claimed the evidence against DePape is false."

"On Monday and Tuesday, Taub, who is a high-profile pro-nudist activist in the Bay Area, was reportedly handing out pieces of paper with a website address on them."

"DePape’s federal public defender said during his federal sentencing that DePape was first exposed to extreme beliefs by Taub, who has two children with DePape. Taub met DePape in Hawaii when he was 20 years old and she was in her 30s and pregnant, DePape’s twin sister, Joanne Robinson, said in a letter to the federal judge seeking leniency. Robinson wrote that Taub isolated DePape from his family and inflicted “extreme psychological damage” on her brother."

"I know that myself personally, I don’t recommend anyone to get into porn because it’s really tough and it’s really hard and I feel like you really have to have a strong mindset and perspective.You have to have a lot of self-love because there’s so much hate coming at you. People are just clawing at you so you have to really be confident in who you are before you open the doors to allow people who have no idea who you are, who have never met you, know nothing about you, who literally just watched you have sex, then judge you and complain about you."

"Never have I ever had a boyfriend who was proud of my job. I’ve had two ‘normal’ boyfriends in my adult life, normal being they don’t do porn. Both of which ended in an ultimatum, porn or them. I always chose porn. I’ve struggled with that choice though, wondering if I’ve made the right decision."

"It’s super-flattering and I would be super-happy if I won. Winning an award will help me feel like I am the best at what I do."

"That was very spontaneous. I was like, Well, here it goes."

"I might hit up the male performer of the year and we might have a little party tonight."

"I can say I understand his effort and desires trying to make the city seem more family-friendly. I one hundred percent understand those perspectives and everything like that, but sex is how we were all created. Sex is the root of technology and everything that happens in our world. Vogue and everybody else, they all use nude female bodies. They use sex constantly to sell products. So I want to say [to Giuliani]: I’m sorry that you felt the desire to somewhat banish us from the city life but we have only begun to fight back. We will be back in that city. I don’t see why we shouldn’t be glamorized in that same light. We all watch it, we’re all part of it, we all need sex to create life, so why not just glorify it?"

"Not being egotistical but I know I’m a big name and I know that I’m recognizable. For the people who know who I am to be walking around in Times Square and be stopped in their tracks and be like, ‘Wait a minute, is that Riley Reid on a giant billboard in Times Square? What?’ And then for the people who don’t know who I am, they’ll see it and probably be like, ‘Oh, what is this? What’s going on here?’ And then hopefully do their research, look into it because they’ll be curious, and then see that it’s an adult story documentary porno all mixed together. I think it’s going to be huge for the general public. I hope we have more opportunities like this. I hope other companies will take the time to glamorize themselves in the mainstream media, because if it can be done it should be done."

"I’m at a point in my career where I really want to humanize myself and allow the world to see there’s more to me than my adult videos. I want to show them my raw self, myself without makeup, myself when I’m just rambling and talking. And maybe I shouldn’t have said the things I say but I fucking said it because that’s who I am."

"Being a big star in the industry, knowing that I have an impact on the industry, it was almost a duty. To take on this challenge and do this documentary, to really show the adult entertainer is more than just her stage name."

"I use my Twitter to sell content and make money. A lot of the times you won’t see me posting about my dog because I do try to stay on brand. I understand why the common person who follows me on social media would put me in a very hyper sexual category. They’re looking at my job. They’re looking at Riley Reid. I want to attract people who will hopefully understand this is just my brand, but sadly we’re not in a world of intellectuals. I think a lot of people don’t look deeper; so many people are just surface-lookers. It’s an emotional thing. I struggle with it when it comes to making friends or dating but I also try to meet people in real life, which is also sometimes a battle because people meet me though Riley Reid."

"I love listening to Jake Paul, he’s so funny, so I came here for a bit of the comedy sense or whatever but I think it’s great. I think Jake is going to f***ing kick his ass."

"I watched Logan’s fight and I have watched a bit of UFC type stuff but I don’t typically watch much fighting so I don’t know the rules or anything like that. To me, it looked like Logan won but I don’t know."

"They got me into it more. I have some friends who do some betting on the UFC and stuff like that but I’ve never gone to a fight before."

"I initially thought with the Logan Paul fight that would knock him (KSI) out in the first round so, I honestly do not know, I can only hope because that would be amazing to see a knockout in the first round. But by the third round maybe someone can get downed and it is going to be f****** Gib because you’re going f****** down."

"Coronavirus has had a huge impact worldwide affect almost every business including the adult industry. From commercial sex workers such as dominatrix to more mainstream pornography, we too have been affected greatly. Since our work includes being up close and extremely personal with our co-workers, production has been shut down. Leading to a loss of work for not only the actors/actresses but also directors, production crew and make up artists."

"When production does continue again imagine that the workplace will be very different in order to create a safer place in regards to protecting the crew and talent from exposure to such viruses again. There has been talk of adding a coronavirus test along with our regular STD tests to our testing panel which we are mandated to do every 14 days. I personally am curious to see how the future of porn will change with how greatly the world has been impacted by the coronavirus."

"So I try to relish in that moment and try to smile about it and just be grateful for the time you have and you have to always remember to be kind to one another."

"Holiday time makes me feel happy and festive and excited. I got a three-picture deal at Lifetime and I thought a Christmas movie would be the perfect way to come out and introduce it."

"I would say, ‘One day I’ll be really famous.'"

"My skin as an African American tends to be a little drier, since I’m getting up there, just going outside in the sun, and all the years of the things that I’ve done to my body being in the entertainment business. For me, it was having hyperpigmentation or sometimes you get light spots. I wanted to do something that represented me. I wanted something that I knew really worked."

"It's just another sad love song Rackin' my brain like crazy Guess I'm all torn up Be it fast or slow It doesn't let go Or shake me And it's all because of you"

"And I can't get you out of my head And I know I can't pretend That I won't die if you decide You won't see me again If I never feel you in my arms again If I never feel your tender kiss again"

"My mom always said, ‘Don't forget your roots, don't forget where you came from.’ I'm Chinese, and I'm proud to be Chinese. I always remember that."

"I am CoCo Lee and it has been 27 years since my debut. No matter how big I stand on the international stage, I can still proudly say that I am Chinese and I am from Hong Kong, China."

"Everyone in China is saying this is unfair. We are Chinese. We know what’s right and wrong. We are very clever. We are reasonable. Our ears are not numb."

"I have learned that people can be very, very vicious."

"Be a caring person and help other people, have a kind heart and be very disciplined – because life is hard."

"Care about the suffering of others and try to help if you can, love our Mother Earth, be a good listener, gain wisdom and have abundance of love to give to others. Be the boss of your own life. Stand up for something you believe in. Be an influential figure to inspire people. And keep spreading Love & Positivity everywhere. Remember there’s only one of you in the world, you are one of a kind. Life can be too short so dare to dream big!"

"Life seemed unbearable at times but I adapted the attitude of a 'female warrior'."

"LOVE & FAITH ~my 2 favorite words that I carry strongly in my heart which I desperately needed to get thru this incredibly difficult year."

"Inside my solo album, there was a bio of me. Under ‘what is your goal?’ I said: ‘to be an international sensation.’ That is so crazy. A 19-year-old who has just started out – who the heck are you to dream that big? But you’ve gotta dream big. When you have a big goal, you can surpass yourself trying to reach it. If you don’t, you never grow."

"I almost had a heart attack. I was going to be the first Chinese artist to perform at the Oscars. It’s that Chinese pride. I want people to know that we are talented in many ways: not only at kung fu, computers or cooking Chinese food. I felt like I had a lot to prove."

"I do love singing covers. Funny thing is, I have always preferred singing other people’s songs and making them my own. That’s why this show is perfect for me."

"People were telling me the pressure was nothing like anything you’ve experienced before. But I felt if I was going to be afraid of the consequences I would never make a breakthrough. After all, it’s the same as breaking through in the United States. If I had been afraid of failure, I would never have taken that step. Sometimes in life you have to be brave and challenge yourself to do something that is so out of the ordinary and out of your comfort zone. Sometimes you have to be a little bit crazy to do this."

"I’m not afraid. I’m fearless. I dare to do things that people don’t expect me to do. Even before I became well known, I was this Chinese singer, singing ballads in Taiwan, wearing shorts and looking like one of the Spice Girls. I was different from everybody else. That was 1994. All the women singers were elegant, wearing dresses and speaking softly, whereas I was quirky and had a crazy loud laugh. I wasn’t afraid to be different and just be me."

"I’d go to Lionel for a lot of advice. He was so supportive. He used to tell me: ‘CoCo, I never worried about you once. I always knew that you would kill it.’ He’s always been very sweet and supportive."

"She’s my role model, my idol, my legend. She taught me to be a strong, independent woman. I grew up watching how hard she worked. She made me realise that if you want something in this life you have to work hard at it. You’ve got to make the effort. Because of her I was never afraid of hardship. After witnessing all the hardship my mum had been through for us, I was more determined to make it so I could give her a better life."

"If you YouTube the song Bad Romance, there’s a cape I wear when I first walk on stage. I only wear it for about 20 seconds but we spent weeks on that cape, making sure it was just right, making sure it would come off fluidly when I needed it to."

"For a fashion shoot, I always come up with ideas. I’ll share with the team what I’d love to explore. But it’s also important to let creative people have ideas."

"I feel very fortunate that I have gained so much experience performing all over the world and it’s great that I could give back by advising these young talents. There are a lot of great singers out there. But it’s all about how you make yourself stand out and make yourself memorable. These kids are the future of our music industry. It’s more meaningful to be able to play a part in shaping them into brilliant artists."

"In being a judge... I would try to be a good role model by showing them my work ethic and by simply being a caring friend as I know how brutal this industry can be."

"One of my goals is to set up a management or entertainment company to nurture artists... I want to give opportunities to showcase younger singers, every chance I get."

"I would like to do a movie about my mum... The story’s got romance. It’s got conflict. It’s got humour and lots of drama. It’s always been a little dream of mine to make the film. She’s been through so much and I learned from my mum that when you have the power to help and give back, you must."

"When CoCo and I first met, we were probably 18 and 19 years old. She had a radiant smile, an infectious laugh, a larger-than-life personality. She already had all the qualities that were to make her a future star. As the years progressed, our paths continued to cross. All the while, her star kept rising. She was the biggest star at Sony, and then she was the biggest star in Asia. I remember her singing at the Oscars [and when] Sony New York signed her to be the first Chinese artist to break into the US market. Mariah Carey’s agent signed her. Everybody wanted to work with CoCo, and for good reason. She was the best. CoCo Lee broke down international barriers, before any other Chinese singer did. Let’s always remember her as a brave pioneer and an important musical legend."

"I will never forget your smile, voice, and dance! You are the most humble genius."

"Like anything, you just need to stay true to who you are and hope that social constructs don't get in the way of accomplishing your goals."

"I want people to know that I'm a force to be reckoned with."

"If you're a creative person, what inspires you is always changing; it's always shifting."

"I'm the kind of person who doesn't wait for opportunities to fall from the sky."

"I've learned to love my brown eyes."

"There is the devil at the door. I'm nearly going under, can't help but wonder who am I working for? No one's more enslaved now then the ones who falsely feel they are free. I've come to terms with the fact that nothing is what it seems. This life is an illusion. And everything you thought you knew isn't what it seems. Only truth will set you free. This new world has begun."

"One tip is to try and give your hair some time to relax. Don't over wash or over dry it."

"Hopefully with a woman President the double standard will slowly begin to wane."

"This industry's so full of distractions: partying, drinking, sex, money. The priority for me is just to make music that people can connect with. I want to make something fresh that people may not understand"

"I'll usually run an ice-cube over my skin to close all the pores. That's pretty much my daily routine."

"I like people who don't take themselves too seriously."

"My routine actually stays pretty simple and consistent. Every morning I use the X-Out Wash-In Treatment with warm water in the shower. I towel dry my face, apply a moisturizer-sunscreen, and go!"

"Keep your brow game on point and always pack a lip gloss."

"My hope is that no matter your mood there is [on a Joyride albom] a song on there that speaks to you."

"I think that sexism existents everywhere"

"There is a racial hierarchy in the U.S., and people of color–particularly black people–are at the bottom of it."

"Police brutality against people of color is a spectacular form of the racial violence that our nation’s criminal-justice system inflicts every day. If we back up, we will see that the police encounter that led to Floyd’s death takes place within a larger context of mass incarceration. Presently, there are 2.3 million people housed in the country’s prisons, jails and other criminal-justice facilities. By most measures, this number is remarkable. It means that the U.S. has the largest prison population in the world. China comes in second, imprisoning 1.7 million people–over half a million fewer people than the U.S., in a country of 1.4 billion. The U.S. number translates to the imprisonment of 698 people for every 100,000. This rate dwarfs the incarceration rates of the countries that the U.S. usually thinks of as its peers. Indeed, the rate at which the U.S. incarcerates its population is roughly six times the highest rate of incarceration among Western European nations. While these numbers, in and of themselves, might be disconcerting, they become even more disturbing when we consider the racial geography of the U.S.’s prison population: people of color, particularly black people, are disproportionately represented among those who are incarcerated. While black people constitute 12% of the U.S. population, they constitute 33% of the prison population. Thus, black people are dramatically overrepresented in the country’s prisons and jails. Meanwhile, white people make up 64% of the U.S. population, but they make up just 30% of the prison population."

"Mass incarceration means that this country approaches its problems through the criminal-justice system. When faced with a social ill, our nation responds by building more prisons and jails. Because incarceration is the tool that we use to address societal problems, we have erected few limitations on the police’s ability to keep the social order. Police can stop whomever they want to stop whenever they want to stop them. They can investigate things that have no relation to the reason for the stop. They can use force. They can kill. [...] The criminal-justice system evidences the way a society that should care for and protect its people instead leaves black people susceptible to harm and with little control over their well-being. It does so through the tragically high numbers of black people who are in prisons and jails, in the disproportionate rates of incarceration of black people, in the violence of the tactics that governments have used to police communities of color, in the frequency with which black people’s encounters with the police end in death and in the infrequency with which police officers are indicted and convicted for killing black people. Proof of this country’s racial hierarchy is everywhere. May we dismantle it in all its cruel, life-ending forms."

"Though ballet is my passion and dream, it would not be entirely fair to say that it saved me, without acknowledging the human beings who played major roles in saving my life. Some of these people I loved; others I detested. But if it were not for them, I would not have a life, let alone be a ballerina."

"Despite being told the 'world wasn’t ready for Black ballerinas' or that 'Black ballerinas weren’t worth investing in,' she (Michaela DePrince) remained determined, focused, and began making big strides."

"Her (Michaela DePrince) life was one defined by grace, purpose, and strength. Her unwavering commitment to her art, her humanitarian efforts, and her courage in overcoming unimaginable challenges will forever inspire us. She stood as a beacon of hope for many, showing that no matter the obstacles, beauty and greatness can rise from the darkest of places."

"A couple of days a month, I would - when I was 14, when I was 15, when I was 16, I went to the studio, and they would show me storyboards. And they had very crude - they were 16 mm, very hot lights so that everything stood out very strongly, you know, almost in silhouette sometimes, especially when Snow White was running through the forest or doing anything of that nature. And I made it up. You know, it was almost like extended play for me."

"I wrote to my mom saying 'Look, I don't think I want to be a dancer any more so I'm going to quit ballet and stay here. I will have this and this income next week.' I laid it out in a way that she couldn't say no because I was so organised."

"I’ve been really fortunate to work with a lot of women. There were a lot of talented women that were more than capable of directing the show. The goal is to not be patted on the back for hiring a woman, because it shouldn’t be an exceptional thing. It should just be commonplace that women should have equal opportunities as men."

"It’s literally the dream collab duo. It was incredibly surreal for me. To be in the flesh with Richard Linklater and Ethan Hawke and be able to not only witness their process but be a part of it was life-changing."

"I don’t think I want to commit to a franchise. It seems like a lot of time, and I’m scared. I’m a commitment-phobe maybe. But also, no one’s asking me to do anything."

"I don’t feel like I’m always good at representing myself publicly in real time, so I would almost rather say nothing at all? Because rather than have the wrong idea about me, someone just wouldn’t have any idea about me."