Businesswomen From The United States

"I'm always endlessly surprised about the people who come into my life, who I get to collaborate with. I feel really overwhelmed by those opportunities. But it's not like I fell off the turnip truck and suddenly became who I am. I really have worked hard for it, and I have to acknowledge that. I care about what I do, and I have a sense of pride in my work. And you can never be totally settled as an actor or artist or musician. You have to keep the fire under you, because that's what makes you better."

"You spend months and months listening to the music, absorbing, practicing, working with real musicians who worked with them and getting as much of that as you can. And then the day you start shooting, you have to throw it all away. Because, they had no self-consciousness. They were natural performers and at that time, it wasn't about how you could synthesize a voice and make it appealing, it was about the natural little hiccups and the way you related a story or wrote the soul in the words you wrote. And 90% of your popularity was your performance and your interpretation of your own song. So, once we learned it all you just have to just kind of hope it all sunk in somewhere and just let it all go, cause they just had incredible confidence."

"I have a history, a long history of being stereotyped as a five-foot-two woman, which is very limiting. I've worked so hard to create characters that have dignity. And I think everybody knows that I have a very pro-woman message in my work — and in my life."

"I have to be honest with you. Comedy is what I want to see at the movies these days. Life is frickin' hard, man. I want to go to the movies and see people happy and enjoying themselves and having some fun. I've made other kinds of movies, for sure. But it's pretty apparent to me that's what people want. That's what I want. I enjoy those kinds of movies."

"You're a fucking bitch. I'm going to destroy you."

"To me, anything goes. But that's me."

"You need to look like a lady at the Oscars. Otherwise, Joan Rivers will tear you apart. Then again, you aren't really anyone till Joan Rivers tears you apart."

"The only rule is don't be boring and dress cute wherever you go. Life is too short to blend in."

"What's Wal-mart? Do they sell Walls and stuff?"

"That's hot!."

"I used to act dumb. It was an act. I am 26 years old, and that act is no longer cute. It is not who I am, nor do I want to be that person for the young girls who looked up to me. I know now that I can make a difference, that I have the power to do that. I have been thinking that I want to do different things when I am out of here. I have become much more spiritual. God has given me this new chance."

"Making eye contact during rough sex is roughly the equivalent of trying to read Dostoyevsky on a rollercoaster."

"Though watching porn may seem degrading to some women, the fact is that it's one of the few jobs for women where you can get to a certain level, look around, and feel so powerful, not just in the work environment but as a sexual being. So, fuck Gloria Steinem."

"To this day, I can't watch my own sex scenes."

"If she feels so powerful as a sexual being, why can't she watch her own sex scenes? If her work environment is so satisfying, why does she say that if she had a daughter, she would lock her in the house before she'd let her get involved in the sex industry? Why does she refer to her vagina as a 'ding-ding'? I'm not sure any of this is Gloria Steinem's fault."

"I know that when I do get pregnant, I won't step one foot in the adult industry again."

"Those of you who speak only English, applaud [audience applause]. Those of you who speak only Spanish, applaud [audience applause]. [In mock incredulity] Then how do you know what I just said?"

"I bit down three nails rooting for the Heat."

"No fighting, Glorias! Gloria Estefan [the real one] to two female impersonators [Gloria #1 and Gloria #2]"

"I have a twenty-month-old baby [girl], [and] a sixteen-year-old boy— same maturity level."

"You know, I don't know about this "Diva thing," O.K. This "Diva thing" is getting a little out of hand, I think. I mean if anything, I'm a divette."

"[While her father was a political prisoner in Cuba] I was always singing and dancing and reciting poems -- that was how I used to do my crying over my father. There were a lot of negotiations between the US and Cuban governments over the next couple of years [1961 - 1963]. [Castro proposed an exchange of prisoners for food, medicine and building machinery], and eventually my dad was released. It was wonderful to have him home -- it was probably the happiest time in my life. For once, the whole family was together, living a normal life. That was when my sister, Becky, was born [1964], and it was also when I started guitar lessons. I would lock myself away in my room for days, learning how to play. Even then I was beginning to work out that music was a way to cut throught all the BS."

"I'd lock myself up in my room with my guitar. I wouldn't cry. I was afraid if I let go just a little bit, it would all go. I would sing for hours by myself . . . . It was my way of crying."

"I was 16 months old when I left Cuba, so I really don't remember anything [about Cuba]."

"When I first came to Miami [in 1959], you'd see signs like "No Children, No Pets, No Cubans." We were a major threat. We lived in a very small apartment behind the Orange Bowl, where all the Cubans lived. All the men (including my father, Jose Manuel Fajardo) were political prisoners in Cuba, and it was purely women and their kids. There was one car the whole community bought for $50, and the one lady that could drive would take everybody to the supermarket and the Laundromat."

"I'm looking forward, though, one day, if I'm not too old, to do a free concert in a free Cuba. That to me would be fantastic. We're looking forward to it. Well, hopefully, I mean he's [Castro] gotta go [die] sometime. He's gotta go sometime -- let's hope it's sooner [rather] than later."

"For fourteen years [1966 to 1980] [my father] suffered a debilitating disease [multiple sclerosis]. I took care of him for most of that time, until he was no longer able to be taken care of at home . . . So, in essence, I was caring for [my father] and my younger sister [Becky], six years younger than I. It was difficult for me. It was a tough time. Music was my escape -- my catharsis. My way of just getting my emotions out. Music has always been a beautiful force in my life."

"My mother, my dad and I left Cuba when I was two [January, 1959]. Castro had taken control by then, and life for many ordinary people had become very difficult. My dad had worked [as a personal bodyguard for the wife of Cuban president Batista], so he was a marked man. We moved to Miami, which is about as close to Cuba as you can get without being there. It's a Cuba-centric society. I think a lot of Cubans moved to the US thinking everything would be perfect. Personally, I have to say that those early years were not particularly happy. A lot of people didn't want us around, and I can remember seeing signs that said: "No children. No pets. No Cubans." Things were not made easier by the fact that Dad had begun working for the US government. At the time he couldn't really tell us what he was doing, because it was some sort of top-secret operation. He just said he wanted to fight against what was happening back at home. [Estefan's father was one of the many Cuban exiles taking part in the ill-fated, anti-Castro Bay of Pigs invasion to overthrow dictator Fidel Castro.] One night, Dad disappeared. I think he was so worried about telling my mother he was going that he just left her a note. There were rumours something was happening back home, but we didn't really know where Dad had gone. It was a scary time for many Cubans. A lot of men were involved -- lots of families were left without sons and fathers. By the time we found out what my dad had been doing, the attempted coup had taken place, on April 17, 1961. Initially he'd been training in Central America, but after the coup attempt he was captured and spent the next wo years as a political prisoner in Cuba. That was probably the worst time for my mother and me. Not knowing what was going to happen to Dad. I was only a kid, but I had worked out where my dad was. My mother was trying to keep it a secret, so she used to tell me Dad was on a farm. Of course, I thought that she didn't know what had really happened to him, so I used to keep up the pretense that Dad really was working on a farm. We used to do this whole pretending thing every day, trying to protect each other. Those two years had a terrible effect on my mother. She was very nervous, just going from church to church. Always carrying her rosary beads, praying her little heart out. She had her religion, and I had my music. Music was in our family. My mother was a singer, and on my father's side there was a violinist and a pianist. My grandmother was a poet."

"My grandfather . . . was a commander in the Cuban army -- not just a Batista [General Fulgencio Batista y Zalduvar was Cuba's 19th president from October, 1938 until January, 1959)] -- but he was a career general there. And he had been through a few of the different presidents of Cuba . . . My father became a motorcycle officer. He was a good-looking guy, so he was chosen to be the first lady's [Mrs. Batista's] escort. So they were very close to the government when Batista came in power. And then immediately after [Castro seized power on January 1, 1959] [my father] joined the Bay of Pigs invasion to try to liberate Cuba . . . and he was a political prisoner for two years there [in Cuba]."

"I left Cuba when I was two years old. They took away my country, they stole the most intimate thing a human being can have. How could I forget that Fidel Castro was the person who did me so much harm?"

"[Cuban coffee is] very powerful, very sweet, and a little dangerous —- just like the people who drink it."

"Neither. I did not bring my crown, and the last thing I would want to do is get into politics."

"[I] grew up in this city [Miami], and my music is a blend of two cultures. In the beginning it was heavily Cuban. At this point it's [from] all over . . ."

"A lot of the people who live here [Miami] are island people -- from Cuba, Haiti. People are very vibrant, and color is important living here. You're inspired every day by the sun, the sky, the landscape, the lushness. [Artist Romero Britto's] painting and artwork reflect that."

"Everything's funny for God's sake. Everything."

"What do you expect for your $12,000?"

"The only difference [between promoting a book and a CD] is when I do the readings. My fans are out there in full force, but it's nice to have all the kids there as well. I really love this evolution of writing. Writing is my core, and writing the book was like writing a really long love song. I have 31 pages to elaborate instead of three minutes. And my target audience, although it is children, I don't talk down to them. I want the parents to find it interesting. [Children] sit in my lap. I love it. I've always tried to turn an arena into an intimate setting. So, if I'm already in an intimate setting . . . You get to talk to a few hundred people, and you get to really bring them in, to have an exchange with them that often doesn't occur on the stage."

"I had always thought about a lullaby album. But when Noelle came along, my little Colombian bulldog, she really gave me a plethora of ideas. I remembered when I was little in Texas and I was the only Hispanic in my class. Because the first book was about feelings, how Noelle's weaknesses turned into her strengths. That you have to keep your identity."

"[As of November 17, 2006] 'Noelle's Treasure Tale' has remained at No. 3 on the New York Times children's best seller list since its October 10 release."

"I thought it would be lovely to use [pet bulldog] Noelle as an example to teach the importance of being who you are. For me it's important to inspire children in a positive way, and at times they understand more messages through entertainment than when one is talking to them directly."

"[To beginning readers (ages 4 to 8) at a reading of "Noelle's Treasure Tale"]: If you discover a word in my book that you don't understand, ask your parents so they can look it up in the dictionary for you."

""Noelle's Treasure Tale" is based on the historical fact that three Spanish galleons full of treasure sunk off Florida's treasure coast and have never been recovered. I have a beach house on the Treasure Coast, and I'm out there with my snorkel looking for the treasure."

"When [my mother] saw we were not going to be able to go back [to Cuba] it became increasingly important for her to make our culture very prevalent and very important in our lives -- and in our household. We spoke only Spanish. I didn't learn English until I went to school in first grade. And the [Cuban] music and the food was very much a part of our life. I'm glad for that, because it is as well for my children."

"How can we expect something positive to come from all the negative that we put into this world?"

"We're lucky to call Miami and the United States home. What other city can claim to have its own foreign policy? Miami is many things, but it is never boring."

"I do [like being a redhead] . . . I do . . . because lighter is better as you get older . . . It's nice . . . I can't be a blonde. I'm definitely not a blonde . . . So, that doesn't leave too many other colors available."

"The secret of a long marriage is shaving your legs every day . . . because it shows you still care."

"[My husband Emilio] found the last remaining virgin in the '70s -- and that was me."

"I've got a producer [for bio pic on singer Connie Francis' life] . . . . We're almost there."

"What happened is the music listener has become much more of a connoisseur and a king of his own destiny. You can no longer shove an album down their throats and say, 'Here's 15 songs, four of them are good, you know. Spend 20 dollars on this CD.' It's not going to happen. That's what has taken the music industry down."