Rockabye Baby, in the treetop Dont you know a treetop is no safe place to rock? And who put you up there, and your cradle too? Baby, I think someone down here has got it in for you!
But no matter what love throws at you, you have to believe in it. You have ot believe in love stories and prince charmings and happily ever after. That's why I write these songs. Because I think love is FEARLESS.
Everybody has that point in their life where you hit a crossroads and you've had a bunch of bad days and there's different ways you can deal with it and the way I dealt with it was I just turned completely to music.
Just being a human being, I’ve realized that before every big problem you create for yourself, before every huge mess you have to clean up, there was a crucial moment where you could’ve just said no.
Well, I don't throw things. This particular night I brought one from the floor so to speak, and he ended up getting a cut over his head, and the police came, took him to another side of the hotel, and that was like September 6, 1981.
I heard stories from my mother's mother who was an American Indian. She was spiritual, although she did not go to church, but she had the hum. She used to tell me stories of the rivers.
In 1969, I wrote a musical called 'Mother Earth.' It was a rock musical with an ecology theme. We did it at the South Coast Repertory Theatre in Southern California where I was a member. It was a smash hit in this small theater.
There were no examples of girls like myself becoming successful actresses. To be an actress in England was a serious, upper-middle class girl's profession. I just thought I would never be accepted unless I pretended to become somebody I wasn't.
The working classes in England were always sentimental, and the Irish and Scots and Welsh. The upper-class English are the stiff-upper-lipped ones. And the middle class. They're the ones who are crippled emotionally because they can't move up, and th...
Gen-Ys are delusional; Most people are not special—otherwise “special” wouldn’t mean anything. Even right now, most of Gen-Ys reading this are thinking, “Good point. But I actually am one of the few special ones”—and this is the problem...
I always hated jazz guitar. I loved jazz saxophone but I hated jazz guitar. If I would buy an organ trio record I would make sure I'd buy one that did not have a guitar player on it. The sound was awful!
Fortunately I own a vintage brain, and I am alive and well in the 21st century, still making records, still working at an intense pace and most of all, still having fun doing it.
For a songwriter, you don't really go to songwriting school; you learn by listening to tunes. And you try to understand them and take them apart and see what they're made of, and wonder if you can make one, too.
I always liked the idea that America is a big facade. We are all insects crawling across on the shiny hood of a Cadillac. We're all looking at the wrapping. But we won't tear the wrapping to see what lies beneath.
If you record the sound of bacon in a frying pan and play it back, it sounds like the pops and cracks on an old 33 1/3 recording. Almost exactly like that. You could substitute it for that sound.
I've had albums out since the 1970s. I was in a musical, 'The Boy Friend,' directed by Ken Russell, and I was on Broadway in 'My One And Only' with Tommy Tune, so I've always been a singer, but I suppose people think of my modelling more.
My elder sister used to get the fashion magazines, and I would go through them and find things I liked and buy fabric and copy them. But I hated what I looked like. I mean, I was sooo skinny.
My one big rule for the over-40s is don't try to dress like an 18-year-old. It's possible to be 'on-trend' when you're older - you just have to look for the right stuff. You don't have to spend a fortune, either.
I wrote a lot of stuff quickly: pages and pages of notes that seemed pretty incoherent at first. Most of it was taken from the radio because -suddenly being a parent- I'd be confronted by the radio giving a news report every hour of the day.
In reality I have said very little things; I didn't point out many things to Geoffrey, I trusted very much not only his understanding of what I was doing, or what I wanted to do, in that moment.
The only thing I do worry about is that the more films I do the more visible I am going to become as a personality because of press and because of the sheer quantity of films.
