Yoko Ono Quotes
I've always said that I use my voice as an instrument. It was something I created myself, and I said, 'Have voice, will travel.'
Quotes to Explore
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I won't allow myself to have tremendous fear.
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If only one in 1,000 people that I talk to goes on to write a good book, that's one more good book that I've helped along... and maybe it will be a book I love myself five or 10 years down the line.
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My motivation has always been health - eating healthy and taking care of myself.
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Every now and then I read a poem that does touch something in me, but I never turn to poetry for solace or pleasure in the way that I throw myself into prose.
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There is no need to change my image. I like my image, and the audience likes it, too. I am very comfortable with the kind of roles I do, and as I am not doing the same character or playing myself. I explore my characters; I don't brood over my broody image.
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When you're a producer and an artist you're very critical of yourself. I like to produce other people, but I'm not that good at producing myself.
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I chose to present myself as one who comes from among the people, and I can be touched by their pain because I have my own.
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I put pressure on myself all the time. I felt it so much with 'Sax,' but I had to just let go and enjoy it.
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I like to work all the time and really immerse myself in the project.
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I don't have the looks to compete at a bar, and I'm not that funny. So the last thing I want is to be in a situation where that's what I'm competing on. I'd rather be on OkCupid or Match, where I can write a 300-word essay about myself that's really good.
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I allow myself to fail. I allow myself to break. I'm not afraid of my flaws.
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Along with 'Free,' where I sing quite a bit, there are additional songs on 'Skin' where you can hear my voice in the background - lots of 'oohs' and 'aahs.' But more often than not, I use my vocals to prompt other rappers and singers to feel calmer, better, bolder.
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One of the first gardens I did outside the family was for the designer Hattie Carnegie. I was 23 then, and I went to her salon, but could not afford any of her dresses myself, though I loved them. Miss Carnegie suggested I do a garden in exchange for a coat and dress, and so I designed and planted a garden for her.
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Every story I create, creates me. I write to create myself.
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I wrote 'Criminal' in 45 minutes when everyone else went to lunch because I had to have a hit. I can force myself to do the work, but only if someone is right up behind me.
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I have really high expectations for myself, so I just want to go out there and compete.
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I was 25 years old when I arrived in D.C. It was just myself and two people who worked and helped me in the kitchen. I was only cooking for three people most of the time.
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I never set out to become 'famous.' I mean, when you're 14 you think 'I'm gonna become a writer and people will want my autograph and that'll be cool,' but you grow up and you learn that's just not how the world works. I resigned myself to the fact that I would probably never be published and if I did it probably wouldn't be a big deal.
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I did a play called 'On Golden Pond' in a dinner theater in Maine and then went to New York for a talent competition having put together a three-man juggling routine and some one-liners and I got myself an agent from that.
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It was clear to my parents that I had the gift of voice, and they encouraged me to pursue it.
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I studied drama.
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Love grows more tremendously full, swift, poignant, as the years multiply.
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Women’s genetic celebrity power magnifies men’s protector instinct. It inspires the government-as-substitute-husband. Men’s addiction to the genetic celebrity is either invisible or in the denial stage-thus we either don’t see it, or when confronted, deny it.
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I've always said that I use my voice as an instrument. It was something I created myself, and I said, 'Have voice, will travel.'
