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“In the very early stages of working in sports, I was sick of being referred to as "the Barbie doll" because I had long, blond, fake hair. So I went and bought a boxed hair color, dyed my hair black, and put on glasses. And I looked ridiculous. I looked like a completely different person. I was trying to get away from the stereotype but what I realized in doing that is that what I say and how I conduct myself in what I do will speak for itself, and I don't need to apologize for being a woman in that space.”

“Know your job and don't fake it. It looks easy, but the ones that make it look easy know what the hell they're doing. They may tell you around the dining room table that you're funny and you should be an actor, but until you challenge yourself by getting on a stage or in front of a camera, that's when your knowledge of the craft separates you from the pretenders.”

“I think the record-buying public know what they like, and when people are trying to pander to them, I think they know it. They want the genuine article, so if we try to sort of "dumb down" for the mass public, I think they're too smart for that, and would recognize us as fakes. It seems like the bands that do crossover do so really on their own terms, and they just find that their terms just kind of make a big dove-tail with the masses.”

“I'm an African woman, I suppose these thoughts torture me more than they do black American people, because it's like watching my own children trapped in a car that's sinking to the bottom of a lake and being impotent to save them'the black Americans have their own holocaust going on. You see the black man erasing black children from the landscape, you see black women desperately trying to get the black man's attention by wearing blonde hair and fake blue eyes, 500 years after he sold her and their children across the ocean.”

“One of the points where the art world is at its most metaphysical is in this weird aspect of the power of the expert. There are experts who claim they cannot be fooled because they have an inner connection to an artist and can feel whether something is genuine or fake. I've heard experts say, on panels: When it comes to my period, or my painters, I cannot be fooled. And of course that's completely ridiculous.”

“I hope that people can relate to my music, it's very relatable, it's very fun, it's very honest. It's very, very, honest. I know that my fans will probably learn a lot about me by listening to my music, if they really listen to the lyrics. I'm sure they'll learn about a new side to me, it's all very honest, I don't put on any... there's no fake-ness to it, it's very real and I hope my fans can relate to it and that it's enjoyable for all ages.”

“Normally you'll have a structure to a song. You'll have an intro to a verse to a pre-chorus to a chorus, kinda repeat that, maybe there's a bridge, then you'll go out on a chorus - that's the quintessential song structure - sometimes you might do a fake-out, re-do a pre-chorus but the chorus doesn't come until later, but for the most part you follow these tried and true structures.”

“It seemed to me to be a parable of the exchange of goods, rather Marxist in some ways, in the new world of global forces. What the forgers do is write the brand name to try and change it, and it works! Loads of people buy fake Prada handbags, or Chanel sunglasses; they've been changed. They have been truly, really changed.”

“Reality shows are for reality stars. Celebrities do, maybe, Dancing With The Stars, maybe they might do Celebrity Wife Swap, but dealing with strangers, with people you don't know, in a real situation? People say it's fake, it's based on what they tell other people to do but won't tell you, but you still have a gut reaction, you know.”

“Authenticity seems like sort of a joke. Actually I believe it was the late comedian George Burns who said, "if you can fake sincerity, you've got it made." People cannot be invariant across situations and roles and, moreover, leaders need to be true not to themselves, but to what others want, need, and expect from them.”

“I actually do see rock and roll as pop music. I think the distinction I was making was that I was going out of my way to have a very consistent approach to production, where nothing kind of punctures the reality - or, I guess, the fake reality - of the album and what you're listening to from beginning to end.”

“Because I'm Parisian, I wanted to show a Paris that I don't see at the movies, so I spent a lot of time looking for places that have never been filmed, for streets that have never been filmed because there's a thing about Paris, where it's kind of like a charming music box, this luminous cocoon, like those things that have fake snow in them that you turn upside down.”