I had a number of different labels. A lot of people assumed I was gay because I was wearing a man's suit, and one had to learn that it's OK, people will do that, and you don't always have to explain it one hundred percent, because they're never going to accept what your own interpretation is. It's all illusory.

I think it takes a lot to put oneself in a place where, you know, that thing about "Feel the fear and do it anyway." You wonder what the driving force is that makes you want to do that and not just stay in a safer place.

The dynamic between two individuals starts off with everything warm and nice and fabulous and good. Working and living together can serve you quite well, but when it starts to go wrong - oh, boy!

I didn't want to be a Barbie doll. I didn't want to be a passive entertainer. It wasn't how I wanted to present myself.

You know, I would say that songwriting is something about the expression of the heart, the intellect and the soul.

The music scene in the '70s was like the United Kingdom in the '70s - we had a lot of unemployment, we had inflation, we had a lot of strikes going on, on a national scale, and a lot of discontent. That was reflected in the music.

My first understanding of HIV and AIDS was like everybody else from my generation. In the mid-'80s, we heard about this, and it was terrifying, because we knew nothing about how to respond to it appropriately, and we didn't really understand about how the virus is passed. There was a lot of misconception about that.