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.

Music is a great vehicle for communications, and I have a certain platform. I have an opportunity and I have to take it.

I think that the thing is, all those years of creating music or trying to express something of a dark shadow, an existential angst that I have felt most of my life and still feel today, to not be overwhelmed by it. Music, in a way, is a great vehicle, a means by which one can express all these somewhat contradictory feelings.

I'm not really keen on comebacks. Eurythmics was an incredible thing. When I look back on that work, I feel very satisfied with it.

There are two kinds of artists left: those who endorse Pepsi and those who simply won't.

I'm a female but I have a masculine side and I'm not going to negate that part of myself.

I wouldn't have known when I was a teenager that when I was coming up to being a sixty-year-old woman that I'd be making music, I'd be recording music, talking about music, and incorporating my views on the world into the music-making. So it's a very rarefied place to be, and I'm very grateful for that.