It means a lot to me, the sanctity of marriage.
I love being married. I've been married three times.
I know God loves me. I tell people all the time I'm one of his favorite childs. I had to believe in something bigger than me - bigger than man. I had to believe that God would send somebody across my path to keep my dreams alive.
When people come and see me, I want them to experience joy. I don't do any sad songs in my show. It's to lift the spirit.
A lot of times, that's hard to capture: what you sound like in person versus what you sound like on record. If I had total control, I would do a lot of the old songs - not only my songs but Sam Cooke songs, Luther Vandross, melody songs. That's what I would really do if I had an opportunity to do a record.
A lot of the people who saw me in the 'Lethal Weapon' movies didn't even know I was a singer.
My pursuit was more in the music thing, so I never went out pursuing movies. It was more just pursuing my singing career because people came to me for singing more than they did for doing movies.
I enjoyed every minute of what I was doing with sessions, because The Blossoms, the group that I was singing with, they were the first black background singers. There weren't any.
I think we did our first session in 1958. There were no black background singers - there were only white singers. They weren't even called background singers; they were just called singers. I don't know who gave us the name 'background singers,' but I think that came about when The Blossoms started doing background.
Background singers who are any good have to be great imitators.
I've always wanted to work with Barbra Streisand because she's worked with some of the best background singers in the world who are friends of mine, worked with them in concert or on movie soundtracks, and I always say 'Now, where was I? Where was I when she was hiring people to work with her?'
You just have to find a lawyer that won't let you sign certain things - and I mean the fine print, because I was gone from Phil Spector and signed with Gamble and Huff in Philadelphia, and Phil bought my record contract back from them.
The Blossoms were actually the first black background singers that did recording sessions in California, but we had to start giving work away. We just couldn't do it all.
The whole idea is you can't sit around and do nothing. You have to get up and start living one day at a time. That's what I did my entire career. You can't sit around and say, 'Oh, poor me. Nobody likes me. Nobody is giving me a job.' You have to get up and go. If you sit at home and do nothing, that is what is going to happen.
I am so thankful for the genius of Phil Spector, for his recognition of my talent to be the main voice of his Wall of Sound.
When I was a backup singer, I enjoyed it.
If you listen to most songs, most people will not sing the words of the lead singer. They will sing the hook. The hook is what makes the record sell.
I worked with Dionne Warwick, did shows with Bette Midler, and then I did the 25th anniversary of the Rock and Roll Hall of Fame with Springsteen at the Garden. It was all important stuff because you want people to know you can work, you can sing, and you can still look good!
Your body knows how old you are, but if you keep on and you take care of yourself - you know, I go to kickboxing class every morning at 5 A.M. You know, try to do all the things to take care of the outside of your body, but you also should do - and have to do things that take care of the inside of your body.
Nobody put the camera on the background singers who were singing. It was on Stevie Wonder. It was on Elton John. It was on whoever was the lead singer out front. We were 20 feet from stardom.