Lesley Gore quotes:

You know, Quincy Jones was a great mentor, but he was a man in a man's world. Fortunately he's a very sensitive man and a beautiful human being, and even though he was 14 or 15 years older than me, he's a capable human being and has great communication skills.

I've listened to Eminem rap. That's not daily fare for me, but I can't help but admire how vivid what he does is. My own taste goes a little more toward Norah Jones.

I meet a lot of young people in the Midwest, and I saw what a difference a show like In the Life can make to their lives in some of these small towns where, you know, there are probably two gay people in the whole damn town.

I have a bit of a problem with 'American Idol.' Forgive me, but it's difficult for me to watch. I can't help but think of people being exploited. On the other hand, I'm really enjoying 'Glee.'

We recorded the record on a Saturday afternoon March 30th and I heard the record for the first time on April 6th. I was driving to school, literally seven days later.

I have nothing but the best memories of growing up in New Jersey. Of course, I grew up in a nice town, a suburb. But Tenafly was right next to Englewood, which had a tremendous amount of racial tension in the '60s. So I was aware of the real world.

I worked with Carl Perkins on a number of shows. Live shows. He just showed up and played. He just killed. Killed! Man... he was amazing!

I have to say that when I first started singing, I didn't think it was a very noble profession. I worked for people like Robert Kennedy and I thought: 'Wow, that's what it's about. That's how you change the world.' And then I watched that disintegrate in front of my eyes, and it was very discouraging.

Really you just gotta keep chugging along and keep a positive attitude and get through all the problems. You gotta face them, otherwise you don't get through.

As far as I'm concerned, collaboration is the essence of life. It's wonderful to be able to have talents, and, very often, we think that we know what our talents are, or we find out through a back door that we have a talent. I know that I found out I was a lyricist quite through a back door.

Given that there was that era of girl group music and it's still very popular, but I think if you looked at the chart from that time you would see many more men on it. Because the industry, they were catering to young girls. I mean, that's what they thought their audience was.

I can remember in the early 60s that there were a couple of really dynamic women performers at the time - Brenda Lee, there was Connie Francis.

Actually, the funny thing is, after all these years, I've got all these new songs to learn for the show we're doing at Joe's Pub, so it's kind of fun to get down and rehearse new things, and also rethink some of the older songs, how we're going to do them.

And I thought, you know, a little gender confusion makes a better person. A little adversity in life at an early age. It's character building.

I didn't disappear; I started writing songs and worked behind the scenes.

I think the record industry, by and large what's left of it, is still totally homophobic. I think it's much less so in the film industry now, but the record industry, it's always been a man's world.

On 'Sullivan,' you sang live. Not only that, you sang with a 40-piece band. So you had instruments that weren't even on the original record! So this was when the rubber met the road - when you had to really learn how to perform. And it was for 10 or 12 million people. So that was a challenge.

You know, the interesting thing about having traveled around the country as much as I have, and I think it's sort of inadvertently what made me come out or at least begin doing things within the community and thinking more about that, was that I get to travel quite a bit.

I don't know any other lifestyle. I get up in the morning and I really do feel that the world is my oyster, and I start that way, the same as I would if I were preparing to write a song: put a blank piece of paper up on the piano and you go for it.

Don't tell me what to do, don't tell me what to say. And please, when I go out with you, don't put me on display.

One night I saw them kissing at a party, so I kissed some other guy. Johnny jumped up and hit him, cause he still loved me, that's why.

Sunshine, lollipops and rainbows, everything that's wonderful, Is sure to come your way

I wouldn't go so far as to make 'You Don't Own Me' a tango or 'It's My Party' a hip-hop thing. Believe me, those things have been suggested to me. But I thought if I could stay true to the song, the arrangements would work. I'm really enjoying singing them.

The short story and the truth is that I was taking vocal lessons here in New York... One day, instead of my lesson, the piano player and I went into a studio... and we put down some demos... Those demos got to Quincy Jones through an agent... He listened to them, he called me, and we started to record.

I decided to host a couple of the 'In The Life' programs. And I did that really as a result of meeting a lot of young gay people in the Midwest who really had nothing to relate to. At least I felt this program is presenting them with some options.

And that's what got me to the piano, that's what got me up in the morning: a blank piece of paper and a hope to have something by the end of the day.

I think I turned to writing really just to wake up in the morning and be a musician and to have something to do, and feel like a musician every day even if I wasn't working.

It's my party and I'll cry if I want to.

You can only bite off so much, so you gotta know what you want to do.

I just kind of lived my life naturally and did what I wanted to do.