69 Gloria Estefan Quotes on Music

Gloria Estefan quotes on music

1. I'm never going to stop making music. I couldn't.

2. The most beautiful thing about music is that it transcends most anything.

4. The musci is one of the beautiful things that has survived the Castro regime. I have played for audiences all over the world but I've never played for a Cuban audience. For [husband] Emilio and me, the music is the one tie to our homeland.

6. Ever since I was a little girl, I felt that I wanted to be of service here on the earth: I felt that was my job somehow. And whatever I was going to do, I was going to find a way to do that. And so, as I got a larger audience -- a broader audience worldwide, and more and more people were listening to me -- it became important for me to share that thought. And the song 'Get on Your Feet' -- which I didn't write, it was written actually by my guitar player, bass player and keyboardist . . . They knew how I felt. [They knew] what my thoughts were . . . So although it was written before my accident, it was thrown back at me so many times . . . But that really is my motto. I look always forward. I look ahead. And that's why I chose to record that song, because I really loved the message. Then 'Coming Out of the Dark,' which came on the heals of that accident and my rehab, and the incredible love that I felt from everyone worldwide that helped me through that difficult moment when I broke my back in 1990, is a big thank you to my fans -- and an expression of how ultimately we are here for each other to help one another. And the strength of prayer . . . That's why I say I know the love that saved me, you're sharing with me. We do have the power to save one another . . . And I wanted to thank everyone for being there for me.

7. My family was musical on both sides. My father's family had a famous flautist and a classical pianist. My mother won a contest to be Shirley Temple's double -- she was the diva of the family. At 8, I learned how to play guitar. I used to play songs from the '20s, '30s and '40s in the kitchen for my grandmother. After my dad was a prisoner in Cuba for two years, we moved to Texas, where I was the only Hispanic in the class. I remember hearing 'Ferry Cross the Mersey,' by Gerry and the Pacemakers, and thinking, 'that had bongos and maracas -- that was really a bolero.' And the Beathles song, 'Till There was You' . . . also Latin. I wrote poetry, which got me into lyrics. Stevie Wonder, Carole King, Elton John pulled me into pop. I started singing with a band -- just for fun -- when I 17. And pretty soon, I was thinking I could sing pop in English as well as Spanish. And as you know, we did that and we broke through. But we waited until 1993 to release 'Mi Tierra' -- we wanted my fans to be rady for the traditional Cuban music. And then we kept adding: more Cuban influences, more Latin America. And, underneath it all, African drums and rhythm. The concept of '90 Millas' starts with the songs of the '40s. We invited 25 masters of Latin music -- giants on the cutting edge of creativity, musicians who pushed it out to the world, young Cuban artists and Puerto Ricans who are huge -- so we could blend cultures and generations. So it is like coming home, but not exactly to the old Cuba.

12. It is so important for me to keep authentic Cuban sounds alive. All of these great artists have changed the landscape of Latin music and it's an honor to have them on this album ['90 Millas,' released in September of 2007]. I believe this album will expose a new generation to the richness of Cuban music.

13. Emilio and I like projects to breathe and grow. We started with a concept -- write songs, make demos, then let the guest stars listen to them and then afffect the writing process. For Jose Feliciano, I had written a chorus and a bit of a melody. He started playing the chorus and ad-libbing. I went, 'This is the [stuff]! Forget my melody!' Carlos Santana worked just the other way. He wanted me to record a plished take singing first, so his playing could recreate my emotion. I got goose bumps [writing '90 Millas']. Like in 'Esperando,' which is addressed to Cubans on the island. Those of us in America, we're like the bogeyman, but I wanted Cubans at home to know: Whatever happened doesn't matter. The future is for us to heal. Adn also: because we're here, we latched onto any part of our culture. Yes and no [this is a political record]. Politics is life, so yes. but it's not specific. Saying that 90 miles haven't divided us sends a message about freedom for Cuba -- and for everyone.

15. If you say '90 miles' to any Cuban, they'll know exactly what it means. It's the stretch of water between Key West, which is the southernmost tip of the continental United States, and Cuba. And for any Cuban who cannot go back, it represents not just a physical distance, but a spiritual one. That's why in most of the songs there is the word 'distancia.' The idea was to take the nostalgia and the sounds that we started with on 'Mi tierra,' which was meant to sound like it was made in a past era, and do the opposite. We moved forward to 2007, with the technological equipment we have today, and gave it a very vibrant sound.

16. My father rarely spoke of life before [he left Cuba]. About prison, he jsut said, 'That man is a genius at PR.' Castro would come to the jail in the middle of the night and ask the prisoners, 'What are you doing here? Don't you see we're trying to do the right thing?' The reason I'm not more political is because I have music. And from a young age, I needed it. After prison, my father came to America, joined the Army, fought in Vietnam -- and was exposed to Agent Orange. He died a slow, horrible death. Music was my escape.

18. Always. Difficulties happen and you get through them. When I say 'no llores,' it doesn't just mean literally crying; it means looking at the bad things in your life rather than the positive. I always think of Celia Cruz as an inspiration. So many times I saw her backstage and her knee was killing her and I had to help her up the steps, but she would step on that stage and nobody knew that she was hurting.

20. In every interview I've done since the beginning, [I'm asked] 'How do you feel about opening doors?' And I always say, 'There are two men who opened the doors for all of us, and they were Feliciano and Santana.

21. [Luciano Pavorati's] brilliance in music will live in our hearts forever. His spirit as a humanitarian surpasses even that. It is truly the end of a musical era. I am honored to have had the opportunity to know him and perform with him

22. What we didn't want to do [with '90 Millas] was 'Mi Tierra, Part 2,' because that album was so special. Yes, we wanted to do a Cuban album, but didn't know exactly in what vein. And, as it grew, it grew into a more modern thing. It was if we had continued to bring this music along with the years.

23. What I wanted to be on this album ['90 Millas'] is me, with everything I have experienced so far.

24. This blend of musicians on '90 Millas' is historically significant on a number of levels. This is the first and quite possibly the last time that all of these legendary artists will play together on one CD.

25. The 2004 tour hasn't ended. I still have to finish Latin America and Europe. [Celia Cruz and I] were good friends. Emilio did her first video; we wrote a song for her. I would have loved to have had her there [when recording '90 Millas']. But she was there. I felt her. That's the beauty of a legacy. Celia was economical and tasty in her choices. And in the pocket like you wouldn't believe? [Which means] It's like a rhythm, from son music. To have it it is to be locked in, like a tuned engine. Once you're in the pocket, you're free. That's why, for most of these songs, I sang and I sang until I had the emotion, then . . . one take. {Couldn't you be considered the heiress to Celia Cruz?] you can't give youself a title! That's crazy! If I ever start talking like that, please put me out of my misery. I don't care if I'm 80, with my butt to my ankles, put me down.

26. The phenomenal Celia Cruz [is missing]. But although she couln't be here physically [Cruz died in 2003], I felt her presence throughout the entire recording of the album. It's still impossible for me to feel like Celia's gone, simply because she is still so alive to me through her music and the friendship we shared for so many years. There were moments during this recording that felt to me like she was directing me to a degree or giving me ideas for where to go with the song.

27. For the rest of my life, the one song that people will remember -- regardless -- is 'Conga' . . . I never get tired of singing it. It never gets old for me.

28. 'Live for Loving You' is a kind of song that really can live in many different genres. And, of course, when you do your live performances the first time that you perform a song you want to stay true to the record: because tha's what people want to hear, they want to hear the hit. But then after you have done it fifty thousand times and through many, many different tours, you start experimenting and doing stuff to surprise people. So, the cut that we are doing here for the 'iTunes Orginal' is something that we love to do -- because we just took it and really broke it down to a Samba. You know, the Brazilians have an amazing edge -- percussively, I think -- they have amazing rhythms. And this song really fit that rhythm very nicely. So, we wanted to do it acoustically and really cool -- and like we've done many times on tour. Just break it down to just acoustic, no synths and things of that nature: just make it organic. And I love that song for that reason: because you could perform it with just a couple of bongos and some vocals if you had to. And it would still work.

29. When you sing in English and Spanish, it's two completely different forms of expression and . . . even the people who don't speak Spanish love to hear me sing in Spanish.

30. 'Get on Your Feet' is really my motto. I look always forward. I look ahead. That's why I choose to record that song, because I really love the message.

32. The last thing I wanted to do was put politics into my music . . . because music was my escape.

33. I cannot imagine a world without music. It would be . . . well, I cannot imagine it.

35. [I would like to be] one of [the first pop singers to perform in a free Cuba]. I know the list is huge. And it would be hard to pull off -- I'd have a lump as big as a tostone [fried green plantain] in my throat. But oh my God, what a dream -- it would be the height of my personal and professional career.

37. My Conga people [fans] will find me anywhere I go.

39. Music is a healing force and we have the privilege of sharing it. It's an awesome responsibility. It has to be something that says something from you. It's a beautiful way to live your life. Whether you end up doing it for a business or just end up singing for your kids, teaching other people to do music, or doing therapy, go forward with a lot of belief, because it's such an amazing way to live your life.

40. Esperando (Cuando Cuba Sea Libre) is probably one of the most personal songs from the new [September, 2007] CD, '90 Millas' . . . as it really speaks about the celebration, nostalgia and emotion that will happen the day Cuba is free. If we're to move forward in Cuba, we really have to have a lot of forgiveness for each other and look towards the future.

44. [Is '90 Millas' another crossover -- into World Music?] I can see that. The core is African rhythm -- half of the world's music comes from that. The difference between our music and American blues: Cubans may have been slaves, but in Cuba slaves became part of the family. They could buy their freedom. And they are Island people. And Island people are happier. But, you know, in the '80s, when we released 'Conga,' wasn't that World Music? Everywhere we went, people got it. And why? The drums. So maybe all music is World Music, and the only question is: Do you like it?

45. Well, I'm proud of it. I was declard persona non grata not by the country but by a terrorist regime. But I know that Cubans love me and my music.

46. Well, not so much politics. A couple of my songs have a social commentary, like Oye Mi Canto (Hear My Voice). I really can't escape from politics because my father was a political prisoner in Cuba; he went to Vietnam. But I try to stay away from politics as much as possible.

47. It taught me that I had a lot more discipline than I thought; a lot more patience. [I became] more expressive, not only personally with my family, but in my music and my way of communicating.

52. We established [The Gloria Estefan Foundation] in 1993, because I was getting so many pitches from charities that I thought the best way to maximize our charity dollars was to establish a foundation, where you can do so many things. [The royalties from] four of my songs go directly to my foundation, and I don't have to bother people for money. I have been funding it myself all these years, from diffent concerts that I do that pay right to my foundation. It's what I love to do. It's something that makes me very happy. . . [The foundation has helped] from small things to large things. Every time there has been a natural disaster, we, thought the American Red Cross, have helped. Not just here , but in Nicaragua and Honduras. Obviously, Miami is very close to my heart.

57. We are trying to celebrate in the new album -- 90 Miles [coming out in the summer of 2007] is the fact that after almost 50 years our homeland [Cuba] is not ours. We have amazing musicians on board preparing this album, and some continue to come on board. It's all new music we've wriiten - all new stuff . . . No relaxing for me . . . I've got the Connie Francis screenplay I'm working on, which we just finished. We have a producer . . . I've got to meet the director that I'm going to go hammer . . . I've been working on it since 2000 with Connie Francis, who is darling. Plus, I'm a mommy . . . I take her [12-year-old Emily] to games, take her to school, pick her up . . . We're women, we're used to [constantly juggling responsibilities].

58. [I've] written all original music [for the forthcoming Spanish-language CD], as was [1993's] 'Mi tierra' -- years back. It's very organic. It's really down to the roots. I'm in love with that record. It's very rhythmic. It's a very passionate record, and I'm thrilled. It should come out next [2007] summer. And a single probably early on in the summer. The album probably will be [out] around September [2007].

59. Oh, that's a good question because what I would consider essential may be different than what my record company and the fans might have in mind. But when you do a retrospective of 20 years like this (album) and realize that you had so many hit singles, it's really an honor. There's a couple of songs that I wrote, one is called 'Along Came You' for my daughter Emily; and the other, 'Nayib's Song (I Am Here for Your) for my son. Both are in the 'slow disc.' I put them in even if they were not singles or hits because for me my being a mother is an essesntial part of who I am.'

60. Well, if you compare my album even as late as two years ago, I think as a writer I am much more at the forefront. I wrote all the lyrics and lots of the music on that album. It shows humor of the writer side of me. But I have evolved since then.

61. Well, fortunately, I am bilingual and I have really two cultures. So when you have that to draw on, you are able to write from one extreme to the other, or anywhere in-between. If you look at my discography, you will notice that one of my favorite albums is 'Gloria!', which is totally dance-oriented, with very sensual lyrics; and then there's 'Mi Tierra which is totoally roots-oriented and really promoted our culture worldwide through music, and that's important for me and also for people of Cuba to know that even though we were in exile and I grew up in the States, our culture and our music are very much a part of my life.

63. Music should always be a means of bridging gaps and uniting people. The beauty of music is that it can -- and should -- gather a wide variety of concepts in a way that's universal.

74. What happened is the music listener has become much more of a connoisseur and a king of his own destiny. You can no longer shove an album down their throats and say, 'Here's 15 songs, four of them are good, you know. Spend 20 dollars on this CD.' It's not going to happen. That's what has taken the music industry down.

87. The only difference [between promoting a book and a CD] is when I do the readings. My fans are out there in full force, but it's nice to have all the kids there as well. I really love this evolution of writing. Writing is my core, and writing the book was like writing a really long love song. I have 31 pages to elaborate instead of three minutes. And my target audience, although it is children, I don't talk down to them. I want the parents to find it interesting. [Children] sit in my lap. I love it. I've always tried to turn an arena into an intimate setting. So, if I'm already in an intimate setting . . . You get to talk to a few hundred people, and you get to really bring them in, to have an exchange with them that often doesn't occur on the stage.

91. [I] grew up in this city [Miami], and my music is a blend of two cultures. In the beginning it was heavily Cuban. At this point it's [from] all over . . .

97. For fourteen years [1966 to 1980] [my father] suffered a debilitating disease [multiple schlerosis]. I took care of him for most of that time, until he was no longer able to be taken care of at home . . . So, in essence, I was caring for [my father] and my younger sister [Becky], six years younger than I. It was difficult for me. It was a tough time. Music was my escape -- my catharsis. My way of just getting my emotions out. Music has always been a beautiful force in my life.

98. I'm looking forward, though, one day, if I'm not too old, to do a free concert in a free Cuba. That to me would be fantastic. We're looking forward to it. Well, hopefully, I mean he's [Castro] gotta go [die] sometime. He's gotta go sometime -- let's hope it's sooner [rather] than later.

101. I'd lock myself up in my room with my guitar. I wouldn't cry. I was afraid if I let go just a little bit, it would all go. I would sing for hours by myself . . . . It was my way of crying.

102. [While her father was a political prisoner in Cuba] I was always singing and dancing and reciting poems -- that was how I used to do my crying over my father. There were a lot of negotiations between the US and Cuban governments over the next couple of years [1961 - 1963]. [Castro proposed an exchange of prisoners for food, medicine and building machinery], and eventually my dad was released. It was wonderful to have him home -- it was probably the happiest time in my life. For once, the whole family was together, living a normal life. That was when my sister, Becky, was born [1964], and it was also when I started guitar lessons. I would lock myself away in my room for days, learning how to play. Even then I was beginning to work out that music was a way to cut throught all the BS.

109. She [then nine-year-old daughter Emily] grew up with 'The Rhythm is Gonna Get You,' Well . . . It got her!

112. Now in addition to being applauded as a five-time Grammy-Award-winning artist, Gloria now has the distinction of being titled a two-time New York Times best-selling author!

120. If I had to take eveything into consideration, [the truly essential song] would have to be 'Conga.' First, because I don't think I can get away with not performing that song in some shape or form. Second, because it started the possiblility of 'Mi Tierra' [Estefan's top-selling Spanish album] happening. Not only did it talk about a specific rhythm of my homeland [Cuba], it talked about being Latino, and the celebratory nature of dance. It was very musically forward in that it mixed a funk bassline and a 2/4 beat on the drums and the Latin percussion. It was something that really put us on the map. And even though it's a frivolous and fun song, it talks about who we are as immigrants in this land.

122. When I wrote 'Words Get in the Way' my husband and I had just had a horrendous argument . . . . [After it was an international hit] My husband said, 'We have to have more arguments.'

125. When I did 'Unwrapped' -- that's one of my favorite albums I've ever done in my life -- I love it when someone listens to the whole album. But I would rather them be able to buy some songs that they like, [rather] than not buy the album at all . . . . You can't fight technology. You can't fight, you know, the consumer.

151. I wrote these two songs ['Coming Out of the Dark' and 'Always Tomorrow'] as a celebration of hope. And, I want to send it out to all of those people who are suffering through this terrible disaster [Hurricane Katrina], and please know that you are not alone -- and you will not be.

156. We took portable showers, Pampers and clothes for kids [in a Hurricane Katrina shelter]. I sang for them and played the guitar . . . At least for a little while, they saw that someone wasn't forgetting them. It lifted their spirits, and I knew they were a little more comfortable when we left.

160. I'm a writer. I've written most of the music we've performed. Most people don't know that because no one cares who writes the music. But, that's who I am. I've written poetry since I was a little girl. Music was an evolution of that.

161. If Michael Jackson could write a song for a rat, I could write a song for [my pet bulldog] Noelle.

163. I've bought more music for my Ipod in one year than I bought in the last ten years of my life.

168. The script [for the movie based on the life of singer Connie Francis -- 'Who's Sorry Now?'] is finished and is in the hands of several artists to see if somebody wants to film at the start of [2006].

178. Then [after Castro dies and her triumphal return to Havana], at last, I could sing for my people.

182. Once again [with the CD 'Unwrapped'], Gloria's mission is accomplished. As an entertainer, a vocalist and a writer, she has invited the world into her heart. The result is nothing short of incomparable.

189. I love Gloria Estefan, though -- she is cool. It's always just been about the music with her and they've been really good fun pop songs and really great ballads. And she's still going strong. She's quite classy and true to her Latin roots.

191. The United States stands tall, representing a parade of nations, 300 million strong. That number will grow during today's citizenship ceremony, featuring the national anthem performed by pop star Gloria Estefan. She captures the essence of what makes this country so great: Ms. Estefan arrived from Cuba as a 2-year-old and would eventually chase her amitions of becoming a singer. She would incorporate salsa into mainstream American music, reflecting the true meaning of this country as a melting pot.

192. You've got a new Spanish-language album out now ['90 Millas,' released in September of 2007], and the single ['No Llores'] is #1 on the Billboard Latin chart.

193. Getting this caliber of musicians together [for '90 Millas' CD in September of 2007] is almost impossible to do again.

194. [The hardest thing about '90 Millas' was the concept of] combining the old and the new without losing the authenticity. The simple solution, of course, would have been to record covers. [But] emotionally it wouldn't have been the same We left Cuba as children: Gloria was 1, I was 14. So, there ia a part that does exist in nostalgia, but a the same [time] there is another part that is contemporary music that we've made all over the world.

200. Celia Cruz was the most remarkable human being I have ever met -- quite frankly.

213. I am especially proud that I have been recognized as a songwriter with the BMI award I received in 1989. You see, it is one thing to be able to sing and entertain, and another completely different one to be recognized as a songwriter. Songwriters are sometimes the 'unsung heroes' of music making and it takes a lot of insight and community awareness to be able to write songs that appeal to the masses.

214. The greatest feeling is to have [fans who are] so happy to see you.

223. If you take nothing else with you [after this concert] tonight, I do want you to know that you bring me a lot of joy in allowing me the privilege to continue to make music for you, and I thank you for that.

227. Performing is one of the best feelings that I know. For me it's one of the most beautiful things I do in life.

229. It has been five years since we have toured. As a human being, my life experiences during these past five years have become a part of my music. So that's why the theme of this tour [1996-1997] is Evolution. I want people, when they go to a concert, to get to know me as a humuan being a little more. I would like my audiences to get an overview of how we have evolved, personally, spiritually, and musically through time.