Princess Nokia Quotes

I think every Muslim woman has to feel the world out for herself.

I am a woman, a Democrat and a Brown.

Individuals have to find a place to experience a profundity of feeling, and art is a means to that.

Naturally, my stories are about women - I'm a woman. I don't know what the term is for men who write mostly about men. I'm not always sure what is meant by 'feminist.' In the beginning, I used to say, 'Well, of course I'm a feminist.' But if it means that I follow a kind of feminist theory, or know anything about it, then I'm not.

I am a feminist - I just think the label reflects my beliefs - but, you know, we say 'Rookie' is a website for teenage girls, not a feminist website for teenage girls. That's not because I'm not proud to call myself a feminist, but when you're calling attention to a project, you can very easily be pigeonholed by choosing certain identifiers.

Black, brown, white, yellow - why are we always talking about colors? I'm a girl. I believe in a global community.

When I was finishing 'Now You See Me 2,' I remember thinking about exploring the Asian-American identity side of my brain.

Growing up in New York City and hip-hop are two inseparable things, two things that are totally intertwined in our lives.

When I lived in New York City, I loved it so much. But every six months, I had to go home to Texas to remember who I was. Get filled back up.

As autobiographical as say the stuff on 'Rumours' was, I don't think we thought of it as such when we were writing it.

The Internet gave me the sense that there were words to describe my feelings and medical terms.

I'm entranced by Amanda Lovelace's work. She wrote two wonderful books, 'The Princess Saves Herself in This One' and 'The Witch Doesn't Burn in This One.' You can feel your heart opening because she says things that you thought only you felt.

I can write about my culture and religion because I am a product of both. Even when I'm accused of giving ammunition to the Islamophobic right, in the struggle between 'community' and 'women,' I always choose the women.

We've always written from personal experiences.

I think there's a lot of honesty in that track. 'Smalltown Boy' was about leaving Glasgow but it was also about the people I had come to meet on my journey, especially when I was squatting in London.

I heard that I was off traveling around the world skiing in Argentina and things like that. I may have had a great life in somebody's mind, but all I was seeing was 9th Avenue while going from my house down to the studio in New York City.

'Hedwig' isn't particularly based on me, but I think that it is autobiographical in terms of emotion.

New York was a fantastic place to disappear because no one cares who you are. No one bothers you. In my ten years living there I was never once asked for an autograph or stopped on the street. It was an absolute joy. I gave myself time and space to get to know myself more.

My happiest time was with Paraguay. Those were five years in which I managed to find happiness.

I used to say it was painful to write lyrics about myself and looking inward.

About 25 years ago, when I was 15, I wrote a song called 'Indradhanush', which speaks about the seven colours, equating each with emotions that we as human beings experience.

Mostly everything I've ever sung comes from a personal place.

All my songs are based on personal experience, and 'Lost Without You' came out fully born.

I always was missing that female brown queer perspective, and I think in 'Vida' we have that. A lot of things I wanted to touch on and deal with, I get to do here.

'Sour Heart' is a collection of seven linked short stories narrated by young Chinese-American girls living in New York City in the '90s. It's exceptionally hard to describe what I've written without sounding delusional or boring, so I'll just say they are stories about growing up and the pleasures and agonies of having a family, a body, and a home.