I never take on anything that is just for the money or just for, you know. I always have to connect with it in a very personal way because I believe the audience will sense whether I'm into it or not, so I don't take on projects that I'm not really passionate about.

So I did 'Something Happened on the Way to Heaven' and the original version is a ballad. The original Phil record is uptempo but we slowed it down and made it a ballad.

I really connect with those moments of doing missionary work down there and just seeing the people that are dying from disease and hunger and malnutrition.

The opportunity to record the song came when Phil Collins' record label, Atlantic, was doing a tribute album to him and they asked all these different artists to do renditions of his songs.

We've never performed the song live outside of recording it in the studio. That was a dream come true because Whitney, she's an icon and she's been one of my main mentors in this business.

I have two favorite songs. My first is called 'Dance of The Robe' and it's a very powerful number where she is feeling the pressure from her people to take on the responsibility of leading them.

I had this instinct and I just knew it. It was a very strange thing and as soon as I finished recording it, we were all in the studio saying we have something really special here.

I always thought that it was every performer's dream. That's the epitome of being an artist, being able to express song, dance and acting in a live theatre setting and really connecting with an audience on that level.

He doesn't make it so complicated but just really allows the lyric to come through even though there's a lot of production going on. I think that's the key and that's the magic, it's making sure that people could still connect with the lyrics while they're on the dance floor.

From beginning to end it's about keeping the energy and the intensity of the story and not doing too much and not doing too little, but just enough so people stay interested and stay involved in the characters.

I've done that I was touring a couple of years ago with R. Kelly and the Lillith Fair, I would do the late night underground gigs as well because it's always around those times that there was a hot song, either on the radio or in the clubs, it would just be simultaneous.

I picked up the Joss Stone album, Josh Groban, and the new Norah Jones. I love, love, love Norah.

The second song is called 'Easy As Life,' which really describes the complete conflict of the whole story, her struggle of being in love with the enemy and also being in love with her people.

People see that I have my own voice, my own opinion, my own likes. The album really reflects that.

The club shows are really intense and powerful, but for a shorter time, and the audiences are in close proximity than when I'm performing at The Palace Theatre.

The record was only released in the UK, and then when the idea for the remixed album came about, which was an idea that I've had for the longest time, I said this would be great song to remix as well, and so we did it.

Both songs are really, really intense when it comes to performing them, and very draining at the same time.

I prefer Princess. I would love to be known as a diva later on in life when I've had far more experiences.

They've got the singles and some people have burnt them from different web sites and stuff. So it was something that we talked about for a long, long time, and I just wanted to make sure that this remix album to be really special.

I've always been switching around the show to accommodate the audience, and you know it really makes it a lot more fun for me and keeps it fresh so that I'm not complacent with the same show every night and with every audience.

I wanted to do Dreamgirls. If they're doing a stage production of Sparkle, I think that would be hot.

I'm at a point where I'm going where the journey leads me. I've set goals but I don't get really hung up if I don't achieve those goals right away or in my time, you know what I mean?

When I first heard that song, it was a ballad but it had a lot more. It felt like a gospel song when I first heard it and it just moved me.

Where every moment is about truth and I think it's a great challenge every night. That's what really drove me to wanting to do theatre, and it's great.

I think differently, I think it's about reaching everybody on every different plane and every different level, and if I could remix the song and do a dance remix, that's great. If I could do a classical version, that'll be great too. It's all just about expression.

My opinion is that music is music. As long as you approach doing a remix with truth, I don't see the dance remixes being any different than an hip-hop remix- it's really a different version of the song.

I think it's his perception of knowing how to make a record build, keeping the integrity of the song in the music and really adding a lot of musical elements to compliment my voice and to compliment the song.

The song came out to be a gem, just came out to be a really, really interesting rendition of it.

It was a dream come true performing with her and just being on the same record. So in my eyes, she was the epitome of a great voice and for us to share together was awesome.

I think the inspiration came from the fans. Whenever I'm online or whenever I get a chance to really communicate with the fans and the audience, they always say that they would love to have all of the remixes on one CD.

Singers like her, Patti, Tina Turner, I revere them when I'm in their presence.

I never take on anything that is just for the money or just for, you know. I always have to connect with it in a very personal way because I believe the audience will sense whether I'm into it or not, so I don't take on projects that I'm not really passionate about.

It's really a grand old, legendary theatre where the spirits of like Judy Garland and all these great performers have been. The clubs are way more underground.

I really think about the times that I've been through with my husband and all the stuff that we've been through together, and I think to those moments for inspiration for the role.

I also do not like the idea of soft money, these issue ads - people don't know where the money is coming from, millions and millions of dollars outside of the control of a candidate - there's no accountability.

Stories come from other shows at other studios where only 2,000 rounds were actually used and the money for the other 3,000 went right into the studio pockets. Corners were cut and that production suffered. Knock wood, that hasn't happened to us.

Never play anything that don't sound right. You might not make any money, but at least you won't get hostile with yourself.

Don't make music for some vast, unseen audience or market or ratings share or even for something as tangible as money. Though it's crucial to make a living, that shouldn't be your inspiration. Do it for yourself.

When I sent those scripts, that was the lowest point of my life. We'd just had our second son, and when I went to collect them from hospital, I went to the bank to try and get some money to buy some diapers, the screen showed I've got $26 left.

One does not need buildings, money, power, or status to practice the Art of Peace. Heaven is right where you are standing, and that is the place to train.

I would rather take the role and work and make my own money and self respect than to have sex with someone who has a lot of money.

People may take a job for more money, but they often leave it for more recognition.

I make no claim to being a business genius. You can make so much money in this business that it loses its value.

It costs a great deal of money to do a musical, and the more money involved, the more big business influences the artform.

The world over, give a guy money and it goes to drinking, gambling, and women. When you give a woman money, it goes to feeding, clothing, helping people.

Your team has to understand that coming into the ABA, you have to have your investments right and sponsorships and people ready to give you money so they can back you up.

I wanted to be an actress. In college I was a serious feminist and very political. I was determined to get one thing out of my career and that was respect. I didn't want money. I didn't care about fame.

A drunkard would not give money to sober people. He said they would only eat it, and buy clothes and send their children to school with it.

If you're a producer, you always spend too much money because you want that shot - and you're willing to spend a bundle to get it.