Quotes About Recognition

As a young girl, I was too intent on getting to London and drama school and out of east Yorkshire to think about winning Oscars. I did win a Bafta once, and was so unprepared for it I jabbered on for a minute - a minute too long.

People reacted to how I looked, and that was certainly a power to have as a young girl, but not one that you really understand.

Maybe some young girl seeing me on the Emmy stage may have meant something for them.

We want to be the face of women's football, to encourage young girls to play. If I have to be recognised in the streets to encourage them, I'm happy to do that.

So many people look up to pageants, including young girls and young boys. The message that I would hate to send to them is that you're only deemed worthy of a title or worthy of recognition or of success if you fit in a certain number.

I don't want to just sell out shows to young girls who like my movie franchise. I want to sell tickets because people respect me.

What it meant for me to win the Emmy is I found it. It's not just the award. It's what it's going to mean to young girls - young brown girls, especially. When they saw a physical manifestation of a dream, I felt like I had fulfilled a purpose.

When I started coming on the scene, just really new into NXT, and people started seeing me, I got a lot of positive feedback from my friends, my friends back home. They were like, 'Oh, you are doing such great things for young girls,' and then it clicked in my head, like, 'Wow! I didn't know that was something I could do here.'

Derek Trucks is a real good new artist. He's a young guy.

A prodigy to me is someone that is enormously gifted at a young age - to the point that people can't deny it. I think when you are a young kid and you are a prodigy, other parents, when their child is on your team, they aren't even mad that their kid isn't getting the shine because that other kid is special.

The fact that Phil Jackson asked a young kid when he didn't have to and said, 'Hey, do I have permission to coach you?' Those are very powerful lessons that you learn. That's only happened to me a couple times in my entire career, that coaches would actually ask me that question. That just lets me know that he saw me for who I was.

As a young kid in the beginning, I myself did not know that there was women's cricket in India or that there is an Indian women's cricket team.

It was so odd to have young kids singing 'Lovin' Feelin' because they knew it from 'Top Gun.'

People who have followed my career still call me Ron, and that's OK; most of the young kids call me Metta, and then everyone in China calls me Panda. In the Middle East, they call me World Peace.

There are all these tests that are done on young kids and they all say they want to be famous but I just always felt that for my generation being famous was kind of corny and cheesy. Maybe because fame isn't something that proves you're good at something.

I did this movie called 'Their Eyes Were Watching God,' and I was an extra, and it was a movie that Oprah was producing. She had walked by, and I was making all the other extras laugh, and she said, 'You're a very funny young lady.' I was like, 'Eeeee!'

Luther Campbell is the only person that has ever paid me for sampling me. I'm out for the rest of 'em, but the young man paid me.

People don't really call me a rapper. They call me Mr. 'Trap Queen'. The 'Trap Queen' Guy.

Everywhere I went, people would tell me that trap and reggaeton was for men, not women. I wasn't being taken seriously, and I was often being told to do something else.

When I did 'Parent Trap,' I was ten. I was thrown off by the whole fame thing.

I released a song called 'Let Em Know' off SoundCloud, and some fan commented on it and was like, 'Trap soul movement,' and I was like, 'Man, that's dope. What is that?' And it just sounded like my music. That was the perfect word to describe my music, so I was just like, I'm going to call my project that.

One trap you can fall into when playing someone iconic is to end up doing everything in an iconic way, no matter how pedestrian or mundane that thing is.

I can show these folks I can do more than just the 'trap.' But what I realized is the trap is what they really recognize me for - that's what they want to hear.

When I made 'Tales of Tacobella,' and I made 'Sugar Trap,' it was like people literally trying to say that like, either that they made it, or that they helped make it, and then they continued to try to steal the flow, try to steal the aesthetic of everything I tried to build.