Women Born In The 1940s

"Lunatics are similar to designated hitters. Often an entire family is crazy, but since an entire family can't go into the hospital, one person is designated as crazy and goes inside."

"I've gone back to the Frick since then to look at her and at the two other Vermeers. Vermeers, after all, are hard to come by, and the one in Boston has been stolen. The other two are self-contained paintings. The people in them are looking at each other -- the lady and her maid, the soldier, and his sweetheart. Seeing them is peeking at them through a hole in a wall. And the wall is made of light -- that entirely credible yet unreal Vermeer light. Light like this does not exist, but we wish it did. We wish the sun could make us young and beautiful, we wish our clothes could glisten and ripple against our skins, most of all, we wish that everyone we knew could be brightened simply by our looking at them, as are the maid with the letter and the soldier with the hat. The girl at her music sits in another sort of light, the fitful, overcast light of life, by which we see ourselves and others only imperfectly, and seldom."

"Anna happens to be a friend of mine, a fact which is of absolutely no help in coping with the cold panic that grips me whenever we meet."

"Fashion's not about looking back. It's always about looking forward."

""[The democratization of luxury] means more people are going to get better fashion. And the more people who can have fashion, the better."

"If you look at any great fashion photograph out of context, it will tell you just as much about what's going on in the world as a headline in The New York Times."

"You either know fashion or you don't."

"In a sea of women's glossies that purport to be about fashion but publish earnest articles chronicling the author's quest for self-actualization, Vogue stands apart. The voluminous fashion pages are arty, original, and sophisticated, shot by talented photographers like Annie Leibovitz, Irving Penn, and Steven Meisel. Most of us read Vogue not with the intention of buying the wildly expensive clothes, but because doing so educates our eye and hones our taste, similar to the way eating gourmet food refines the palate. This is a pleasure enabled by Wintour's ruthless aesthetic, her refusal to participate in the democratizing tendency of most of her competitors. To deny her that privilege is to deny her readers the privilege of fantasy in the form of beautifully photographed Paris couture"

"When I was a media reporter, there were many high-profile editors, and God knows they had big egos, but you could still get them on the phone ... Remnick, Carter, Fuller, even Martha Stewart. But Wintour? She just never talked to peons like us ... It was beneath her. And all the while I'm thinking, "Who is this skank?" She plays up this aristocratic, Marie Antoinette "Let them eat cake" routine, but, excuse me, can I get some proof that she holds a title of nobility that goes back to the 13th century? No. All she does is edit a magazine. That's it. So what's with the royalty routine? . . . I mean, for Christ's sake, the woman slept with Bob Marley, one of the most soulful people ever to walk the face of the earth. If that didn't spiritualize her, nothing would ... Wintour will be escorted by eunuchs to a place in hell run entirely by large rats."

"The notion that Anna would want something done "now" and not "shortly" is accurate."

"I'm a short woman with a pretty good body and large breasts — that's not what I think of as sexy."

"It's not easy, though, singing upside down in a headstand on a raised platform with your unfettered breasts hitting you in the chin."

"Rose: But the world is full of Martha wannabes."

"Stewart: Living. Living. Everyday living. At home, in the garden, around the house, with the kids, um, on vacation, and it has always been for me a very serious subject. But to persuade other people that it's a serious subject, not my readers, not my, not my followers, I don't want to call them followers, my friends, but to persuade..."

"Stewart: Well, that's great because we're all trying to do the same thing. Live well."

"I have a real problem when people say, "Well I walked by and you should have seen what was on the computer screen." Well, don't look, sweetie. It's none of your business. Avert your eyes."

"We want to provide as much information as we can, and say to our users: "It is all here. You make the choice.""

"Many libraries are digging in their heels and saying, "We are not going to add filtering mechanisms.""

"The First Amendment is national in scope and, as the Supreme Court said in Tinker, it does not stop at the schoolhouse door. Not all children are the same. Is a 17-year-old on the eve of his 18th birthday the same as a five-year-old? It is not the responsibility of librarians, or online content providers for that matter, to determine what is appropriate. We are at the very beginning of how we will handle this new medium."

"You should have access to ideas and information regardless of your age. If anyone is going to limit or guide a young person, it should be the parent or guardian — and only the parent or guardian."

"Toni Morrison is challenged regularly because she is a black author who writes about the real world. She speaks with so much knowledge about black issues she can't be accused of creating these (issues). People find these issues threatening."

"I get very concerned when we start hearing people who want to convert this country into a safe place for children. I am adult. I want available what I need to see."

"It's a public library. If you don't like the book, magazine, CD-ROM or film, put it down and pick up something else. Libraries provide choice. Our responsibility is to have in our collection a broad range of ideas and information."

"I have heard some horror stories."

"A librarian is not a legal process. There is not librarian in the country — unless she or he is a lawyer — who is in the position to determine what he or she is looking at is indeed child pornography."

"I have always found it a little strange that the majority of schools are utilizing filters. It seems to me that this is the environment where filters would not be used because the students are so carefully monitored, the activities in which they engage all go toward the same goals of education, and this is the very place where young people should be learning about information and its uses, in other words, where they should be learning information literacy.A recent National Research Center report, commissioned by Congress, clearly stated that information and media literacy are the most important things we can teach our children in order to truly protect them. Instead of placing barriers around the swimming pool, we must teach children to swim. We must teach children to find and use accurate information."

"Blocking material leads to censorship. That goes for pornography and bestiality, too. If you don't like it, don't look at it... Every time I hear someone say, I want to protect the children, I want to pull my hair out."

"I would have felt better if she had followed the Florida law. I suspect most people faced with the same situation would have done what she did."

"We know for a fact that the library is the main access point to the Internet outside of the home and workplace. Particularly for young people, information about AIDS, sexuality, suicide could mean the difference between life and death. This law keeps us from giving people access to the information they need."

"For those of us in this battle, we clearly understand one thing — that when left up to "local" decision-making, it's still the ALA policy/philosophy of "no filters" that often triumphs. Local folks are not having their concerns taken seriously. I hear this repeatedly from individuals who contact us asking what they can do because they're up against an ALA wall. Does 'W' understand this? His wife is a librarian."

"Material that might be illegal is such a minuscule part of what is available that we have to remember — and I mean not only librarians but everybody has to remember not to let it overshadow the incredible wealth of information that is available in this medium."

"We know that there are children out there whose parents do not take the kind of interest in their upbringing and in their existence that we would wish, but I don't think censorship is ever the solution to any problem, be it societal or be it the kind of information or ideas that you have access to."

"Sharon Tate was my best friend. Once, we were roommates. She introduced me to my husband. She was the godmother to my baby daughter who is named for her. In the six years time that I knew her, she never said an unkind word about anyone."

"In just the last few months Sharon was beginning to come into her own. She never cared about being beautiful. She never even really cared about acting. She just wanted to love and be loved. And have her baby. I know that if she'd lived and had the baby everything would have been different for her. Because that is what Sharon really wanted. She was just a little girl from Texas who was so incredibly beautiful that she got swept up in all of the Hollywood nonsense. But all she ever wanted was what every woman wants — a man to love and a baby of her own. I can't believe that the murderers knew her. To know Sharon, to really know her, was to love her. There is just no way that anyone who knew her could have hurt her so."

"She was always going out on a limb for everyone. Everyone but herself. There was an ethereal quality about her. She had this thing I sometimes wished I'd had, even though I knew that eventually it might be bad for me. Do you understand? She had this kind of beauty and fragility, and you just knew she was bound to get hurt because of it. But still you couldn't help but admiring that quality in her. She was just such a special person."

"As far as Sharon's marriage was concerned, all I can tell you is that Sharon and Roman were in love. They were a combination of beauty and genius."

"She always had a way of finding such goodness in others. If someone hurt her, she'd say, "Oh, Sheliah, I'm sure they didn't mean to.' She'd always make excuses for others. Sharon was just totally loving and also totally vulnerable. She was just a remarkable person, she never gave up on anybody."

"Sharon was the type of a girl who had no defenses, no pretenses, she was just herself all the time... She was so trusting, so eager to accept people as they were, so generous... Sharon never shut her door to anyone."

"My friends used to tease me. 'How can you wake up in the morning and look at that face of hers?' It was a good question. Sharon was so over whelmingly, so incredibly beautiful that anyone not knowing her might think it took a lot to live with such a beauty. But you see that was another thing about Sharon. With all her beauty, everyone loved her. I never heard anyone say a bad word about her, not even another actress. And in this town that's not only a rarity, it's an impossibility!"

"I guess you could say that I was somewhat withdrawn from my classmates. I spent a good deal of time being a loner. I suppose that had something to do with the way we lived — always on the move, never living in one town very long. It's very hard to make lasting friendships that way. And my father was rather strict with me and my two younger sisters. He insisted on proper behaviour and very often vetoed our choices of boyfriends. There was always a curfew whenever my sisters or I would go out on a date — we had to be home on time or else. But I never resented his authority. In fact, I'm thankful for my strict upbringing; I feel it has helped me learn discipline — and that's very important in this business."

"I can't play games. I have friends, older women, who tell me I'm foolish to let Roman know how deeply I care about him. They tell me all sorts of things like "keep a man guessing", "men become bored with too much devotion". They tell me I am being foolish. Well, foolish I am."

"Martin Ransohoff had to sell Roman on the idea of even considering me for the film. He arranged for the two of us to have dinner. Roman never said a word to me, we just sat there and ate and he just looked at me. Then we had a second dinner meeting and the same thing happened. Later he took me to his apartment. He lit some candles and then excused himself and left me standing there alone. A short while later he came storming into the room like a madman and he was wearing a Frankenstein mask. I let out a blood-curdling scream and while I was still crying from the scare, he was calling Ransohoff to tell him that the part in the film was mine."

"When I was in school, I dreamed about becoming a psychiatrist or a ballerina. Like most girls I would dream about being a movie star too. But those dreams are the impossible kind, the kind you don't really set your heart on."

"While I was working on Downward Spiral, I was living in the house where Sharon Tate was killed. Then one day I met her sister. It was a random thing, just a brief encounter. And she said: "Are you exploiting my sister's death by living in her house?" For the first time, the whole thing kind of slapped me in the face. I said, "No, it's just sort of my own interest in American folklore. I'm in this place where a weird part of history occurred." I guess it never really struck me before, but it did then. She lost her sister from a senseless, ignorant situation that I don't want to support. When she was talking to me, I realized for the first time, "What if it was my sister?" I thought, "Fuck Charlie Manson." I went home and cried that night. It made me see there's another side to things, you know?"

"Sharon Tate is divine, a real find. Just wait and see what happens when the critics and public see her in Valley of the Dolls. Sharon has everything Marilyn Monroe had - and more. She has the fascinating, yet wholly feminine strength of a Dietrich or a Garbo, a classically beautiful face, an exciting figure, the kind of sex appeal and personality appeal to become as glittering a star as Bette Davis, Joan Crawford, Rita Hayworth, Lana Turner, Elizabeth Taylor."

"Sharon Tate came up and introduced herself. She said, quietly, "I must tell you something before we start working together. I can't act, but I somehow get by without anyone realizing, so don't worry.""

"Sharon — it was fantastic what they were attributing to her. In death, they made a monster out of her. A monster out of the sweetest, most innocent, lovable human being. She was kindness itself to everybody and everything around her — people, animals, everything. She just didn't have a bad bone in her body. She was a unique person. It's difficult to describe her character. She was just utterly good, the kindest human being I've ever met, with an extreme patience. To live with me was proof of her patience, because to be near me must be an ordeal. She never had a bad temper, she was never moody. She enjoyed being a wife. The press and the public knew of her physical beauty, but she also had a beautiful soul, and this is something that only her friends knew about."

"Without her I feel lost, I can't explain this in words. However there are things that I just can't stand thinking of; the way she and our son died."

"I'm forced to mix with people of this industry and I can swear that is really difficult to meet people with her nature and her spirit. Generally, everybody is opportunistic here. Sharon had grace and charm; she knew how to make anybody's life easier. When somebody was busy, she was there in a discreet manner to serve you a drink or a coffee."

"She once told me to define my ideal woman: "You're it," I told her. She laughed. "Come on!" "Seriously," I said. "What would you like me to be that I'm not?" "Nothing," I said with complete sincerity. "I wouldn't want you different in any way.""