A Quote by Lesley Gore
I can remember in the early 60s that there were a couple of really dynamic women performers at the time - Brenda Lee, there was Connie Francis.
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I'm the Connie Francis of rock 'n' roll.
I lived in France during the '60s. I was there from the early '60s until 1970, so my view of the '60s is more global. It was a time of tremendous transition, not only for America but for the whole world.
I remember when I first started to follow cricket, the two guys who I really wanted to watch were Shoaib Akhtar and Brett Lee. They were the quickest bowlers in the world at that time.
I remember early in my career with Disney, which was a very strange time in the company - there were a couple of executives who were very supportive of me and kind of let me do my own thing.
The end of the '60s was a terrible time. I was in Los Angeles then, and I remember the night someone ran into the studio and told us about the Manson murders. Then suddenly something happened, the '60s disappeared. The '70s were completely different.
There are some strong female performers out there. But the industry's pre-occupation with the packaging of how a woman looks has gone completely the other way, back to almost the 60s, early 70s.
I grew up, in my childhood, with some of the greatest women performers, on stage and on screen, and even my family - my mother and my sisters. So I was very busy watching women, as a child! I have a lot of memories of great women performers
When I began writing poems, it was in the late 60s and early 70s when the literary and cultural atmosphere was very much affected by what was going on in the world, which was, in succession, the civil rights movement, the antiwar movement, and the women's movement in the 60s, 70s, and into the early 80s. And all of those things affected me and affected my thinking, particularly the Vietnam War.
Early on, one of my favorites was Ray Charles. I remember hearing 'I Can't Stop Loving You' in the early '60s and thinking, 'What an unbelievably soulful voice.' In those days, the Deep South was extremely segregated.
It's a great dynamic. The dynamic between men and women in the workplace is really interesting.
St. Lucia was a place were we used to go on vacation - not every year, but we went there a couple of times. I remember the last time that I went there, I was really small, and the only memory that I have is that my dad was going swimming or fishing one day - and I really, really wanted to go - but I was too young.
On my radio show at night, people will sometimes - conservatives will call and say, 'You know what, I'm really sorry I cast my vote for President Bush.' And we play Brenda Lee and 'I'm Sorry' and ask them to sing along.
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].
I was really inspired by these larger-than-life female artists like Lee Bontecou and Eva Hesse and Yvonne Rainier and the incredible Lynda Benglis. There were many women who were really driven and became successful, who were part of essential paradigm shifts, despite the fact that the art world was still dominated by men.
Remember that in the early days of the feminist movement, they refused to have a leader; different women would just stand up and speak. The early feminists were very careful to not put what was spontaneously arising back in the old bottle.
When you look at what we can call the golden era of concept albums, which starts in the mid or late '60s and ends maybe in the early '80s, it's an interesting time for music. You see all these very established and popular acts and bands and artists that were somehow on the top of their game but really trying to experiment.
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