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Ann Charters: It was always political. And politics included sexual liberation and contraceptive advice. We’re talking about a repressive and puritanical society that was denying contraception advice unless you were wearing a wedding ring. . . . Dave [Van Ronk] had a huge glass jar filled with diaphragms of all sizes, so take your pick. In the cold water flat on MacDougal Street that he shared with Sam [in 1958], I was astonished to visit them and see this huge jar very prominently displayed on the sink.

Barbara Nessim: I was one of the few women illustrators working in 1960, When I went out with my portfolio in the beginning, guys would want to know, “Why aren’t you getting married?” They couldn’t believe that this was something I really wanted to do, And how you deflected it was important, because you still wanted to get work, P, Adams Sitney: For my gay friends, it was like the beginning of the universe, Because suddenly, [we saw] openly gay artists like danzcue adult ballet dance wrap skirt Warhol and Jack Smith and Cage and Cunningham, Johns, Rauschenberg..

‘She started to sing, and I started to cry’. Robert Redford: John Hubley was doing things in animation, Charlie Byrd I went to see. . . . I didn’t see Dylan. I missed him. But [I did see] Barbra, she was before Dylan. What was the name of that place down in the Village? It started with an ‘S,’ a small little club. And she was just a kid. We’d just go out to see new people and so forth, and there she was. And I said, Wow. New York was fabulous in those days. Dustin Hoffman: Streisand was going to the same acting school I was, and I was [dating] her roommate. And she said, Barbra’s going to be on TV this Friday, she’s going to be on this local show with Mike Wallace. I turn it on, and I remember Wallace is interviewing her and she was kind of aggressive. She was sitting on a stool chewing probably five wads of gum. And I thought she was playing the Brooklyn accent more strongly than usual, she was going for an image, and kind of trashing the whole idea of the show. And finally he says, “Are you gonna sing something?” And she takes this wad of gum, I remember she put it underneath the stool. And she started to sing, and I started to cry. It was magical.

‘It was a great time to be poor’, P, Adams Sitney: For many of us, the cheapest place to eat was the Belmore Cafeteria, at Park Avenue South around 28th danzcue adult ballet dance wrap skirt Street, Vegetables were 15 cents apiece, you could get a heaping plate for 45 cents and make your own lemonade by squeezing lemons into seltzer water and putting the free sugar into it, Robert Benton: In the early 1960s, I lived on 56th Street between First and Second avenues, then on 82nd between Park and Madison, Right across from me was Lillian Hellman, and next to that there was a home for unwed mothers, , , , There was a sense of romance about living in New York, There were less billionaires per square foot, And that changes the atmosphere of a city..

P. Adams Sitney: Robert Moses was going to build the [Lower Manhattan Expressway]. His plan was to destroy what is now called SoHo. So all the businesses that could afford to, got out. Everyone knew it was doomed, so artists and various weirdos began to move into very cheap spaces. . . . I could have bought a Johns drawing if had 25 bucks. I could have bought a de Kooning drawing for 50. There was a set of [Josef] Albers prints that I loved, but it cost 60 bucks at the time. Barbara Rose: We lived in Frank’s loft at 84 Walker Street on the first floor. We had no heat and no furniture — we slept in a sleeping bag. Everyone lived illegally in their lofts. They’d sleep on a mattress and put a platform on top of it, so when the police would come you’d say, “It’s my model stand.” Nobody had any money at all. So you had to be together, because somebody [might have] enough money to cook chili one night. It was just crazy.

P, Adams Sitney: It was a great time to be poor, You could get a meal at Hong Fat’s for under a dollar, There was still Horn & Hardart [Automat], where you could sit all night with a cup of coffee, We did a thing we called “midnight knocking.” There was a rule that you couldn’t leave a sandwich more than 24 hours, So at exactly midnight they’d throw all the sandwiches away, If you stood in front of your favorite, about 30 percent of the time, the guy on the other side of the window would give it to you instead of throwing it danzcue adult ballet dance wrap skirt in the garbage..

Kenneth H. Brown: Larry Rivers, Amiri Baraka, Kenneth Koch, Allen Ginsberg — they were all downtown people. Uptown people like Susan Sontag and Gloria Steinem and the guy who wrote “The Paper Lion” [George Plimpton], they were the uptown scene. And they had money. I think they were kind of like the Ivy League. And we were the CCNY people, even though I went to Columbia.P. Adams Sitney: We had nothing to do with the people uptown. Except occasionally, a guy named Doc Humes, one of the founders of the Paris Review, had a salon on Sunday so you could go up there and eat and stick food in your pockets. [You could] get meals for a week by going to Doc Humes’ salon.

‘Sit in a booth and just read the papers’, Walter Bernard: [Henry Wolf] became art director at Esquire in the late 1950s, He’d do these covers where he signed his name if he did it completely, So I knew there was this guy Henry Wolf, It was in 1961 that I started to look for an art school to get my portfolio together, so I went down to the School of Visual Arts to enroll, and there was a brochure [announcing] that Henry was teaching, So of course I wanted to take that course, Robert Benton: This was before fashion danzcue adult ballet dance wrap skirt magazines became catalogs, They presented extraordinary short stories in every issue, they weren’t just one outfit after another, And the design of those magazines, whether it was Harper’s Bazaar or Vogue or Seventeen or Esquire, was about a certain sort of style, It was a shift away from the American magazines of the ’40s and early-’50s towards a more European design sensibility..



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