I SAY THIS TO young people, especially those of color: Don’t worry whether you’re the only one, worry whether you’re the best one.
There are things you cannot change. I can’t change that I’m an African American woman, and as it turns out, I like being an African American woman.
The players rely on me to stand up and be their voice. I intend to be the best executive director in the history of the players union. I better be because if I’m not, then some silly person will say, 'well, she was a girl.'
The pen Michele Roberts used to sign a labor agreement between NBA players and owners is at the Smithsonian. It will be used to tell her story and other women’s stories of not backing down at the negotiating table.
Photo: Keh, Andrew, “Smashing a Ceiling and A Lot of Egos, Michele Roberts, N.B.A. Union’s New Leader, Confronts Gender Barriers,” The New York Times, August 16, 2014. PHOTO GABRIELLA DECZUK
Content: Chafkin, Max, “Outside Shooter,” The Atlantic, May 2015; Chew–Bose, Durga, “The Lenny Interview: Michele Roberts,” ELLE, October 2, 2015; Spears, Marc J.,“The Undefeated Interview: Michele Roberts,” undefeated.com, May 23, 2016
TO ME, Spanish is like a violin—clear and melodic. English is deeper, like a cello. My voice on the page comes from speaking Spanish and English. The punch-you-in-the-nose English is from my mom, the tender Spanish my father.
I found that voice when I began writing from a place of love. I wrote stories and poems that took me to my family and the things I saw in my community. I had never seen my home reproduced in a film, photograph or literature with love. So, I said, "Why don’t I write that story?"
Sandra Cisneros’ portrait is at the Smithsonian. It will be used to tell her story and other women’s stories of putting pen to paper to transform our national narrative.
Photo: Sandra Cisneros, © Keith Dannemiller
Content: Laura Hambleton interview with Sandra Cisneros, 2018, Smithsonian
I WAS 32 when I started cooking; up until then, I just ate.
The kitchen is the beating heart of the house. All you really need is a kitchen, bedroom and office.
We called my show "The French Chef" because it fit on one line in the TV Guide. We filmed in my kitchen. Anyone who has been in the kitchen knows that awful things can happen. If you cook, you have to make do. Cooking is a kind of a drama. You start with nothing, then you end up with something to eat.
Familiar to millions who watched her Emmy Award–winning show, Julia Child’s kitchen is at the Smithsonian. It will be used to tell her story and other women’s stories about daring to try something new and succeeding.
Photo: Julia Child in her kitchen in France. © Marc Riboud, Magnum Photos
Content: Emily Rooney interview with Julia Child, 2001, WGBH