Gypsy Rose Quotes

We've searched our database for all the quotes and captions related to Gypsy Rose. Here they are! All 91 of them:

Don't compare her to sunshine and roses when she's clearly orchids and moonlight.
Melody Lee (Moon Gypsy)
This is your karma. You do not understand now, but you will understand later. The source of pain is within your own larger expression of being.
H Raven Rose (Shadow Selves)
Well I see you there with the rose in your teeth One more thin gypsy thief Yes, and thanks, for the trouble you took from her eyes I thought it was there for good so I never tried. And Jane came by with a lock of your hair She said that you gave it to her That night that you planned to go clear
Leonard Cohen
I used to come home at night full of inspiration, and sit up with a bottle of Scotch. As I wrote, the words seemed wonderful, just too wonderful to be coming from me. Next morning I always found they were terrible and I could never use anything I wrote.
Gypsy Rose Lee
If a thing is worth doing, it is worth doing slowly... very slowly.
Gypsy Rose Lee
Praying is like a rocking chair - it'll give you something to do, but it won't get you anywhere.
Gypsy Rose Lee
I am a wildflower in your perfect bed of roses.
Melody Lee (Moon Gypsy)
Mother was,' June thought, 'a beautiful little ornament that was damaged.' Her broken edges cut her daughters in ways both emotional and physical, and only sharpened with age.
Karen Abbott (American Rose: A Nation Laid Bare: The Life and Times of Gypsy Rose Lee)
I…have no idea what to say. Kidnapping a girl and showering her with dead bodies as roses is not something I can adjust to at all. Nope.
Kristy Cunning (Gypsy Blood (All The Pretty Monsters, #1))
Kiss her gypsy soul and love her for the wild rose she is.
Melody Lee (Moon Gypsy)
Her mother was by turns tender and pathetic and terrifying, broken in a way that no one, in that time or place, had any idea how to fix.
Karen Abbott (American Rose: A Nation Laid Bare: The Life and Times of Gypsy Rose Lee)
Well, just remember this. When my ma got me, she picked what she wanted. But when your ma got you, she had to take what she got.
Karen Abbott (American Rose: A Nation Laid Bare: The Life and Times of Gypsy Rose Lee)
Your first crush is allowed to be on a doofus." "Mine won't be. I'll choose a handsome gypsy boy who'll break my heart, or a soft girl with a diamond in her belly button.
Brigid Lowry (Guitar Highway Rose)
If you're afraid of the thorn, you truly don't deserve the rose.
Melody Lee (Moon Gypsy)
She’s not particularly fond of red roses; too common, unoriginal, everyday-ish, but give her the rare rose, black or blue, to complement her melancholy spirit and dark soul and she lights up like the brightest star on the darkest night.
Melody Lee (Moon Gypsy)
He was just a taker. She was a taker in her way too. They were taking each other, and they loved each other for that. -June Havoc
Karen Abbott (American Rose: A Nation Laid Bare: The Life and Times of Gypsy Rose Lee)
Night time You’ll find her there Blooming Like a night rose.
Melody Lee (Moon Gypsy)
And truth is malleable, something to be bent or stretched or made to disappear, but direct lies always find the path back to the one who tells them.
Karen Abbott (American Rose: A Nation Laid Bare: The Life and Times of Gypsy Rose Lee)
I’d like to buy every rose in your store,” I tell the woman who remains silent, as though she’s stunned. “And if you have any apologetic balloons, I’ll buy those too,” I tell her as I scrub a hand over my face. “Better make it every single flower in your store. I have a lot more to apologize for than I can say with just roses. I don’t want her as frigid with me as she is with Vance. Personally, I still think he’s the bigger ass out of the two of us, but I still should apologize properly.” “I’m sorry?” she says. “Yes. That’s what I want every single card to say,” I tell her. “This is all very confusing,” she says quietly, more to herself than me. Staring at the partially eaten green apple in my hand, I tell her, “You have no idea.” - Damien
Kristy Cunning (Gypsy Freak (All The Pretty Monsters, #2))
Before that first line of pale chalk, before the underdrawing fleshes out into shapes and proportions, there is a stab of grief for all the things she didn't get to paint. The finches wheeling in the rafters of the barn, Cornelis reading in the arbor, Tomas bent over in his roses in the flower garden, apple blossoms, walnuts beside oysters, Kathrijn in the full bloom of her short life, Barent sleeping in a field of lilacs, the Gypsies in the market, late-night revelers in the taverns…. Every work is a depiction and a lie. We rearrange the living, exaggerate the light, intimate dusk when it's really noonday sun.
Dominic Smith (The Last Painting of Sara de Vos)
He spent all of his twenty-three years operating at only one speed and in one direction, furious and forward, convinced that a collision could only improve the ride.
Karen Abbott (American Rose: A Nation Laid Bare: The Life and Times of Gypsy Rose Lee)
She’s far from ordinary; she’s a rare breed, a black rose, a deep soul, a gypsy heart, a bright star. Or you could simply say, she’s magic.
Melody Lee (Moon Gypsy)
I want to make my mother’s life mean something. I want to learn to live my life the way my mother didn’t know how to.
Gypsy-Rose Blanchard (Released: Conversations on the Eve of Freedom)
Self-worth comes from having a purpose and for seeing the value in yourself. None of us will ever find a purpose by desperately seeking self-worth.
Gypsy-Rose Blanchard (Released: Conversations on the Eve of Freedom)
I was still walking behind Mrs. Haze through the dining room when, beyond it, there came a sudden burst of greenery – “the piazza," sang out my leader, and then, without the least warning, a blue sea-wave swelled under my heart and, from a mat in a pool of sun, half-naked, kneeling, turning about on her knees, there was my Riviera love peering at me over dark glasses. It was the same child-the same frail, honey-hued shoulders, the same silky supple bare back, the same chestnut head of hair. A polka-dotted black kerchief tied around her chest hid from my aging ape eyes, but not from the gaze of young memory, the juvenile breasts I had fondled one immortal day. And, as if I were the fairy-tale nurse of some little princess (lost, kidnapped, discovered in gypsy rags through which her nakedness smiled at the king and his hounds), I recognized the tiny dark-brown mole on her side. With awe and delight (the king crying for joy, the trumpets blaring, the nurse drunk) I saw again her lovely indrawn abdomen where my southbound mouth had briefly paused; and those puerile hips on which I had kissed the crenulated imprint left by the band of her shorts – that last mad immortal day behind the "Roches Roses." The twenty-five years I had lived since then, tapered to a palpitating point, and vanished.
Vladimir Nabokov
Now where's this artist?" His eyes darted around the room, landed on Gennie and clung. She thought she saw surprise, quickly veiled, then amusement as quickly suppressed, tug at the corners of his mouth. "Daniel MacGregor," Grant said with wry formality. "Genvieve Grandeau." A flicker of recognition ran across Daniel's face before he rose to his rather amazing height and held out his hand. "Welcome." Gennie's hand was clasped, then enveloped. She had simultaneous impressions of strength, compassion, and stubbornness. "You have a magnificent home, Mr. MacGregor," she said, studying him candidly. "It suits you." He gave a great bellow of a laugh that might have shook the windows. "Aye.And three if your paintings hang in the west wing." His eyes slid briefly to Grant's before they came back to hers. "You carry your age well, lass." She gave him a puzzled look as Grant choked over his Scotch. "Thank you." "Get the artist a drink," he ordered, then gestured for her to sit in the chair next to his. "Now, tell me why you're wasting your time with a Campbell." "Gennie happens to be a cousin of mine," Justin said mildly as he sat on the sofa beside his son. "On the aristocratic French side." "A cousin." Daniel's eys sharpened, then an expression that could only be described as cunning pleasure spread over his face. "Aye,we like to keep things in the family. Grandeau-a good strong name.You've the look of a queen, with a bit of sorceress thrown in." "That was meant as a compliment," Serena told her as she handed Gennie a vermouth in crystal. "So I've been told." Gennie sent Grant an easy look over the rim of her glass. "One of my ancestors had an-encounter with a gypsy resulting in twins." "Gennie has a pirate in her family tree as well," Justin put in. Daniel nooded in approval. "Strong blood. The Campbells need all the help they can get." "Watch it,MacGregor," Shelby warned as Grant gave him a brief, fulminating look.
Nora Roberts (The MacGregors: Alan & Grant (The MacGregors, #3-4))
Romance Sonambulo" Green, how I want you green. Green wind. Green branches. The ship out on the sea and the horse on the mountain. With the shade around her waist she dreams on her balcony, green flesh, her hair green, with eyes of cold silver. Green, how I want you green. Under the gypsy moon, all things are watching her and she cannot see them. Green, how I want you green. Big hoarfrost stars come with the fish of shadow that opens the road of dawn. The fig tree rubs its wind with the sandpaper of its branches, and the forest, cunning cat, bristles its brittle fibers. But who will come? And from where? She is still on her balcony green flesh, her hair green, dreaming in the bitter sea. —My friend, I want to trade my horse for her house, my saddle for her mirror, my knife for her blanket. My friend, I come bleeding from the gates of Cabra. —If it were possible, my boy, I’d help you fix that trade. But now I am not I, nor is my house now my house. —My friend, I want to die decently in my bed. Of iron, if that’s possible, with blankets of fine chambray. Don’t you see the wound I have from my chest up to my throat? —Your white shirt has grown thirsty dark brown roses. Your blood oozes and flees a round the corners of your sash. But now I am not I, nor is my house now my house. —Let me climb up, at least, up to the high balconies; Let me climb up! Let me, up to the green balconies. Railings of the moon through which the water rumbles. Now the two friends climb up, up to the high balconies. Leaving a trail of blood. Leaving a trail of teardrops. Tin bell vines were trembling on the roofs. A thousand crystal tambourines struck at the dawn light. Green, how I want you green, green wind, green branches. The two friends climbed up. The stiff wind left in their mouths, a strange taste of bile, of mint, and of basil My friend, where is she—tell me— where is your bitter girl? How many times she waited for you! How many times would she wait for you, cool face, black hair, on this green balcony! Over the mouth of the cistern the gypsy girl was swinging, green flesh, her hair green, with eyes of cold silver. An icicle of moon holds her up above the water. The night became intimate like a little plaza. Drunken “Guardias Civiles” were pounding on the door. Green, how I want you green. Green wind. Green branches. The ship out on the sea. And the horse on the mountain.
Federico García Lorca (The Selected Poems)
St Alexander, his friends, and mentors opposed National Socialism primarily from the standpoint of their Christian faith. They perceived Nazi ideology as an assault on Truth. In the ambition of the Nazi creed to destroy the existing order of society, in its fierce determination to annihilate Jews, Slavs, Gypsies, and all whom it deemed unworthy of existence, the White Rose saw an assault on the very concept of Man who was created in God’s image. It was an assault on God himself. The authors of the White Rose leaflets, Alexander and Hans, ascribe a spiritual significance to their resistance to Nazism, which they call “the dictatorship of evil.”255 In their fourth leaflet, they present this resistance as a struggle against “the National Socialist terrorist state … the struggle against the devil, against the servants of Antichrist.” It is of utmost importance, they continue, to realize that everywhere and at all times, demons have been lurking in the dark, waiting for the moment when man is weak; when of his own volition he leaves his place in the order of Creation as founded for him by God in freedom; when he yields to the force of evil, separates himself from the powers of a higher order and, after voluntarily taking the first step, is driven on to the next and the next at a furiously accelerating pace. One must therefore cling to God, as “of course man is free, but without God he is defenseless against evil. He is like a rudderless ship, at the mercy of the storm, an infant without his mother, a cloud dissolving into thin air.” The accuracy of the young people’s perception of the fundamental antagonism of National Socialism to Christianity was corroborated by the Nazis themselves (although, like the Communists in Russia, they made efforts to disguise and deny this). In a secret circular of June 9, 1941, Martin Bormann, Hitler’s second in command, divulged the fact that the repressive measures against the Churches of Germany were aimed against Christianity itself. The circular opened with the following words: “National Socialism and Christianity are irreconcilable.”256 In a private conversation, the head of the dreaded SS, Heinrich Himmler, boasted that “We shall not rest until we have rooted out Christianity.
Elena Perekrestov (Alexander Schmorell: Saint of the German Resistance)
Hurry up, he'll be coming back pretty soon!" Lynda spelled with a "y" Corgill, who was two years behind Dara, Mackenzie, and Jennifer, and had just completed her sophomore year, squeezed the hot glue gun into the door lock of the headmaster's office. Shelby Andrews, her accomplice and the newest resident to be accepted at Wood Rose, stood watch. "I see the lights of the truck. Hurry! He's coming back! Are you finished?" Lynda gave the metal apparatus one last squeeze, filling the lock with the quick-drying cement glue guaranteed to harden on contact. "Finished." In the soft illumination of the crescent moon high overhead, the two girls, barefooted and wearing dark blue pajamas, ran across the lawn crisscrossed by dark, elongated shadows and dampened by night-cooled air to the maintenance shed where they placed the glue gun on the top shelf where it was normally kept. With their task completed, they quickly returned to the dormitory, to the far end from where Ms. Larkins slept, and crawled through the open window. Within minutes they were back in their rooms, in their individual beds, and sound asleep. The sleep of innocent angels. It would soon be light; and Wood Rose Orphanage and Academy for Young Women would start another day.
Barbara Casey (The Cadence of Gypsies (The F.I.G. Mysteries, Book 1))
Romance of the sleepwalker" Green, as I love you, greenly. Green the wind, and green the branches. The dark ship on the sea and the horse on the mountain. With her waist that’s made of shadow dreaming on the high veranda, green the flesh, and green the tresses, with eyes of frozen silver. Green, as I love you, greenly. Beneath the moon of the gypsies silent things are looking at her things she cannot see. Green, as I love you, greenly. Great stars of white hoarfrost come with the fish of shadow opening the road of morning. The fig tree’s rubbing on the dawn wind with the rasping of its branches, and the mountain cunning cat, bristles with its sour agaves. Who is coming? And from where...? She waits on the high veranda, green the flesh and green the tresses, dreaming of the bitter ocean. - 'Brother, friend, I want to barter your house for my stallion, sell my saddle for your mirror, change my dagger for your blanket. Brother mine, I come here bleeding from the mountain pass of Cabra.’ - ‘If I could, my young friend, then maybe we’d strike a bargain, but I am no longer I, nor is this house, of mine, mine.’ - ‘Brother, friend, I want to die now, in the fitness of my own bed, made of iron, if it can be, with its sheets of finest cambric. Can you see the wound I carry from my throat to my heart?’ - ‘Three hundred red roses your white shirt now carries. Your blood stinks and oozes, all around your scarlet sashes. But I am no longer I, nor is this house of mine, mine.’ - ‘Let me then, at least, climb up there, up towards the high verandas. Let me climb, let me climb there, up towards the green verandas. High verandas of the moonlight, where I hear the sound of waters.’ Now they climb, the two companions, up there to the high veranda, letting fall a trail of blood drops, letting fall a trail of tears. On the morning rooftops, trembled, the small tin lanterns. A thousand tambourines of crystal wounded the light of daybreak. Green, as I love you, greenly. Green the wind, and green the branches. They climbed up, the two companions. In the mouth, the dark breezes left there a strange flavour, of gall, and mint, and sweet basil. - ‘Brother, friend! Where is she, tell me, where is she, your bitter beauty? How often, she waited for you! How often, she would have waited, cool the face, and dark the tresses, on this green veranda!’ Over the cistern’s surface the gypsy girl was rocking. Green the bed is, green the tresses, with eyes of frozen silver. An ice-ray made of moonlight holding her above the water. How intimate the night became, like a little, hidden plaza. Drunken Civil Guards were beating, beating, beating on the door frame. Green, as I love you, greenly. Green the wind, and green the branches. The dark ship on the sea, and the horse on the mountain.
Federico García Lorca (Collected Poems)
Of all the theaters I miss from the 1950’s and before, the Hudson Theatre tops the list. It was built in what was then called Union Hill, early in December 1907. It was actually known as “The Hudson Burlesque,” and it featured striptease artists such as Lili St. Cyr, Gypsy Rose Lee and Tempest Storm. Being too young to get into the theatre on my own, I usually offered an adult standing in line some money to take me in. Once inside, I would head for the front of the theatre to the fire exit on the right side of the orchestra seating. It was all prearranged with my friends waiting outside! With one kick, the door would open, allowing them to come streaming in. There were not enough ushers to catch us all, so some of us would invariably be caught and evicted; only to try and gain access again. It was all great fun! Its demise came in 1957 after the theatre owners took out the comedy acts and replaced them with more featured strippers. Society balked, arrests were made and the curtain came down!
Hank Bracker
Rose Daniel caught an early train from Waterloo station. It felt good to be getting away from London. Away from the ugliness of the bombed-out buildings and the air of desolation they created. Away from the drabness of the clothes, the shops, the people. There was no color—as if the war had sucked the life out of everything.
Lindsay Jayne Ashford (The Snow Gypsy)
Granada is a wicked, sinister place. It was bad enough during the war—but it’s getting worse. Much worse.” “Where do they take the babies?” Rose pulled her shawl tight around her. It wasn’t cold. But what Lola had described chilled her to the core. She pictured Juanita, tucking cloves of garlic under the mattress of Rafaelito’s cradle. Clearly there was something much worse than snakes lurking out there. “They send them to families the government approves of so they’ll grow up as payos, not Gypsies. To save the race. That’s what General Franco says.” It was horribly familiar. Like Hitler all over again. Rose was only too aware of Franco’s Nazi sympathies. But she had never imagined that the evil doctrine of racial purity would outlive Hitler; that in a time of supposed peace, babies would be snatched from their mothers because of their kawlo rat. Their dark blood. “It’s not only the babies they’re
Lindsay Jayne Ashford (The Snow Gypsy)
Rose’s dreams are primarily visions of a personal future, but they are linked to a social vision and to a larger mythos of America by an offhand remark Herbie makes. He tells Rose that when he first saw her, she “looked like a pioneer woman without a frontier.”11 The frontier thesis, as articulated by Frederick Jackson Turner, is a particular manifestation of the American Dream in which the continual movement west in the nineteenth century was a means both of personal advancement (owning land, expanding business, starting over, striking it rich) and of societal evolution (claiming territory, controlling it, exploiting it—all justified and mandated by the guiding master narrative of Manifest Destiny). But by the 1920s, when pioneer woman Rose and her brood set out in pursuit of her dream, there is no more frontier—the West Coast, where the action of the play’s first scenes takes place, is settled. It seems significant that Rose’s father worked for the railroad, that key player in the expansion westward, but is now retired.12 No longer able to head west toward a frontier, Rose loops back into already settled America, Manifest Destiny’s straight, east-to-west line now giving way to a circle, the vaudeville circuit. Gypsy makes use of dreams in multiple senses to articulate a vision of an American society folding back on itself entropically and becoming an image—a dream—of its own myths.
Robert L. McLaughlin (Stephen Sondheim and the Reinvention of the American Musical)
It was three weeks later that the letter from Rose’s publisher arrived. He had written to say that he loved the idea of a book about herbal remedies for humans. The letter contained an advance that would tide her over until well after the baby was due. “We’re going to be all right, aren’t we?” She passed the check to Lola, who passed it on to Nieve. They beamed at each other as the child read the amount out loud. “What’s that funny squiggle in front of the number?” She thrust the check up to Rose’s face. “It’s a pound sign—in England we have pounds instead of pesetas.” “How much is it—in pesetas?” When Rose told her, Nieve gasped. “Just for writing a book?” “It’s going to take me quite a long time.” Rose smiled. “And when she’s finished it, she’s going to need a rest.” Lola scooped Nieve up and sat her on her lap. “Why?” “Because next year—in the spring—Auntie Rose is going to have a baby.” Nieve turned to Rose, her mouth open. “Will it be a girl or a boy?” Rose laughed. “I don’t know! We’ll have to wait and see.” “Can I choose its name?” “Well, if it’s a girl, yes, you can—but if it’s a boy . . .” Rose glanced at Lola. “I already have a boy’s name.” “I think I can guess,” Lola said. “Nathan.
Lindsay Jayne Ashford (The Snow Gypsy)
I feel like I have been put through a lot of storms, and yet I am still not broken. I am not a broken person. I am worthy of being loved; I never had that self-worth before. I am not damaged; I am safe.
Gypsy-Rose Blanchard (Released: Conversations on the Eve of Freedom)
Being a people-pleaser requires you to submit a part of yourself to the person you aim to please. You give up your own needs and desires, and put the person’s interests in front of your own. In return you expect a payment in the form of validation and acceptance. This kind of currency is dangerous because the cost is you.
Gypsy-Rose Blanchard (Released: Conversations on the Eve of Freedom)
I’m no Taylor Swift, but if this ebook were an album, I’d title it Gypsy’s Version
Gypsy-Rose Blanchard (Released: Conversations on the Eve of Freedom)
The notoriety added a dimension to her disease. Yes, the Munchausen by proxy was the most dangerous part of the abuse, but it also acted as a backstage pass to my mother’s internal cinematic show. Whatever that movie in her mind was, I wasn’t the star of it. When the press arrived, she’d be doing all of the talking, while I numbly waited for my cue. Like a stage mother, Beauty Queen Dee Dee fed me my lines: “It’s a dream come true,” “This makes me so happy,” “My mom is my best friend.” Through me and through the script we memorized, Dee Dee could achieve some level of the fame she had long desired.
Gypsy-Rose Blanchard (Released: Conversations on the Eve of Freedom)
Faith is having a feeling that you are safe. And that what is making you safe has the power to see you through anything. It’s kind of like you are in the palm of God’s hand. You can go through a hurricane, you can go through a tornado—any kind of storm—but God has you in the palm of his hand and he won’t let anything happen to you. You are safe. That is faith to me. I feel like I have been put through a lot of storms, and yet I am still not broken. I am not a broken person. I am worthy of being loved; I never had that self-worth before. I am not damaged; I am safe.
Gypsy-Rose Blanchard (Released: Conversations on the Eve of Freedom)
The Hudson Burlesque Of all the theaters I miss from that era, the Hudson Theatre tops the list. It was built in what was then called Union Hill, early in December 1907. We called it the Hudson Burlesque, and it featured striptease artists such as Lili St. Cyr, Gypsy Rose Lee and Tempest Storm. Being too young to get into the theatre on my own, I usually offered an adult standing in line some money to take me in. Once inside, I would head for the front of the theatre to the fire exit on the right side of the orchestra seating. It was all prearranged with my friends waiting outside! With one kick, the door would open, allowing them to come streaming in. There were not enough ushers to catch us all, so some of us would invariably be caught and evicted, only to try to gain access again. It was all great fun! “I don't think there is such a thing as being too raunchy when it comes to the art form of burlesque.” Christina Aguilera, American singer-songwriter and actress. From the upcoming book “Seawater One.
Hank Bracker
Sweet? Submissive? May as well be a housewife … it dims my luster, makes me resemble others—that’s the worst thing that could happen.
Karen Abbott (American Rose: A Nation Laid Bare: The Life and Times of Gypsy Rose Lee)
pausing to consider your place meant you were already far behind.
Karen Abbott (American Rose: A Nation Laid Bare: The Life and Times of Gypsy Rose Lee)
he insisted, since he’d earned something more useful than a GED—a GE, his “gutter education.” He
Karen Abbott (American Rose: A Nation Laid Bare: The Life and Times of Gypsy Rose Lee)
The only time I’d ever marry again is if someone beat on my door and said, “I have $27 million and I’ll live elsewhere.” –JOAN BLONDELL On
Karen Abbott (American Rose: A Nation Laid Bare: The Life and Times of Gypsy Rose Lee)
by a new burlesque trick: fish swivels affixed to her pasties. The mechanism allowed Finnell to pinwheel her tassels in any direction, from any position, at any speed,
Karen Abbott (American Rose: A Nation Laid Bare: The Life and Times of Gypsy Rose Lee)
discover what could make you famous, and then proclaim that it already has.
Karen Abbott (American Rose: A Nation Laid Bare: The Life and Times of Gypsy Rose Lee)
Start thinkin’ about what you’re goin’ to be tomorrow—not what you were yesterday.” For
Karen Abbott (American Rose: A Nation Laid Bare: The Life and Times of Gypsy Rose Lee)
It was a fairy tale, Hovick style, in which drama trumped veracity and the women always won. On
Karen Abbott (American Rose: A Nation Laid Bare: The Life and Times of Gypsy Rose Lee)
Big Lady, Rose, Louise, and June knew nothing of their father, grandfather, and great-grandfather. “Of course, he was only a man,” June said, “so it didn’t much matter.” Big
Karen Abbott (American Rose: A Nation Laid Bare: The Life and Times of Gypsy Rose Lee)
I’d like to think of this endeavor as a rewrite of a misinformed story you’ve been told, like the Taylor’s Version rerecordings. I’m no Taylor Swift, but if this ebook were an album, I’d title it Gypsy’s Version—
Gypsy-Rose Blanchard (Released: Conversations on the Eve of Freedom)
Baby, yo mama a big lady and I think she’ll mangle your ass,” Czar chuckled. “And then I’d have to pop her ass in the foot for fucking with my baby.” “You’d shoot my mama for me?” “Calm down, Gypsy Rose.
Ladii Nesha (Losin Control)
I wonder if there is more that I don’t know about my mother that caused her to become the way she was. Knowing that people are shaped by the things that happen to them, I have gotten to a place of compassion for my mother.
Gypsy-Rose Blanchard (Released: Conversations on the Eve of Freedom)
When I pray to God, I ask him to give me the strength I need to be a good person and to reach my potential for the rest of my life. I think what I really mean to ask for is the strength to put my faith in myself, in my abilities—to trust that I can become a better version of myself. It’s all a leap of faith.
Gypsy-Rose Blanchard (Released: Conversations on the Eve of Freedom)
What I have seen of The Act is limited to a clip that was played during one of the prime-time award ceremonies. I think it was a scene of Joey on a bed with a cell phone; it was so far removed from my reality, it was hard to be sure what I was looking at. I just remember seeing Joey glammed out on the red carpet, the stark contrast of our lives casting a dark shadow over me. Here I was in my prison cell wearing my prison uniform, eating my disgusting prison food, while Hollywood celebrated itself.
Gypsy-Rose Blanchard (Released: Conversations on the Eve of Freedom)
My mother loved me when I was sick and took her love back when I wasn’t.
Gypsy-Rose Blanchard (Released: Conversations on the Eve of Freedom)
My mother used love as reward and punishment, withdrawing it on demand. She knew the things I was afraid of, like being alone in the dark, and so to punish me, she’d leave me alone in the dark.
Gypsy-Rose Blanchard (Released: Conversations on the Eve of Freedom)
Time seemed to pass for others, but not for me. Other people seemed to grow up and change, and I was living a life where I would stay the same.
Gypsy-Rose Blanchard (Released: Conversations on the Eve of Freedom)
Mia is the younger sister by ten years but so much older than me in every way except biologically. I would see pictures of her going to prom and graduation, a stark reminder of how close I had come to having a normal existence. It’s hard to not slip into a dark place, looking at her life and mine, me in prison with no teeth or formal education.
Gypsy-Rose Blanchard (Released: Conversations on the Eve of Freedom)
Love was a dangling carrot that made me jump higher to please her, even if it meant going against what felt right.
Gypsy-Rose Blanchard (Released: Conversations on the Eve of Freedom)
She told me, “There are eight voices in my head and seven of them don’t like you.
Gypsy-Rose Blanchard (Released: Conversations on the Eve of Freedom)
I do believe people can change some things with age and wisdom. I mean, I’m definitely not the same person I was twelve years ago. There is growth and change over a lifetime.
Gypsy-Rose Blanchard (Released: Conversations on the Eve of Freedom)
In order to bloom, an old part of yourself has to wither away.
Gypsy-Rose Blanchard (Released: Conversations on the Eve of Freedom)
Being a prisoner of my pain for so long is actually one part of my identity I don’t want to lose. I believe people are who they are because of what they’ve been through, but really because of what they’ve survived.
Gypsy-Rose Blanchard (Released: Conversations on the Eve of Freedom)
I have done so many horrible and sinful and harmful things to myself and others that I am the least judgmental person on Earth. Anyone can tell me anything, and I empathize with them and understand and don’t look down on them.
Gypsy-Rose Blanchard (Released: Conversations on the Eve of Freedom)
Some say America's forgotten workin' men rose up in a single, inchoate scream of rage at a system that for too long had provided them with nothing but empty promises, bad trade deals, and government-subsidized carbs. Some claim it's from a generation weaned on talk radio, Fox News, and the comments sections of a million tea party websites. Some say it's a sign of a merciless god testing us to the breaking point. I still think it's because we didn't let that old gypsy woman vote when she couldn't produce a photo ID back in 2012.
Rick Wilson (Everything Trump Touches Dies: A Republican Strategist Gets Real About the Worst President Ever)
She’s got a face like a squashed prune chewing a
Nell Rose Loveridge (GYPSIES 2: GOING A BIT DINLO)
The “some people,” of course, the ones Rose says “sit on their butts” (F 58), are the people devoted to the dream of home and family. For them, having a secure place to live and secure family relationships is the goal at which their work and dreams are aimed. In the early-twentieth-century context of the completion of Manifest Destiny and onset of the Great Depression, during which most of the action of Gypsy takes place, the dream of home and family seems to be a watered-down version of the frontier myth—the process of moving west and claiming and settling land replaced by stasis and the desire for safety. This replacement suggests an entropic degeneration whereby the myth that for good or bad created the United States became empty, a myth without meaning.
Robert L. McLaughlin (Stephen Sondheim and the Reinvention of the American Musical)
Who's Gonna Ride Your Wild Horses" You're dangerous 'cause you're honest You're dangerous, you don't know what you want Well you left my heart empty as a vacant lot For any spirit to haunt Hey hey sha la la Hey hey You're an accident waiting to happen You're a piece of glass left there on the beach Well you tell me things I know you're not supposed to Then you leave me just out of reach Hey hey sha la la Hey hey sha la la Who's gonna ride your wild horses Who's gonna drown in your blue sea Who's gonna ride your wild horses Who's gonna fall at the foot of thee Well you stole it 'cause I needed the cash And you killed it 'cause I wanted revenge Well you lied to me 'cause I asked you to Baby, can we still be friends Hey hey sha la la Hey hey sha la la Who's gonna ride your wild horses Who's gonna drown in your blue sea Who's gonna ride your wild horses Who's gonna fall at the foot of thee Oh, the deeper I spin Oh, the hunter will sin for your ivory skin Took a drive in the dirty rain To a place where the wind calls your name Under the trees the river laughing at you and me Hallelujah, heaven's white rose The doors you open I just can't close Don't turn around, don't turn around again Don't turn around, your gypsy heart Don't turn around, don't turn around again Don't turn around, and don't look back Come on now love, don't you look back Who's gonna ride your wild horses Who's gonna drown in your blue sea Who's gonna taste your salt water kisses Who's gonna take the place of me Who's gonna ride your wild horses Who could tame the heart of thee U2, Achtung Baby (1991)
U2 (U2 -- Achtung Baby Songbook: Guitar Lead Line)
And who has a face like a squashed prune chewing a wasp?
Nell Rose Loveridge (GYPSIES 2: GOING A BIT DINLO)
I wish I had saved the letter to share, but basically Nick said I was committing adultery. That he had taken my virginity (which he didn’t) and by God’s law, we were married. The letter was reminiscent of his dominant role that he was obsessed with playing out when we had our internet relationship. His attempt to control me and humiliate me as his submissive for his own deviant sexual pleasure had gotten old. Only because I was in a healthy relationship with
Gypsy-Rose Blanchard (Released: Conversations on the Eve of Freedom)
I’d like to think of this endeavor as a rewrite of a misinformed story you’ve been told, like the Taylor’s Version rerecordings. I’m no Taylor Swift, but if this ebook were an album, I’d title it Gypsy’s Version—the only version that should be told—raw, revealing, and in rhythm with the real me.
Gypsy-Rose Blanchard (Released: Conversations on the Eve of Freedom)
When I first got here, I joined a clique and I tried to be one of the mean girls. I took on a new nickname—Jersey—because I acted like my shit don’t stink. Melissa: Wait, like New Jersey, like you were a tough girl from the Jersey Shore show or the housewife show? Gypsy: Yeah, exactly! [giggling] With the mean girl / Jersey persona, I had to make fun of people or be like, “Oh my God, did you see what she was doing in the canteen?
Gypsy-Rose Blanchard (Released: Conversations on the Eve of Freedom)
he just made me laugh. Ryan always says a way to a woman’s heart is through laughter, and I totally agree. We laugh so much all the time; I just love it.
Gypsy-Rose Blanchard (Released: Conversations on the Eve of Freedom)
The spell my mother said she was conjuring with that cow’s tongue had two intentions: to cleanse my sinful soul, and to cast upon me a lifelong curse. Gypsy shall never find happiness; she shall never be free.
Gypsy-Rose Blanchard (Released: Conversations on the Eve of Freedom)
When you’re groomed to believe you’re not worthy of love or even of “like,” you tend to lose yourself to people-pleasing. Narcissists prey on insecure people. Validation and love become mechanisms for control, and later, as with most childhood grooming, validation- and love-seeking patterns learned from childhood seep into adult relationships, and not just romantic ones.
Gypsy-Rose Blanchard (Released: Conversations on the Eve of Freedom)
A career in advocacy. In awareness. In positive change. My nightmares are being replaced with aspirational daydreams of starting my own organization, spreading knowledge and awareness about Munchausen by proxy, and mentoring others who have experienced trauma and abuse.
Gypsy-Rose Blanchard (Released: Conversations on the Eve of Freedom)
Writing a memoir wasn’t my idea; it was y’alls.
Gypsy-Rose Blanchard (Released: Conversations on the Eve of Freedom)
Those parts of myself I have yet to meet. And when I do, I think it will strengthen my self-worth because I’m looking to myself for validation and not the acceptance and love of others.
Gypsy-Rose Blanchard (Released: Conversations on the Eve of Freedom)
I believe that even if we do have a strong identity, it can change over time, so there’s always work to be done.
Gypsy-Rose Blanchard (Released: Conversations on the Eve of Freedom)
sometimes reading back your thoughts, especially from a younger age, can be cringey. But it’s that cringe that gets you to the good. I feel like if you recognize it as cringe, it’s a pretty strong indication you are healing or growing or both.
Gypsy-Rose Blanchard (Released: Conversations on the Eve of Freedom)
Narcissists prey on insecure people. Validation and love become mechanisms for control, and later, as with most childhood grooming, validation- and love-seeking patterns learned from childhood seep into adult relationships, and not just romantic ones.
Gypsy-Rose Blanchard (Released: Conversations on the Eve of Freedom)
My mother had been betrayed growing up, she had betrayed me as I grew up, and then I betrayed my mother in the ultimate way.
Gypsy-Rose Blanchard (Released: Conversations on the Eve of Freedom)
Parents out there: if bribing your child with new baby dolls or Tiny Tykes starts losing effectiveness, you could always try telling your child that you are a powerful witch.
Gypsy-Rose Blanchard (Released: Conversations on the Eve of Freedom)
(I have very nice boobs).
Gypsy-Rose Blanchard (Released: Conversations on the Eve of Freedom)
overloaded horses bent backwards by the chisel of the mason who once sculpted an eternal now on the brow of the wingless archangel, time-deformed cherubim and the false protests, overweight bowels fallen from the barracks of the pink house carved with grey rain unfallen, never creaking, never opening door, with the mouth wide, darkened and extinguished like a burning boat floating in a voiceless sea, bottle of rum down threadbare socks, singing from pavement to pavement, bright iridescent flame, "Oh, my Annie, my heart is sore!", slept chin on the curb of the last star, the lintel illuminated the forgotten light cast to a different plane, ah the wick of a celestial candle. The piling up of pigeons, tram lines, the pickpocket boys, the melancholy silver, an ode to Plotinus, the rattle of cattle, the goat in the woods, and the retreat night in the railroad houses, the ghosts of terraces, the wine shakes, the broken pencils, the drunk and wet rags, the eucalyptus and the sky. Impossible eyes, wide avenues, shirt sleeves, time receded, 'now close your eyes, this will not hurt a bit', the rose within the rose, dreaming pale under sheets such brilliance, highlighting unreality of a night that never comes. Toothless Cantineros stomp sad lullabies with sad old boots, turning from star to star, following the trail of the line, from dust, to dust, back to dust, out late, wrapped in a white blanket, top of the world, laughs upturned, belly rumbling by the butchers door, kissing the idol, tracing the balconies, long strings of flowers in the shape of a heart, love rolls and folds, from the Window to Window, afflicting seriousness from one too big and ever-charged soul, consolidating everything to nothing, of a song unsung, the sun soundlessly rising, reducing the majesty of heroic hearts and observing the sad night with watery eyes, everything present, abounding, horses frolic on the high hazy hills, a ships sails into the mist, a baby weeps for mother, windows open, lights behind curtains, the supple avenue swoons in the blissful banality, bells ringing for all yet to come forgotten, of bursting beauty bathing in every bright eternal now, counteract the charge, a last turn, what will it be, flowers by the gate, shoe less in the park, burn a hole in the missionary door, by the moonlit table, reading the decree of the Rose to the Resistance, holding the parchment, once a green tree, sticking out of the recital and the solitaire, unbuttoning her coat sitting for a portrait, uncorking a bottle, her eyes like lead, her loose blouse and petticoat, drying out briefs by the stone belfry and her hair in a photo long ago when, black as a night, a muddy river past the weeds, carrying the leaves, her coffee stained photo blowing down the street. Train by train, all goes slow, mist its the morning of lights, it is the day of the Bull, the fiesta of magic, the castanets never stop, the sound between the ringing of the bells, the long and muted silence of the distant sea, gypsy hands full of rosemary, every sweet, deep blue buckets for eyes, dawn comes, the Brahmanic splendour, sunlit gilt crown capped by clouds, brazen, illuminated, bright be dawn, golden avenues, its top to bottom, green to gold, but the sky and the plaza, blood red like the great bleeding out Bull, and if your quiet enough, you can hear the heart weeping.
Samuel J Dixey (The Blooming Yard)
The term “Romani,” as used in this story, is in some sense an anachronism—in the nineteenth century, Romanies would have been known primarily as “Gypsies” (Cigányok in Hungary). Due to the negative stereotypes attached to the term “Gypsy” and the fact that it stems from a mistaken idea of their origins (it’s a corruption of “Egyptian”), “Roma” or “Romani” has been widely adopted as the preferred form of address. I chose to use “Romani” to acknowledge this preference and to reflect the difference between the way Gábor views his family and friends (and the way Anna comes to) and outsider perspectives. Where “Gypsy” is used, it refers strictly to outsiders’ perspectives of Romani life.
Rosalyn Eves (Blood Rose Rebellion (Blood Rose Rebellion, #1))
Later, the sisters would remember things differently, as sisters do, old grudges and misunderstandings refracting each memory, bending them in opposite directions.
Karen Abbott (American Rose: A Nation Laid Bare: The Life and Times of Gypsy Rose Lee)
La cachucha, is that for us, maestro? Will it be danced across the tottering floorboards of the cavaliers' wing, between cramped walls, blackened with smoke and greasy with grime, under its low ceiling? Curse you, the way you play! La cachucha, is that for us, for us cavaliers? Outside the snowstorm howls. Do you mean to teach the snowflakes to dance in rhythm, are you playing for the light-footed children of the blizzard? Female bodies, which tremble under the pulse beat of hot blood, small sooty hands, which have thrown aside the cooking pot to grasp the castanets, naked feet under tucked-up skirts, yard coated with flakes of marble, crouching gypsies with bagpipe and tambourine, Moorish arcades, moonlight and black eyes, do you have those, maestro? If not, let the fiddle rest! Cavaliers are drying their wet clothes by the fire. Should they swirl around in their tall boots with iron-shod heels and thumb-thick soles? They have waded through the ell-deep snow the whole day to reach the bear's winter lair. Do you think they should dance in their wet, steaming homespun clothes, with the shaggy bruin as a partner? Evening sky, glittering with stars, red roses in dark female hair, tormenting sweetness in the evening air, untaught grave in the movements, love rising out of the earth, raining from the sky, hovering in the air, do you have this, maestro? If not, why force us to long for such things? Cruelest of men, are you sounding the attack for a tethered warhorse? Rutger von Orneclou is lying in his bed, imprisoned by gout pains. Spare him the torment of sweet memories, maestro! He too has worn a sombrero and a gaudy hairnet, he too has owned a velvet jacket and a sash with a dagger tucked in it. Spare old Orneclou, maestro!
Selma Lagerlöf (Gösta Berling's Saga)
It is only under the plane trees of Granada that la cachucha is danced by eternally young gypsies. Eternally young, like the roses are, because every spring there are new ones.
Selma Lagerlöf (Gösta Berling's Saga)
I did kiss a couple girls and became a pillow princess, four times.
Gypsy-Rose Blanchard (Released: Conversations on the Eve of Freedom)