When I was growing up, there were no women in orchestras. Auditioners thought they could tell the difference between a woman playing and a man. Some intelligent person devised a simple solution: Drop a curtain between the auditioners and the people trying out. And, lo and behold, women began to get jobs in symphony orchestras.

My mother told me two things constantly. One was to be a lady and the other was to be independent, and the law was something most unusual for those times because for most girls growing up in the '40s, the most important degree was not your B.A. but your M.R.S.

I was tremendously fortunate to be alive and a lawyer, working at a university so I had more flexible hours, when the women's movement was coming alive and when it became possible to argue successfully for a view of the equal protection clause that included women.

The concern was that if a woman was doing gender equality, her chances of making it to tenure in the law school were diminished. It was considered frivolous.

The future of Conservatism lies in our beliefs and values, not by throwing them away. We need to shed associations that bind us to past failures, but hold faith with those things that make us Conservatives.

I basically try to visualize the team doing good things on the court the night before the game. I get shots up. There's not actually a pregame ritual that I do. I'm still trying to figure that out. I say a prayer. I go out with confidence.

I think there are three kinds of songs; it's only my theory: psychological, emotional, and spiritual. When you write psychologically or intellectually, you have a tune in your mind, and you re-write it. It's an intellectual approach. The emotional is my favorite because it comes from my kishkas; it comes from my soul.

From the spiritual came the blues, gospel, and rhythm-and-blues. I heard all of that music growing up, and that has influenced how I approached classical music. I'm sure of it.