There was always terrific excitement when I opened the zippered portfolio that contained Hirschfeld’s newest drawing. But, I must admit, that on the day when I knew the portfolio held a Hirschfeld portrait of me, I approached the zipper with terror. How clearly I remember the anticipation, the excitement, the fear of being “Hirschfeld-ed.” That was thirty years ago, and still the portrait is clearly me. And yet it is so much more than simply the sum of its features. While parts of the portrait are literal — that is, I do have long black hair — other parts are less so. As just one example, I don’t think I have a particularly long neck, I’ve never been compared with a giraffe. Yet, in his portrait of me, my neck goes on forever. I like to think that Hirschfeld was making a comment about my personality... is he saying that I hold my head up high? I remember now the anxiety I felt when taking the drawing out of its case for the first time. I was immediately moved to tears that Hirschfeld included both himself and his wife, Dolly, like guardian angels, on either side of me. I was also tremendously flattered that Hirschfeld included with me two such important actors as Jane Fonda and Peter Ustinov. I cherish this Hirschfeld. This drawing has become a personal logo, and the logo for my Gallery, as well. And it holds a unique power in my life that no other drawing ever will. Because of this Hirschfeld, I have become like Rapunzel: I can never cut my hair!