A Quote by Michael Feinstein
He's a world-famous name to people who care about his music, but there are many people who have never heard of George Gershwin and those numbers increase.
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The Gershwin legacy is extraordinary because George Gershwin died in 1937, but his music is as fresh and vital today as when he originally created it.
The problem for us, as viewers, is that we want famous people who are passionate about the things they're famous for, because that makes them worthy of the attention. But I think many of those famous people just want to be famous.
If the statistics are right, the Jews constitute but one percent of the human race. It suggests a nebulous dim puff of star dust lost in the blaze of the Milky Way. Properly the Jew ought hardly to be heard of, but he is heard of, has always been heard of. He is as prominent on the planet as any other people, and his commercial importance is extravagantly out of proportion to the smallness of his bulk. His contributions to the world's list of great names in literature, science, art, music, finance, medicine, and abstruse learning are also away out of proportion to the weakness of his numbers.
I just love all the music. My grandma was a church organist for 40 years, and she got me into jazz music and great songwriters, Harold Arlen, George Gershwin, all those folks. I can't do it, but I have a profound respect for it.
A world where people do not care about the quality of their experience is not a good world for Apple. A world where people care about those details and want to complain about them is the world where our values shine.
I know that my music is heard a lot in commercial circles. In academia, I think my music is taken in differently but I'm not sure why that is. Some kind of sixth sense tells me that people in that world are thinking differently about it. I don't know if it has to do with the structure of my music, which is probably more apparent to those in the academic world than it is in the commercial world, where people tend not to think of that aspect of music so much. They just listen for pure enjoyment.
People have heard my music, but all my famous songs were made famous by somebody else... But that was my goal.
My grandma was a church organist for 40 years, and she got me into jazz music and great songwriters, Harold Arlen, George Gershwin, all those folks. I can't do it, but I have a profound respect for it.
I love football more than anything in the world. People care about certain things. Me? What I care about is scoring a goal in front of 50,000 people, all screaming your name.
People can't pay you to care. People can't teach you to care. But when you find something that you care about, you give it everything you've got. You never settle. And you are always pushing to learn and be better and support those around you. All I've tried to do in my career is care.
As a label I don't care about piracy. I want the music that we [my band] love to be heard by as many people as possible. The more people like the music we put out, the better the label and artists will do. If anyone genuinely likes what we do they will find us, buy our vinyl or come to see the artists play live.
As for my relationship to Beethoven, I admire people who can say what they really think. It's as though he's saying, 'That's how I feel about the world, and I don't care what people may say.' His music is pure and honest. Beethoven never pretends to be anybody else.
Assassination, kidnappings and suicide attacks have become too much the standard operating procedure in the Islamic world. So much so that the name of Islam itself has been diminished in the eyes of many people. It is the responsibility of all of us, and particularly those in the Islamic world who care about their religion, to rescue it from its increased association with violence.
Well can I just make a point about the numbers because people talk a lot about police numbers as if police numbers are the holy grail. But actually what matters is what those police are doing. It's about how those police are deployed.
You figure out how to create opportunities to make music, and then, if you take care of the music, audiences will come around. They also might leave. What matters is the moment: the moment of making music, with and for and among others, and what that offers to those people in that moment. They might never see me again; they might never learn my name. But it might still be something they carry with them.
Still and all, why bother? Here's my answer. Many people need desperately to receive this message: I feel and think much as you do, care about many of the things you care about, although most people do not care about them. You are not alone.
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