Speaker 1: This is Bloomberg Best. Bloomberg Best is about the insight
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Speaker 1: seven hundred journalists and analysts in more than a hundred
Speaker 1: twenty countries around the world. I'm at Baxter and On
Speaker 1: Denise Pelligrini on this weekend edition of Bloomberg Best. It
Speaker 1: objectifies a lot about basic prisons. Jazz is a national
Speaker 1: art form now, is Elvi is going to not be
Speaker 1: the King Man, Well, you're gonna put jazz i Felgus
Speaker 1: of the King Whitten Marcellus on why some insists jazz
Speaker 1: is dead. For somebody like me to complain is I'd
Speaker 1: have to be out of my mind. The Jazz great
Speaker 1: and managing director at Lincoln Center on music, race and
Speaker 1: the world. All this and more coming up in the
Speaker 1: next hour of Bloomberg Best. All right, we've been looking
Speaker 1: forward to this one for weeks, oh have we? That's right,
Speaker 1: The one and only went and Marcellus on all the
Speaker 1: big topics. We had a chance to hear from him
Speaker 1: on the David Rubens Toun Show Peer to Peer Conversations.
Speaker 1: Let's listen in. So, do you get tired of people
Speaker 1: calling you a jazz legend? You feel older when they
Speaker 1: say that to you. Yeah, I like the word jazz.
Speaker 1: I don't like the legend. Um. Let's talk about your
Speaker 1: family for a moment. Sadly, your father passed away in
Speaker 1: April at the age of eighty five because of COVID.
Speaker 1: So it must have been a very sad loss because
Speaker 1: you were very close to him, of course, Yeah, for
Speaker 1: all of us, for me and my brothers, of course,
Speaker 1: as he's our father. We loved him so much. He
Speaker 1: was such a such an example for us, and he was.
Speaker 1: He's such a kind man and a man with a
Speaker 1: with a large worldview and also a large person. He
Speaker 1: never he didn't do small things. He was very philosophical.
Speaker 1: He wasn't a touchy feely type of person. He's from
Speaker 1: that generation to It wasn't a lot of hugging and
Speaker 1: I love it, I love you was going on, but
Speaker 1: there was underneath a lot of of resolve and and seriousness.
Speaker 1: And just just kind of deep love not just for us,
Speaker 1: but also he had many students who who love him
Speaker 1: and and love to tell stories about him, and he
Speaker 1: supported a lot of a lot of us. So, for
Speaker 1: those who may not be familiar, your father was a very,
Speaker 1: very prominent jazz pianist. When you were growing up, did
Speaker 1: you you obviously looked up to your father. Um was
Speaker 1: he somebody who said I want you to be a
Speaker 1: trumpet player. I want you to be a jazz trumpet player.
Speaker 1: Did he not push you into that? No, he didn't
Speaker 1: push any of us into anything. You know, I went,
Speaker 1: I always hung out with him. My father really struggled
Speaker 1: when I was growing up. He was trying to play
Speaker 1: modern jazz uh in segrette in the era of segregation
Speaker 1: and in clubs and with a populist that didn't like
Speaker 1: that style of music. So much of my experience was
Speaker 1: going to sparsely populated clubs with him and UH in
Speaker 1: colorful areas. So I love to go because I was
Speaker 1: always the only kid in the room. And it started
Speaker 1: when I was three, four or five years old, and
Speaker 1: it continued until I got into high school and started
Speaker 1: to work myself. But I always went with him and
Speaker 1: identified with his struggle really because he continued to play
Speaker 1: even though he didn't get audience support. He was not
Speaker 1: well known, he wasn't famous, He struggled financially. He never complained,
Speaker 1: and he had he was very high minded in his
Speaker 1: belief in jazz and and and in his belief in
Speaker 1: the necessity of it as as a as a tool
Speaker 1: for healing people, in raising consciousness and things like that.
Speaker 1: So when you were growing up, you obviously experienced racial
Speaker 1: discrimination because there was a segregated area. That is that right,
Speaker 1: yah know, that defined the entire uh segregation, discrimination, racism.
Speaker 1: That was just a part of life. Like it's it's
Speaker 1: not something you could uh as, there's not philosophy, I'm
Speaker 1: talking now, it's just how was your neighborhood looked a
Speaker 1: certain way the white neighborhoods was a certain way. Black
Speaker 1: people generally lived in our area on one side of
Speaker 1: railroad tracks. We had still had ditches in our streets,
Speaker 1: and any type of systems always worked against you, and
Speaker 1: you you had to uh, it was just what it was,
Speaker 1: what the system was. You didn't have distance from it,
Speaker 1: so you didn't have It's easy to look back on
Speaker 1: a thing and experience it not the way you experienced
Speaker 1: it when you grew in it. When you grew in it,
Speaker 1: it was very much a fact of life. So I
Speaker 1: happened to be someone who never liked it. So I
Speaker 1: fought with it a lot and had a lot of
Speaker 1: problems in that system. But most people adapted to it
Speaker 1: and we're okay with it. They didn't like it, but
Speaker 1: they would sometimes. Sometimes you're not in a bad situation
Speaker 1: in this case, we talked about racism. It could be anything,
Speaker 1: could be a health situation. The degree to what you're
Speaker 1: willing to fight against it really is is based on
Speaker 1: your your your ability to accept the pain of fighting
Speaker 1: against it. So are you surprised about the Black Lives
Speaker 1: Matter situation? Here we are in the year, well advanced
Speaker 1: past the time that you grew up, and we still
Speaker 1: have racial problems of that type. Yeah, we're not anywhere
Speaker 1: near advanced past what I grew up with, So no,
Speaker 1: I'm not surprised by it. I had the honor to
Speaker 1: go into so many American schools throughout the eighties and
Speaker 1: nineties and early two thousand's it probably will over a
Speaker 1: thousand schools. So we have a segregation in our systems
Speaker 1: in general. So no, no, it doesn't none of None
Speaker 1: of it is surprising to me. So today, as a
Speaker 1: famous jazz musician, you're recognized all over the country, in
Speaker 1: many places around the world. Do you feel you are
Speaker 1: still suffering from racial discrimination? Do you still feel, even
Speaker 1: despite your exalted status in the music world, you are
Speaker 1: really not treated the same as you would be if
Speaker 1: you were white. Yes, I feel that. I feel that
Speaker 1: in terms of the kind of intellectual patronization that I received,
Speaker 1: the low level of criticism of our music. Um, I'm
Speaker 1: subject to things, of course, nothing like what I grew
Speaker 1: up with. Nor do I make a habit of complaining
Speaker 1: about it constantly because I'm also treated in a way
Speaker 1: with so much respect by so many people. Did for
Speaker 1: me to complain would be it would be past gratuitous.
Speaker 1: So you asked me the question directly, Yes, I will say,
Speaker 1: have been treated unfairly by by newspapers something like the
Speaker 1: New York Times. The way our institution jazz and then
Speaker 1: concerning it has been covered is abominable. Even though we
Speaker 1: get articles, the quality of those articles are always very poor,
Speaker 1: poorly research the writers oftentimes down to the history and
Speaker 1: lack the intelligence and depth of engagement with the form
Speaker 1: to be qualified to speak on it in a paper
Speaker 1: of record. But because it's jazz, it doesn't matter. So
Speaker 1: that's only in direct response to your question because I
Speaker 1: don't want to. I don't want to confuse it with
Speaker 1: when I was growing up. Are the situations that I
Speaker 1: found myself and on my father's situational grandfathers, or let's
Speaker 1: go back in the generations. So I'm not doing that,
Speaker 1: and I'm very, very grateful for how I've been treated
Speaker 1: by people all over this country of all kinds. So
Speaker 1: there's a story that when you were time, your father
Speaker 1: had you sit down with I think Al Hurt and
Speaker 1: maybe it's Miles Davis, and they said, how would you
Speaker 1: like to play the trumpet? And they gave you a
Speaker 1: trumpet to play. Is there anything true to that? You know,
Speaker 1: when I was six, my father was playing without her
Speaker 1: and al Hert gave me a trumpet for my sixth birthday,
Speaker 1: So that's true. And my father Lady was talking to
Speaker 1: Miles Davis. He said, I'm getting my son a trumpet.
Speaker 1: Before before al got me a trumpet, my father was
Speaker 1: talking to Miles. You're standing without your mole, said don't
Speaker 1: get that boy a trumpets too hard. So that is
Speaker 1: a true story. Okay, So as you grew up, you
Speaker 1: were actually, as I understand that, a classical musician more
Speaker 1: than a jazz musician. And when you went to Juilliard
Speaker 1: where you went to college, Um, you were interested in
Speaker 1: classical music. Is that true? No. I grew up always
Speaker 1: wanting to play jazz, but jazz was It's always much
Speaker 1: more difficult to learn in that time, especially than classical music.
Speaker 1: Because my father's a jazz musician. I was always around
Speaker 1: the music. I was raised in the culture. I love
Speaker 1: the musicians. My father was a modern jazz musician. He
Speaker 1: wasn't playing New Orleans jazz, but at a certain time,
Speaker 1: when I was maybe ten or eleven, he started to
Speaker 1: play New Orleans music. And I also played and Danny
Speaker 1: Parker's fairew Baptist Church Band, which was a New Orleans
Speaker 1: traditional band jazz. It was difficult at that time for
Speaker 1: a person of my age, in my generation to figure
Speaker 1: out what it was because it was not a part
Speaker 1: of the American mythology, whereas the classical music. He had
Speaker 1: competitions and and and classes you could go to so
Speaker 1: you could get a track record on your on your
Speaker 1: on your resume, Like if you see what did I do?
Speaker 1: It will say when I was fourteen, I want a
Speaker 1: competition to play the Hiding Trumpet Concerto with the New
Speaker 1: Orleans Philharmonic. But I was playing jazz the whole time.
Speaker 1: But what could I say that I did? I played
Speaker 1: in the club called Tyler's Beer Gardens on on on
Speaker 1: a Wednesday. But one year you want to Grammy. The
Speaker 1: only person I ever went a Grammy and jazz and
Speaker 1: the classical music in the same year. It's funny story
Speaker 1: about my father. He went to the Grammys. He even
Speaker 1: was not into those kind of things, and he sat
Speaker 1: through the whole show and he was like, wow, you know,
Speaker 1: just the Grammys. So at the end of the show
Speaker 1: I won. I was in the back in the hotel
Speaker 1: with him and my mother. I was like, you know,
Speaker 1: getting ready to go out to the party or something,
Speaker 1: and I was I was like, yeah, man. My daddy
Speaker 1: looked at me and he was wondering. He said, man,
Speaker 1: he said, I'm glad that was the Grammys. He said, yeah,
Speaker 1: I'm glad you want. I mean, don't don't get me wrong,
Speaker 1: it's great to do it, but you don't think this
Speaker 1: means you can play, do you? So? I still at
Speaker 1: laughed because I was like twenty two and I knew
Speaker 1: what he was saying, because I still, of course had
Speaker 1: a long way to go to learn how to play.
Speaker 1: You could argue classical music came from Europe, and you
Speaker 1: can argue that other parts of music came from other
Speaker 1: parts of the world. But jazz was invented in the
Speaker 1: United States, and it's a classic American kind of invention.
Speaker 1: I would say, um, but why is it so hard
Speaker 1: for some people to understand that You've written a book
Speaker 1: about it, and you make it in your book sound
Speaker 1: like it's almost a religious experience to play jazz and
Speaker 1: understand jazz. It's important to be an individual and who
Speaker 1: can play well, but also to play with the team.
Speaker 1: Can you explain why jazz is almost like a religion
Speaker 1: to people who care about jass? Well, jazz is our
Speaker 1: national art form and as such, it objectifies a lot
Speaker 1: of our basic principles. And if a group of people
Speaker 1: are are blessed to have an art form which you
Speaker 1: can have a civilization and a society, you may never
Speaker 1: create an art form that has that does that. It's
Speaker 1: a blessing. So America was blessed with a group of
Speaker 1: musicians and a social condition that produced this music. That
Speaker 1: the music has three fundamental elements. The first is improvisation,
Speaker 1: which is our kind of individuality and what we what
Speaker 1: we believe in. We have rights and freedoms and things
Speaker 1: that are about the individual. Then swing, which is about
Speaker 1: nurturing common ground, finding balance with other people, working out
Speaker 1: an agenda as you go along under the pressure of time.
Speaker 1: And then the blues. And the blues is an optimism,
Speaker 1: it's not naive. So the blues also implies an acuity.
Speaker 1: That's that's a democratic thing. Now, suffice to say that
Speaker 1: everything in the music ties into things that we do,
Speaker 1: down to the three branches of government, like the rivem
Speaker 1: section are what to a man, the Constitution is like
Speaker 1: adding to an arrangement. I could go on and on,
Speaker 1: and after a while of giving you these examples, you'll
Speaker 1: realize these are not superficial things that are contrived, that
Speaker 1: they actually come out of the American way of life.
Speaker 1: Now to kind of give you it's gonna be a
Speaker 1: little longer answer, but it's important because the central question
Speaker 1: of jazz's position in our country concerns the relationship of
Speaker 1: slavery to the American identity and our mythology as a country.
Speaker 1: Black Americans buying large in our country have little or
Speaker 1: no knowledge of jazz, and uh, jazz is the greatest
Speaker 1: achievement of the Afro American culture in the context of
Speaker 1: the American culture, meaning it's Afro American, but it applies
Speaker 1: to all Americas, as many things in American culture apply
Speaker 1: to all Americas. Our poor public education system make sure
Speaker 1: that a certain group remains ignorant. And the average white
Speaker 1: jazz writer is actually a rock fan who's for a
Speaker 1: long time, which the jazz will actually be something else
Speaker 1: without black folks at the core of it. But it
Speaker 1: maybe jazz will just die away. That's why if you
Speaker 1: study jazz, there's a longstanding tradition of article after article,
Speaker 1: the decade after decade saying it's jazz dead. That's probably
Speaker 1: one of the most questions that's been asked since the
Speaker 1: nineteen thirties. Now, all of this investment and the destruction
Speaker 1: of jazz is to further obscure a big lie that
Speaker 1: jazz uncovers. And it's important to look at this because
Speaker 1: it's it's a serious it's a serious thing to consider
Speaker 1: if we are to transform our nation. If we say
Speaker 1: our nation is based on human freedom, and we're the
Speaker 1: first on earth founded on the glorious celebration of human freedom, dignity,
Speaker 1: and rights, how do we then reconcile and correct the
Speaker 1: systemic the humanizing ownership, brutalizing a large underclass of people
Speaker 1: for free labor because of their skin color. It's too
Speaker 1: much in justice to correct, so we're forced to say
Speaker 1: that those people are responsible for the problem. They're less
Speaker 1: than human and it's just their condition. But if they aren't,
Speaker 1: if it's not their condition, it means that omnithology and
Speaker 1: belief about ourselves is not true. Now, if Elvis gonna
Speaker 1: not be the king, man, well you're gonna put jazz
Speaker 1: if Elvis of the king. So let me ask you,
Speaker 1: if I were to go to and listen to a
Speaker 1: Tchaikovsky concert or a Beethoven concert, it's gonna be mostly
Speaker 1: sounding the same and where never, no matter where I'm
Speaker 1: gonna listen to it, no matter what the orchestra, they
Speaker 1: basically might play slightly better, slightly different, but basically you
Speaker 1: know what you're gonna get when you sit down with jazz,
Speaker 1: Am I wrong in that a jazz musician can kind
Speaker 1: of expand on what has been composed and kind of
Speaker 1: play it differently every different time. Is that part of
Speaker 1: what jazz is? Uh? All about? The improvisation part? That
Speaker 1: one part allows you to You have a lot of
Speaker 1: latitude to do things. It's like the way Americans conduct business,
Speaker 1: all the innovations. We have the freedom we have to speak,
Speaker 1: the fact that we think we can step into space
Speaker 1: and use our personality to transform a tradition. Yes, we
Speaker 1: have that freedom. But balancing that freedom is we have
Speaker 1: the responsibility to extend a courtesy and an understanding to
Speaker 1: other people who have those freedoms and nurture that common space.
Speaker 1: That's the part of jazz we struggle with. So in
Speaker 1: your book on Jazz, you talk about some of the
Speaker 1: grades who either played with or who influenced you, and
Speaker 1: I just like to ask your brief comments on some
Speaker 1: of them. Uh. Versus Louis Armstrong, you originally thought he
Speaker 1: was as you say and Uncle Tom, but you obviously
Speaker 1: changed your view. I guess yeah, because it's it was
Speaker 1: It's hard for for later generations to understand, uh, the
Speaker 1: challenges of earlier generation, and and and and norms and
Speaker 1: and things of show business and what Louis Armstrong did,
Speaker 1: it doesn't mean that necessarily, even with my now I
Speaker 1: understand more of his genius and who he wasn't when
Speaker 1: he played. But it still doesn't mean And when I
Speaker 1: look at the movies he made, all the positions he went,
Speaker 1: I still don't necessarily like that. I don't like a
Speaker 1: lot of where black people or in any of the
Speaker 1: American movies of the nineteen thirties and forties and in fifties,
Speaker 1: and as a matter of fact, some of it now
Speaker 1: a lot of it now uh that he has that
Speaker 1: same type of destructive mythology if you consider the fact
Speaker 1: it when I was a teenager, the heroic figure for
Speaker 1: black youth in movies were pimps. I mean, what is
Speaker 1: it for a pimp to be a hero and be
Speaker 1: at the topic of mythology? So but to not get
Speaker 1: sidetrack with that, yeah, I thought that, But later I
Speaker 1: learned and understood who Louis Armstrong was as a musician,
Speaker 1: that's a totally different story. That man was a genius
Speaker 1: of such magnitude you can't even you could lie about
Speaker 1: how great he was, and you still wouldn't be saying enough.
Speaker 1: So you're a composer as well as a performer, educator, conductor,
Speaker 1: and so forth. One of the great composers in the
Speaker 1: jazz world was Duke Ellington. Uh did he have any
Speaker 1: influence on you? Great? You know, I love Duke and
Speaker 1: the Duke's intelligence, his dedication over two thousand pieces, and uh,
Speaker 1: I of him. And because I grew up also listening
Speaker 1: to classical music, I love Beethoven. What about Disney Gillespie?
Speaker 1: Was he an influence on you? The thing about Disney,
Speaker 1: because that's hit me first, was the depth of his intelligence.
Speaker 1: I met him when I was fourteen, and just when
Speaker 1: he started talking with my daddy and other musicians listened
Speaker 1: to him. Yeah, Dizney was a very intelligent He's part
Speaker 1: of the reasoning we we developed jazz at Lincoln Center.
Speaker 1: Because I didn't want to play in a big band,
Speaker 1: because I had always gonna play in small band music,
Speaker 1: and Dinney told me. I called him and asked him, man,
Speaker 1: what do you think I should do? He said, to
Speaker 1: lose ones orchestral heritage should not be considered and achievement.
Speaker 1: So he was telling me, because you need to figure
Speaker 1: out how to keep our orchestral heritage. We we paid
Speaker 1: a lot of dudes to builoup orchestral music in jazz
Speaker 1: and for us to just give it away and say
Speaker 1: the big band is old fashioned, that's that's not intelligent.
Speaker 1: Let's talk a bit about jazz at Lincoln Center. So
Speaker 1: you began playing jazz at Lincoln Center when in the
Speaker 1: late nineteen eighties that evolved into Jazz at Lincoln Center,
Speaker 1: which is you're now the director of artistic director and
Speaker 1: music director of the Jazz Lincoln Center Orchestra. Is that right?
Speaker 1: We wanted to fill fill fill a space in the
Speaker 1: American arts and and provide enough education and music and advocacy,
Speaker 1: enough concerts for us as a nation to have our
Speaker 1: native art form when it came it came time for
Speaker 1: us to address our mythology incorrected so that we can
Speaker 1: move forward as a nation. So we've we've we've succeeded
Speaker 1: behind beyond any of our wildness imagination with the volume
Speaker 1: of concerts we've been able to do. We built three
Speaker 1: concert halls in the middle of men Manhattan on fifty
Speaker 1: nine Street, the House of Swing. We have put on
Speaker 1: concert series over thirty years. We have twelve education programs
Speaker 1: and even since this pandemic, I mean we've we've put
Speaker 1: out over over five hundred, six hundred pieces virtually. You know,
Speaker 1: we're we're we're deeply engaged. So when you started Lincoln Center,
Speaker 1: many people Lincoln Center open in the nineteen sixties, people thought, Okay,
Speaker 1: this is opera, symphonic music, classical kind of music. You
Speaker 1: came along and said maybe we could have jazz. What
Speaker 1: do people say initially when you said we need to
Speaker 1: do more jazz at Lincoln Center. We we had a
Speaker 1: lot of support from the top of the organization. Everybody
Speaker 1: was everybody was dedicated. And you know when when it
Speaker 1: was found to baby Lincoln Center didn't think about the music,
Speaker 1: or maybe the initial founders of Rockefell and they didn't
Speaker 1: like the music. It doesn't matter. The Constitution was not
Speaker 1: written with the rights of African Americans and Native Americans
Speaker 1: in mind. But the Constitution can be amended, and it
Speaker 1: has been amended. Let me ask you on a normal
Speaker 1: time before COVID came, and hopefully when COVID's gone, you'll
Speaker 1: return to the situation had before. Are you on the
Speaker 1: road half the time and half the time in New
Speaker 1: York or How do you divide your time and how
Speaker 1: do you divide your time between playing, conducting, composing, and teaching. Well,
Speaker 1: I do many things. I'm also the managing director of
Speaker 1: our organization, so I deal with with everything in USA.
Speaker 1: Executive Director Greg Show, and our management team, they're all fantastic,
Speaker 1: uh colleagues. If if anything, I mean I work, I
Speaker 1: work all the time, so I don't I don't separate anything.
Speaker 1: My my work is also my hobby. And this pandemic
Speaker 1: because as I always respected all of my colleagues. But
Speaker 1: I'm gonna tell you that the pandemic has given me
Speaker 1: such a greater appreciation of the quality of people. I've
Speaker 1: been blessed to work with our orchestra. We still have
Speaker 1: a vast majority of our staff on. We're open for
Speaker 1: business with getting things done. The orchestra is so supportive
Speaker 1: of the mission of the of the organization. We have
Speaker 1: a level arrangers in our orchestra. That's something that has
Speaker 1: never happened, composers, teachers, the phone calls I get. Then
Speaker 1: when you get to our staff and our managers of
Speaker 1: every division of our building, our financial, our CFO, I
Speaker 1: can go position to position people's dedication will bring me
Speaker 1: to tears. And that's why you know we're we're we're
Speaker 1: struggling like all the arts organizations are, because we've lost
Speaker 1: the ability to earn revenue. But we are so for
Speaker 1: real about our our mission and achieving it even under
Speaker 1: this type of darrest. I think it's really the greatest
Speaker 1: blessing I've had in my life has been to work
Speaker 1: with this high quality of people for this amount of time.
Speaker 1: So I'm I'm so grateful for that opportunity. I don't
Speaker 1: even consider it to be worked when you go overseas.
Speaker 1: Is jazz popular outside the United States? Jazz has never
Speaker 1: really been popular, So no, it's not. It's not popular
Speaker 1: like like like phone was popular, like rock and roll
Speaker 1: is popular. It's not popular. It is. It is a
Speaker 1: jazz is meaningful and it's necessary. So those who are
Speaker 1: interested in that like jazz. Those who are not, they don't.
Speaker 1: They don't like that. There's a lot of other things
Speaker 1: to life. We need to teach our kids about the music.
Speaker 1: It is a national art form. And I always make
Speaker 1: make the point people say, what's gonna be new and jazz?
Speaker 1: I said, people are gonna listen to it. That's what's
Speaker 1: the new thing. Let's suppose somebody says, I've never been
Speaker 1: exposed to jazz very much. I guess uh us into
Speaker 1: went and Marsalis. I'm persuaded he knows what he's talking about.
Speaker 1: Uh So I'm gonna listen to jazz. What is it
Speaker 1: that that you would tell people about why the jazz
Speaker 1: experience as a listener is so uh compelling compared to
Speaker 1: other forms of music. Well, because it has a development section,
Speaker 1: so you have to follow what musician has played from
Speaker 1: one point. It's like what I loved about that beats
Speaker 1: open symphony. It wasn't just one thing repeated over and
Speaker 1: over and again. It was a thing and then another thing,
Speaker 1: another thing. Jazz is the music is most in the world.
Speaker 1: Like conversation, jazz is a music that the prizes individuality.
Speaker 1: You have a lot of great individuals you can interface with,
Speaker 1: from Lester Young, the Billy Holiday to Check Korea, Herbie
Speaker 1: hank I got you can name just name musicians. You
Speaker 1: have great groups that you can love. They're play in
Speaker 1: different forms, and you have the whole appro Latin form
Speaker 1: of jazz that that takes you everywhere from Brazil to
Speaker 1: Cuba to Puerto rico. It. It integrates your citizenship and
Speaker 1: your understanding of the world, and mostly and most important,
Speaker 1: it gives you tremendous pride and being America because we
Speaker 1: didn't have to denigratee or cut anybody down or do
Speaker 1: anything negative to anybody to create this. It's a non
Speaker 1: predatory form. It's a symbiotic form. And you can be
Speaker 1: as rich as you want to be in jazz and
Speaker 1: nobody else has to be poor. You're a teenager by
Speaker 1: my standard, so you're very, very young. But you'll continue
Speaker 1: to do this for another couple of decades because this
Speaker 1: is what your love of doing. Is that right, man?
Speaker 1: I still smell simulac on you. I don't know what
Speaker 1: you're talking about. Yeah, I'm gonna do this till I
Speaker 1: die if I can, if if the good law willing,
Speaker 1: and people will have me. I've been I've been blessed
Speaker 1: to do something kind of this, attract and get unbelievable
Speaker 1: support from people. That's why earlier when I answered the
Speaker 1: question of racism, for somebody like me to complain's I'd
Speaker 1: have to be out of my mind. And that's it
Speaker 1: for Bloomberg Best. I'm at Baxter and I'm den This
Speaker 1: is Bloomberg footsc regated gaut Gications lot to Cows and
Speaker 1: World