Socially I never was an outsider. I have never thought of the conflict element before frankly, but perhaps it was wanting to belong, and at the same time wanting to retain one's own personality.

There is something inherent in our democracy that tends to want to level. America is a little uncomfortable in the presence of someone who is distinctly superior in whatever way.

The artist is something of an outsider in America. I have always felt that America does not value its artists, certainly not in the sense that the Europeans do.

I find it enormously valuable to be sure that that the pacing is what I think it is and that the scenes have the shape I think they have musically and dramatically.

People in very high places suddenly fall, and we are always surprised because we don't factor in the basic element that they're humans and, therefore, they are flawed and have weaknesses.

Our most intimate contact with civilizations long since dust has been through the art which has survived them.

America tends to worship the modest talent because it doesn't put us in an uncomfortable position vis-a-vis the artist.

Opera is given so little attention in the national press.

If I felt that one of my operas did not come off I would certainly say so.

It's amazing how fast generations lose sight of other generations. One of the first things the young composers who come to work with me say is that they want to write music people will like, instead of gaining their credentials by being rejected by the audience.

What is American music? The most satisfying answer I've come across is that it was a kind of natural comfort with the vernacular which is diverse and regional; it's not one particular set of sounds.

I found a certain kind of music congenial to me; it never occurred to me to write music that was academically acceptable.

Anyone who creates something new or does something different artistically is going to be singled out.

I was interested in what was really going on in Salem at that time, and I resolved to investigate this seemingly unorthodox treatment of the people and the period.

The performances of my works in the last 10 years are probably equal to all the previous years put together. There are so many venues now and there is a completely new public for opera that's grown up outside of the traditional core opera public.

When I've seen my operas in Europe, they have always struck me as more American than when I hear them here. I can't tell you what that phenomenon is.

If an American audience is given a serious musical theater piece that is well produced, dramatically gripping and wonderfully acted, they'll respond to it.

We think the Puritans always dressed in black and white, which they didn't. They loved very bright colors. And there were other differences in perceptions that gave one a very different view of them.

If something is successful with the audience, it's automatically suspect; the reverse is to say that not to reach audiences is the greatest compliment an artist can receive!

You can't possibly predict what will last or not. But once you attempt to write for the ages, you're doomed.

I think anything that is expressed directly and as honestly as possible will last.

There's the Bacon society, which is fostered by his fourth wife Helen Bacon, but I don't know what kind of performances his music gets. He wrote symphonic music and some chorale music.

We don't have access to a national forum that we had in those days, through the news magazines which were the television news of the time. It's very disturbing to me that we've sort of been pushed to the corners.

Socially I never was an outsider. I have never thought of the conflict element before frankly, but perhaps it was wanting to belong, and at the same time wanting to retain one's own personality.

Like any other composer of opera, I choose a subject not for polemical reasons, but because it contains vivid characters in highly charged dramatic situations.

I was encouraged by my mother and, to a lesser extent, by my father.

I had all the normal interests - I played basketball and I headed the school paper. But I also developed very early a great love for music and literature and the theater.

It seems to me opera is just as relevant as an expressive art as anything else.

It's necessary to track characters all the way through an opera. If you're dealing with more than one or two characters, it's very easy to forget that the others have lives of their own that feed into the story.

I've never set out consciously to write American music. I don't know what that would be unless the obvious Appalachian folk references.

The story of Willie Stark fascinated me because it was tackling the story of a man who outwardly has all the success one could possibly want and who is destroyed by his personal demons.

Most of the important composers in our country are clustered in the Northeast.

Once to every person and nation come the moment to decide. In the conflict of truth with falsehood, for the good or evil side.

There is a contest old as Eden, which still goes on - the conflict between right and wrong, between error and truth. In this conflict every human being has a part.

Many of the Europeans who want Israel to go away don't even know why they do. Nearly a third of those interviewed concede they have no idea what the Israeli-Palestinian conflict is all about. It's enough to know that Israelis are Jews.

What we've proven is that you can protect the environment, use it wisely and grow the economy and that there is no conflict between the two.

The United States cannot feed every person, lift every person out of poverty, cure every disease, or stop every conflict. But our power and status have conferred upon us a tremendous responsibility to humanity.

The due process of law as we use it, I believe, rests squarely on the liberal idea of conflict and resolution.

We have not sought this conflict; we have sought too long to avoid it; our forbearance has been construed into weakness, our magnanimity into fear, until the vindication of our manhood, as well as the defence of our rights, is required at our hands.

The Arab-Israeli conflict is also in many ways a conflict about status: it's a war between two peoples who feel deeply humiliated by the other, who want the other to respect them. Battles over status can be even more intractable than those over land or water or oil.

I am in politics because of the conflict between good and evil, and I believe that in the end good will triumph.

We are not at war with Egypt. We are in an armed conflict.

When the problems in Northern Ireland started, it was not a question of Protestantism or Catholicism, because the Catholic church was the only church at that time-it was a nationalist conflict.

Vetting and verifying information is one thing. Having our government sending out conflicting messages to the American people when conflict can be avoided is another.

Washing one's hands of the conflict between the powerful and the powerless means to side with the powerful, not to be neutral.

The reality is, it will be a significant conflict going for many, many months, if not longer. Saddam Hussein is not a fool. He hasn't been sitting there waiting to get shot for 13 years.

It creates a conflict of interest - what songs would I use for me, and what would I use for the band.

This old Germany was partly defeated in its conflict with the progressive ideas of socialism, for it had given the people nothing that could serve as a successful alternative to socialism.

My friends, there is no Palestinian-Israeli conflict. There is only the global war on terrorism.