The first year I started in San Francisco, there was an American work on every program and there's been a lot of music by living composers and gradually that was part of the process of getting the audience really to trust me.

And at the same time, you are of course a performer, but it's very important that you understand that your role as a performer is to get the best performance from those wonderful colleagues that you have the chance to work with.

It's kind of scary sometimes, I've seen this a lot in Asia. Children are given music lessons, very intensively I might add and involving great technical expertise sometimes, but you can tell that they have been told only to play happy pleasant music.

If we are able to get inside the music and inhabit it convincingly enough, it will cause everyone to find each other in this new psychological space. And that's most exciting.

But those musics do not address the larger kind of architecture in time that classical music does, whatever each one of us knows that classical music must mean.

Being an American musician means being adventurous.

But a large symphony orchestra basically is a repertory company and it has a very enormous repertoire and it is important for the performers to be able to know how to shift focus so that they instantly become part of the sound world that a particular repertoire demands.

When I first was conducting as guest conductor in Europe 25 years ago, I would propose doing American pieces and grudgingly it would be accepted from time to time.

Being a conductor is kind of a hybrid profession because most fundamentally, it is being someone who is a coach, a trainer, an editor, a director.

In earlier times, so many people sang much more. You know as a kid you'd go to some kind of religious training and or summer camp or whatever it was and you'd learn to sing a lot of songs.

The whole path of American music has been so much about the recognition of stylistic diversity, and the recognition of the importance of music which was from one of the vernacular traditions.

You know, they were returning to the language of the people and trying to use musical language, particularly as Copland did to create a musical language in which all Americans would feel that they had a stake.

But without the experience of actually singing or playing these things yourself, you don't have the same kind of involvement or understanding of what these musical moves mean. And that is a very big problem in addressing the future of music.

I can't do pieces I only admire technically. I have to feel some direct contact with them.

And what classical music does best and must always do more, is to show this kind of transformation of moods, to show a very wide psychological voyage. And I think that's something that we as classical musicians have underestimated.

Conductors are performers.

But some people will say you just did these programs. Well, yes, the programs are important and I'm proud of the programs, but mostly I'm proud of the way the San Francisco Symphony plays these programs.

Extreme volume in music very often disguises a lack of actually important content.

Earlier in my life, I performed a lot of music. Some of it because I felt it was a demonstration, or a representation of certain intellectual concepts that were very exciting and important.

But if I can be convinced and then through the work that we do together, the orchestra can really be convinced of the big sweep of that communication that the piece suggests, then the audience will get it and it will be a good experience for all of us.

The first year I started in San Francisco, there was an American work on every program and there's been a lot of music by living composers and gradually that was part of the process of getting the audience really to trust me.

I think music needs to be presented in a way so that kids can grasp songs, dances, simple music that's associated with some particular defining moment in human experience.

They are representations of many shared hours of collaboration between us all. That's the real nature of the relationship the orchestra and I are trying to build.

But still as compared to many, many orchestras in the world, I think you find a lot more new music and living composers on our programs than many other places.

But you know in the contemporary art world, you pose a very interesting conundrum. All sorts of people collect very contemporary art, yet when it comes to the music which is analogous to that sort of art, they are not interested, or perhaps even hostile.

Classical music is an unbroken living tradition that goes back over 1000 years and every one of those years has had something unique and powerful to say to us about what its like to be alive.

Classical music is a wonderful 1200 year old tradition that witnesses everything that it has meant and what it means right now to be human.

But those musics do not address the larger kind of architecture in time that classical music does whatever each one of us knows that classical music must mean.

If youre alive you have all the experience necessary to understand classical music.

And what classical music does best and must always do more is to show this kind of transformation of moods to show a very wide psychological voyage. And I think thats something that we as classical musicians have underestimated.

There is no executive order; there is no law that can require the American people to form a national community. This we must do as individuals and if we do it as individuals, there is no President of the United States who can veto that decision.

Every American deserves to live in freedom, to have his or her privacy respected and a chance to go as far as their ability and effort will take them - regardless of race, gender, ethnicity or economic circumstances.

Under current law volunteers who are not working with an official nonprofit organization are not covered by the Volunteer Protection Act. Therefore, there are absolutely no legal protections for the average American who wishes to volunteer.

There are those, I know, who will reply that the liberation of humanity, the freedom of man and mind, is nothing but a dream. They are right. It is. It is the American Dream.

The thing is there have been American movies that are similar to Solaris, like Alien had a lot of things that are similar, although it's also got the horror element.

On the road to equality there is no better place for blacks to detour around American values than in forgoing its example in the treatment of its women and the organization of its family.

The generic Canadian style of illustration is different from the generic American style.

But the deep desire for peace remained with the American people.

And while the U.S. can never be 100 percent safe from a future strike, our government is working around the clock on measures to protect the American people.

All we're getting from the Democratic majority in Congress and from this White House is more bailouts, more spending, more planned stimulus, more deficits and debt, and the American people have had it.

Who cares about that stuff? This is America, not Jerusalem. I'm an American. Let Harry be a Jew.

The greatest public health threat for many American women is the men they live with.

The belief that the good in American society will finally win out... I don't believe any more.

I suppose, in a way, this has become part of my soul. It is a symbol of my life. Whatever I have done that really matters, I've done wearing it. When the time comes, it will be in this that I journey forth. What greater honor could come to an American, and a soldier?

But the Congress has made the determination that certain kinds of information can be protected even though the American people may want to have access to information.

No one will burn out doing aerobic running. It is too much anaerobic running, which the American scholastic athletic system tends to put young athletes through, that burns them out.

I was on TV for almost sixteen weeks during American Idol. It's at the point now where it's old.

What I think we need to do to engage the American people in a conversation about entitlement reform is to have a bipartisan group of people who come together and put every solution on the table, every alternative on the table. And then we ought to engage in a long conversation with the American people so they understand the choices.

I'm not a Democrat, I'm not a Republican-I'm an American, I'm a human.