I don't say that the supposed Civil Rights development is a myth, but it's a matter of dealing with reality. It's purely peripheral and, in many cases, it's just a facade.

I don't know who's 18 years old today that, 20 years hence, is going to be a jazz fan.

I made it easier for many artists to play in certain areas.

My function at Verve was that of a genuine producer in artists and repertoire.

I allowed artists to play for as long as they felt they could justifiably continue to create.

The public, hearing pop music, is, without knowing it, also soaking up jazz.

I'm talking as a professional impresario. I'm not judging anybody at all.

Ella can work nightclubs that Duke might not be able to work, because of having the big band. Where they go now is strictly a matter of their own names and talents.

When I was doing jazz concerts in America, I would use the biggest names I could find.

Sponsors and networks will really go all out and simply evaluate people on the basis of talent.

Ellington is a writer and arranger, as well as a musician and leader. He does movie sound tracks.

Jazz was uplifted by what I did.

The history of all big jazz bands shows was, first they played for dancing, and then they played for singing.

I find myself more at peace when I live in Europe.

My juices needed restoring. I needed a sabbatical from the record business.

I don't want to sound as if I'm doing something tremendously special. But I am a jazz fan.

I still continue to do at least four concert tours a year, and in many cases, as many as six.

To play today in London, next week in Madrid and the week after that in Warsaw is a bit better than playing Newark and Baltimore and Philadelphia. I've been doing that for 20 years.

There are very few groups that really stay together. The leaders of groups make enough money to be able to afford to work a maximum of 35-40 weeks a year.

I'm concerned with trend. I don't know where jazz fans will come from 20 years from now.

The record companies are interested in the kind of sales they can get from the rock groups.

Germany is probably the richest country in Western Europe. Yet they wouldn't take any television with Duke and Ella, their reaction being that people weren't interested in it.

I don't think I will ever do any tours again in the United States. I rather think that that's over with.

I don't say that the supposed Civil Rights development is a myth, but it's a matter of dealing with reality. It's purely peripheral and, in many cases, it's just a facade.

The economic picture in the States today doesn't allow for jazz concerts in a tour fashion. People now are too used to the Festival, which gives them more names for the same price.

As long as we're in a democracy, I have to give what I think the majority of people will enjoy.

I don't think that jazz, as any kind of an art form, has any permanence attached to it, apart from the practitioners of it.

You will always find a few people in any area that would like things done completely their way.

In 1958, I decided that I was going to live in Europe permanently. So in 1959 I moved to Lugano, Switzerland.

If you look at my audiences, even in Europe, they're hardly teenagers.

For years, Jazz At The Philharmonic albums were the only ones of their kind.

If I were to put on Barbra Streisand and Duke Ellington, one might say the combination isn't good.

There are many artists that I present that I admit I like less than I do others. But I think that they warrant being presented by my own, personal standards.

Amsterdam must have more than a million people. But the only area where jazz is really profitable and successful in an economic sense is in Japan. That's because they haven't been exposed enough.

I think the Civil Rights Movement changed that trajectory for me. The first thing I did was leave school. I was suspended for my participation in Movement demonstrations in my hometown, December, 1961.

We support President Truman's civil rights program.

There are those who say to you - we are rushing this issue of civil rights. I say we are 172 years late.

A lot of things happened in a lot of places. And to see how well it was handled in Atlanta. There are a lot of reasons for Atlanta being a special town in the Civil Rights era.

He didn't even have the satisfaction of being killed for civil rights. it had to be some silly little Communist.

When it came to political power, blacks need not apply. Add to this steaming stew the growing tensions over the Vietnam War and the movement for civil rights, and you had plenty of elements to fire the imagination of a novice journalist.

Rarely in my 45 years as a civil rights lawyer have I been so angry about an injustice as I am about what happened to Billy Ray Johnson.

I'm a child of the Civil Rights Movement.

By 1962, King had become, by the media's reckoning, the new civil rights leader.

There is no contradiction between effective law enforcement and respect for civil and human rights. Dr. King did not stir us to move for our civil rights to have them taken away in these kinds of fashions.

The civil rights movement in the United States was about the same thing, about equality of treatment for all sections of the people, and that is precisely what our movement was about.

When the civil rights battle was won, all the Jews and hippies and artists were middle class white people and all the blacks were still poor. Materially, not much changed.

The South resented giving the Afro-American his freedom, the ballot box and the Civil Rights Law.

Eyes is the attempt to tell the story of the Civil Rights movement and to create an emotional, intellectual constituency. But what do you do after that? The black community doesn't have institutions that pick up such moments and preserve them.

It is distressing to me that we live in an age in which we still must fight to protect our civil rights as Americans, in which a hate crime perpetrated against someone based their sexual orientation can go unpunished, and in which discrimination is being written into our laws.