You have little representation of young black men in the business sector, so you have children growing up in disadvantaged neighborhoods who don't hear discussions at the dinner table about what goes on in business. It's almost as if we have two nations.

The main cause of Europe's deep fall - the losses of inclusion, job satisfaction and wage growth - is the devastating slowdown of productivity that began in the late 1990s and struck large swaths of the continent. It holds down the growth of wages rates, and it depresses employment.

In countries operating a largely capitalist system, there does not appear to be a wide understanding among its actors and overseers of either its advantages or its hazards.

I think the 19th century is an extraordinary period with a welling up of creativity and all kinds of experimentation and exploration going on at least until 1940.

When we say a show is successful, it's because, relative to the investment, it's successful, relative to how else we would have spent that money on licensing something else, does this creation - did it attract the audience that it was built for.

It was always a plan that we were going to have a retail side with what were doing musically, like an Apple store or Nike Town. I wanted something where you can come get everything - 'Marathon' or 'All Money' or 'Crenshaw' - and make it like an experience. Especially with what Crenshaw and Slauson meant to my story.

People don't realize that we, we meaning people in show business, have the same problems as everyone else. Money doesn't change that. Fame doesn't change that. Sometimes that brings on more problems. You know, it's just a different kind of problems.

If you are working in a publicly subsidized building, then you have a responsibility to deliver truly interesting, risky, innovative, even provocative work. Work that speaks to your audience in many resonant ways. The priority is less about the financial rewards.