Very few of the men whose names have become great in the early pioneering of jazz and of swing were trained in music at all. They were born musicians: they felt their music and played by ear and memory. That was the way it was with the great Dixieland Five.

The memory of things gone is important to a jazz musician.

When the other kids started calling me nicknames, I knew everything was all right. I have a pretty big mouth, so they hit on that and began calling me Gatemouth or Satchelmouth, and that Satchelmouth has stuck to me all my life, except that now it's been made into 'Satchmo' - 'Satchmo' Armstrong.

We never did try to get together and to show the younger Negroes such as myself, to try and even to show that he has ambitions - and with just a little encouragement, I could have really done something worthwhile. But instead, we did nothing but let the young upstarts know that they were young and simple, and that was that.

Asian American success is often presented as something of a horror - robotic, unfeeling machines psychotically hellbent on excelling, products of abusive tiger parenting who care only about test scores and perfection, driven to succeed without even knowing why.

After 'Frampton Comes Alive!' became a huge success, I really needed to take time off to work out what the hell just happened. Instead, I just kept working.

When it comes to social consequences, they've got all different people acting in different ways, very difficult to even have a proper criterion of success. So, it's a difficult task.

One of the first things I learned in the Marine Corps is that any military mission has to be defined as precisely as you can possibly define it, and then you size the force and equipment force to accomplish that mission without fail.