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Wynton Marsalis
Pulitzer Prize for Music
Wynton Marsalis: Well, I always equated rock with something social like meeting girls, and stuff. I never equated it with music. So, I would be on the bandstand, and the music itself was all right, but I had also heard my daddy and them play. So, I knew what was going on our bandstand -- playing rock -- wasn't what was going on his bandstand. Also, I had played with orchestras, and I definitely knew what was going on an orchestral bandstand was not what went on on our rock bandstand. There is a lot of debate about how "It's just music," and all this stuff that people talk now, if you stand on all those different bandstands on a certain level, you know that it's not all just music. It's something very different that goes on in all of those instances. It's like, if you go in a club to hear Coltrane play, or you go into one of these clubs down on 42nd Street and take in a burlesque show, well it's a club and you are going out, but it's very different. But jazz, it's just the soul of it and also the intellect of it. To listen to John Coltrane when he start playing. I'd come home and put that Coltrane record on, "Cousin Mary" would be playing, just the sound in that music. I'd be pantomiming like I was a saxophone player, just listening to 'Trane, that type of cry that he had in his sound. And, I wanted to make somebody feel like how that made me feel listening to it. And, Clifford Brown and Miles Davis, when he was playing jazz, early Miles, I would listen to Clifford, just the way he could play, the style of the music, the feeling of it, the whole lifestyle, the whole jazz. It was all in my mind then. Even though my father was a musician, he was my father. I didn't look at him like anything but my father. But, on these records then I could hear just a pride, a something, a dignity. They had a nobility to it, a profundity. I just wanted to be part of it, even though it didn't exist in my era.
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Barry Marshall
Nobel Prize in Medicine
Barry Marshall: I was always curious and very interested in science, and always enjoyed school. Each year I would always be thinking, "Wow! Next year at school, or at college, I'll be able to do chemistry, or geometry that I can't do now." Or in medical school it was, "Wow! Next year I'll be able to do anatomy!" Cutting up dead bodies was my big goal in first-year medicine, and so it went on. Every year there was something exciting and wonderful that I was looking forward to the next year. Medicine is like that, just so varied that even after I graduated I thought I only wanted to be a general practitioner. But every single sub-specialty I did in my internship, I'd come home from the first week and I'd say to my wife, "I want to be a neurosurgeon. This is great!" Or, "I want to be a hematologist," or cancer specialist. Everything fascinated me, and it was really only because I got involved in this little project with the bacteria in the stomach that I ended up going into gastroenterology. Because any specialty would have made me perfectly happy.
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Barry Marshall
Nobel Prize in Medicine
One of the things my wife says is that she actually has five children. She's got the four children and me, and that I never grew up. A lot of doctors seem to be in this category, in that they have always got this childish curiosity, and they go into med school because they can't face life, and they know it will be seven years before they actually have to make a real life decision. And then if you stay in medicine and train further for a specialty, you can postpone this real life event, if you like. And then if you can go into research Well, actually you never have to finish. I think that's the ideal choice.
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Johnny Mathis
Grammy Hall of Fame
Johnny Mathis: I think the thing that stands out most in my mind -- about how excited I was to have an opportunity to do something with my voice -- is when I met Lennie Hayton, who was married to Lena Horne. Lena Horne used to come through San Francisco on a regular basis at this wonderful hotel -- the Fairmont Hotel in San Francisco -- in the Venetian Room. My dad would take me to see her. It was something electric and magnificent about her. First of all she was gorgeous. She was a beautiful woman, and she had a history of learning her craft. She was a wonderful singer and dancer. As a youngster, I would go and listen to her and watch her, and she would mesmerize me. That was the thing that motivated me most, I think, to continue to perform, not just sing for recreational purposes. But I remember she was the shining light. And then of course I went and saw other people who became fabulous in my mind also, but she was the one that I remember was the motivator for me. I said, "I would love to be able to be that good, have something, a quality that good." And all my life -- I told her. I finally got a chance, after I met her, to tell her. But her husband was very kind to me -- Lennie Hayton -- because Lena was a little standoffish. Because she was a black woman in a white world, doing all of these incredible things, making roads for people like myself, so Lena was a little bit standoffish. But her husband Lennie Hayton, who was white, used to sneak me to her dressing room and I'd sit out in the foyer until she was all dolled up and made up -- she wouldn't see me without her makeup -- and put her gown on, and that was the Lena Horne I always remember. I never saw her -- I think maybe once I saw her offstage when she wasn't all dolled up. But of course she was the person, I think, more so than Nat King Cole, who I almost emulated from the time I was a little kid, because he's my favorite singer. But she was this incredible person that I thought was the epitome of what it would be like to be a singing star.
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