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Paul Nitze
Presidential Medal of Freedom
So, I went back and talked this over with Teller, and he said, "Well, you ought to talk to Dr. Lawrence of Lawrence Radiation Laboratory because he's the one who's really done more work with young scientists in this field than anybody else3. So he'll tell you all about what makes those fellows work, how this business runs." So, I got hold of Lawrence and he came over, flew to Washington and saw me. He said, "One thing I will guarantee you and that is the - Oppenheimer's point - that because of the practice of the American scientists to publish, that this will make a difference." He said, "Nobody in this field today is worth a damn who's older than 27. Most of the people who are producing the new ideas in the field of nuclear reactions are 19, 20, 21, up to 27. But, I don't know of any new and brilliant person older than that in this field. All these people that are working for me and others, they're all working on classified projects. They can't publish in any case. What makes them tick? What makes them tick is the thrill of feeling that you are breaking through the frontiers of knowledge. The satisfaction of working on new things where you are really at the front end of exploration, and they do value the respect of your peers. But, you don't need to publish for your peers to know what you're doing. The same is undoubtedly true in the Soviet Union. Their scientist, just like our scientists don't publish. They are not permitted to publish. But, they don't need that. They work in the same way our scientists are."
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Paul Nitze
Presidential Medal of Freedom
When I started to work for him (Reagan), I came to the conclusion this was really a man who deeply felt the things that he believed in and that he really deeply believed in the superiority of a liberal democratic system to a totalitarian system and that this was an unmovable and unshakable belief which he could radiate. After the last summit meeting that we had in Moscow, he then went on to the Pilgrim Society in London and delivered himself a speech about the superiority of the liberal system to the totalitarian system, which was a brilliant job. He had a good speech writer. A fellow by the name of Tony Doyle wrote that for him. But in any case, he delivered it well and all the sentiments were right, and Tony Doyle, sure, had written the speech, but he'd followed the instructions from the President. And he won that intellectual battle, that battle for the mind of the world, as to which system really was the system of the future. That of the liberal democracies or that of the totalitarian Marxist-Leninism, and he won that battle hands down. So, any man who is that effective at winning the major battle, the battle of ideology -- more than ideology. He won that hands down, and therefore I ended up with great admiration for President Reagan.
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Jessye Norman
Legendary Opera Soprano
Jessye Norman: I was given my very own radio. I know that most kids sort of listening to this right now would just burst out laughing, but it was the greatest thing in the world. I was given my very own radio in my very own bedroom, which meant I could listen to anything that I wanted to. I didn't have to invite my brothers. I could close the door, and if I wanted to listen to Gunsmoke or to Elvis Presley or to the Metropolitan Opera on Saturdays, I could do that. And I would listen to the Metropolitan Opera because they had the most wonderful announcer. His name was Milton Cross, and Milton Cross would tell you everything you needed to know about the opera. Of course I didn't understand Italian or French or German or any of these things, but I didn't need to, because Milton Cross told you everything you needed to know. He told you what Joan Sutherland was wearing, that she was very tall, that she was wearing a very beautiful blond wig and that her costume for Lucia di Lammermoor was this beautiful teal blue color. So I could see all of this in my mind, and however long the opera lasted on a Saturday afternoon, that's how long it took me to clean my room, which was my job on the Saturday. So if it was a long opera, it went on for a bit, my cleaning.
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Jessye Norman
Legendary Opera Soprano
Jessye Norman: I think that she saw great joy in the actual act of singing, and that even though I was walking into a classroom of people -- and it was a small classroom. It wasn't a big auditorium. People were sitting all around me. And that I was comfortable in that situation, because that's the way you sing at church. I mean if you were standing in church singing, there's somebody sitting in the front row, there's somebody sitting on the side. There are the deacons sitting to your right, so it's not like you're on a platform performing. So I think that she saw a certain degree of enthusiasm, and a certain degree of happiness, just being allowed to do it. I think that that sort of caught her eye and her ear, which was, of course, a glorious thing for me, to be able to work with someone, not having studied anything about voice before.
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