People From Philadelphia

"(about her beginnings) "People assume I always wanted to be a violinist. It was actually just one of many other hobbies that I had. I had very enthusiastic parents. They gave me swimming lessons and horseback riding and gymnastics and ballet. My mom put me on the piano when I was about 3i. I asked for the violin when I was 4 because I wanted something that was smaller and more portable. I auditioned for the Juilliard School when I was about 6. During the week, I went to a regular school in Philadelphia so I could be with kids my own age." and "I started my career when I was 8 with two debuts in New York and Philadelphia, and then I started recording when I was 9. When you're so young, you don't realize the impact of a New York Philharmonic debut. You're told to do something and you go out and do it and you don't ask too many questions. I think the questions come later when you're in your teens. By the time I was 14, I was spending probably half the year in Europe. So I was out of school a lot. I did most of my homework by e-mail or fax. We made it work because my professors were incredible.""

"(about concerts)"I love the adrenaline rush you get from having a live audience in front of you. There's nothing like performing live. I like to categorize classical music as one of those really beautiful, glamorous gems from the old era. The men are in tails onstage, the women are in beautiful dresses and the soloist comes out in a gorgeous evening gown. I really, really love that old-school glamour.For me, concert days are always exciting. It doesn't matter if I give 100 concerts or 150 concerts that season. Every concert is magical. Every concert has a sparkle to it. The challenge is to keep myself fresh and to give a spontaneous performance every single night while maturing and growing as a musician every day. The whole art form of being onstage is so mysterious and magical, it fascinates me. ""

"I like Lenny Kravitz, I like Pink, and for forever and ever I've thought that Whitney Houston has an amazing voice. I really love great voices."

"I've always ranked the Brahms as the Mount Everest of all concertos -- and the Beethoven, of course."

"The ultimate high for me is being onstage in front of an audience. Nothing else can compare."

"I try not to take my life for granted. I have friends who have tendinitis. That would kill me. A short break from the violin is fine, but if I don't touch it for three or four days, my fingers start to feel funny."

"Everything in my life is planned. It adds stability, but it makes me yearn for something that's not planned, that's spontaneous."

"I've worked with a lot of living composers recently. It drives me nuts, though, that they like to change things at the last minute. For example, two years ago I played a piece that had been completed only the day before, in front of thousands of people in a huge stadium in Taejon, South Korea."

"There are certain moments in performance when I'm hand-in-glove with a conductor and feel I can take risks and try something completely different from what we did in rehearsal. Sometimes we pull it off, and it's magical. Other times you try to get creative, the support isn't there, and you think, oh well, maybe next time."

"I hate analyzing stuff. I do the bare minimum. When it comes to interpretation, I just play it and go from there. I think emotion is everything. When you get the notes, you've just scratched the surface. The best things happen spontaneously, on stage. I'm doing three concerts here; I guarantee that none of them will be the same. We're not machines."

"Now this is very funny because my brother's name is Michael Chang, I go in for interviews or just talk to people and they say, "so what does your brother do?" I say he plays tennis and they automatically assume that he is Michael Chang, the tennis player, and I don't say anything."

"I had this very interesting experience when I was about 13. I went to Finland and it was dead in the middle of winter. It was freezing cold. There was so much snow and I went to Ainola, which is Sibelius' house. It was completely isolated -- just snow and forest, trees and the lake, completely beautiful but very quiet. And very serene. And I thought, well, this is where he was composing his stuff. And his great symphonies and the violin concerto, this is where it basically came from. I also got this little handbook about Ainola and there's a part that says that Sibelius wouldn't allow running water in his house because it disturbed him and his thought processes. So his daughters had to go out to the well which was half a mile away and then bring back water. So I thought, "Wow!" This person was really that much into control and silence. So you go and look at the concerto after that and the way it starts in the beginning: very shimmery. Very beautiful. But in a way it is isolated, and you feel kind of lonely when you're playing that. And gradually of course it builds up into this great big climax when every single orchestra-like instrument known to mankind is clashing and you're trying to break out there and you're trying to play your heart out. But really it did help me realize what he is like."

"I paint what I see in America, in other words I paint the American scene."

"We all grasped on everything new, and despite the atmosphere of New York [ in the 1930's] worked on everything but our own identities. I make exceptions for Graham and Davis, especially Davis, who though at his least recognized or exhibited stage was the solid citizen for a group a bit younger who were trying to find their stride."

"For a brief time, roughly between 1912 and 1918, The Masses became the rallying center-as sometimes also a combination of circus, nursery, and boxing ring-for almost everything that was then alive and irreverent in American culture. In its pages you could find brilliant artists and cartoonists, like John Sloan, Stuart Davis, and Art Young; one of the best journalists in our history, John Reed (journalist), a writer full of an indignation against American injustice that was itself utterly American; a shrewd and caustic propagandist like Max Eastman; some gifted writers of fiction, like Sherwood Anderson; and one of the few serious theoretical minds American socialism has produced, William English Walling. All joined in a rumpus of revolt, tearing to shreds the genteel tradition that had been dominant in American culture, poking fun at moral prudishness and literary timidity, mocking the deceits of bourgeois individualism, and preaching a peculiarly uncomplicated version of the class struggle. There has never been, and probably never will again be, another radical magazine in the U. S. quite like The Masses, with its slapdash gathering of energy, youth, hope."

"Stuart Davis.. ..is one of but few, who realized his canvas as a.. .. two-dimensional surface plane."

"I think of Abstract Art in the same way I think of all Art, Past and Present. I see it as divided into two Major categories, Objective and Subjective. Objective Art is Absolute Art. Subjective Art is Illustration, or communication by Symbols, Replicas, and Oblique Emotional Passes. They are both Art, but their Content has no Identity. Their difference cannot be defined as a difference of Idiom, because all Paintings have the Laws of Design as a common denominator. Design exists as an Idiom of Color-Space Logic, and it also exists in an Idiom of Representational Likenesses. Objective Art and Subjective Art exist in both Idioms. Their difference can only be defined in terms of what the Artist thinks his Purpose means-its Content as a Design Image."

"In 1982, when he was 45 and Philadelphia 76er owner Harold Katz was hot after him, the Houston Chronicle's George White asked Elvin Hayes if Chamberlain could still play. "Some things about Wilt, you never forgot," Hayes said. "He was such an awesome physical specimen. To go up under Wilt Chamberlain, to be down there and look up at him when he's towering up over you waiting to dunk, was a terrifying picture. To see him poised up there, knowing he was about to sweep down with that big jam . . . that must be the most frightening sight in sports. The ball goes shooting through the net and you better have your body covered up because he could really hurt someone. I was scared. Everyone was scared when he got that look in his eye, that don't-try-to-stop-this look that he got when he really wanted it. . . . "I think Russell realized there was no way he could have stopped Wilt if he had been fully intent on making it a two-man game. No one who ever put on a uniform could have done it. When I played him, I kept this foremost in my mind: Above all, don't make him mad. Don't embarrass him. You wanted to keep him quiet as long as possible.""

"In Tom Robbins' Even Cowgirls Get The Blues, the narrator attempts to describe a Whooping Crane in 25 words or less. One attempt at the description reads Imagine Wilt Chamberlain in a red yarmulke and snowy feathers... The narrator cuts off the attempt with the explanation You're assuming that the reader knows who Wilt Chamberlain is. Many people don't follow basketball and wouldn't understand that Wilt signifies size and strength and arrogance made palatable by grace."

"You obviously never saw Wilt Chamberlain play who undoubtedly was the greatest scorer this game has ever known. When did MJ ever average 50.4 points per game plus 25.7 rebounds? (Wilt in the 1962 season when blocked shot statistics were not kept). We will never accurately know how many shots Wilt blocked. Oh, by the way in 1967 and 68, Wilt was a league leader in assists. Did MJ ever score 100 points in a game? How many times did MJ score more than 60 points in a game? MJ led the league in scoring in consecutive seasons for 10 years but he did this in an NBA that eventually expanded into 30 teams vs. when Wilt played and there were only 8 teams."

"If you want to get Wilt ticked off or bitter, just mention Bill Russell. You will incite him."

"Wilt had to fight people's dissatisfaction that his teams didn't win. There he was, this great dominating player, and his teams didn't win championships. Well, Wilt wasn't playing for the right team. As an individual, he was in a class by himself, but his teammates--they were OK, but not the supporting cast Russell had."

"Chamberlain played the game the same way Russell did, except he scored so much more. But his teams had to get more points from him. He'd score 45 points and his teams would still lose."

"It was hard for Wilt to put his faith in many people. Being in his position, many people tried to exploit him. I say little in reference to character, not size. There were always those who enjoyed hanging around to pick up the crumbs that might fall off their 7' cake. No matter where we went to play ball, It seemed that he had a thousand cousins who needed tickets to the game-free tickets, that is. One of Wilt's weaknesses was being too big-hearted. He never turned down any of these requests, and very often he was holding the bag. You'd expect a 7' person to have an extra big heart, but his was even out of proportion to his size."

"When I was a freshman, I fooled around with shooting free throws this way: For some reason, I thought you had to stay within the top half of that free-throw circle, so I would step back to just inside the top of the circle, take off from behind the line and dunk. They outlawed that, but I wouldn't have done it in a game, anyway. I was a good free throw shooter in college." Actually he was a 62% free throw shooter, which is poor except in comparison to his 51% as a pro."

"Nobody seems to appreciate what an incredible player Wilt was," Russell said at 1997 All-Star Game when the league named and honored its 50 greatest players. "He was the best player of all time because he dominated the floor like nobody else ever could. To be that big and that athletic was special."

"Bill Mayer, then the managing editor of the 'Lawrence Journal-World' recalled on of Wilt's impressive athletic feats: "We played Oklahoma in basketball on a friday night, here in Lawrence(, Kansas), When Oklahoma had one helluva team. And they pounded the living daylights out of Wilt, just beat him to a pulp. I think he got 32 points. This was on a friday, and the finals of the Big Seven indoor track championship were the next night in Kansas city in the Municipal Auditorium. Wilt goes in, and with a minimum of practice during the week-he had just been fiddling around-he sets a school record and ties for the Big Seven championship, jumping 6' 6 3/4"""

"(Monte) Johnson recalled that: "Wilt had such unbelievable endurance and speed that, if he took off running, there wasn't any chance that anybody would keep up with him. He glided around the track and had the grace of a deer. I said to the coach, 'It might look like it helps us to chase him, but it may kill us because you can't catch someone who runs that fast.' After practice, he was the only one who wasn't tired. I never saw him tired.""

""On the trip to Russia with the Harlem Globetrotters, we were in Lenin Stadium, and they assigned a dressing room to the team. The players were getting dressed for one of their games. They were in rather close quarters. Remember, these were young kids-Wilt was 23. The others were his age. They were like kittens. You bump me, I'll bump you back. And before you know it, two of the guys set on Wilt. They started playfully pushing and shoving him. And finally one of his teammates hit Wilt a little too hard. He took these two guys, twisted each of their shirts, and lifted both of them off the ground. Each of these guys weighed over 200 pounds. It looked like he had two little crackers in his hands. I thought he was going to hit their heads together. It was an amazing demonstration of strength"."

"Several years after Wilt stopped playing, he toyed with the idea of a comeback. On the day he visited the Knicks' offices in Madison Square Garden, he talked to Red Holzman, then strode out to the elevator. When it opened, two deliverymen were struggling with a dolly piled high with boxes of office supplies, mostly letterheads and envelopes. The load was so heavy, the elevator had stopped maybe four inches below the floor level and now the deliverymen were huffing and puffing, but they couldn't raise the dolly high enough to get it on the floor level. After maybe two minutes of the deliverymen's huffing and puffing, Wilt, his biceps bulging in a tank top, peered down at them and intoned, "Gentlemen, maybe I can help." They stepped back, he stepped into the elevator, grabbed each end of the rope slung under the dolly and without much exertion, quickly lifted the dolly onto the floor level. Looking up in awe, the deliverymen said, "Thank you." Wilt said, "You're welcome." Wilt stepped into the elevator and rode down to the street level as another witness followed the two deliverymen toward the Knick offices and asked, "How much does all this weigh?" They quickly surveyed the stack of big boxes of office supplies. "Close to 600 pounds," one said."

"One time, when I was with Boston and he was with the Lakers, Happy Hairston and I were about to get in a scrape," said Charlotte Hornets coach Paul Silas, who was a rugged, no-nonsense enforcer. "All of a sudden, I felt an enormous vise around me. I was 6-7, 235, and Wilt had picked me up and turned me around. He said, 'We're not going to have that stuff.' I said, 'Yes sir.'"

"Former Celtics guard K.C. Jones remembered his casual run-in with Wilt. "He stopped me dead in my tracks with his arm, hugged me and lifted me off the floor with my feet dangling," Jones said. "It scared the hell out of me. When I went to the free-throw line, my legs were still shaking. Wilt was the strongest guy and best athlete ever to play the game.""

"Former NBA center and Chicago Bull coach Johnny "Red" Kerr, who played part of one season in Philadelphia with Wilt and against him for six-plus years, said, "He was the NBA. He was the guy on the top. Wilt was the guy you talked about—he and Bill Russell. He was the most dominating center—the best center to ever play in the NBA.""

"Darrall Imhoff, who as a 6-foot-10 rookie center for the New York Knicks had the misfortune of guarding Chamberlain during his 100-point game in 1962, said, "I spent 12 years in his armpits, and I always carried that 100-point game on my shoulders. "After I got my third foul, I said to one of the officials, Willy Smith, 'Why don't you just give him 100 points and we'll all go home?' Well, we did." Two nights later, at Madison Square Garden, Chamberlain tried to go for the century mark again. But Imhoff 'held' him to 54 points. The fans gave Imhoff a standing ovation. "He was an amazing, strong man," Imhoff said. "I always said the greatest record he ever held wasn't 100 points, but his 55 rebounds against Bill Russell. Those two players changed the whole game of basketball. The game just took an entire step up to the next level.""

""I just remember he was dominating, a scoring machine, unstoppable," Walt Frazier, the Knicks' Hall of Famer, said. "The guy looked indestructible. He was such a physical specimen, I never thought something like this would happen to him at 63. "His legacy is comical. When you read about his records, it makes you laugh. He has records that are just remarkable. I don't care if he was 10 feet tall, the things that he did."

"In Denver, Nugget Coach Dan Issel said, "As I grew up, Wilt the Stilt was the player. Just the things he was able to do. I guess one year they told him he couldn't make as much money as he wanted because he couldn't pass the ball, so he went out and led the league in assists. "Watching Wilt, you always kind of got the idea he was just playing with people. That he was on cruise control and still 10 times better than anybody else that was playing at that time.""

"Of all his memories of Wilt Chamberlain, the one that stood out for Larry Brown happened long after Chamberlain's professional career had ended. On a summer day in the early 1980s, when Brown was coaching at UCLA, Chamberlain showed up at Pauley Pavilion to take part in one of the high-octane pickup games that the arena constantly attracted. "Magic Johnson used to run the games," Brown recalled Tuesday after hearing that Chamberlain, his friend, had died at 63, "and he called a couple of chintzy fouls and a goaltending on Wilt. "So Wilt said: 'There will be no more layups in this gym,' and he blocked every shot after that. That's the truth, I saw it. He didn't let one [of Johnson's] shots get to the rim." Chamberlain would have been in his mid-40s at the time, and he remained in top physical shape until recently"

"When challenged, Wilt could do almost anything he wanted. In 1961 a new star named Walt Bellamy came into the league. Bellamy was 6-foot-11, and was scoring 30 points a game. First time they played against each other, they met at half court. Bellamy said, 'Hello, Mr. Chamberlain. I'm Walter Bellamy.' Chamberlain reached for Bellamy's hand and said, "Hello, Walter. You won't get a shot off in the first half." Wilt then blocked Bellamy's first nine shots. At the start of the second half Wilt said to Bellamy, 'Okay, Walter. Now you can play.'"

"Legends abound of the truly great leapers who could touch the top of the board. Almost always the feat involves money-claims that the player could grab a dollar bill off the top of the board, or could pluck off a quarter and leave two dimes and a nickel change ... "I defy anyone to say they took change off the top of the backboard," Chamberlain said. "I could. Someone would put a quarter up and I'd snatch it down. I've heard stories about Jackie Jackson doing it, but I've never seen anyone (but himself) come close." Sonny Hill, a Philadelphia leaping legend of the '60s, backs Wilt, saying, "The only man that's been to the top, that's Wilt. I asked Kareem if he ever did, and he could jump a little bit. He told me, `Sonny, no.'""

"Wilt Chamberlain claims that his sargent, during his prime, was "46 to 48 inches, easy.""

"What's unfortunate is that most people regard the great leapers as being only the short guys who could dunk," said the 7-1 1/16 Wilt Chamberlain. "My sargent [vertical leap] was higher than Michael Jordan's. When I went to Kansas, they had a 12-foot basket in the gym, because Dr. Phog Allen was advocating the 12-foot basket. I used to dunk on that basket. It was an effort, but I could do it."

"Thank you for allowing me to use colors as rich and deep as you please. I had always wanted to do so, yet was never allowed because of the color capabilities of our lithographers today. Now that I have done it, I don't think I'll ever go back."

"Even though I am a great admirer of Maxfield Parrish's work, I sometimes have to admit that, over the years, I've just seen enough. Viewing the same works time and time again has made his art lose some of its spontaneity... it has become part of the cultural wallpaper; the equivalent of the art world's background noise. But I have again discovered what beautiful noise it is... His painstaking technique and dramatic subject matter were, in my opinion, unparalleled and much of his vision still holds up against current illustrators and their methods."

"In 1925 it was estimated that one out of every five American homes had a Parrish print on its wall. He was, and still remains the most reproduced artist in the history of art."

"However rationalistic his motives, Parrish's elaborately artificial methods give his pictures a good deal of aura and a surrealistic, even slightly hallucinogenic feeling, which puts an odd spin on the otherwise generically picturesque imagery and its cliched eulogizing of the rural past. If you discovered them unlabeled in the right contemporary gallery, you might mistake them for essays in postmodern duplicity. But Parrish himself was innocent of ironic intent, and the heartfelt romance and hard-won beauty of his calendar-art vision offers a gratifying break from late-modernist cynicism. What Parrish made may have been kitsch, but it was great kitsch."

"Maxfield Parrish was certainly one of our most prominent illustrators and hardly a home in America existed that didn’t have a Maxfield Parrish print. I’m an illustrator. Maxfield Parrish was a painter-illustrator. He was in the Golden Age of Illustration. When I was in art school I admired him. He was one of my gods."

"I don't know what people find or like in me, I'm hopelessly commonplace! ... Current appreciation of my work is a bit "highbrow", I've always considered myself a popular artist."

"There is an implied warranty that a commissioned work should last a lifetime. There is to be no charge."

"It is generally admitted that the most beautiful qualities of a color are in its transparent state, applied over a white ground with the light shining through the color. A modern Kodachrome is a delight when held up to the light with color luminous like stained glass. So many ask what is meant by transparent color, as though it were some special make. Most all color an artist uses is transparent: only a few are opaque, such as vermillion, cerulean blue, emerald green, the ochres and most yellows, etc. Colors are applied just as they come from the tube, the original purity and quality is never lost: a purple is pure rose madder glowing through a glaze of pure blue over glaze, or vice versa, the quality of each is never vitiated by mixing them together. Mix a rose madder with white, let us say, and you get a pink, quite different from the original madder, and the result is a surface color instead of a transparent one, a color you look on instead of into. One does not paint long out of doors before it becomes apparent that a green tree has a lot of red in it. You may not see the red because your eye is blinded by the strong green, but it is there never the less. So if you mix a red with the green you get a sort of mud, each color killing the other. But by the other method. when the green is dry and a rose madder glazed over it you are apt to get what is wanted, and have a richness and glow of one color shining through the other, not to be had by mixing. Imagine a Rembrandt if his magic browns were mixed together instead of glazed. The result would be a kind of chocolate. Then too, by this method of keeping colors by themselves some can be used which are taboo in mixtures."

"How do ideas come? What a question! If they come of their own accord, they are apt to arrive at the most unexpected time and place. For the most part the place is out of doors, for up in this northern wilderness when nature puts on a show it is an inspiring one. There seem to be magic days once in a while, with some rare quality of light that hold a body spellbound: In sub-zero weather there will be a burst of unbelievable color when the mountain turns a deep purple, a thing it refuses to do in summer. Then comes the hard part: how to plan a picture so as to give to others what has happened to you. To render in paint an experience, to suggest the sense of light and color, air and space, there is no such thing as sitting down outside and trying to make a “portrait” of it. It lasts for only a minute, for one thing, and it isn’t an inspiration that can be copied on the spot..."