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Video - Music/Arts
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Jeffrey Shesol's Files
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FOIA Number: 2006-0467-F
FOIA
MARKER
This is not a textual record. This is used as an
administrative marker by the William J. Clinton
Presidential Library Staff.
Collection/Record Group:
Clinton Presidential Records
Subgroup/Office of Origin:
Speechwriting
Series/Staff Member:
Jeff Shesol
Subseries:
OA/ID Number:
24501
FolderID:
Folder Title:
Video - Music / Arts
Stack:
Row:
Section:
Shelf:
Position:
S
91
6
11
1
Withdrawal/Redaction Sheet
Clinton Library
DOCUMENT NO.
SUBJECT/TITLE
DATE
RESTRICTION
AND TYPE
001. Speech
Videotaped 75th Birthday Greetings. (1 page)
04/13/1998
P6/b(6)
002. fax
From Podesta Associates. Subject: Happy Birthday Message. (2
04/08/1998
P6/b(6)
pages)
003. email
John Kelley to Laura Collins. Subject: Gregory Francis Thompson,
04/09/1998
P6/b(6)
Jr. - Bio. Personal. [partial] (1 page)
COLLECTION:
Clinton Presidential Records
Speechwriting
Jeff Shesol
OA/Box Number: 24501
FOLDER TITLE:
Videos Music / Arts
2006-0467-F
vz244
RESTRICTION CODES
Presidential Records Act - |44 U.S.C. 2204(a)]
Freedom of Information Act [5 U.S.C. 552(b)]
P1 National Security Classified Information [(a)(1) of the PRA]
b(1) National security classified information [(b)(1) of the FOIA]
P2 Relating to the appointment to Federal office [(a)(2) of the PRA]
b(2) Release would disclose internal personnel rules and practices of
P3 Release would violate a Federal statute [(a)(3) of the PRA]
an agency [(b)(2) of the FOIA]
P4 Release would disclose trade secrets or confidential commercial or
b(3) Release would violate a Federal statute [(b)(3) of the FOIA]
financial information [(a)(4) of the PRA]
b(4) Release would disclose trade secrets or confidential or financial
P5 Release would disclose confidential advice between the President
information [(b)(4) of the FOIA]
and his advisors, or between such advisors [a)(5) of the PRAJ
b(6) Release would constitute a clearly unwarranted invasion of
P6 Release would constitute a clearly unwarranted invasion of
personal privacy [(b)(6) of the FOIA]
personal privacy [(a)(6) of the PRAJ
b(7) Release would disclose information compiled for law enforcement
purposes [(b)(7) of the FOIA]
C. Closed in accordance with restrictions contained in donor's deed
b(8) Release would disclose information concerning the regulation of
of gift.
financial institutions [(b)(8) of the FOIA]
PRM. Personal record misfile defined in accordance with 44 U.S.C.
b(9) Release would disclose geological or geophysical information
2201(3).
concerning wells [(b)(9) of the FOIA]
RR. Document will be reviewed upon request.
Lowell, Jeff, Jordan, June - here's the writing test
from my "Mr.X" candidate.
To: Michael Waldman
Thoughts? MW
From:
Re: Draft of a speech on the occasion of the dedication of a memorial to Dr. Martin Luther King
We are here today to dedicate a small memorial to a great American, Dr. Martin Luther
King Jr. It is not a memorial of monumental size, like those nearby of George Washington,
Thomas Jefferson, Abraham Lincoln, and Franklin Delano Roosevelt. Dr. King was a preacher,
after all, not a president.
Yet it seems perfectly fitting that his memorial be built here, beside those of Washington,
Jefferson, Lincoln, and Roosevelt, because surely Dr. King ranks with them as one of the greatest
leaders America has ever produced. He achieved a seemingly impossible goal, a goal that had
eluded America since its founding; of granting African-Americans the full and unhampered
rights laid out in the Constitution and the Declaration of Independence. And it was his embrace
of those hallowed documents, the Constitution and the Declaration of Independence, that made
his achievements possible, and that make it fitting that his memorial should be placed here, on
this hallowed ground.
In almost every sentence of the speech he gave that day in 1963, on the steps of the
Lincoln Memorial, Dr. King proclaimed his belief in the sacred documents of this country, and
the promise of redemption they held. He began his speech with the phrase "Five score years ago";
a phrase meant to hearken back to words of the great emancipator himself. He spoke of
America's failure to realize the vision Lincoln laid out in the Emancipation Proclamation. And he
said this:
"When the architects of our Republic wrote the magnificent words of the Constitution and
the Declaration of Independence, they were signing a promissory note to which every American
was to fall heir. This note was a promise that all men would be guaranteed the inalienable rights
of life, liberty, and the pursuit of happiness."
He went on:
"It is obvious today that America has defaulted on this promissory note insofar as her
citizens of color are concerned. Instead of honoring this sacred obligation, America has given the
Negro people a bad check which has come back marked 'insufficient funds.' But we refuse to
believe that the bank of justice is bankrupt. We refuse to believe that there are insufficient funds
in the great vault of opportunity of this nation. So we have come to cash this check--a check that
will give us upon demand the riches of freedom and the security of justice."
With those remarkable words, Dr. King proclaimed his faith in America, his abiding
belief that this nation and its institutions could be made to do what was right. To understand how
profound this profession of faith was, remember: in 1963, segregation was still the law in much
of the South. Civil rights legislation was bottled up in committee, and seemingly going nowhere.
Police dogs had attacked King's young protesters in Birmingham, and Dr. King himself had been
beaten and jailed. Large sections of the white establishment feared Dr. King and his campaign of
non-violent resistance, even as more-militant and impatient African-Americans were denouncing
Dr. King for being too soft. To believe that blacks would quickly gain their full civil rights
might have seemed at that moment naive, farfetched, unrealistic.
Yet Dr. King had that rare ability to see clearly, in the midst of uncertainty, that victory
was coming. And it is this rare ability that Dr. King shares with America's greatest leaders--the
ability to look past the moment of doubt and despair, to visualize a better future, to have faith in
the ability of America to make change, and thereby to change the world.
When Thomas Jefferson penned the Declaration of Independence, many thought its high-
minded concepts of individual liberty and government by consent and the pursuit of happiness,
were unrealistic; and yet that document has not only endured for over two centuries, it has
become, here at the close of the 20th century, the operating system of governance throughout
much of the globe.
When General George Washington stood in the snow at Valley Forge with his starving,
shivering troops and spoke reassuringly of victory, he was not indulging in bravado or feeding
false hopes. His rag-tag citizen-soldiers not only won the war, but inspired freedom-loving
people around the world to throw off the yoke of tyranny.
When President Abraham Lincoln, in the midst of bloody war of secession, talked about
national unity and healing and abolishing slavery, his words were not fanciful and unrealistic. In
the end, the union was preserved, the healing did eventually begin, and the institution of slavery
disappeared not just in America in all but the most remote corners of the globe.
When President Franklin Delano Roosevelt chatted at the firesides of a nation ill-fed, ill-
housed, and out of work, and said the only thing we have to fear is fear itself," he was not
uttering mere feel-good rhetoric. He was articulating a vision of a better and more prosperous
America that he knew would come to pass, and that did--not immediately, and not without a
bloody, costly fight against tyranny in Europe and the Pacific. But it came to pass.
When Dr. Martin Luther King, Jr. stood on the steps of the Lincoln Memorial, he said:
"I have a dream. It is a dream deeply rooted in the American dream. I have a dream that
one day this nation will rise up and live out the true meaning of its creed: that all men are
created equal."
Doctor King had a dream, not a fantasy. He has a vision, not an illusion. When he
demanded racial justice, he was not asking America for more than it could deliver, but for the
best that it could deliver. Equality of opportunity for blacks was a lot to ask for in 1963, but it
was not too much to ask for.
And while we still have a ways to go to achieve that dream, who can deny that much of
what Dr. King dreamed would come true, has come true? And who can deny that the power of
that dream has changed the world, and made America stronger in the world? Today, black and
white American GIs together patrol the streets of Bosnia, streets which only two years ago ran
with the blood of ethnic strife. Thanks to the cleansing powers of Martin Luther King and his
civil rights movement, America has made a strength of a diversity that is tearing other nations
apart.
Today, we have our own dreams. We dream that the America will remain strong in the
world. We dream that the nation can be kept safe from the world's rogue regimes, that with
diplomacy backed by military might, foreign tyrannies can turned into democracies. We dream
that our current economic prosperity will continue, and that it will increasingly be shared by the
least fortunate among us. We dream that we can make the average inner-city school as safe and
inviting and intellectually enriching as the average suburban school. We dream that we will
bequeath to our children and grandchildren not crushing debts but a solid fiscal base from which
they can build even greater prosperity. We dream that the we marshal the forces unleashed by
new technologies and the global economy in ways that will be far more to our benefit than to our
detriment.
These are dreams, not fantasies; visions, not illusions. If, like Washington, like Jefferson,
like Lincoln, like Roosevelt; if like Martin Luther King, we put our faith in America, and the
American people, we can make these dreams a reality.
Thank you, and God bless you. (Wild applause.)
END-
Withdrawal/Redaction Marker
Clinton Library
DOCUMENT NO.
SUBJECT/TITLE
DATE
RESTRICTION
AND TYPE
001. Speech
Videotaped 75th Birthday Greetings. (1 page)
04/13/1998
P6/b(6)
COLLECTION:
Clinton Presidential Records
Speechwriting
Jeff Shesol
OA/Box Number: 24501
FOLDER TITLE:
Videos - Music / Arts
2006-0467-F
vz244
RESTRICTION CODES
Presidential Records Act - [44 U.S.C. 2204(a)]
Freedom of Information Act - [5 U.S.C. 552(b)]
P1 National Security Classified Information [(a)(1) of the PRA]
b(1) National security classified information [(b)(1) of the FOIA]
P2 Relating to the appointment to Federal office [(a)(2) of the PRA]
b(2) Release would disclose internal personnel rules and practices of
P3 Release would violate a Federal statute [(a)(3) of the PRA]
an agency [(b)(2) of the FOIA]
P4 Release would disclose trade secrets or confidential commercial or
b(3) Release would violate a Federal statute [(b)(3) of the FOIA]
financial information [(a)(4) of the PRAJ
b(4) Release would disclose trade secrets or confidential or financial
P5 Release would disclose confidential advice between the President
information [(b)(4) of the FOIA]
and his advisors, or between such advisors [a)(5) of the PRA]
b(6) Release would constitute a clearly unwarranted invasion of
P6 Release would constitute a clearly unwarranted invasion of
personal privacy [(b)(6) of the FOIA]
personal privacy |(a)(6) of the PRA]
b(7) Release would disclose information compiled for law enforcement
purposes [(b)(7) of the FOIA]
C. Closed in accordance with restrictions contained in donor's deed
b(8) Release would disclose information concerning the regulation of
of gift.
financial institutions [(b)(8) of the FOIA]
PRM. Personal record misfile defined in accordance with 44 U.S.C.
b(9) Release would disclose geological or geophysical information
2201(3).
concerning wells [(b)(9) of the FOIA]
RR. Document will be reviewed upon request.
Draft 04/10/98 5:00pm
PRESIDENT WILLIAM J. CLINTON
VIDEOTAPED REMARKS TO VH1 "SAVE THE
MUSIC" EVENT
April 13, 1998
I want to thank Hillary and John Sykes for their
comments, and I want to tell you how pleased I am to help
launch VH1's national "Save the Music" program, which
is already improving the quality of music education across
our country. You know, music education is something
very dear to my heart. When I was in high school I had a
music teacher named Virgil Spurlin, and he taught me a
lot more than scales and keys and how to hold a steady
note on the saxopohone. Mr. Spurlin taught me about
patience and practice, and hard work and dedication.
The music I made on that first tenor saxophone of
mine wasn't always beautiful to the ear--my mother
would testify to that.
1
But as I learned and improved, I came to understand how
important a musical instrument can be as an outlet for
creativity, and for ideas and emotions that only music can
express. That's why the "Save the Music" program is so
important. One small investment of a donated musical
instrument can help a young artist fulfill his or her God-
given abilities. And I think that's a pretty good
investment.
In that spirit, I am so very pleased to present this
saxophone of mine to an accomplished young artist,
Gregory Thompson. Gregory's been playing the
saxophone since the fourth grade, and last year he won an
invitation to play in the Duke Ellington Youth Music
Festival--a high honor.
2
Gregory even plays the drums--which we learned when
his church ensemble played at a White House holiday
party last year. Gregory, I'm proud--and I know your
parents are proud--that you've developed your gift for
music. And with the help of "Save the Music," other
students will, too.
3
Withdrawal/Redaction Marker
Clinton Library
DOCUMENT NO.
SUBJECT/TITLE
DATE
RESTRICTION
AND TYPE
002. fax
From Podesta Associates. Subject: Happy Birthday Message. (2
04/08/1998
P6/b(6)
pages)
COLLECTION:
Clinton Presidential Records
Speechwriting
Jeff Shesol
OA/Box Number: 24501
FOLDER TITLE:
Videos - Music / Arts
2006-0467-F
vz244
RESTRICTION CODES
Presidential Records Act - [44 U.S.C. 2204(a)]
Freedom of Information Act - [5 U.S.C. 552(b)]
P1 National Security Classified Information [(a)(1) of the PRA]
b(1) National security classified information [(b)(1) of the FOIA]
P2 Relating to the appointment to Federal office [(a)(2) of the PRA]
b(2) Release would disclose internal personnel rules and practices of
P3 Release would violate a Federal statute [(a)(3) of the PRA]
an agency [(b)(2) of the FOIA]
P4 Release would disclose trade secrets or confidential commercial or
b(3) Release would violate a Federal statute [(b)(3) of the FOIA]
financial information [(a)(4) of the PRA]
b(4) Release would disclose trade secrets or confidential or financial
P5 Release would disclose confidential advice between the President
information [(b)(4) of the FOIA]
and his advisors, or between such advisors [a)(5) of the PRA]
b(6) Release would constitute a clearly unwarranted invasion of
P6 Release would constitute a clearly unwarranted invasion of
personal privacy [(b)(6) of the FOIA]
personal privacy [(a)(6) of the PRAJ
b(7) Release would disclose information compiled for law enforcement
purposes [(b)(7) of the FOIA]
C. Closed in accordance with restrictions contained in donor's deed
b(8) Release would disclose information concerning the regulation of
of gift.
financial institutions [(b)(8) of the FOIA]
PRM. Personal record misfile defined in accordance with 44 U.S.C.
b(9) Release would disclose geological or geophysical information
2201(3).
concerning wells [(b)(9) of the FOIA]
RR. Document will be reviewed upon request.
04/08/98 WED 11:52 FAX 202 395 7234
MILLENNIUM OFFICE
0
001
THE WHITE HOUSE
WASHINGTON
White House Millennium Council
Phone: (202) 395-7200
Fax: (202) 395-7234
To: Jeff Shesol
67796
Phone:
Fax:
63709
From:
Ellen McCulloch-Lovell,
Deputy Assistant to the President and
Advisor to the First Lady on the Millennium
Date:
Other 4/8 Mugin
Number of pages (including cover):
6
Message:
Thanks
THE WHITE HOUSE MILLENNIUM COUNCIL
708 Jackson Place
Washington, DC 20503
The information contained in this facsimile is CONFIDENTIAL and intended for the recipient
ONLY. Please call if there are any problems with this transmission.
04/08/98 WED 11:52 FAX 202 395 7234
MILLENNIUM OFFICE
1
002
FEB-24-98 16:21 FROM:PODESTA ASSOCIATES
D:2023930151
PAGE 2/2
Memorandum
DATE:
February 24, 1998
TO:
FROM:
Ellen McCulloch-Lovell
RE:
Event Proposal: Childhood Development and Arts and Music in the Schools
The President and the First Lady have already staked out very favorable territory for themselves
on the importance of early childhood development. This memo proposes an event that would
reinforce that theme as part of the White House Millennium Program.
Music and art stimulate children creatively, emotionally, and intellectually, beginning in their
early developmental years. As the First Lady put it last year at the White House Conference on
Early Childhood Development and Learning, "the song a father sings to his child in the morning,
or a story that a mother reads to her child before bed help lay the foundation for a child's life, and
in turn, for our nation's future."
Research shows that music education has a positive impact on academic performance, social
skills, and self-esteem, as well as how children relate to one another. Yet arts and music
education are chronically underfunded in the nation's public schools. In Boston's elementary
schools, for example, music teachers are responsible for an average of 800 students.
In announcing the White House Millennium Program, the President spoke of "making education
our children's first priority," and ensuring "that our unique and vibrant cultural life flourishes in
the new century and that our rich history is treasured and preserved." A Millennium Program
event promoting arts and music education in the schools would call attention once again to
the President and the First Lady's interest in early childhood development.
An appropriate goal for the Millennium Program would be to make arts and music education and
equipment available to all students who want them. An event with the NEA and the National
Arts Partnership would call attention to this goal, focusing specifically on a voluntary, private-
sector initiative launched by VHI ("Save the Music") to encourage the donation of musical
instruments to the nation's public schools. This effort, already successful in New York City,
combines themes of corporate responsibility and grass-roots community action.
Such an event would put the President and First Lady in a photogenic setting in which they
both excel- surrounded by students, musicians, and artists. Both Sting and Wynton Marsalis
have expressed interest in participating in an event like this. The highlight would be the
President donating a saxophone to the program - which he has already approved and which the
White House counsel's office has cleared. There are several options for venues:
The East Room, for a high-profile event featuring performances by both young musicians
who have received instruments through "Save the Music" in New York City and celebrity
musicians who support the program.
The Oval Office, for a smaller, but similar, event.
Washington's Duke Ellington School of the Arts.
04/08/98 WED 11:52 FAX 202 395 7234
MILLENNIUM OFFICE
003
SCHEDULING PROPOSAL
TODAY'S DATE 3/30/98
ACCEPT
REGRET
PENDING
TO:
Stephanie Streett
Assistant to the President and
Director of Presidential Scheduling
Diane Dewhurst
Interim First Lady's Scheduling Director
FROM:
Melanne Verveer
Assistant to the President and
Chief of Staff to the First Lady
Ann Lewis
Assistant to the President and
Director of White House Communications
Ellen McCulloch-Lovell
Deputy Assistant to the President and
Advisor to the First Lady on the Millennium
REQUEST:
Ten minute taping for VH-1 event
PURPOSE:
The President will donate a saxophone to the VH-1 cable
network's "Save the Music" program; the presentation will
be taped to be shown as a PSA on VH-1 and at the April
14th "Save the Music" Honors Ceremony in New York
The event will highlight the importance of arts and music
education in our nation's schools and demonstrate the
President and the First Lady's commitment to the arts,
education and early childhood development, as well as
help publicize the VH-1 millennium goal of reinstating
music education in our schools.
04/08/98 WED 11:53 FAX 202 395 7234
MILLENNIUM OFFICE
004
BACKGROUND:
VH-1 and Time Warner Cable joined forces in 1997 and
launched "Save the Music," a program designed to restore
and support music education in the New York City Public
School system. In its first year, "Save the Music" collected
more than $1 million worth of instruments in its effort to
reinvigorate music education in New York City. Given the
success, VH-1 President John Sykes decided to expand the
program into 50 communities by the year 2000. Mr Sykes,
who serves on the Leadership Task Force of the President's
Summit for America's Future, announced the expansion in
conjunction with the Summit in Philadelphia.
DATE AND TIME:
Anytime between April 3 April 13; 10 minutes
april 12 12:30
BRIEFING TIME:
None
DURATION:
10 minutes
LOCATION:
OEOB or Roosevelt Room
PARTICIPANTS:
The President
The First Lady
John Sykes, President of VH-1
Marcia Neel, Music Program Coordinator, VH-1
and
Angel Vazquez, 7th Grade Las Vegas Music Student,
teacher
representing the "Save the Music" program.
D.C. Music Class (optional)
OUTLINE OF EVENTS:
The First Lady makes brief remarks and introduces John
Sykes.
John Sykes delivers brief remarks and introduces Angel
Vazquez.
The President presents saxophone to the "Save the Music
Program," received by a student.
(Brief musical entertainment provided by D.C. music class
is optional.)
REMARKS REQUIRED:
Yes
MEDIA COVERAGE:
Closed Press; VH-1 camera crew
FIRST LADY'S ATTENDANCE: Yes
04/08/98 WED 11:53 FAX 202 395 7234
MILLENNIUM OFFICE
005
RECOMMENDED BY:
Ellen McCulloch-Lovell
Deputy Assistant to the President and
Advisor to the First Lady on the Millennium
Ann Lewis
Assistant to the President and
Director of White House Communications
Melanne Vervecr
Assistant to the President and
Chief of Staff to the First Lady
STAFF CONTACT:
Virginia Cearley, 395-7228
ORIGIN OF THE PROPOSAL:
VH-1 request
SOURCE OF PAYMENT:
Not applicable
04/08/98 WED 11:53 FAX 202 395 7234
MILLENNIUM OFFICE
4
006
MAR-25-98 15:32 FROM: PODESTA ASSOCIATES
ID:2023930151
PAGE
7/8
WAS
Education
11
1
/
Savethemusic
VH1 SAVE THE MUSIC
The VHT Save The Music Foundation is a non-profit organization dedicated to
improving the quality of education in America's public schools by restoring
and supporting music programs in cities across the country.
BENEFITS OF MUSIC EDUCATION
Scientific studies have proven that music education builds brain power in children by exhancing vital
intellectual skills. As a results music education increases a child's ability to learn basic math and
reading. Through the VHI Save The Music program. cable music channel VHI in partnership with its
affiliates. is working TO restore these courses to the curriculum of our nation's public schools by
providing them with musical instruments.
Music aducation improves:
Early cognitive development
Basic math and reading ability
Spatial reasoning skills
SAT scares
can
School attendance
Improver everything
Ability to work in teams
from their self- esteem to
Self-esteem
their SAT scores
Self-discipline
Creativity
Knowledge of other cultures and history
THE PROGRAM
The VH1 Save The Music program includes three cors elements: an awareness campaign, a musical
instrument drive and fundraising.
To raise public awareness about the benefits of music education. a national public service
campaign and related network programming air on YHI reaching 60 million cable homes.
Local awareness campaigns. fundraising and musical instrument drives. are conducted in
No
cities across the country in partnership with VHI'S cable affiliates. The public is called to
"clean out their closers" and donate their used instruments to be repaired and distributed 20
public schools.
Heis a like
VHI is aslung
pub to clean
1
1515 Brandway, New york, NY 10036-3797
04/08/98 WED 11:54 FAX 202 395 7234
MILLENNIUM OFFICE
007
MAR-25-98 15:33 FROM:PODESTA ASSOCIATES
ID:2023930151
PAGE
8/8
Corporate and private contributions to the VHI Save The Music Foundation are used to
purchase new musical instruments for public elementary schools. in participating cities. each
school district is inviced to apply for a program.
1998 LOCAL CAMPAIGN: PARTICIPATING CITIES New YORK DENVER, LOS ANGELES, BOSTON,
ATLANTA, SEATTLE, CHICAGO, NEW ORIZANS, LAS VECAS, SAN FRANCISCO, SAVANNAH, AUGUSTA,
DETECIT, BUTFALO, BINGHAMTON, OLYMPIA
RECENT ACCOMPLISTMENTS
In its first year. VHI Save The Music partnered with Time Warner Cable of New York City and
raised one million dollars worth of instruments for New York City's public schools. As a
result of the New York City pilot program and three tolorised VH1 Save the Music EVENTS. the
following programs. effecting 27,000 children have been oszablished:
In New York Crey
Eight new music programs in the Chancellor's District schools (feur concert bands and
four string orchestras).
Sixteen band and string programs were awarded to schools who met the application
criteria.
Fifty-seven gultar programs were established as a result of one musical instrument
manufacturer's donation.
A musical instrument bank with fifteen-hundred refurbished instruments has been created
and will support existing middle and high school music programs.
In California. Nerada and Colorado:
SEVER new band programs were delivered to the Los Angeles Unified School District
$50,000 worth of instruments in Nevada's Clark County School District.
$25,000 worth of instruments in Colorado's Roaring Fork School District
$25,000 worth of instruments in Colorado's Pickin County School District
For more information about VHI Save the Music, please call:
1-888-VH1-4-MUSIC
Draft 04/10/98
PRESIDENT WILLIAM J. CLINTON
VIDEOTAPED REMARKS TO VH1 "SAVE THE MUSIC" EVENT
April 13, 1998
I want to thank Hillary and John Sykes for their comments, and I want to tell you how
pleased I am to help launch VH1's national "Save the Music" program, which is already doing so
much to improve the quality of music education across our country. You know, music education
is something very dear to my heart. When I was in high school I had a music teacher named
Virgil Spurlin, and he taught me a lot more than scales and keys and how to hold a steady note
on the saxopohone. Mr. Spurlin taught me about patience and practice, and hard work and
dedication.
The music I made on that first tenor saxophone of mine wasn't always beautiful to the
ear--my mother would testify to that. But as I learned and improved, I came to understand how
important a musical instrument can be as an outlet for creativity, and for ideas and emotions that
only music can express. That's why the "Save the Music" program is so important. One small
investment of a donated musical instrument can help a young artist fulfill his or her God-given
abilities. And I think that's a pretty good investment.
In that spirit, I am so very pleased to present this saxophone of mine to an accomplished
young artist, Gregory Thompson. Gregory's been playing the saxophone since the fourth grade,
and last year he won an invitation to play in the Duke Ellington Youth Music Festival--a high
honor. Gregory even plays the drums--which we learned when his church ensemble played at a
White House holiday party last year. Gregory, I'm proud--and I know your parents are proud--
that you've developed your gift for music. And with the help of "Save the Music," other
students will, too.
Laura K. Capps
04/07/98 02:52:47 PM
Record Type:
Record
To:
Jeffrey A. Shesol/WHO/EOP
cc:
Subject: a little bit more on the VH1 video
POTUS remarks should be about 2 min. HRC will speak, then John Sykes (Pres. of VH1); then
POTUS presents a saxophone to the "Save the Music" program (possibly a little girl will be there.)
volunteer
Sykes serves on the Leadership Task Force of the President's Summit for America's Future, in
conjunction with the Summitt in Philidelphia. There should be at least one pander line to Sykes.
The Save the Music program collects money and instruments to reinvigorate music education
across the country.
pablic Schools?
I will coordinate with Mike O'Mary of the First Lady's office to figure out what she will say. I
imagine the President should talk about his experiences as a kid growing up with music in school.
I'm sure he's talked about this in interviews.
Ellen lovell -
Playing sax.
millennium project
lekis Nexis 1992
4 people ind. student - 5 mino overall
Ellen
STM: instruments donated to schools in need
of developing muoiced.
Lovell
50 comm. by 2000
music (HRC: arthingen.)
POTUS importance of and ed. more
quicess of STM - need more efforts
57228
personal donation of sax to kid
VH-1 Honors on 4/14
Ginger Cearley
(keerlen)
Withdrawal/Redaction Marker
Clinton Library
DOCUMENT NO.
SUBJECT/TITLE
DATE
RESTRICTION
AND TYPE
003. email
John Kelley to Laura Collins. Subject: Gregory Francis Thompson,
04/09/1998
P6/b(6)
Jr. - Bio. Personal. [partial] (1 page)
COLLECTION:
Clinton Presidential Records
Speechwriting
Jeff Shesol
OA/Box Number: 24501
FOLDER TITLE:
Videos - Music / Arts
2006-0467-F
vz244
RESTRICTION CODES
Presidential Records Act - [44 U.S.C. 2204(a)]
Freedom of Information Act - [5 U.S.C. 552(b)]
P1 National Security Classified Information [(a)(1) of the PRAJ
b(1) National security classified information [(b)(1) of the FOIA]
P2 Relating to the appointment to Federal office [(a)(2) of the PRA]
b(2) Release would disclose internal personnel rules and practices of
P3 Release would violate a Federal statute [(a)(3) of the PRAJ
an agency [(b)(2) of the FOIA]
P4 Release would disclose trade secrets or confidential commercial or
b(3) Release would violate a Federal statute [(b)(3) of the FOIA]
financial information [(a)(4) of the PRA]
b(4) Release would disclose trade secrets or confidential or financial
P5 Release would disclose confidential advice between the President
information [(b)(4) of the FOIA]
and his advisors, or between such advisors [a)(5) of the PRA]
b(6) Release would constitute a clearly unwarranted invasion of
P6 Release would constitute a clearly unwarranted invasion of
personal privacy [(b)(6) of the FOIA]
personal privacy [(a)(6) of the PRA]
b(7) Release would disclose information compiled for law enforcement
purposes [(b)(7) of the FOIA]
C. Closed in accordance with restrictions contained in donor's deed
b(8) Release would disclose information concerning the regulation of
of gift.
financial institutions [(b)(8) of the FOIA]
PRM. Personal record misfile defined in accordance with 44 U.S.C.
b(9) Release would disclose geological or geophysical information
2201(3).
concerning wells [(b)(9) of the FOIA]
RR. Document will be reviewed upon request.
04/09/98 THU 13:06 FAA 202 390 1234
MILLENNIUM OFFICE
WJOVE
APR-09-98 12:57 FROM:PODESTA ASSOCIATES
ID:2023935510
PAGE
2/2
Collins, Laure
From:
Kelley, John J. (VH1)
To:
Collins, Laura
Subject:
RW: Gregory Francis Thompson, Jr. - Bio
Date:
Thursday, April 09, 1998 11:07AM
Priority:
High
This is our saxophone player for the District Cablavision/VH1 Save The Music White House event.
Gregory Francis Thompson, Jr.
SSN:
DOB:
P6/(b)(6)
Father: Gregory Francis Thompson, Sr.
SSN:
DOB:
P6/(b)(6)
Mother: Paulette Valerie Thompson
[003]
SSN:
DOB:
P6/(b)(6)
Bio on Gregory Jr.
School:
Grade:
Height:
P6/(b)(6)
Weight:
Siblings:
Music Career: Started in the Recorder Club in the 3rd grade. Started playing saxophone in the 4th grade.
Gregory plays in the DC Youth Orchastra and by invite only, played in the Duke Ellington Youth Music
Festival last year. In addition to the saxophone, Gregory plays the drums in his church ensemble group.
The ensemble played at the White House National Office of Drug Centrol Policy holiday party this past year.
Gregory is on the Honor Roll, enjoys playing football and Basketball with his friends in his spare time. His
favorite football team is the Jacksonville Jaguars, his first cousin plays on the team.
Gregory and his family are very excited, so I hope this happens if nothing else, for them. They appear to
have a really great family, in fact 1 don't think we could have asked for any better. Should you need any
additional information on Gregory or his family please don't hesitate to call me x7994.
Thanks!
Page 1
01 7686 258 212
PRESS IHO RE 95:11 86,6 add
Clinton on saxophone:
"opportunity to create something
beautiful something that I cd
channel my feel securitivity,
my feelings iato."
Ann leors
Melan Verveer
Namey Haureile
THE WHITE HOUSE
Office of the Press Secretary
For Immediate Release
January 9, 1997
REMARKS BY THE PRESIDENT
AT PRESENTATION OF THE NATIONAL MEDAL OF ARTS
AND THE CHARLES FRANKEL
PRIZE
The Mellon Auditorium
Department of Commerce
Washington, D.C.
1:00 P.M. EST
THE PRESIDENT: Thank you very much. When Hillary said that, I was so hoping that
there wouldn't be even one loud stage whisper saying, I wish he had made that choice.
(Laughter.)
I am so delighted to be here to honor the 1996 recipients of the National Medal of the
Arts and the Charles Frankel Prize. They are men and women who's accomplishments speak to
the breadth and depth of our creative and intellectual genius.
I want to begin by thanking Jane Alexander, Sheldon Hackney, Diane Frankel and John
Brademas for their energetic and wise leadership in promoting the arts and humanities across our
country. I thank them for what they have done. (Applause.) This cold day is
a rather apt metaphor for a lot of what they have labored through the last couple of years, and we
are all in their debt for standing firm.
I thank the United States Marine Band for being here. I'm always so proud of them and
the work they do for our country. (Applause.) I thank the magnificent Harlem Boys Choir for
their wonderful music and for being here. (Applause.) All of you who are supporters of the arts
who are here, I thank you for being here, supporters of the humanities. I see Secretary and Mrs.
Riley and Congressman Dicks and Congressman Rangel. There may be other members here; I
apologize for not introducing you, but for those of you in other positions of public
responsibility, in particular, I thank you for standing up for the arts and humanities.
Each year this ceremony ves us an, opportuni lebrate the ex traordinary
contributions of individual American artists, writers.and-thinkers;-to-reflect-on the role of the arts
Importance
andhumanities in our own.lives and Bour-great-democracy We are a nation whose
to nation
strength and greatness.are derived.fr theri heritage and diversity of our people, from the
richness of our artistic and/intellectual. traditions.
(as well as
kids)
For more than 200 years our freedom has depended not only upon our system of
government and the resolve of our people, but upon the ferment of ideas that shape our public
discourse and on the flow of creative expression that unites us as a people.
Today we-are on the eve of new century. The arts and humani are more essential
-than ever to the endurance of our democratic values of tolerance spluralism, and eedom, and to
our understanding of f.where we are and where we need to go. Attamomentous time in our
history like-this when somuchis happening-to-changeathe.way we work and live, the way we
relate to one another and the way we relate the rest the world. we cannot full
understand the . nor envision the future we need to pursue without the artsand humanities
It is; after all, through the arts and humanities that we unleash our individual and
collective imaginations, and imagination is, in the end, the animating force of a democracy
committed to constant renewal; the force that allows us to conceive of a brighter future and a
better world; that allows us to overcome new challenges and grave difficulties. By imagining a
better America and acting to achieve it we make our greatest progress.
That is why we must sustain our nation's commitment for the arts and humanities to
build that bridge to the 21st century I am SO committed to. We must have our theaters, our
orchestras, our dance troupes, our exhibits, our lectures, our scholarship. We must
have them all to strengthen and preserve our cul ture and instill in our children the democratic
videals we claim to cherish. And we must have them so tha ourly canamagine what
their lives might be like if they were better. For all the speeches Imight give, the
children struggling.to overcome difficul umstances. simply seeing the powerful example of
the Harlem-Boys Choir is probably-more-persuasive.than any words could ever-utter.
(Applause.)
Today, the average American spends about 80 cents to support federal funding of the arts
and humanities -- about as much as it costs to buy a can of soda pop in a vending machine. In
some places it costs more than that. (Laughter.) This tiny investment means that from
Providence to Portland, from Minneapolis to Miami, from Dallas to Des Moines, Americans of
all walks of life can share in the great artistic and intellectual life of our nation.
In America, we should all be able to enjoy art, ideas and culture, no matter what our
station in life. And our children should be able to exposed to them, no matter what their station
in life. For children, federal support of the arts and humanities is particularly critical. Think of
how often we hear stories about children who, unable to find safe outlets for their ideas, their
emotions, their enormous physical energy, travel instead down the wrong road to destruction, and
despair. But across our nation, federal-support to the arts and humanities has enabled tens of
2
thousands of those children, to see their first play, their first ballet, their first Monet What an
transforming experience it can be when a young person- discovers his or her own gifts for music.
for dance,for painting, for drama, for poetry, photography or writing
One man who knows firsthand about the power of art to change young people's lives is
the artist who designed the medal that some of our honorees will receive today. Bob Graham is
one of our nation's finest sculptors. After the Los Angeles riots, he decided to hire inner-city
gang members as assistants and apprentices in his studio in Southern California. These young
men have recharted their futures and found that instead of feeling alienated by society, they
are now valued for the contributions they are making to society.
The earlier we start developing these creative impulses for artistic and intellectual
potential, the better off our children and we will be As Hillary wrote in her book, we know at
great deal more today about the importance of providing such stimulation for children in the very
first years of life. We know how important it is for children to hear words, listen to stories,
develop their imaginations. That's one reason I'm challenging all of our people to work with us
toward a goal of making sure every boy and girl in our country can read a book independently by
the third grade.
Perhaps no one has done as much to show the power of the written word on children, not
to mention on their parents, as Maurice Sendak, one of our honorees today. I'm delighted that he
will join Hillary tomorrow at the Georgetown University Medical Center to read
to children who are getting their checkups there. And I thank them both for help to kick off a
national effort to educate Americans about reading even to our very youngest children.
For the better part of this century the world has looked to the United States not simply
for military and economic and political leadership, but for cultural leadership as well. So as we
embark upon this new century, let us make sure that our nation remains the cultural oasis it is
today. I am optimistic about our prospects because of the commitment and the dedication of
those of you who are gathered here, and because out nation is honored and blessed by the artists
and thinkers we recognize today.
In an age when words and images and ideas are too often diluted, devalued, and
distorted, when what we see and hear is routinely reduced to catch phrases and instant images,
the men and women on this stage represent instead the profound, lasting and
transcendent qualities of American cultural life.
Now it gives me great pleasure to present the 1996 National Medal of Arts Awards and
the Charles Frankel Prize. First, the men and women being awarded the National Medal of Arts.
Last month we paid tribute to our first honoree at the Kennedy Center, and I'm proud to
honor him again. For some 40 years, playwright Edward Albee has been a dominate and
inspirational figure in American theatre. His plays offer raw and provocative portrayals
3
of the human experience. He has challenged actors, audiences, and fellow writers to explore the
complexities of our emotions, attitudes, and relationships.
A native of Washington, D.C., he won the Pulitzer Prize three times, for "A Delicate
Balance," "Seascape," and most recently for "Three Tall Women." I ask you to join me in
congratulating Edward Albee. (Applause.)
Audiences from Russia to the Philippines to our own shores have experienced firsthand
conductor Sarah Caldwell's passion for music and her commitment to bring some of our world's
most difficult, yet beautiful, operas to the stage.
Sarah Caldwell has dedicated her life to promoting and introducing opera to new
audiences here and around the world. She conducted her first opera at Tanglewood in 1947;
founded the Boston Opera 10 years later, and went on to become the first woman ever to
conduct the New York Metropolitan Opera. She is truly opera's First Lady. And if you will
forgive me a small amount of parochialism, she has come a long way from our native state of
Arkansas -- (laughter) -- and I am very proud of her. (Applause.)
A photographer whose work has inspired both peers and casual viewers, and a teacher
whose ideas and methods have influenced university curricula, Harry Callahan is a national
treasure. More than 50 years ago he discovered the camera's power to capture the
sublime and seemingly everyday subjects -- nature, the city and people. His subtle,
contemplative pictures convey an intensely personal vision of the world. They have graced
photography exhibitions in some of the finest museums around the world. A native
of Detroit, his work reminds us that there is always much more than meets the eye. (Applause.)
I'm delighted to honor a woman who has spent some four decades creating and nurturing
one of the leading artistic institutions in our Nation's Capital. The Arena Stage is a living
legacy of the vision, the talent and the creative energies of Zelda Fichandler. The Arena is one of
our country's leading regional theaters, and under her leadership has brought plays such as
"Inherit the Wind," "After the Fall," and "The Crucible" to audiences in Russia, Hong Kong and
Israel. In 1976, she and the Arena became the first company based outside New York to win a
Tony.
Thank you very much for all you have done. (Applause.)
Musician, composer and bandleader, Eduardo "Lalo" Guerrero has spent a creative life
celebrating and exploring his Mexican American heritage in music from mariachis to orchestra
pieces. An Arizona native, he began his career while still in his teens, composing what later
became the unofficial anthem of Mexico. In the 60 years since, he has been prolific and inspired,
composing songs that have topped the charts on both sides of the border. In
1980, the Smithsonian Institution named him "a national folk treasure." And we are honored to
honor him today. (Applause.) He still has his salsa, you see. (Laughter.)
4
First, let me-say-that-we are glad to see Lionel Hampton here safe and sound.)
(Applause.) Alegendary bandleader, singer and the first musicianto make vibraphone sing and
swing, been delighting jazz audiences for over half a century Anyone who has ever heard
his music knows that he is much more than a performer, he is a pioneer.
When Louis Armstrong invited him to play the vibraphones at a recording session in
1936, he realized he had found his calling. He mastered the vibes quickly and performed the first
jazz vibraphone solo ever recorded. In 1936 he joined the Benny Goodman Trio, but
soon he formed his own band and over the years has nurtured the talents of many jazz leaders,
including Quincy Jones and Dinah Washington. He is a lion of American music and he still
makes the vibraphone sing. (Applause.)
Dancer, choreographer and teacher Bella Lewitzky first began creating dances in her
hometown of Redlands, California, when she was just seven years old. With Lester Horton, she
founded the Dance Theater of Los Angeles in 1946. Twenty years later she formed the Lewitzky
Dance Company, a troupe that has performed to critical acclaim around the world. Now in her
80th year, when it would be just as easy to rest upon her well-deserved laurels, she is eagerly
looking to start new projects, and I hope all of you have inspired her here today. (Applause.)
Vera List has touched generations of students, teachers, artists, performers, audiences
and artistic institutions across America. For more than half a century, she has lent her vision,
energy and resources to philanthropic efforts to promote the arts at universities, museums and
through artistic endowments. The charitable foundation that she and her husband Albert created
in 1945 helped to underwrite the construction of the Metropolitan Opera House at Lincoln Center
more than three decades ago. She has sponsored an opera performance for under-privileged
children, PBS broadcasts highlighting the American artists, and many other varied and worthy
arts projects. She has done what private citizens must do if we are going to bring the arts to all
the American people. And we thank her for it. (Applause.)
We would be hard-pressed to find any American who doesn't recognize Robert Redford
as one of our nation's most acclaimed actors, directors and producers. He won an Academy
Award for Best Director for "Ordinary People." He's won numerous other awards and made
wonderful movies.
The most important thing to me about Robert Redford is that he could have been well
satisfied to be a movie superstar, but instead, chose an entirely different life, because, for years
and years and years, he has supported and encouraged many young and emerging screenwriters
and directors to the Sundance Institute in Utah. He's helped to promote nontraditional cinema.
He's opened the doors for many new artists and their films.
I can say also, in an area not covered by today's awards, he has been a passionate
advocate of preserving our natural heritage and protecting our environment. And the Vice
President and I were honored to have him with us at the Grand Canyon a few months
5
ago when we set aside 1.7 million acres to Grand Staircase-Escalante National Monument in
Southern Utah, a cause that he pressed for for years and years and years.
It is very important when a person with immense talent, resources and fame tries to give
the gift of creativity back to people who would otherwise never have a chance to fulfill their own
God-given abilities. We honor him for that today and thank him. (Applause.)
Throughout a lifetime as an author and illustrator, Maurice Sendak has singlehandedly
revolutionized children's literature. In works such as "Where The Wild Things Are," he has
created heroes and adventures that have captured the imagination of generations of young
readers. His books have helped children to explore and resolve their feelings of anger, boredom,
fear, frustration and jealousy.
Hillary and I read, "Where The Wild Things Are" alone to our daughter scores and
scores of time. And I can tell you, he helped me to explore my feelings of anger, boredom, fear,
frustration and jealousy. (Laughter.) His books have become staples of children's libraries and
family bookshelves. They will always be a beloved part of our national culture, and they have
done a great deal to help our children find their own imaginations. (Applause.)
We were having a picture -- Mr. Sendak said that, this is my first grown-up award.
(Laughter and applause.)
I feel that I should sing about our next honoree -- but I won't, relax. (Laughter.) Stephen
Sondheim is one of our nation's finest composers and lyricists. Not only are his words and
melodies timeless, appealing to all generations, they mirror the history and experiences we share
as Americans. His work is indelibly etched on our national cultural landscape. Who among us
can't rattle off some words from "West Side Story," "A Funny Thing Happened On The Way To
The Forum," "Gypsy," "A Little Night Music" or "Sweeney Todd"?
Decade after decade, Steven Sondheim continues to delight audiences here and around
the world with his treasured lyrics. He has won five Tony Awards, was awarded the Pulitzer
Prize in 1993, received the Kennedy Center Honor for Lifetime Achievement in 1993. But he
has given us more than we could ever give to him. Steven Sondheim. (Applause.)
In less than 30 years, the Boys Choir of Harlem has become-one-of the world's inest
singing ensembles. The Choir gives 100 concerts every year and has performed-at-the White
House, the United Nations and, around the world. These accomplishments would
be enough to merit a medal, but-the Boys Choir of Harlem has also changed.and saved lives
Over the years has recognized and nurtured the God-given potential-of-thousands of
young people whose talents might otherwise have gone unnoticed The 50 boys and girls-who
attend the Choir Academy f Harlem learn much more than how to sing on key and
in harmony: They learn that-through discipline chard work and cooperation, anything is possible
talues
6
and-dreams-do-come true.
I again say they are a powerful, shining symbol to all the young people of this country
about what they can become if the rest of us will just do our part to give them the chance.
(Applause.)
I now have the honor of introducing the recipients of the Charles Frankel Prize.
Poet, professor of poems, and activist for poetry, Rita Dove helps us to find the
extraordinary in the ordinary moments of our lives. She has used her gift for language, her
penetrating insight and her sensitivity to the world around her to mind the richness of the African
American experience, as well as the experience of everyday living. Winner of the Pulitzer Prize
in 1987 and recently Poet Laureate of the United States, she is considered one of her finest poets,
and she truly is a life force of poetry. (Applause.)
Best-selling author, historian and political commentator, Doris Kearns Goodwin has
enriched our understanding and appreciation of the people and institutions that have shaped
American government, American history and American politics. Her great gift
is to tell the story of America through rigorous scholarship, engaging prose and anecdotes and
details that bring alive major events and political figures. She has worked in the White House,
taught at Harvard, written books about President Johnson, the Kennedys and the Roosevelts.
Her latest work, "No Ordinary Time," won the Pulitzer Prize in 1994. And I can tell you
it made the details of the White House come alive. I actually had the book, walking from room
to room, imagining what it all looked like all those long years ago. In that book alone, she did a
great service to the United States in helping us to understand our history, our leaders and what
this country is really all about. (Applause.)
Political philosopher, public servant, builder of civil society, Daniel Kemmis has
dedicated his life to reawakening America's sense of community, of citizenship, of working
together for the common good. In his books and lecture and during his tenure in politics, he has
spread the gospel of community involvement and explored the roots and true meaning of our
democracy. He is a welcome and convincing voice against cynicism, and social divisiveness.
As we look to the next century, with ours the strongest, most vibrant democracy in the
world, but increasingly more diverse, the question of whether we will learn to identify ourself in
terms of our obligations and our opportunities in the larger community, to learn to work together
across the lines that divide us with mutual respect for the common good is perhaps the greatest
"question facing the American people. Daniel Kemmis has helped to make sure we give the right
answer. (Applause.)
Arturo Madrid is pioneering the field of Latino studies in the United States. He's been an
advocate for expanding educational opportunities for Hispanic students all across America. As
7
professor of modern Spanish and Latin America literature, and founder of the Tomas Rivera
Center, the nation's leading think-tank on Latino issues, he has helped Americans discern and
appreciate the impact of Hispanic life on American culture and literature.
An entire generation of Latino academics at the nation's top universities owe some part
of their success to Arturo Madrid's work. And now as we see Americans of Hispanic heritage,
the fastest-growing group of our fellow citizens, the full impact of his work is bound to be felt in
the future. So we thank him for what he has done and for what he has done that will be felt in
generations yet to come. (Applause.)
Bill Moyers has received about every award there is in his field, quite simply because he
has proved himself a giant in broadcast journalism. For more than 25 years he has used the
power of television to tackle some of the most difficult and complex issues facing our nation, to
explore the world of ideas and to help millions of viewers better understand each other and the
society in which we live.
At a time in which the media often is used to truncate, oversimplify and distort ideas in a
way that divide rather than enlighten, the work of Bill Moyers' life is truly and profoundly
important and encouraging.
Though he has known to most Americans now as a broadcaster, his career has been as
wide-ranging as his documentaries. He has been a newspaper reporter and a publisher, a
campaign aide, a deputy director for the Peace Corps, and when he was still just a child,
presidential press secretary to President Johnson. Most important to me, he is a living rebuke to
everybody's preconceptions about Baptist preachers. (Laughter.) He is truly a 20th century
renaissance man. (Applause.)
When I gave him the award, he said, now they'll make us pay for that one. (Laughter.)
Ladies and gentlemen, I ask you to join me in giving one more hand to every one of
these outstanding Americans. They are terrific. (Applause. And now appropriately. our
program will-close with The Boys Choir of Harlem's rendition of Amazing Grace:
END
1:34 P.M. EST
8
THE WHITE HOUSE
Office of the Press Secretary
For Immediate Release
June 23, 1997
REMARKS BY THE PRESIDENT
AT SAXOPHONE CLUB RECEPTION
Billboard Live
Los Angeles, California
10:18 P.M. PDT
THE PRESIDENT: I thought he was going to say, when the son of a migrant farm
worker can introduce the redneck grandson of poor dirt farmers. (Laughter.) That's what I
thought he was going to say.
MR. RODRIGUEZ: The Secret Service cut that joke out. (Laughter.)
THE PRESIDENT: They take all our fun away.
Thank you, Kevin. Thank you, Paul. Thank you, Campbell Brothers. Thank you,
Bennett Kelly, for all your work, on the Saxophone Club. (Applause.) I thank Lieutenant
Governor Gray Davis and Congressman Brad Sherman, who were here earlier. And I thank all
of you for being here.
I just -- I love the Saxophone Club. I love it. I love the idea that we've given so many
people who never were in the political process before a chance to be a part of it and to help to
forge your own future. I like the fact that most of the people who are in the Saxophone Club are
a lot younger than I am. (Laughter.) That's not true I don't like that. (Laughter.) But I do like
the fact that people who have most of their days in front of them and who have a great stake in
what we're doing believe enough in this to be a part of this.
You know, I was just thinking today coming out here to California how wildly different
things are here than they were just five years ago. (Applause.) And I was thinking how
profoundly grateful I feel to all of you for the fact that California voted for me twice -- (applause)
-- to all of you for the support you've given the policies that we have enacted; to all of you for
helping to make it possible for Al Gore and Hillary and me and all of us in our administration to
do things that have helped to get the unemployment rate below 5 percent for the first time in 24
years, to get the inflation rate to its lowest point in 30 years, to make America the number one
exporter in the world again -- and for a Democrat something that's very important -- have the
biggest decline in inequality among working people in over 30 years. I'm proud of that. And
thank you for that. (Applause.)
I'm proud of the fact that we had the biggest drop in crime in 36 years, the biggest drop
in the welfare rolls in history. I'm proud of the fact that we've cleaned up more toxic waste
dumps in four years than they did in the previous 12, and we're going to clean up 500 more next
time. (Applause.) I'm proud of that.
I'm proud of the fact that I was able, thanks to you, to get a balanced budget agreement
which will have the biggest increase in health care coverage for America's children since
Medicaid was enacted in 1965 -- (applause) -- and the biggest increase in investment for
excellence in education in 35 years. (Applause.) And for the first time, if we pass this budget
consistent with the agreement, we'll be able to say to every child in this country --
AUDIENCE MEMBER: what about the NEA?
THE PRESIDENT: I'll get to that. (Laughter.) We'll be able to say to every child in this
country, when they're 10 years old, you will be able to go to college. You will be able to go to
college. (Applause.) That's a big deal.
I'm-proud o fthe fact that you've made it possible for us to pursue a policy that says that
we can grow the economy and preserve the environment that can forward together that
we don' thave to do-things like target the NEA or the National Endowment for the Humanities. I
never:could.figure out why we'd want-to-get-rid of sending $150 million a year, which is a small
amountiofa, 5 trillion budget, to bring the arts and the humanities to people all-across the
country inslittle by-roads who wouldn't have it otherwise, or to give young artists the chance to
God-given-abilities-I-thinkit's a pretty-good investment. (Applause.)
one
this
investment
But more than anything else, I'm proud of you. Just look around this crowd tonight.
can give
Nine days ago I had the opportunity to come to the University of California at San Diego and
a child
give a speech that was very important to me. I had been wanting to talk about it for a long time,
the chance
asking the American people to join me in a national honest conversation about race; to have in
to develop
her God-
every community and every neighborhood, on every block, an honest conversation about what it
given
is that still divides us and what unites us that's more important; to identify those laws that we
absitities
ought to be enforcing that we're not, whatever changes we need to make, what new policies we
And l
think
need, but most important, what attitudes we have to have.
That's a
Dreft
I am convinced that even more than the continuing examples of illegal discrimination,
good
this country is being held back by things that aren't illegal, but are equally damaging that relate
invest..
to stereotyping one another by race or other category. I am really concerned about it. And in
California, you have both the opportunity and the obligation to lead the way in this, which is why
I went to San Diego to give this speech. I mean, just look around the crowd tonight.
2
Today America has one state, Hawaii, which has no majority race. In three to five years,
California will join Hawaii. In 30 to 40 years, America will join Hawaii and California. And for
the first time ever, we will have a chance to see whether all these things we've been saying about
America for a hundred years are true, that this is not about -- this country is not about one race,
it's not about one place, it's about a set of ideas and a set of ideals that anybody can share and be
a part of and make a future on.
Well, we're about to find out. And it's high time we started thinking about it. What is
the unfinished business between black Americans and white Americans? What is the unfinished
business that Hispanic Americans have growing out of their unique heritage -- and they will soon
be the second largest minority group when we're all minority groups in America -- what about
that? What does it mean to have Los Angeles County with over 150 different racial and ethnic
groups? What does it mean not to be the providence of the coast anymore -- Wayne County,
Detroit, Michigan, has more than 140 different racial and ethnic groups in it. What does all this
mean for us?
Can we become the first truly multiracial, great democracy in human history? Can we
shed all the historic baggage that's been with us ever since pre-history when our ancient, ancient,
ancient ancestors gathered together in bands and traveled across the Earth as hunters and
gatherers, and learned to distrust people who looked different from them because they really had
reason to be afraid of them? Why are we still living like that?
Can we get rid of those deep sort of psychological impulses that are inside? How many
times did you ever have a day where you couldn't have gotten through the day if you didn't really
dislike somebody? (Laughter.) You say, no matter how bad it is, at least I'm not as bad as that
sucker. (Laughter.) Right? How many days have you -- everybody here has had a day like that,
right? Everybody here has had a day like that. I don't think much of myself today, but I sure am
better than so and so. (Laughter.) It's almost like we need this sort of thing.
And we're laughing about it. But we have been given a great gift -- and those of you --
particularly those of you who are younger have been given a great gift. You're going to grow up
and live and raise your children and see your grandchildren grow up in an America where people
have more chances to live out their dreams than ever before -- if we can prove that we really can
live together as one America, where we not only accept, we actually celebrate what's different
about us and we're secure in celebrating it because we know that what we share in common is
even more important.
Now, that's really what this is all about. When we started the Saxophone Club in 1992, I
had a set of simple little ideas that I wanted to bring to America. I said to myself, what do I
want this country to be like when my daughter is my age in the 21st century? I want everybody
to have an opportunity who is responsible enough to work for it. I want my country to be the
world's strongest force for peace and freedom. And I want this country to be coming together
3
instead of being driven apart. I am sick and tired of short-term, destructive, negative political
strategies that divide people when we need to be united. That's what I wanted then, and that's
what I want now. (Applause.)
Now, so, I say to you, I thank you for being here tonight. I want you to stay active in
public affairs. I want you to, every time you hear somebody who is cynical and say it doesn't
matter, say, compare how we are today with how we were then. This is what I supported; it was
right; it made a difference; people's lives have changed. And then say, but there's a lot more to
do and that's why I'm in it for the long haul.
Thank you, and God bless you. (Applause.)
END
10:32 P.M. PDT
4
SUNTUM M @ A1
06/18/97 09:42:00 AM
Record Type: Record
To:
See the distribution list at the bottom of this message
cc:
Subject:
1997-06-17 President's Remarks at WETA "In Performance"
THE WHITE HOUSE
Office of the Press Secretary
For Immediate Release
June 17, 1997
REMARKS BY THE PRESIDENT
DURING WETA "IN PERFORMANCE'
The South Lawn
7:57 P.M. EDT
THE PRESIDENT: Tonight, we're going to have a
celebration of one of the most gifted singers and performers of the
last four decades, Gladys Knight. (Applause.)
It's a special honor to have her perform here at the
White House because her music and her artistry are uniquely American.
Some call it Soul, some call it Rhythm and Blues, some may even call
it Rock and Roll. But the music Gladys helped to popularize really
has much deeper and more spiritual roots in the rich gospel and
soaring harmonies of the African-American church.
Today's popular music has-many different points of
origin from the dark and cynical swagger of the blues, to the lilt
of country music, to the stark,simplicity of our of folk music: As all
you know Tove them all. But the gospel-strain gives the best
American music.its transcendentiquality. That's where the soul comes
from And that's where Gladys Knight's true gift resides. That is
the spark she brings to all her diverse repertoire of songs.
She had her first public performance in the church as a
member of the Mount Mariah Baptist Church Choir when she was all of
four years old. She won Ted Mack's (phonetic) famous Amateur Hour --
I'm old enough to remember that -- (laughter) -- at the age of seven.
She continued to sing gospel, and she even performed with the
legendary Gladys Knight and the Pips with her brothers and cousins,
and still continued to sing gospel on the side.
It was the fusion of pop and gospel styles that made
Gladys Knight and the Pips so special -- that and her stunning voice.
As far as I'm concerned, she could still sing the phone book and I
would like it. (Laughter.)
As one of the earliest Motown successes, Gladys Knight
and the Pips helped to lay the foundation for the close harmony
groups that dominated the airways in my youth, and I'm glad to say,
are topping the charts again today. She deserves a lot of the credit
for bringing those sounds to a much wider audience through a long
string of hit records. And she's gotten a fair amount of that credit
from gold and platinum records, to Grammy Awards, to her induction
last year along with the Pips into the Rock and Roll Hall of Fame.
We're delighted to have Gladys back at the White House.
She's a true American original. And I'm pleased to be able to share
her wonderful talent with you tonight.
Ladies and gentlemen, please welcome Gladys Knight.
(Applause.)
(Gladys Knight performs.)
THE PRESIDENT: Now, wait a minute here, this is not on
the script. First, I think Bubba should run for office. (Applause.)
You know, the shy, retiring type gets a lot of votes these days.
(Laughter.)
I want to tell you something, Gladys, when you sang that
last round of Georgia songs, some of us knew the answers were Vicki
Lawrence, Brook Benton, Ray Charles and Gladys Knight. And when you
started singing "Georgia on My Mind" and then you went into "Midnight
Train," I leaned over and asked Hillary exactly what today was -- the
17th. And I'll tell you a story -- exactly one week and 30 years
ago, across the street over there at Constitution Hall, I went to
hear Ray Charles sing. And you could see it made a fairly deep
impression on me. (Laughter.) I carried the ticket stub for 25
years. And I will carry the memory of this for the rest of my life.
You were wonderful tonight. (Applause.)
MS. KNIGHT: Thank you so much.
THE PRESIDENT: Ladies and gentlemen, Billboard Magazine
once said it is unlikely that Gladys Knight could make a bad record.
And tonight, she has shown us how right Billboard was. (Applause.)
So, thank you, Gladys. Thank you, Bubba. Thank you, musicians. And
thank you. We're going to be cheering for you for a long, long, long
time. (Applause.)
Thank you for joining us, and good night. God bless you
all. (Applause.)
END
9:18 P.M. EDT
Message Sent
To:
Julie E. Mason
April Mellody
Darby E. Stott
Julia R. Green
Lorraine L. Wytkind
Laura D. Schwartz
Lori E. Abrams
PAGE
7
40TH STORY of Level 2 printed in FULL format.
Copyright 1992 The Time Inc. Magazine Company
Time
June 15, 1992, U.S. Edition
SECTION: U.S. POLITICS; Pg. 33
LENGTH: 832 words
HEADLINE: Clinton Plays It Cool;
The Democratic nominee will need more than a sax and shades, however, to stay
relevant in a three-man race
BYLINE: By WALTER SHAPIRO
BODY:
By appearing on The Arsenio Hall Show last week, Bill Clinton may have
discovered the formula to revive his stalled campaign: exploit his sax appeal.
During the brief rehearsal for the talk show, the visiting saxophone player
joked nervously with the band, "If I screw up, play louder.' Clinton need not
have worried. So what if his wraparound shades were borrowed from an aide, the
phosphorescent blue-and-yellow tie came from the show's wardrobe department, and
some of the cool was donated by the adoring host? The image that came across on
TV was that of a relaxed, self-deprecating candidate ("That's how I learned to
inhale -- playing my saxophone") far different from the too-eager-to-please
Slick Willie persona of the early primaries.
The challenge facing Clinton is both simple and serious: How does he
reintroduce himself to voters enraptured with the mystique of Ross Perot? For
years, Clinton had been carefully prepping for a race where he would be the
agent of change, the only alternative to the do-nothing status quo of George
Bush: Now it is Perot who embodies this anti-Establishment anger, while the
Democratic challenger is suddenly relegated to an uncomfortable me-too role as
the candidate offering change for the timid voters still loyal to the
orthodoxies of two-party politics. As a longtime friend of Clinton puts it,
"Bill has to rethink this race because Perot has taken some of the ground that
he intended to occupy. But until now Bill has been too tired, and too occupied
with the primaries, to rethink anything."
The candidate's physical and mental fatigue is understandable. Last Monday --
the day before Clinton swept California and five other primaries to put him over
the top in delegates -- he embarked on a grueling tour of California's media
markets. It was the kind of old-fashioned campaign day that probably should be
preserved in amber and sent to the Smithsonian because, as Perot has
demonstrated, presidential candidates no longer have to put their bodies on the
line like this to get TV attention. First stop was the tiny San Joaquin Valley
farm town of Kerman, a 40-minute motorcade ride from the Fresno airport. At a
lunchtime rally in Oakland, Clinton lapsed into an inadvertent parody of his
all-things-to-all-voters style when he declared, "I' want you to know that I am a
pro-growth, pro-business and pro-labor, pro-education, pro-health care,
pro-environment, pro-family, pro-choice Democrat." Finally, the Arkansas
Governor ended up back in Los Angeles for a rally at the UCLA campus. Small
wonder, after this kind of forced-march campaigning, that a top Clinton aide
said, "We've just got to get rid of these three-event, three-airport days."
PAGE
8
Time, June 15, 1992
What accentuates the toll on Clinton is that he is not only the candidate but
also the top strategist. So far, the Clinton camp has been remarkably free of
the public backbiting that afflicts most campaigns, though there are internal
turf battles between longtime loyalists and the Democratic hired guns recruited
for the race. But, more important, there is scant evidence that the Clinton
campaign has developed a game plan bold enough to regain momentum in the most
volatile and unorthodox presidential race in recent U.S. history.
It is fine for senior strategist James Carville to say, "We have to keep on
doing what we've been doing. We've just got to do it better. We've let everyone
but ourselves define us." It is fine for the campaign to buy network time this
month to display Clinton in two or three half-hour town meetings, beginning as
early as this week. But is this enough?
Epic change is in the air: Perot could transform the two-party system in as
dramatic a fashion as the fall of communism altered geopolitics. All too often,
however, Clinton still acts like an old-line Democratic candidate, flying off to
a Texas party dinner; courting constituency groups like the American Association
of Retired Persons, and even scheduling a trip to Las Vegas next week to address
an annual convention of AFSCME, the public employees union. Meanwhile, the
selection of a vice-presidential candidate is probably a month away. The
Arkansas Governor remains coy on the subject beyond admitting the obvious: "I
have quite a long list -- and it's not as long as it once was." (One name
crossed out is that of New Jersey Senator Bill Bradley, who has convinced
Clinton that he genuinely does not want the job.)
In New Hampshire last February, when the airwaves were filled with talk of
Gennifer Flowers and draft records, Clinton proved that he was that rare
Timex-watch candidate, who could "take a licking but keep on ticking. Now he
has sailed through the primaries, averted new scandals and stands on the cusp of
the Democratic nomination. Rather than savoring that triumph, Clinton must now
confront the highest hurdle of all: he must reach into himself and find a new
way to convince the voters that he has the vision, the verve and the vitality to
lead a troubled nation.
GRAPHIC: NOT AVAILABLE
CREDIT: From a telephone poll of 974 registered voters taken for TIME/CNN on
June 3-4 by Yankelovich Clancy Shulman. Sampling error is plus or minus 3.1%
CAPTION: Do you have a favorable impression of:; Picture, Arsenio dug the
Governor's style, but will voters applaud in November? descColor: Bill Clinton
in sunglasses playing saxophone and Arsenio Hall., REED SAXON -- AP
LANGUAGE: ENGLISH.
PAGE
11
97TH STORY of Level 2 printed in FULL format.
Copyright 1992 The New York Times Company
The New York Times
June 5, 1992, Friday, Late Edition - Final
SECTION: Section A; Page 18; Column 5; National Desk
LENGTH: 1222 words
HEADLINE: THE 1992 CAMPAIGN: Media;
Whistle-Stops a la 1992: Arsenio, Larry and Phil
BYLINE: By ELIZABETH KOLBERT
BODY:
He wore cheap sunglasses. He blew the saxophone. He explained that he really
wanted to inhale; he just didn't know how.
With his Secret Service entourage sitting stiffly in the front row, Gov.
Bill Clinton chatted with Arsenio Hall Wednesday night about his mistakes, his
faults and his ideas for America's future. It was not the kind of television
performance Presidential candidates typically give, but it is not likely to be
the last.
In a year when "conventional politicians" travel only in disguise,
Presidential candidates are rushing as never before to address voters through
unconventional forums like late-night interview programs and television call-in
shows. Ross Perot launched his independent campaign on a by-now famous
installment of "Larry King Live. " During the New York primary campaign, Mr.
Clinton and his opponent, Edmund G. Brown Jr., the former governor of
California, put in appearances on the Phil Donahue show. And after Governor
Clinton won the California primary, he stayed in the state an extra day to tape
Arsenio Hall, then went to Little Rock, Ark., to do Mr. King's call-in show via
satellite.
Decline of Network News
Politicians and media analysts agree that the rise of the talk show in
political culture reflects broader trends, most significantly the declining
influence of the network news shows.
"These types of programs have become much more important as a source of
information for people,' said Frank Greer, a top adviser to Mr. Clinton. "Ten
years ago, these programs didn't have the audience or the impact that they have
now. "
Appearing on the talk-show circuit presents several advantages for
candidates. It allows them to speak directly to viewers, and in a relatively
informal setting. And it allows them to present their case without having to
answer many specific questions.
Luring Conventional Coverage
Paradoxically, though, some analysts argue that the greatest benefit of
appearing in unconventional settings is that it can help generate more
PAGE
12
The New York Times, June 5, 1992
conventional coverage. They point out that even while the audience for
traditional news programming has declined in recent years, it is still far
larger -- and far more apt to include likely voters than are the audiences
for most talk shows. The trick is to say something on Arsenio Hall that will be
picked up by the news shows and newspapers.
"The fact that you're writing about it is the reason they're doing it,"
Darrell West, a professor of political science at Brown University, said. "When
you appear on the conventional news shows, there's a high probability that the
people in the audience are voters. With the less conventional, shows, the
likelihood of voting goes way down. So it's not worth it, in and of itself. But
the payoff is if Bill Clinton is able generate stories that he's trying new
forums, new ideas.
This year is not the first time Presidential candidates have made appearances
in unorthodox forums; in 1984, for example, Gary Hart appeared on "Saturday
Night Live," and several candidates have been guests on "The Tonight Show. But
in 1992, such appearances are becoming so commonplace that some viewers would
not be surprised to see President Bush pay a visit to Jay Leno.
Countering the Sound Bite
"It's not a secret that everyone, the Bush/Quayle campaign included, is
looking for more ways to communicate directly with people, " Torie Clarke, the
Bush campaign's spokeswoman, said. "It's very hard to break through. On the
network news, you get a 15-second sound bite and you consider yourself lucky. So
we're looking at a whole score of things like that. "
At the vanguard of this trend toward more direct communication is Mr. Perot.
It was only after the Dallas billionaire had made two appearances on CNN's
"Larry King Live,' and several more on radio and cable television talk shows and
had granted an interview to David Frost that he appeared on traditional Sunday
morning news shows like "Face the Nation" and "Meet the Press." When the
questions on these shows began to get too demanding, Mr. Perot said he would no
longer grant interviews, SO he could devote himself full time to studying the
issues.
"Perot was very careful to come out in that cable culture where your
personality counts for more than your policy positions,' said Jon Katz, the
media critic for Rolling Stone magazine. "It's the prototypical 21st century
media campaign."
Television talk shows are part of what Mr. Katz has dubbed the "new news,"
while the network news shows are part of what he calls the "old news. The
reason candidates are turning to the "new news," he argues, is that these shows
are addressing many of the issues of race, sex and power in which people are
most interested.
'Not a Free Ride'
"Some of these programs can be very tough on a personal level, he said.
"They're not a free ride."
Others, however, argue that the candidates are embracing the "new news"
precisely because it is less tough than the "old news." The talk show format,
PAGE
13
The New York Times, June 5, 1992
they point out, allows a candidate to speak in more personal terms and to
maintain more control than the traditional news shows do.
"They're just trying to bypass the national media, because the national media
ask the tough questions, Mr. West of Brown University, said. "As smart as
Arsenio Hall might be, I doubt he asks the kind of questions Dan Rather asks. 11
Mr. Clinton's appearance on Mr. Hall's program Wednesday night appeared to
bear this out. At the start of the show, Mr. Clinton demonstrated his musical
talents with two jazz numbers on the saxophone. He then spent half an hour
discussing, in rather general terms, his views on the recent Los Angeles riots,
on racial harmony and on turning young people away from crime. When Mr. Hall
turned to the embarrassing issue of Mr. Clinton's youthful experiment with
marijuana, the question was a relatively gentle one. And when Mr. Hall asked the
Democratic candidate about his faults, he did not press Mr. Clinton to do much
more than confess to being a "workaholic."
"I have a lot of shortcomings," Mr. Clinton said. "I still sometimes work
hard instead of smart."
Voters Watch Network News
Despite the growing role that talk shows and late-night interviews are
assuming this year, many analysts say that Presidential candidates must still
rely on the network news shows to reach large numbers of likely voters, and
audience figures suggest they are right.
The average viewership for the nightly news on all three networks, for
example, is roughly 30 million homes. And over half the audience is 55 years old
or over, a group that is statistically much more likely to vote than Arsenio
Hall's viewership, which is one-tenth the size and tapers off quickly over age
35.
In the end, too, network officials argue that the candidates will return to
more traditional formats because voters will demand it.
"The candidates have decided that they prefer to communicate in an unfiltered
way, more their personality than their positions on issues, Tim Russert, the
host of "Meet the Press, said. "But in the long run, there is no substitute for
discussing the tough issues they're going to have to handle as President. If
people really thought you could get elected by playing the saxophone, there
would be a lot more musicians running for President."
LANGUAGE: ENGLISH
LOAD-DATE: June 5, 1992
PAGE
9
53RD STORY of Level 2 printed in FULL format.
Copyright 1992 Billboard Publications, Inc.
Billboard
June 13, 1992
SECTION: ARTISTS & MUSIC; Pg. 14
LENGTH: 596 words
HEADLINE: Acts Raise Voices For Favorite Candidates;
Music, Presidential Politics Mix In A 'Cool Way'
BYLINE: BY CRAIG ROSEN
DATELINE: LOS ANGELES
BODY:
Musicians aren't only urging people to get out and vote -- some have
performed at events for specific candidates.
Saxophonist Kenny G played a June 1 benefit, on the eve of the California
primary, here at the Sheraton Grand Hotel to raise funds for Bill Clinton's
presidential campaign.
On May 30, Willie Nelson performed at a Little Rock, Ark., rally celebrating
the success of a drive to have Texas billionaire H. Ross Perot included on the
state's ballot for president in November. According to published reports,
Nelson is impressed with Perot's VOW to help farmers and said he plans to appear
on behalf of Perot again.
The candidate with the most support from the music community, however, is
California's last Democratic governor, Jerry Brown.
The B-52's, joined by actress Kim Basinger and keyboardist Don Was, headlined
a benefit for Brown March 25 at the Ritz in New York that pulled in $ 23,000,
according to a Brown campaign spokesperson.
Another Brown benefit featuring Concrete Blonde, Stan Ridgway, Wire Train, No
Doubt, and Julie Ritter from Mary's Danish, held May 23 at the Hollywood
Palladium here, collected close to $ 25,000, sources say. (Ridgway also
performed at a smaller Brown benefit April 23 at Al's Bar in Los Angeles.)
John Switzer, co-owner of Los Angeles-based D-Time management, set up the
Hollywood Palladium benefit by contacting the Brown campaign. "We took this
event to the campaign," he says. "We wanted to show people that politics and
the disenfranchised 18-24-year-old age group can still blend in a very cool
way.
11
Other musicians who have supported Brown include Bette Midler, Bonnie Raitt,
Carly Simon, Bob Weir, David Crosby, and Graham Nash. MTV News reported Brown
had tried and failed to win the support of Public Enemy leader Chuck D.
According to Michael Davis, talent coordinator for the June 1 Clinton
benefit, Kenny G is "among the governor's favorite saxophone players." Clinton,
who also plays saxophone, performed with Kenny G at the event. Davis says
PAGE 10
Billboard, June 13, 1992
more than $ 50,000 was raised at the event, which alsofeatured veteran soul
songstress Freda Payne and Roger Clinton & Politics, a blues band fronted by the
governor's brother.
Davis is hopeful Clinton's saxophone playing would "show the human side" of
the candidate. Clinton was scheduled to appear, with his saxophone, on "The
Arsenio Hall Show" June 3.
"We're trying to reach the young professional type of citizen from all
cultures," says Davis. "That group really needs to be encouraged to vote to
make a difference."
On the campaign trail, Clinton supporters have been known to play recordings
of Mariah Carey's "Make It Happen" and Fleetwood Mac's "Don't Stop.'
At the May 30 Perot rally in Little Rock, Nelson performed "On The Road
Again" and "I Saw The Light" to an audience of more than 4,000, including Perot.
When Perot's office in Sherman Oaks, Calif., opened its doors in April,
country rocker Billy Swan performed at the celebration.
Even one record label lent its support to a candidate. Democrat Barbara
Boxer, one of two women running for the U.S. Senate in California, celebrated
her nomination at A&M Records' Chaplin Stage in Hollywood. Use of the space was
donated to the Boxer campaign by the label. An A&M spokesperson said label
chairman Jerry Moss is a Boxer supporter.
Of course, musical associations are not a guarantee of voter support. Sonny
Bono, a former pop star and Mayor of Palm Springs, Calif., was unsuccessful in
his bid for the Republican nomination for Senate in California.
LANGUAGE: ENGLISH
PAGE
2
23RD STORY of Level 2 printed in FULL format.
Copyright 1992 Globe Newspaper Company
The Boston Globe
June 18, 1992, Thursday, City Edition
SECTION: LIVING; Pg. 43
LENGTH: 712 words
HEADLINE: MTV is rocking the campaign;
Television / ED SIEGEL
BYLINE: By Ed Siegel, Globe Staff
BODY:
None of the presidential candidates has scheduled an appearance on "The
Twilight Zone, " but the 1992 campaign took another step beyond traditional TV
boundaries when Bill Clinton showed up for a forum on MTV Tuesday night.
Political pundits and talk-show jokesters have diminished the appearance as
a desperate measure by a flailing politician in a trivial setting. But the
90-minute forum spoke volumes not only about how candidates use the media, but
also how the media see themselves, and how younger viewers get their news today.
Music Television has been more than a music-video showcase for several years.
Tabitha Soren, who has been covering the campaign for MTV, and Kurt Loder, who
reports on music news for the cable station, are not Diane Sawyer or Sam
Donaldson, but they do as good a job, if not better, of reaching their core
audience of 18- to 24-year-olds.
MTV has taken an increasingly active stance in political and social issues
over the years. In the middle of Clinton's forum, for example, there was an
explicit safe-sex ad with an admonition to always wear a condom that you won't
see anytime soon on one of the "responsible" networks.
While there is still enough glitter to fill a Las Vegas showroom and juvenile
poseurs aplenty, MTV has found time amid the celebrity worship to champion
environmental and human-rights issues, among others. PBS it isn't, but there is
probably more real information per minute on MTV than on any of the three
commercial networks.
And the programs that the networks give over to news are not the programs
watched by voters in their teens or 20s. Younger viewers had been more inclined
to watch local news, but local stations, along with newspapers, are finding big
dropoffs among younger people. Whether lack of interest in news has promoted
voter apathy or the other way around, there is a similar dropoff in voting among
that age group.
MTV, then, has filled in some of that gap with its "Choose or Lose" campaign
to promote voter awareness through its "Rock the Vote" registration drive
(including a very dramatic Rosie Perez public-service ad), coverage of primaries
and conventions, and forums like Clinton's. (For Clinton, the
if-the-mountain-won't-come-to-Mohammed advantage is obvious.)
PAGE
3
The Boston Globe, June 18, 1992
Younger viewers watch more than MTV, of course, and watch television in
different ways than their elders. A favorite saying among television executives
is, "People over 30 watch programs, people under 30 watch television," meaning
that the younger you are, the more likely you are to scan from channel to
channel with the remote.
Flicking around from MTV to baseball to "The Tonight Show" may not be the
ideal way to become an informed citizen, but then what are the alternatives?
Bernard Shaw and Sam Donaldson have huffed and puffed of late about how
candidates are bypassing the traditional network-news and CNN programs because
"real journalists" ask tough questions.
That may be true of Ross Perot, who retreated from the Sunday-morning circuit
when he was unprepared for Timothy Russert's sharp questions on "Meet the
Press." Clinton, on the other hand, couldn't get past the scandal-driven and
process-driven questions from the likes of Shaw and Donaldson.
Forget the saxophone and shades, whether he inhaled or not, and the reasons
why he went on "The Arsenio Hall Show" - which is all that interested network
news the next night - Hall asked Clinton more substantive questions than just
about any network-news interview that's been conducted this year.
Similarly, while the MTV forum had its share of frivolity, the questions. and
answers told voters more about Clinton than the collected works of Shaw and
Donaldson put together. Like the morning-news call-in programs, the questions
dealt with far more issues than the nightly news forums.
MTV is still waiting to hear whether the president or Perot will take part in
a forum. Clinton, doing his Douglas MacArthur impersonation, declared that he
will return to MTV if elected.
The MTV forum is another demonstration that this is not your father's
presidential campaign. So far, the MTV generation has been better served than
Dad.
AFP PHOTO / Bill Clinton answers questions from an audience of 18- to
24-year-olds on an MTV special.
LANGUAGE: ENGLISH
LOAD-DATE: June 20, 1992
PAGE
4
37TH STORY of Level 2 printed in FULL format.
Copyright 1992 Gannett Company, Inc.
USA TODAY
June 16, 1992, Tuesday, FINAL EDITION
SECTION: NEWS; Pg. 6A
LENGTH: 995 words
HEADLINE: Clinton hopes to rock the vote
BYLINE: Adam Nagourney
DATELINE: LOS ANGELES
BODY:
After playing the saxophone on Arsenio Hall and imitating Elvis Presley on
The Charlie Rose Show, Bill Clinton's appearance on MTV tonight seems almost
routine.
On the cable TV network better known for the latest Guns 'N Roses video,
Clinton will spend an hour answering questions from 200 18- to 25-year-olds (10
p.m. EDT)
But it is not just one more of the kind of campaign stop that already has
earned him scorn from the White House and some Washington columnists.
Rather, it reflects one of the underlying new dynamics of the 1992 campaign:
The baby boomer as presidential candidate, directly appealing to voters who
largely have sat out recent elections.
At 45, Clinton would be the first major presidential candidate born after
World War II, a war fought by President Bush, 68, and observed by Perot, 61,
from a Texas high school.
Clinton, a month younger than Bush's oldest son, would be the first president
whose tastes run to rock and Motown.
His experiment with marijuana, opposition to the Vietnam War, struggle to
avoid the draft and self-confessed marital problems are emblematic of many of
his generation. He speaks of friends who have died of AIDS complications, and
high school mates who died in Vietnam.
And key Clinton aides - including campaign manager David Wilhelm,
communications director George Stephanopoulos, strategist Paul Begala, deputy
campaign manager Bruce Reed and press secretary Dee Dee Myers - all are barely
old enough to qualify for a part on thirtysomething.
Given all this, it is no surprise that Clinton - more than Bush or, so far,
Perot - has made a direct appeal to both baby boomers and post-baby boomers.
That is clear both in his forums and topics - be it universal college
scholarships, AIDS, or a wariness toward labor unions that would have been
unthinkable for a Democratic candidate a generation ago.
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USA TODAY, June 16, 1992
'He is making a direct push and is the only one who is speaking a language
that makes sense to young people, said Democratic pollster Peter Hart. The
other two candidates represent yesterday's generation. He represents today's
generation.
Despite the younger voters' antipathy to politics - fewer than half of those
34 and younger said they voted in 1988; compared with more than two- thirds of
those over 45 - this is a potentially rich trove.
Larry Hugick, managing editor of the Gallup Poll, which recently studied
'twentysomething' voters, said they strongly supported Republicans in the
1980s but are much closer to Democrats on what they consider key issues for
1992: AIDS, the environment and abortion rights.
'There is an opportunity for Clinton with this group, Hugick said. 'They
feel much closer to the Democrats on these social issues.
Wilhelm, the campaign manager, added: "The whole challenge of our campaign
is to make politics relevant to everybody's life. For these people, politics and
government just aren't relevant.
Still, this strategy is not without risk. When he borrowed a pair of
sunglasses from Begala, 31, for the Arsenio Hall show, he chanced providing
Republicans the kind of videotape that could show up in a negative commercial
this fall.
His behavior was belittled as unpresidential - a criticism that shows no
signs of scaring Clinton off his younger circuit: ''You go to where they live,
said Stephanopoulos. ''You go to their living rooms.
But former Democratic spokesman Terry Michael said Clinton is wrong to assume
younger voters will instinctively support one of their own: ''If anything, it's
harmful. There is some reluctance to view one of our own as president.
The latest USA TODAY/ CNN/Gallup Poll shows in a three-way race Clinton does
no better with those under 30 than with older voters. Also, 55% of those under
30 give him an unfavorable rating, compared with 48% rating Bush unfavorably and
33% giving Perot a unfavorable rating.
And there is a strong sentiment in Democratic Party circles that Clinton
should pick an older running mate to offset his own age.
But in this bizarre election year - when Clinton finds himself overwhelmed by
the attention to Perot - his TV appearances have gotten him back on the
political map.
For better or worse, a picture of him playing sax, complete with sunglasses,
made front pages and TV news.
As Hart said: ''He's figured out that this is one way he can clearly
differentiate himself' from the other candidates.
Different times, different lives
The presidential campaign highlights generational differences that helped form
each of the candidates. Bill Clinton, a baby boomer, faces fwo older men whose
THE WHITE HOUSE
Office of the Press Secretary
For Immediate Release
December 7, 1997
REMARKS BY THE PRESIDENT
AT KENNEDY CENTER HONORS RECEPTION
The East Room
THE PRESIDENT: Thank you very much. Ladies and gentlemen, tonight the stars
shine over the White House. Tonight we honor artists who in all seasons have lit up generations
of our national fire.
Ezra Pound once said that artists are the "antennae of society" -- always probing, sensing,
guiding us through the terrain of the human mind and spirit. I'm proud to salute five artists
whose sensitivity, vision, and talent have challenged our minds and made our spirits soar.
Especially since Edward Villella danced here in the East Room at the invitation of
President and Mrs. Kennedy, the performing arts have increasingly found a home in this, the
nation's house. But the belief that arts are vital to our democracy goes back to our very
beginnings, to the first President to live in the White House, John Adams, who envisioned an
America that would study not just politics, but painting, poetry, and music.
The ultimate worth of our nation will never be measured fully by the size of our treasury
or the might of our military, but instead in the endurance of our gifts to the human spirit.
Already, our films, our music, our plays, our dance have inspired performers and captured
audiences around the globe. Worldwide, they've spurred not only the forces of creativity, but
also, and especially recently, the cause of freedom. The arts are now, to borrow a phrase from
one of our honorees, perhaps the strongest currents blowing in the wind.
Tonight we pay tribute to five men and women who have spent their lives listening to
their hearts and lifting ours, whose work and talent make them American originals.
It all began with the look -- and I can still hardly stand it a downward cast of the chin,
a shy, yet sly upward glance of the eye. The look captured Bogey and made Lauren Bacall a
legend. After seeing her for the first time in To Have and Have Not, all America recognized that
Lauren Bacall had it. The great James Agee wrote, "She has cinema personality to burn --
something completely new to the screen."
Bogey and Bacall gave us a series of classic films: The Big Sleep, Dark Passage, Key
Largo. Then she showed us How to Marry A Millionaire, and established herself as a master of
stylish comedy. She conquered Broadway in Cactus Flower and was discovered all over again as
a musical star in Applause, and won a second Tony Award for Woman of the Year. Just last year
more than half a century after her first film -- she won rave reviews and an Oscar nomination
for The Mirror Has Two Faces.
I'm grateful that she took time out from being a legend to campaign a little bit for me last
year. Tonight, on behalf of all Americans, I salute you, Lauren Bacall, as our woman of the year
and an actress for all time.
As a young boy growing up in Minnesota, Bob Dylan spent a lot of time in his room
writing poems. Then at the age of 14 he bought a guitar. With it, he would set his poems to
music, striking the chords of American history and infusing American popular music, from rock-
and-roll to country, with new depth and emotion. With searing lyrics and unpredictable beats, he
captured the mood of a generation. Everything he saw -- the pain, the promise, the yearning, the
injustice -- turned to song. He probably had more impact on people of my generation than any
other creative artist.
His voice and lyrics haven't always been easy on the ear, but throughout his career Bob
Dylan has never aimed to please. He's disturbed the peace and discomforted the powerful
President Kennedy could easily-have-been-talking-about. when said that
sometimes are great artists have been most critical of our society, it is because r concern for
justice makes them aware that our nation falls short of its highest potential.
"Like a rolling stone," Bob Dylan has kept moving forward, musically and spiritually,
challenging all of us to move forward with him. Thank you, Bob Dylan, for a lifetime of stirring
the conscience of the nation.
I think our next honoree would want me to acknowledge that I can't thank him for
campaigning. Now, with that disclaimer I do have a lot to thank him for. For when I was a
young boy in Arkansas and movies were my main source of inspiration, Charlton Heston showed
me how to part the Red Sea, drive a Roman chariot, save medieval Spain, even after he was slain
and hold off a siege for 55 days in Peking. In more than 75 films, Charlton Heston has guided
millions of movie lovers through nearly every great era of Western civilization, bringing to life a
host of heroes, from Moses to Michelangelo to Buffalo Bill. He's even played Democrats. But
he was, to be fair, selective -- they were Thomas Jefferson and Andrew Jackson.
If the big screen didn't exist, they would have had to invent it for Charlton Heston. A
film hero for and of the ages, he's won an Oscar from the Academy, accolades from his peers,
admiration from his audiences. But most of all, the characters he created -- the courage and
integrity and commitment they embodied -- remind all of us of the limitless possibility of the
human spirit. He has been and always will be larger than life.
The first song she ever performed in public was God Will Take Care of You. Well, God
was taking care of all us when he gave us Jessye Norman's wondrous voice. From a church choir
in Georgia to center stage at the Met, Jessye Norman has brought joy to music lovers and critics
to their feet. Her voice has been called the greatest instrument in the world. Her greatness,
however, lies not just in her sound, but in her soul. She has that rare gift for capturing in music
truths of the human experience -- truths that can never be fully expressed in words alone.
Having brought new meaning to Mozart and Wagner, to Berlioz and Stravinsky, Jessye
Norman remains an American diva. Indeed, when she sang The Star Spangled Banner at my
inauguration earlier this year, I thought the flag was buoyed by the waves of her voice. I must
say, Jessye, you were a tough act to follow.
After 40 albums, Grammy Awards, and the standing ovation of the entire world, she
stands at the pinnacle of her art. Jessye Norman once said she wasn't the kind of woman to walk
into a woman unnoticed. And I can testify that that is true, having been in many rooms with her
and never failing to notice. Since she first burst on the scene, her brilliance has held our
attention, year in and year out. May the supernova of Jessye Norman shine forever.
As a young man Edward Villella was a varsity baseball player and a welterweight boxing
champion. He might have made the big leagues, but his heart led him into a different world. He
was a major league dancer from the moment he joined the New York City Ballet. As graceful as
he was athletic, he mesmerized audiences and choreographers alike. Balanchine and Robbins
created dances that only Villella could dance. The art rose to meet the man -- and the man was
always flying.
He dominated the stage with space-swallowing charisma and leaps as effortless as they
were breath-taking. He toured the Soviet Union at the height of the Cold War and became the
only American dancer ever to be "demanded" to give an encore. Today he brings the same
energy and creativity to the shaping of the Miami City Ballet and to America's next great dance
company.
Long before Michael Jordan, Edward Villella showed us that man indeed could fly.
Thank you for taking American dance to new heights.
Lauren Bacall, Bob Dylan, Charlton Heston, Jessye Norman, Edward Villella: artists
and Americans who have made indelible imprints on the performing arts and our national
character. It is quite a tribute to them that all of you have come for them tonight. In them we
find the sass, the raw emotion, the heroic strength, the passionate voice, the soaring aspirations of
our nation.
America salutes each and every one of you. Thank you and God bless you.
END