In the Java Sea in Indonesia, I have seen fishers going out in the morning, six of them going out and coming back with five pounds of fish. That is the end point, a pound of fish per person per day to sell for rice. That's where fisheries go if you let it happen. That's where it stabilizes. These people cannot feed their families.
From the point of view of the people who are using the platform, one of the most valuable things about Java is the consistency, the interoperability.
I don't know that I'm not normal, because usually, when I tell people the things I do, either their jaw drops or they look at me shocked, but I'm sure I do normal things - everyone eats, that kind of stuff.
But I'm more interested in why people are frightened by Jaws and why Jaws was such a hit than saying Spielberg's my main influence.
Stephen Colbert has such a loyal following; I don't know if it's the same with Jay Leno; he really inspires love in people, and there can be a lucky ricochet of that for some people.
Sometimes in golf I've got 10,000 people watching me. Cameras are easy. Doing the Jay Leno show was easy.
I like Rick Ross as a person. I like Jay-Z and Kanye West as people. But I hate the companies that they record for.
There were so many specific things from high school jazz band that I remembered: the conductor searching out people who were out of tune, or stopping and starting me for hours in front of the band as they watched.
People think jazz music is all standards and the Great American Songbook. But it's really about the sensibility, the feel you bring to the music.
As a jazz musician, you have individual power to create the sound. You also have a responsibility to function in the context of other people who have that power also.
I always tell people that, just to be a bad jazz musician, you have to be better than most musicians. The worst jazz musicians are normally better than most musicians, because you have to know so much.
For me, let's keep jazz as folk music. Let's not make jazz classical music. Let's keep it as street music, as people's everyday-life music. Let's see jazz musicians continue to use the materials, the tools, the spirit of the actual time that they're living in, as what they build their lives as musicians around.
People like to compartmentalise music, especially African-American music, but it's really one thing. One very wide thing. I mean, it's like all those great records by Marvin Gaye and James Brown back in the day - there are tonnes of jazz musicians playing on them.
People need to realize that even the greatest jazz musicians, when they listen to jazz, they're not like, analyzing it and deconstructing it - they're enjoying it. It's like listening to any other style of music. It's saying something to you, and you kind of just absorb it.
This is what really makes real jazz musicians: people coming out with their own voice.
Jazz radio is not very friendly to pop singers who decide to make a jazz record. But a lot of people have been. A lot of the people I've talked to like the record.
I'm not a pop singer; I'm not a jazz singer. And I know I sing like not a whole lot of people do; I also know that a lot of other people act like I do. And better than I do. But what informs the singing is the acting. They're not separate from each other.
I always used to say I'm definitely not a straight-ahead jazz singer, because then there's people who would hear what I do and say, 'Is it jazz? I don't know...' Whatever it is, it really comes down to creating music that makes people feel something.
I think that the jazzy approach that I have is based on the way that I hear music and in the way I play a supporting role to the other people in the band.
People said I was tanking, but Billie Jean beat me fair and square.
