[Eric]Goldman [a professor at Santa Clara University School of Law] says back in the 1990s, courts began to confront the question of whether software code is a form of speech. Goldman says the answer to that question came in a case called Bernstein v. U.S. Department of Justice. Student Daniel Bernstein who created an encryption software called Snuffle. He wanted to put it on the Internet. The government tried to prevent him, using a law meant to stop the export of firearms and munitions. Goldman says the student argued his code was a form of speech.
I've been extremely lucky to work with Elmer Bernstein, Howard Shore over the years, but I've always imagined films with my own scores, because I don't come from that world or that period of filmmaking. And so how could I make up my own score on a film like this where it isn't necessarily made up of popular music from the radio or the period; it isn't necessarily classical music. But what if it's modern symphonic music?
Al Bernstein has seen cable television sports grow up. In 30 Years/30 Undeniable Truths he looks at his time in the industry through a prism that is unique to him. This book gives the reader an insight into the sometimes absurd world of television sports. There is a 31st undeniable truth: Al Bernstein is a truly funny man.
La mort, mon fils, est un bien pour tous les hommes; elle est la nuit de ce jour inquiet qu'on appelle la vie. Bernstein Death, my son, is a good for all; it is the night of this worrisome day that one calls life.
I grew up a child of Watergate. It gave me a good dose of skepticism about authority. One of my favorite movies is 'All the President's Men.' Woodward and Bernstein, those guys were my heroes. I have a degree in journalism.
The greatness of America is that it produces exuberant geniuses like Louis Armstrong and Fred Astaire and Leonard Bernstein. We are meant to be a jazzy people who talk big and jump on the table and dance; we aren't supposed to be dopey and glum and brood over old injuries.
I hope it might help players have confidence in our own ways, and not to be afraid of them, as Bernstein showed - things like hoe-downs, fiddle songs, and the art of improvisation, and the New Orleans funeral tradition, and call-and-response church singing, and the fact that the blues run through everything. And in our relationship to European music, in that we don't have to imitate it, it's a part of us, inseparable.
He wanted us to play whatever we played in the most characteristic and appropriate style. Even it was the theme from 'The Godfather,' you needed to play that then the way that a Hollywood producer would expect it to be played. Whether it was that or the posthorn solo from Mahler's Symphony No. 3, he would expect that to be played in the way that Leonard Bernstein wanted to hear it. In retrospect, I think it was a sensational way to teach this particular group of students. By the time you graduated you could absolutely read anything with any trumpet.
An interviewer once asked me to discuss my collaboration with Elmer Bernstein, and precisely why I chose to work with him. My first thought was: How could I not work with Elmer, when I had the chance? Simply put, he's the best there is-the very best.