In a way, yes, because I was starting something fresh, and it was something totally independent.
While there used to be one or two Pops orchestras, now there are all kinds of European orchestras that suddenly look upon this as a golden wand that can enable them to make money recording this music.
I think my favorite experience is whatever I'm doing now.
Symphonic orchestras have almost become a glut in the market.
I've watched the demise of the Hollywood orchestra, the house orchestras of the big studios.
If you don't operate it as a business, you aren't going to be around very long.
Then I went to radio with Sinatra and I watched that disappear.
Well, I worked with lots of different artists, of course.
That was probably the stamp that went into my mind, because I worked in television for many years, doing that kind of music, so that really was my strong forte.
We do a lot of light classical programming with that, too... obviously... a lot of Tchaikovsky music, Grieg, things like that which have become less classical with classical concerts.
We try to say it's creative and in a manner it is creative, but it is a business, because today, with the cost factor in crossing the boundaries that you do.
I worked with practically everybody in the business in all of the years in NBC, but I worked personally many years with people like Crosby and Sinatra, so of course that was a great ground school for me.
And then I went into television; and then television moved from the East Coast to Hollywood.
But I listen to everything, I listen to all artists that come along.
Do, What you're going to do in longevity. Not just what happens tomorrow.
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