Okay, so there's a certain amount of latitude even within classical music in terms of the interpretation of a piece.$$Right because you're--you're gonna do the research. You have to do the history, you have to find out the, the year this piece was con--'cause I love just the fact we do "Too Hot To Handel" and we do [George Frideric] Handel's Messiah" the traditional, the version of the classical oh it was baroque, but you know what I mean when I say that the traditionally sung one, performed one, and I am amazed that Handel was inspired by God and [Wolfgang Amadeus] Mozart was, all of these masters of music, you know [Franz] Shubert, [Robert] Schumann, [Gustav] Mahler all of these-- [Ludwig van] Beethoven, and on and on. They all have their moments and their stories of inspiration but with Handel's Messiah, he composed that piece in twenty-four days and it is a monumental work that is done now. It was composed in the 1700s  and he did it in twenty-four days and it is, it's--I can't believe three parts to that piece and if you were to do all of the movements then the audience would sitting there for quite a while and it's the, the birth, life, death, resurrection of the Messiah, Jesus Christ and it speaks to people in different ways. It's, it is just a very uplifting and inspiring piece and the music is very powerful and very beautiful and it is said that he wouldn't even eat for much of that time while he was composing this piece and he just felt the glory of God in the room and he was writing and writing, he even fell ill but he just said I have to continue writing, so he may have rested a while in there but it was done rapidly, twenty-four days is not a long time, less than a month to do such a loved, adored piece. Love it and, and frequently performed, the piece to this day.$$As a performer then you have to immerse yourself into some sort of cultural education to be able to really perform the music on a high level.$$And it's the stylistic right, because you can't, you're not just gonna sing it like you would an R&B piece or, or--and it's early music, it's baroque so we're talking about the traditional and original [George Frideric] Handel's Messiah, not the offshoots from it which are different interpretations in our day and age now, which I think they have their place too, and Handel would probably be tickled pink knowing because he's said to be a man of the people.$$Now just to be simple here what, what does "baroque" mean?$$The, the, the 1700s, let's see, 1685 to--it is a period from the, I don't wanna say it wrong, but it is the in the 1600s to the 1700s, and so you have like the "Baroque" period and then you go into the "Classical" period in the 1700s and then the "Romantic" period in the 1800s then "20th Century music" in the 1900s, and now we are the "21st Century."$$So these, these periods of music.$$They have different stylistic and a different set of rules, different set of tendencies and ways that the music is to be performed. So I, you know I if I would bring portamento into you know Handel's "Messiah" (laughter), that's wrong 'cause that's later on in the you know where we have the Romantic era where you can do that in arias and in opera and that's-- and even in later music you can so, but it's more clean, and you have the figured bass and you have the harpsichord. You even have instruments according to that period, early instruments like the harpsichord which is not gonna be the full sound of the piano that we hear later, in later periods as we get closer you know, 1700s, 1800s--1800s is when--and then you see these instruments evolving and getting--they really begin to have more tone, more resonance. You have--the, the orchestras are even extended to have more orchestral members and you know the brass section is larger, the string section is expanded so, so now a composer like [Ludwig van] Beethoven can and [Gustav] Mahler can really go, you know and they use dissonance quite a bit and have a deceptive cadence so you're expecting this chord to resolve one way and then they fool you and it goes in a totally different direction so that, you can have that back in the early periods, the Baroque and Classical periods where things are sort of more in the box.$Tell us about Daisy Newman's Project in, in University of California at Berkeley [Berkeley, California]. Is that?$$Oh, yeah, oh yes the Young Musicians Choral Orchestra and it was formerly "YMPA" Young Musicians Program and she founded this instead, well no she did not. She came on board and really took it to the next level and, and this it was on the campus of U.C. Berkeley and she being a stellar soprano and performer herself who worked with Leonard Bernstein, she could certainly--it takes one to know one, 'cause she could certainly spot the use and the talents for this program and they were wunderkinds, they were genius, brilliant, talents but her program was centered around those that were under privileged or children or risk or you going through all kinds of adverse circumstances in their lives and their homes and may not be able to get that type of training that she offers, and the type of training she offers for master teachers, and she had a staff of teachers that taught the students around the year, through the, the summer they were learning musical instruments, they were learning vocal, they had voice lessons and training as well as choral rehearsals, so they had to be able to be proficient in more than one instrument. She wanted them to sing as well as to play their instruments and they--and academic subjects they also had to main a certain GPA and they also had to be students of excellence and respect one another and the campus and the opportunity. So she has her program set so she could talk to you on more about more eloquently about Three Tier. The, the rate, rate of the students leaving her program by the time they're ready for college they--100 percent acceptance rate. They were accepted by and some of the leading music conservatories and schools and institutions in our nation, Juilliard [The Julliard School in New York City, New York], Manhattan School of Music [New York City, New York], on and on you know all over the nation, some of our leading institutions for music; and many times they were receiving full rides, full scholarships or partial scholarships but because her, she raised the bar and because of her own standards and what she had achieved in real life. She also worked for the Detroit Symphony Orchestra [Detroit, Michigan], she worked for other New York Philharmonic [New York City, New York]--you know as far as an administrator with educational outreach tentacles that as well as having been a perform--an international performer so she had auditions and interviews, interviewed the parents, interviewed the stud--the children, the students and there were times when she--she had an age group that she wouldn't go lower than but there were times when she even had to take young ones you know, eight year olds, nine year olds, because they just exhibited such extremely genius ability and the capacity to go through her program and to be able to digest and process all of these great people that are in front of them. I mean she even has a jazz group, so we're talking classically at first and operatically and then they're learning German lieder, they're speaking foreign languages, they have to know their theory as well, they have to read and then they have wonderful proficient voice teachers, prolific staff of people that really can produce abundance you know--$$So that means you right, you're part of the staff that teaches voice and--$$Well we [Burke and her husband, HM Rodrick Dixon], well thank you for that (laughter), we're honored to be part of that but we come two weeks in the summer and this is the first time that we didn't because the program is transitioning off-campus to its own location now and she has a board of directors and donors and sponsors, supporters. So she has a lot of support, she knows a lot of people and she you know she's had people like Martin Katz who is known concert pianist and a recitalist, come work with her students, Frederica von Stade, a world class mezzo-soprano from the Metropolitan Opera [New York City, New York] and other venues around the world, all of kinds of people and for the jazz, Patrice Rushen, and she her staff oh, they are, they're just amazing what they are getting out of those students, those children and they--plus the students come to work and she provides two meals for them. So I just think there is a special place in heaven for her.