>> guest: that would be a little melodramatic. no one likes to be called names. i don't believe that. but i believe these things need to be said. i don't think liberals and the policies that are put forward would help the black underclass furthermore i don't think they are not just not helping. i think in many cases talking about affirmative action earlier that they are harming. they are doing more harm than good. that's what motivates me. they are saying what needs to be said and it is a positive contribution to the date and that is an important debate. some name-calling is something that people put up with. >> host: jason riley "keys stop helping u"thesestop tellins make it harder for blacks to succeed." we will be back with this conversation in a moment. he wod like to download and listen to "after words" while you travel. >> host: we talked about third rails. you are touching that on the conclusion of this book when it comes to president obama's addressing the nation in the surprise announcement or speech to the nation that friday about almost a week later af

otherwise it's melodramatic. i think they have done a wonderful job with that. for the most part it's earneded. >> yeah. what do you make of the fact -- i want to go back to the good fortune you have had to be in two long-running series. both are family units. >> yeah. >> dis functional though they may be. whose isn't? your claim to fame is being part of two long-running series, both about families. what do you make of that? >> i don't know what to make of it. the funny thing is when they hired me in this one, in "modern family," i'm not sure that they knew quite what to do with me. as it was written the guy i'm playing now is a very successful businessman. i think they were thinking al bundy, shoe salesman. the pilot i was selling mufflers or something, they never said. it was a guy that works down on wilton, in the area that a self-made guy, in other words. maybe opened a couple of stores and now he's got six. they said, no, he can do the other thing, you know? my job is to let everything roll around me. i'm more or less reacting. in the first one i was drivin

of operatic comedy, which is striking because 80% of operatic repertoire is grandiose, tragic, melodramaticthese pieces, the human beings get wiser and through a lot of circumstances which they play seriously but we find very funny. >> who else has been instrumental in terms of helping you appreciate a, the music and become up being a mentor to you? who have been the men who have helped you understand the limitless potential of music? >> is a long list, charlie. it is a long list of official teachers, like george szell who was my mentor, wolfganag vacano starting in 1962. from the time i was 10 or 11, i had walter levine with all the musical -- for everything, for theory, for harmony for style. he even coached me on the instrument, playing chamber music with his students. it was an unbelievable education of the kinds that one goes to college for, but i was 11 when i started. then, i went, for example to marlborough. there was claude frank and able community of brilliant teaching musicians. then i went to aspen to study with rosina levine because she was the most dynamic teacher of the instr

which is striking because 80% of operatic repertoire is grandios, tragic, melodramatic, you know, somebodys get wiser and through a lot of circumstances which they play seriously but we find very funny. >> rose: who else has been instrumental in terms of helping you appreciate a, the music, and b being instructed to you, mentored to you, or in opening distance to you. who are the men and women who have been there that have helped you understand all the limitless potential of music. >> boy, it's a long list, charlie. and it is, it's a long list of official teachers, like george zell who was my ten tore there, wolf pang picano who broke up the idea of having an assistant in the opera workshop in aspen and had me conduct the last performance of whatever opera we were doing, starting in 1962. i did that when i was 19. and i had from the time i was 10 or 11 i had walter levine, first violinist of the lasalle quartet for all the musical, for everything, for theory, harmony, repertoire, for style, he even coached me on the instrument playing chamber music for his students t was an unbelievable ed

power because it is taking "gone with the wind" and turning it inside out and making it a grand, melodramaticsaga. we want to hear from more of you. >> i had to go back and see "mandingo" because i hadn't seen it since the 1970's. i thought how did that get on , television? >> we get letters from parents about the tuition they pay. >> i teach at penn state. i know that we are all interested in scholars. we want filmmakers to be interested enough. i have a hunch that the filmmakers -- they are in fact interested. the reason they want you as a consultant is they want it to be authentic. they want it to be real. when i watch a lot of these films, i am actually struck that they have a strange engagement with the historiography, but it is always a little bit off. when i watch a film, it feels a good damaged argument. when i watch "django," i'm like, ok, this is agency. it is not what i meant. in some kind of strange way, there is something going on in popular culture that has busted open a lot of the way that we have written history. it is about breaking up a kind of canon of black politics where

"mandingo" has continuing power because it is taking gone with the wind and making it a grand, melodramaticsaga. >> i had to go back and see "mandingo" because i didn't see it since the 1970's. added that get on television? >> we get letters from parents about the tuition they pay. know we are all interested in scholars. we want filmmakers to be interested enough. i have a hunch that the inmmakers, they arei fact interested. they want you as a consultant because they wanted to be authentic. they wanted to be real. when i watch a lot of these films, i am struck that they have a strange engagement but it is always a little bit off. nnifer's film, it seems a good damaged argument. when i watch "django," i'm like this is agency. it is not what i meant. some kind of strange way, there is something going on in popular culture that has busted open a lot of the way we have written history. it is about breaking up a kind of cannon of black politics where you have two traditions, one is immigration and one is revolutionary or what have you. it came to me in james mcbride's portraysre he frederick dou

>> not to be melodramatic, but this mecca we call singapore seems to be losing its edge.al things at play here and all pretty negative. first of all, we have the singh dollar, second strongest in asia over the past year. tax.ales the tie you're wearing is more expensive in singapore than in hong kong. especially since there is no sales tax whatever where you are. there's no surprise retail sales have been falling. industry in singapore is going to paint. sales are down as much as 4%. dropped from china have . a whopping 30% fewer of chinese tourists over the five month. from may a year ago. the chinese account for half of the spending by all tourists. some say that the chinese are not spending because of that clamp down on corruption. suffice it to say, retailers are bleeding. is he the outlook is grim. there is tremendous competition for the shopping dollar from the likes of malaysia, thailand, indonesia, hong kong pretty much all of our neighbors. all shopping looking pretty attractive in those destinations. unlike five or 10 years ago, there's nothing you can get in si

continuing power because it's taking it on the wind, turning it inside-out and making it a grand, melodramaticaga. >> i had to go back and see "mandingo" because i hadn't seen it since the '70s. >> we get letters from parents about the tuition they pay. >> he know that as a scholar -- >> would you identify yourself? >> i'm sorry, terry pay at penn state. i know we're all interested as scholars that we want filmmakers to be interested in us, but i have a hunch that they are, in fact, interested enough. the reason they want you as a consultant is they actually want th that, they want it to be authentic, they want it to be real. so when i watch a lot of these films, i'm actually struck by, did they have a kind of strange engagement, the history, but it's often just a little bit off. so when i watched demi's film, it seemed like an argument to me. when i watched "jango," i thought, okay, agency. this is agency. it's not what i meant. but in some kind of strange way, there is something going on in the popular culture that has kind of busted open a lot of the way that we've written history. and it's