I worked at Mar-a-Lago for Trump, for some parties, and he seemed nice enough - but I don't think he's presidential. I think he's incompetent; I disagree with his policies, and I'm nervous as an American.
I like Manchester - I've played it many times. The people have a lot of chein, a lot of heart, and the audiences are very receptive.
I remember Pavarotti telling me, 'Oh, Neil, after seventy, the voice is going to go.' But I've been lucky. You almost have to learn how to sing all over again. You use your diaphragm more. You have to choose the notes and pace yourself.
If you have a passion for something, never be discouraged by anyone.
Family has always been very important to my life. Even though I make my living as an artist, my creativity is merely a fantasy world. Having a close family has been a stabilizing rock for me.
I have a Baldwin in my L.A. apartment, a Steinway in my New York apartment, and a Kawai plexiglass grand piano in storage for shows. I still play for two or three hours every day.
Between 1958 and 1963, I sold about 40 million records - to the shock of my mother and father because I was always playing Beethoven. But I bought my mother a mink stole. She was very happy, and she said, 'I think this is better than Beethoven.'
I have written for, very fortunately, some great singers from Frank Sinatra to Elvis Presley.
Tra-la-las and doo-be-do's became a Neil Sedaka trademark. I was the king of the tra-la-las and doo-be-do's in the '50s and '60s. But then when I re-recorded 'Breaking Up,' I started with a verse instead of the doo-be-do's!
I actually started as a concert pianist. I had a scholarship to the Julliard School of Music.