vacuuming the house. I don't want to relax the audience; I want to engage them in the music, get them interested." Distinguishing his work from what others have called ambient mood music, Yanni pointed out in 1994: "New age implies a more subdued, more relaxed music than what I do. My music can be very rhythmic, very energetic, even very ethnic." In 2012, Yanni remarked that he has never liked putting art into categories or assigning labels, adding that he always composed music "to honestly reflect the lessons learned and the experiences I have shared throughout my life." For example, Yanni's university study of psychology influenced his music: "When I create music, it is a reflection of my soul, my experiences in life and my relationships with other people and cultures. Psychology, and understanding who we are as people in this world, is present in almost every creative thought I have." Unconventional career track The genre of Yanni's music made it unsuitable for most commercial radio or for music television. In 2012 Yanni expressed the importance of PBS to his career, saying that the network "always allowed me to present my music without any censorship or influence, and encouraged me to be the artist that I am," and had been "a great part of my career for over 20 years." Yanni took an unconventional path to recognition, for example, by risking his personal fortune to fund historic-monument events such as his 1993 Acropolis concerts, by producing specials on public television, by creating alone in his home-built studio, and by performing many of his own production duties—thus by-passing the conventional music industry. In 2000, The Washington Post's David Segal wrote that Yanni was "a living metaphor for 'success on your own terms,' the dream of every American with an idea that is either ridiculed or ignored." Music In an early-career review in the Dallas Times Herald in the late 1980s, Yanni's concert with the Dallas Symphony Orchestra was described as "exhilarating, moving and inspiring." In 1995, The Los Angeles Times' Don Heckman wrote that Yanni's music is "based on sweeping romantic melodies underscored with energetic Mediterranean rhythms." More analytically, the Hartford Courant's Steve Metcalf "deconstructed" Yanni's music as being "from a harmonic standpoint, constructed of materials found in a lot of late-19th, early 20th century classical music. It is essentially tonal, tinged with mild whiffs of dissonance here and there, sometimes