The lowest stress environment is the radio show. I am not on camera and I can let the music do the talking. The rest is more highly pressurized or in the case of writing, time intensive task. I say yes to all of it and like all of it but the radio show, by nature of what it is, is the least hassle.
The first time I got into the studio, when I was 17, 18, I got to work with people who were some part of the Cheiron thing, who did all the early Britney Spears stuff, all the early 'NSync stuff.
MTV can't do less for me, let's put it that way. I'm fine without them.
I was a pioneer in MTV and I was there from the very beginning. So I saw how that developed and how loose it was and how much fun it was in its looseness. And I was influenced a lot by that.
Somebody gave me this drum machine and somebody else asked me to program something for a project. I really liked programming and I was really interested in using the drum machine.
But in those days - in the mid-'50s, early '60s - there was less than 300 radio stations that were playing country music and a lot of that wasn't full time.
And EDM music grabbed my ear and got my attention and I started realizing that the computer was, in the same way that the saxophone was invented in the late 1800s and guitar in the 1930s, an instrument.
I've heard some tunes in recent years that were pretty close to that same idea. The idea was you turn on the radio and you want to hear some music and up comes a commercial.
I think music will be created algorhythmically, all the things that we do will be boiled down to a little computer program.
I am amazed at radio DJ's today. I am firmly convinced that AM on my radio stands for Absolute Moron. I will not begin to tell you what FM stands for.
There was this cereal, and it had a special promotion with a CD inside the box that had a really simple music-making program on it. I got it, and that opened my mind to being able to make music on a computer and seeing all the different layers.
Radio stations play what they believe is in, and they all talk to each other.
I had definitely stopped watching MTV by 2000.
When synthesizers appeared everyone was a composer suddenly.
I was nine, and I was shopping in a supermarket with my dad. There was this cereal, and it had a special promotion with a CD inside the box that had a really simple music-making program on it. I got it, and that opened my mind to being able to make music on a computer and seeing all the different layers.
I went to Sirius Satellite Radio and did my show, Rapping With Rip.
I was a DJ in college and had my own punk music-focused show all four years.
I haven't heard any music on the BBC World Service in a long time. Maybe I'm listening at the wrong times. But not one single piece of music.
When you're DJing, there are songs I love to play, but I know people are going to walk off. It doesn't matter what I like. You have to be able to play the popular song and slip in one of yours, in such a way that they don't notice it. You've got them in such a roll that you get them back into what they think they like.
I think what we need is a more welcoming mode from the people who put on a hundred million country-western shows on television. How about a monthly jazz show?
First job I had, I was 17 years old. I was primarily the mail room boy at the radio station. An FM station. And in those days, nobody listened to FM.
On the radio I listen to the easy-listening stations, the jazz stations.
Revolt is my new - cable music network. It's distributed through Time Warner and Comcast. And to put it simply, it is the ESPN of music.
Guitars, there was rock 'n' roll. Saxophone, jazz. Now we have the computer and there's this electronic thing happening in music that is somewhat superhuman.
I've always been good about interfacing with machines. But that never seemed like a gateway to being able to make music. I never made the connection that music could be made with machines - that was what drum and bass was for me.
