Eric Nam Quotes

I believe that, artistically and culturally, the free radio air should be able to support local artists of whatever genre. Play 40 percent of your local artists; don't suck up to major labels to the point where you neglect your own locale.

I would like to see more airplay for all artists, no matter what age. I think there's a lot of money being spent toward the young guys, but a lot of the older guys are the ones who blazed the trail for those young guys.

I made records for people who would buy them. No color, no ethnic, no political - I don't want that, never did.

I think representation is something that's absolutely needed. I felt like with K-pop being so hot, we could leverage that to potentially do something bigger with music in the States that people could latch onto.

I was frustrated in the past, like, 'Wow, why do they have to throw me in the R&B urban adult contemporary lane?' 'Woman' was a no. 1 hit at Urban AC, so there's no disrespect to that lane. But did it get a fair shot at urban radio? No, I don't think so.

I'll always work with Stones Throw, but I'm trying to start my own label to release my old material and sign new artists. I want to do everything from rock, to jazz, to electronic, to noise records and movie sound tracks. Both sampled and original music.

Years ago, when I was making music, I was sending it off to radio stations and getting told it was 'too urban.' But what else am I supposed to make?

It's hard for me to get shows in the U.S. It's that simple. I don't know what that means. I think it means there's not as much support here for my music?

My retirement, back in 1976, began as a one-year boycott to challenge the media on that question. I refused to return until the media, and radio stations in particular, got a hold on identifiably Canadian songs.

My manager was Buddy Glee, who put me together with Mike Curb, and was basically the idea to bring some soul to the label and bring something different to the label besides the Hank Williams situation.

But I also think it's up to the fan base to call in the radio stations and demand that the more mature artists be played as well.

Women's music is underrepresented.

I mean that'd be great if we could continue to be staples of alt-rock radio. I don't take that for granted.

My songs don't play on pop radio; they play on black radio.

You don't want the biggest record deal as far as money goes, you just want to make sure that the people at the label really support your band and the music and stuff.

You don't see a lot of black rock stars. The music industry tends to be segregated stylistically. It's hard for a black artist to cross over to rock music.

It's been a joy to be a part of other people's journey, to be able to inspire and be a part of new singers coming up in this business.

I would love to see more women making their mark in the music that I love so much ... There are so many more out there just waiting for their shot. I hope they get it!

Pop music seems to be the way radio programming has chosen to support female artists. They have chosen not to support a more provocative voice from women, which I find disappointing.

I think Charley Pride has been one of the best things to happen to country music, to prove it belongs to everybody.

I find a lot of up-and-coming musicians I enjoy, present them to my viewers - and hopefully inflate the growth of these artists by putting them in front an audience that wouldn't have been aware of them.

It disturbed me that the music industry had gone down the drain, even though people were listening to more music than ever and from a greater diversity of artists.

We are going back to our roots by cultivating new unsigned talent who otherwise might go unnoticed.

Country music is still your grandpa's music, but it's also your daughter's music. It's getting bigger and better all the time and I'm glad to be a part of it.

One thing we have to remember as songwriters is that we have to consider that country music is the country's music. That doesn't mean that everybody's rural.