INVISIBLE AIRWAVES Issue #027 - Page 25




Feature rich

new arrivals

The new iPad 2 now comes in black and white


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Our definitive guide to what’s hot and what’s not in the world of iPad 2 apps Vullum nulla molortio

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32 Gig $499

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time in the world and you got to be a part of it. That's been the goal since I've transitioned from being a behind the scenes person to doing a show. I force myself to think back. It's still whatever comes out of those speakers that is the single most important thing. The listener is still customer one and what comes out of the speakers is the most important thing for the customer.

MP: You worked behind the scenes for some heavyweights. When did the transition come where you realized you wanted to be on the air?

ES: That didn't really come until New York. I always had a little bit part on the air, whether it was in Houston with John or out at Pirate Radio with Scott. They were the same in telling me if there was something that someone could add that made the show better, they certainly weren't shy about allowing that person to have their place. I knew that my place was very, very small and that's not what I was hired to do or what I was being counted on to do. So it really happened in New York

when I was at Z100 and Lander left. They were going through a revolving door of people that had come in and out. When Tom Poleman came in after [Steve] Kingston and was going to kind of blow everything up, I was looking for a job to see if I could go do morning somewhere. And I couldn't. Nobody would talk to me, let alone hire me. When Poleman put a new birth into Z, he put Elvis [Duran] and I together and that was really the first time that I moved to a more front position.

MP: What a place in Z100 and timeslot, doing mornings, to learn. Couple that with the explosion that was going on with the Grunge and Alternative scene, and Top 40 was stumbling before it found it's footing again, with the freedom that you had as well. The FCC crackdowns weren't happening yet and you could still fairly edgy content. ES: Luckily the FCC crack down wouldn't come for a number of years later, but it was a great time. Top 40 had drifted because Grunge was so big and kind of mainstream at that point. When it shifted and went back the other way, it was, I think Top 40 stations felt liberated to spread their wings again and incorporate what Top 40 had always been famous for by taking the biggest songs in all formats. It felt like a very free rebirth of the format.