I grew up in the 1950s and '60s, when it was almost a holiday when a black act would go on Ed Sullivan.

I did the Ed Sullivan show four times. I did the Steve Allen show. I did the Jackie Gleason show.

My first manager was Gordon Mills, who I'd met right at the beginning. We shared a flat in London and traveled with rock bands doing one-nighters. Later, he became a songwriter and manager whose stable was Tom Jones, Gilbert O'Sullivan, and myself.

My favourite artist is Beyonce. I also like Jasmine Sullivan.

Ireland has always been a nation of great athletes from the past: in the nineties, we had Sonia O'Sullivan and Steve Collins.

Ed Sullivan will be around as long as someone else has talent.

I was dreaming I was on the Sullivan Show.

There are two types of session guitar players. One reads and only plays what the 'dots' say. The other adds that something special and plays notes and solos you dream of. Big Jim Sullivan was such a player.

My thinking was scrambled when Sullivan and I separated. Something happened to me that had never happend before. I couldn't cope. It was heartbreak time. I thought it was the end of the world.

We finally got our big break when Ed Sullivan put us on his show.

When I came to the United States, I appeared on the Ed Sullivan Show as a 13-year-old, and I played a Mendelssohn Concerto, and it sounded like a talented 13-year-old with a lot of promise. But it did not sound like a finished product.

I was studying music in college. I was singing, I was doing operas and Gilbert and Sullivan operettas, and then I was offered a job as the music director of the Bigfork Summer Playhouse, in Bigfork, Montana.

There was one television in the living room, and we all sat around on Sundays and watched Ed Sullivan.

Ronnie O'Sullivan, the greatest snooker player ever, will tell you that he doesn't practise. I'm not having that. I call him Roger, after Federer, because he's a genius. He doesn't like that nickname.

I love playing O'Sullivan. It is a bit of a role reversal from when I used to play Alex Higgins.

I was a big fan of Naseem Hamed, and followed him. Ronnie O'Sullivan, Stephen Hendry and I know him well.

When Elvis made his mass-media debut on 'The Ed Sullivan Show' - his notorious gyrations filmed only from the waist up - I fell off the family chaise longue with delight.

Snooker has taken such a step down I am not sure it will recover unless five Ronnie O'Sullivans come along at the same time.

I want to be able to play fast and exciting snooker like my hero Ronnie O'Sullivan.

The irony is that the more we fight age, the more it shows. Paint on a 50-year-old face brings to mind a Gilbert and Sullivan comic figure. Smooth the cheeks, and suddenly the ear lobes and hands look out of place. Do we run around in October, painting the gold leaves green?

I don't think Ed Sullivan had anything to do with Carib Song.

I don't live in this soul music bubble. I love Young Thug, Drake, Kendrick Lamar. I even heard that Kendrick was a fan of my music. Hopefully there's a door open for us to do music together. He's one of my favorite artists. I love Jazmine Sullivan, Lianne la Havas, Usher, Ginuwine. It goes further than classic soul.

On 'Sullivan,' you sang live. Not only that, you sang with a 40-piece band. So you had instruments that weren't even on the original record! So this was when the rubber met the road - when you had to really learn how to perform. And it was for 10 or 12 million people. So that was a challenge.

My first three-sisters novel in a while, 'Sandcastles' tells the story of the Sullivan family - two passionate artists and their three wildly different daughters. There's also a renegade nun and a mystery man, but I don't want to give too much away!

In 1912, when I was working in The Hague, I first saw a drawing by Louis Sullivan of one of his buildings. It interested me.

The skyscraper style first advocated by Louis Sullivan - a tower of strongly vertical character with clear definitions among base, shaft, and crown - has remained remarkably consistent throughout the history of this building type.

I went out on the road when I was 12 years old, playing with the Sullivan Family Gospel Singers. That was the summer of 1972. We played Pentecostal churches, camp meetings, George Wallace campaign rallies and bluegrass festivals. As a kid, I had grown up watching quartets that were very entertaining.

Well, the first band was at nine, and I was on the road when I was 12 with the Sullivan Family Gospel Singers.

I loved playing the part of the feisty Annie Sullivan in The Miracle Worker.

I would watch 'The Ed Sullivan Show' and borrow a few lines here and there from guests like Red Buttons and Buddy Hackett to create a routine. Then I started getting invited to do political functions like the governor's birthday ball or mayor's dinner.

Back in the fifties I was the hot, young comic on CBS and a regular on 'The Ed Sullivan Show.' I was also starring in shows on Broadway and acting in dramatic programs on television. Those were the glory days of television. It was like theater. It was live. If an actor forgot a line, he improvised. There was an immediacy to it.