Kenny King, his character on TV is him.

If it wasn't for Kenny Rogers, I don't think I would be in country music. He was that guy when I was a kid - his music and 'Hee Haw' made me perk my ears up and made me say, 'What is this? I want to hear more of that.' He was that catalyst for me to start this whole run in country music.

I have major respect for Kenny Chesney and Carrie Underwood and Sugarland. They are wonderful. They're superstars in the music business.

I had an AM radio and listened to Al Green, Kenny Rogers, Stevie Wonder, Charley Pride and Cheap Trick - sometimes in the same hour on the same station!

As a young Scottish footballer growing up - I always used to follow Scotland and watch the games - Kenny Dalglish, Graeme Souness, and Joe Jordan were players I looked up to.

Gray Maynard? Kenny Florian? All these guys, they're UFC fighters, that's all. They're pushed by the UFC, but when they leave the UFC, they're forgotten. When's the last time you heard Josh Neer's name? You haven't. When's the last time you heard about Roger Hurerta? You haven't. They're no ones anymore.

The process of finding my voice as SpongeBob was to start by watching what Tom Kenny did, trying to do an impression of sorts, and then forgetting all about it and letting the voice become a second-nature thing.

Tom Kenny is awesome.

Detroit is drunken idiots. It was no surprise to me. I performed with Kenny Rogers for one year as his opening act, and I got to visit every major American city and notice the audience, and Detroit was one of the worst.

Growing up I wasn't aware of a single gay person in our town. The only people who were gay that you had any idea of were Kenny Everett and people like him on TV. I thought, that's not what I am.

I'm not anti-American. I've lived with Kenny, a Texan, for six years.

I just wanted to do a music show, with the whole realm of music from Ella Fitzgerald to rock bands like Cream to Kenny Rogers. We had a lot of country, but we did every kind of music. The Monkees were on, and so was Johnny Cash.

Robert Plant, Kenny Chesney, Mavis Staples, Taj Mahal, this incredible array of folks, all taught me a way to carry yourself with dignity.

To most jazz critics I was basically Kenny G.

Some artists will tell you that's all they want to do is write their own music, and that's great, but George Strait, Kenny Chesney, Tim McGraw, Garth Brooks, they didn't write everything they recorded, and they've had major, major careers. I think it's all about the best song.

There's a lot that goes into being Tim McGraw or Kenny Chesney. They have great songs, their show is great, they're very fit. When you look at somebody who takes care of themselves, takes care of their business, that's what every CEO would do.

I was a beginner again. I practiced hard and used to listen very closely to recordings of American jazz drummers such as Tony Williams and Kenny Clarke.

Guys like Bryce Treggs, Chris Harper, Kenny Lawler, Darius Powe, Richard Rodgers, Jackson Bouza. All those guys are incredible. They run great routes and have great hands.

About 25 years ago, my wife and I bought Kenny Loggins' house in Santa Barbara. It was way out of our price range, but we said, 'Screw it, let's go for it.' We've raised our family there. We overextended ourselves at the perfect time in our lives, and it worked out for the best.

Hey, look at this guy Kenny G. with his thing, walking up and down the aisles of the concert hall and running off the stage and playing the same time. It's old hat!

At that time, I was signed to Columbia Records as an Independent Producer. I spent many weeks forming, auditioning, rehearsing and recording demos for Kenny, who was finally signed to Columbia Records.

We recorded several of Kenny's songs in the living room of my home.

When Kenny first came to me, I think he was thinking of making a nice little folk record, but in my opinion, folk music had come to an end and I felt he needed to go to the next step, the next generation.

I grew up listening to Barney Kessel and Wes Montgomery, Kenny Burrell, guys with blues backgrounds.

Kenny G is not real jazz. I don't even think Wynton Marsalis is real jazz. I don't think Harry Connick Jr. is real jazz. If there is such a thing as real jazz, The Lounge Lizards is real jazz, Henry Threadgill is real jazz, Bill Frisell is real jazz, you know?

I've often said, 'If I had one drive to win a game to this day, and I had a quarterback to pick, I would pick Kenny.' Snake was a lot cooler than I was. He was a perfect quarterback and a perfect Raider. When you think about the Raiders, you think about Ken Stabler.

I wrote my first novel in eighth grade for a boy named Kenny on whom I had an unrequited crush and who sat behind me in social studies.

I had a day off, and I was walking down the street one day, and this Mercedes pulls up alongside me, and Alec Guinness leaned out and said, 'What are you doing, Kenny?' I said, 'I'm just walking around,' and he said, 'Do you want to come and see an oasis with my wife and I?' There was nothing arrogant or flash about him at all.

I am flawed, but at least I can admit it, and at least Kenny Omega, Tyson Smith, is exposed to every single one of you, every single night I perform in the ring. And the relationships that I have in my life with the fans, they're all with me. We are all family.

I guess what Kenny Omega is, even though the image is something that was given to me by New Japan and then tweaked by me, it's just me, Tyson Smith. Yeah, that's me, just a guy that likes to joke around when he doesn't have to be serious. And when he has to be serious, he's really serious!

Okada and Tanahashi, they don't mind being the wrestler that approaches everything day-of in the ring. I like to go in-depth, to tell the human side of Cody Rhodes, the human side of Kenny Omega. That's why Being The Elite exists.