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First thing I thought of:

Host: Last week the Royal Festival Hall saw the first performance of a new symphony by one of the world’s leading modern composers, Arthur ‘Two sheds’ Jackson. Mr. Jackson.

Jackson: Hello.

Host: May I just sidetrack for one moment. This — what shall I call it — nickname of yours...

Jackson: Ah yes.

Host: “Two sheds”. How did you come by it?

Jackson: Well, I don’t use it myself, but some of my friends call me “Two Sheds”.

Host: And do you in fact have two sheds?

Jackson: No, I’ve only got one. I’ve had one for some time, but a few years ago I said I was thinking of getting another, and since then some people have called me “Two Sheds”.

Host: In spite of the fact that you only have one.

Jackson: Yes.

Host: And are you still intending to purchase this second shed?

Jackson: (impatient) No!

Host: ...To bring you in line with your epithet?

Jackson: No.

Host: I see, I see. Well to return to your symphony.

Jackson: Ah yes.

Host: Did you write this symphony in the shed?

Jackson: (surprised) No!

Host: Have you written any of your recent works in this shed of yours?

Jackson: No, no, not at all. It’s just an ordinary garden shed.

Host: I see, I see. And you’re thinking of buying this second shed to write in!

Jackson: No, no. Look. This shed business — it doesn’t really matter. The sheds aren’t important. A few friends call me Two Sheds and that’s all there is to it. I wish you’d ask me about the music. Everybody talks about the sheds. They’ve got it out of proportion — I’m a composer. I’m going to get rid of the shed. I’m fed up with it!

Host: Then you’ll be Arthur ‘No Sheds’ Jackson, eh?

Jackson: Look, forget about the sheds. They don’t matter.