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But in those days - in the mid-'50s, early '60s - there was less than 300 radio stations that were playing country music and a lot of that wasn't full time.
We're a free society; we've got television. We have radio. We have newspapers. We have the videocassette, which is coming into play. These are new freedoms.
Have you listened to the radio lately? Have you heard the canned, frozen and processed product being dished up to the world as American popular music today?
If part of the purpose of making an album is to get some radio play, then you might as well think about that. But that's not really how we picked the songs.
Recently I've been participating in radio and television talk programs doing broadcasts and conferences, and shooting my mouth off and really going to town.
I have a satellite radio show called 'The Legends of Reggae.' It's a cool way to branch out and do other things. I'm paying respect to the legends of reggae.
Whatever happens, the flame of the French resistance must not be extinguished and will not be extinguished. Tomorrow, as today, I will speak on Radio London.
I make my music at night when there's no noise... Just me, my headphones and the silence. But I'm always making music in my head. It's like a non-stop radio!
One of the things that makes me happiest and proudest is that the talk radio venue, the whole market has expanded. There are all kinds of people doing it now.
I once went on the most grueling radio tour. Living in hotel rooms, sleeping in the backs of rental cars as my mom drove to three different cities in one day.
I knew Childress was going to help me because my crew told me on the radio. I really appreciate what Richard did, but that is typical of people in this sport.
As far as the radio waves part of the spectrum, we can do these adequately from the ground because the atmosphere is basically transparent to our radio waves.
We live in a connected world now. Some find that frightening. If people are downloading our music, they're listening to it. The internet is like radio for us.
I rarely listen to commercial radio, and when I do, I'm shocked by how many ads there are, and how annoying they are, and how bad the radio station usually is.
A lot of stuff you hear on the radio is like instant hooky pop, but I can't imagine it being covered in the future by other artists. It's really for themselves.
It's extremely damaging to a fair trial to have people reaching judgment about the case in the newspapers and on the radio before the facts are heard in a case.
Well over fifty years ago I was making radio loudspeakers and radio sets in Rochester, New York; pretty young and inexperienced; but we survived the depression.
I think good radio often uses the techniques of fiction: characters, scenes, a big urgent emotional question. And as in the best fiction, tone counts for a lot.
In those days, boxing was very glamorous and romantic. You listened to fights on the radio, and a good announcer made it seem like a contest between gladiators.
But these days, I get a lot more attention and airplay from the Adult Contemporary and country radio stations, and I feel comfortable saying I'm a part of that.
I have proven that being a perfectionist can be profitable and admirable when creating content across the board: in television, books, newspapers, radio, videos.
Watching television in those days was not the same experience as it is today. After years of listening to radio, we found the black-and-white images mesmerizing.
I feel like more artists like me should be on the radio. Everything is, like, so controlled by, like, super popular music. You know what I'm saying? Like, c'mon.
If I switch on the radio and hear some nice classical music, I will sit and listen to it but I don't sort of play records or go for any particular type of music.
My day starts with Radio 4's Today live or 'listen again' wherever I am in the world, thanks to digital radio - I even have an app on my iPhone that receives it.
I feel like I was writing as I was learning to talk. Writing was always a go-to form of communication. And I knew I could sing from being in tune with the radio.
My roots were in acting. That's all I wanted to be. Even though my father was a radio comedian, it wasn't cool to say, at a young age, 'I want to be a comedian.'
When I do a song, it is more or less for the radio because I've got to do it - that's what I have got to do to win - I always go home and write two street songs.
When you drive by Radio City and you see your name up there and it's only 'your' name. I just went 'ooh'. I thought this is really like looking at another person.
So along with several very popular Internet sites, talk radio has served as alternative media that gives listeners information that they otherwise would not hear.
I've spent a lot of time in Inverness, playing gigs and on a radio tour. I like heading up there because it is very tranquil and a contrast to how busy London is.
It's (baseball) on the radio and in the newspapers every day, the only game you can follow on that basis. From whatever arm's length you choose, it's always there.
After the war, I went to the BBC monitoring service in Caversham, a suburb of Reading. It was a big aerial system to listen to radio programmes all over the world.
Some people buy records just to dance to 'em. Some people buy records to listen to the radio. And there's people that buy records 'cause they listen to every song.
Jazz radio is not very friendly to pop singers who decide to make a jazz record. But a lot of people have been. A lot of the people I've talked to like the record.
When I was born in 1920, the auto was only 20 years old. Radio didn't exist. TV didn't exist. I was born at just the right time to write about all of these things.
The so-called alleged 'art' of the video - well, the video has killed the radio star, but the video star killed the live musician, et cetera, et cetera, et cetera.
I'm not crazy about how sort of homogenized pop music become. It used to be much more diverse. Maybe it's just what's played on the radio sounds very much the same.
What I've figured out how to do is make people feel comfortable on television and on the radio, which enables me to have access to them, which is key for what I do.
I prefer that for my own satisfaction over radio, there's no audience. TV, there's no audience. I need the response of the audience, even if it's a silent response.
I listen to NPR when I listen to the radio, but I don't listen to the radio that much. You know, I listen to Garrison Keillor, I listen to 'Prairie Home Companion.'
The first time I wrote a song, I couldn't really believe - 'Can you just do that? You're just allowed?' I never thought about songs on the radio and who wrote them.
Kazan was an old friend, I met him in 1938. He picked up radio jobs for eating money, so I met him on a couple of radio shows. Later on I was in a play he directed.
I would be on dates with guys, and the radio would be on, and if the Moody Blues song came on I couldn't concentrate on the guy; I would go straight into the music.
All life is energy and we are transmitting it at every moment. We are all little beaming little signals like radio frequencies, and the world is responding in kind.
And looking at today's music scene, I think it's cool that there are a lot of consumers and fans not limited by what radio and the record companies tell them to buy.
I don't care if I ever hit radio, and I don't care if I ever get any bigger than this. I just wanna stand up for artistry because that's what really matters in music
I grew up in Los Angeles, where long drives on packed freeways make everyone a fan of radio and, particularly, of America's national treasure, National Public Radio.
Air America has tanked because it features a bunch of talentless, angry demagogues who wouldn't know how to entertain a radio audience if their lives depended on it.
Even though I grew up playing folk music - and surf music, originally - I was listening to Motown and Stax on the radio as well. That music always resonated with me.