Quotes of All Topics . Occasions . Authors
Power is the band that we perceive things on. In radio we have stations. Frequencies vibrate at certain rates and within those frequencies we transmit information and receive information.
It's so hard to pick a 'single.' I always want it to be whatever my favorite tune is, but often the record company and the person whose job it is to take it to radio have different ideas.
I am such a do-goody, people-pleasing kid - or I was - I don't think I've ever been fired, not even from an ice cream shop, magician for kids' parties, not even in my early jobs in radio.
No band on 21st-century radio has mined pre-grunge hair-metal's sleaze like L.A.'s Buckcherry. So it makes poetic sense that they'd spend their sixth album tallying all seven deadly sins.
There is more talent per square metre in Ireland than there is anywhere else. We just don't harness or help them ... the radio stations prefer to support the likes of Rihanna and Beyonce.
I was a Beach Boys guy, but I was won over. In '64, as the radio stations were creating this duel between The Beatles and The Beach Boys, I slowly but surely got won over by the Mop Tops.
The rich today are richer, there are more of them, they have round-the-clock propaganda factories in Rupert Murdoch's empire and rightwing talk radio, and corporate media have their back.
I remember a great America where we made everything. There was a time when the only thing you got from Japan was a really bad cheap transistor radio that some aunt gave you for Christmas.
What, exactly, did Sjahrir do for the Republic? ... His entire underground effort can be summed up by saying that he sat quietly and safely away somewhere listening to a clandestine radio.
If Michael Steele doesn't make you sad, well, then there's radio host Rush Limbaugh, no longer content with wanting the President to fail, Rush is now calling out Mr. Obama as a girly man.
I've never stopped writing, I've never slowed down just because I don't have something on the radio or a No. 1 or No. 2 record. That doesn't mean that I'm not in the studio planting seeds.
It's honestly every time that I'm doing something, and every time I visit a station and hear my song on the radio and people buying my stuff, I'm like 'Are you kidding me? This is insane!'
Integral to the orb is our low cost long-range wireless radio data system and a protocol that allows us to send this data over 90% of the US population every 15 minutes throughout the day.
The success of 'Take Me To Church,' I never imagined it. I never imagined that it would work on radio, that it would find its way onto the charts, even at home and certainly not in America.
I spent much of my childhood in northern Quebec, and often there was no radio, no television - there wasn't a lot to entertain us. When it rained, I stayed inside reading, writing, drawing.
When I was in high school, The Dave Matthews Band was a local band, and that was the first time I was starting to connect with a live band that was something that wasn't on the radio or TV.
I always give the example, if you turn on the radio today, black radio, Lenny Kravitz is not black. Bob Marley wasn't black: in the beginning, only white college stations played Bob Marley.
So as long as I can do something like this kids show or I can go off and film polar bears or I can do some radio and stuff, and sort of keep other strings in my bow working, then it's good.
For me, at a very young age, I knew I wanted to be in the entertainment industry; I wanted to be an announcer. I was very smitten at an early age with the voice I heard coming from a radio.
I always thought I was commercial. I always thought I was writing hit singles. These days, whatever's on the radio is considered commercial. People like what's on the radio, whatever it is.
I figured the songs wouldn't make much of a splash. I didn't think 'Take Me To Church' would play on the radio or get in the charts, and I didn't think about dealing with a global audience.
Listeners will wonder what an Englishman is doing on the German radio tonight. You can imagine that before taking this step I hoped that someone better qualified than me would come forward.
Part of the success of This American Life, I think, is due to the fact that none of us sound like we should be on the radio. We don't sound professional; we sound like people you would know.
Well, the big products in electronics in the '50s were radio and television. The first big computers were just beginning to come in and represented the most logical market for us to work in.
I suppose the reason I chose electrical engineering was because I had always been interested in electricity, involving myself in such projects as building radios from the time I was a child.
The program director at a radio station, by the way, is not the superstar. If he was a superstar, he'd be out creating songs, but he's not. But he wants to act like he has control and power.
My cousin used to make fun of me for liking stuff like C+C Music Factory. I didn't have any tapes; I just liked their song on the radio. We liked that because that was what we had access to.
Every time I went on the radio, I would take the crummiest radio station, the station that was like a toilet bowl. I would go on there and build up the ratings, so you couldn't do any worse.
I walk around every day with a radio playing constantly in my head, and this radio station plays a lot of hits. But it's all my songs, so that's something to be excited about 24 hours a day.
I am up at 3:30, reading the op-ed pages and getting ready to be on the air by 6 A.M. on the set of 'Morning Joe,' and after three hours of TV and two hours on the radio, it is only 12 noon.
The project which we developed, however, was for a sound piece and I was initially curious that a sculptor should be interested in working with a musician, especially on a project for radio.
Conservatives, despite their increasingly powerful presence on cable TV and talk radio, feel excluded and disregarded by the longstanding preponderance of liberal voices on public television.
For years everyone looked toward the demise of radio when television came along. Before that, they thought talking movies might eliminate radio as well. But radio just keeps getting stronger.
The radio stations will happily recycle a badly worded statement by a politician all day but will steer clear of broadcasting more than once or twice a poem by Tomas Transtromer or Rita Dove.
My goal is to get my music out to as many people as possible. That a song of mine is being played on the radio so far away from home really, really pushes me. It's everything I've dreamed of.
I'm a businesswoman. I am a music lover. I like for people to like my music. When you listen to top 40 radio, you hear pop stuff. You hear rock stuff. You hear all these different influences.
I'm always struck by the kids who turn up in New York and LA, and places in between. Chicago. Wanting to do theater, wanting to do independent film. Wanting to break into television or radio.
BBC Radio is not so much an art or industry as it is a way of life . . . a mirror that reflects . . . the eccentricities, the looniness that make Britons slightly different from other humans.
How many radio shows I did is lost to memory now; it's in the hundreds - maybe even close to being in the thousands - for the span of years from the time I was eight till I was about fifteen.
My mami and papi love my music. They're always listening to the radio waiting for one of my songs to come on. And when it does, they turn up the volume - and turn it back down when it's over.
Radio helps you break into a whole different audience. Radio has so much power. And that's my mission: to not only break into the EDM audience, but to break also into the mainstream audience.
This country was founded on a core set of family values. These values should not be discouraged and blatantly undermined by the airing of offensive material on broadcast television and radio.
We are shallow because our media are so horribly shallow. Every morning, I peruse the papers, and there is so little to read in them. It is the same with radio - all that noise, that artifice.
I think of the Replacements only when they're brought up to me. For two years, I'm at home, they don't really cross my mind. I still hear them on the radio. I'm not ashamed of anything we did.
One ought to be ashamed to make use of the wonders of science embodied in a radio set, the while appreciating them as little as a cow appreciates the botanic marvels in the plants she munches.
I've never really been a traditional country kind of guy. I wanted my music to sound more like the end of the '90s and to have the kind of great music, pop or whatever, that radio will embrace.
Yes and for two reasons: one, I couldn't find anything to imitate at the time, and secondly because what I heard on the radio didn't bear any resemblance to what I wanted to hear on the guitar.
Today there are paparazzi out, I'm doing a day of press, I'm in a hotel, I've just been on Radio 1. But when I'm in my day-to-day life people don't know who I am and I'm left to my own devices.
The scariest thing in it may be the way the clock radio has a way of turning itself on, loudly, of its own accord. The song is always the Carpenters' "We've Only Just Begun." Now that's horror.
On radio and television, magazines and the movies, you can't tell what you're going to get. When you look at the comic page, you can usually depend on something acceptable by the entire family.