Quotes of All Topics . Occasions . Authors
When I really started liking music was when I could play some of it myself, and after a couple of years of playing folk music, I kinda rediscovered those hits that were on the radio all the time when I was a kid.
If I had to play only for people who liked the music because they heard it on the radio, it wouldn't make me happy. That's why I'm working so hard to have, yes, a profile as an artist, but also a profile as a DJ.
When I say, 'I can't stay long, I'm in-between meals,' that plays differently on the radio than it does in person. So I have to pick material that works because the words are funny, not just because of the images.
There were also horror shows on the radio. Very terrifying and thrilling to me as a kid. They had all these creepy sound effects. They would come on at ten o'clock at night, and I just would scare myself to death.
I love making music, but I also love making music that's on the radio. In some circles, that is considered less artistic. And I've always tried to resist those people that say the two can't exist at the same time.
I just kept it real and had the freedom to do what I want. It's not designed for any age group. It's not made for radio. There are no edits. The whole album contains explicit lyrics but that's because you need it.
My father's record collection was full of New Orleans music of all kinds. I used to listen to the radio in New York, and all there was on it at the time was Madonna and Michael Jackson, so it sort of passed me by.
I grew up in Shanghai 'til I was 10 or 11, with one year in Tibet. When I was 5 or 6 years old, the American radio station came to Shanghai, and I used to love bebop and jazz, but I didn't know where it came from.
Hard rock will always be hard rock, but you don't really know what is rock - and what isn't - anymore. I don't consider a lot of the pop things I hear on the radio to be rock n' roll. It's just kind of fragmented.
We strive to have new records. We strive to have new songs on the radio. That feels good that we can gain those new fans and still bring out our fans that have been with us for some of the ride or all of the ride.
Of course, growing up, you listen to your favorite people on the radio and you want to have an album of your own and you want to have number one songs that people know and can sing back to you when you have shows.
The Corporation for Public Broadcasting distributes an annual appropriation that we provide in accordance with a statutory formula, the vast majority of which goes directly to public radio and television stations.
About 50 percent of the songs on the radio are like, 'Live like tomorrow doesn't exist. Like it's my birthday. Like it's the last day of my life'... Such a large percentage of pop music is really about party time.
After my ski jumping career finished, I went back to school to study law, and now I travel between five to 20 times a year doing after-dinner speaking, motivational talks, appearances, openings, TV and radio shows.
One reason I do the live shows - and the monthly speeches at public radio stations - is to remind myself that people hear the show, that it has an audience, that it exists in the world. It's so easy to forget that.
To be honest with you, it was almost like I could do no wrong after 'Maxinquaye.' And when I was putting together 'Nearly God,' I was thinking, 'Will you stay with me if I put out something that radio cannot play?'
As a longtime fan of talk radio, I'm very worried about the low opinion that conservative hosts and callers have of the American artist. Art is portrayed as a scam, a rip-off and snow job pushed by snobbish elites.
Sources say the Obama administration is in the 'final stages' of planning the closing of Guantanamo Bay. The way it's gonna work is, they're going to put a Radio Shack sign out front and let nature take its course.
Hard rock will always be hard rock, but you don't really know what is rock - and what isn't - anymore. I don't consider a lot of the pop things I hear on the radio to be rock 'n' roll. It's just kind of fragmented.
I was doing a late-night round as a milkman in 1978 when I heard a radio DJ announce that he was leaving. I marched straight to the radio station and told them I could do better. For some reason, they gave me a go.
In this drawing we just let our imagination run wild. We visualized Superman toys, games, and a radio show - that was before TV - and Superman movies. We even visualized Superman billboards. And it's all come true.
There's just something so special about 'God Made Girls.' It comes from a girl's perspective, and there's nothing like that on radio right now, and so I think that's what made us able to pick that song as a single.
The longer and longer I played in the NFL, I kind of said, 'Well, I'm not going to go out and get a 9 to 5 job at any point soon, so what can I do?' So I started hosting radio and TV shows while I was still playing.
I've had the privilege of meeting and/or interviewing most of the top metal and hard rock artists at various points in my career and sharing their stories and music with millions of fans on air through TV and radio.
When I lived in London, I worked at the U.N. for a while as its human rights and refugees officer. I have two degrees, and my second was in radio. I was a programmer and news reporter in Canada. My CV looks bananas.
There was not a lot of dialogue. The titles were just to keep you up. It's the visual stimulation that hits the audience. That's the reason for film. Otherwise, we might as well turn the light out and call it radio.
It's like, on my solo stuff, every single person who buys the record, gets it. On the other stuff, the masses... when you have a hit on the radio, not everyone's going to get it. They are going to buy it for the hit.
I think I had heard Al Di Meola on the radio when I was a kid, that acoustic record, 'Friday Night In San Francisco,' with Paco de LucÃa and John McLaughlin. His picking was unbelievable. I thought it was incredible.
But in 1941, on December 8th, after the Japanese attacked Pearl Harbor, my mother bought a radio and we listened to the war news. We'd not had a radio up to that time. I was born in 1934, so I was seven years of age.
I was obsessed with George Orwell for years. I remember going to the town library and having to put in interlibrary loan requests to get the compilation of his BBC radio pieces. I had to get everything he ever wrote.
During the past few decades, modern technology, with radio, TV, air travel, and satellites, has woven a network of communication which puts each part of the world in to almost instant contact with all the other parts.
Charlamagne Tha God on 'The Breakfast Club' is, in my opinion, the best personality on the radio right now. We talk weekly. We couldn't be any different format wise, but we have a very similar background and approach.
I remember hearing the song when I was 12 or 14 in - it must have been in Chicago, 'cause we didn't have a radio on the farm, and it was during the second World War. I had three brothers in that war who went overseas.
The deepest and most sincere feeling I get is when I meet an artist and they have that steel in their eyes and they have that fire and that passion and all they want is to be a star and to hear themselves on the radio.
The fact is that I am always thinking of something to build. A new book, radio show, plans for a trip somewhere. I am not a very happy person but I feel pretty even when I am working, so I guess that is how I am wired.
Because the casual music listeners are the ones who turn on the radio and they don't really care what's playing, they just know that they kinda like it or it's easy to drive to or it's easy to sing along to or whatever.
We were number one most added at radio, when the single came out and that's much different. It took like eight months for any radio to happen on the first record, so a lot more support has happened right out of the box.
Give consideration to the fact that alien astronomers could have scrutinized Earth for more than 4 billion years without detecting any radio signals, despite the fact that our world is the poster child for habitability.
Breakfast is a peaceful moment for me, so I never have the radio on, no music, no noise around. The only noise that is permitted is people's voices. It's a way for me to wake up without too much of a high speed feeling.
I wanted to be a success in radio. There was no way it was ever gonna happen if I stayed where I was born. It was not possible. Nothing against where I was born. Nothing against the people there. It just wasn't possible.
For me, growing up in Los Angeles in the '90s, Huell Howser was the most consistently watchable entertainer on TV. I was more of a radio geek as a teenager, but Huell I watched whenever I got the chance. A lot of us did.
A few years ago, one of our singles got beaten out by Better Than Ezra. The label could only have one band at a time being taken to the right people at radio, and they opted for Better Than Ezra instead of us. Who knows.
Yeah, I've done Jim Breuer's radio show a couple times, and I heard from Larry the Cable Guy when I got 'Mike & Molly,' wishing me congratulations. I'm always the last one to the party, man. But that's okay. I got there.
I hate modern car radios. In my car, I don't even have a push-button radio. It's just got a dial and two knobs. Just AM. One knob makes it louder, and one knob changes the station. When you're driving, that's all I want.
I went to a radio station on Long Island in 1982, and thank goodness for me, it was so new that there was no receptionist. So the DJ opened up his booth, and took my tape and listened to it and thought it was a hit song.
But I think the only thing that annoys me about that is if I suddenly find someone on commercial radio or something like that, mimicking my voice or actions and trying to promote a product and pretending it's me doing it.
When people listen to artists, and you turn on the radio, it's a lot of gimmicks. And that's real. So I take it like there's nobody keeping it honest and truthful no more, especially as far as young teenagers and females.
As a horn player, the greatest compliment one can get is when a person comes to you and says, 'I heard this saxophone on the radio the other day and I knew it was you. I don't know the song, but I know it was you on sax.'
The film itself involves a New York City radio storyteller, Gabriel Noone, who strikes up a friendship with one of his fans, an abused 14-year-old teenager who is suffering from AIDS, who does not have much longer to live.
Every day is different in the world of Little Mix. Usually, I guess, we get us, and we rehearse, or we do some promo for a radio station. It changes every day, which is quite good, because I don't like having a normal job.