I record my radio show, and my staff makes me a nice lunch in the kitchen, usually fish – whatever’s freshest and line-caught – and a salad. I drink water and herbal tea, a blend of catnip, elderberry, and horehound.
I consider myself very lucky indeed to have had the career I have. I listen to the radio now and you can’t tell artists apart.
I liked back in the sixties where you’d turn on the radio and go ‘Oh that’s Hendrix, that’s Creedence Clearwater, that’s The Doors, there’s The Grass Roots, The Monkees, there’s Big Brother.’ You could just instantly hear it and tell. But in the eighties and nineties there’s no way you could do that.
Also there’s two sides of it, I mean, a band like us, at our level and the way we have to promote ourselves and usually radio just completely turns their back on us, at the same time I think Mp3s help promote us somewhat, spreading the word about the album and stuff.
Every time humanists try to get a slot on ‘Thought For the Day’ on Radio 4, they are told it’s reserved for ‘the faith community,’ whatever that is. Yet ‘TfT’ is almost always pabulum about how God wants us all to love each other and care for the unfortunate. I’m sure humanists would say much the same, without God.
I hear poets complaining: ‘We face what our forebears did not face. We face TV. We face radio. We face this and that.’
I listen to all kinds of music, but I’ve always been a really big fan of Top 40 radio. If I’m in my car, that’s what I listen to.
They wouldn’t play my records on American radio because I had spiky hair. They said, ‘Punk rock doesn’t sell advertising, it won’t make any money.’
I remember driving the tractor on our farm, and Tim McGraw would be on the radio. I’d find myself walking out of class, singing his songs. And then Tim ended up playing my father in ‘Friday Night Lights.’ It was surreal.
I would listen to something on the radio and try to tap out the melody, then the harmonies.
I mean it’s – it is hard to find a voice on talk radio that is not a conservative voice.
Television really has been my vehicle. I don’t get played on the radio much, so I’ve relied on TV a lot.
I’m the weirdo that tells – asks – the Uber driver to please turn the radio down. I’m so polite about it, though.
I don’t listen to the radio, cause I don’t have a driver’s license. But if I’m in L.A. or somewhere where we have to rent a car, I’ll hear my songs. Sometimes I hear them when I’m in stores, and I’m still like a little kid in a candy shop: ‘Oh my God, that’s my song!’ I don’t know how that could ever get old.
Nobody seems to know yet how television is going to affect the radio, movies, love, housekeeping or the church, but it has definitely revived vaudeville.
I listen to my old records and I think, ‘How did I ever get on the radio?’
In radio I had one, maybe two people who cared about getting it done. I’d really be a loser if I forgot where I came from. So I show them the love. And how hard is it really to be interested in someone’s life?
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.
I did voice work for many years before I started having success as an actress. It was mostly radio and television voiceover work, but I know my way around the studio. I know how to use the cappuccino machines and the headphones.
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 started doing radio commercials for Kmart when I was 4. They had to splice all my consonants together because I couldn’t talk very well. But these jobs helped my mother and me put food on the table. It took the two of us working.
Unless the radio is on, I am usually listening to stuff that is very different to what I do.
TV gives everyone an image, but radio gives birth to a million images in a million brains.
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.
Now I can broadcast to an audience of several million people on the ‘Today’ programme. I can talk about the day’s news. But on radio, believe it or not, we have notes and scripts. And while we might ad lib the odd wryly amusing asides, they come at the frequency of a suburban bus. About one every 90 minutes.
I’ve noticed more people coming to shows and I’ve had a feeling that they were from a part of the culture I haven’t been able to get to before, younger people. I think on iTunes they’ve been experimenting with my songs and the digital radio world has been very kind to me.
As far am I’m concerned, I don’t listen to radio anymore. They play the same ten songs over and over again, so why would I?
I would love to expose multiple younger generations to Frank’s music. It’s not an easy task because It’s not ever going to be plastered all over the radio for the masses.
I like to listen to French radio; I’m trying to learn French.
To write a love song that might be able to make it on the radio, that is something that is terrifying to me. But I can definitely write a song about that chair over there. That I can do, but to sit and write a pop song out of the clear blue sky, that is very difficult and I admire the people that can do it.
I’ve always said that if you have songs on the radio and get played, you’ve got to have a tour to support that.
Quite honestly, I was running from myself. But I knew how to work Top 40 radio.
I could come home, and I would spend the rest of the night just lying on the floor or the sofa listening to albums. It was like a movie to me. I still do, really, and doing the radio show ensures that I’ll be sitting there listening.
People say New Yorkers can’t get along. Not true. I saw two New Yorkers, complete strangers, sharing a cab. One guy took the tires and the radio; the other guy took the engine.
Public radio is the last oasis of free and independent music. For satellite radio channels, you have to subscribe; commercial stations are as corporate as basic cable.
I would recommend that anyone who wants to do comedy on TV to do radio first.
But you know, I always said that no one else on my block was on the radio, and it was fun.
The copycat effects of media violence, similar to those previously attributed to westerns, radio serials and comic books, are easy to exaggerate.
Everyone related to me in my circle was from church: church friends, church school, church activities. All my friends weren’t allowed to watch MTV or go to PG-13 movies or listen to the radio, so I didn’t really know anything different. That’s how I was raised.
I love radio interviews; it’s all about multitasking and, like all good women, I can do that.
I still tune in to the radio and listen to pop music and enjoy it as much as I ever have.
I wake up in the morning thinking about victory, I go to sleep thinking about victory, so sometimes it might be hard. But I need to control myself more and, how can I say it politely? Just shut up instead of speaking on the radio.
I’m a bit of a nerd, I wouldn’t mind working in a shop selling records, or having a radio show where I could play obscure singles.
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.
Every city you go to has television and radio talk shows that are dying to give young comics a showcase. They all want to be able to say that so-and-so started here, got his first break on this show.
I remember thinking, ‘I don’t know if I can do radio.’ I never even listen to it.
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.
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.
Cinema, radio, television, magazines are a school of inattention: people look without seeing, listen in without hearing.
Lately, I’ve been doing a lot of tuning in and impatiently tuning out. As a longtime fan of talk radio, I don’t think this bodes well for the long-term broad appeal of the medium.
You know, I never did music for money. I did music to hear myself in the club, and to hear my creation on the radio.
I believe that, artistically and culturally, the free radio air should be able to support local artists of whatever genre. Play 40 percent of your local artists; don’t suck up to major labels to the point where you neglect your own locale.
I have a huge span of fans, some who know all my radio songs and are familiar with my popular stuff and then some who have their own personal favorites. When I do my show, I try to take into consideration all those people.
I grew up with a clock radio next to my bed.
I guess I would definitely feel a bit of a void in what people are getting from music these days. And I think that the problem lies not so much on the listener. People kind of listen to what is presented to them, whether it be on the radio or at a local venue.
