In 1918, when I was 6 or 7 years old, radio was just coming into use in the Great War.
Asking the author of historical novels to teach you about history is like expecting the composer of a melody to provide answers about radio transmission.
A lot of artists go in the studio and say, ‘OK, whaddaya want me to do? Is it gonna be a hit? I’ll do it. Is it gonna get played on the radio? I’ll do it.’ So they start makin’ these songs, and they fall in the same tempo, same category, same this, same that, and it’ll just all sound the same.
I’m the kind of person who can hear that stuff. If you sing along to the radio and you’re not going to sing unison with the melody, but find the harmony, I find that pretty easy to do.
You know, I do music. If you look under the hood of the industry I’m in, it’s all based on technology. From radio to phonographs to CDs, it’s all technology. Microphones, reel-to-reels, cameras, editing, chips, it’s all technology.
Somehow you can tell the difference when a song is written just to get on the radio and when what someone does is their whole life. That comes through in Bob Dylan, Paul Simon, Willie Nelson. There is no separating their life from their music.
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 were influences in my life that were more important than journalism, such as comic strips and radio.
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.
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.
I had a hit single on the radio for 30 days before I graduated from high school.
It’s really hard in this day and age, with radio and MTV being so consolidated, to get new music out there. I think we’ve become a really legitimate, viable avenue for getting new music out there.
It’s nice to have video play, radio play but as long as I can work my virals on the Internet, or yet get it out to where people hear it and can see it anytime, I’m cool.
We had nothing, no television, no radio, nothing to get in the way. We read by the streetlight at the top of the lane, and we acted out the stories.
I grew up in New York City in the ’80s, and it was the epicenter of hip-hop. There was no Internet. Cable television wasn’t as broad. I would listen to the radio, hear cars pass by playing a song, or tape songs off of the radio. At that time, there was such an excitement around hip-hop music.
I was in Ann Arbor, and I was told that this singer-songwriter guy wanted to meet me. It was Kurt Cobain. Nirvana had just made ‘Bleach.’ Kurt interviewed me on a college radio station. It was very strange. He was a fan of mine, and he gave me his album.
We hadn’t heard anything about registering to vote because when you see this flat land in here, when the people would get out of the fields, if they had a radio, they’d be too tired to play it. So we didn’t know what was going on in the rest of the state, even, much less in other places.
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.
The folk that you get on Radio 1 isn’t the sort of thing that I’m into: it’s kind of too uptempo and jaunty for me. I prefer a bit of atmosphere and a bit of darkness.
When I got my first guitar, I played along with everything I heard that had guitar in it, like the Ramones, Nirvana and Sublime, as well as whatever hip-hop and R&B stuff was on the radio.
With the coming of radio as a mass medium, suddenly the world changed. It became about, ‘Can this leader project emotional connection through the way he speaks on the radio?’ And the anxiety about whether he could do that, we’ve inherited.
On the average, I don’t spend more than 15 minutes in the car – to go to the golf course or the gym. And that’s the only time I listen to the radio.
Yes, I get a report from BMI about the frequency of performances, and it is very surprising. They played one of my most advanced pieces, and one of my most unusual ones on the radio.
My older brother was into Creedence Clearwater Revival and ZZ Top, and my sister was into pop radio. So somewhere along the line, I got into Ozzy Osbourne, REO Speedwagon, Heart, Pat Benetar, Journey.
They advertise on the radio for food stamps!
Whatever had been on the radio in the ’60s; I mean we were always listening to the radio.
I love sports. Whenever I can, I always watch the Detroit Tigers on the radio.
The college stations have a big voice, and I would like to become more involved with them. I would like to have symposiums with the members of various college radio stations.
But I never had that commercial opportunity to be played on the radio, so how could I be popular?
Growing up in the icy isolation of Hibbing, Minn., Dylan, who was still Robert Allen Zimmerman then, found comfort in the country, blues, and early rock ‘n’ roll that he heard at night on a Louisiana radio station whose signal came in strong and clear.
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.
Gossip is the Devil’s radio.
I want to go back to the format that radio started with rock n’ roll, with country artists and rhythm and blues with that oldies type feeling. I want to put it all together and create a Top 40 of rhythm and blues and country and straight blues with Wolfman at the reins.
I could always sing, from a really young age, but my voice was really weird. I used to make my mum turn up the radio every day in our house. She was well into music so I got that from her.
About 25 years ago, I was in an apartment, and next door, they put on the radio, so I struck the wall with my fist, but they did not put the radio down. I took a tool and banged until I made a hole through the wall. It was like a comedy movie.
I do it because I love acting, I love working, and whether it’s radio, television, films, theater, I don’t care as long as I can get out there and do it.
The reason I wrote political satire was because I thought it – politics – was important… that public policy was important. Then I transitioned into books, then into radio.
First job I had, I was 17 years old. I was primarily the mail room boy at the radio station. An FM station. And in those days, nobody listened to FM.
People in America, when listening to radio, like to lean forward. People in Britain like to lean back.
Before, I was more concerned with getting on the radio, like many young artists.
Ronald Reagan is clearly to television what Franklin Roosevelt was to radio.
Personally, I just think rap music is the best thing out there, period. If you look at my deck in my car radio, you’re always going to find a hip-hop tape; that’s all I buy, that’s all I live, that’s all I listen to, that’s all I love.
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 wanted to be Stan Laurel, then I wanted to be Fred Astaire and then Captain Kangaroo. I actually started out as a radio announcer when I was 17 and never left the business, so that’s literally 70 years.
They keep the song as street as it needs to be. It’s got a good catchy hook where it can do what it needs to do on the radio, but they keep the song street where it will keep credibility in the hood.
I don’t mind being interviewed on television or radio.
It used to be radio was the place that young people gathered to get their information.
I was lucky enough to grow up in an era when radio was less formatted. It was really special. You could hear a jazz song then a pop song then a show tune then some jazz. Basically, whatever the DJ felt like playing, he would play. He was educating you and exposing you to things you would never hear otherwise.
The same music is playing on the radio in San Francisco, New York, Washington DC and Annapolis. Everywhere you go there’s the same artists and same songs by them, over and over again. At some stations they play the same songs 50 to 60 times a week.
Rodgers and Hammerstein didn’t mean anything to me. I just wanted to have a hit, I just wanted to be like those people on the radio. It was all of a case of the present tense with no projecting into the future, particularly.
I wrote a lot of stuff quickly: pages and pages of notes that seemed pretty incoherent at first. Most of it was taken from the radio because -suddenly being a parent- I’d be confronted by the radio giving a news report every hour of the day.
When radio stations started playing music the record companies started suing radio stations. They thought now that people could listen to music for free, who would want to buy a record in a record shop? But I think we all agree that radio stations are good stuff.
