When I was on the radio, I used to be able to go a lot farther than I can now. You don't really remember until you're on the radio again, sometimes in your old radio station and sitting with the guys you used to work with and you go, 'Oh yeah, I can't say these things anymore. I'm handcuffed.'
I had two different degrees: One in International Relations/Political Science and another degree in Radio and Television Production.
I've done a show at the Largo Theater called The 'Thrilling Adventure Hour.' We read, like, radio teleplays. It's a send-up of radio dramas from the '30s and '40s. We just did a Kickstarter for that so that we can do a web series and a concert film.
In the late '90s, R&B was dominant in the radio, and the white kids were taking it mainstream.
My love songs are very personal and quite weird. They don't really have the big radio hit choruses because basically they're my therapy, stuff I have to get off my chest.
'The Muppet Show' was huge. I watched it all the time as a kid, and I really loved the way they used music on that. I also remember hearing the radio in the car as a kid, like Stevie Wonder and Simon and Garfunkel.
The reporting I did was mostly entertainment or lifestyle. I took a very different approach than most reporters. I approached it more casually than you would think a reporter would. Now I'm a morning radio personality, and radio is really casual.
I've never been someone who's been given work because of the way I look or because I have some box office appeal. I get work because people know I'm swinging as hard as I can, trying to connect, giving it my level best. I have a face for radio, but here I am doing what I do.
Magic in cinema is a bit like ventriloquism on the radio.
I was invited to L.A. when I was 16 for a weekend-long songwriting session by a writer I had met through my voice teacher in Pittsburgh. My first hit, 'Hide Away,' was one of the songs written during those sessions. It was played for a radio rep who then started a new label; the song got a pretty organic start at radio and then took off.
Radio allowed me to be a creator, and TV stole that creation from me by literalizing - and to some extent limiting - my vision.
When you're working in public radio, you don't have any money to advertise.
I don't listen to the radio very much, but that could be because I don't have a car.
For Bobby and I to sing R&B and sound black was probably the stupidest thing we could do. White radio stations wouldn't play us because they thought we were black. Black stations wouldn't play us because they thought we were white. Any time you break ground, you go against the grain.
A tragedy's first act is crowded with supporting players, policeman scribbling in pads and making radio calls, witnesses crimping their faces, EMS guys folding equipment.
I used to come down from New Rochelle and go to Radio City. They'd have a floor show and a movie. I'm showing my age, but I saw 'Cat on a Hot Tin Roof' and 'Broken Arrow' with Jimmy Stewart. It was a great way for a kid to see a movie.
I've been singing properly every day since I was about fifteen or sixteen, and I have never had any problems with my voice, ever. I've had a sore throat here and there, had a cold and sung through it, but that day it just went while I was onstage in Paris during a radio show. It was literally like someone had pulled a curtain over it.
I have Time Warner, and I try to relax a lot and watch television a lot and everything. I really enjoy that. Listen to the radio.
I don't have an iPod. I mean, I have a couple. Doesn't everyone? But I don't use it. I need to because I go to the gym now, and I'm tired of listening to morning radio. I want some music! I do have a video iPod, but I don't use it either.
We're a gumbo of American music, and aren't ashamed to play pop or soul or rock because we all grew up on radio.
If ever there was a slamming of the door in the face of constructive investigation, it is the word miracle. To a medieval peasant, a radio would have seemed like a miracle.
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.
My father was a ham radio geek, and I remember the glow of the vacuum tubes from a Hammarlund receiver that became a hand-me-down to me.
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.
I did television for a very long time, but if you're on television, words don't count. What the eye sees beats the words. If you switch sides, from radio to television, you learn that the wordiness that you learn on the radio is useless or not nearly as powerful, and you have to learn to trust that the eye will just beat the ear.
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.
Radio is being dominated by records that are 120 beats per minute. R&B is about groove and soul.
I'm confused that there is a lack of faith in listening to and deciding what is a great song and instead going for these formulaic, bad songs over and over again. But that's what happened when people from beverage companies bought record labels and radio stations as opposed to people who love music owning record labels.
As Elton John, my days on pop radio are over, and I know that and I accept it and I'm not unhappy about it.
I have a lot of compact discs. I need them for radio play and convenience. Many bands and artists I am a fan of don't always release their work on vinyl, so I take what they feel like giving me.
As a kid, I wanted to be a sportscaster. On the radio. I loved the idea of painting a picture. I didn't want to be on TV. I wanted to be Jon Miller, who called all the Orioles games.
The very first time I ever heard anything of mine on the radio, I was in New Jersey, and I was in my teens. I did my first record, which was an old standard called 'My Mother's Eyes.' It was the old Georgie Jessel theme. I heard it on local radio out of Newark. And it was very exciting!
A moment for me that changed everything was hearing my song on the radio for the first time.
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.
I'm not on the radio all day long. I'm not on TV.
The power of a label and radio and a booking agency and all that - you never know until you experience it the first time, but being able to have a song on radio, but then go play a show for people that have heard the song on radio, and having it sung back to you, is - I don't know how to describe it.
