Every week, as an 11-year-old kid, I would tune in to what was really the first American Idol-type program, a radio show called 'Major Bowes' Amateur Hour.' The winning group on the evening of September 8, 1935, was called the Hoboken Four, and their spokesman was Frank Sinatra, then aged 19.
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.
I listened to a battery radio, old country and pop stuff. Because I was singing all the time, my dad bought me a $7.50 guitar.
I was so naive in radio technique that I knew nothing about timing. I would write pages on Honus Wagner and then get only half through by the time the show ended. I eventually learned, but there was nobody there to school me.
When you find real jazz on the radio dial, it comes in all static-y. It's just like tap dancers. You have to go uptown to find the real hoofers. We only come to midtown if we're called upon.
At times when I am myself sitting at a retreat, and at the end I get into my car to drive away, I watch my hand move forward to turn on the radio. When I can be mindful, I notice the fact that I actually don't want in that moment to listen to the news or hear some music.
There's nothing like live radio. I like the challenge. Throw it my way. Let me go!
We were lucky in the days of Led Zeppelin. Each album was different. We didn't have to continue a formula or produce a certain number of singles. Because, in those days, radio was still playing albums. That was really good.
You still have Top 40 radio now, but it's 40 different stations. There aren't many hits that everybody knows, and there aren't many real superstars.
In the field of higher ed, many have asked whether (or when) digital education will replace on-campus education. I wonder the opposite. Cinema never replaced theatre. TV didn't replace radio. I wonder how different digital education will be from classrooms, and where it will lead us.
I went in, and there, in the front room, a converted bedroom, sat the first radio I had ever seen. The equipment was so bulky that it took up one entire wall of the bedroom. The set, which could send or receive signals, was tuned to KDKA in Pittsburgh, and I remember being completely flabbergasted at the thought of sounds coming from that box.
I once went on the most grueling radio tour. Living in hotel rooms, sleeping in the backs of rental cars as my mom drove to three different cities in one day.
Radio's a scary thing for me. It's dope to be on there.
The luxury of radio is that you don't spend hours in make-up, and you can wear whatever you want. It's bizarre. You'll be saying lines, with various people around making sound effect noises.
After the war, I went to the BBC monitoring service in Caversham, a suburb of Reading. It was a big aerial system to listen to radio programmes all over the world.
I've been a radio reporter for ten years, and if I learned anything from my time at 'This American Life,' it's how to craft a narrative so that even if the ending is ambiguous, it is somehow satisfying.
In most science-fiction pictures, the black guy is either an engineer or a radio operator, and he is the first guy killed - gone from the movie.
My first job on the radio was writing jokes for a Baltimore DJ called Johnny Walker, who was sort of a '70s era shock jock who all the teenage boys listened to in my school.
So much of a stand-up's life is doing live radio and having to be funny and quick on the spot with these strangers, and sort of surgical in terms of how funny I can be in three minutes.
In the '90s, the radio was still alive with all different kinds of points of view, and I think that's why people are longing for that time. It was the first time that alternative music broke through to the mainstream.
The tough thing about radio is I've met a lot of people in it who like my music. But it's hard for them to figure out how to play what they like when there's somebody up above them yelling 'you have to play this.'
I do not find it easy to articulate thoughts about religion. I remain the sort of person who turns off 'Thought for the Day' when it comes on the radio.
Growing up, I actually wanted to be a professional baseball player instead of a radio DJ. Believe it or not.
I'll hear us on classic rock radio stations, and I'll go, 'Oh, my God, we're getting old!'
I don't think I ever heard music playing when I was younger, other than the radio. My parents got me a Walkman and stuff like that, but I was always way more into listening to music than they were.
I've shaken hands with every radio station, from Honduras to Ryan Seacrest's.
Here is what the practical impact of Citizens United means. What Citizens United means is that corporations call hundreds of millions of dollars into television ads, radio ads, and other forms of advertising to defeat those candidates who stand up and take them on.
I don't know - I don't listen to the radio that much. I really am an old-soul kind of girl.
The talk shows I've done are all radio for exactly this reason: I don't want to wear a rubber mask.
They are going to be playing Shaggy and Scooby-Doo for eons and eons, and they're going to forget Casey Kasem - unless they happen to step on his star on the Hollywood Walk of Fame. I'll be one of those guys people say, 'Who's that?' about. And someone else will say, 'He's just some guy who used to be on the radio.'
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.
I really like the old stuff that I cut my musical teeth on, and I loved it when the industry was just like that, without really a genre. Today, country radio's more aimed at a demographic than a genre. It just softens everything.
Although I could read before I went to school, and I won the school reading prize at five years old, my early children's stories came from the radio and watching films at a cinema on Saturday mornings in Australia. It wasn't until I was nine years old on a ship returning from Australia that I was introduced to children's books.
As a young actor, I would be invited to the CBC radio drama department to do voices for different characters, and I found that I could do quite a few of them. I wasn't a visual presence, and I found it easier to construct a voice from the written page.
I am probably the last of a generation able to gain an education in country music by osmosis, by sitting in a '64 Ford banging the buttons on the radio.
I'm going to make country records back to back for a while - until country radio doesn't want me anymore or until I get my own theater in Branson - one of the two.
