A Quote by Bebe Rexha
When I was a little girl, my dream was just to hear my song on the radio. It was very fascinating to me, and I was like, 'How do I do that?' Now it's like, 'Oh my God, my song is on the radio!'
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Just A Girl' was the first song that was on the radio for us. That was incredible because to hear that song on KROQ-FM in L.A., where we grew up, and you've listened to KROQ your whole life, and then to hear it on the radio was unbelievable.
It's one thing when you're driving to go play at a radio station and you hear it on that station. It's another thing when you're just out in the middle of nowhere, and the song just comes on the radio, and you're like "Oh my God!"
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.
People ask me what's like to hear our song on the radio. I don't know, I don't listen to the radio
I feel like, when you turn on the radio and you hear a great song, you know it's a great song, and you sing along. We all know what a great song sounds like, so we all have that instinct, it's just being able to accept your own instincts when you write that song.
I think there's just so many people in the world that don't feel understood, and when you hear a song and you go, 'Oh, that song understands me,' that's an amazing feeling. I get it when I listen to the radio... That's a beautiful part of music.
I think there's a weird self-affirmation thing that happens in popular music in general. It seems like every song I hear on the radio is like, "Listen to me roar!" or "This is my fight song!"
When I hear other artists talk, they talk about 'How come radio's not playing my song?' Well, you have to look at it under a microscope and know that each station is just trying to do what's right for their market, and it's scary for a radio station to add a song that they don't know how well it's gonna do for them.
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.
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 feel like this song [Yello, "Oh Yeah"] was probably done in a couple of minutes in a studio. There was probably no thought behind it; they were just playing with some samples and threw it together. I feel like there's no dream behind the song. Usually there's a dream or some kind of passion attached to a song. This song feels very empty. It made a lot of money for the songwriters but at the expense of culture.
The best thing you can do for a song is to hear it on the radio and to imagine what it could mean to you and then kinda forget the words. Just imagine how you felt when you heard it, if it was one of your songs. If it became one of your songs. If it meant whatever it meant for you and as soon as you see the visual, you get a rapid eye movement relationship with the song instead of an imaginative one. I think that can be dangerous because I don't think I'd want to be listening to a song on the radio and thinking about the video. Whatever that one interpretation was
The radio was on and that was the first time I heard that song, the one I hate. Whenever I hear it all I can think of is that very day riding in the front seat with Lucy leaning against me and the smell of Juicy Fruit making me want to throw up. How can a song do that? Be like a net that catches a whole entire day, even a day whose guts you hate? You hear it and all of a sudden everything comes hanging back in front of you, all tangled up in that music.
I wrote 'Turn Your Radio On' in 1937, and it was published in 1938. At this time radio was relatively new to the rural people, especially gospel music programs. I had become alert to the necessity of creating song titles, themes, and plots, and frequently people would call me and say, 'Turn your radio on, Albert, they're singing one of your songs on such-and-such a station.' It finally dawned on me to use their quote, 'Turn your radio on,' as a theme for a religious originated song, and this was the beginning of 'Turn Your Radio On' as we know it.
Well, what's interesting, I try not to think about the radio when I'm writing a song. I want people to love the song, and that means it might not be exactly thinking about the radio, but it's thinking about your audience and saying, 'I want people to like this song after it's done.'
It seems to be really trendy to get excited about a random-ass radio song. Which, I like radio songs, don't get me wrong. But I'm just confused at which ones seem to be heralded as some sort of genius-like concoction. It doesn't totally make sense to me.
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