A Quote by Ira Glass
It took, for me, a long time to develop this idea of what to do on the radio. But from the beginning of my time in radio, I had pretty non-traditional tasks.
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My father being a Caribbean minister, one day I stole the radio. The radio that I stole, I took it to school, showing off how big this boom box was and how bad I was at the time. Once my father figured out where I left the radio, he then got his belt and he walked me, he beat me all the way to where I had hid the radio, and with the boom box.
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.
I was really amazed when I started hearing 'Songbird' on the radio. I couldn't believe that the record company promotion department had actually convinced radio music directors to play it -because there wasn't anything like it on the radio at the time.
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.
Listen- my relationship with radio on a personal level is nothing but a one way love-a-thon... I love radio, I grew up on radio. That's where I heard Buddy Holly, that's where I heard Chuck Berry. I couldn't believe it the first time I heard one of my records on the radio, and I STILL love hearing anything I'm involved with on radio, and some of my best friends were from radio. But we were on different sides of that argument, there's no question about that.
Voiceover work reminds me of old-time radio. When I was little I used to sneak and stay up at night and listen to Mystery Radio Theater - I loved all those old radio plays.
I grew up in the suburbs and was raised on rap radio, so it took me a long time to stumble upon the acoustic guitar as a resource for anything.
Because we spent so much time in the States in the beginning, we weren't able to do so much in England. It was slower catching up. And we didn't have radio here like what was called underground radio over there. So we got these little slots on the BBC.
I was mugged when I was 12. I had a portable radio, and I ran into this building and these two guys came in and hit me, busted me up and took the radio. After that I was very paranoid and I started taking kung fu and karate. But I didn't want to fight.
'Boneless,' even though we were thinking about servicing it to radio, it made more sense putting a vocal on there. This was actually the first time that I really looked at doing a song for radio and kind of let go of some control and listened to a lot of different radio pluggers and had Ultra come in and help out with ideas.
I myself grew up when radio was very important. I'd come home from school and turn on the radio. There were funny comedians and wonderful music, and there were plays. I used to pass time with radio.
Every time I meet people working in radio, I'm a little embarrassed. It's all pre-programmed, rigidly formatted stuff. Time and time again, when I talk to jocks, they say how jealous they are of the freedom we have on WKRP. I sometimes have to explain to them that it's not a real radio station.
Radio in my beginning days was going into a room for four hours, playing a bunch of music, and screaming about the artists... radio now has come out of the radio, on to the net, and on to video and on stages; it's a multiplatform thing. It's nothing I expected ever to see.
As much as I enjoy TV, I've always loved radio. And I love doing the NFL games, the Monday night games, on radio. Because you are the game. I really enjoyed calling basketball and hockey on the radio, but the presentation is more specific - you're talking all the time.
I became a radio nut. I loved the afternoon serials, and I got into jazz through the radio. I had a subscription to Down Beat when I was 12. And I'd spend a lot of time in front of the minor, miming records.
The late '90s were a really bad time for people trying to be rock stars, you know what I mean? It seemed like everyone was a one-hit wonder on the radio. We had friends who had a hit single on the radio and sold 500,000 records, and then they couldn't get arrested a year later. I had this feeling at the time that that was not possible anymore, so the idea of becoming the biggest band in the country—it seemed laughable. I felt that having those sort of ambitions was foolish, because there was no way that was going to be possible. If you saw it that way, you were just deluding yourself.
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