A Quote by Jim Breuer
The faith world to me is like a radio station. It's there. And if you want to plug in and listen to it, kind of tune into it, it can definitely be helpful. I don't know if it's an energy? I don't know what it is, but it fascinates me.
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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 don't know if people would be surprised by this or not, but I'm kind of into nutrition and weight lifting. I know I'm kind of a slender man, but the human physique fascinates me, and learning about metabolism.
When I was at Capitol - and this was not Capitol's fault - I was aiming, you know. I would listen to country radio and go, 'What version of me does radio want?'
And then, one day, they program a new tune, and it really catches your ear, you know, because you can be doing the washing up or something, you know, in your apartment and suddenly you go, whoa, what are they playing in there? And you run to the wall, but it's finished - but the song's finished. You only heard enough of it just the pique your interest. And you never know when they're going to play it again, of course, like a normal radio station.
I listen to NPR when I listen to the radio, but I don't listen to the radio that much. You know, I listen to Garrison Keillor, I listen to 'Prairie Home Companion.'
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.
Listen to me. I’m shy. I’m not stupid. I can’t meet people’s eyes. I don’t know if you understand what that’s like. There’s a whole world going on around me, I’m aware of that. It’s not because I don’t want to look at you, Lucinda. It’s that I don’t want to be seen.
I know with Gary Ross especially, he kind of gave me pointers here and there, but he kind of let me become firm in any way that I needed, and he just let me try things and to explore what I can do with my acting. So that was very helpful.
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.
Think about when you listen to a song on the radio. You are not paying for it; it's not illegal to do it, because the rights have been paid for on top, beforehand, by the radio station, by the network. We have to find exactly the same kind of system with the Internet.
[on River Phoenix] I would love to see what kind of choices he would be making now if he was still around, some of the characters that he would have played. I mean, to me he was like a rock star, you know, he had it all: he had the looks, he had a great name, he had an attitude, an energy, an excitement about him. He was instinctively like a, he was a rebel, you know? He was kind of Bob Dylan to me, at times, and he had a lot to say. And I've never seen too many interviews by him, but the ones that I saw were pretty electric, pretty... he was switched on, definitely.
The daily calendar seemed, to me, like a kind of cartoon black hole, and you didn't have to be a rocket scientist to know that that couldn't be sustained indefinitely. That's why I pulled the plug on that one after the '02 edition. Kind of a preemptive strike.
Kurt (Cobain) was a fan of my standup, which was pretty weird. I know when people hear that, it's kind of like finding out that Jimi Hendrix really liked Buddy Hackett, but he interviewed me at a college radio station before they broke and did Bleach. And then, like, about two years later, I was opening for Nirvana at these huge sports arenas.
We listen to oldies when we go on tour. Beach Boys radio was really clutch; that was definitely our favorite Pandora station.
I want to be like Ford Madox Ford. I want to be talking to somebody across a fire, and I want him to join me and listen to me, and if he is fidgeting in his chair, I know I am not doing my job. I am a storyteller, and I know most people like a story.
I was the class clown, you know, that kind of thing, and I gathered around me a group of guys who also were silly. I was in all the plays and everything. But I don't know, at that time show businesses looked like the moon, you know, it was so far away. I wanted to be a radio announcer.
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