Top 1200 Radio Plays Quotes & Sayings - Page 4

The radio for these women is like television is for us today, which is really like looking at the radio.

When I started in radio, I worked for free. I lived at the radio station. Then I worked for very little money.

Robert Lewandowski is a player who plays in front of the opposing goal, especially with his back to the opponent. He is always attacked, and this is one of the big strength of a striker who plays in this position.

For me, the monologue was the favorite thing I had done in radio. It was based on writing, but in the end it was radio, it was standing up and leaning forward into the dark and talking, letting words come out of you.

Radio is not a partner in the industry. I think that the music industry has continued to depend upon radio, but has ended up pandering to a medium that doesn't care.

The plays that I performed in the '70s are not the same plays that I perform today. However, what they have in common is a solid foundation of a story, and good, healthy comedy.

I write plays, and I have a musical that's starting to get produced now. That's what I would love to do, but it's so hard. The only reason people are reading my plays and musicals is because I'm in movies.

As early as I can remember, I would put on plays with my cousin and make my dad record them. In kindergarten, I started doing the school plays, and it just continued.

Yeah, but you need an experienced radio veteran who is a liberal advocate. And there just hadn't been any radio that did that. And so they weren't trained - they had developed all these bad habits of being objective and balanced and stuff like that.

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.

We'd record a song that people liked and wanted to hear on the radio, and the radio wouldn't play it because it was too long. Or they wanted to edit it, which we wouldn't allow.

My parents are musicians. I was listening to the radio and recording songs off the radio on cassette tapes and playing guitars and pianos. Just emotionally responding to music from a very young age.

Radio dramas have disappeared. What we do have now is books on tape, which I find wonderful. I've done some of those. Otherwise, radio acting is now gone.

I don't do plays without jokes anymore. I've retired from those plays. I think it's bad manners to invite people to sit in the dark for two and a half hours and not tell them the joke.

Every time I turn on the radio, I must be on the wrong song or something. But, to be honest, since I went on the road back in 1970, I didn't listen to radio music because I didn't want to subconsciously steal somebody's stuff.

As far as the radio waves part of the spectrum, we can do these adequately from the ground because the atmosphere is basically transparent to our radio waves.

I always used to put on plays when I was younger for my family to watch, when I was 10 or something. I used to force older members of my family to watch the plays and younger members of my family to be characters in the plays - and my personal favorite was Batman.

I think new plays are vastly more surprising and challenging and inspiring; I hear from audiences all the time that they are delighted when they see plays about the world we live in now, at this moment.

I used to listen to the radio, and when I was about 18 years old, B.B. King was a disc jockey and he had a radio program, 15 minutes a day, over in West Memphis, Arkansas and he would play the blues.

Plays, especially great plays, yield their secrets over a long period of time. You can't read it three times and say, 'OK, I got it. I know what's happening.'

I didn't act in Israel, but I wrote plays at home and acted in plays at school. I tried to get an agent when I was 12, but they told me that I had too much of an accent.

I grew up in Los Angeles, where long drives on packed freeways make everyone a fan of radio and, particularly, of America's national treasure, National Public Radio.

If not for radio, I'd probably be working at the local supermarket doing who knows what. But after I got that first break at 16, I was not going to do anything else. I had my mind set on radio one way or another.

I feel like we're very lucky in the sense that Dawes can be the kind of band that plays with Bright Eyes or M. Ward but that also plays with Bob Dylan.

The plays I remember are the plays I made a mistake.

Plays were really my last option. The reason I didn't write plays initially was because I thought theatre was the worst of all the art forms.

I love Fincher, as he has a great atmosphere and intensity. Also, I grew up watching Hitchcock movies, and there was something elegant in the way he plays with you and plays with the character and tricks you.

For people starting public radio shows, one of the things you have to do is you have to talk every single public radio station into picking you up.

We've never tried to write radio hits. If I hear our song on the radio, it's cool, and I'm proud, but it's never a goal.

The podcast was kind of an afterthought, because I was just excited about being on the radio. Then I found that the podcast listenership is some 20 times what people are listening to on the radio.

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.

'Soul Train' was developed as a radio show on television. It was the radio show that I always wanted and never had.

I have a radio show for the Sirius Satellite Radio Network. It's an interview show. It's called The Spectrum.

For early plays of mine, I started with character. But I think that's because I hadn't been in theaters; I hadn't worked that much. I'm very interested in character, obviously, but once I started having my plays produced, I became so fascinated by the theatrical experiment and the weirdness of theatrical space, so now all my plays start with space and stage picture and setting - or container is maybe the better way to put it.

I've been doing radio since I was 18, and I've been unemployed four times from radio for various reasons.

I used to listen to the radio, and when I was about 18 years old, B.B. King was a disc jockey and he had a radio program, 15 minutes a day, over in West Memphis, Arkansas, and he would play the blues.

As a kid I loved to listen to the radio, later I became a radio artiste and would listen to the BBC.

Radio astronomers are aware in the back of their minds that if there are other civilizations out there in space, it might be the radio astronomers who first pick up the signal.

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.

The videos are sometimes the only way for people across the country and different places to see and hear the music. They may not get the same radio stations or they don't get the same TV channels, they don't have the same MTV that plays the same music. People will use to the Internet and that's why YouTube and stuff like that is so important.

But in 1941, on December 8th, after the Japanese attacked Pearl Harbor, my mother bought a radio and we listened to the war news. We'd not had a radio up to that time. I was born in 1934, so I was seven years of age.

When I first heard my song 'Georgia Peaches' on the radio, I opened up the car windows and started screaming to the other people on the road, 'My song's on the radio!' Of course, I wasn't driving.

My family were symphonic musicians and in the opera. Also, it was my era, the love of radio. We used to listen to the radio at night, close our eyes and see movies far more beautiful than you can photograph.

Radio people can't entirely shake off radio habits when they start doing podcasts. They sometimes bring with them things we don't need, like producers and explanatory voiceovers.

The greatest joy I get is setting up plays for somebody else. I take a lot of pride in helping other people make plays.

There weren't many plays for me. A lot of my stats came off broken plays, or when I didn't allow the options to play out and just took the shot.

The world I live in is benefiting from things like satellite radio. Jazz and blues fests are everywhere now, and Americana is going strong on college radio. What I'm hearing is an appreciation of real music.

I had no trouble going from radio to TV - I just thought of TV as radio with pictures.

Some of the guys in Stone Sour, I think they just want to be a radio band and write strictly for radio and try to be more of a poppy rock band. And that's not really what I'm into.

Francis Ford Coppola did this early on. You tape a movie, like a radio show, and you have the narrator read all the stage directions. And then you go back like a few days later and then you listen to the movie. And it sort of plays in your mind like a film, like a first rough cut of a movie.

I don't think I ever won't do radio. I feel like, between the radio, the podcast, the books, even social media, you have to be a personality eleven places now, or you're not a personality anywhere.

As you know, in the past several years, month after month, radio has increased its revenues - some of it even coming from Dot-Com advertisers. So, radio is a survivor.

I didn't get anything published until I was thirty-three, and yet I'd written five novels and six or seven plays. The plays, I should point out, were dreadful.

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?'

Radio was supposed to die in 1945, when TV came along. It turns out that radio grew and grew, and it's a bigger business today than it has ever been.

I'm not trying to dog any artist or genre, but to me, there is a lot of diversity missing from the radio. I miss turning the radio on and getting punched in the soul with a great lyric.

I understand the plays, the depth, the routes, the splits and everything. I just feel good that I can make some plays. Definitely, the game's slowed down for me.

In Africa, you only have an independent media in only eight African countries, so there is very little transparency. The best gift that rich countries can give Africa is Radio Free Africa and Radio Free Africa will do for Africa what Radio Free Europe did for Europe.

Soul Train' was developed as a radio show on television. It was the radio show that I always wanted and never had.

Growing up, there was only classical music on BBC Radio. We had to listen to the American Forces Network in Germany, which played pop songs, or the pirate radio boats off the coast.