Top 1200 Radio Stations Quotes & Sayings - Page 6

As a touring musician over the last 15 years, before streaming and iPods, you had to listen to terrestrial radio wherever you were. That's always been my way of connecting to a location. Turn on the radio, search through the dial.

He flipped the dail, and I crossed my arms over my chest as some vaguely European-sounding band sang about how video had killed the radio star. I wished someone would kill this radio.

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.

The fact that radio is so hopeless at delivering data makes it an uncluttered medium, offering the basic story without the detailed trappings. But it does mean that if data is important, radio is probably not your place.

I walk around every day with a radio playing constantly in my head, and this radio station plays a lot of hits. But it's all my songs, so that's something to be excited about 24 hours a day.

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.

I rarely listen to commercial radio, and when I do, I'm shocked by how many ads there are, and how annoying they are, and how bad the radio station usually is.

A radio telescope pointing at the sky receives radiation not only from space, but also from other sources including the ground, the earth's atmosphere, and the components of the radio telescope itself.

When I say I don't have to write pop songs anymore, there's no way I'm going to get on the radio at 60 years of age unless I'm doing a duet with Gaga or I was on 'All of the Lights,' which was a Kanye West record that managed to get on the radio.

In the US, commercial interests stole the airwaves early on, before public broadcasters could get a stab at it. And the deal that was made with public broadcasting was, "Okay, we'll allow there to be a handful of public stations to do the educational programming that commercial broadcasters don't want to do, but the deal is they can't do anything that can generate an audience, anything that's commercially viable." Anything they do that could be commercially viable could be considered unfair competition to commercial interests and should only be on the commercial stations.

With the coming of radio as a mass medium, suddenly the world changed. It became about, 'Can this leader project emotional connection through the way he speaks on the radio?' And the anxiety about whether he could do that, we've inherited.

I couldn't tell you what the standing is in radio, I'm in the streaming world. I'm in the podcasting world. Radio just sounds archaic almost. It's a never-ending battle. I'm so glad I'm retired so I don't have to see the nonsense.

My brother was a radio jockey while I was studying law. I have assisted a lawyer at the High Court. But I decided to give it up. I cleared auditions for radio jockey in the first go, and within a week, I was on air.

The thing that interests me least about the radio business is the radio business. But I've had to learn a little bit about it. It's not rocket science: You get ratings, that's good.

The people in Atlanta, they're not really up on the blogs. A few people are, but it's not super crazy. In Atlanta it's still very much radio. When they hear it on the radio, that's what it is.

In 'Changeling,' I tried to show something you'd never see nowadays - a kid sitting and looking at the radio. Just sitting in front of the radio and listening. Your mind does the rest.

After the fifth show as Hogan, my radio appearances had shriveled down to two a week Monday and Friday. One afternoon I stood before the camera, and I was so tired I couldn't remember a line. The next morning I said goodbye to radio or a while.

My local radio station, WHOC, Philadelphia, Mississippi - '1490 on your radio dial, a thousand watts of pure pleasure' - it was a beautiful station. And I loved everything I heard. But it was country music that touched my heart.

Everything I ever needed came out of a radio and a dashboard. My Mount Rushmore of what was cool came out of a radio - Trisha Yearwood, Patty Loveless, Mark Chesnutt.

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.

I've done a show at the Largo Theater called The 'Thrilling Adventure Hour.' We read, like, radio teleplays. It's a send-up of radio dramas from the '30s and '40s. We just did a Kickstarter for that so that we can do a web series and a concert film.

If I had five million pounds I'd start a radio station because something needs to be done. It would be nice to turn on the radio and hear something that didn't make you feel like smashing up the kitchen and strangling the cat.

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.

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.

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.

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.

I grew up in the age of radio. That was my main boyhood form of entertainment: lying on the living room floor with my ears affixed to the radio. I loved shows like 'The Phantom,' 'Cisco Kid,' and even 'Happy Theater' when I was younger.

When I was very small, maybe 8 years old, we had a big radio that stood on four legs, and it had a cross piece underneath it, and I used to take a pillow and crawl under the radio.

I started radio in 1950 on the Lone Ranger radio program, a dramatic show that emanated from Detroit when I was 18 years old and just beginning college. I did that for a couple of years.

When I say I don't have to write pop songs anymore, there's no way I'm going to get on the radio at 60 years of age unless I'm doing a duet with [Lady] Gaga or I was on All of the Lights, which was a Kanye West record that managed to get on the radio.

In January of 1995, my family and I moved to Seattle. Pearl Jam did the first of their live radio broadcasts, Monkey Wrench Radio, along with many other Seattle musicians.

I was a grunt, walking around in the jungle of Vietnam, trying not to find the enemy. Because I am so big, they were going to give me either a heavy radio or a huge machine gun to carry. I carried a radio.

In order to progress, radio need only go backward, to the time when singing commercials were not allowed on news reports, when there was no middle commercial on a news report, when radio was rather proud, alert and fast.

There's no passive success on radio. Well, in radio, one of the ways in which you engage people and make them active listeners and have them glued so that they don't want to do anything else, you have to find ways to incorporate this mystery called the theater of the mind. And it's the one ingredient that radio has that television does not that if used properly, if perfected and learned and executed properly, it can have a much greater impact than TV because it can create a much more intimate, direct connection with the audience.

You have more freedom on radio. When people used to tell me they preferred radio to TV, I always thought they were making the best of things because they couldn't get any telly work, but now I understand, sort of.

Sonically, musicians always go above and beyond in our efforts to disrupt radio. It's always about being different. Our radio is never conventional anyway.

I've managed stations.

I used my mother's radio as a PA system. I'd take the telephone, the speaking part, and take those two leads off and lead them into the radio and the sound would come out of the speaker.

The idea of a radio station that is still programmed by human beings where the actual deejay gets to choose depending on his or her own taste and interests is the way radio used to be, but is now a revolutionary concept - and something we've been committed to all along.

I learned the power of radio watching Eleanor Roosevelt do her show. I used to go up to Hyde Park and hold her papers. I was just a messenger, but it planted the bug of radio in me.

Country radio certainly widens the boundaries of what I can do. Other artists may do something more edgy that gets on radio and that opens the door for me to be more edgy, I think.

We're enlarging in every single area of the ministry at In Touch. We're on radio and television. We're in over 110 million homes in America plus radio on satellites. We just acquired the NAMB FamilyNet television network, and with that expanding possibilities of the gospel.

Every time I went on the radio, I would take the crummiest radio station, the station that was like a toilet bowl. I would go on there and build up the ratings, so you couldn't do any worse.

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.

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.

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.

I can't live without Radio 4. It's worth the entire licence fee. I'm an obsessive listener; I get up, and Radio 4 goes on, but it goes off when 'Thought for the Day' starts, as that's a step too far.

I wonder if this reason is partly geographical, that talk radio is so much more successful in North America than in Britain? People who are very remote - I'm thinking of Newfoundland - feel very connected though the radio.

I have listened to college radio quite a lot. I never went to college, so actually the college radio station is sort of like the closest I got to some kind of college experience.

I still love the radio. I think the radio is still an important thing in music.

Not owning a car anymore, I feel like I'm barely an American. I miss it. And I barely ever get to listen to the radio in the car, which is the best place for radio.

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.

There is no line of demarcation between the amateurs and the pros; everyone is using the same tactics and playing in the same arenas. The only thing that separates them is radio, but the artist doesn't control who goes to radio and who doesn't.

I was doing a late-night round as a milkman in 1978 when I heard a radio DJ announce that he was leaving. I marched straight to the radio station and told them I could do better. For some reason, they gave me a go.

The great thing about animation is it's like the radio. I used to do lots of radio when I was a kid, and you get to play parts you would never get to play ordinarily.

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.

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.

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!'

My access to music when I was growing up was through pirate radio, you know, transistor radio under the pillow, listening to one more and then 'just one more' until your favourite track comes on.

Guys hurt us first! There's always more to the story. We don't have that on the radio. You can't turn on the radio and hear what's really going on. You're going to hear the perspective from a guy.