Top 1200 Radio Waves Quotes & Sayings - Page 5

Explore popular Radio Waves quotes.
Last updated on December 19, 2024.
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.
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.
He was Jimi Hendrix! He didn't sound like anybody else but himself. He was like Charlie Parker in his way of playing, he played well, he was a person that made waves. When you heard Jimi Hendrix you knew it was Jimi Hendrix, he introduced himself in his instrument... You know, many radio stations play records and a lot of the times they don't call out the names who you just listened to, but when they play Jimi Hendrix, you don't have to tell me, [you know] it's Jimi Hendrix.
Record labels collude with some of the radio stations, and the radio stations have their play lists, dependent upon what they call the, quote, 'hits.' What's commercially viable gets recycled, endlessly repeated, and as a result of that, the progressive music can't break in.
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.
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.
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.
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. — © Susan Orlean
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.
I find it quite boring when you're listening to radio, and it's the same kind of voice that's on every song on the radio. You can't really tell a lot about that singer as a storyteller and about the singer from what they're singing.
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.
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.
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.
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.
Roadrunner, roadrunner, going faster miles an hour. Gonna drive past the Stop 'n' Shop, with the radio on. I'm in love with Massachusetts and the neon when it's cold outside. And the highway when it's late at night. Got the radio on, I'm like the roadrunner.
I gravitated toward being a funny guy. I liked the radio comedians. I lived in the Golden Age of radio, and the Golden Age of television came along when I was still in my early teens.
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.
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.
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.
The way radio is working right now, you can't put out anything just based on the producer's name. The general public and radio are so selective and focused on a certain genre and a certain set of songs that you have to have a great song to crack through all that.
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.
'When Doves Cry' came out - it sounded like nothing that was on the radio. 'Let's Go Crazy' was number one on R&B stations, and there's nothing that's been like that on radio since.
The lowest stress environment is the radio show. I am not on camera and I can let the music do the talking. The rest is more highly pressurized or in the case of writing, time intensive task. I say yes to all of it and like all of it but the radio show, by nature of what it is, is the least hassle.
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.
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.
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 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.
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.
Not every song of Lynyrd Skynyrd's was a single, but songs like 'Tuesday's Gone' and 'The Ballad of Curtis Loew' and 'Made in the Shade,' 'I Need You,' people learned those songs from the radio because radio played albums, not just singles.
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.
Back in the day, the album was king in many ways. And, of course, we were very tied in with the birth of FM/college radio in the States, and what we were doing suited the format of those young radio stations.
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.
When we form heart-centered beliefs within our bodies, in the language of physics we're creating the electrical and magnetic expression of them as waves of energy, which aren't confined to our hearts or limited by the physical barrier of our skin and bones. So clearly we're speaking to the world around us in each moment of every day through a language that has no words: the belief-waves of our hearts.
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.
I wrote a lot of stuff quickly: pages and pages of notes that seemed pretty incoherent at first. Most of it was taken from the radio because -suddenly being a parent- I'd be confronted by the radio giving a news report every hour of the day.
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.
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!'
What is happening, I think, it's really bigger than psychedelics, it's bigger than human evolution. We are not making the waves in this ocean. We are corks, riding the waves of the ocean. But we are privileged, by perhaps chance alone, to occupy a unique moment in the history of the universe. A moment when the universe goes through some kind of self-transforming, evolutionary, inflationary expansion. That's what's happening.
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.
Jamie Kilstein and Allison Kilkenny have created an important political radio show that balances humor and unreported news. At a time when media conglomerates dominate the airwaves, independent media like Citizen Radio is vital to national discourse.
We were number one most added at radio, when the single came out and that's much different. It took like eight months for any radio to happen on the first record, so a lot more support has happened right out of the box.
There was an era when people would turn on their radio and hear a radio drama. Now, you could be as scared by that as seeing it filmed. In those days, people used to sit by the fire and imagine what they were hearing. Everything is its own art form.
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.
It is as true for individuals as it is for the world itself: everything comes in waves. If you ride the waves of change, you succeed. If you ignore them, you fail. When the wave is down, most people resist it by trying to go up. When the wave goes up, you should go up with it. When it comes down, you go down.
The wave is the same as the ocean, though it is not the whole ocean. So each wave of creation is a part of the eternal Ocean of Spirit. The Ocean can exist without the waves, but the waves cannot exist without the Ocean.
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.
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.
I've been offered radio but never done it, partly because the radio ideas that I've been asked to come up with, I've thought about them and then converted them to telly things.
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.
I hear some new artists that sound country but the record labels and country radio lean more toward a more rock feel for what gets signed to a label and played on the radio. — © George Jones
I hear some new artists that sound country but the record labels and country radio lean more toward a more rock feel for what gets signed to a label and played on the radio.
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.
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.
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.
Thank God I've never been taken to task on a talk-radio show. I won't go on a talk-radio show.
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.
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.
I hate people eating on film. I hate it even worse on the radio, when people eat on the radio. I just can't stand it.
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.
Kazan was an old friend, I met him in 1938. He picked up radio jobs for eating money, so I met him on a couple of radio shows. Later on I was in a play he directed.
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