I started in radio. I enjoy the mental gymnastics that go along with matching voice to picture and vice versa and trying to accent the action as opposed to provide all of the action through my words. And that's really what play-by-play is.
It's easier to list Hollywood and TV people who don't have a radio show now, take less time to do that than to list those who do.
Sunday, if I'm lucky, I'll go to church or listen to some good spiritual advice on the television or on the radio. I take three or four baths to try to cleanse myself, so I'm fresh for Monday.
My radio show, I'd show up, I'd read the data, and I would have sound bites and stuff like that.
The anxiety is, "Are they going to come?" and when you get there and it's full you say, "I'm good. I can stop freaking out." But when it's four days out and they're scrambling to find more radio shows and Good Morning Phoenix and all these weird shows, then that gets very tiring.
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.
In my fifth-grade yearbook - it's right up there on the top shell - the last page says, "What about your future?" and under my name, it says, "When I grow up, I would like to be either an actor, a radio announcer, an impersonator or a comedian."
It seems to me that the modern painter cannot express this age, the airplane, the atom bomb, the radio, in the old forms of the Renaissance or of any other past culture. Each age find its own technique.
I booked my first studio at like 12 or 13. Somewhere in that season of my life, singing along with the radio became me wanting to be on radio, you know.
The party of Lincoln and Liberty was transmogrified into the party of hairy-backed swamp developers and corporate shills, faith-based economists, fundamentalist bullies with Bibles, Christians of convenience, freelance racists, misanthropic frat boys, shrieking midgets of AM radio, tax cheats, nihilists in golf pants, brownshirts in pinstripes, sweatshop tycoons. ... Republicans: The No. 1 reason the rest of the world thinks we're deaf, dumb, and dangerous.
Looking back on the event, I find myself thinking there are three approaches to journalism represented here. One is the "cool" approach of traditional journalism, including network broadcasting in which NPR is no exception. One is the "hot" approach of talk radio, which has since expanded to TV sports networks and now Fox TV. The third is the engaged approach of weblogging.
We are disturbed about the effect of the Jewish influence on our press, radio, and motion pictures. It may become very serious. (Fulton) Lewis told us of one instance where the Jewish advertising firms threatened to remove all their advertising from the Mutual System if a certain feature was permitted to go on the air. The threat was powerful enough to have the feature removed.
I do not buy CDs any more; I usually stream Internet radio. For movies, I hardly every buy any DVDS. I have a DVR, so just record things off HBO, Showtime and so on.
On the radio I listen to the easy-listening stations, the jazz stations.
I wrote my first short story for a competition and won second prize. Another competition came up and I won first prize. The first story was published in a newspaper. The second went out on radio.
I think 'All Out of Love' is my favorite song because it's been the most successful. It's been in about 30 movies, it's been a number one record, and it keeps getting played on the radio, it's always somewhere.
The deepest and most sincere feeling I get is when I meet an artist and they have that steel in their eyes and they have that fire and that passion and all they want is to be a star and to hear themselves on the radio.
It's quite interesting that in my growing up I had several influences. We had gospel music on campus. R&B music was, of course, the community, and radio was country music. So I can kind of see where all the influences came from.
I grew up in New York City in the '80s, and it was the epicenter of hip-hop. There was no Internet. Cable television wasn't as broad. I would listen to the radio, hear cars pass by playing a song, or tape songs off of the radio. At that time, there was such an excitement around hip-hop music.
The effect hip-hop had on me was enormous. I was exposed to it by happenstance. My father worked at a radio station in New York called WKTU Disco 92. It was the first radio station in New York City to play disco in the late '70s.
American media has just become talk radio, incredibly partisan name-calling and op-eds.
There is not a lot that keeps me glued to the radio as I used to be.
Quite frankly, I've always listened to the black side of the radio dial. Where I grew up, there was a lot of it and there was a lot of live music around.
I spent most of the year in the studio for electronic music at a radio station in Cologne or in other studios where I produced new works with all kinds of electronic apparatus.
If Mitt Romney can be pushed around, intimidated, coerced, co-opted by a conservative radio talk show host in Middle America, then how is he going to stand up to the Chinese? How is he going to stand up to Putin? How is he going to stand up to North Korea if he can be pushed around by a yokel like me? I don't think Romney is realizing the doubts that this begins to raise about his leadership.
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