Just as someone who's been interested in radio and programming for so long, I can usually tell when an interviewer is doing a segment just to fill a programming slot. They ask questions, but they don't care about the answers.
Every time you go to see Hamlet you don't expect it to have a happy ending...you're still enthralled. (Interview BBC Radio 4 Today 17 October 2012.)
My first job on the radio was writing jokes for a Baltimore DJ called Johnny Walker, who was sort of a '70s era shock jock who all the teenage boys listened to in my school.
Listeners will wonder what an Englishman is doing on the German radio tonight. You can imagine that before taking this step I hoped that someone better qualified than me would come forward.
I was really small when jazz broke through in England and I can still remember sneaking off to the living room to listen to it on the radio - much to my parent's disapproval.
Integral to the orb is our low cost long-range wireless radio data system and a protocol that allows us to send this data over 90% of the US population every 15 minutes throughout the day.
When I talk about the Internet, it's because young people are there. TV and radio are still what moves the masses, and you can't ignore that. But you also have to feed that monster that grows daily, which is the Internet.
The bosses of our mass media, press, radio, film and television, succeed in their aim of taking our minds off disaster. Thus, the distraction they offer demands the antidote of maximum concentration on disaster.
'Nothin' on You' by B.o.B was the first song where I heard myself on the radio. I'd been trying my whole career to write a song like that, which incorporates live instruments with hip-hop and singing.
When Limbaugh entered the world of talk radio, the AM dial was essentially moribund. He turned it into a weapon for conservatism, and in the process, led the revolution that has ended in the disintegration of the old media monopoly.
We've been really lucky. We've gotten a lot of airplay over the years. I guess people keep requesting our songs on the radio, because Lord knows I don't do a whole lot to promote myself.
As a horn player, the greatest compliment one can get is when a person comes to you and says, 'I heard this saxophone on the radio the other day and I knew it was you. I don't know the song, but I know it was you on sax.'
I remember driving the tractor on our farm, and Tim McGraw would be on the radio. I'd find myself walking out of class, singing his songs. And then Tim ended up playing my father in 'Friday Night Lights.' It was surreal.
I remember that in '81, country radio was pretty pop, and everybody wanted a crossover record - and all of a sudden it came back to traditional. Now it's kind of swung the other way a little bit, but it always comes back.
While most people in TV, radio, and the press have treated me wonderfully, some of the most important people want to pretend I don't exist.
You get older, you start meeting girls, you want to impress them. And if you happen to know an instrument, what you do is turn on the radio and try to figure out how to play popular songs.
If you want to put out a million CDs and sell them and get them played on the radio, and even videos, or whatever, if that still exists, that kind of muscle can only come from a label like Columbia.
With the exception of the New York Times, Fox news, and Lou Dobbs of CNN, and talk radio, the rest of the mainstream media has basically been silenced like a bunch of dumb monkeys.
I like doing radio because it's so intimate. The moment people hear your voice, you're inside there heads, not only that, you're in there laying eggs.
So at 16 I got a job at the local radio station. And I was working after school and weekends. I did the news; I did everything. I did - played records.
After 'Radio Flyer,' to this day, every family-oriented script or script with kid actors comes across my desk. That's just Hollywood: you get pigeonholed, and it's both a blessing and a curse, but you live with it.
