Quote of the Day
I never watch TV. I'm a Radio Four addict. I love listening to music too.
I prefer that for my own satisfaction over radio, there's no audience. TV, there's no audience. I need the response of the audience, even if it's a silent response.
I would go to radio stations and they were supposed to be interviewing me and playing my record and they would say, We're playing too many women right now, we can't play your record.
Nirvana was pop. You can have distorted guitars and people say it's alternative, but you can't break out of pop music's constructs and still get extensive radio play and media coverage.
The film itself involves a New York City radio storyteller, Gabriel Noone, who strikes up a friendship with one of his fans, an abused 14-year-old teenager who is suffering from AIDS, who does not have much longer to live.
It's really hard in this day and age, with radio and MTV being so consolidated, to get new music out there. I think we've become a really legitimate, viable avenue for getting new music out there.
They think my life is glamourous. It's not true. I obviously get to come in and do radio interviews. That's the glamour. But other than that, I eat and sleep and that's it. Eat, sleep and do shows.
There are people, radio talk show hosts, those kind of people, it's their job to only have one opinion, they can't tell you about their feelings. They have to go with what pays their bills.
I still tune in to the radio and listen to pop music and enjoy it as much as I ever have.
The world is a crazy, beautiful, ugly complicated place, and it keeps moving on from crisis to strangeness to beauty to weirdness to tragedy. The caravan keeps moving on, and the job of the longform writer or filmmaker or radio broadcaster is to stop - is to pause - and when the caravan goes away, that's when this stuff comes.
Before that, they thought talking movies might eliminate radio as well. But radio just keeps getting stronger.
Because of my background in theater and radio acting, I knew that I could make a living as an actor.
Basically, radio hasn't changed over the years.
Anytime in radio that you can reach somebody on an emotional level, you're really connecting.
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.
This thing that Colin Powell's son is expected to do is kind of scary when you think that television and radio and newspapers are what make people think what they think.
When you go to the Opry for a show or hear it on the radio, you get the whole circle of country music.
I'm very aware of what you're talking about as I was involved with the radio in Africa in the same period as I was doing Concrete - I was doing both at the same time.
I've always been very left of center and the radio never had much diversity and film did.
I mean that'd be great if we could continue to be staples of alt-rock radio. I don't take that for granted.
I'm always struck by the kids who turn up in New York and LA, and places in between. Chicago. Wanting to do theater, wanting to do independent film. Wanting to break into television or radio.
The benefit of the radio is, something beyond your realm of knowledge can surprise you, can enter your realm of knowledge.
It's American Alternative radio stations that bug me. We're considered Alternative, but don't expect us to be played next to Blink 182 and Offspring. We're hardly of that generation.
Every town in America had at least one, two, or maybe three radio stations that played rock 24 hours a day. In England, we had a rock specialist on for two hours a week.
When you turn on your radio, you don't always want to hear about someone shootin' some person. Even if that's the lifestyle they live, people don't always want to hear it.
But I think the only thing that annoys me about that is if I suddenly find someone on commercial radio or something like that, mimicking my voice or actions and trying to promote a product and pretending it's me doing it.
I grew up loving classic rock music - The Beatles, The Rolling Stones - and then one day I heard 'Baby One More Time' on the radio and I thought 'What is this?' I was eight and it changed my life.
In the middle of 'Bleed Red' coming out, a huge disproportionate majority of people in radio came to us and asked if they could have 'Cost of Livin'' as a single. There was even talk behind closed doors about pulling 'Bleed Red' because they had caught wind and heard 'Cost of Livin'.' We went with that.
In 1950, the biggest amp you could get was no bigger than a tabletop radio.
It's like, on my solo stuff, every single person who buys the record, gets it. On the other stuff, the masses... when you have a hit on the radio, not everyone's going to get it. They are going to buy it for the hit.
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