It's honestly every time that I'm doing something, and every time I visit a station and hear my song on the radio and people buying my stuff, I'm like 'Are you kidding me? This is insane!'
I remember the first sale I made was a hundred and fifty dollars for a radio script, and, as poor as I was, I didn't cash the check for three months. I kept showing it to people.
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 started as a tap dancer in Durban, which is on the coast. That was an important part of growing up, turning on the radio in the morning and hearing Zulu singing or the news in Zulu.
Radio - and perhaps airplanes, and then of course, the atom bomb - was the preeminent technology of the first half of the 20th century. It was how the Third Reich controlled its citizens, spread lies, and disseminated fear.
Hip-Hop's cultural movement is much larger than the corporate representation. The images most of hip-hop's critics point to are those manufactured by major corporations whether on television, via Viacom, or on the radio, via Radio One and Clear Channel.
People don't like the music that's out now, that's on their radio stations, and they want to hear something different, but they're just the audience. You know, people will keep the TV on even if a show is on that they hate - because, unfortunately, they've been programmed to do that. [But] they are really looking for something that's gonna speak to the world that they're living in. That's what people are looking for, but they're not finding it.
Poetry is a popular genre in Afghanistan. If you turned on the radio, there would be a poetry program that would be as popular as The Real Housewives.
Are we on the tail-end of a generation that is enamored with the novelty of these devices and will younger people coming of age be more blasé about them in a healthy way? You look back at the history of any medium and the people who were there when it was developing, whether it was the telegraph or cable television or radio, thought, This is amazing, it's going change everything, or, The human community will finally be able to recognize each other and speak and be one - I mean, some people thought the telegraph or television would usher in world peace.
My fondness for extended monologue might have been encouraged by two decades of writing stage and radio dramas.
Traditionally, when we lived here [in Portland], we have a record player in the living room, and there's lots of stuff playing, all different kinds of music. I don't listen to any of those Internet radio things. I have iTunes on my thing, but I've never bought a single thing on it. Except for "Call Me Maybe," for the kids or whatever. Carly Rae Jepsen.
[As a frontman ] I'm going to wear leather pants and get blowjobs in the studio. That would be nice. They are definitely not cool, but I like them. I don't listen to them, but I like them when I hear them on the radio, normally.
I first got interested in music as a toddler by my childhood babysitter, Rosetta Atkins. She taught me how to sing by imitating the voices on the gospel radio station she listened to - both men and women's voices.
There is no question that the US market is the hardest to break into. I believe that the reason for this primarily has to do with the fact that the majority of the most powerful radio stations in the US are owned by Clear Channel. They are massive and have the ability to break artists worldwide. For the most part, they are dealing directly with the major labels in the US, with whom they have had long relationships. If you are an artist that is not being pushed by Clear Channel radio in the US, your chances of becoming a household name are slim.
In Europe, radio stations are owned by a variety of different entities, so there is less uniformity on radio programming and more opportunity for artists to get radio play and break overseas.
I don't really listen to the radio too much. I know that one song, "Hotline Bling."
Even in independent music, people push towards radio. It is very political.
In a radio interview [Ted] Cruz compared [Donald]Trump`s behavior to schoolyard children throwing taunts at each other, vowing not to take part.
When I was five years old, me and my cousin got into a fistfight because when "That's the Way (I Like It)" came on the radio, he said, "That's my song," and I said, "No, that's my song."
There are stories that are by and for Latin Americans, where a certain amount of cultural fluency is expected, where we can delight in the details, the humor, the particularities of speech, of dialects. Something is always lost in translation; we know instinctively that this is the case. A Radio Ambulante story looks at Latin America from the inside.
A lot of attention has been paid in Latin America to the new generation of nonfiction writers, authors like Julio Villanueva Chang, Diego Osorno, Cristóbal Peña, Gabriela Wiener, Leila Guerriero, Cristian Alarcón, among others. These are writers doing important, groundbreaking work. So the talent is there, as is the habit of radio listenership, and what we propose to do is unite the two. We want to have these immensely gifted journalists - men and women who've already revitalized the long-form narrative - we want them to tell their stories in sound.
Radio is the medium that most closely approximates the experience of reading. As a novelist, I find it very exciting to be able to reach people who might not ever pick up one of my books, either because they can't afford it (as is often the case in Latin America), or because they just don't have the habit of reading novels.
Radio, or at least the kind of radio we're proposing to do, can cut through that. It can reach people who would otherwise never hear your work, and of course I find that very notion inspiring. Radio stories are powerful because the human voice is powerful. It has been and will continue to be the most basic element of storytelling. As a novelist (and I should note that working my novel is the first thing I do in the morning and the very last thing I do before I sleep), shifting into this new medium is entirely logical. It's still narrative, only with different tools.
I'm a radio nerd. I've loved radio since I was a kid. I'm a huge Howard Stern fan.
I'm quite a good reader of people; I like to meet people, and I can tell if they're lying or not, and I've certainly had interviews with people in this radio show I've done that swear they've seen things or have had bizarre experiences with creatures, and so I think they're telling the truth.
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