Rca Quotes

I am a confused Musician who got sidetracked into this goddamn Word business for so long that I never got back to music - except maybe when I find myself oddly alone in a quiet room with only a typewriter to strum on and a yen to write a song. Who knows why? Maybe I just feel like singing - so I type. These quick electric keys are my Instrument, my harp, my RCA glass-tube microphone, and my fine soprano saxophone all at once. That is my music, for good or ill, and on some nights it will make me feel like a god. Veni, Vidi, Vici... That is when the fun starts...

They are going to grow like corn in August, my dear. If no one blows up the world in the next ten years or so, they are going to be right up there on the big board along with Kodak and Sony and RCA.

Robert Lehman—who often told his partners, “I bet on people”—made Lehman the driving financial force behind RCA and the birth of television, TWA, Pan Am, Hertz, several Hollywood studios, and various department store and oil and rubber giants. Lehman Brothers was at the epicenter of those business forces that have shaped not just the American economy but the American culture as well. By 1967 the House of Lehman was responsible for $3.5 billion in underwriting. In volume, Lehman was among the top four investment banks.

Drucker saw two possible roads ahead. On the one hand, Bell Labs could become a standard industrial lab, much like the ones that supplied technology to General Electric or RCA. Or the Labs could take a “far bolder, but also far riskier course” by going into business for itself, making money from its patents and products. It could become a kind of unique and monolithic brain trust, one that did research for AT&T but also for any company or part of the government that was willing to pay for access to its people and resources. “Nothing like this has ever been done,” Drucker noted. “And no one knows whether it could succeed.” It was a tantalizing idea: Bell Labs would remain intact as a citadel for problem-solving. And it would be a citadel of capitalism, too. But perhaps this was too tantalizing. Drucker wondered if the notion was simply too experimental and too radical, and that it therefore could not actually come to pass. A conventional future, he concluded, seemed far more likely.

I liked particularly the RCA Victor model in heart walnut that went for $89.95. It had eight tubes, two of glass, a magic eye, an edge-lighted dial and a phono connection. Also there was a Crosley with fifteen tubes, five of them glass, an autoexpressionator, a mystic hand, and a cardiamatic unit for $174.50.

Photographer William Leftwich was rewarded for his nervy visit to the uppermost reaches of the RCA’s steel frame when two workers standing fifteen feet apart on a single beam began to toss a football back and forth.

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He wraps his pinky around mine. “Pinky promise.

He kisses me and I fall into him and it’s perfect. Far better than the dreams I had of us together growing up because this time, it’s real.

I wish you could see yourself the way I see you. Beautiful inside and out.

While I'm writing you I might mention the new novel I'm considering writing; it has to do with the phonograph record business, which I was involved with, at the retail end, for over seven years. I guess I'll make it a S-F novel, though, setting it in the future. My memory tapes (so to speak) have few if any gaps in them about my years in the record business, what with the rip-offs and payola. The small profits for the retailer, the huge chains that are wholesalers-retailers who crowd out the little guy. Provisionally, I will call the record company DOGSHIT RECORDS INC. (Or DRI, as they have now EMI, RCA, MCA, etc.) In my head I've blocked out the tory of an android who has an agent who is another android, but neither knows the other is an invader. (There is a sort of mutual surprise ending, but the main thing is to lay forth the inner workings of an industry for our readership, in a novel of the sort I tend to write and they tend to read.) The musical artist's agent is named (are you ready?) Skim Morewithit, and so forth. There are rip-offs of royalties, two sets of books, all the usual stuff you find today and yesterday in the record business. As to locale, I haven't decided. Maybe on Jupiter, because it will be a (ahem) heavy novel.

and he told them as much. Sarnoff was able to go out over the airwaves using the frequency of one of RCA’s stations here in D.C. He got a clear message to Hoover and the thousands of other people listening to Colgate’s Comedy Hour.

The sessions for Some Girls always had a following wind from the moment we started rehearsing in the strangely shaped Pathé Marconi studios in Paris. It was a rejuvenation, surprisingly for such a dark moment, when it was possible that I would go to jail and the Stones would dissolve. But maybe that was part of it. Let’s get something down before it happens. It had an echo of Beggars Banquet about it—a long period of silence and then coming back with a bang, and a new sound. You can’t argue with seven million copies and two top ten singles out of it, “Miss You” and “Beast of Burden.” Nothing was prepared before we got there. Everything was written in the studio day by day. So it was like the earlier times, at RCA in Los Angeles in the mid-’60s—songs pouring out. Another big difference from recent albums was that we had no other musicians in with us—no horns, no Billy Preston. Extra stuff was dubbed later. If anything the buildup of sidemen had taken us down a different path in the ’70s, away from our best instincts on some occasions. So the record was down to us, and it being Ronnie Wood’s first album with us, down to our guitar weaving on tracks like “Beast of Burden.” We were more focused and we had to work harder. The sound we got had a lot to do with Chris Kimsey, the engineer and producer who we were working with for the first time. We knew him from his apprenticeship at Olympic Studios, and so he knew our stuff backwards. And he would, on the basis of this experiment, engineer or coproduce eight albums for us. We had to pull something out—not make another Stones-in-the-doldrums album. He wanted to get a live sound back and move away from the clean and clinical-sounding recordings we’d slipped into. We were in the Pathé Marconi studios because they were owned by EMI, with whom we’d just made a big deal.

The taxi stand was only an open shelter, so I was freezing as I looked toward midtown. I could see the RCA building with its bright red logo at Rockefeller Center, and farther south, the Empire State Building with its illuminated set-backs. At the tip of Manhattan, the twin towers of the World Trade Center -- which were over 1,100 feet tall themselves -- flanked the mile-high Space Trylon. It was clear as well as cold, and as I looked toward Frank Lloyd Wright's masterpiece, it seemed to be poijnting to the stars. This, of course, was the idea, since it embodied the joint American-Soviet space exploration program that settled the Moon in 1955, and, twenty years later, Mars.

Then, in 1942, a disastrous strike against the record companies disrupted the industry and upset the delicate balance of business. Though it hit directly at record producers, the real target was radio. James C. Petrillo, president of the American Federation of Musicians, was alarmed at the rapid proliferation of disc jockeys. He objected to the free use of recorded music on the air, charging that jocks had cost musicians their jobs at hundreds of radio stations. Petrillo wanted to impose fees at the source, the big companies like RCA and Columbia, where the records were produced. The final agreement, which was not accepted by the two biggest companies until 1944, created a union-supervised fund for indigent and aging musicians

The answer reached the President at five minutes past four that afternoon, Tuesday, August 14. Japan had surrendered. At 6:10 the Swiss chargé d'affaires in Washington arrived at the State Department to present Secretary [of State James] Byrnes with the Japanese text, which Byrnes carried at once to the White House. "(The document would have arrived ten minutes sooner but for the fact that a sixteen-year-old messenger, Thomas E. Jones, who picked it up at the RCA offices on Connecticut Avenue to deliver to the Swiss legation, had been stopped by the police for making a U-turn on Connecticut.)

The most important training involved the latest American breakthrough in communications technology: a handheld, portable, two-way radio transceiver that made ground-to-air communications possible for the first time. A predecessor of the mobile telephone, the equipment had been designed at the RCA electronics laboratories in New York before being refined and developed for the OSS by De Witt R. Goddard and Lieutenant Commander Stephen H. Simpson. The device would eventually become known as a “walkie-talkie,” but at the time of its invention this pioneering gizmo went by a more cumbersome and quaint title: the “Joan-Eleanor system.” “Joan” was the name for the handheld transmitter carried by the agent in the field, six inches long and weighing three pounds, with a collapsible antenna; “Eleanor” referred to the larger airborne transceiver carried on an aircraft flying overhead at a prearranged time. Goddard’s wife was named Eleanor, and Joan, a major in the Women’s Army Corps, was Simpson’s girlfriend. The Joan-Eleanor (J-E) system operated at frequencies above 250 MHz, far higher than the Germans could monitor. This prototype VHF (very high frequency) radio enabled the users to communicate for up to twenty minutes in plain speech, cutting out the need for Morse code, encryption, and the sort of complex radio training Ursula had undergone. The words of the spy on the ground were picked up and taped on a wire recorder by an operator housed in a special oxygen-fed compartment in the fuselage of an adapted high-speed de Havilland Mosquito bomber flying at over twenty-five thousand feet, outside the range of German anti-aircraft artillery. An intelligence officer aboard the circling aircraft could communicate directly with the agent below. As a system of communication from behind enemy lines, the J-E was unprecedented, undetectable by the enemy, easy to use, and so secret that it would not be declassified until 1976.

Dissatisfied with the Christmas cards at Kremer’s Drugstore, Fibber and Molly look over a selection brought to their home by one of Wallace Wimple’s acquaintances. Writer: Phil Leslie Sponsors: Prudential, RCA Victor; promo for NBC programs Comments: This episode brings back the “those were the days” feeling when only drugstores were open on Sundays and greeting cards cost a dime each.

Esse protecionismo não visa proteger os artistas. Na verdade, esse é um protecionismo que visa proteger certas formas de negócio. As corporações ameaçadas pelo potencial da Internet em mudar a forma como tanto a cultura comercial quanto a não-comercial é feita e compartilhada se uniram para induzir os legisladores a usarem a lei para as protegerem. É o caso da RCA contra Armstrong; é o sonho dos Causbys.

Esse protecionismo não visa proteger os artistas. Na verdade, esse é um protecionismo que visa proteger certas formas de negócio. As corporações ameaçadas pelo potencial da Internet em mudar a forma como tanto a cultura comercial quanto a não-comercial é feita e compartilhada se uniram para induzir os legisladores a usarem a lei para as protegerem. É o caso da RCA contra Armstrong; é o sonho dos Causbys. A Internet liberou uma incrível possibilidade para muitos de participarem do processo de construírem e cultivarem uma cultura que tenha um alcance maior que as fronteiras locais. Esse poder mudou o mercado ao permitir a criação e cultivação de cultura em qualquer lugar, e essa mudança ameaça as indústrias de conteúdo estabelecidas. A Internet representa para as indústrias que criavam e distribuíam conteúdo no século 20 o que o rádio FM representava para o rádio AM, ou o que o caminhão representava para a indústria das ferrovias no final do século 19: o começo do fim, ou ao menos uma transformação substancial.

This process uniquely identifies the impact of hidden causes, rather than merely exploring the factors that are readily apparent. RCA was created by Sakichi Toyoda, founder of Toyota Industries—who Forbes Magazine ranks as the 13th most influential businessman of all time and is often compared to Thomas Edison for his industry-redefining inventions. Toyoda developed a unique system to identify the (often inconspicuous) source of a problem, then implement solutions that prevent the problem from recurring. It was originally applied in the field of engineering, but has since been widely adopted in many industries. I became acquainted with this methodology as a strategy to find corporate solutions, back in my days as a Senior Database Architect. And upon first introduction, the psychologist in me instantly recognized its potential value in dealing with the cream cheese danish in my left hand. And the rest—was history.

How do these dots connect? Technology begets technology. Just as the trottoir roulant built on Speer’s invention, DARPA learned from the original experiment by General Motors and RCA in autonomous cars, adding telemetry and computerized controls. Separately, car manufacturers like Toyota were building electronic and “drive by wire” technologies to replace mechanical linkages. Eventually, Google could incorporate all of this work, combine advanced navigation into a new kind of operating system, and develop and test its first fleet of self-driving cars. It’s easy to connect the dots in hindsight, but with the right foresight you can identify simultaneous developments on the fringe and recognize patterns as they materialize into trends.

mientras ellos mostraban su patriotismo y cantaban loas a Santa Anna y a la iglesia, ninguno se preocupó por registrar los derechos de autor de la partitura y la letra. Como resultado de ello, Aline Petterson hizo un descubrimiento escalofriante: «Hoy en día está claro que los derechos comerciales del Himno Nacional están en poder de la compañía RCA Victor» (La Jornada, 15 de septiembre de 2004), un hecho que podría ser aún más grave. Nuestro himno, querido lector, no es nuestro.

But Grigsby had encountered stiff competition from RCA, which claimed to hold patents on radio tubes essential to the manufacture of modern radio equipment. Grigsby thus had to pay royalties to its staunchest competitor. Grigsby “loved CBS,” Paley recalled in his memoir, “because they hated RCA,” and RCA was the parent company of NBC.

You lead with love, always.” So that’s what I’m going to do.

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