Top 1200 Public Radio Quotes & Sayings - Page 3

I'm not trying to dog any artist or genre, but to me, there is a lot of diversity missing from the radio. I miss turning the radio on and getting punched in the soul with a great lyric.

When my generation, those early days of television - I know I've been thinking about this lately - my two flashes of me as a little boy. One, I'm standing in front of the radio freaking out that Nat King Cole's singing 'Lady of Spain', just this stuff coming out of the radio, and Guy Williams singing 'Wild Horses' coming out of the radio.

The reason I wrote political satire was because I thought it - politics - was important... that public policy was important. Then I transitioned into books, then into radio.

All the way from the first thing that I can remember, like our Victrola - a wind-up record player - and my grandfather's crystal radio, and my father's shortwave radio.

After college, I did a bunch of different jobs - taught English in Mexico, worked in public radio, worked for a web design company - but there was something about documentaries that really attracted me.

Air America Radio was thinking of hiring me, but they discovered something in my past that didn't sit well with them: radio experience.

I think that the public is in and the public is in big, and the public is not, I don't think going to pull out because the public knows what I said about 1987.

From Public Radio International, there's 'PRI's The World', which is the States looking out at the rest of the globe. Elsewhere, the 'Global News Podcast' from the BBC World Service offers something similar.

We've never tried to write radio hits. If I hear our song on the radio, it's cool, and I'm proud, but it's never a goal.

If not for radio, I'd probably be working at the local supermarket doing who knows what. But after I got that first break at 16, I was not going to do anything else. I had my mind set on radio one way or another.

There's not much radio in the UK, really. In America, you're in a car, factory, wherever, and you turn the dial on the radio, and can hear about a million stations. Hardly any in England.

With digital and podcasting and the amount of radio outlets - traditional stations but with satellite radio - there's a billion ways to get your voice out.

Radio people can't entirely shake off radio habits when they start doing podcasts. They sometimes bring with them things we don't need, like producers and explanatory voiceovers.

I've been doing radio since I was 18, and I've been unemployed four times from radio for various reasons.

In many ways, I think that, while we've been remarkably violent in our media, there's been a real schizophrenia. In private, on the Internet, and on public-affairs shows or talk radio, we're way more explicit than we've ever been.

You gotta start somewhere. It is what it is. People listen to Soundcloud more than the radio. So why would you put your music on the radio first?

When I was a boy, I had a grand, big tape recorder, and I made late-night radio shows with glasses of water and funny voices. I just loved radio plays.

My parents are musicians. I was listening to the radio and recording songs off the radio on cassette tapes and playing guitars and pianos. Just emotionally responding to music from a very young age.

The world I live in is benefiting from things like satellite radio. Jazz and blues fests are everywhere now, and Americana is going strong on college radio. What I'm hearing is an appreciation of real music.

When radio stations started playing music the record companies started suing radio stations. They thought now that people could listen to music for free, who would want to buy a record in a record shop? But I think we all agree that radio stations are good stuff.

To be a DJ was to be God. To be a DJ at an alternative public radio station ? That was being God with a mission. It was thinking you were the first person to discover The Clash and you had to spread the word.

The radio for these women is like television is for us today, which is really like looking at the radio.

I was listening to radio and it plays only Bollywood. This is something I hate about radio stations. There's so much other beautiful music out there.

There is danger in the concentration of control in the television and radio networks, especially in the large television and radio stations; danger in the concentration of ownership in the press...and danger in the increasing concentration of selection by book publishers and reviewers and by the producers of radio and television programs.

At home, the radio was a big source and the classic radio programs we would listen to like Amos and Andy and whatever other ones there were.

Radio was always a fun, geeky thing to be a fan of - the history of radio, where it is, and where it's going - but it was really also a pretty easy job.

I owed Lewis one thing, at least. Once you had suffered the experience of presenting a case at one of his Monday morning conferences, no other public appearance, whether on radio, TV or the lecture platform, could hold any terrors for you.

I began in radio in 1997 on a radio show hosted by a now very famous comic, Jamel Debbouze. I would fake call listeners.

On radio, I loved Noel Edmonds's Radio 1 breakfast show - and Tony Blackburn. I can still hear those bloody jingles deep in my brain.

For me, the monologue was the favorite thing I had done in radio. It was based on writing, but in the end it was radio, it was standing up and leaning forward into the dark and talking, letting words come out of you.

If I weren't playing baseball, I would be a radio or sports broadcaster. In college at South Carolina I did some stuff with the radio station and really liked it.

In a progressively privatised city, the defence of public space, the production of new public space, and saving what is public really for the public is very important.

At town meetings, you can see the shy folks, the ones who have trouble sounding off in public, leaning against the back wall or bending over their knitting. On talk radio, those people are invisible, but they're there. It's a mistake to think that the blowhards who call in speak for the nation.

My day starts with Radio 4's Today live or 'listen again' wherever I am in the world, thanks to digital radio - I even have an app on my iPhone that receives it.

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.

I hope radio is more popular than it might seem. There aren't that many radio plays on and I think they have a bit of a bad rep for being not very gripping or low budget or on at funny times.

Well over fifty years ago I was making radio loudspeakers and radio sets in Rochester, New York; pretty young and inexperienced; but we survived the depression.

I think one of the reasons that I got so good at it, as somebody making radio stories, is that on the radio I can actually - I can understand what's happening in the interview and can make a connection in a way that makes sense.

As far as the radio waves part of the spectrum, we can do these adequately from the ground because the atmosphere is basically transparent to our radio waves.

Don't talk to me about appealing to the public. I am done with the public, for the present anyway. The public reads the headlines and that is all. The story itself is fair and shows the facts. That would be all right if the public read the facts. But it does not. It reads the headlines and listens to the demagogues and that's the stuff public opinion is made of.

Soul Train' was developed as a radio show on television. It was the radio show that I always wanted and never had.

As a kid I loved to listen to the radio, later I became a radio artiste and would listen to the BBC.

When I was at Capitol - and this was not Capitol's fault - I was aiming, you know. I would listen to country radio and go, 'What version of me does radio want?'

I was born in 1974, so I grew up listening to what was on the radio - my mom's car sounded like Fleetwood Mac, because that was what was on the radio.

I get younger people who watch Conan or The Daily Show, but before that it was mostly people who knew me from public radio. Those people are kind of old.

The only thing I've ever offered the public is some music. If they like the music, that's great. Turn on the radio. If they don't like it, switch it off.

My input for the first 16, 17 years of my life was AM radio, FM radio - pretty mainstream stuff. Rolling Stone was probably as edgy as it got.

Being in the public eye is part of what I do, and taking on a multitude of different projects - television, radio, fashion, writing or deep-sea diving - is a blessing. It is also how I pay my bills and fund my own skating, as I don't have a sponsor or financial help from my federation.

Radio is not a partner in the industry. I think that the music industry has continued to depend upon radio, but has ended up pandering to a medium that doesn't care.

My mother had a radio show - a Barbara Walters type of gal and was very successful for about 20-some years on a radio station.

I think the stuff that plays on the radio, the majority of it is for teenagers, which is okay. That's what pop radio is about. And some of it is great, and some of it is not.

The best way to alleviate the obesity "public health" crisis is to remove obesity from the realm of public health. It doesn't belong there. It's difficult to think of anything more private and of less public concern than what we choose to put into our bodies. It only becomes a public matter when we force the public to pay for the consequences of those choices.

My own views on all matters of public revenue and public expenditure are conditioned by an acute appreciation of whose is the sacrifice that produces public revenue and to whom accrues the benefit of public spending.

Among the radio astronomers of SETI - the Search for Extraterrestrial Intelligence - it's only sort-of a joke that the true hallmark of intelligent life is the creation of radio astronomy.

When I started in radio, I worked for free. I lived at the radio station. Then I worked for very little money.

Some of the vintage comedy on Radio 4 Extra wasn't very funny to begin with, whereas some things just get funnier regardless of the changes in public attitudes over the years.

All the arts, to varying degrees, involve some kind of a compromise. This being so, how far need the radio dramatist go to meet the public without losing sight of himself and his own standards of value?

'Soul Train' was developed as a radio show on television. It was the radio show that I always wanted and never had.

... the People of God have to elect public servants who know the difference between serving the public and killing the public, and that those who can't tell the difference don't belong in public office.

It took, for me, a long time to develop this idea of what to do on the radio. But from the beginning of my time in radio, I had pretty non-traditional tasks.