Quotes About Radio

I'm not an artist that has a big, huge radio record that's going to be on BET.

In 1950, the biggest amp you could get was no bigger than a tabletop radio.

I had to tell the city that 2Pac passed, and I had to be on the radio early after Biggie passed. Those were awful, emotional.

A lot of times, songs can blend together on the radio because there's so many great songs out there.

I got into bluegrass music when I was 14, as a way to get into a band. My brother and I had a band and our own radio show, and that's what was popular.

We can get airplay all across the board, from CHR to Active rock.

In country radio, everybody has such a connection and a bond. So you've got to meet them.

I was crushingly bored talking about politics 30 hours a week.

To be honest I see myself as a broadcaster, I'm just on the radio a lot. So I don't really feel like I'm getting papped on the school run with my belly in.

I have had a lot of experience in broadcasting.

I have always loved broadcasting - as a child in Liverpool, I would wake up and listen to Morning Merseyside on BBC Radio Merseyside and wonder, 'How do they do that?'

I started broadcasting in 1977 in radio and 1979 on TV.

My dad did a radio show. I was on it when I was seven. So now you know that the showbiz bug bit me really early.

If I could be lucky enough to just have radio as the base for the rest of my life, I could build off that. No matter how successful I become, I always look at radio as the only skill set I can really call on. I even know how to operate the boards.

I believe that, artistically and culturally, the free radio air should be able to support local artists of whatever genre. Play 40 percent of your local artists; don't suck up to major labels to the point where you neglect your own locale.

Most radio stations suck as far as playing heavy-metal.

With rap, you go in the studio, you make music, you put the music out, then all of a sudden, you're a star: you have a big record on the radio, and you're on stage, and you've never done it before. Let's say your first show is 'Summer Jam,' and you're in front of 60,000 people, and you've never played an arena, ever. You're gonna suck.

With the coming of radio as a mass medium, suddenly the world changed. It became about, 'Can this leader project emotional connection through the way he speaks on the radio?' And the anxiety about whether he could do that, we've inherited.

If the radio ever played my music, I would sue them. And they know it, which is why they don't play my music.

For three months, we kept going into these writing sessions going, 'Man, I just heard this song on the radio, and it told me to slide my sugar shaker over.' If any guy spoke to us the way those country songs spoke to women, it would not be good for that guy. I would probably punch him in the face.

At Johnny's suggestion I pursued a career in radio that eventually brought me to Los Angeles.

Originally, I think, I wanted to be an actor. But I got into broadcasting by accident, if you will, because I needed money to pay for my college education. I applied for a summer announcing job at a couple of radio stations.

I spent many a summer early morning with the radio very low, half sleeping and half listening.

I was an original Elvis fan. He was the voice of my generation. I was listening to him on the radio when he released his great Sun records with Scotty Moore on electric guitar and Bill Black on bass.