"It's also a more personal medium. It seems to go directly to one's brain. There are no pictures to distract"
About this Quote
Radio flatters the listener by treating them like a co-author. When Bob Edwards calls it "a more personal medium" that "go[es] directly to one's brain", he’s describing intimacy as a technical feature, not a vibe. Sound arrives without asking permission; it fills the room, slips under whatever you’re doing, and lands in the mind with the authority of a thought. That’s the quiet power of a voice in your kitchen at 7 a.m.: it doesn’t compete with your day so much as narrate it.
The line "There are no pictures to distract" carries a sly, almost defensive pride. Edwards isn’t just praising radio; he’s making a case for attention in an ecosystem that constantly auctions it off. Pictures don’t merely illustrate, they steer. They pre-chew interpretation, supply instant cues about status, emotion, and credibility. Radio withholds that shortcut, which can feel like a loss until you recognize the trade: fewer manipulative signals, more room for imagination, more space for language and tone to do their work.
Coming from a journalist associated with public radio’s trust economy, the subtext is also ethical. If the audience can’t be dazzled by visuals, the reporting has to earn its authority through clarity, pacing, and human presence. Edwards is arguing that radio’s constraint is its strength: the medium’s "lack" becomes a discipline, and the listener’s focus becomes the real picture.
The line "There are no pictures to distract" carries a sly, almost defensive pride. Edwards isn’t just praising radio; he’s making a case for attention in an ecosystem that constantly auctions it off. Pictures don’t merely illustrate, they steer. They pre-chew interpretation, supply instant cues about status, emotion, and credibility. Radio withholds that shortcut, which can feel like a loss until you recognize the trade: fewer manipulative signals, more room for imagination, more space for language and tone to do their work.
Coming from a journalist associated with public radio’s trust economy, the subtext is also ethical. If the audience can’t be dazzled by visuals, the reporting has to earn its authority through clarity, pacing, and human presence. Edwards is arguing that radio’s constraint is its strength: the medium’s "lack" becomes a discipline, and the listener’s focus becomes the real picture.
Quote Details
| Topic | Writing |
|---|---|
| Source | Help us find the source |
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