A Quote by Ed Gordon
One of the things that EBONY [magazine] has done for years, decades is perspective. They knew what our audience was, they know who we are, so that's what I hope to do with this show.
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When I was growing up, 'Ebony Magazine' was a must read in our household. In those pages I found our news, our stories, and my pride.
I've got many, many demons that affect me on many, many levels. A few years ago, I was convinced of that - I thought I truly was possessed by the devil. I remember sitting through the Exorcist a dozen times, saying to myself, 'Yeah, I can relate to that. I really wish I knew why I've done some of the things I've done over the years. I don't know if I'm a medium for some outside source. Whatever it is, frankly, I hope it's not what I think it is - Satan.”
At an early age I discovered the beauty in pictures in 'Vogue' magazine and Ebony magazine, and I would read 'The New York Times.' I had to make my own world within my world because I was an only child.
Time magazine has selected their person of the year. Guess what, it's President-elect Barack Obama. Yeah, ironically, Ebony magazine announced their person of the year, and it's Ed Begley Jr.
Oprah's aspiration to inspire her audience with hope - elaborated on her TV show, in her magazine, and on her website - is hardly ignoble.
The last few years on ‘South Park’ we have done some of the riskiest things we have ever done, knowing it could kill the show, but we also know that’s what we have to do.
'Ebony' has been more than a magazine; it is a movement.
I came out, as not enough of our stories are told from our perspective. 'Marie Claire' was offering the chance to be a part of a women's magazine, which often celebrates ordinary women doing extraordinary things.
What social media has done - Facebook, Twitter - is show the audience. I don't have an audience. When I make my work, it just goes out into the ether. I have a thick skin and it just brings me down to earth, you know, to realize how out-there and far away and paltry the audience is that gets what I'm saying. It's depressing if I let it get to me. And it's the same with hanging a show, the way it's put up, like, three stories high and you can't read a single word.
I think it's important for me, for my crew and for the audience to bring something new to each show. I have friends who have done the same act, word for word for word, for 20 years. I have a problem with that. I think the audience should see something new in each show.
I was interested in creating things that I could be proud of and so, you know, I was interested in being an editor of a magazine, things that I could be proud of, and so, you know, I was interested in being an editor of a magazine, but in order to be an editor of a magazine I had to become a publisher as well. I had to pay the bills. I had to worry about the printing and the paper manufacturing and the distribution of that magazine.
I've been on the show for six years and I don't even know what her history is. I sort of make things up in my mind, but I think it's hard for an audience to follow and invest in a character when they don't have the details.
Once I'm performing the show, I think that hour show has a certain intimacy with our audience. And that intimacy is through the lens and the live audience is a witness to that, whereas the audience at home is actually the object of my efforts.
Through years and years of playing to various audiences, what I've learned is - and I think quite a few actors will agree with me - we're not always the best judge of that audience's reactions or not. And we discover, to our amazement, at the end of the show, they bring the house down with applause, and we thought, 'No way tonight,' you know.
The fake news is - I mean, as a tool of warfare - has been there for decades and decades and decades. It was never very well done until, really, the Ukraine, though I would say that the Russians used to complain about fake things to say the State Department.
A writer helps to show you things you knew but didn't know you knew.
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