Miles Davis was a part of my life from 1947 on. I was born in 1941 and I first heard him in 1947 on a 78 rpm. And then I followed his career, starting with his first solo album in 1951. He was an icon and inspiration and a mentor to me.
Before the Colts arrived in 1947, the best athlete in town was a woman duckpin bowler named Toots Barger. Football? The biggest games in Baltimore had been when Johns Hopkins took on Susquehanna or Franklin & Marshall at homecoming.
I love Baltimore. It is a city with a giant heart and has remained one of my favorite places to keep returning to on tour. It is unique and beautiful, and you can't mistake it for anywhere else in the world - Baltimore is one hundred percent Baltimore.
I'm a Baltimore guy. I've always loved Baltimore and always will love Baltimore, but baseball is baseball, and when you're playing on the opposing team, you're going to get booed.
Well it was sent to me, well because almost everything that is written in Baltimore is sent to me. And David Simon, who was a writer for the Baltimore Sun, spent one year following the homicide squad in Baltimore and he chronicled that period of time.
It's hard for me to view Baltimore outside the context of what Baltimore has always been in my mind: a violent place.
My first few years as TV critic, I would go to parties and people (usually older Posties or ex-Posties who seemed to pride themselves on not watching very much television) would take me by the arm and insist that I watch this show they'd recently starting watching on DVD, about drug dealers in Baltimore.
First of all, let me give my comments on the blasphemy law. This law was introduced by the military dictator General Ziaul Haq. No one demanded the blasphemy law in Pakistan. But he wanted to give protection to his undemocratic rule, dictatorship, by using religion. So Pakistan came into being in 1947, and from 1947 until 1986 no case against any minorities was registered under the protection of the blasphemy law. Nobody from minorities was killed and no act of violence happened [against them].
My company, Cinema Gypsy, produced a podcast, 'Bronzeville,' in conjunction with Larenz Tate and his brothers that we're developing into a television show. It deals with a very tight-knit African-American community in Chicago in 1947 and people who run a numbers wheel.
If you go to probably any jury trial in Baltimore that involves violence, either an assault or murder, and watch the voir dire, to me, that's when you get a sense of what it's like to live in Baltimore.
First of all, you have to understand that I'm like anybody else. When I hear my voice on a record I absolutely loathe my voice. I cannot stand my voice.
When, in the autumn of 1947, I was fired from the first and only job I have ever held, I wanted one thing out of life: to become a writer.
On the way from Chicago, I spent the summer of 1947 in Ottawa, helping to build the first of a series of econometric models for the Canadian government.
Whitney Houston's voice was the very first voice I fell in love with. She was the voice that made me want to become a singer.
There are times when the voice of repining is completely drowned out by various louder voices: the voice of government, the voice of taste, the voice of celebrity, the voice of the real world, the voice of fear and force, the voice of gossip.
I couch-surfed for years. But I always wanted to live in Baltimore; I still do. If I had to choose, it would always be Baltimore.