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Rush Limbaugh, ‘Voice of American Conservatism,’ Has Died

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FILE - In this Feb. 4, 2020 file photo, Rush Limbaugh reacts as first Lady Melania Trump, and his wife Kathryn, applaud, as President Donald Trump delivers his State of the Union address to a joint session of Congress on Capitol Hill in Washington. Limbaugh, the talk radio host who became the voice of American conservatism, has died. (AP Photo/Patrick Semansky, File)

(AP) – Rush Limbaugh, the talk radio host who ripped into liberals and laid waste to political correctness with a merry brand of malice that made him one of the most powerful voices on the American right, influencing the rightward push of conservatism and the rise of Donald Trump, died Wednesday. He was 70.

Limbaugh said a year ago that he had lung cancer. His death was announced on his show by his wife, Kathryn.

Unflinchingly conservative, wildly partisan, bombastically self-promoting and larger than life, Limbaugh galvanized listeners for more than 30 years with his talent for vituperation and sarcasm.

He called himself an entertainer, but his rants during his three-hour weekday radio show broadcast on nearly 600 U.S. stations shaped the national political conversation, swaying ordinary Republicans and the direction of their party.

Blessed with a made-for-broadcasting voice, he delivered his opinions with such certainty that his followers, or “Ditto-heads,” as he dubbed them, took his words as sacred truth.

“In my heart and soul, I know I have become the intellectual engine of the conservative movement,” Limbaugh, with typical immodesty, told author Zev Chafets in the 2010 book “Rush Limbaugh: An Army of One.”

Forbes magazine estimated his 2018 income at $84 million, ranking him behind only Howard Stern among radio personalities.

Limbaugh took as a badge of honor the title “most dangerous man in America.” He said he was the “truth detector,” the “doctor of democracy,” a “lover of mankind,” a “harmless, lovable little fuzz ball” and an “all-around good guy.” He claimed he had “talent on loan from God.”

Long before Trump’s rise in politics, Limbaugh was pinning insulting names on his enemies and raging against the mainstream media, accusing it of feeding the public lies. He called Democrats and others on the left communists, wackos, feminazis, liberal extremists, homosexual slurs and radicals.

When actor Michael J. Fox, suffering from Parkinson’s disease, appeared in a Democratic campaign commercial, Limbaugh mocked his tremors. When a Washington advocate for the homeless killed himself, he cracked jokes. As the AIDS epidemic raged in the 1980s, he made the dying a punchline. He called 12-year-old Chelsea Clinton a dog.

He suggested that the Democrats’ stand on reproductive rights would have led to the abortion of Jesus Christ. When a woman accused Duke University lacrosse players of rape, he derided her as a “ho,” and when a Georgetown University law student supported expanded contraceptive coverage, he dismissed her as a “slut.” When Barack Obama was elected president in 2008, Limbaugh said: “I hope he fails.”

He was frequently accused of bigotry and blatant racism for such antics as playing the song “Barack the Magic Negro” on his show. The lyrics, set to the tune of “Puff, the Magic Dragon,” describe Obama as someone who “makes guilty whites feel good” and is “black, but not authentically.”

Limbaugh often enunciated the Republican platform better and more entertainingly than any party leader, becoming a GOP kingmaker whose endorsement and friendship were sought. Polls consistently found he was regarded as the voice of the party.

His idol, Ronald Reagan, wrote a letter of praise that Limbaugh proudly read on the air in 1992: “You’ve become the number one voice for conservatism.” In 1994, Limbaugh was so widely credited with the first Republican takeover of Congress in 40 years that the GOP made him an honorary member of the new class.

During the 2016 presidential primaries, Limbaugh said he realized early on that Trump would be the nominee, and he likened the candidate’s deep connection with his supporters to his own. In a 2018 interview, he conceded Trump is rude but said that is because he is “fearless and willing to fight against the things that no Republican has been willing to fight against.”

Trump, for his part, heaped praise on Limbaugh, and during last year’s State of the Union speech, awarded the broadcaster the Presidential Medal of Freedom, the nation’s highest civilian honor, calling his friend “a special man beloved by millions.”

Both men ultimately found Florida more comfortable than New York: The former president’s Mar-a-Lago estate is eight miles down the same Palm Beach boulevard as Limbaugh’s $50 million beachfront expanse.

Trump called into Fox News Channel to discuss his friend’s death, saying they last spoke three or four days ago. “You know, his fight was very very courageous. And he was very, very sick.”,

Trump lauded Limbaugh as “a legend” with impeccable political instincts. Former President George W. Bush said Wednesday that he “spoke his mind as a voice for millions of Americans.”

Limbaugh influenced the likes of Sean Hannity, Glenn Beck, Bill O’Reilly and countless other conservative commentators who pushed the boundaries of what passes as acceptable public discourse.

His brand of blunt, no-gray-area debate spread to cable TV, town hall meetings, political rallies and Congress itself, emerging during the battles over health care and the ascent of the tea party movement.

“What he did was to bring a paranoia and really mean, nasty rhetoric and hyperpartisanship into the mainstream,” said Martin Kaplan, a University of Southern California professor who is an expert on the intersection of politics and entertainment and a frequent critic of Limbaugh. “The kind of antagonism and vituperativeness that characterized him instantly became acceptable everywhere.”

In one breathless segment in 1991, he railed against the homeless, AIDS patients, criticism of Christopher Columbus, aid to the Soviet Union, condoms in schools, animal rights advocates, multiculturalism and the social safety net.

His foes accused him of trafficking in half-truths, bias and outright lies — the very tactics he decried in others. Al Franken, the comedian and one-time senator, came out with a book in 1996 called “Rush Limbaugh Is a Big Fat Idiot and Other Observations.”

In 2003, Limbaugh admitted an addiction to painkillers and went into rehab. Authorities opened an investigation into alleged “doctor shopping,” saying he received up to 2,000 pills from four doctors over six months.

He ultimately reached a deal with prosecutors in which they agreed to drop the charge if he continued with drug treatment and paid $30,000 toward the cost of the investigation.

He lost his hearing around that time. He said it was from an autoimmune disorder, while his critics said hearing loss is a known side effect of painkiller abuse. He received cochlear implants, which restored his hearing and saved his career.

A portly, cigar-chomping, round-faced figure, Limbaugh was divorced three times, after marrying Roxy Maxine McNeely in 1977, Michelle Sixta in 1983 and Marta Fitzgerald in 1994. He married his fourth wife, the former Kathryn Rogers, in a lavish 2010 ceremony featuring Elton John. He had no children.

Rush Hudson Limbaugh III was born Jan. 12, 1951, in Cape Girardeau, Missouri. His mother was the former Mildred Armstrong, and his father, Rush Limbaugh Jr., was a lawyer.

Rusty, as the younger Limbaugh was known, was chubby and shy, with little interest in school but a passion for broadcasting. He would turn down the radio during St. Louis Cardinals baseball games, offering play-by-play, and gave running commentary during the evening news. By high school, he had snagged a radio job.

Limbaugh dropped out of Southeast Missouri State University for a string of DJ gigs, from his hometown, to McKeesport, Pennsylvania, to Pittsburgh and then Kansas City. Known as Rusty Sharpe and then Jeff Christie on the air, he mostly spun Top 40 hits and sprinkled in glimpses of his wit and conservatism.

“One of the early reasons radio interested me was that I thought it would make me popular,” he once wrote.

But he didn’t gain the following he craved and gave up on radio for several years, beginning in 1979, becoming promotions director for baseball’s Kansas City Royals. He ultimately returned to broadcasting, again in Kansas City and then Sacramento, California.

It was there in the early 1980s that Limbaugh really garnered an audience, broadcasting shows dripping with sarcasm and bravado. The stage name was gone.

Limbaugh began broadcasting nationally in 1988 from WABC in New York. While his know-it-all commentary quickly gained traction, he was dismayed by his reception in the big city. He thought he would be welcomed by Peter Jennings, Tom Brokaw and Dan Rather.

“I came to New York,” he wrote, “and I immediately became a nothing, a zero.”

Ultimately, Limbaugh moved his radio show to Palm Beach and bought his massive estate. Talkers Magazine, which covers the industry, said Limbaugh had the nation’s largest audience in 2019, with 15 million unique listeners each week.

“When Rush wants to talk to America, all he has to do is grab his microphone. He attracts more listeners with just his voice than the rest of us could ever imagine,” Beck wrote in Time magazine in 2009. “He is simply on another level.”

Limbaugh expounded on his world view in the best-selling books “The Way Things Ought to Be” and “See, I Told You So.”

He had a late-night TV show in the 1990s that got decent ratings but lackluster advertising because of his divisive message. When he guest-hosted “The Pat Sajak Show” in 1990, audience members called him a Nazi and repeatedly shouted at him.

He was fired from a short-lived job as an NFL commentator on ESPN in 2003 after he said the media had made a star out of Philadelphia Eagles quarterback Donovan McNabb because it was “very desirous that a black quarterback do well.” His racial remarks also derailed a 2009 bid to become one of the owners of the NFL’s St. Louis Rams.

“Do you ever wake up in the middle of the night and just think to yourself, `I am just full of hot gas?’” David Letterman asked him in 1993 on “The Late Show.”

“I am a servant of humanity,” Limbaugh replied. “I am in the relentless pursuit of the truth. I actually sit back and think that I’m just so fortunate to have this opportunity to tell people what’s really going on.”

___

Associated Press writer Terry Spencer contributed to this report.

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160+ Bands, 5 Stages: Welcome To Rockville Returns to Daytona International Speedway May 7–10 with Expanded Fan Experience

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160+ Bands, 5 Stages: Welcome To Rockville Returns to Daytona International Speedway May 7–10 with Expanded Fan Experience

DAYTONA BEACH, Fla. (FNN) — Music set times have been released for the 15th anniversary of Welcome To Rockville, Florida’s largest rock, metal and punk festival, set for May 7–10, 2026 at Daytona International Speedway.

Produced by Danny Wimmer Presents, the four-day event will feature more than 160 bands performing across five stages, marking the festival’s largest lineup to date.

HEADLINERS AND DAILY LINEUP

This year’s festival will be headlined by Foo Fighters, My Chemical Romance, Guns N’ Roses and Bring Me The Horizon.

  • Thursday, May 7: Guns N’ Roses, Five Finger Death Punch, Godsmack, Staind
  • Friday, May 8: Foo Fighters, Turnstile, The Offspring, Parkway Drive
  • Saturday, May 9: Bring Me The Horizon, Breaking Benjamin, Motionless in White, Lamb of God
  • Sunday, May 10: My Chemical Romance, A Day To Remember, Rise Against, Yellowcard

FESTIVAL EXPANSION AND NEW FEATURES

Organizers announced several enhancements for 2026 aimed at improving the fan experience. A new “Pit Stop” fan zone near the Apex Stage will feature artist interviews, special performances and interactive experiences.

In addition, the Garage Stage will be fully tented for the first time, offering expanded shade coverage and upgraded production for attendees.

SPECIAL EVENTS AND EXPERIENCES

Festivalgoers can kick off the week with a pre-party on May 6 featuring performances by Fuel, Local H and others.

A new crossover event, “Blood4Blood,” will also take place at the Ocean Center, combining live music with bare-knuckle fighting, including a headline bout featuring Alex Terrible of Slaughter to Prevail.

TICKETS, ACCESS AND ATTENDANCE

Festival gates will open daily at 11:30 a.m. Organizers are offering a range of ticket options, including single-day, weekend, VIP and camping packages. A new Camp to Coast shuttle will provide transportation between the speedway and nearby beaches.

With expanded attractions, including rides, themed bars and interactive zones, Welcome To Rockville 2026 is expected to draw tens of thousands of fans to Daytona Beach, reinforcing its role as a major driver of Florida’s tourism and live entertainment economy.

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Orlando International Fashion Week Partners with Orlando Fringe Festival for 35th Anniversary Avant-Garde Showcase

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Orlando International Fashion Week

ORLANDO, Fla. (FNN)Orlando International Fashion Week (OIFW) has announced a new creative partnership with the Orlando International Fringe Theatre Festival as the festival celebrates its 35th anniversary this May.

As part of the collaboration, OIFW will present a special avant-garde fashion showcase on Saturday, May 16, 2026, from 5:30 p.m. to 6:30 p.m., during the two-week festival. The curated runway will feature bold, experimental designs that reflect Fringe’s spirit of artistic freedom, individuality and innovation.

PARTNERSHIP CELEBRATES CREATIVE COLLABORATION

Organizers say the partnership reflects a natural alignment between two nonprofit organizations committed to supporting artists and expanding access to creative spaces.

“Fringe and OIFW share a commitment to creating platforms where artists can take risks and express themselves freely,” said Rob Henlon, executive director and co-founder of OIFW. “This collaboration allows fashion to exist within a broader artistic conversation.”

John Payne-Rios, an OIFW advisory board member, added that the partnership strengthens Orlando’s creative ecosystem by bringing together fashion, theater and community engagement.

Festival organizers echoed that sentiment, noting the addition of fashion enhances the Outdoor Stage experience and introduces new artistic energy to the event.

DESIGNER CALL AND MODEL CASTING UNDERWAY

In conjunction with the partnership, OIFW has opened its designer registration call for creatives interested in participating in the Fringe showcase.

Designers are encouraged to submit collections that emphasize:

  • Avant-garde concepts
  • Artistic storytelling
  • Bold, experimental design

Models can also audition for both the Fringe showcase and upcoming OIFW runway shows. Casting calls are scheduled for April 12 and April 19 at CityArts Gallery in downtown Orlando from 11 a.m. to 3 p.m. The casting is open to ages 4 and up, with no prior experience required.

FRINGE FESTIVAL MARKS 35 YEARS OF ARTISTIC FREEDOM

For 35 years, the Orlando International Fringe Theatre Festival has provided an inclusive platform for artists to present original work in an unjuried and uncensored environment. The festival is the longest-running Fringe festival in the United States and returns 100% of ticket sales directly to artists.

Each May, the festival transforms Orlando into a hub of live performances, visual art, music and interactive experiences that celebrate diverse voices and creative expression.

What’s Next for OIFW?

The Fringe collaboration serves as a lead-in to OIFW’s signature summer event, Orlando International Fashion Week Presents: 626 Euphoria, scheduled for June 6, 2026, at the Winter Park Events Center.

Organizers say the upcoming season will continue to focus on:

  • Expanding fashion as a cultural platform
  • Strengthening cross-industry partnerships
  • Elevating emerging and diverse designers

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Trick Daddy Threatens Tiffany Moore Russell Mayoral Race After AKA Show Shut Down

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ORLANDO, Fla. (FNN) — A performance by Miami street legend rapper Trick Daddy ended abruptly Friday night during the 73rd South Atlantic Regional Conference of Alpha Kappa Alpha Sorority, Incorporated after event organizers said the artist ignored agreed-upon performance guidelines.

The incident, which occurred after the conference’s Step and Stroll competition, has sparked debate online about event vetting, audience expectations, and artistic responsibility.

The event was overseen by South Atlantic Regional Director Tiffany Moore Russell, who also serves as the elected Clerk of Courts for Orange County, Florida and is currently a candidate for Orange County mayor.

Conference Performance Ends Early

Conference attendees from across the South Atlantic region gathered in Orlando for the sorority’s five-day leadership and networking event.

Friday evening’s program featured step teams and strolling performances before transitioning to live entertainment. Organizers booked Trick Daddy, the Miami rapper known for hits including “Nann” and “Thug Matrimony,” to perform a curated list of songs.

However, the performance ended mid-set after organizers said the rapper used language and lyrics that violated previously discussed guidelines.

Russell addressed the incident in a statement distributed to conference attendees.

“We met several times with him and his team to detail our requirements, including attire, language, and specific songs,” Russell said. “Unfortunately, our requirements were ignored. The language, lyrics, and comments made by the artist were not acceptable. I ended the performance because of the disrespect for our organization and our brand.”

Viral Video Fuels Online Debate

Videos posted on social media showed audience members reacting with surprise and discomfort during the performance.

In one clip, attendees could be seen leaving the room as the rapper used explicit language and interacted with the crowd in a manner some attendees described as inappropriate for the event.

The video quickly spread online, fueling debate over whether the performer or the event organizers were responsible for the mismatch between the artist and the audience.

Some critics argued the booking itself raised questions about vetting.

Questions About Booking and Vetting

The controversy has prompted broader discussion about event planning and audience expectations.

Alpha Kappa Alpha Sorority, Incorporated is one of the nation’s oldest historically Black sororities, known for its emphasis on scholarship, leadership, and community service.

Critics on social media questioned why an artist known for explicit hip-hop lyrics was booked for a conference audience largely composed of professional women and long-time sorority members.

Supporters of the organizers say the issue was not the booking itself but whether the performer honored the agreed-upon content guidelines.

Russell emphasized that the step teams and conference participants represented “creativity, discipline, and excellence,” adding that she regretted the performance overshadowed their work.

Trick Daddy Responds: “They Booked Me, Trick Daddy Dollars” [VIDEO]

Following the incident, Trick Daddy posted a video response denying that he violated the agreement and accusing organizers of damaging his reputation.

Trick Daddy video responding to AKA Director statement telling her not to give him a playlist, this isn’t her wedding and not to defame his characte, according to the video.

the video further that he states that anybody in there that was saddity and sanctified should not have been in there once I grabbed the MF’in mic.

He also referenced Russell’s political ambitions, saying: “I heard you’re running for some type of office or something. I’ll get on you every day until you don’t win. Don’t play with me.”

The comments intensified the controversy as the incident shifted from a performance dispute to a potential political crisis for Russell’s Orange County mayoral campaign.

What Happens Next? Reputation, Politics and Public Reaction

For Trick Daddy, the dispute raises questions about how the controversy could affect his public image and performance bookings.

For Tiffany Moore Russell, the issue arrives as she prepares for a campaign for mayor in Orange County, Florida, potentially drawing political scrutiny to the situation.

Whether the rapper follows through on his pledge to publicly attrack Russell’s mayoral campaign remains unclear.

For now, the moment stands as a cautionary tale about entertainment programming at professional events—where audience expectations, artist identity, and brand reputation must align.

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