Entertainment

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

Published

5 years ago

February 17, 2021

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.

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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.

Full Coverage: Rush Limbaugh

“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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Entertainment

USF Credit Union Named Presenting Sponsor of ‘Rainbow To Your Door’ With $5,000 Challenge Match Grant

Published

3 days ago

June 1, 2026

FNN NEWS

ORLANDO, Fla. (FNN) — The production team behind Rainbow To Your Door announced that USF Credit Union has joined the upcoming theatrical production as its Presenting Sponsor, accompanied by a $5,000 Challenge Match Grant aimed at encouraging community support and helping fully fund the project.

The partnership reflects a shared commitment to arts, education, and community engagement across Central Florida. Organizers say the challenge grant will match community contributions dollar-for-dollar up to $5,000, helping expand public access and educational opportunities connected to the production.

Original Play Celebrates Florida’s Artistic Legacy

Rainbow To Your Door is an original stage production written by Los Angeles-based playwright Kenneth Brown. The play is inspired by the historic friendship and artistic exchange between acclaimed author and anthropologist Zora Neale Hurston and artist Jules André Smith.

Set in 1938 at the historic Maitland Art Center, the production explores the challenges, triumphs, and purpose of artists navigating a rapidly changing world while preserving their creative voices.

“This partnership represents more than sponsorship. It is an investment in storytelling, culture, and preserving the legacy of artistic voices that helped shape Florida’s creative identity,” Brown said. “We are incredibly grateful to USF Credit Union for believing in this vision and helping us create meaningful community impact through the arts.”

Challenge Match Campaign Aims to Fully Fund Production

As part of the sponsorship, USF Credit Union will provide a $5,000 Challenge Match Grant to encourage community participation and charitable giving. Production organizers say that once the matching goal is reached, Rainbow To Your Door will be fully funded.

Donations generated through the campaign will support expanded accessibility initiatives, educational programming, community outreach, and audience engagement efforts associated with the production.

“USF Credit Union is proud to support initiatives that enrich the communities we serve,” said Rick Skaggs, CEO of USF Credit Union. “Rainbow To Your Door reflects the power of culture, education, and the arts to inspire meaningful conversations and strengthen community connections.”

Production Scheduled for October 2026

Media relations and promotional efforts for the production are being coordinated by Fierce Entertainment.

Rainbow To Your Door is scheduled for Oct. 10–11, 2026, at the Timucua Arts Foundation in Orlando.

Additional information regarding ticket sales, sponsorship opportunities, and the community challenge campaign will be announced in the coming weeks.

Media Contact:
Rob Henlon
Fierce Entertainment
rob@alwaysfierce.com

For sponsorship information and production updates, visit Rainbow To Your Door.

Central Florida News

FNN Honors Teen Reporter Isabella Schmitt as She Graduates and Pursues Communications Degree

Published

3 weeks ago

May 15, 2026

FNN NEWS

ORLANDO, Fla. (FNN) — Florida National News proudly celebrates Isabella Schmitt as she marks an important milestone with her high school graduation and prepares to begin an exciting new chapter pursuing Communications in college.

Over the years, Isabella has represented the next generation of young voices with professionalism, creativity, determination, and passion.

Through reporting opportunities, community involvement, and media experiences, she has continued to shine both on and off camera while inspiring others through her dedication and work ethic.

Jenny Rosario, Vice President of Florida National News, praised Isabella’s accomplishments and bright future ahead.

“Watching Isabella grow both personally and professionally has been truly inspiring,” Rosario said. “She represents the future of journalism, communications, and storytelling. Her passion, confidence, and commitment to making a positive impact through media are remarkable, and we are incredibly proud of all she has accomplished.”

Rosario added that Isabella’s decision to pursue Communications in college is a natural next step for someone with such strong talent and determination.

“The world of media and communications needs more young voices like Isabella’s,” Rosario said. “We know this is only the beginning of many great accomplishments to come.”

Florida National News congratulates Isabella Schmitt and the entire Class of 2026 on this exciting achievement.

“Keep dreaming big and telling stories that matter,” Rosario added.

Entertainment

How Orlando International Fashion Week Builds Confidence: A Belonging-Driven Casting Experience

Published

4 weeks ago

May 9, 2026

Dr. Jessica Henlon

By Dr. Jessica Henlon | Education Contributor for Florida National News

At Orlando International Fashion Week (OIFW), the runway does not begin on show day. It begins at casting.

Over two weekends this April, OIFW welcomed hundreds of aspiring and experienced models to CityArts Gallery in Downtown Orlando for official casting calls ahead of the June 6 runway shows. What unfolded was more than an audition process. It was a carefully designed experience rooted in a powerful truth: when people feel seen, supported, and welcomed, they are more likely to show up with confidence.

From first-time participants to returning talent, families, creatives, and industry professionals, the casting experience reflected what makes OIFW different. It was not just about selecting models. It was about creating a space where people felt confident enough to try.

Belonging First, Performance Second

In educational psychology, belonging is not a soft concept. It is a driver of motivation, persistence, and self-efficacy. Research in postsecondary education has consistently linked students’ sense of belonging to academic outcomes, engagement, and persistence (Fong et al., 2024; Gopalan & Brady, 2020). While OIFW is not a classroom, the same human principles apply. People perform differently when they feel safe, valued, and connected.

This also aligns with my doctoral research on online first-generation college students. In that study, participants described virtual extracurricular activities as affirming spaces that supported leadership development, motivation, self-efficacy, and belonging (Henlon, 2025). The findings affirmed that engagement spaces are not “extra.” They can be essential to how people build identity, confidence, and persistence.

OIFW reflects this same principle in a creative industry setting. People come back because of how they are treated.

Designing a Confidence-Building Experience

The atmosphere inside CityArts Gallery was intentional.

Models of all ages and backgrounds moved through the casting process in a space that felt structured, supportive, and human. Team members gave clear direction, answered questions, and offered encouragement in real time. Families felt comfortable. First-time participants felt included. Returning models felt valued.

Those details matter.

Social Cognitive Theory suggests that individuals build confidence through observation, encouragement, and successful participation in meaningful environments (Bandura, 1986). When a model sees others walk, receive feedback, and try again, the room becomes a learning space. Confidence is not simply demanded. It is modeled, practiced, and reinforced.

That approach also connects to the modeling and fashion curriculum I developed for youth and emerging talent, where self-esteem, work ethic, body language, preparation, and reflection were built directly into the learning experience. The curriculum framed self-esteem as confidence in one’s own worth and abilities, while encouraging participants to celebrate success, develop talents, practice positive self-talk, and treat themselves well. That same foundation was visible at casting: confidence grows when people are given structure, encouragement, and room to develop.

A Creative Ecosystem in Motion

Casting weekends brought together more than models.

Photographers, videographers, designers, media professionals, artists, families, and community members shared the same creative space. More than 20 photographers and videographers were present capturing content, building portfolios, and documenting the energy of the experience. Florida National News was also on-site, conducting interviews and helping tell the story of the event.

This kind of creative ecosystem matters because learning and confidence often grow through participation, not observation alone. Research on connected arts learning emphasizes the importance of linking creative practice to supportive relationships, cultural relevance, and opportunity pathways (Peppler et al., 2022). In other words, creative spaces become more powerful when they connect people to each other and to what comes next.

At OIFW, casting is not hidden behind closed doors. It is visible, collaborative, and alive. This is where relationships are built.

Inclusion as Strategy, Not Statement

OIFW continues to prioritize an inclusive casting approach that welcomes models across ages, sizes, backgrounds, and experience levels. This is more than a value statement. It is part of the structure.

Research on organized activities shows that participation in supportive group settings can help young people build social capital, strengthen relationships, and develop confidence through meaningful interaction (Boat et al., 2024). Similarly, studies of extracurricular activities have found that participation can strengthen self-efficacy, identity, and skill development when activities are structured with purpose and support (Griffiths et al., 2021).

That is why inclusive casting matters. When a young person, a first-time model, or a returning participant sees a range of people welcomed into the process, the message is clear: there is room for you here.

For families, this creates trust.
For designers, it creates range.
For sponsors and media, it tells a deeper story.
For participants, it builds confidence.

Safety, Structure, and Trust

With a strong presence of youth participants, OIFW maintains clear expectations around professionalism, age-appropriate presentation, and safety. Families can trust that the environment is monitored, structured, and designed with care.

That trust is part of why participants return season after season.

In youth development research, positive experiences in organized activities are strongest when young people experience supportive relationships, clear expectations, and opportunities to build skills (Boat et al., 2024; Heath et al., 2022). OIFW’s casting model reflects that kind of intentional design. The goal is not only to prepare people for the runway. It is to help them feel prepared to step into the room.

More Than a Casting Call

What happened over these two weekends was not only about who made the runway.

It was about creating a space where people felt confident enough to try, supported enough to grow, and inspired enough to return. It was about helping participants move from nervousness to possibility. It was about making sure that the first step toward the runway felt welcoming, not intimidating.

Creative participation can support well-being, identity development, and self-expression, especially when the environment is inclusive and relational (Mak & Fancourt, 2019; Peppler et al., 2022). OIFW’s casting experience shows how arts and fashion spaces can function as confidence-building environments when they are designed with care.

That is the OIFW difference.

Confidence is not built through pressure alone. It is built through belonging, visibility, preparation, and meaningful interaction.

Looking Ahead

Orlando International Fashion Week continues to build toward its summer season:

May 16, 2026: Avant Garde Showcase at Orlando Fringe Festival
June 5, 2026: VIP Mixer at Morse Code Lounge
June 6, 2026: “626 Euphoria” Runway Shows at Winter Park Events Center

Tickets are available at www.OIFW.org.