RadioNewsUnbelievableDeals
RadioNewsUnbelievableDeals
Post rating:
+
Certainly the sensitivity and fidelity of recording and broadcast gear did have a great influence on announcing styles over the years. From mechanical transcription through acoustical horn devices onto wax cylinders, to behemoth analog audio consoles and heavyweight metal and oilcloth electro-acoustical/magnetic recording and audience sound delivery systems, from crude photo-optical, iron oxide particle tape, and spiral-groove platter transcription media to high resolution Digital storage and transmission, the tone and delivery of the "professional" human voice has undeniably followed the course of technology and society. Aside from the quaintly anachronistic "ballyhoo" tones still used for "calling" horse races, auctions, and flamboyant delivery of Boxing Ring and Big Top Circus announcers, most styles of public expression and delivering scripted lines have undoubtedly become less formal, less dramatized, and less projected overall - as Time and Technology "Marches On" into the 21st Century.
Besides needing to forcefully project the voice over a considerable noise floor in the earliest days of broadcasting and recording sound for public and/or home reproduction, limited frequency range and distortion had the effect of muffling and blurring the elements of articulation that define spoken words, and so clear annunciation and proper microphone technique was mandatory for all professional announcers and actors. Heightened use of melodramatic tone and phrasing was likewise helpful in communicating words and ideas through the haze of static and background RF interference common to those primitive methods of sound reproduction; but was also the prevailing style of public speaking throughout the first half of the 20th Century - with formal elocution lessons required for all entertainers and politicians, as a vital element of stagecraft for addressing a diverse mass audience. A universally legible "Mid-Atlantic" dialect supplanted North American and British Empire/Commonwealth nations' colorful - but formerly geographically isolated - regional vocabularies and accents; lending a standardized "touch of class" to those from more humble and definitively localized linguistic roots.
In the 1930s, The Age of Invention and Innovation literally crackled with the unprecedented Newness of it All; and so there was a thrilling air of discovery and importance coloring the delivery of now instantaneously accessible and rapidly evolving news and science bulletins; expressed in not-yet-streamlined "Tommy Gun" bursts of complex verbiage, feverishly exclaimed from distant locations all across the Globe. It was all electrically-charged with Fanfare and Momentous Event gusto!
As Radio Towers hummed and "Talkies" lit up the screen, bringing indelible characters and their voices to a never-before-imagined throng of massive human proportions, there was the major influence of the most luminous celebrities and infectiously popular broadcasters of the day: You can easily spot the impact that FDR's political speeches and Fireside Chats had on the fundamental tone and delivery of most announcers and public figures across America, in either conscious or subconscious desire to emulate his overwhelmingly captivating vocal presence in the media of that time. A Call to Arms motivated Americans and Subjects of the Greater British Empire to spring into boldly confident action while building a sturdy foundation of Industrial strength and emotional fortitude, to see us all through the strife and horrors of the second World War, to that Great Hopeful Beyond of a bright and secure "Modernistic" Future.
With the rise of The Swing Era came a wave of musically-modulated syncopated tones, and shifted the professional announcer's vocal center away from the horn-like nasal brassiness of those earlier formative days - down to a more sonorous full-bodied diaphragmatic placement, which meshed perfectly with the rich baritone warmth imparted by the great big Ribbon microphones and multistage Tube + heavy iron/copper transformer preamplifier electronics. The laid-back, comfortably-attired conversational speaking presence of Bing Crosby and Arthur Godfrey was now eloquently cultivated and bloomed to room-filling volume, without the effects of ambient noise and distortion cluttering and obscuring the broadcast signal to the point of distraction; so Announcers could melodiously Swing'n'Sway right along with the jazzy musical tones of the times, while Golden Age Radio accompanied Americans no matter where they might be - even in moving motor vehicles - 'round the clock.
Moving on to the cheerfully optimistic 1950s, Chesterfield and highball-infused Madison Avenue cool was the style palette of "the nightclub set", and mature tones of articulate character actors began to dominate the soundtracks of commercial and industrial productions, while show announcers and host personalities took on the handsome "sparkle" of a warmly personable, yet skillfully persuasive "trained" broadcaster's Voice of High-Gloss Polished Authority. The soaring full-throated hyperbole of movie trailer announcers like Art Gilmore and Dick Tufeld cascaded from RCA System® optical soundtracks out of Altec's massive Voice of The Theater™ loudspeaker horns, leaping forth from hometown big screens like luminous cannon fire over the mid-century cultural divide.
With the completion of the Interstate Freeway System and its ensuing Drive-in "Nation On Wheels" Culture came the Solid-State / Dynamic Mic "Boss Radio" era of the '60s; with its youth-driven rebellious enthusiasm and defiantly unruly delivery; pumped-up, compressed and exploded through an aging forest of AM Radio towers out to millions of Space Age 8 Transistor pocket radios Made in Japan and unapologetically musical 6X9 Delco and Philco whizzer-cone car speakers - delivered with stylized hipness that cajoled and winked at listeners with wild adenoidal Rock'N'Roll abandon. Simultaneously, Walter Cronkite's steady-handed News Anchor delivery set the tone for Adult-oriented information broadcasting and documentary narrative, as commercial announcing gravitated away from exclamatory lyrical tones, towards the more "plain spoken" credibility of veteran Golden Age Radio/Movie Character Actors; now somewhat career-challenged and looking for lucrative new performance venues in the burgeoning TV Industry. The 3 Networks bore a distinctive sonic signature back then: an unintended metallic resonance through The Bell System's heavily-enhanced / limited-fidelity string of extended Land Line "feeds" (referred to as "Switched 56" audio, which later evolved into the Integrated Services Digital Network - or ISDN), giving all "official Network source" newscasts and daytime TV a uniquely compromised "lo-fi" - yet undeniably "authoritative" tone.
The 1970s quietly gave rise to the Condenser Mic era of FM broadcasting; with its relaxed and "cozy", subtly-inflected "naturalistic" voices and personalities - no longer saddled with overcoming AM's inherent noise, distortion, and relatively poor frequency response to finally transmit the full compliment of tone and personality to a mass audience. Ken Nordine spoke with such intimacy, it was almost as if you were telepathically linked to his conscious (and in his unique style, sub-conscious) "inner voice"; and National Public Radio delivered news and informational features with softly-feathered gentility. Old-fashioned Announcer voices started drifting away from "center stage" prominence, eventually relegated to the dusty booths and back alleys of fading AM Radio and TV Game Show programming.
When motion picture production finally made the leap from the fidelity-challenged legacy technologies of cumbersome optical/magnetic film machinery to silently preamplified all-Digital recording gear, Movie Trailer announcing and narration went from coarse gravel splatter, to whispering rumbles of master storytellers. By the mid '90s, TV promos followed in shadowy facsimile style, eventually gravitating towards Today's overbearingly "pumped up" delivery, with wheezing melodramatic urgency - that sounds more like the strains of a sudden onset of intestinal distress, than the kind of provocatively "arresting" Epic Movie Teaser/Trailer voices they are surely meant to evoke. The once widespread inappropriate use of Sennheiser's timbre-canceling 416 shotgun utility mic only further served to strip and coarsen the qualities of tone and delivery that had been so richly rounded and smoothly polished throughout the mid-century's fully-matured era of Analog Audio technology.
There were red-hot fire-hoses of broadcasting on the wildly expanding playing field of network and syndicated Entertainment Media Enterprises springing forth in the '60s; that would eventually all congeal into a few monolithic Über-Corporations by the late '80s - ultimately snuffing out "local flavor" in the rising floodwater of our currently prevailing creatively-suffocating Radio-TV Mediocracy.
The grand and glorious tones of yesteryear began to fade from the Public Ear, as independent and local Radio/TV ownership was essentially wiped out by the FCC's ill-considered deregulatory floodgate-opening: Unleashing creatively-hostile (and sociologically amoral) media raiders like Clear Channel® onto a cash-starved playing field; who bullied the airwaves away from the dedicated entertainers and informers of big and small town America, while dramatically redefining the concept of Broadcasting Talent - to rude button-pushing ignoramuses with abrasively unrefined tinhorn voices, and no sense of shame or ethical responsibility - let alone basic public speaking skills or any notion that such a thing might be desirable when heard by the now choice-deprived commuters and retirees still hungry for spoken word entertainment and meaningful information streams...
Once the Hollywood dream factory was slowly nibbled away and digested by multinational corporate investment groups, and the Great American Movie Industry was passed from mogul-established family-run Studio Back Lot proprietorships to generic industrial mass-marketing conglomerates during the late '80s, cold hard numerical "facts" and figures erroneously derived from scatter-shot random audience polling and blind "demographically targeted" survey data - ultimately ushered in the misguided concept of "The Anti-Announcer". It seemed that "average" test subjects were no longer "buying" the polished professional tones of their grandparents' bygone society; so the push was on towards voices meant to conjure images of approachably unsophisticated next-door neighbors or "trustworthy" types carelessly extracted from some commercial advertising executive's imaginary hometown high school yearbook. Never mind that Anti-Announcer voices have never effectively convinced or sold anyone on the merits of a sponsor's products; but the mighty Marketing Industry still reaps billions concocting faulty testing and promotion schemes for clueless "diversified" investment group fiduciary committee chair-members to over-fund with reckless, unquestioning abandon. And yet this fervid demand for ever-less-polished, ever more embarrassingly amateurish voices to deliver ever-less-compelling, less-literate and less-expressive words continues - in the face of ever-more-diminishing popularity and financial returns. ("Will the last programmer please switch off the 50,000 Watt Tower on your way out the door?")
The once finely-woven fabric of Professional Announcing (and some forms of broadcast narration) began unraveling to a threadbare pile of soiled shop rags since the early 1990s, to satisfy the still pervasive corporate media world spasm to foist overtly amateur-grade talent - with woefully weak, even repellingly unappealing voices and cluelessly illiterate linguistic skills - into the once exclusively professional traditional roles of Announcer or Narrator - whose unappealing, unconvincing voice tracks must then be Frankensteined to life by underpaid rookie audio editor/engineers, from scores of barely usable snippets, into a "glitchy" patchwork of instantly forgettable, inspiration-free verbal drone, to accompany their poorly-produced steaming heaps of dumbed-down "reality-based" documentary and commercial productions - to then be aggressively over-marketed and force-fed to "the mindless masses". ...And so it goes.
But wait! All is not lost for those who care about excellent quality voices in electronic media. Like the returning interest in analog vinyl records and "retro" filmmaking and product design, classic-style professionalism in announcing and narration voices is actually more in demand now than I can recall over the past two decades. Far more. Bright young producers and writers increasingly revel in recreating the musical and experiential textures of our optimistic, polished, genteel past eras: The crass cacophony of our current soundscape is proving to be merely an irritating roar of background noise - drawing no significant interest and inspiring no joy or satisfaction from the increasingly restless, fragmented and confused vast public audience. In order to stand out and garner successful/profitable attention, the push is on to bring back the classic sounds and sights of a hopeful nation. A nation of pride and quality. Civility and Taste. Richness of ideas and expression. The things that make life a wondrous adventure - and transport us away from the trials and tribulations of the depressingly deteriorating infrastructures of our daily existence.
And that's precisely what great Announcing is all about.
Thanks for Listening.
Besides needing to forcefully project the voice over a considerable noise floor in the earliest days of broadcasting and recording sound for public and/or home reproduction, limited frequency range and distortion had the effect of muffling and blurring the elements of articulation that define spoken words, and so clear annunciation and proper microphone technique was mandatory for all professional announcers and actors. Heightened use of melodramatic tone and phrasing was likewise helpful in communicating words and ideas through the haze of static and background RF interference common to those primitive methods of sound reproduction; but was also the prevailing style of public speaking throughout the first half of the 20th Century - with formal elocution lessons required for all entertainers and politicians, as a vital element of stagecraft for addressing a diverse mass audience. A universally legible "Mid-Atlantic" dialect supplanted North American and British Empire/Commonwealth nations' colorful - but formerly geographically isolated - regional vocabularies and accents; lending a standardized "touch of class" to those from more humble and definitively localized linguistic roots.
In the 1930s, The Age of Invention and Innovation literally crackled with the unprecedented Newness of it All; and so there was a thrilling air of discovery and importance coloring the delivery of now instantaneously accessible and rapidly evolving news and science bulletins; expressed in not-yet-streamlined "Tommy Gun" bursts of complex verbiage, feverishly exclaimed from distant locations all across the Globe. It was all electrically-charged with Fanfare and Momentous Event gusto!
As Radio Towers hummed and "Talkies" lit up the screen, bringing indelible characters and their voices to a never-before-imagined throng of massive human proportions, there was the major influence of the most luminous celebrities and infectiously popular broadcasters of the day: You can easily spot the impact that FDR's political speeches and Fireside Chats had on the fundamental tone and delivery of most announcers and public figures across America, in either conscious or subconscious desire to emulate his overwhelmingly captivating vocal presence in the media of that time. A Call to Arms motivated Americans and Subjects of the Greater British Empire to spring into boldly confident action while building a sturdy foundation of Industrial strength and emotional fortitude, to see us all through the strife and horrors of the second World War, to that Great Hopeful Beyond of a bright and secure "Modernistic" Future.
With the rise of The Swing Era came a wave of musically-modulated syncopated tones, and shifted the professional announcer's vocal center away from the horn-like nasal brassiness of those earlier formative days - down to a more sonorous full-bodied diaphragmatic placement, which meshed perfectly with the rich baritone warmth imparted by the great big Ribbon microphones and multistage Tube + heavy iron/copper transformer preamplifier electronics. The laid-back, comfortably-attired conversational speaking presence of Bing Crosby and Arthur Godfrey was now eloquently cultivated and bloomed to room-filling volume, without the effects of ambient noise and distortion cluttering and obscuring the broadcast signal to the point of distraction; so Announcers could melodiously Swing'n'Sway right along with the jazzy musical tones of the times, while Golden Age Radio accompanied Americans no matter where they might be - even in moving motor vehicles - 'round the clock.
Moving on to the cheerfully optimistic 1950s, Chesterfield and highball-infused Madison Avenue cool was the style palette of "the nightclub set", and mature tones of articulate character actors began to dominate the soundtracks of commercial and industrial productions, while show announcers and host personalities took on the handsome "sparkle" of a warmly personable, yet skillfully persuasive "trained" broadcaster's Voice of High-Gloss Polished Authority. The soaring full-throated hyperbole of movie trailer announcers like Art Gilmore and Dick Tufeld cascaded from RCA System® optical soundtracks out of Altec's massive Voice of The Theater™ loudspeaker horns, leaping forth from hometown big screens like luminous cannon fire over the mid-century cultural divide.
With the completion of the Interstate Freeway System and its ensuing Drive-in "Nation On Wheels" Culture came the Solid-State / Dynamic Mic "Boss Radio" era of the '60s; with its youth-driven rebellious enthusiasm and defiantly unruly delivery; pumped-up, compressed and exploded through an aging forest of AM Radio towers out to millions of Space Age 8 Transistor pocket radios Made in Japan and unapologetically musical 6X9 Delco and Philco whizzer-cone car speakers - delivered with stylized hipness that cajoled and winked at listeners with wild adenoidal Rock'N'Roll abandon. Simultaneously, Walter Cronkite's steady-handed News Anchor delivery set the tone for Adult-oriented information broadcasting and documentary narrative, as commercial announcing gravitated away from exclamatory lyrical tones, towards the more "plain spoken" credibility of veteran Golden Age Radio/Movie Character Actors; now somewhat career-challenged and looking for lucrative new performance venues in the burgeoning TV Industry. The 3 Networks bore a distinctive sonic signature back then: an unintended metallic resonance through The Bell System's heavily-enhanced / limited-fidelity string of extended Land Line "feeds" (referred to as "Switched 56" audio, which later evolved into the Integrated Services Digital Network - or ISDN), giving all "official Network source" newscasts and daytime TV a uniquely compromised "lo-fi" - yet undeniably "authoritative" tone.
The 1970s quietly gave rise to the Condenser Mic era of FM broadcasting; with its relaxed and "cozy", subtly-inflected "naturalistic" voices and personalities - no longer saddled with overcoming AM's inherent noise, distortion, and relatively poor frequency response to finally transmit the full compliment of tone and personality to a mass audience. Ken Nordine spoke with such intimacy, it was almost as if you were telepathically linked to his conscious (and in his unique style, sub-conscious) "inner voice"; and National Public Radio delivered news and informational features with softly-feathered gentility. Old-fashioned Announcer voices started drifting away from "center stage" prominence, eventually relegated to the dusty booths and back alleys of fading AM Radio and TV Game Show programming.
When motion picture production finally made the leap from the fidelity-challenged legacy technologies of cumbersome optical/magnetic film machinery to silently preamplified all-Digital recording gear, Movie Trailer announcing and narration went from coarse gravel splatter, to whispering rumbles of master storytellers. By the mid '90s, TV promos followed in shadowy facsimile style, eventually gravitating towards Today's overbearingly "pumped up" delivery, with wheezing melodramatic urgency - that sounds more like the strains of a sudden onset of intestinal distress, than the kind of provocatively "arresting" Epic Movie Teaser/Trailer voices they are surely meant to evoke. The once widespread inappropriate use of Sennheiser's timbre-canceling 416 shotgun utility mic only further served to strip and coarsen the qualities of tone and delivery that had been so richly rounded and smoothly polished throughout the mid-century's fully-matured era of Analog Audio technology.
There were red-hot fire-hoses of broadcasting on the wildly expanding playing field of network and syndicated Entertainment Media Enterprises springing forth in the '60s; that would eventually all congeal into a few monolithic Über-Corporations by the late '80s - ultimately snuffing out "local flavor" in the rising floodwater of our currently prevailing creatively-suffocating Radio-TV Mediocracy.
The grand and glorious tones of yesteryear began to fade from the Public Ear, as independent and local Radio/TV ownership was essentially wiped out by the FCC's ill-considered deregulatory floodgate-opening: Unleashing creatively-hostile (and sociologically amoral) media raiders like Clear Channel® onto a cash-starved playing field; who bullied the airwaves away from the dedicated entertainers and informers of big and small town America, while dramatically redefining the concept of Broadcasting Talent - to rude button-pushing ignoramuses with abrasively unrefined tinhorn voices, and no sense of shame or ethical responsibility - let alone basic public speaking skills or any notion that such a thing might be desirable when heard by the now choice-deprived commuters and retirees still hungry for spoken word entertainment and meaningful information streams...
Once the Hollywood dream factory was slowly nibbled away and digested by multinational corporate investment groups, and the Great American Movie Industry was passed from mogul-established family-run Studio Back Lot proprietorships to generic industrial mass-marketing conglomerates during the late '80s, cold hard numerical "facts" and figures erroneously derived from scatter-shot random audience polling and blind "demographically targeted" survey data - ultimately ushered in the misguided concept of "The Anti-Announcer". It seemed that "average" test subjects were no longer "buying" the polished professional tones of their grandparents' bygone society; so the push was on towards voices meant to conjure images of approachably unsophisticated next-door neighbors or "trustworthy" types carelessly extracted from some commercial advertising executive's imaginary hometown high school yearbook. Never mind that Anti-Announcer voices have never effectively convinced or sold anyone on the merits of a sponsor's products; but the mighty Marketing Industry still reaps billions concocting faulty testing and promotion schemes for clueless "diversified" investment group fiduciary committee chair-members to over-fund with reckless, unquestioning abandon. And yet this fervid demand for ever-less-polished, ever more embarrassingly amateurish voices to deliver ever-less-compelling, less-literate and less-expressive words continues - in the face of ever-more-diminishing popularity and financial returns. ("Will the last programmer please switch off the 50,000 Watt Tower on your way out the door?")
The once finely-woven fabric of Professional Announcing (and some forms of broadcast narration) began unraveling to a threadbare pile of soiled shop rags since the early 1990s, to satisfy the still pervasive corporate media world spasm to foist overtly amateur-grade talent - with woefully weak, even repellingly unappealing voices and cluelessly illiterate linguistic skills - into the once exclusively professional traditional roles of Announcer or Narrator - whose unappealing, unconvincing voice tracks must then be Frankensteined to life by underpaid rookie audio editor/engineers, from scores of barely usable snippets, into a "glitchy" patchwork of instantly forgettable, inspiration-free verbal drone, to accompany their poorly-produced steaming heaps of dumbed-down "reality-based" documentary and commercial productions - to then be aggressively over-marketed and force-fed to "the mindless masses". ...And so it goes.
But wait! All is not lost for those who care about excellent quality voices in electronic media. Like the returning interest in analog vinyl records and "retro" filmmaking and product design, classic-style professionalism in announcing and narration voices is actually more in demand now than I can recall over the past two decades. Far more. Bright young producers and writers increasingly revel in recreating the musical and experiential textures of our optimistic, polished, genteel past eras: The crass cacophony of our current soundscape is proving to be merely an irritating roar of background noise - drawing no significant interest and inspiring no joy or satisfaction from the increasingly restless, fragmented and confused vast public audience. In order to stand out and garner successful/profitable attention, the push is on to bring back the classic sounds and sights of a hopeful nation. A nation of pride and quality. Civility and Taste. Richness of ideas and expression. The things that make life a wondrous adventure - and transport us away from the trials and tribulations of the depressingly deteriorating infrastructures of our daily existence.
And that's precisely what great Announcing is all about.
Thanks for Listening.
gwap
gwap
Post rating:
+
damm i am p.retty drunk idk about this
innsmouthful
innsmouthful
sup b*tch
Post rating:
~
yo me too gwap. i thought new accts were disabled wtf
SaintJust
SaintJust
nuMbA B1tcH
Post rating:
~
Squalid
Squalid
D.C.
Post rating:
~
What was the deal with the rolled Rs used by actors in the 1930s
Like do really rich English people still do that or was it an affect created solely for the stage
Like do really rich English people still do that or was it an affect created solely for the stage
wasted
wasted
Post rating:
~
Animation...
- on Cartoon Network:
Star Wars: The Clone Wars
Cad Bane, Count Dooku, Ziro the Hutt ...and assorted others
Batman: The Brave and The Bold
Red Tornado, Thomas Wayne, Doc Magnus, Mercury
And on Disney Channel:
Mickey Mouse Clubhouse
Professor Ludwig Von Drake, Dale
Phineas and Ferb
(assorted bit parts; mostly Announcers)
NOTE: These marquee listings are limited to lead character roles in current productions. Supporting and Bit roles will only occasionally be mentioned under this banner. With decades of character voice and narration work in constant circulation, there is a fairly good chance you'll discover something I've worked on every day - somewhere on a TV broadcast/cable network near you. ...Enjoy!
Oh... "Check Local Listings"
For a sampling of recent promo/trailer work, visit my page on the Jason Marks Talent website.
- on Cartoon Network:
Star Wars: The Clone Wars
Cad Bane, Count Dooku, Ziro the Hutt ...and assorted others
Batman: The Brave and The Bold
Red Tornado, Thomas Wayne, Doc Magnus, Mercury
And on Disney Channel:
Mickey Mouse Clubhouse
Professor Ludwig Von Drake, Dale
Phineas and Ferb
(assorted bit parts; mostly Announcers)
NOTE: These marquee listings are limited to lead character roles in current productions. Supporting and Bit roles will only occasionally be mentioned under this banner. With decades of character voice and narration work in constant circulation, there is a fairly good chance you'll discover something I've worked on every day - somewhere on a TV broadcast/cable network near you. ...Enjoy!
Oh... "Check Local Listings"
For a sampling of recent promo/trailer work, visit my page on the Jason Marks Talent website.
wasted
wasted
Post rating:
~
This website is the One and Only authentic source/address contact and connection to Voice Actor COREY BURTON.
It has lately come to my attention that there are a few impostors, inexplicably pretending to be Corey Burton (that's me!) on the Internet. What anyone might gain from such an inconsequential masquerade is beyond me - apparently nobody has done any real harm to either career or personal reputation, so I wouldn't think of taking any offense or action to shut down this kind of mischief, or try to scold or embarrass anyone for the pretense.
But I would like to point out that much of the information regarding credits* and personal details is factually incorrect, and most certainly does not reflect my actual point of view or personality - which you will find truthfully expressed right here - in these home page posts and throughout our interactive message board. (*IMDB is the single reliable source of credits. Practically all other seemingly "official" TV/Movie/Fansite credit listings are riddled with inaccuracies.)
I do NOT comment on any other message boards, I don't have a Twitter account (nor have I ever "Tweeted" a word), do not participate in Facebook, Friendster, FriendFeed, MySpace, Yahoo! or Google "Buzz", Chat Rooms, Texting, or any other form of "social networking" platform: This is IT. A one-stop, exclusive domain and portal to all things CB - and if you think you've found me lurking or "networking" anywhere else, you can safely presume it to be a counterfeit. I've even seen at least one fabricated "interview", with paraphrased and wholly invented quotes based on factoids and comments synthesized from the few legitimate interviews I've done from time to time, which have been initially "published" on well-regarded, journalistically sound websites - by ethical and authentic reporters.
Again, I take no offense. It's even somewhat flattering to think that anyone would bother impersonating or inventing an alternate construct of personal presence for voice acting fans to interact with. But it still surprises me that any behind-the-scenes performer would be thought to have any measure of the kind of celebrity appeal that a bonafide Star or influential Public Figure carries, considering the fact that we are not personally seen or heard in The Public Arena - and that only the Characters we portray have a noteworthy name and image through the various forms of media in which we perform their scripted dialog. The quality writers, directors, sound editors and animators are all equal partners in generating those characters, and deserve just as much appreciation and credit as we performers may get for entertaining and delighting fans and spectators through "the magic of Human Imagination": We're all just "makin' a living in Showbiz" to the best of our abilities.
*and just a side-note: As explained further down in these posts, I may only occasionally sign a few autographs under very special circumstances - so unless you're certain there is a legitimate charitable cause directly benefitting from the contribution - do not be fooled into paying for my signature on anything. Chances are it is a forgery; I have never charged a dime to sign autographs - and unless it's a memento of a personal contact or conversation - my scribble has no monetary value as a marketable commodity. So don't do it!
It has lately come to my attention that there are a few impostors, inexplicably pretending to be Corey Burton (that's me!) on the Internet. What anyone might gain from such an inconsequential masquerade is beyond me - apparently nobody has done any real harm to either career or personal reputation, so I wouldn't think of taking any offense or action to shut down this kind of mischief, or try to scold or embarrass anyone for the pretense.
But I would like to point out that much of the information regarding credits* and personal details is factually incorrect, and most certainly does not reflect my actual point of view or personality - which you will find truthfully expressed right here - in these home page posts and throughout our interactive message board. (*IMDB is the single reliable source of credits. Practically all other seemingly "official" TV/Movie/Fansite credit listings are riddled with inaccuracies.)
I do NOT comment on any other message boards, I don't have a Twitter account (nor have I ever "Tweeted" a word), do not participate in Facebook, Friendster, FriendFeed, MySpace, Yahoo! or Google "Buzz", Chat Rooms, Texting, or any other form of "social networking" platform: This is IT. A one-stop, exclusive domain and portal to all things CB - and if you think you've found me lurking or "networking" anywhere else, you can safely presume it to be a counterfeit. I've even seen at least one fabricated "interview", with paraphrased and wholly invented quotes based on factoids and comments synthesized from the few legitimate interviews I've done from time to time, which have been initially "published" on well-regarded, journalistically sound websites - by ethical and authentic reporters.
Again, I take no offense. It's even somewhat flattering to think that anyone would bother impersonating or inventing an alternate construct of personal presence for voice acting fans to interact with. But it still surprises me that any behind-the-scenes performer would be thought to have any measure of the kind of celebrity appeal that a bonafide Star or influential Public Figure carries, considering the fact that we are not personally seen or heard in The Public Arena - and that only the Characters we portray have a noteworthy name and image through the various forms of media in which we perform their scripted dialog. The quality writers, directors, sound editors and animators are all equal partners in generating those characters, and deserve just as much appreciation and credit as we performers may get for entertaining and delighting fans and spectators through "the magic of Human Imagination": We're all just "makin' a living in Showbiz" to the best of our abilities.
*and just a side-note: As explained further down in these posts, I may only occasionally sign a few autographs under very special circumstances - so unless you're certain there is a legitimate charitable cause directly benefitting from the contribution - do not be fooled into paying for my signature on anything. Chances are it is a forgery; I have never charged a dime to sign autographs - and unless it's a memento of a personal contact or conversation - my scribble has no monetary value as a marketable commodity. So don't do it!
jools
jools
Post rating:
~
Squalid posted:What was the deal with the rolled Rs used by actors in the 1930s
Like do really rich English people still do that or was it an affect created solely for the stage
older ones do but thats mostly disappeared now
stegosaurus
stegosaurus
Post rating:
~
the pronounced "wh" in words like "white" and "while" is my fav disappearing quirk in american english
gyrofry
gyrofry
Kurdt
Post rating:
+
i like to ostentatiously overpronounce 'wheat' whilst ordering my toast at dennys
Squalid
Squalid
D.C.
Post rating:
~
stegosaurus posted:the pronounced "wh" in words like "white" and "while" is my fav disappearing quirk in american english
I haven't noticed that, what's happening to my American Ws?
MadMedico
MadMedico
Post rating:
+
Ironicwarcriminal
Ironicwarcriminal
Post rating:
+
stegosaurus posted:the pronounced "wh" in words like "white" and "while" is my fav disappearing quirk in american english
drwhat
drwhat
mt.real
Post rating:
~
stegosaurus posted:the pronounced "wh" in words like "white" and "while" is my fav disappearing quirk in american english
you mean when weird people say it as though it's "hw".
they still do it in the south.
Jared Diamond does it and he's already incredibly soporific so listening to his germs guns & steel show thing was fuckin maddening. hweat hweat hweat. it really completed the picture of him being a white colonist
drwhat
drwhat
mt.real
Post rating:
~
anyway, Ken Nordine is cool.
(don't watch the visuals, just enjoy the audio)
(don't watch the visuals, just enjoy the audio)
babyfinland
babyfinland
tardy on these heaters
Post rating:
~
drwhat posted:stegosaurus posted:the pronounced "wh" in words like "white" and "while" is my fav disappearing quirk in american english
you mean when weird people say it as though it's "hw".
they still do it in the south.
Jared Diamond does it and he's already incredibly soporific so listening to his germs guns & steel show thing was fuckin maddening. hweat hweat hweat. it really completed the picture of him being a white colonist
oh