B&RS: The First Promo

I didn’t realize it then but entering this venture assuming both producer and talent roles would both cause me a great deal of suffering, and strengthen my abilities simultaneously. Prior to this, my radio and television experience came at the expense of being booked on various pre-existing platforms. If Evan Ginzburg said to call a number at a certain time, I called that number at a certain time. I had no idea what actually went into the production of these shows. But I knew Alonzo and I would bring the funny, which intensified my desire to be the best producer I could be. Days before our live launch, we filmed and recorded, creating the bare bones of what I would edit into our first commercial. After a few practice sessions, we remained eager for Monday night, the night that we would introduce ourselves to the world as radio royalty. Before the oversaturation of the podcast market, platforms like Spreaker allowed aspiring radio personalities to broadcast live to a global audience, using tools that I would utilize to create our audio presentation. Jingles, commercials, segments, and spots, were all created one by one using Logic Pro. I used every opportunity to showcase my voice, as tapping into my vocal ability allowed me to change the tone of each audio file produced. The amount of integration and implementation that took place behind the scenes often happened in an empty room, and while everyone involved patiently waited for showtime, I worked tirelessly and diligently to build the platform that would launch me to superstardom. As talent, we moved as a collective, but I’d be lying if I said a chip didn’t land on my shoulder the moment I realized the responsibility of an executive producer. The two sides to me would often conflict, with one outweighing the other in this never-ending back-and-forth exchange. I wanted to work on a show that would get us a “pop” while having to create and operate the infrastructure that will get us there. And so the shit show began.

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