No to HR 848

So much has been discussed about HR 848; the Performance Rights Act that it’s time for the Prime Minister to weigh in on the matter with a “No" to HR 848. I’ve read the opinions in support of HR 848 from musicFirst which ignited the concern over performance rights copyright/compensation. On the musicFirst website it states, “People who love music understand that creativity, talent and hard work are required to bring it to life. The goal of the musicFIRST (Fairness in Radio Starting Today) Coalition is to ensure that aspiring performers, local musicians and well-known artists are compensated for their music when it is played both today and in the future."

At first glance the aim looks good but when you research how the creators will get paid I have a problem with the mission. Almost every artist can tell you stories about how they have been swindled and beaten by record companies. The public has seen it glamorized in films like the Five Hearts Beats. Cadillac Records, and the Temptations. I wonder why in the world artists and musicians want the record companies to handle the monies again. Under HR 848 the revenues from the performance fee automatically go to the record companies which then distributes the money to the artist with the record company getting half off the top. It’s seemed under this relationship the “creators” are allowing themselves to be swindled again. That’s like asking the same person who has slapped you once to slap you again.

Let’s take a look at what is fair. When music is played on the radio the “creators” are being exposed to the public. They are getting free advertisement. Radio is the most immediate and personal of all mediums. If the song is a “hit” and let me make mention that not every song created is a hit. The record company benefits through the free exposure through increased record sales. Radio airplay increases music sales and performing artists and record labels profit from exposure provided by radio airplay. In fact, according to recent research, radio is providing the record industry with significant, incremental sales revenues or promotional sales benefit that ranges from $1.5 to $2.4 billion annually according to James N. Dertouzos, Ph.D.

The fairness in compensation I think should come from the relationship of the artist with the record company. Supporters of the Performance Rights Acts seems to have forgotten that that the free radio airplay leads to building the artist to the point where people are willing to pay for the music and anything else associated with the artist. The impact estimated from exposure to music on the radio is shown to be positive and significant for all music genres and radio formats. Each time an artist wins an award that artist says I want to thank Radio.

There is too much emphasis on what someone else is making as opposed to making sure you get the compensation from who is really responsible to compensate you. Artists are focusing on the 18 billion dollar revenue generated from advertising annually; well that revenue from advertising is not the same today. Advertisers are spending less on radio. And Radio stations are spending most of the 18 billion to service its own debt. Radio is not asking for or trying to get a cut of the artists share of concert revenue!.

Record companies failed to prepare and lost millions as the Internet ushered in the digital age. Does anyone remember Napster? The biggest seller of music today is iTunes. Music distribution has gone to bits! The record industry forgot to do their homework and did not invest in research to find and create new models to secure revenue in the digital era. It’s all about bits not mass CD’s.

Radio is not responsible for the lost revenues the music industry incurred due to Napster and other file sharing enterprises. The record industry wants to end and overlook the symbiotic relationship with radio that both industries profited from and make radio pay a performance fee. Presently radio pays nearly 500 million annually to writers and publisher. The record industry convinced several artists and politicians that the fair thing to do is ask Congress to review copyright law and make radio stations pay a performance fee for sound recordings because everybody on the Internet does.

I don’t know but to me that’s like holding a homeowner liable for an accident that occurred in front of their home. When the homeowner did not tell the driver to drive down his block or was the homeowner driving the car at the time of the accident. The driver and the insurance company are responsible. The compensation to the artist should come from the record company and the artist should negotiate performance compensation before radio plays the song .

The fair, present and future compensations the artist seeks should come from the revenue the record makes from sales and other promotions. The record companies are responsible for the artist losing revenue at the start of the digital era because the record company lacked future vision when the digital era arrived and did not invest in preparing to save and secure itself from losing revenues. It's not fair to radio that artists and record companies are allowed to create a compensation scheme to essentially make up for the lost revenue. An additional fee could motivate broadcasters to reduce the amount of music played. Such reductions would harm broadcasters, their listeners, copyright owners, and likely consumers of recorded music.

Supporters of the Performance Right Act also argue that other countries allow a Performance Fee. I don’t know the history of relationships of how other countries handle radio and the music industry. However, I will be arrogant to say this. No other country is as diverse as the US in regard to artists and the recording industry, therefore no comparisons or statements alluding to the fairness based on what other countries do in this regard are valid.

Another issue I have with the Performance Rights Act is how the performance fee will affect educational non commercial and community stations which do not allow advertising. . Most of these stations barely make it on their present budgets and this fee will cause many to cease playing music depriving the public of what little new and alternative music that is available on terrestrial stations. Many artists who are really trying to get exposed rely on the college, educational non commercial and community stations to build up their audiences. And it would seem by these stations ceasing to play music that would do more damage than good to the artist.

Incidentally, will mobile DJ’s club owners and restaurants have to pay this fee? That’s a sad state of affairs for the local DJ. I would be very angry with the performance fee. Today Copyright law is being challenged where anyone can will try to loop a loop in a loophole. Everybody wants to keep getting paid.

If I owned a radio station and this Act became law the first thing I would do is make it more costly for music to be played on the air. Somebody is going to have to pay for fee I have to pay, Right? New artists will undoubtedly have to pay more to get their music exposed. And that exposure will be for a limited time on radio. Artist with the oldies but goodies can forget it, there will be no more oldies shows it will be too costly to air oldies. So it looks like in the long run the artists both known and unknown will hang themselves if they support this bill. Radio should be exempt from the performance fee because radio was first on the scene. It's like radio is the founder of the organization. Founders have certain rights and exemptions until death and radio is a long way from death. With the new methods of distribution that the digital era provides artist should focus on trying to escape sharing revenue with the record companies.

With all due respect to the supporters of HR 848 the Performance Rights Act, I respectfully disagree and support H. Con. Res. 49 the Local Radio Freedom Act.

The Prime Minister

A Great Man

On Friday Morning, Chicago’s gospel community paid tribute to a friend and colleague Deacon Anthony Harper whom the Lord called home for his next mission.

Tony, as he was affectionately called was a member of Visions, a Gospel Announcer, writer, FBI Intelligence Analyst, veteran, son, father, and husband died May 21. He was 49 years old.

The homegoing celebration for Tony was held at Valley Kingdom Ministries with Bishop Joseph A. McCargo from Laurel, Maryland Officiating. Bishop McCargo set the tone for a decent and orderly service for Anthony Harper whom he described as a “Great Man.” Pastor Willie James Campbell added to the wonderful characterization of Tony Harper and led a prayer like only he can encouraging the family to live and comforting wife Rose with “Don’t Worry,” canceling whatever the enemy meant for harm. The spirit made its way “In This Place.”

Friend and colleague Cedric Ford lead Visions in a stirring musical selection “In This Place” as the casket of Anthony Harper was being closed. Those moments brought tears to the eyes of the Prime Minister as I watched Rose Harper, say goodbye to her beloved husband with a gentle touch and kiss then Rose stood at the casket supporting the entire family. One could not help to feel for Rose in this time of bereavement but my heart broke witnessing Anthony‘s mother say goodbye to her son.

Among the Chicago gospel community who paid their respects included Dr. Dennis Cole, Pastor John Hannah and Bishop Larry Trotter. Deacon Dr. Dennis Cole, president of the Chicago Area Gospel Announcers Guild acknowledged the good work of Tony and described him as a towering gentle giant. I personally did not envy the task of Deacon Cole because he was on the program before the one and only Pastor John Hannah.

Pastor Hannah broke the sadness and stiffness in the sanctuary with laughter jokingly saying as he approached the podium to speak, "Let's give a hand to the Funeral Director" referring to Deacon Cole. Folks in the sanctuary were applauding before Pastor Hannah told them Deacon Cole is not a Funeral Director. After a few other personal remarks Pastor Hannah proceeded to bring the word. "Why does a bad thing happen to good people," He asked? Then he broke down the story of Job in his unique and powerful way and concluded his brilliant exhortation with "where are my worshipers at"? The exhortation made everyone in the sanctuary stop, think and applaud.

Shekinah Glory took the stage and moved the service deeper in the spirit with “Fall on Me” followed by remarks from friends and co-workers including two US Marines veterans, members of the Lindbloom Alumni Association, Apostle Kevin Dean and the Federal Bureau of Investigation Agent in Charge Robert Grant. Everyone spoke highly of Deacon Anthony Harper.

Tony’s best friend Pastor William A. Spann who happens to be Rose’s brother said “Tony was my best friend before he met my sister” then reflected on their relationship and sang To God Be the Glory which brought the crowd again to its feet. Bishop Larry Trotter followed representing the ministers and encouraged everyone that what’s to come is better than what’s been.

The Chicago gospel radio personalities that came out to celebrate the life and legacy of Anthony included Dana Devine, Angela Martin, Traci Kendrick, radio promotions specialist Debra "Snoopy" Hannah and Gerald Montgomery. Among the Gospel artists celebrating the life of Tony were Lonnie Hunter, VaShawn Mitchell, Pastor Chris Harris, William Hamilton, Rickey Dillard, Percy Gray, Gerald Gray, Vanessa Dukes of the Brown Sisters, Shirley Bell, Professor L. Stanley Davis and Felicia Welch. The sanctuary was filled with a who’s who of Chicago Gospel community notables who paid their respect to a giant of the kingdom that poured out his spirit into everyone he came in contact with..

Rest in peace my brother, though you are not with us in body. I rest that you are in the presence of the Lord. Thanks for being a friend.

Respectfully Submitted

Reggie Miles – The Prime Minister.

Smooth Jazz Leaves the Air in Chicago for Spanish format

During the current economic downturn, broadcast radio continues to make changes to survive. Company decisions are keenly focused toward the financial bottom line and the profitability of the music formats. Today's switch by Clear Channel from Smooth Jazz to a Spanish hot adult contemporary format is purely business. In a report by the Sun Times, "Clear Channel executives blamed their inability to sell advertising against the smooth jazz format in the current radio environment for the need to switch formats at WNUA. " However, what is this "need"?

The need that the executives are referring to is the need that the company has to stay in business. Suddenly smooth jazz is not a viable option to make a profit? On the other hand the need could be "greed" disguised in a desperate attempt to capitalize on the growing Spanish market. From a purely business perspective the switch is a safe move. The Spanish community in the Chicago area as well as other places across the nation are growing. Chicago is not the only city that lost Smooth Jazz. Clear Channel has been switching the Smooth Jazz format across the nation and the reality is that Clear Channel wants to tap into the disposable income of the Spanish community to save itself.

The question now is what format will the company cut next "Gospel?" Stay Tuned. I called one of my broadcasting buddies and solemnly he said "It's going to get worse."

It's time for radio to really take a look at it's own practices and really question the operating model. Radio is the most personal of all mediums and yet radio seems to have lost the connection to individuals. The radio industry has only itself to blame for causing people to abandon it. I think the problem with radio today is that there is too much science and research. Radio has to learn how to make money with the public interest then maybe people would continue to listen at least I would.

Then again maybe it's time for the legislative branch to review their recent decisions on the media ownership rules. I think it would be better if radio had limits on ownerships. Because of the massive ownership of one company and it's inability to pay it's debts, millions lose. Why not take a look at the media ownership rules and find a way to bring back competition and the American way?

Eugene Smith Musical Tribute

On Monday evening May 18, the late great gospel pioneer and legend Eugene Smith would have been very happy with the celebration of his life.

Members of the "Chicago School of Gospel" came out to honor the man they affectionately called "Gene. " His God son the Reverend Maceo Woods said that "Gene would have wanted the celebration of his life to be like having church." And that's exactly what happened, the early moments of sadness because of the physical loss of Gene, became shouts of joy for the man who lived his life singing to the glory of God and loving the Roberta Martin singers.


Eugene Smith was the last surviving member of the original Roberta Martin singers. Gene was the business manager of the group and the first gospel narrator, renowned for his ability to usher in the spirit before the soloist would sing. Gene's ushering in of the spirit transported audiences to a level of joyous delight. He was a showman and excellent MC that only performed to the Glory of God.

As I sat in the celebration at Christian Tabernacle Church among Chicago Gospel legends Vernon Oliver Price, Reverend Issac Whitmon, Reverend Stanley Keeble, LuDella Evans Reid and former Roberta Martin Singers Deloris Barrett and Romance Watson. I was in awe as these great singers paid tribute to the man that had an impact on Gospel music worldwide.



I last saw Eugene Smith at the National Convention of Gospel Choirs and Choruses in Chicago. Mr. Smith was being honored along with other Chicago Gospel Legends and I sat next to him in the service then escorted him to his limo when the tribute was over. I will never forget that evening.


There must be something in the spirit of Chicago Gospel Artists as the tribute moved on each singer seemed to usher in a new level. Vernon Oliver Price ignited the flame and Reverend Whitmon, Stanley Keeble, LuDella Evans Reid added logs to the fire. However, it was the Romance Watson and Deloris Barrett Campbell with the Barrett Sisters that set the house totally on fire.



And for me I kept wondering what could happen next then Ron Barrett and Elder De Andre Patterson brought in the spirit to the point where music was not needed and shouts of joy echoed all over the sanctuary. Everyone felt good about the celebration of Eugen Smith's Life.

The evening was continuation of the "Gospel Tradition" in Chicago on a Monday night. After the final selection from the Christian Tabernacle Church Choir everyone exchanged pleasantries like at a family reunion. Eugene would have been very happy because we had some Church.

Consider the Economic Best Interest and Save Black Radio

There is debate in cyberspace among African Americans regarding

H.R. 848: The Performance Rights Act. The act which amends federal copyright law to grant performers of sound recordings equal rights to compensation from terrestrial broadcasters.

This act has been viewed as a tax that will be too costly for Black Radio owners. Criticisms and concerns on the issue has come from several places. All one has to do is Google HR 848 and 2,810,000 entries will appear and that's not including this article.

I was stunned when I came across this article Should We Save Black Radio? After reading the material, I bowed and shook my head left and right in disgust over the sentiments. However, I understand the point of view but my mother taught "two wrongs don't make a right." The idea that Black Radio should be allowed to die without a fight because black radio conducted business to make a profit is not the solution.

Black Radio owners as a result of the passage of the 1996 Telecommunications Act were forced into operating as the majority media owners. There is an old adage, "When in Rome do as the Romans do. Black media owners had to operate like the majority owners. It is unfortunate that the present Black media owners are in a game that they can't win. Ad revenues are down and radio in general is going through an economic downturn.

A major advertiser on radio is the automobile industry and the automobile industry is nearly bankrupt. In order for Black radio to stay alive they are cutting costs and syndicating programming. I am not one for syndication but a little of something is better than a whole lot of nothing. And the urban stations owned by majority owners are providing far less information than the micro amount heard on black owned stations. Where did you find out about HR 848?

Diversity of media owners is important to a democracy, through diverse owners more viewpoints can be heard. With diversity listeners do not have to suffer through copy cat programming. Radio can truly be competitive. Unfortunately, Black radio had to copy the majority radio techniques to stay alive. And in some cases it was a Black radio executive that created cost efficient programming ideas for the majority owners that eventually cut their own throats.

Yes, I want to defeat HR 848 to preserve opportunities for other minorities and females at media ownership. Media ownership is the real issue not the performance right act. The greater conspiracy is to silence Black Radio through making it difficult to financially sustain the broadcast property. This will escalate the demise of the Black Radio. And guess what the next steps will be?

Majority owners will merge then lobby for an increase in "local ownership caps" from 8 to 12. Another wave of consolidation will hit forcing out Black owners and their station will be gobbled up. Leaving the Black community voiceless. And the camouflage of the attack is a mere $5,000 dollars price tag. Reality is none wants to pay a higher tax period. There is a bigger picture beyond the text written in the bill.

Congress should not impose any new performance fee, tax, royalty, or other charge relating to the public performance of sound recordings on a local radio station for broadcasting sound recordings over-the-air, or on any business for such public performance of sound recordings. Artists benefits immensely from the free exposure that radio provides.

The record industry has ripped off artists since the industry has been around. And the record industry will continue ripping off artists. Why is it that many artists are ripped off by the record companies? And why should the radio owners have to pay for the artists contractual mistakes?

If this act becomes law, it will be extremely harder for Black Radio owners to run their stations efficiently with the performance rights tax. Now I feel for the artists however what I do not understand is why artists would trust the same folks that ripped them off the first time? Today the major record companies are owned by International Corporations.

H.R. 848 is only a precursor to the silencing of Black Radio. Do not forget that radio is the most personal of all mediums. Why does the majority want to control all of it? Why is it that some African Americans feel the radio would be better if the majority owned and controlled all the terrestrial radio stations?

Yes Fight Against HR 848, it is not in the best economic interest of the Black community.

For more information about HR 848 and how it would impact small and local stations click on the link below.

Area Radio Stations React to Performance Fees
Area Radio Stations React to Performance Fees Wed, 25 Mar 2009 20:59:00 EST
http://www.associatedcontent.comvideo/173326/area_radio_stations_react_to_performance.html

The Chicago School of Gospel

On Monday, May 4 at the Gospel Complex for Education and Preservation Annual Conference in Fort Lauderdale, FL.
"The Chicago School of Gospel" was presented.

The panel of experts from Chicago revealed to the Gospel Community the story of gospel music as it proliferated from the Chicago area through known and unknown personalities and churches in the Gospel Music tradition. Professor L. Stanley Davis, Bob Marovich, Pastor Mack Mason and moderator Professor Reggie Miles validated how the gospel music tradition blossomed in Chicago and spread to the rest of world.

Professor Miles at the BEA

On Thursday April 23, 2009, The editor of the Prime Minister's Place moderated a panel of scholars and presented a presentation at the Broadcast Education Association annual convention in Las Vegas, Nevada. Professor Miles's presented a presentation entitled Podcasting: A Supplemental Learning Aid.

As podcasting matures, the number of educators adopting it continues to rise. The session explored who's using podcasting. The benefits of Podcasting from the perspective of students and the use of podcasting in the classroom to see if podcasts can improve student performance. Collaborating with Professor Miles were Mary Jackson-Pitts and Jin Yang of Arkansas State University and Lily Zeng from University of Memphis. The panel was rated as one of the Top Panels at the BEA. The paper and presentation by the editor of the Prime Minister's Place. Podcasting: A Supplemental Learning Aid was requested for submission to The Broadcast Education Association On Line Journal entitled "Feedback" for review and publication.

Tom Joyner Broadcasting Live from WKKC ?

Every now and then when something in Chicago radio happens I get a call in DC and someone asks what's up this?

When told that "Tom Joyner will broadcast his show from the New Kennedy King College" I said "Oh Wow that's interesting, how does that educate students?" I am not a hater but where is the benefit to the students? Sure a few students will get the opportunity to see how a "syndicated" show is preformed that's admirable. However in the immortal words of "Public Enemy's" sideman Flavor Flav
"Don't Believe the Hype!"

As an educator, it is a force of habit to critically think about things in the best interests of the student. Having some experience at Kennedy-King College, I'm not sure that the TJMS broadcasting live from the New Kennedy King College benefits anyone other that the person that orchestrated the deal. Radio syndication has all but eliminated the opportunity for students to gain experience to become personalities like a Tom Joyner. How is the observation of a syndicated radio show beneficial to the student? Syndication has eliminated that very job the student covets. On the other hand, Tom Joyner in a classroom setting with a group of students adds value and quality to the learning experience. His experience and wisdom can be spread out over many students in a classroom setting.

A few people in Chicago radio attempt to rewrite Chicago radio history with a twist toward self aggrandizement and such maybe the case from the New Kennedy King College. The addition of the name Tom Joyner to the media program immediately adds status without adding quality while simultaneously camouflaging the weakness of the media program. "Hey" We've got Tom Joyner at WKKC. The question is what else is there to teach and train students other than "BIG NAMES?"

In this world of rapidly changing technology BIG NAMES are not enough. Students need the hands on experience and the knowledge of learning how to think critically. Content is king, technology is the tool and students must learn to utilize the tools of technology to enhance the creativity that leads to the creation of compelling content. KK College has state of the art broadcast facilities in WYCC and WKKC. Students that graduate the program should be trained in the technology, possess an ability to think critically and express themselves creatively. An education is more than just being trained to join the workforce.

Education also creates leaders for the changing world too. Like the person to replace a Tom Joyner

Tom's Back in Chicago

Days after the Tom Joyner Morning Show was out in Chicago it was predicted that Crawford Broadcasting would move to land the show. Crawford Broadcasting owners of Soul 106.3 FM added the TJMS to it's line up to complete a win win situation.

Tom Joyner is a great talent and Crawford Broadcasting hopefully made the right move to help the struggling Soul 106.3 FM. In the recent past Steve Harvey was a part of Soul 106.3 and was cut after a year or so. The business of radio is to make money for the owners. Tom Joyner after being cut stated the reality of radio like this, “It’s business, “If I were Clear Channel, I’d probably do exactly the same thing because you’re in business to stay in business and, strategically, it’s what they should have done.”

On the other hand Chicago the City of Big Shoulders claimed Tom as one of their own and stood up against the firing calling the station, writing to blogs, and threatening sponsors. Tom will forever be a part of Chicago radio history because of the early days days at WJPC and the Fly Jock days at WGCI.

Chicagoan's are whole again as Mr Joyner continues the TJMS on Soul 106.3 FM.