WOW The Mighty OJAYS

Normally, I don't anticipate watching a television awards show but this year the BET Awards 09 was special. All day I waited for the program because it was billed as a tribute show to Michael Jackson. This production was three days in the making due to the sudden death of the World's Greatest Entertainer. The original planned production was abandoned in respect to the entertainment icon. If anyone is still confused and doubting the impact that Michael Jackson placed on the World these last few days should provide a clearer picture. No prior entertainer has dominated the media like the passing of Michael Jackson. I'm sure no other entertainer ever will. The World really had something special in Michael. Many of the celebrities talked about how Michael Jackson impacted their lives. The words and memories were fitting to the World's Greatest entertainer. His Father Joe Jackson was in the front row and Janet spoke at the end of the program. The spirit of Michael Jackson must have been in the auditorium.


For me, the special of the night was the performance by the Life Time Achievement Honoree the Mighty, Mighty OJAY'S. It was an amazing performance that pierced through the evening which was dedicated to Michael Jackson. If you missed their performance Sunday Night do not miss the Encore presentation on Tuesday. And don't be hard on Don "Soul Train" Cornelius.

When the O'Jays sang I turned up the volume to hear the Legends from Canton,Ohio and they did not disappoint. Harmony, Harmony and Harmony a straight up singing lesson. Eddie and Walter still have it. And the newest member of the O'Jays hit the notes of the late great O'Jays original member William Powell flawlessly. I mean the O'Jays Sang and "Stepped." Excuse me, you would have to be a fan of singing groups to really appreciate what the O'Jays did on that stage. Don't take my word for it, watch them and turn up the TV as they perform and you will see these "Legends" step and sing great harmony. The harmony itself was music to my ears and that harmony was better with time. I was done after the O'Jays performance. I actually felt better. Micheal's death was heavy on my heart. This weekend seemed so long. I wish singing groups could make a comeback through our younger performers. Maybe our sons and brothers can work it out. BET should have let the O'Jays sing Love Train and that would have been an added tribute to Michael.

The Prime Minister

Michael Jackson, Now Appearing in Heaven with Jackie and James

When I saw the breaking story on MSNBC I knew this news was going to be really bad. I switched channels and every news outlet was reporting that Michael Jackson had suffered cardiac arrest. As I continued looking at the images, I began praying but when I saw the police starting to redirect traffic near the hospital a tear formed in my eye. I knew then Michael was dead it was just a matter of the news outlets making the announcement. When MSNBC confirmed that Michael had expired. I yelled Oh No!, but the truth is God does not make a mistake he wanted Michael home with him.

My heart immediately went out to his family especially his mother. I remembered my grandmother and the pain she was going through as she looked upon my mother who expired. My grandmother kept saying that's my baby. I feel for Michael's mother and for any mother that has to bury their child.

There will be many debates over the legacy of Michael Jackson. He was a gifted man who spent his entire early life on stage. Michael studied Jackie Wilson and James Brown. He was destined to be a star. I first saw him with the Jackson 5 at the Regal Theather on 47th Street and King Drive(South Park) in 1968 singing "Big Boy." They were good. In his career as a member of the family group and soloist Michael Jackson has influenced legions of entertainers.

He was innovative to the music industry creating the first music videos. Michael Jackson made a lot of people rich. His style set standards for all other entertainers. Thriller sold 100 million copies worldwide. Some artist won't sell that many records in 5 lifetimes. He led the way. Despite what was printed in the media, I never believed one thing that was printed or broadcasted. I took Michael at his word. Michael was a victim of his own stardom. None of us can image what he had to go through. And none of us will ever see the likes of an entertainer like him again.

The Prime Minister

True, But the Issue is Greater than Radio One

Black Radio Doesn't Deserve Our Help

Why should we run to black radio’s defense when it has failed black communities so terribly?

• By: Mark Anthony Neal | Posted: May 27, 2009 at 6:35 AM

On May 13, more than 200 protesters gathered outside the Detroit offices of House Judiciary Chairman and longtime Michigan representative John Conyers, who sponsored the controversial Performance Rights Act (HR 848). Known as the "performance tax," the bill would require that radio stations pay yearly license fees for the right to play music on the air.

The protest was sponsored by Radio One, the largest black-owned radio company in the country, with over 50 stations in nearly 20 markets and an increasing share of the so-called urban market via TV One, Giant magazine and the signature syndicated drive-time program, The Tom Joyner Morning Show. Radio One's "Save Black Radio" campaign responds to fears that the new law would hurt already struggling black-owned radio stations.

What's not clear to me is why we should be crying any tears for Radio One. It is BET without the rump-shaking videos, and it's nearly as destructive in warping the musical and communal values that have historically made radio an institution in black communities. This is the very same industry that has effectively shut out independent artists, put out music and lyrics that degrade women and warp the values of children.

Why should we run to black radio's defense when it has failed black communities so terribly?

To be clear, the debates about the Performance Rights Act are part of an ongoing struggle between record companies (the major global conglomerates, Warner Music Group, EMI, Sony and Universal Music Group) and large radio broadcasters such as Clear Channel, CBS Radio and Radio One.

Recording Industry Association of America (RIAA) is pushing the bill in an effort to combat the long-known, though often-denied practice of "pay for play." The practice was brilliantly captured in a series of Salon essays by Eric Boehlert, and three years ago then-New York State Attorney General Eliot Spitzer forced Universal Music Group into a $12-million settlement in response to claims that the company had engaged in pay-for-play tactics.

In this light, the Performance Rights Act is simply payback (reparations, perhaps) with a stream of money going from the radio stations back to the record companies.

Both record companies and the radio industry have touted the adverse impact on artists if the bill passes or fails. Both arguments are disingenuous given the exploitative relationship they have with talent.

As industry analyst Cedric Muhammad noted a few years ago, Radio One was notorious for admonishing on-air talent who played music that was not sanctioned by the company, making it difficult for independent artists to get airplay. Understandably, Radio One's own corporate ambitions were tied to their willingness to play the game on the recording industry's term, and accordingly now that the environment has changed, they are trying to reverse course. Black radio used to be a place that was supportive of local and independent artists. For many, the idea of black radio has long been dead as companies like Clear Channel and Emmis (parent company of New York's famed Hot 97) have effectively mined the field for "authentic" black on-air talent, to give the impression of being "black-owned," while having little to do with the black communities they ostensibly exist to serve. In a highly competitive marketplace, black-owned radio stations have had little choice but to try to replicate the successes of the ClearChannels of the nation.

Even those Radio One partners such as The Tom Joyner Morning Show and The Michael Baisden Show, who were admirable in their roles during the 2008 election season, are problematic in the ways that they privilege national issues over the kinds of vital local concerns that radio stations have historically shed light on. In his important book Fighting for Air: The Battle to Control America's Media, Eric Klinenberg provides examples of radio conglomerates that didn't have personnel on the ground at local stations and thus were unable to warn their local listening audiences of impending dangers. Because smaller radio stations were often the only places where real independent artists could get any airplay, this bill will be detrimental to independent artists, as Tony Muhammad recently noted.

To be sure, the economic impact that the Performance Rights Act will have on black and community-based radio stations are real, particularly those without the corporate profile of Radio One. Historically, black radio has been indispensible to the social and political gains of black Americans, as William Barlow and Brian Ward attest to in their respective books, Voice Over: The Making of Black Radio and Radio and the Struggles for Civil Rights in the South.

But as new technologies emerge, so have new opportunities, particularly under difficult economic conditions. As such, this is a moment that demands new models (indeed, the use of podcasts and online programming like that of Bob Davis' Soul-Patrol Radio points the way) and perhaps "black radio" as we know it and as Radio One has represented it, needs to die, in order for black radio to survive.

Mark Anthony Neal is professor of black popular culture in the Department of African and African-American Studies at Duke University. He is the author of several books including What the Music Said: Black Popular Music and Black Public Culture and the forthcoming Looking for Leroy: (Il)Legible Black Masculinities. A version of this essay first appeared on his blog.

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Reggie Miles comments

All the complaints about Radio One and other media corporations are the reasons why Black people should rise and protest the state of media. I agree that if the radio industry should "bottom out"that would be a good thing for the big media corporations to die. Now is the time for media reform groups to mobilize for change from the corporate giants who have devoured the public airwaves for commercial gain. It is not the time to throw the hands up in disgust, intellectualize about the ills and abandon Black Radio. The radio spectrum is vital and diverse people should have access to it.

The solution to the present media situation is a matter of becoming active and political towards changing the rules to benefit more than a few white males. There are several media reform groups working towards better media. Free Press has an excellent beginner's guide. The so called deregulation is not working. Is it true that small businesses drive this country? Then radio should become a small business enterprise as it once was.

There should be ownership limits in radio. It is apparent that large companies do not adequately serve the public. People are complaining about radio and several studies have been completed. One of the most detailed studies on radio was done by the Future of Music Coalition. Now is the time to raise our voices in protest about the media. In our debates let's continue to educate the masses about a sick and greedy media system.

The Free Press provides and excellent Media Policy 101 guide. With ownership limits more people will have an opportunity to be owners. With that said the focus should be on securing diversity of ownership which is what the FCC should be doing. The Center for American Progress details the importance of diversity in the study Local Diversity Matters. The frustration concerning Black Radio should be directed at the FCC through massive amounts of letters and emails to the FCC. Also include your Congressman and Senator. The FCC has updated the Public and Broadcasting which summarizes information about the FCC and Broadcasting.

New media and technologies are great and it is a good thing that the Internet is available to all but do not sleep on the fact that "big conglomerates" see the Internet as another revenue stream and want to control the pipeline to create a tollway for more revenue and gate keeping.

Support Network Neutrality and don't overlook or give away radio. Consider this, if the new media is going to move people away from radio Why does big business want to keep a dying medium? The reason is because radio is the most personal and immediate of all mediums and the future of radio is brighter through Digital and HD broadcasts. Radio is the grand daddy of the electronic media and has survived through many changes and will survive through changes brought on by itself. Why give up the grandfather?

Disappearing Voices: The Documentary

Thanks to the ICE Theaters and 1690 am WVON for co sponsoring the screening of Disappearing Voices: The Decline of Black Radio, in Chicago. The 7:00 PM showing on Friday June 19th was well attended. Although I personally would have liked to see a packed house. The response was refreshing. This film is an eye opener. It holds you through 60 minutes of information packed images on the role of communication in the lives of African Americans. This bold presentation won't be advertised through "mainstream" media because the content will wake radio listeners up.

Now if you decide to see for yourself the film and I recommended that you do. View Disappearing Voices looking at the greater picture. The content of the film is not an exhaustive history of Black Radio, that would take a 6 Disc DVD set. View it with some young adults. Purchase the DVD and make it the focus of a special family gathering. Disappearing Voices is great for a gathering at a Church. Disappearing Voices: The Decline of Black Radio lets you know the important role of media communication in our culture.

After seeing the film, there was a discussion hosted by WVON that wasn't long enough. Several in the audience wanted to discuss the film longer than the 25 minutes alloted. It's just that good that it makes you want to talk about radio. Unfortunately, the film producer and director were unable to join us in Chicago, their presence in the Q&A after the film would have surely helped to raise a great wave of activism which is really the intent of this film. It reminds me of the song by Harold Melvin & the Blue Notes ---- Wake Up! ---- Everybody..

And thanks to the everyone at Blackwaxx.com for making Disappearing Voices: The Decline of Black Radio. You can pre order your copy at http://www.disappearingvoices.com/preorder.html

Incidentally, there is a History of Black Radio Documentary in the works and I can't wait for it !


The Prime Minister

It's Time to Hold Black Radio and the FCC Accountable

Let me begin with this, Radio One is not the only reason for the lack of quality programming, news, public affairs and whatever in Black Radio. There are other Black corporate owners doing the same things as Radio One. Now I do not endorse the business practices of Black corporate radio but I understand why they do what they do. Is that right or wrong? I won’t judge because given the same hand I’d probably play it the same way.

Today’s Black owners who took their business practice to Madison Avenue walked into a den of sharks. It’s like rolling the dice in a crap game with the richest men in the world. They can fade anything you put up. They only let you come to the table so that they can take what you own in the end. Pray for the survival of our Black Owners. They are in a game that is extremely hard to win.

It's a funny thing about the game of "Monopoly." A person can never win in another person's house. The rules always are changing. When they (white males) wanted to change the rules in the media they created an ideology. They called it "Deregulation" which was really a cover name for rewriting the (Communications Act of 1934) rules to benefit a select few white males. The problems with Black Radio are not the entire fault of Cathy Hughes and Radio One. Please remember that to stay in the game you must play the game according to the(their) rules.

Over 40 years ago, Dr. Martin Luther King noted the importance of Black Radio. What Martin Luther King described in 1967 as the role of the Black radio announcer was true. And what he said is exactly the reason for controlling the airwaves today. Through radio Black people managed to come together, stay informed and made political gains however that did not go unnoticed. There was a concerted effort to rid the African American communities of conscious "Black DJ's" and it was Black DJ's that did the handiwork.

Unknowingly some of the brightest Black minds in communication led to the demise of Black radio. It was black men that offered the format "More Music and Less Talk" killing the personality DJ that black people thrived on. It was a Black DJ that was hell bent on "Crossover Music/Radio." The Black DJ was a highly respected individual of the community. The DJ according to Professor Gilbert A Williams was a cultural hero.

Black radio began to decline when (white males) realized how much money could be made in the Black Community through radio. Black owners should be commended for surviving the "hell" they have had to endure to stay in business. Madison Avenue and Wall Street are on a mission to "Takeover Black Radio" and the entertainment industry period. Oh yeah, three of the four major record labels are now owned by International Companies.

Broadcast ownership rules and telecom policy were rewritten through stealth legislation to benefit "investors." It all started with calling radio a "product” or “commodity” then arguing for a "Marketplace approach to Broadcast Regulation." This happened in 1981 under President Ronald Reagan. FCC Chairman Mark S. Fowler spearheaded the rhetoric of the Marketplace Approach to Regulation. However the seeds for change were planted under President Carter and the deal sealed under the Clinton administration.

You see while Black people were striving to dominate the world of entertainment. White males were striving to change the rules to control all the venues. It’s amazing that there exist any local concert promoters today. Clear Channel owns radio, the billboards, concert promotions and major concert venues. Rap Brown said we dominate the field of entertainment but we don't control the field of entertainment.

Yes it's time to hold Black radio accountable, but the push can't stop there. Cries of localism, diversity, and equal opportunity should rise from Black people to the FCC. We want Local Radio! We want local Radio! We Want radio regulated to serve the public interest.

For Black radio, Tom Joyner, Steve Harvey, Doug Banks, Russ Parr, Yolanda Adams, Michael Basiden and other syndicated hosts are not the answer. Radio should always be local.

The only thing that can change this situation is for an informed Black people to Rise. The information you obtain about radio cannot come from the folks in radio. Many of them want to maintain the status quo. Align yourself with organizations that wish to challenge radio as it is.

An organized people can beat organized money.

The Prime Minister

Check This Out. I thought this was done very nice.

Syndication or Localism that is the question?

In the wake of the Chicago showing of the long awaited documentary film Disappearing Voices: The Decline of Black Radio. The Prime Minister felt the need to reprint an article by the U-Savior, director of the film Disappearing Voices written nearly a year ago addressing an August 2008 feature in Black Enterprise entitled “Money, Power & Black Radio: How Steve Harvey and Tom Joyner Capture Your Ears and Dollars,” written by George Alexander.

GUEST COMMENTARY

Money, Black Power and radio

By U-Savior Washington

Published Aug 14, 2008 10:52 PM

U-Savior

The August 2008 issue of Black Enterprise featured an article entitled “Money, Power & Black Radio: How Steve Harvey and Tom Joyner Capture Your Ears and Dollars” written by George Alexander. In the article Alexander points out the viability of Black radio in today’s market—despite the seemingly obvious challenges.

As is the case with the approach to many of the problems affecting Black people in America today, the article addresses the “symptoms” and treats them as the focus rather than reaching deeper to present an accurate analysis of the problems facing a medium that has always been under siege.

The article cites “a rapidly changing industry” and ‘brutal competition” as some of the major obstacles facing Black radio today. It claims that the medium “can survive through syndicated programming and bold entrepreneurial moves.”

But what causes these inequities? There are stations that are doing well despite the market’s overall slump. So why is it that with all the sound business models they could emulate, Black radio still struggles? Why has it historically had difficulty competing despite the fact that Black music (or urban, as it is called today) is one of the most popular genres in the world?

The article makes no mention of the historically inequitable treatment that Black radio station owners receive at the hands of Arbitron, the radio ratings system which discounts Black-owned and -programmed radio stations through inaccurate, outdated and racially biased measurement systems. Nor does it mention the Madison Avenue executives who render Black radio unprofitable by refusing to pay premium advertising rates, even though these stations enjoy the largest audience across the board.

Alexander points out that Black radio suffers because a Beyonce, for example, can be heard on many mainstream stations and that listeners need not tune in to exclusively Black-programmed stations to hear her music. But it neglects to deal with the aspects that historically set Black radio apart from all other radio in the first place and that are now nonexistent: serious Black talk and personality radio.

During its golden age Black radio was exciting because it allowed listeners to hear new music; it made listeners enthusiastic about the listening experience because the jocks viewed their uniqueness as a strength. Now we’re forced to hear the same ten songs by the same five artists over and over, played by disc jockeys who promise not to talk too much.

Today’s mainstream Black radio does not deal with Black issues in the unapologetic manner that helped it make a connection with the community. Bob Law’s show, Night Talk, was popular not solely because it was syndicated. It was popular because Bob Law’s approach to politics and culture was relevant, and the show’s content was potent. Comparing the availability of a Black crossover pop artist to the availability of the kind of political content and local coverage offered from the 1960s through the 1980s does us a disservice.

As pointed out in the Black Waxx Multimedia, Inc. film “Disappearing Voices: The Decline of Black Radio,” it is not simply the artists or the jocks who are disappearing. Nor is it simply their absence that renders Black radio impotent. It is the fact that the voice of the community they represent has no forum.

Racism and inequality

The Alexander article sought to treat the predicament of Black radio as merely an economic one, when in fact politics and America’s inherent racism are to blame. Even from an economic standpoint we must go back to the beginning of Black people’s presence in this country. While whites owned businesses and set up institutions, Blacks were forced to work for free. Even at the point of the emancipation of the enslaved there were no programs set up so Blacks could “catch up.”

The disparities grew exponentially as time passed. When radio spectrum licenses were first given out, Blacks were excluded. We can’t imagine there is a level playing field in the radio industry today when there is still a need for affirmative action in the workplaces and educational institutions across the nation.

The answer to conglomeration and racism is not an updated business model. The National Association of Black Owned Broadcasters complains about the monopoly that conglomerates like Clear Channel enjoy, but there is more to the story than that. Arbitron and Madison Avenue work to keep Black radio poor, patronizing it with substandard rates to maintain their false face of diversity. White-owned media enjoy proliferation while Black-owned radio struggles to stay afloat. Meanwhile NABOB members won’t go for the jugular because they need the crumbs the ad execs dangle in front of them in order to survive.

How can the station owners be sure of their audience when they can’t trust the people measuring them? And if Arbitron’s numbers can’t be trusted, how many times will station owners continue to change their format without questioning the fact that no matter what they play they get paid the same substandard rates for airtime?

Another factor that isn’t taken into consideration is the role the Federal Communications Commission plays–or doesn’t play. The FCC is supposed to protect the interests of the public by seeing to it that radio station owners operate with some level of responsibility to the public, which includes offering programming that serves the community as well as protecting station owners from being forced out of business by monopolies. Clear Channel and Infinity Broadcasting are stark evidence that the FCC is not doing that job. In the article there is no mention of holding this government body accountable.

The fact is most people may not listen to the radio anymore because they sense a lack of loyalty on the part of these owners. A huge sector of the Black population wants more from Black radio than relationship guidance, gossip, comedy and Jesus. They want to be taken seriously from a political perspective. They want radio that reflects their local issues.

They don’t want Black-faced radio that furthers a white-business/political/cultural agenda. They want Black radio that reflects what is best and brightest about their community. You can’t have that if a guy who’s never been to their town and who doesn’t know about the young boy who was killed by police that week is on the radio during all the prime times. Meanwhile coverage of local activists who make positive changes in the community is replaced by gossip jocks whose sole contribution to the airwaves is “who’s sleeping with who, who’s gay, and whose breasts are fake.”

We need to make room for our best and brightest. There are too many charismatic and informed individuals who need access to the microphone. Regardless of the success of a few chosen ones, if we settle for anything less, we can’t really call it Black radio with a clear conscience.

The writer is with Black Waxx Multimedia, Inc. and is the director of the documentary, “Disappearing Voices: The Decline of Black Radio.” Go to www.disappearingvoices.com. Email:info@blackwaxx.com.

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10 month later in the midst of crisis African American owners asked Black people to "help us save Black Radio" while on the other hand African American owners have selfishly operated under the mantra of the Gospel of Wealth and Greed centralizing operations through technology using big names, cutting valuable jobs and opportunity. Syndication they claim will save us from our financial burdens and syndicated programming is better because it's produced better. Bigger media is not better media. I wonder has Black Radio asked Black people what they want? And will they provide it?

The Prime Minister

The Gospel Sister Resigns

Pam Morris submitted her resignation to the Mayor's Office of Special Events after 20 years as the Chicago Gospel Music Festival Coordinator. News of the resignation shocked the Chicago Gospel Community. Pam Morris affectionately know as "The Gospel Sister" called the Prime Minister to give the news of the decision direct from the source. I was flattered to be thought of in such a way.
Pam made it clear that she has done all she could do and accomplished every planned goal during her 20 year tenure as coordinator the World's first and largest open air Gospel Music festival. "The Lord said it's time to move on. I want to devote more time to my church, family, and grand children but first I have to find Pam again" said Ms. Morris. Also, The Gospel Sister stated that she is not resigning from Gospel Radio though. She will continue every Sunday with Gospel music on 1690 AM WVON and devote her energies towards bringing light to the senseless gun violence among the youth in Chicago.


The task of coordinating an event of the magnitude of the Chicago Gospel Music Festival is not an easy task. The festival was not without problems and controversy. Chicago politics and the religious community are deep waters to navigate. Pam should be commended for navigating at the helm for 20 years. The mere fact that a city sponsors a "Gospel Music Festival" can cause serious legal and first amendment issues. However, Gospel Music is an original art form that proliferated out of the South Side of Chicago. There had to be a way that Chicago could sponsor the event. Gospel Music is the best contribution that Chicago through Dr. Thomas A Dorsey has given to the World. In 1984 under Mayor Harold Washington the city officially recognized the Gospel Music Festival.

There is a saying in the Gospel Community that states "When one door closes another is ready to be opened. The Lord will Make A Way !" Thanks Pam for a job well done and a standard that the new coordinator will have to reach. May God Bless You and your family.

The Prime Minister

A Federal Bailout For Black Radio​? Under What Conditions?

From the Black Agenda Report

By BAR managing editor Bruce A. Dixon

There's a hilarious Direct TV commercial which takes place in the boardroom of a giant cable TV corporation. The not-too-bright suits at the table acknowledge that Direct TV is killing them, but one has a solution. “Two words,” he says. “Federal. Bailout. Read a paper. Everybody's doing it.” They all concur and nod in unison. A May 19 article in The Hill by Silla Brush confirms that reality has overtaken satire.

High-ranking House Democrats are urging the Treasury Department to prop up minority-owned broadcasters suffering from a lack of capital and lost advertising revenue amid the economic slump.

House Majority Whip James Clyburn (D-S.C.) is leading an effort to convince Treasury Secretary Timothy Geithner to take “decisive action” by extending credit to this sector of the broadcasting industry.

Clyburn and other senior members, including House Financial Services Committee Chairman Barney Frank (D-Mass.) and Ways and Means Committee Chairman Charles Rangel (D-N.Y.), argue that minority-owned broadcasters are sound businesses, but that the recession could undermine the government’s efforts to diversify the airwaves.

A number of members from the Congressional Black Caucus signed the letter, too.

So nobody is laughing. One of the most powerful congressmen on Capitol Hill wants bailout money allocated to black radio. Why? To start with, Radio One and the other leading African American owned broadcasters are pitifully small compared to Clear Channel, CBS and the big boys. Black radio is indeed suffering, and the reasons have nothing to do with the so-called “free market.”

“Free markets,” in fact, have never had anything to do with how the U.S. broadcast industry operates. The broadcast airwaves were not invented by some smart engineer or clever entrepreneur, they are part of the electromagnetic spectrum, along with gamma radiation and sunshine. The radio-TV broadcast spectrum is thus a limited public resource. Broadcast licenses are monopoly licenses awarded by the government to a select few wealthy individuals and corporations from which those wealthy few reap tens of billions in annual profits. Though licenses are supposedly awarded on the condition that broadcasters operate in the public interest, no broadcaster in U.S. history has ever had a license revoked for flunking this test.

If a public interest test for broadcast licensees were ever administered, few if any commercial broadcasters would pass. That certainly includes black radio. Where a generation ago black radio deployed local news gathering organizations in dozens of cities across the country, with black journalists ferreting out local news, there is not a single urban radio station standing with a news gathering operation. Journalism on black radio has been dead so long that no adults under 45 can recall what it looked or sounded like. The premiere black-owned radio chain, Radio One pioneered the cutting of newsrooms and their replacement with cheaper and more profitable talk shows, mostly about celebrities and relationships.

It's not as if black owned radio stations manage to serve the public on the artistic end either. As Davey D points out on Jared Ball's Jazz And Justice, the playlists for white owned stations aiming their programming at black audiences are the same as Radio One's. The corrupt regime of payola rules the airwaves on black owned stations, just as it does on white ones, depriving audiences of the opportunity to hear newer and local artists. A recent study by the Future of Music Coalition indicated that up to half the songs played on the top four radio chains are oldies. Radio One was not among the chains audited, but their playlists differ in no other discernible ways from their white owned competitors.

HR 848, the so-called performance rights legislation will doubtless further disadvantage black radio station owners because it will, in effect, legalize payola, and give the biggest chains more leverage in dealing with labels than smaller ones. Under HR 848 as presently written major chains like Clear Channel will be able, as Davey D points out, to cut deals with labels that ban airplay on competing stations. Radio One founder Cathy Hughes may not be entirely wrong when she predicts the end of commercial black radio.

Still it is impossible to justify a federal bailout of any commercial broadcaster when none of the commercial broadcasters are honoring their public service obligations. News departments on black and white radio, and on TV for that matter were dumped because, as Dr. Robet McChesney has pointed out for about a decade, entertainment is more profitable than news.

The crisis of black radio is an opportunity for African American communities, and for all Americans. It's one of our best, and maybe one of our last chances to impose stiff news and public service requirements upon broadcasters, requirements that they have successfully evaded since the FCC was founded more than seventy years ago. If leading House Democrats and the Congressional Black Caucus are really interested in reviving and revitalizing the institution of black radio, they need to lead and participate in a public discussion of how news coverage affects communities, how payola shuts down the careers of local artists, and what the public service obligations of broadcasters really should be.

Since radio broadcasting has never been and never will be a “free market” and the principle is well established in law that broadcasters hold their licenses on the condition of public service, the arguments about government “not picking winners” are just nonsense designed to protect the ill-gotten and irresponsible gains of those who run our airwaves for their private profit today. If a bailout of broadcasters is contemplated, there must be congressional hearings that explore what the public service obligations of broadcasters are, and stiff measures instituted to strip the licenses of those who fail to meet them. Should every station with gross revenue of say, $1.2 million annually be required to field a news department covering school boards, local issues and local politics? Should stations be required to play new and local artists in every market? What rights will the public have to police and enforce the service requirements of broadcasters?

If members of the Congressional Black Caucus are serious about saving black radio, they will need public support. They won't get and don't deserve it without a public discussion, without hearings in cities like Detroit, Chicago, Atlanta, Philadelphia. Before any bailout of broadcasters, black or otherwise is contemplated, we have to have this conversation. BAR reached out to the office of Congressman Clyburn early this week and received no response. We will continue to call Rep. Clyburn's office on this subject.

Let's Move On

Wednesday June 3rd supporters of the Local Radio Freedom Act declared

That 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.

The language is clear. This resolution is supported by 222 members of Congress which is over half and counting. The success of the Performance Rights Act HR 848 appears to have stalled.

Actually, I was invigorated by all the responses on both sides of this issue. I am a life long radio man. My opinion is that artist should take the battle to the record companies. Quoting from the producer of Disappearing Voices Iyanna Jones, "I think to pay artists on major labels that are getting a lot of money or are getting huge advances should not be a priority as far as the Black community is concerned." With that said, let's move on and focus on the real issues concerning the Black community about radio.

Many individuals voiced and posted their issues with radio in cyberspace and that was encouraging because people are tired of listening to what they are hearing. Radio is an important medium that should not be overlooked. The best thing that can happen for the Black community is to wake up the sleeping giant within us and come together to demand greater participation in media ownership and better quality from Black radio. Equal access is paramount.

There were so many attacks on Radio One that they seemed personal. The picture is bigger than Radio One. There should competition between Black Owners too. It would great to have at least two different Black owners in every major metro areas where millions of Blacks are. There is no competition in Radio everybody is doing the same thing. And the Telecommunications Act supposedly was to bring more competition to the communities. It did not. Our legislators who supported the Act were "bamboozled."

Think about this, questioning the legislation that has radio operating the way it does today. We can't blame Radio One, for going into syndication. When their competitors 96% of them syndicate programming. Syndication technology and programming saves millions of dollars through human resource elimination. Faced with the same choices as Radio One you would probably do the same thing. So cut them some slack and focus on changing rules/legislation to bring diverse and local programming to the radio.

I do not like syndicated programming it's built on the same business formula that all syndication uses. Do not forget that radio today is not intended to elevate community consciousness. For example, In Chicago where I live part-time, murders among young people have escalated tremendously. No one in syndication can address that local issue. I remember back in the day when "Real Black Radio" existed WVON had Operation Crime Stop, segments designed to help stop crime. Where is that today when it is needed? Oh yeah, Radio is caught up in humor, celebrity gossip and who's making love to who or what. Radio as a social agent has been axed from the Black Community, unless it is something like the Jena 6. We barely hear news headlines. Urban Radio today is focused towards greed instead of community need.

The Prime Minister.

People Get Ready - A Film to Open Our Eyes

There is great anticipation by the Prime Minister for the release of this film "Disappearing Voices". As a life long student of the medium that helped me get over my fear of being alone in the dark, this film hopefully will educate Blacks in America that radio is a medium worth fighting for. The problem with radio is radio itself and that African Americans seem to have forgotten what radio actually contributed to the Black Community. Radio was once an adhesive that connected communities together. The personalities were once cultural heroes. Black Radio was central to the struggle. You mean to tell me that we've arrived and the struggle is over! I don't think so. Actually through "Disappearing Voices" the struggle must go into high gear with an effort to reclaim Black radio.

There has been plenty of criticism about radio in the last few weeks and some people want to abandon it altogether. The Performance Rights Act has complicated the issue more and African Americans are a house divided. It's time to remember what radio was and put some value to that history. A friend made a point that was very profound. He said, "There were great DJ personalities in every city in this country and we've forgotten about them and we're forgetting about radio." What he said made me think. I can still remember the Good Guys at WVON in Chicago. And I'm sure many of you can remember your favorite DJ's from your city.

We've lost localism, we're losing ownership and the identity of Black Radio. Today what we hear on radio is a showcase of promotions and buffoonery. That's Urban Radio and not Black Radio. Black radio was conscientiousness, political, informative and entertaining. Was Black Radio really that bad or was Black Radio actually that good? The film Disappearing Voices will answers many questions. This film will be shared with my students because they will have to live with and straighten out the mess that is radio today.

For more information go to http://www.disappearingvoices.com/
Check out the Trailer






Iyanna Jones Disappearing Voices Interview
Check out the Interview

The Prime Minister.

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