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I re-read an article earlier today researching some material on Black Radio for Black history. It mentioned the idea that the re-emergence of black radio “finding it’s voice” during President Obama’s campaign. A few names were mentioned, (Tom Joyner. Michael Baison, Bev Smith and Warren Ballentine) and were presented as influential Africa American radio personalities. Stated in the article is the following: “Joyner, by many accounts, is considered an urban industry pioneer. His decision in 1996 to hire former Black Entertainment Television host Tavis Smiley to provide daily political commentary on The Tom Joyner Morning Show was pivotal in raising political activism and awareness among blacks via the airwaves”.

Here is where I need help. With all due respect to Mr. Joyner, there is nothing that he pioneered. Let me repeat the statement. There is NO-THING that Mr. Joyner pioneered. Before Mr. Joyner was in syndication, a number of on-air personalites were doing syndicated shows and I might add from their homes. Jocko Henderson for sure. Before Mr. Joyner and others were during traveling stage shows, Jack Cooper as well as Jack the Rapper were doing the same.

The thing that disturbs me about all of this is that Mr. Joyner and others know this and yet fail to make the historical correction. Why? That’s the question. If they are so concerned with the state of “African American Radio” why don’t they spend just a little time attempting to educate their listenerships about the history of Black Radio.

Black on-air personalities were always seeking to raise political awareness within their communities. I recall, watching as my father Kae Williams and another Philadelphia radio personality George Woods, were harrassed by police officers outside the Uptown Theatre while trying to calm the masses during one of their shows when DR. King was shot. Both my father and George Woods were very vocal during their tenure at WDAS and WHAT radio stations.

True, they may not shine as much as they do now because it will be understood that they also stand on the shoulders of the real pioneers. True, this may cause some damage to their popularity with the media conglomerates who control their syndication. But then again maybe that just might be what Black Radio needs. An injection of personalities who actually care about the industry.

How many local on-air personalities have to loose their jobs because of the big personality shows being streamed in with the playlist. How many independent artist have to continue in frustration because they can’t get airplay in the very cities that they live. The very stations that seek to draw resources out of the communities that they so-called serve won’t support the local talent around the corner.

Why are the Joyner’s, Baison’s and others not raising their voices and wielding the self professed influence in these areas. Help me understand. PLEASE.

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Sitting here going through all the information I have gathered on broadcast history, I am just blown away at how half the story hasn’t been told. There is of course the twisted story about Alan Freed and Rock  & Roll. Why isn’t anyone talking about Tommy (Dr. Jive) Smalls, E. Rodney Jones and Herb Kent. They were the on-air personalities whose styles and playlist were copied by Mr. Freed, Dick Clark and so many others and never were credited.

These pioneers were duplicated, stolen from and put out to pasture. No wonder the radio and music industries are experiencing so much chaos. And then there is this issue of  Rock & Roll. R & B artist being played on predominately white stations by white jocks were duplicated, robbed and put out to pasture just like the dj’s who intoduced the music in the first place. Mr. Freed did, however relabel the music from Rhythm and Blues to Rock & Roll. The rest…is history.

Tragedy is, because this part of broadcast history isn’t discussed we run the risk of the same thing happening again with convergence media. Why aren’t the Tom Joyners, Michael Baisons, and Stev Harveys making any attempt to transmit this aspect of Urban radio. Is it because they have to much $$$ at stake? Just musin. What do you think?

(DA Williams is the son of Broadcast Pioneer Kae Williams-Philadelphia PA)

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It’s not just Apple that Sony is contending with in the online network space, Howe said. Amazon (Nasdaq: AMZN) has grown from selling physical books and other goods to music, movie and book downloads. Sony needs to focus on the same ease-of-use with the network and devices that allow for instant downloads of electronic books via Kindle, or songs via an iPod.

via Technology News: Media Convergence: Sony Talks Up Plans for Digital Media Superstore.

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1:00 pm EST - LISTEN HERE

My guest today is one of the baddest drummers you’ve heard but you may not immediately recognize. Paul Hines was part of the group Ozone of Motown back in the 80’s. Ozone was a funk fusion band that many say was ahead of their time. They were complete, backed up many of the Motown acts and were actually the only band on the Motown label to produce 5 album projects. Charles Glen, founding member of Ozone was a recent guest on the SOS and highly recommended that I bring on Paul Hines. Well for yours truly it was a no brainer as paying tribute to this music is what it’s all about on the Soul on Saturday. They actually still perform together today as part of an all star jazz band.

As for Paul his drum beats on Teena Marie’s Square Biz, a song that helped take her career to the next level back in the day has never been replicated or duplicated and was the funky beat to that song that made it move. Paul is living music history as we will hear. His career took him many places as well as his knowledge of the music is special. Please join me today as I welcome Paul Hines to the Soul’.

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As 2010 begins, many people are anxiously waiting to see what trends will emerge within the music industry. Much of the conversation in 2009 was how technology is being used by independent artist to promote their music. While this is proving to be a very effective outlet, traditional radio is still a powerful medium. One internet broadcaster is making a move to blend the freedom of internet programming to the listenership of traditional radio.

It has long been understood that college radio stations are among the easiest to introduce new formats. College students are also among those who are most likely to listen to internet radio. Since most college radio stations operate under FCC guidelines, artist who are promoting material via college stations are more likely to be able to track the regions where their music is gaining a audience.

I posted an article a few months ago (http://www.wdkkradio.com/2009/11/24/understanding-college-radio/) detailing the overlooked college audience both for listenership and performances. Looking back over the development of  labels such as Motown, Stax and Solar, all who began as independent labels, radio played a major role in establishing the label as major players. As traditional radio seems to be loosing ground, one solution is to give the listeners what they want to hear. One advantage of college radio is that it doesn’t have all the corporate tape to unravel in order to introduce music that isn’t on the playlist.

WDKK RADIO owner D.A. Williams  airs  a weekly program called “Indie City” on WWSU 106.9 FM,  which is run by Wright State Universitiy located in Fairborn Ohio. The college also streams programming on the Univerisities website and D.A.’s program will can also be heard on http://www.wdkkradio.com via simulcast.  The show airs Thursdays at 1PM EST. Indie artist will be featured on the show and will consist of artist who have submitted music to WDKK.

Updates will be posted weekly.

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The other Radio One in the radio industry is from the BBC. Radio 1 is a British national radio station operated by the BBC which also broadcasts internationally, specialising in current popular music and chart hits throughout the day. Radio 1 provides alternative genres after 7:00pm including electronic dance, hip hop, rock or interviews. It is aimed primarily at the 15–29 age group. Radio 1 was launched at 7:00am on 30 September 1967 as a direct response to the popularity of offshore pirate radio stations such as Radio Caroline, which had been outlawed by Act of Parliament.

One of the stations Radio 1 features is Hip Hop and RnB station Radio1Xtra. From what I sampled, their playlist is decidedly British with an occasional American hit. You know they love Rihanna. I found it very entertaining especially their breaks and interaction with callers. However what makes this station unusual is the fact that they promote themselves as BLACK! You would never catch an urban station stateside promoting themselves as a Black radio station especially in a PPM ratings world.

“The best black music from the UK”

“The newest black music and hottest UK talent”

Overall the BBC’s Radio 1 definitely seems plugged into mobile technologies by providing various listening options. You can also catch the BBC main Top 40 station “Radio 1″ on Sirius satellite radio.

(Reposted from URBAN RADIO NATION)

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The First Thing for Radio in 2010 – Change

It’s not been a good week for the radio industry. We’ve had to deal with Citadel filing bankruptcy (and, now, Next Media), a most idiotic stunt gone awry with a more idiotic explanation from the offending station (as if the audience has “stupid” stamped on its forehead), and the babbling of one hired-gun analyst whose primary job is to make radio industry execs feel better.

The bankruptcy was expected, as well as keeping in place the person who led Citadel down its path. Is anyone at radio industry trade publications asking why Citadel Chairman/CEO Farid Suleman should maintain his position? If so, it’s not in any article I’ve been exposed to. Keeping Suleman exemplifies, more than any other single item, why radio is having such a poor time; it refuses to change inept management, and it refuses to ask even the most rudimentary questions about fiduciary responsibility.

By now most everyone in radio has heard about the burning turkey, van, and the injured fireman. Clear Channel’s WFLZ, Tampa, made headlines in The Tampa Tribune with a story akin to the comical WKRP episode about throwing turkeys out of a helicopter; only, WVLZ’s event was serioulsy unsafe. To make matters worse, management at the station came out with this explanation – “Like we’ve done several times in the past, our intent was to show how dangerous it is to cook a turkey in this type of situation.” Message to management: This is radio. Just how are you supposed to demonstrate the dangers to an audience that can’t see what you are doing? According to The Tampa Tribune “The morning show and stunt were streamed live on the station’s Web site and recorded,” though I don’t know if this means a video or audio stream – which doesn’t matter today.

I don’t think this is what we mean when urging the radio industry to better use the internet, nor are these other examples of WFLZ using online video.

BTW, this story is noticeably absent from Clear Channel-owned InsideRadio.com.

The last item to cover does appear at InsideRadio.co, as a headline, “Exclusive: November revenue shows gains.” This is followed by the line “Radio’s embryonic revival continued in November, even if it was fuelled more by easy comparisons than a rebounding economy.”

Author of this analysis, Jim Boyle, suggests: “Due to significant political advertising in the first week of November 2008 in many battleground state markets, an adjustment is appropriate to reflect recurring year-on-year revenue. Using an average 2% to adjust for that political ad onslaught, I estimate November industry revenue was ‘organically’ down by a more subdued 7%.”

So, we have an analyst who discounts a previous year because of the anomaly called “elections.” I haven’t checked, but I’d bet that those elections were used last year to demonstrate that radio had a better-than-expected November 2008.

Boyle was noted in a 2004 Audio Graphics article with these words: Go to Radio Ink or the Radio and Records web site and you will see an article on how Wachovia Securities analyst James Boyle says radio has “hit bottom.”

This was also pointed to in the 2004 AG article: The first thing you notice is that James Boyle is not ranked in the top thirty [when compared with other media analysts in 2004]. The next is that he has a less-than-stellar performance in being right.

As we leave 2009 the only thought that should be on anyone’s mind is how the radio industry can change in 2010. Will we see some of the top execs shown the exit? Will we see radio stations do things that actually contribute to improvement for their communities? Will we begin to get real about just how damaging a rosier-than-reality picture is when painted by a former industry analyst who now writes for a Clear Channel owned industry publication?

If possible, it would be a pleasure to print something that the radio industry did this year that forced anyone connected to it to hold their head high with pride. Besides radio acting as a microphone for bad weather and California fires, I’m coming up empty.

The course set over a decade ago was wrong, is wrong, and will continue to be wrong. The radio business simply cannot continue to operate on self-destruct.

Just getting away from how things are done is change enough, for now. Relative to radio, it’s the only option.

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Citadel Broadcasting Corp., the nation’s third-biggest radio company and parent of Chicago’s WLS-AM 890 and WLS-FM 94.7, is preparing to file a prearranged bankruptcy before the end of the year, according to the Wall Street Journal and later the New York Times.

And, while all this is going on, Chicago Public Radio blogger Robert Feder is reporting that WLS-AM is close to signing afternoon star Roe Conn to a new deal.

The Associated Press reported that Citadel did not immediately return messages left seeking comment as the Journal story broke Thursday. The wire service added that investment bank Lazard Ltd declined comment on the report. Like the Chicago-based law firm of Kirkland & Ellis LLP, Lazard reportedly has been advising Citadel on a possible restructuring in recent months.

Citing unnamed sources familiar with the matter, the newspapers said the proposal presented this week to creditors — and reportedly supported by many — would have lenders trade a substantial amount of the $2 billion they’re owed for 99.5 percent equity in the reorganized company, which would have about $760 million in debt.

Current shareholders would be out of luck.
Farid Suleman, Citadel’s chief executive, would likely get to keep his job, according to the Journal, which said the company needs the support of those holding two-thirds of its outstanding debt as well as a majority of individual debut holders to get final approval in bankruptcy court. A deadline for lenders to sign off on the deal, the paper said, is Tuesday.

Citadel loaded up on debt to fund its acquisition of Walt Disney Co.’s ABC Radio stations, but not Radio Disney or ESPN Radio, in 2006, not a particularly good time to be in radio acquisition mode, it turned out.

Of course, the Journal also pointed out other factors that did not help Citadel, such as the February death of syndicated Chicago-based giant Paul Harvey at age 90.

(Reposted from About.com)

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Black Radio Fights Performance Royalties

by Neda Ulaby

November 24, 2009 -

New legislation in Congress could drastically change music-industry economics. As it currently stands, musicians in the U.S. aren’t paid when their songs are played on the radio unless they wrote the songs, too. Only songwriters get radio royalties, not the folks who play and sing their tunes. Two bills moving through the House and Senate would change that, by making radio broadcasters pay royalties to musicians, too.

Radio broadcasters hate the idea of performance royalties — really, really hate it. They’re speaking up in Congress and on air.

Cathy Hughes is the legendary founder of Radio One, the country’s largest chain of black radio stations. For months, her stations have played her announcements against the performance-rights bill. Hughes complains, on air, about all the work it would take to comply.

“If the performance tax is passed, all radio stations will have to count how many times a song is played each day and each week,” Hughes says in an on-air announcement. (The bills do not really propose a tax.)

Natalie Hopkinson says there’s no escaping Hughes. Hopkinson is an editor for the popular online news blog The Root, which is geared toward African-Americans. She says just about everyone who listens to urban radio has heard Hughes’ point of view.

“Radio One holds more than half of the top 30 black radio markets. They dominate,” Hopkinson says.

Is This A Racial Issue?

In an essay on The Root, Hopkinson writes that she resents Hughes’ attempts to paint proposed financial regulations as a racial, gender and social issue.

“You know, she’s the little woman. You know, she’s going up against the big recording industry,” Hopkinson says. “No, you own 53 stations and this is a huge, huge, massive, multimillion-dollar company that is still bringing in quite a bit of money.”

NPR was unable to get Hughes to comment. But James Winston, who heads the National Association of Black-Owned Broadcasters, says his organization’s members can’t be blamed for not wanting to pay royalties.

“Our revenues have been going down. We recognize we got problems,” Winston says.

Across the industry, ad revenue has dropped 23 percent in the past year alone. Listeners are turning from radio to MP3 players, computers and cell phones. Winston says there’s a giant paradigm shift across the entire music industry, but radio isn’t trying to squeeze more money out of the recording industry.

“Miss Hughes didn’t start the fight. It began with hearings in Congress, where these older performers — most of who happened to be African-American — were brought forward to tell their tales of woe that their songs were being played and they weren’t being compensated,” Winston says. “Now, nobody asked, ‘Well, what deal did you have with your record company? Why weren’t you being compensated by your record company for these records?’ Instead, everyone pointed their fingers at broadcasters and said, ‘You’re the bad guys.’ ”

It’s wrong to think in terms of good guys and bad guys, Hopkinson says. She says she doesn’t want to see radio — especially black radio — making the same mistakes as the recording industry.

“They’re just fighting over the scraps left over at this point, and I really think Miss Hughes’ time would be better spent figuring out a new model and a way to evolve,” Hopkinson says.

Supporting Local Artists

Chuck D has some ideas. He was working at a college radio station back when he founded Public Enemy in the 1980s. He says that, in order to survive, black radio should grow local talent.

“I would love to see artists in Indianapolis and artists in Louisville and artists in Chicago, be able to get played in their own town,” he says. “I mean, so what if the artists can’t get played in L.A. or New York? If they’re coming from Tulsa, Okla., they should be able to be played in that five-state radius.”

But broadcasters would still have to pay those musicians royalties, as Chuck D says they should. He says he’d like to see people who own radio stations be a little less defensive about performance rights. (It should be noted that NPR has expressed concerns about the bills to Congress.) But he says that black broadcasters, like Cathy Hughes, are competing against more powerful networks that lack a real connection to black communities.

“I’m not saying Miss Hughes doesn’t. But in order for her to stay in business, she has to be able to keep her head above the other corporations that probably don’t give a doggone about the black community,” Chuck D says.

In the end, it’s corporations that will largely profit from a change in collecting performance royalties from radio stations. Fifty percent of the money will go to the rights holders — usually record labels — 45 percent to the stars who sing the songs, and 5 percent to the musicians who back them up

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November 24, 2009
A new report from Washington Research Group Concept Capital says that is it becoming less likely that the Performance Rights Act, which would force radio stations to pay royalties for playing music, will become law. In recent months, the House and Senate Judiciary Committees have approved the legislation, and a meeting was held between broadcasters and record labels to engage in mediated discussions over a possible compromise. However, Concept Capital says the odds are dropping for the legislation to pass in the 2009-10 Congress. The research group reduced its estimate from 60 percent to 40 percent odds of the bill passing in the next 12 months.

The report outlines four reasons why the possibility is less likely, first saying that broadcasters are doing an effective job of building opposition to the legislation. The NAB has gotten 27 Senators and 253 House members to sign a resolution opposing the Performance Rights Act. Secondly, broadcasters have gotten traction with arguments that a new fee could have damaging consequences for a large number a radio stations – particularly in a difficult advertising environment – and that a disproportionate share of endangered stations are minority-owned.

The report also notes that we are entering an election year, and individual members are typically more sensitive to broadcasters’ policy agenda as voting season nears. And lastly, broadcasters have new leadership in Washington.  Former Republican Senator Gordon Smith recently took the helm of NAB, and his stature, bipartisan reputation and skill set are a positive factor for broadcasters in the radio royalty battle.

The report from Concept Capital concludes, “We do not rule out the possibility of some kind of breakthrough or legislative maneuver that would allow the bill to move forward. The bills’ chief supporters (the Senate and House Judiciary Committee leaders) remain very committed to moving a bill. And the royalty bill has now progressed farther than it has in any prior congress, so risk clearly remains for broadcasters. But our sense is the momentum has shifted away from passage.”

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