On The Air... Paul Porter ... IndustryEars.com

Washington Post: Channel Changer

2008-05-25T15:58:00.000-04:00

Channel ChangerThree Years Ago, Reggie Hudlin Came To Save a Troubled BET. But Has He?

By Teresa WiltzWashington Post Staff WriterSunday, May 4, 2008; M01

NEW YORK -- To understand the irony, skip back four years: Reginald Hudlin, Hollywood director and comic book nerd, is ensconced with his close friend, firebrand cartoonist Aaron McGruder, gleefully penning a graphic novel, "Birth of a Nation." The book features as its villain the network mogul "John Roberts" -- a black billionaire with a complete willingness to sell African Americans down the river to make a buck. Not coincidentally, "John Roberts" looks a lot like billionaire Bob Johnson, the founder of Black Entertainment Television.
Skip forward to the present: Now Hudlin's dividing his time between Los Angeles and New York as BET's president of entertainment, the man in charge of the images tumbling from the cable network's airwaves. His critics blame him for serving up a steady diet of the same old same old: poisonous, stereotypical images of blacks, specifically rap videos featuring scantily clad vixens and blinged-out gangstas.
On the Internet, Hudlin is the target of a savage cartoon sendup, portrayed as the morally challenged programming head for "Black Evil Television" -- a parody created by none other than McGruder, his former friend. And in Washington, protesters camped for months outside the home of Hudlin's boss -- network CEO Debra Lee -- each and every weekend, chanting "Enough is enough."
"Right now, Reginald Hudlin and Debra Lee preside over a media empire that perpetuates every negative stereotype about black men and black women that we fought against," says the Rev. Delman Coates, the Prince George's County pastor behind the campaign against BET. "And they have to be held accountable.
"The reality is, if Reginald Hudlin were white, more black leaders and more black organizations would be raising an outcry. But for some reason we give black people a pass for participating in our own exploitation."
Last month, Coates, in conjunction with the Parents Television Council and onetime BET video programmer Paul Porter of Industry Ears, released a study analyzing adult content on two BET video shows, "106 & Park" and "Rap City," along with MTV's "Sucker Free" -- prime-time programs that they charge are marketed to and viewed by children. Among the conclusions: In March, on the shows cited, there was one instance of adult content -- references to drugs, sex or violence -- every 38 seconds.
The next step in the "Enough Is Enough" campaign: pressuring BET advertisers to pull their sponsorship.
All of which says: It's a tough time to be Reggie Hudlin, the supposed savior of BET.
Mention that to Hudlin, and he bristles. To his mind, BET's critics are haters who can't appreciate the hard work he's put into the network. The rap videos, he says, are but a small portion of the programming that the network offers. "To me, when you look at the portfolio [of shows], the intent is very clear," he says over lunch in Manhattan, looking aggrieved. "So why are you criticizing me?"
As Hudlin sees it, he's fighting the good fight, trying to change the public image of African Americans, one show at a time, with family-oriented programming such as the newly announced gospel video countdown, "106 & Gospel"; "Black Panther," an animated series based on a comic book he writes; and "Brutha," a reality show about a group of singing siblings trying to make it in the industry.
"This is a place where you can effect a world of difference, literally a world," says Hudlin, who with his brother Warrington made the popular movies "House Party" and "Boomerang" in the early '90s. "You can just sit around and be a complainer. Or you can roll up your sleeves and get to work."
Those sleeves would be cashmere, attached to turtlenecks color-coded to match his horn-rims: brown one day, black the next. Hudlin's on the short side, broad in the chest. Gray streaks his hair and goatee, but he retains the air of the baby-faced hipster he once was.
Talk to him about work, and in particular BET, and he's defensive and uptight, taking umbrage at the questions asked, intensely focused on spin. "You're bumming me out with your questions," he tells a reporter. It's as if he takes the criticisms personally. But get Hudlin talking about anything else -- the "Black Panther" series that he writes for Marvel Comics, getting married in Jamaica, the wonder of his little girl's traffic-stopping 'fro -- and he loosens up considerably. His sense of humor floats to the surface.
At 46, Hudlin is of the same generation that shaped Barack Obama, riding the cusp between Boomers and Gen X'ers, post civil rights movement and "post-racial." He comfortably straddles the line between Harvard (where he earned his bachelor's degree) and the 'hood (East St. Louis, Ill., where he grew up), a hip-hop head weaned on P-Funk and Prince, sci-fi and Marvel Comics.
Now he's riding the cusp between the old BET and the one he envisions for the future. Today, Hudlin and his network are at a critical juncture.
After nearly three decades in the business, BET is battling its image as a purveyor of stereotypes at the same time it's trying to position itself as a global player. Last month the network launched BET UK, its first real venture into international waters. (Next stop: South Africa in 2009.)
Now, after nearly three years on the job, Hudlin says he has started turning around the network, pushing it to the next level, from a surplus of music videos and syndicated reruns to scripted, original programming. At the same time, he and Lee point out that they've got a business to run, and that they'd be foolish to ignore the ones buttering their bread: that prized demographic of 18-to-34-year-olds. Young people, who, he says, "get it." BET's critics, he says, do not.
"What we do involves black youth culture, and black youth culture has always been vilified," Hudlin says. "That's the business we're in. I understand there's always going to be some level of vilification . . . and I'm not having it."
Hudlin is squeezed between making profits and making a difference. Observes a BET producer who declined to be identified for fear of losing his job: "You can criticize BET all you want, but it's about money. . . . You put all these high-minded, socially conscious programs on and your profits dip, you're right out of there."
BET, founded in Washington in 1980, emerged in the aftermath of the black-power '70s, riding a crest of hopes and expectations as the first black network. In the early days -- also the early days of rap -- the network was a family affair, with all ages tuning in. It was "Video Soul" with a genial Donnie Simpson and the wholesome Sherry Carter. It was nighttime newscasts with a sober-looking Ed Gordon. It was talk shows and Teen Summits and Mandela Freedom Fund Telethons. But along the way, things shifted. Newscasts shrank to sound bites. Hip-hop, or at least, commercial rap, morphed into something else, something harder and crasser. Videos took on a dominant role.
Being the first means being saddled with a certain amount of baggage. "BET is unique because it is the custodian of the airwaves for all black people," says Hudlin's brother Warrington. "It is a burden, a double standard. History places that on you. . . . BET hasn't done anything that VH1 and MTV haven't done. But people don't expect VH1 to be our channel."
Age-old dilemma. As Langston Hughes pointed out in 1926, "The Negro artist works against an undertow of sharp criticism and misunderstanding from his own group and unintentional bribes from the whites. 'Oh, be respectable, write about nice people, show how good we are,' say the Negroes. 'Be stereotyped, don't go too far, don't shatter our illusions about you, don't amuse us too seriously. We will pay you,' say the whites."Former Friends
At a recent daily taping of "106 & Park," BET's video countdown show, a plethora of hip-hop players and wannabes float in and out of the studios on West 57th Street in Manhattan. A giant screen displays rapper Rick Ross's latest video, "The Boss." In it, two half-naked women crawl over Ross's massive, tattooed chest, interspersed with dreamy clips of diamond-encrusted rings and stacks and stacks of hundred-dollar bills.
Ross raps:
Who gives a [expletive] what a hater gotta say
I made a couple million dollars last year dealing [expletive]
The video fades out. In its place is a segment featuring black-and-white newsreel footage of Martin Luther King Jr., the Mall and a narrator intoning, "I am the March on Washington."
But it's the gangsta-rap videos that had BET critics such as Coates, of Mount Ennon Baptist Church in Clinton, camped outside Lee's Northwest home from last August to mid-April on weekends, chanting, "BET, SUCH A DISGRACE! BET, UPLIFT THE RACE!" (A New York-based sister church similarly is still protesting each weekend outside the Manhattan home of Philippe Dauman, CEO of BET's parent company, Viacom. Dauman declined to be interviewed for this article.)
People protesting on his boss's front lawn is just one of Hudlin's problems. Ratings have dropped significantly, according to Derek Baine, senior analyst for SNL Kagan: Average household daily viewership dropped from 353,000 in 2006 to 316,000 in 2007. (But a popular show like Keyshia Cole's does much better.) The network reaches nearly 90 million households.
Then there's Paul Porter, a former BET video programming director who left the network in 2002, who charges that payola was, and is, a regular part of transactions at the network. On any given Friday, he says, he would receive a FedEx box stuffed with as much as $15,000 in cash. (Porter now heads Industry Ears, an advocacy group that participated in the "Enough Is Enough" BET survey.)
Hudlin vehemently denies any knowledge of, or involvement in, alleged payola at BET. As for Coates's protest, he says, "it's such misplaced aggression that doesn't deal with the root of the problem. They're attacking someone [Lee] who cares a great deal about all the things that they care about."
He'd rather talk about his successes: "We have expanded the breadth and depth of programming on the network in a very short time. We're far from done. But I think the work we've done so far on the network should be celebrated."
As evidence, Hudlin points back to a 2005 telethon to raise money for Katrina victims; a two-part town hall special, "Hip Hop vs. America," aired in the wake of the Don Imus brouhaha; a reality TV show featuring R&B starlet Keyshia Cole and her dysfunctional family; a documentary series produced by writer Nelson George, "American Gangster"; an "American Idol"-style gospel show, "Sunday Best"; and "BET Honors," an awards show for prominent African Americans.
Between 2003-2007, BET has doubled its programming budget. Last year, Hudlin and his crew announced plans to release an impressive lineup of original programming -- 16 shows, including an animated series about the Carthaginian general Hannibal to be produced by Vin Diesel. In April they announced programming for the 2008-09 season that includes a courtroom reality show and a dating show. It'll also boost its news programming with two shows: "The Truth With Jeff Johnson," a news talk show, and "Unreported," an investigative series.
But several shows announced last year have yet to air or have died quick deaths. "Judge Mooney," a sendup of courtroom shows featuring veteran comic Paul Mooney, was canceled days before its scheduled October debut. The ambitious "Wifey," a drama starring Queen Latifah as a widowed music industry executive, remains unscheduled. The pilot was directed by Hudlin, an unusual move for a network head.
To be sure, television programming is an exercise in experimentation. As Lee put it, "Some things fall by the wayside," while Hudlin insists that most of the network's pilots do make it on-air.
BET's shows that have aired are a mixed bag.
"Take the Cake," a live interactive daily game show starring Tocarra of "America's Next Top Model," only lasted a season. "Hell Date," a mash-up of dating shows that features a dwarf in a Devil suit, doesn't exactly advance the cause for quality programming. "We Got to Do Better" has come and gone, as has "Socially Offensive Behavior," a kind of "Candid Camera" for the 21st century, starring comic D.L. Hughley. "Read a Book," a satirical animated short by Washington rapper Bomani, came under fire by critics who said the video perpetrated negative stereotypes, and inspired the "Enough Is Enough" campaign.
A firestorm of controversy started last fall when BET debuted "We Got to Do Better," based on a Web site, "Hot Ghetto Mess," which casts a jaundiced eye at tacky African Americans, taking the "America's Funniest Home Videos" approach.
Critics like Gina McCauley, an Austin attorney, charged that the show catered to offensive stereotypes. She launched an online protest with her blog, "What About Our Daughters," and some Internet advertisers pulled their support for the show.
Observes Hudlin's mentor, the television pioneer Steve Bochco: "He's had to completely change the culture there, which is always a complicated chore. He has to grapple with a very, very anemic budget. When you look at what he's been able to do and the context of those challenges, you have to say he's doing a wonderful job. He needs more time to accomplish what he's set out to do. You don't turn those ships on a dime, big heavy corporate cargo vessels."
Hudlin has hurt feelings along the way. Mooney says his show was abruptly pulled without explanation and Hudlin never returned his calls. "I thought he was a king," Mooney says. "I had no idea he was a slave." (Both Hudlin and Lee maintain that the show was killed because it didn't test well with focus groups.)
His feet are to the flame. A few years back, Hudlin joined forces with comic strip artist McGruder to produce the cartoon version of McGruder's "Boondocks" on the Cartoon Network. The show takes frequent potshots at BET.
Today Hudlin and McGruder, once close friends, no longer speak. And Hudlin himself became the target of two "Boondocks" episodes. (The episodes, which the Cartoon Network decided not to release, are now making the rounds in the Afrosphere.) Hudlin is cast as the bow-tie-wearing "Weggie Rudlin," who declares, "My Harvard education tells us that our goal is to take all the [expletive] reality TV shows that MTV made five years ago and make them black!"
And yes, Hudlin still has an executive-producer credit on the show. And no, he's not going to talk about what happened, or how he feels about being skewered by his onetime friend/protege. Nor will McGruder comment.
The comedian Orlando Jones, director and producer of the upcoming BET animated sketch show "BUFU," says Hudlin "did everything right. He went to Harvard. Now he's been charged to change the stereotypes for people who think BET is the chitlin circuit network. He's like, 'I've never done anything in my life that's stereotypical, and now I'm that guy?' "In the 'Ghet-to'
Hudlin grew up in East St. Louis, Ill., a city with a rich artistic past: Lillian Gish, Josephine Baker, Miles Davis, dance pioneer Katherine Dunham and bluesman Albert King all called it home. But by the time Hudlin came of age in the late '70s, East St. Louis, once dubbed an "All America City," was rapidly unraveling, the victim of riots, factory closings and virulent street gangs. A city that he affectionately sends up in "Birth of a Nation," where he and McGruder imagined what would happen if East St. Louis seceded from the union. (Hint: chaos.)
Hudlin's description of East St. Louis? "Ghet-to."
Still, his is hardly your standard by-the-bootstraps story. Hudlin's mother was an educator. His father, who died in 1998, was an insurance agent who served as president of the Chamber of Commerce, ran the local community college -- and turned down an invitation to run for mayor.
"My family was very educated; we have people with PhDs," says Hudlin over lunch at an upscale midtown Manhattan brasserie. He pauses, and then adds this caveat, as if to establish his 'hood bona fides: "But we collected grease on a stove. Both my parents were real products of the Depression: Real, real hard work, never throw something away that you can use again."
From an early age, he knew that he wanted to be a filmmaker. As a kid, he spent hours drawing comic books and hanging out at the community arts center that Dunham created in the heart of the ghetto, studying martial arts while his mom took dance classes. Films entranced him: Bob Fosse's "All That Jazz," Charles Burnett's "Killer of Sheep." But it was Ken Russell's rock opera movie "Tommy" that clinched it for him: the surreal rush of music and imagery.
With visions of directing a funk opera starring George Clinton and Parliament-Funkadelic, he headed off to Harvard, where he majored in visual and environmental studies, a multidisciplinary honors program that combined film, photography, graphic arts and architecture. After college, he joined up with his older brother Warrington, a Yale grad who was working as an independent filmmaker.
"I was doing work that was important, but not commercial," says Warrington, co-founder of the Black Filmmaker Foundation. "He said, 'What you're doing is good, but it's about time to make some money.' He always had a much stronger commercial instinct."
But Hollywood is notoriously fickle. After his film successes, Hudlin turned to TV, directing shows including Bochco's "City of Angels," "Bernie Mac" and his good buddy Chris Rock's "Everybody Hates Chris." Rock says he was a little surprised when Hudlin took the BET gig.
"He's got good taste," Rock says. "There's the Reggie who thinks like a director, and the Reggie who thinks like an exec. On the one hand, he's got real artistic taste. And then on the other hand, he's got real pop taste, 'This'll sell, this'll work.' "'Ching-Ching'
Cold, hard commerce is in the house.
From up on high in the Hammerstein Ballroom, in a box reserved for corporate muckety-mucks, Hudlin sits, head bobbing to the beat, taking in the cross-pollination of hip-hop and fashion, of industry and art. There are dudes lining up along the front row, doing the retro rap thing, all flattops and neon, looking just like Kid 'n Play did when Hudlin directed them in "House Party." Hudlin spots them and laughs.
Here, at the taping of BET's "Rip the Runway," booty-shaking is in short, and tasteful, supply. Instead, cash is the theme du jour. Pharrell, backed up by N.E.R.D., is rapping about "hundred-dollar bills" while models sporting ruffled Zac Posen evening gowns prowl the catwalk, affecting a studied indifference.
Then there's Missy Elliott, plugging her new single, chanting, "Ching-ching, getting paid over here," as models sporting duds from her fashion line bounce around the runway. From there, Flo Rida takes to the stage, name-checking Nelly's line of Apple Bottom jeans while models strut and preen, sporting, um, Apple Bottom jeans.
Over the course of the night, Snoop Dogg and Nelly, accompanied by their entourages, make their way up to the box, to pay their respects to Hudlin and Lee. To kiss the ring.
At the end of the day, it's all about doing business.
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PAT BUCHANAN: TWO AMERICAS?

2008-05-25T15:23:00.002-04:00

PAT BUCHANAN: TWO AMERICAS?

Divide and conquer is a stratagem that deserves a timely and well deserved death. At this crucial time in our history, when we as a nation can come together to regain our moral and economic standing in this world; some are trying, as John Kerry warned in 2004, to take us back “to two Americas – separate and unequal.”

Kerry’s warning echoed the Cassandra-esque prediction of the Kerner Commission. Tragically, like Cassandra’s exhortations, both prescient admonishments seem to have fallen on some deaf and deluded ears.

In a country where the socially constructed partition, better known as race, trumps class, sexuality, and gender; this stratagem is being used to the hilt by anachronisms like Pat Buchanan, “Southern Strategy Republicans”, and sadly, some within the Democratic Party. Even worse, many in the media are complicit and willing co-conspirators, abandoning their responsibility.

The attempt of some to paint all African Americans with the same “black brush” is having some effect. However, most forward minded people are not falling for the “okie doke”.

The attempt to link Barack Obama to others via “guilt by association” is an embarrassment to those who are doing so. Never in our history has one man been linked to another as in the case of Obama and his former Pastor Jeremiah Wright. Moreover, this stratagem’s blatant one handed usage is galling. This double-standard, which renders McCain and Rodham-Clinton immune, disgusts most fair minded folk.

In addition, Pat Buchanan’s recent “ungrateful blacks” spiel said in light of the Obama/Wright fiasco has gone mostly unrebutted by the complicit media. His postulations that:

"First, America has been the best country on earth for black folks. It was here that 600,000 black people, brought from Africa in slave ships, grew into a community of 40 million, were introduced to Christian salvation, and reached the greatest levels of freedom and prosperity blacks have ever known.

Second, no people anywhere has done more to lift up blacks than white Americans. Untold trillions have been spent since the 60s on welfare, food stamps, rent supplements, Section 8 housing, Pell grants, student loans, legal services, Medicaid, Earned Income Tax Credits and poverty programs designed to bring the African-American community into the mainstream."

Buchanan's comments obscure the fact that African Americans and their allies have had to fight for whatever freedoms have been gained. The many programs he mentions have helped ALL AMERICANS, especially European Americans. Are his words to go unchallenged? Will MSNBC denounce his "post slavery syndrome" mentality?

Furthermore, such statements play into the “ungrateful blacks”/”grateful immigrant” faulty syllogism. As demonstrated in California’s primary, many Asian and Latino new arrivals did not vote for Obama due to the effectiveness of divide and conquer propaganda and institutionalized racism.

Also, such statements play into the “lazy blacks”/”hardworking blue collar” faulty syllogism; obfuscating the fact that many African Americans, until recently, held most blue collar jobs. And that the reduction of black and white participation in such jobs is due partly to Corporate America’s love affair with exploitable illegal workers and outsourcing to cheaper labor markets.

The propaganda machine urges people to vote their aspirations and not their interests. The propaganda machine plays on people’s fears, prejudices, and resentments. The propaganda machine creates and reinforces “two Americas” and pits “us” against them”…black” vs. “everybody else”. As if black people can’t be and aren’t anything else; i.e., women, working class, rich, poor, college educated and as if these other aspects of their personhood bear no impact on how they vote. Now is not the time for such chicanery. The “fierce urgency of now” necessitates that we discard such outmoded behavior and embrace change.

In conclusion, in the two Americas, historically, only one has gotten to own and broadcast its point of view. Luckily for us, our media is not monolithic and neither are we as a people. Effective media presents various points of view and from it, people are free to come to their own determinations.

This election season is proving that the two Americas syndrome still exists but it is also showing that it is going the way of the dinosaur and we have the opportunity to evolve into ONE AMERICA. Will we?Paul PorterIndustry Ears

THE RAP ON RAP BET/MTV Study

2008-05-25T15:20:00.000-04:00

Rap on Rap: MTV and BET Music Video AnalysisReport rips adult content in rap videosBy Cheryl WetzsteinWashington TimesApril 11, 2008

Three music-video shows that air during daytime or early evening hours are heavily laced with sexual imagery, explicit language, violence and drug use, a television watchdog organization says in a report released yesterday. This kind of adult content should not be marketed to children, said the Rev. Delman L. Coates, founder of the Enough is Enough Campaign. "It's these images of black men as gangsters and thugs, and criminals [and] black women as being hypersexualized — which are actually long-standing stereotypes of black people that have endured since slavery — that I felt really needed to be challenged," Mr. Coates said, in explaining why he started the campaign last summer and has been leading weekly protests at entertainment executives' homes. The Enough is Enough Campaign and other groups, like Industry Ears and National Congress of Black Women (NCBW), are "equally disturbed about the marketing and distribution of often times what amounts to soft pornographic themes to children and youth," Mr. Coates said at a press conference yesterday. "And that's really what it is, a kind of coarsening of American popular culture," he said. The three shows, which aired on Black Entertainment Television (BET) or MTV in December and last month, offered viewers offensive or adult content about once every minute, said the report, "The Rap on Rap," from the Parents Television Council (PTC). In comparison, prime time broadcast "family hour" programming has instances of violent, profane or sexual content about once every five minutes, PTC President Tim Winter said. The three shows analyzed were "Sucker Free on MTV," "106 & Park" and "Rap City" on BET. The shows appeared during afternoon or early evening hours. "Sucker Free on MTV" music videos were rated TV-14, which advises that parental guidance is "strongly advised," while most of the BET shows carried the milder TV-PG rating. The PTC study was requested by Mr. Coates' group to quantify their concerns about excessive sexuality, foul language, violence, drugs and other antisocial imagery. Last September, BET aired a three-part series called "Hip Hop vs. America" that looked at hip hop's relationship with criminality, its treatment of black women and "the pride, embarrassment and confusion blacks often feel over hip hop's public airing of the community's 'dirty laundry.' " "This music is supposed to be about what we open our doors and see when we go out into the streets," said hip hop artist T.I. "If you don't change what's going on in these neighborhoods, you can't change what's going on in this music." "We can't change our words," Russell Simmons, founder of Def Jam Recordings, told the BET series. "We can't change our ideas. We can't hide all your dirt. We have to make mirrors of your dirt. So if we say things that offend you, you have to suck it up and listen closely. Why are we saying it? The truth is that these words and this language is going to be a critical way to paint a picture of our society." Telephone calls yesterday to Viacom, MTV and BET were not returned by deadline. However, Viacom President and Chief Executive Philippe Dauman as well as BET Chairman and Chief Executive Debra L. Lee both said in letters to Mr. Coates that they share his concerns about negative portrayals of blacks in the media. In his letter, Mr. Dauman promised the company would continue to "engage our audiences in constructive dialogue" while Miss Lee said BET programming guidelines do not allow "programming that endorses or condones illegal drugs or gratuitous violence" and identifies "words that are forbidden on our channel." E. Faye Williams, chair of the National Congress of Black Women, said yesterday her NCBW predecessor, the late C. Delores Tucker, had been protesting the music industry's negative stereotyping and degradation of women for more than a decade. It's time to take the protest to the sponsors of these videos and programs, Miss Williams said. The NCBW and its allies represent 15 million members, she said, "and we know how to buy selectively." READ FULL REPORT

Payola inquiry chills radio playlists

2006-04-10T07:09:00.000-04:00

Payola inquiry chills radio playlists

N.Y. official's action targeted bribery but has discouraged programming of new songs

By Charles Duhigg
April 9, 2006
Last summer, before New York Attorney General Eliot Spitzer took on the music industry over pay-for-play allegations, the man who chooses songs for the Los Angeles station KKBT-FM started each week enthusiastically brainstorming about what new tunes to add to his playlist.
Today, KKBT program director Tom Calococci still brainstorms. But he feels pressure to take fewer creative risks.
"No programmer wants to draw attention by choosing songs too far outside the mainstream," said Calococci, who says fear of regulatory scrutiny has made radio executives less willing to play emerging bands. Calococci still plays new music, he said, but "Spitzer has put a chill on everything."
Spitzer's inquiry, which alleged that music companies illegally paid radio programmers to play certain songs, was intended to make the airwaves more of a meritocracy. Without pay-for-play, Spitzer argued, consumers would hear the music that programmers liked best, rather than tunes that the major record labels bribed disc jockeys to air.
But Spitzer's crusade might be having the opposite effect. Many programmers say that fear of regulatory scrutiny has scared them into choosing fewer new songs for radio play. Instead, stations are sticking to older, more tried-and-true tunes that seem less likely to prompt speculation that money changed hands.
Indeed, research shows that listeners are hearing fewer new songs on the radio today than they were a year ago. In the first quarter of 2006, "active rock" stations added 23 percent fewer new songs to their playlists than during the same period in 2005, according to trade publication Radio & Records. Pop stations added 14 percent fewer songs, additions on urban/hip-hop stations dropped by 16 percent and the number of new songs played by "adult contemporary" stations fell by 17 percent.
Those dips occurred even as the number of new album releases increased, according to Nielsen SoundScan.
"These are really big drops," said Cyndee Maxwell, a Radio & Records executive who helped survey more than 867 radio stations. "I've never seen decreases that big."
In the wake of Spitzer's investigation, radio companies have launched internal inquiries and, in instances of wrongdoing, fired and reprimanded scores of programmers. Almost every radio chain has instituted new policies regarding gifts and payments. Also, the Federal Communications Commission has launched its own investigation to determine whether radio companies should lose their broadcast licenses if evidence of corruption exists.
That has left many programmers with the impression that if their names are so much as mentioned in connection with pay-to-play, their jobs will be at risk.
More than a dozen radio programmers interviewed for this article - almost all of whom requested anonymity because they feared that discussing pay-for-play would endanger their jobs - say the slowdown in airing new songs isn't official policy. Rather, it is a precaution individual programmers are taking to avoid raising suspicion about their motives.
"I don't want anyone to look at my playlists six months from now and speculate about why I added a particular song, when our competition didn't add it," said one programmer. "People have been fired for less."
That sentiment is typical, say industry insiders.
"There is an overall fear among programmers that I've never encountered before," said Steven Strick, who compiles data on rock stations for Radio & Records. "These investigations by Spitzer and the FCC cast suspicion on almost everything. How stations choose music has changed in a fundamental way."
To be sure, the recent shift is part of a broader trend toward homogenization and repetitive airplay that has been under way for the past decade as station ownership has consolidated. But programmers say those shifts have accelerated in the past six months, after Spitzer's investigations were disclosed.
What's more, stations are less willing to participate in legitimate promotions, such as concert ticket giveaways and contests, that are popular with listeners.
"If I want to accept 25 CDs to give away on air, I have to forward paperwork all the way up to the vice president," said Bill Weston, program director at WMMR-FM in Philadelphia, where new policies about gifts and promotions have been drafted. "The new rules take forever. It's hardly worth the trouble."
All this worries record companies and music aficionados. Radio remains one of the few media that can introduce audiences to new music and spur huge album sales. Changes in how stations choose songs directly affect which musical genres survive and how many up-and-coming bands record labels sign, say executives.
Charles Duhigg writes for the Los Angeles Times. Copyright © 2006, The Baltimore Sun Get Sun home delivery

Ameirica's top billing Radio stations

2006-04-06T23:47:00.000-04:00

Thursday, April 6, 2006
WLTW/New York Remains America's Top Biller

The Clear Channel AC is once again in first place among America's biggest-billing radio stations, BIAfn reports. The station saw $68.3 million in revenue during 2005, while CBS Radio Alternative KROQ/Los Angeles rolled into second place after a huge revenue gain of 11.6%, billing $67.6 million for the year. KROQ swaps places with CBS sibling News WINS/New York, which slipped to third place with an estimated 2005 billing of $60.8 million.

The overall top 10 saw little change, although Tribune News/Talk WGN/Chicago took the 10th spot as Clear Channel AC KOST/L.A. dipped from No. 10 to No. 12. "The lackluster radio business environment in 2005 did not allow for any major shifts in the lineup of the top 10 grossing radio stations," said BIAfn VP Mark Fratrik. "Even if a station generated substantial improvements in their ratings, its ability to quickly turn those larger audiences into significantly larger revenue was made more difficult because advertisers are lukewarm on radio overall."

Top 10 Billing Stations - 2005 Revenue
WLTW/New York
$68.3 million
KROQ/Los Angeles
$67.6 million
WINS/New York
$60.8 million
KFI/Los Angeles
$59.3 million
KPWR/Los Angeles
$57.9 million
WCBS-AM/N.Y.
$57.2 million
WFAN/New York
$54 million
KIIS/Los Angeles
$52.8 million
WXRK/New York*
$52.5 million
WGN-AM/Chicago
$52.4 million
Source: BIAfn. *Became WFNY (Talk) in January

Clear Channel offer a million to the Feds

2006-04-05T22:45:00.000-04:00

Clear Channel offers to settle payola case with FCC
Web Posted: 04/05/2006 12:00 AM CDT
Sanford Nowlin
Express-News Business Writer

San Antonio-based Clear Channel Communications Inc. has offered to pay $1 million to settle a Federal Communications Commission probe into recording-industry payola, a company official said Tuesday.
Andrew Levin, Clear Channel's chief legal officer, said the company is talking to the commission to settle an eight-month-old investigation into whether radio broadcasters took illegal contributions from record companies to increase their play of specific songs.
"We're willing to pay a reasonable amount to put this matter behind us," Levin said. "We want to go back to focusing on our business and not on ancient history."
Clear Channel, CBS Radio, Entercom Communications and Citadel Broadcasting Corp., four of the nation's largest radio broadcasters, are in talks with the FCC to settle its probe, said people familiar with the discussions who asked not to be named.
However, those people also said at least one FCC commissioner, Democrat Jonathan Adelstein, isn't satisfied with the companies' settlement offers and wants them to pay stiffer financial penalties. A spokesman for Adelstein was unavailable for comment.
Officials of CBS Radio and Entercom declined to comment on the FCC probe, while Citadel officials were not available at press time Tuesday.
News of the talks comes as New York Attorney General Eliot Spitzer conducts a separate payola investigation.
Both the FCC and Spitzer are looking into concerns that radio stations may have taken cash and goods in exchange for increased spins of particular songs, a practice that's been illegal since the late 1950s.
Clear Channel's Levin said his company has cooperated with both probes, having turned over thousands of pages of documents.
The company two years ago cut ties with independent promoters that music labels hire to boost radio exposure so it could "avoid the appearance of impropriety." In October, it completed an internal payola investigation, firing and penalizing several employees for violating pay-for-play rules.
However, Levin said authorities have sought information predating its internal efforts to crack down on payola.
"Just because we're the largest radio company doesn't mean we have the largest violations," Levin said. "We have been a model for the industry in terms of trying to put a stop to this practice."
The FCC last fined a broadcaster for engaging in payola in 2000 when it fined Clear Channel $8,000 for not disclosing payments it received to boost airplay of a Bryan Adams song.
Spitzer has blasted the FCC for negotiating settlements with the broadcasters, on Monday saying that the move would undercut his case.
Record companies Sony BMG and Warner Music Group together have paid $15 million to settle with Spitzer, and his office last month filed a lawsuit against Entercom alleging it accepted improper payments in exchange for airplay.
Previously, Spitzer had criticized the FCC for acting too slowly on the matter.
"Any time Spitzer can get $5 million and $10 million from these record companies in his investigation, you have to wonder why the FCC would let Clear Channel pay $1 million," said Paul Porter, whose activist group Industry Ears has criticized Clear Channel and other broadcasters.
But radio-industry analysts said they're not particularly concerned about the probe or a potential settlement, adding that Clear Channel, which owns 1,200 stations, faces much larger challenges as it faces competition from satellite radio and other entertainment sources.
Settling the investigation, they add, may just be a routine part of doing business.
"In the whole scheme of Clear Channel issues, this one is at the bottom of the list," said Michael Nathanson, who follows the company for Sanford C. Bernstein & Co. in New York. "For you and me, $1 million is a lot of money, but not for them."
snowlin@express-news.net
BAHRAM MARK SOBHANI/STAFF -->spitzer -->The FCC last levied a payola fine in 2000 when it fined Clear Channel $8,000 over payments to boost airplay of a Bryan Adams song. -->
Online at: http://www.mysanantonio.com/business/stories/MYSA040506.1E.payolaprobe.3555972.html

NY Daily News Industry Ears

2006-04-03T10:40:00.000-04:00

Stanley Crouch is a columnist, novelist, essayist, critic and television commentator. He has served since 1987 as an artistic consultant at Lincoln Center and is a co-founder of the department known as Jazz at Lincoln Center. In 1993, he received both the Jean Stein Award from the American Academy of Arts and Letters and a MacArthur Foundation grant. He is now working on a biography of Charlie Parker. Email: scrouch@ edit.nydailynews.com

Merchants of filth have worthy foe
You can't keep a good woman down, and you can't get an intelligent one to stay silent when the issue is the moral pollution of young people. One can only come to that conclusion when speaking with Lisa Fager, president and co-founder of Industry Ears, a new think tank of broadcast and music industry professionals that describes itself as "dedicated to revealing truth and promoting justice in the media." That's a mouthful. Does it mean weeping rivers over the execution of a convicted murderer like Tookie Williams?
No. Fager wants to clean up what she sees as irresponsible activity in the media, with a particular emphasis on the detrimental effects of hip hop. Her central concern is the promotion of sexual material to underage children and the way this material encourages irresponsible sexual behavior.
"You would never know," she says, "that the largest group of new HIV cases just happens to be young black women between the ages of 15 and 24. This airheaded material desensitizes them to such an extent that they do not know how to protect themselves. Besides vulgarity, there are lethal components to this problem."
Some defend hip hop as the expression of an ethnic culture on the grounds of free speech and artistic freedom - and this con sounds noble - but if these illiterates with gold and diamonds in their teeth found that reading the Ten Commandments over hip-hop beats made money, they would search the Bible for fresh "lyrics."
Fager would settle for the FCC enforcing the law - coming down, for example, on urban black radio stations that violate regulations by playing questionable material before 10 p.m. "Part of the job of the legal system," she says, "is to protect our children from predators."
Censorship is not Fager's goal, and she does not believe that merely attacking vulgar entertainers is the answer. "If NBC had shown a porno film like 'Debbie Does Dallas' at 4:30 in the afternoon, we wouldn't be going after the star of the movie, we would be going after NBC."
I think the millionaires who push this dung have met their match, because Fager is a young woman who has worked in the recording industry and knows her way around the mass media. She cannot be dismissed as a grandmother who doesn't know what's happening.
Importantly, Fager has no fear of being accused of "hating" the black lower class or trying to kill a golden goose. Those accusations may be tired, but they work on far too many black academics and middle-class black people.
"I do not believe we are supposed to sit still while young women are dehumanized, infected with HIV and abused by young men programmed to think of women as nothing but sex toys," she says. "That's immoral and cowardly."
Lisa Fager is another example of American luck. Just when we think the dogs will win out, the dog catcher turns the corner. The howls will eventually be replaced by whimpers. Originally published on April 3, 2006

Retail Music Industry Battles Extinction

2006-03-30T00:40:00.000-05:00

Retail Music Industry Battles Extinction

In a period of lackluster sales, illegal downloading isn't the only factor affecting the depressed music industry. Disgruntled consumers have contributed significantly to the decline in retail music sales. Retail music sales, valued at $12.5 billion in 2005, are predicted to fall to $10.5 billion by 2010, according to a recent Mintel report. The major labels have been quick to blame consumers, but slow to listen to their needs."The growing distance between the music industry and its consumer is due to a number of factors," said Justin De Santis, analyst for Mintel. "These include lawsuits against individual consumers, payola practices, and, most recently, restrictive use of digital rights management."Music labels have a negative stigma to overcome, brought on by battles against illegal downloaders, radio "pay-for-play" scandals and homogeneous artist offerings on radio stations. The introduction of iTunes and similar sites has slowed the decay of music retail sales, but it has not stopped it. Even though technology is starting to work for the industry rather than against it, labels still face the challenge of meeting the demands of a diverse consumer marketplace.In an effort to keep up with the digital marketplace, industry leaders have marketed artists to sell single songs rather than complete albums. This new marketing strategy has contributed to the lack of strong up-and-coming musical talent in the marketplace that exhibit "staying power," such as legendary iconic artists like Prince, the Beatles, or U2.While illegal downloading has hurt the industry, big labels have relied on obsolete strategies for over a decade and have been late in exploiting emerging technologies. As a result, the bond between independent artists and their fans have become stronger. Although the music industry is just starting to use digital distribution to its advantage, overall sales will continue to decline unless companies learn to adapt more quickly to changing technologies.According to De Santis, "The current renaissance of underground media has further driven the consumer away from the major labels and has contributed to the downturn in their sales."

Payola at Public Radio Too

2006-03-22T23:01:00.000-05:00

Public Radio Payola; Scandal shakes public radio
Monday March 20 2006
Scandal shakes public radio
BY MARYANNE GEORGE and JOHN SMYNTEK
FREE PRESS STAFF WRITER

The sedate, urbane world of public broadcasting was rattled Thursday as prosecutors charged three former employees of Michigan Public Media with illegally accepting golf club memberships, Persian rugs, airline tickets and massages in exchange for on-air considerations at the state's top public radio station. Each of the men -- current WDET-FM general manager Michael Coleman, Jeremy Nordquist and Justin Ebright -- was charged by Washtenaw County prosecutors in Ann Arbor with embezzlement of under $20,000 while working at Michigan Public Media-controlled WUOM-FM (91.7). Each could face up to five years in prison if convicted. An internal audit also found sloppy recordkeeping, excessive bonuses and expense-account fraud that totaled more than $50,000 from July 2001 to December 2005, said Timothy Slottow, University of Michigan's chief financial officer. U-M owns and runs Michigan Public Media. WDET (101.9) and WUOM are the major public radio stations in Michigan, and public radio has long had a trustworthy image of being above the kind of influence-peddling that has occasionally tarnished commercial radio. The charges shocked listeners of the National Public Radio affiliates. "This is a sad revelation for Detroit, which has functioned as Michigan's cultural engine for so long," said public radio listener Willie Northway of Ann Arbor. "The talk and news offered by Michigan Radio is an invaluable service to the community." Coleman, who left Michigan Public Media as deputy director last year to be general manager at WDET and who has made several controversial programming changes in his new job, remains in his position, said Louis Lessem, vice president and general counsel for Wayne State University, which owns the station. "We know very little about the charge, other than that it has been made," said Lessem, adding that Coleman is not on administrative leave. Coleman, 40, of Ypsilanti did not return calls for comment Thursday. His lawyer, Gregory Dodd of Ypsilanti, could not be reached Thursday evening. WDET listeners who have pilloried Coleman for dumping music programming for talk and news blasted him Thursday after hearing the news. "While I don't wish ill will on anyone, for some reason this does not surprise me," said Dean Dauphinais of Grosse Pointe. Slottow said listener donations to WUOM, which last year put about $2.2 million into the radio station's $5.5-million overall budget, were not part of the alleged embezzlement. "Although we didn't discover these problems as quickly as we would have if stronger operational and oversight controls were in place, we did discover them and are taking immediate corrective action," he said. In-kind donations are common for public broadcasting but typically items donated are then sold to fund the stations. The allegations came to light after Donovan Reynolds, the former director of Michigan Public Media, alerted U-M officials about business practices at WUOM that concerned him. He resigned March 1, saying that although he was not implicated, the improprieties occurred under his watch. Recent Arbitron ratings show WUOM is the most popular radio station in Ann Arbor. The station raised more than $900,000 during its fall fund-raiser. Its spring fund-raiser is set to begin March 31. Nordquist, 28, of Saline and Ebright, 35, of Whitmore Lake also each face a charge of conspiracy to embezzle under $20,000, which carries a maximum 5-year prison term upon conviction. Nordquist was an account executive for Michigan Public Media who left the station Jan. 25. Ebright was development director for Michigan Radio, which is part of Michigan Public Media. He left in November. Ebright's lawyer, Dan Geherin of Ann Arbor, said the central question is whether his client broke the law by accepting any of the items. Nordquist's attorney, Tom Moors of Ypsilanti, said his client maintains his innocence. All three men were released Thursday morning on $10,000 personal bond each.

Arbitron radio reach

2006-03-22T11:09:00.000-05:00

Arbitron: Radio Reaches More Than 230 Million People

Over the course of a week, radio reaches 93% of all persons 12 years of age and older. Additionally, Arbitron notes that nearly 184 million people, or 74% of all persons 12+, tune to radio on a Saturday or Sunday. Morning drive continues to attract the most listeners, while afternoon drive is just behind in total audience. Teens and young adults up to age 24 continue to embrace radio, with 92% of persons 12-17 and 92% of persons 18-24 tuning in at least one station during a given day.
Radio listening continues to be found most in the car, followed by at-home listening and at-work listening. Speaking of at-work listening, 96% of working women tune to radio weekly.
The estimates are based on data compiled by Arbitron's RADAR national audience measurement service. RADAR 88 will be released by Arbitron on Monday.

Radio One freezes playlist reacting to a Satire

2006-03-13T14:37:00.000-05:00

-----Original Message----- From: Mary Catherine Sneed
Sent: Tuesday, March 07, 2006 1:33 PM

To: Program Directors; Marsha Meadows; General Managers; James Henderson Subject:

Fw: VP of Programming of BET, Stephen Hill Tells It All

Poor Laffy Taffy!!!!! --------------------------
Sent from my BlackBerry Wireless Handheld

-----Original Message-----
From: Linda Vilardo To: Alfred Liggins; Mary Catherine Sneed
Sent: Tue Mar 07 13:01:45 2006
Subject: FW: VP of Programming of BET, Stephen Hill Tells It All

-----Original Message-----
From: Sundria Lake
Sent: Tuesday, March 07, 2006 1:00 PM

To: John Jones; Linda Vilardo
Subject: FW: VP of Programming of BET, Stephen Hill Tells It All _____ Playahata Times: Entertainment Section

WEB EXCLUSIVE VP of Programming of BET, Stephen Hill Tells It All On Tavis Smiley
By Kelly Hudlin

During a recent taping of the "Tavis Smiley Show", VP of Programming of BET, Stephen Hill tells it all. Hill claims the ongoing probe by New York Attorney General Eliot Spitzer, coupled with his reconnection to his faith in Jesus Christ led to this most revealing interview. Hill entered into a plea agreement with the New York Attorney Generals office, that allows him to keep an estimated $700,000 dollars, in illegal payments. Hill controlled the playlist for the entire network. Spitzer's investigation covered a five year period, beginning with Hill's move from MTV in 1999. BET is currently in 77 million homes.

Tavis Smiley once again shows his journalistic skills in this exclusive 30 minute interview. Stephen Hill reveals that when he first made the switch to MTV he was instructed by Bob Johnson "to whiten the network up " . Hill knew he was brought to BET due to the imminent sale to MTV parent company Viacom. The transition was easy Hill said "I simply copied MTV show's like TRL and Tom Green, 106 and Park was a no-brainer and 'Hits from the Street's' were done with low budgets, Bob loved it".

Hill admits his problem was catering to the Urban market. Hill broke down in tears and admitted "Destiny's Child and "Bills, Bills Bills" is his all time favorite but ironically was the beginning of his lavish life of payola. Hill admits "I knew it was time to come clean, after I moved D4l's "Laffy Taffy" up BET'S charts" he was bound to get caught. Spitzer's office planted D4L's "Laffy Taffy" as a nationwide sting, Hill along with over fifteen hundred programmers took cash payments to make D4L the most paid for song in the history of radio. â€œI remember when I heard the song, I laughed" Hill said the lyrics were great but the drum machine was not a Kevin Liles track!

Hill decided to tell all in a plea agreement and now spends 40 hours a week with his renewed Jehovah Witness faith preaching door to door against sexuality in New Jersey. Stephen Hill admitted that Bob Johnson and Viacom know that BET's core audience will fall for anything. "Radio and Video are about making money, developing stars and content is long gone. Hill told Tavis Smiley that the "industry has run amuck, pay for play is the rule now and I am tired of playing Kunta for Jimmy Iovine and the rest of the industry". Tavis during the final minutes of this must see interview asked the Brown University Alumnus, "You have three pictures on your desk, Tiger, OJ and Michael Jackson, which one of those stars are your favorite"? Find out that and more when Tavis Smiley interviews Stephen Hill, VP of Programming on Friday March 31, 2006 on PBS.

BET reacts to Satire

2006-03-13T14:32:00.000-05:00

From: GwendolynQuinn@aol.com [mailto:GwendolynQuinn@aol.com]
Sent: Sunday, March 12, 2006 3:50 PMTo:
GwendolynQuinn@aol.com
Subject: Check out Playahata.com
-- March Satire -- BET & Payola
Dear People:
I sent this out the other day to a few people. It's not true and as myfriend Tracy stated "it's a tasteless hoax." I hate sending out messingstuff. Scroll down and read. See link below.Playahata.com- - February Satire<http://www.playahata.com/pages/satires/satire_current.htm>

***See note to me from Michael Lewellen: And there is zero truth to it. If you read the original transmission,the copy is identified as satire in the heading. But as people havemoved this around the Internet, for some reason that little key fact hasbeen left off the e-mail.Good to see you last night in DC.

Take Care,Michael Lewellen-----------------

Forwarded Message: Subj: Check out Playahata.com- - February Satire Date: 3/12/2006 11:39:29 A.M. Eastern Standard Time From: NYCJORDAN23 To: GwendolynQuinn Playahata.com- - February Satire<http://www.playahata.com/pages/satires/satire_current.htm>

This was a tasteless hoax...
Gwendolyn Quinn President GQ Media & Public Relations, Inc.
1650 Broadway Suite 1011
New York, New York 10019
212-765-7910 (office)
212-765-7905 (fax)
gwendolynquinn@aol.com
***Gwendolyn QuinnFounder and Editorial DirectorThe AAPRC (The African-American Public Relations Collective) andThe AAPRC Monthly
1650 BroadwaySuite 1011
New York, New York 10019
212-765-7910 (office)
212-765-7905 (fax)
gwendolynquinn@aol.com

***Gwendolyn QuinnFounder and Creative DirectorThe Songwriting Seriesc/o A Queen Production, Inc.1650 BroadwaySuite 1011New York, New York 10019212-765-7874 (office)212-765-7905 (fax)gwendolynquinn@aol.com files from your system.Thank you.

NY TIMES on news study

2006-03-13T14:29:00.000-05:00

The New York TimesMarch 13, 2006
Study Finds More News Media Outlets, Covering Less News
By KATHARINE Q. SEELYE
The third annual review of the state of American journalism found that while there were more media outlets this year than ever, they were covering less news.The review was conducted by the Project for Excellence in Journalism, an institute affiliated with the Columbia University Graduate School of Journalism and financed by the Pew Charitable Trusts.As part of the review, a special study looked at how a variety of outlets, including newspapers, television, radio and the Internet, covered a single day's worth of news and concluded that there was enormous repetition and amplification of just two dozen stories. Moreover, it said, "the incremental and even ephemeral nature of what the media define as news is striking."On May 11, 2005, a date that was chosen randomly, Congress was debating the appointment of John Bolton as ambassador to the United Nations, the actor Macaulay Culkin was testifying in Michael Jackson's molestation trial and car bombs in Iraq killed 79 people.On that day, the study said, " Google News offers access within two clicks to 14,000 stories, but really they are accounts of just 24 news events."The coverage offered by 57 media outlets was examined in depth in three cities (Houston, Milwaukee and Bend, Ore., which were randomly chosen from lists of cities of different size and geographical location) and showed certain shared characteristics depending on the medium.Print and the evening network news, for example, focused on the violence in Iraq, a false alarm in Washington involving a small plane that violated restricted air space, and protests in Afghanistan.Cable television and the morning news programs highlighted Mr. Jackson's trial and a murder in Illinois; local television and radio produced a steady diet of weather, traffic and local crime.The blogosphere, meanwhile, shrugged off most of the breaking news, focusing largely on broader, longer-term issues."Contrary to the charge that the blogosphere is purely parasitic," the study said, bloggers raised new issues. But they did almost no original reporting: only 1 percent of the posts that day involved a blogger interviewing someone else and only 5 percent involved some other original work, such as examining documents.Cable news was the "shallowest" and most "ephemeral" of the media, the study said. Newspapers, which are the biggest news-gathering organizations, covered the most topics, provided the most extensive sourcing and provided the most angles on particular events, it said, "though perhaps in language and sourcing tilted toward elites."Many of the national broadcast reports quoted the same few people."More coverage, in other words, does not always mean greater diversity of voices," the study said. "Consuming the news continuously does not mean being better informed."Tom Rosenstiel, director of the project, said that reporters seemed to be increasingly shunted off to an isolated area while covering events, as they were during the recent mining disaster in West Virginia, giving them little first-hand access."The irony is that having more reporters doesn't mean more coverage," he said. "It means more reporters crowded into one corner of the scene."
Copyright 2006The New York Times Company[] []
Kevin Taglang Senior Policy AnalystEditor, Communications-related Headlines Benton FoundationCommunications in the Public Interest
1625 K Street, NW 11th Floor
Washington, DC 20006headlines@benton.org www.benton.org

WHUR Syndicating failure?

2006-03-09T14:03:00.000-05:00

WHUR Gets An Earful for Axing Show
By Paul FarhiWashington Post Staff WriterThursday, March 9, 2006; Page C01
Radio-listening habits die hard. Just ask WHUR, which is discovering what happens when management gets between the audience and its favorite morning show.
Since dumping its popular morning team and replacing it this week with comedian Steve Harvey's syndicated program, the District radio station (96.3 FM) has been deluged with complaints by the hundreds. The backlash has inspired calls for a boycott of the station, which is owned by Howard University and has been among the highest-rated in the market.
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The cancellation of WHUR's "The Real D.C. Morning Show" raises a broader question: What's become of "local" programming in a medium that has long traded on its community ties and good-neighbor image?
Critics of WHUR's decision say that Harvey's show -- starring one of the "Kings of Comedy," who had a WB sitcom for years -- originates from New York and is heard in a handful of other U.S. cities. In that regard, it's little different from other syndicated radio shows, such as National Public Radio's "Morning Edition," or programs hosted by such personalities as Tom Joyner, Don Imus and Rush Limbaugh. Such syndicated fare has been blamed for destroying radio's "localism" and for its homogenization, with sound-alike stations from coast to coast.
As its name implied, "The Real D.C. Morning Show" was a hometown production. It featured four hosts -- Tony Richards, Sharon "TC" Pitt, George Willborn and Herman Washington -- who discussed local personalities, issues and news, and took music requests and calls from residents. The station's promos even subtly mocked the syndicated competition by bragging that the show was "not live via satellite, but live."
As of last month, however, it no longer was. WHUR -- a for-profit station despite its nonprofit parentage -- ended "Real D.C.'s" five-year run without an on-air announcement. Harvey's program, airing 6 to 10 a.m., began Monday.
Since then, outrage.
A message board maintained by Pitt ( http://www.sistacircle.com/ ) has been filling up with denunciations of WHUR's management and notes of support for the fired hosts -- about 2,500 combined as of yesterday. Pitt, meanwhile, said yesterday she would "go back to the station in a minute" if asked. "I was born and raised here," she said. "This was my dream job."
Separately, an anonymous listener has collected about 400 "signatures" for an online petition that states, "We, the former listeners of WHUR, will boycott the station until our voices are heard and until The Real DC Morning Show has returned."
Tonya Brewington, a regular listener of the D.C. program, called WHUR's decision to cancel the show "jarring" because of the change in tone -- Harvey's show often emphasizes edgier humor, compared with "Real D.C.'s" more gentle, folksy style.
"I think it's a very bad choice," said Brewington, a Web designer who lives in the District. "I think the people who listen to [the program] are not the same audience for Steve Harvey. . . . It was more of a community show. You're not going to find out what happened in D.C. the night before by listening to a show out of New York. It's a sad commentary for a radio station that's associated with a prestigious university."
Several people at the station, including program director Dave Dickinson, said they were not authorized to talk about the matter publicly. They referred a reporter to Jim Watkins, WHUR's general manager. Watkins did not return multiple requests for comment yesterday.
The decision might look puzzling in light of the program's ratings. The show ranked third in its time period (behind top-rated WMMJ and WPGC) among adult listeners ages 25 to 54, according to Arbitron Co.'s most recent quarterly survey. In other words, it was a strong performer during radio's most competitive time of the day among the listeners most sought by radio advertisers.
But that also means WHUR ranked third in a long-running four-way battle for supremacy among African American listeners. The big four "urban" stations in Washington regularly split this audience. And all three of WHUR's main competitors have superstar hosts in the morning: WMMJ (102.3 FM) features Joyner, who formerly was heard on WHUR; WPGC (95.5 FM) carries Donnie Simpson; and WKYS (93.9 FM) airs Russ Parr's show.
Of those shows, only Simpson's focuses on the Washington area. Joyner broadcasts from the Midwest. Parr, based in the D.C. area, tailors his show for a national audience.
Programs that seek to attract African American listeners often have emphasized connections to their community to set them apart from mainstream stations, said Charlie Sislen, a partner in Research Director Inc., an Annapolis-based consulting firm. "To not have a local morning show is very surprising," said Sislen, whose clients include WPGC.
WHUR, however, racked up big ratings with Joyner's syndicated show until it lost that program to rival WMMJ in August 2000.
Sean Ross, a radio consultant with Edison Media Research, said Harvey's program has performed well on stations that have picked it up since it began syndication six months ago. "He's certainly the high-impact alternative to Joyner at the moment," said Ross of the 50-year-old Harvey. "Joyner hasn't stopped being Joyner, but [Harvey] is interesting. His celebrity will help him pull in a younger audience."
As for WHUR, Ross said, it was "prepared to do what everyone has to do to build a morning show until a compelling option came along."

Entercom hit with payola lawsuit

2006-03-08T12:06:00.000-05:00

Wednesday, March 8, 2006
Entercom Hit With Payola Lawsuit

In a suit filed today in New York State's Supreme Court, New York Attorney General Eliot Spitzer alleges that Entercom traded airtime for trips, gifts, promotional items and other forms of payments. The suit also charges that Entercom staff solicited and accepted payments from record label execs and developed internal programs — which were supported and directed by senior management — to sell airtime to labels.
The lawsuit included 67 pages of attachments that detailed communications between Entercom station staff and record label execs regarding the alleged illegal activities.
Spitzer says, "By accepting secret payments in exchange for airtime, Entercom compromised its radio programming and violated state and federal laws. What makes this case especially egregious is the extent to which senior management viewed control of the airways as an opportunity to garner illegal payments from record labels."
Meanwhile, Spitzer is also challenging the FCC to step up its payola enforcement. "Almost a year after payola was exposed in significant detail, the FCC has yet to respond in any meaningful way," he says. "The agency's inaction is especially disappointing given the pervasive nature of this problem and its corrosive impact on the entertainment industry."
Entercom did not immediately return an R&R call seeking comment.

Playahata Satire

2006-03-07T23:41:00.000-05:00

March Satire
?
Playahata Times: Entertainment Section?

WEB EXCLUSIVEVP of Programming of BET, Stephen Hill Tells It All On Tavis Smiley

By Kelly Hudlin
During a recent taping of the "Tavis Smiley Show", VP of Programming of BET, Stephen Hill tells it all. Hill claims the ongoing probe by New York Attorney General Eliot Spitzer, coupled with his reconnection to his faith in Jesus Christ led to this most revealing interview.
Hill entered into a plea agreement with the New York Attorney Generals office, that allows him to keep and estimated $700,000 dollars, in illegal payments. Hill controlled the playlist for the entire network. Spitzer's investigation covered a five year period, beginning with Hill's move from MTV in 1999. BET is currently in 77 million homes.
Tavis Smiley once again shows his journalistic skills in this exclusive 30 minute interview. Stephen Hill reveals that when he first made the switch to MTV he was instructed by Bob Johnson "to whiten the network up" Hill knew he was brought to BET due to the imminent sale to MTV parent company Viacom. The transition was easy Hill said "I simply copied MTV show's like TRL and Tom Green, 106 and Park was a no-brainer and 'Hits from the Street's' were done with low budgets, Bob loved it".
Hill admits his problem was catering to the Urban market. Hill broke down in tears and admitted "Destiny's Child and "Bills, Bills Bills" is his all time favorite but ironically was the beginning of his lavish life of payola. Hill admits "I knew it was time to come clean, after I moved D4l's "Laffy Taffy" up BET'S charts" he was bound to get caught.
Spitzer's office planted D4L's "Laffy Taffy" as a nationwide sting, Hill along with over fifteen hundred programmers took cash payments to make D4L the most paid for song in the history of radio. "I remember when I heard the song, I laughed" Hill said the lyrics were great but the drum machine was not a Kevin Liles track! Hill decided to tell all in a plea agreement and now spends 40 hours a week with his renewed Jehovah Witness faith preaching door to door against sexuality in New Jersey.
Stephen Hill admitted that Bob Johnson and Viacom, know that BET's core audience will fall for anything. "Radio and Video are about making money, developing stars and content is long gone. Hill told Tavis Smiley that the "industry has run amuck, pay for play is the rule now and I am tired of playing Kunta for Jimmy Iovine and the rest of the industry".
Tavis during the final minutes of this must see interview asked the Brown University Alumnus, "You have three pictures on your desk, Tiger, OJ and Michael Jackson, which one of those stars are your favorite"? Find out that and more when Tavis Smiley interviews Stephen Hill, VP of Programming on Friday March 31, 2006 on PBS.
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Kelly Hudlin is a freelance writer, from Chicago, best known for his short film "I saw it, I seen it, then I did it".
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*Past satires can be found under the Directory Link below*

RADIO ONE STOCK PROBLEMS

2006-03-06T12:41:00.000-05:00

Radio One Takes a Long View
By Jerry KnightMonday, March 6, 2006; Page D01
Back when Radio One Inc. began buying radio stations, hip-hop was unheard music.
Not unheard of, but unheard on the radio in many major cities.

Radio One put hip-hop and other genres of urban music on the nation's airwaves. Buying underperforming radio stations and turning them into urban-music machines, the Lanham-based company became the largest black-owned, black-oriented radio station group in the country

Today, hip-hop is everywhere. Yesterday's obscure rappers are today's movie stars -- Mos Def upstaged Bruce Willis in "16 Blocks," one of last weekend's movie openings. Stations catering to white kids play what was once considered the blackest music since the blues.
That is one of the problems facing Radio One.
As urban music has gone mainstream, Radio One stock has lost close to two-thirds of its value in the past two years. The shares hit a five-year low of $8.13 on Thursday and closed 9 cents higher on Friday.

The biggest losers in that slide have been Radio One Chairman Alfred C. Liggins III and his mother, Cathy Hughes, the longtime Washington broadcaster who founded the company 25 years ago. Together, their holdings of four classes of Radio One stock add up to an 18 percent stake in the company. Even at today's depressed stock price, their share is worth about $155 million. But since they control the majority of the voting stock, their stake is probably much more valuable than that -- particularly if the company were to be sold.

Radio One's stock price has fallen because the company's original strategy of picking up out-of-favor radio stations on the cheap and giving them new music, new audiences and new advertisers has run its course.

"They have applied their specialty, which is the urban niche, and they have brought these stations up to a solid operating level,'' said analyst Maurice C. McKenzie of Friedman, Billings, Ramsey Group, an Arlington investment firm. "At this point, they are struggling with a challenging radio environment."

There are few bargain radio stations to be had these days. Few cities don't already have stations following what was once the innovative format of Radio One. And the core urban-music franchise is fragmenting, with Latino youths switching from "conventional" hip-hop to the Caribbean-influenced sound known as reggaeton.
Instead of buying more stations, Radio One has been buying back its stock. That can increase earnings per share and sometimes the stock price but often can sacrifice expansion opportunities.
Despite repurchasing $78 million worth of shares, Radio One stock has done badly even by radio standards, McKenzie noted. The stock underperformed the industry last year and continues to do so.
Not that the radio industry has been doing well. Listeners are being lured away by the Internet, iPods and the expanded choices offered by District-based XM Satellite Radio and its New York rival, Sirius Satellite Radio. (Radio One programs one of XM's 100-plus channels.) Stocks of satellite broadcasters aren't doing better than those of the earthlings. XM is down 21 percent so far this year, Sirius 25 percent.
In that environment, radio revenue is growing only 3 to 5 percent a year. Radio One's revenue grew by a scant one-tenth of 1 percent in the fourth quarter of last year and could actually fall this quarter, analysts said.

Radio's problem, Liggins said on a recent conference call, is that "we're not creating new advertisers, which as an industry we need to do."
The frustration of Liggins and other Radio One executives blared as a backbeat during last month's hour-long session with analysts. They sounded frustrated trying to make money in a mature industry, frustrated by the cutthroat competition for advertising dollars, frustrated by what's happened to Radio One's stock price, frustrated by Wall Street's unwillingness to embrace the company's diversification into television broadcasting and program syndication.
Radio One's most promising move beyond its radio roots is TV One, a joint venture with Comcast Corp. Radio One owns a 35 percent stake in the TV venture, which aims to rival Black Entertainment Television, a network created by Robert L. Johnson, Washington's most successful minority entrepreneur.

Expanding slowly across Comcast's vast web of cable networks, TV One is on track to generate $80 million a year in cash flow within five years, Liggins said.
But Wall Street gives the company little credit for its move into TV, even though the strategy was suggested by media industry investment bankers.

"We played the game just like we were supposed to," Liggins lamented. "We ended up with the stock price where it is, based on doing everything we were told to do."
Becoming a minor partner in one of the several bidders for the Washington Nationals franchise and making an effort to break into movie distribution with an obscure indie film also generated a lot of skepticism.

More interesting to investors is Radio One's partnership with talk show host Tom Joyner, the nation's top black radio personality. Joyner's show is broadcast on several Radio One stations and syndicated to stations owned by other companies.

The partnership in turn is lining up other black talk-radio hosts -- Al Sharpton among them -- to build the first talk-show network aimed at black audiences. Distributing programming isn't considered as good a business as running stations, but black talk radio is a wide-open field, just as urban music was a decade ago.
Also regarded as a promising diversification possibility is Radio One's effort to develop a major Internet portal for African Americans. Others have tried, none with great financial success.

Page 3 of 3 <

Radio One Takes a Long View
Analysts generally applaud efforts to find new ways to reach Radio One's audience. "Radio One is proactively capitalizing on this trend with its focus on becoming a multimedia powerhouse for the African American demographic," analysts at Wachovia Capital Markets LLC noted approvingly in a recent research report.
Nonetheless, Wachovia cut the stock's rating from "outperform" to "market perform, " the equivalent of a "hold" rating.

From talking to analysts and reading their research, it becomes clear that most agree on the prognosis for Radio One: It could be a good investment down the road, but the future is not now.
FBR's McKenzie, who has the equivalent of a "hold" rating on the stock, said: "Long-term, these diversifications could prove successful. But in the near term, we expect resource allocation to have a negative impact on the company's margins." In other words, it's going to cost money to get those new ventures off the ground, and in the meantime, profit will suffer.
Analysts at Stifel, Nicolaus & Co. say investors would get a quicker payoff if Radio One were sold. They express regret that Radio One's "management isn't overly concerned with short-term stock price."

Liggins dealt with that complaint during his February conference call. "We are more concerned about actually creating value than what the Street is going to think. They think three- to six-month return. I'm more concerned about how much more cash flow we're going to have in five years."
That's an attitude that ought to appeal to long-term investors -- if there are any left.
Jerry Knight's e-mail address isknightj@washpost.com

Payola

2006-03-03T21:49:00.000-05:00

It is all time we all take a serious look at PAYOLA on a larger scale. For decades PAYOLA stood for illegal payouts to Program and Music Directors of individual stations nationwide. PAYOLA for decades let the little label or artist be heard, payouts could be as little as $100 or a free meal. For a longtime radio programmers prided themselves in breaking new artist first, by any means neccesary. Believe it, many acts at radio received airplay for nothing at all, for a longtime talent and content were important, variety and originality were important. How things have changed in the past 10 years is alarming.

The Corporate strangle hold has touched every sector of business, radio and video are no exception. The Telecomm Act of 1996 opened the flood gates to power takeovers from small owners or small groups. Wall Street stepped in and variety and localism ended almost overnight. With consolidation power is in your pocket, individual station playlist became national list. The price of PAYOLA quickly multiplied from one station to one nation. Conglomerates like Clear Channel quickly grew from 39 stations to over 1200. PAYOLA turned corporate and the record industry spent less time directed toward sustaining talent, and more time pumping huge dollars into music video. Out went variety and in went repitition. Imagine the record industry demanded more spins on titles from radio. Hell, they paided for promotions, trips, gifts and cash on corporate and individual levels. The Record industry was the new pimp, finally dictating on when, what and how many times radio played titles.

Unfortunately the deal makers in the recording industry got stuck on the gangsta phase of Hip Hop. Sex, violence, misogyny and drug titles dominate new titles and product. Like in past decades of disco & R&B the talent well has dried out. The continual "same songs" are done over and over again, each time losing steam and talent. Today's PAYOLA problem is the "hoe" Radio continues to play what the "pimp" continues to dictate. Although revenue at Radio and Records continue to decline the cats in the boardroom are still profiting. The children, teens and tweens think today's playlist are the Marvin Gaye's, Michael Jackson's, Bob Marley's Tupac's or Biggie's. Unfortunately the new cast members are named D4L, Ying Yang's and Young Jeezy.

Pay for play is a hell of a system, when you here it over and over again it works! Many young ears like it, believe it and others often buy it. PAYOLA is effective on the corporate level, because when you control the airwaves you control sales. PERIOD! Yes, there are always exceptions to the rule, just like there are mutiny's and revolotions, empires fall it is time to make some noise and let them know your tired of being played. It is all time we all take a serious look at PAYOLA on a larger scale. For decades PAYOLA stood for illegal payouts to Program and Music Directors of individual stations nationwide. PAYOLA for decades let the little label or artist be heard, payouts could be as little as $100 or a free meal. For a longtime radio programmers prided themselves in breaking new artist first, by any means neccesary. Believe it, many acts at radio received airplay for nothing at all, for a longtime talent and content were important, variety and originality were important.

How things have changed in the past 10 years is alarming. The Corporate strangle hold has touched every sector of business, radio and video are no exception. The Telecomm Act of 1996 opened the flood gates to power takeovers from small owners or small groups. Wall Street stepped in and variety and localism ended almost overnight. With consolidation power is in your pocket, individual station playlist became national list. The price of PAYOLA quickly multiplied from one station to one nation. Conglomerates like Clear Channel quickly grew from 39 stations to over 1200. PAYOLA turned corporate and the record industry spent less time directed toward sustaining talent, and more time pumping huge dollars into music video. Out went variety and in went repitition. Imagine the record industry demanded more spins on titles from radio. Hell, they paided for promotions, trips, gifts and cash on corporate and individual levels. The Record industry was the new pimp, finally dictating on when, what and how many times radio played titles.

Unfortunately the deal makers in the recording industry got stuck on the gangsta phase of Hip Hop. Sex, violence, misogyny and drug titles dominate new titles and product. Like in past decades of disco & R&B the talent well has dried out. The continual "same songs" are done over and over again, each time losing steam and talent. Today's PAYOLA problem is the "hoe" Radio continues to play what the "pimp" continues to dictate. Although revenue at Radio and Records continue to decline the cats in the boardroom are still profiting. The children, teens and tweens think today's playlist are the Marvin Gaye's, Michael Jackson's, Bob Marley's Tupac's or Biggie's. Unfortunately the new cast members are named D4L, Ying Yang's and Young Jeezy. Pay for play is a hell of a system, when you here it over and over again it works! Many young ears like it, believe it and others often buy it. PAYOLA is effective on the corporate level, because when you control the airwaves you control sales. PERIOD! Yes, there are always exceptions to the rule, just like there are mutiny's and revolotions, empires fall it is time to make some noise and let them know your tired of being played.

Record Label Price fixing?

2006-03-03T14:19:00.000-05:00

Friday, March 3, 2006
DOJ Investigating Online Music Price Fixing

Vivendi Universal, Sony BMG, Universal Music Group and Warner Music Group are being investigated by the Department of Justice for possible collusion in setting prices for online music, the Wall Street Journal reports today.
DOJ spokeswoman Gina Talamona tells the WSJ that antitrust agents are "looking into the possibility of anticompetitive practices in the music-download industry." All four label groups have reportedly received or will soon receive "civil investigative demands" from the DOJ seeking information; the matter does not appear to be a criminal investigation.
New York Attorney General Eliot Spitzer launched a similar probe in December of last year, sending subpoenas to all four major label groups in an attempt to find out if they colluded on setting wholesale prices for digital music. Most digital music — including songs sold on Apple's wildly popular iTunes service — sells for 99 cents a song, and online music retailers are believed to pay wholesale prices of 60 to 70 cents per song.
An EMI representative told R&R that the company had not received a subpoena as of this morning and declined to otherwise comment on the matter. R&R's calls to Sony BMG, Universal and Warner Music Group were not immediately returned.

Clear Channel revenues decline

2006-02-22T01:38:00.000-05:00

Clear Channel Radio Revenues Down 6% For Q4

Clear ChannelRevenue fell 1% to $1.76 billion and radio revenue was off 6% to $909.4 million for CLEAR CHANNEL COMMUNICATIONS in fourth quarter 2005, the company reported TUESDAY. Profits rose from 2004's loss of $4.67 billion (loss of $8.15/share) to a gain of $461.6 million (86 cents/share), but excluding discontinued operations and major accounting charges that affected 2004's numbers, profits fell from 40 to 34 cents/share. The company's radio revenue decline was greater than the industry's pace of a 3% drop. Outdfoor advertising rose 7% to $734.6 million.

Rep. Fred Upton wants to ease ownerships restrictions

2006-02-16T21:49:00.000-05:00

Thursday, Feb. 16, 2006
Lawmaker Wants Radio Ownership Rules Relaxed

Rep. Fred Upton, a House Commerce Committee member and communications subcommittee chairman, has asked FCC Chairman Kevin Martin to launch a proceeding to raise the maximum number of stations one company can own in certain U.S. markets.
In a Feb. 9 letter, the Michigan Republican suggested that the ownership limit in markets with 60 or more stations be increased from eight to 10 stations. He also recommended that the limit in markets with 75 or more stations be raised to 12.
"A modest increase would not result in undue concentration," Upton said. "Even with such modest relaxation, radio will remain an industry with very diverse ownership that falls far short of a level of concentration that would be cause for concern." He also believes relaxing the rules could lead to more program diversity. "Owners would be able to experiment with new formats that improve service to underserved segments of the population, or bring a new service to the marketplace for the first time."
Upton also stressed that in just the 10 years since the rules were eased with the Telecommunications Act of 1996, new competitors have emerged to challenge radio. "If free terrestrial radio is to remain a healthy industry capable of fulfilling its public interest responsibilities while competing against an increasing number of competitors, it must be able to grow," said the congressman. "I believe that the modest increases discussed in this letter will provide room for that growth."
Upton repeated his call for relaxed radio ownership rules during a speech delivered Thursday at Washington, DC's Media Institute. He even suggested that the industry might be better off with no ownership limits. "Today's marketplace makes a compelling argument for simply eliminating local terrestrial broadcast ownership caps, except perhaps in the smallest markets," he said. "But those of you who know me understand that I am a pragmatist; such a step will not pass the test of politics in Washington, DC today. I am making a far more targeted proposal because modernization can and should get done with year."
Upton continued, "Setting aside for just a moment the competition from other media, especially satellite radio, there is absolutely no public good to justify the same local radio ownership cap for Cincinnati as for New York City, Chicago and Los Angeles. Let's remember that ownership diversity is only a proxy for viewpoint diversity; America's largest markets are certainly not lacking in diversity of perspective and entertainment."
Thursday, Feb. 16, 2006
Lawmaker Wants Radio Ownership Rules Relaxed

Rep. Fred Upton, a House Commerce Committee member and communications subcommittee chairman, has asked FCC Chairman Kevin Martin to launch a proceeding to raise the maximum number of stations one company can own in certain U.S. markets.
In a Feb. 9 letter, the Michigan Republican suggested that the ownership limit in markets with 60 or more stations be increased from eight to 10 stations. He also recommended that the limit in markets with 75 or more stations be raised to 12.
"A modest increase would not result in undue concentration," Upton said. "Even with such modest relaxation, radio will remain an industry with very diverse ownership that falls far short of a level of concentration that would be cause for concern." He also believes relaxing the rules could lead to more program diversity. "Owners would be able to experiment with new formats that improve service to underserved segments of the population, or bring a new service to the marketplace for the first time."
Upton also stressed that in just the 10 years since the rules were eased with the Telecommunications Act of 1996, new competitors have emerged to challenge radio. "If free terrestrial radio is to remain a healthy industry capable of fulfilling its public interest responsibilities while competing against an increasing number of competitors, it must be able to grow," said the congressman. "I believe that the modest increases discussed in this letter will provide room for that growth."
Upton repeated his call for relaxed radio ownership rules during a speech delivered Thursday at Washington, DC's Media Institute. He even suggested that the industry might be better off with no ownership limits. "Today's marketplace makes a compelling argument for simply eliminating local terrestrial broadcast ownership caps, except perhaps in the smallest markets," he said. "But those of you who know me understand that I am a pragmatist; such a step will not pass the test of politics in Washington, DC today. I am making a far more targeted proposal because modernization can and should get done with year."
Upton continued, "Setting aside for just a moment the competition from other media, especially satellite radio, there is absolutely no public good to justify the same local radio ownership cap for Cincinnati as for New York City, Chicago and Los Angeles. Let's remember that ownership diversity is only a proxy for viewpoint diversity; America's largest markets are certainly not lacking in diversity of perspective and entertainment."

Newsday Miss Jones

2006-02-16T10:00:00.000-05:00

Pols, activists rap Hot 97's Jones --------------------
BY RAFER GUZMANSTAFF WRITER
February 16, 2006

Hot 97 radio host Miss Jones is under attack again - and this time, it's personal.A coalition of New York City Council members and community activists gathered on Manhattan's City Hall steps yesterday , calling for the firing of Tarsha Nicole Jones, known on-air as Miss Jones, and Hot 97 program director John Dimick . A crowd of about 30 people listened to speakers lambaste the radio personality."I've met Miss Jones," said councilman John Liu (D-Flushing). "Miss Jones actually has no personality whatsoever."The rally was sparked by a recent broadcast on Hot 97 (WQHT/97.1 FM) . A crowd of about 30 people listened to speakers lambaste the radio personality."I've met Miss Jones," said councilman John Liu (D-Flushing). "Miss Jones actually has no personality whatsoever."The rally was sparked by a recent broadcast on Hot 97 (WQHT/97.1 FM) in which Jones called Transit Workers Union President Roger Toussaint a "dumb coconut," an apparent reference to his Caribbean roots."I couldn't believe it ," said Fendi Williams, 14, a Brooklynite at the rally. "My father is of Caribbean descent."The coalition, R.E.A.C. Hip-Hop (Representing Education, Activism and Community Through Hip-Hop ), has been hounding Jones since her broadcast last year of the so-called "Tsunami Song," which mocked victims of the Southeast Asian tsunami. Jones was suspended for two weeks last year for playing the song. Yesterday's speakers ratcheted up their rhetoric, accusing Jones, who is black, of betraying her community and serving as a pawn to the white corporate executives at Emmis Communications, which owns Hot 97.Jones belongs in the same company as "blackface and Amos and Andy," said councilwoman Letitia James (D, WF -Brooklyn). "She is being used. She is nothing more than a tool."Several council members announced they were introducing a resolution to condemn Jones' remarks and promised their own investigation into the recent payola scandal that has rocked the radio and record industries.Calls to Hot 97 and Emmis were not returned. Copyright (c) 2006, Newsday, Inc.

Payola Investigation

2006-02-10T23:58:00.000-05:00

Hundreds Of Stations Under Investigation By FCC In Payola Investigation
February 10, 2006
Though ABC News has delayed airing its Primetime Live story on Eliot Spitzer's payola investigation, it has revealed that the FCC is now investigating hundreds of radio stations around the country as part of the scandal. FCC Commissioner Jonathan Adelstein told ABC News, "The FCC staff is working with voluminous evidence right now. It's a complicated and wide-ranging investigation." He added, "This is potentially the most widespread and flagrant violation of FCC rules in the history of American broadcasting. We've never seen evidence of such a systematic betrayal of the responsibility of broadcasters."
Spitzer himself told ABC News, "We have people in suits coming in with documents rather than cash payments under the table to a DJ."
Adelstein threatens the loss of stations' licenses through this investigation, saying, "I can't believe that radio stations are putting their licenses at risk. It seems to me they thought the FCC was asleep and they shot someone in front of the policeman. The policeman is obligated to act when evidence is so clear." He added, "While it's highly unusual for the FCC to pull licenses on first violation, depending on the severity that is one option that is available to us. These are criminal matters as well."
Commissioner Adelstein revealed that he has been in regular contact with Spitzer lately, and wants the FCC to handle the investigation, as opposed to just Spitzer and the state of New York. "We have a responsibility to get to the bottom of this. It's important that the FCC does its job and not let the states do it for us," he said.
ABC News also spoke to a number of industry stars at the Grammys earlier this week about payola, with none of them particularly surprised by the news. "Honestly, payola has existed since the beginning of the music business, so it's not like its some brand-new thing that never happened before," said Alicia Keys. Jessica Simpson's music has been mentioned in Spitzer's documents. Her father/manager Joe Simpson told ABC News, "All I know is we worked really hard to get the record on and it was as honest as I could be. So whatever happened above us, you know I have no answer for."
The episode of Primetime Live is now expected to air next Thursday, February 16.

Telecomm ACT of 1996's 10th Anniversary

2006-02-09T09:49:00.000-05:00

Thursday, Feb. 9, 2006
Happy 10th Birthday, Telecom Act

Senate Commerce Committee Chairman Ted Stevens yesterday marked the 10th anniversary of the Telecommunications Act of 1996 by saying his committee is developing legislation that would increase broadcast indecency fines as part of its ongoing rewrite of the landmark act. While it remains to be seen what, if any, changes will be made to the current radio ownership limits, Stevens said lawmakers are mindful that changes to the FCC's media ownership laws will affect businesses.
"Our goal should be to get government out of the way, to encourage revenue growth, lower costs, cut red tape, and minimize government intervention in private agreements between entrepreneurs and their banks," Stevens said at a Wachovia-sponsored forum in Washington. "We want to encourage risk-taking; it's essential that that be part of this result."
Stevens said his committee plans to host a total of 15 hearings on the Telecom Act's rewrite, and promised the investment and securities crowd in attendance that the final session would be devoted to Wall Street. He added, "Congress can write laws, but if we fail to assure how this legislation will affect the American economy, we fail to achieve our mission."

ABC Prime

2006-02-07T19:14:00.000-05:00

By BRIAN ROSS, RICHARD ESPOSITO and VIC WALTER

Feb. 7, 2006 -- ABC News has learned the focus of a two-year long payola investigation by the New York attorney general is turning to the nation's nine largest radio conglomerates.
Attorney General Eliot Spitzer says evidence he has gathered clearly shows some of the radio conglomerates have participated in the illegal practice of accepting payments from record companies and middlemen for guaranteed air play for certain songs.
"The behavior has been unethical, improper, illegal and a sanction of some severity clearly should be imposed," Spitzer told ABC News chief investigative correspondent Brian Ross.
Spitzer and music industry officials told "Primetime" that millions of dollars in payments, gifts and trips are exchanged each year to get music stations to add songs to their weekly play lists.
Spitzer says record company documents obtained in the investigation of Sony Music and Warner, both who have settled with the attorney general, reveal payments for songs that became major hits, including Jennifer Lopez's "I'm Real" and John Mayer's "Daughters."
Other artists whose songs are named in the documents Spitzer has obtained include Jessica Simpson, Celine Dion, Maroon 5, Good Charlotte, Franz Ferdinand, Switchfoot, Michelle Branch, and R.E.M.
Spitzer says much of the money went directly to corporate bottom lines, unlike payola scandals of previous decades when individual disc jockeys and program directors received the money.
"We have people in suits coming in with documents rather than cash payments under the table to a DJ," Spitzer said.
The nine radio conglomerates which have received subpoenas from the attorney general are Clear Channel, Infinity (now CBS Radio), Entercom, Emmis, Citadel, Cumulus, Cox, Pamal, and ABC.
The nine companies, together, control several thousand radio stations across the country. In statements to ABC News, five of the companies say they are cooperating with the attorney general's investigation and take the matter seriously. The other companies have not responded to requests for comment.
A number of other independent radio stations are also under investigation, according to state investigators.
In conducting a probe of payola, banned by federal law, Spitzer has assigned himself the role of hit man to the hit makers, using state consumer fraud and bribery laws to go after the practice.
The FCC says it is closely following the New York investigation although Spitzer says the FCC has yet to move forcefully.
"I would like to see the FCC more directly involved in addressing what is very clearly a payola scandal that has run rife through the industry," Spitzer told ABC News.
Virtually all investigations into radio practices, since the last payola scandal in the 1980s that implicated organized crime figures, have withered on the vine and vanished.
Spitzer's probe could be the most comprehensive to ever hit the industry. Warner Music Group has entered a settlement and contributed five million dollars to charity as part of that agreement. Sony music settled for ten million dollars. Warner and Sony both agreed to cease any questionable business practices and to comply with Spitzer in his ongoing probe.

Ciadel buys ABC

2006-02-06T23:58:00.000-05:00

Monday, Feb. 6, 2006
Citadel Merges With ABC Radio

In a deal announced Monday afternoon, the board of directors at Citadel and the Walt Disney Company have approved a deal to combine ABC Radio's 24 owned-and-operated radio stations and the ABC Radio Networks for $2.7 billion. Radio Disney and ESPN Radio O&Os are not included in the transaction.
The newly combined company will take the Citadel Communications name and will be led by current Citadel CEO Farid Suleman. Citadel will now include 243 radio properties in more than 50 markets, and the transaction makes Citadel the third-largest broadcast company in the United States.
The billion-dollar merger involves non-Radio Disney and non-ESPN ABC O&Os including WABC & WPLJ/New York; KABC-AM & KLOS/Los Angeles; WLS & WZZN/Chicago; WJZW, WMAL & WRQX/Washington; WBAP, KSCS & KTYS/Dallas; WKHX & WYAY/Atlanta; WDRQ, WDVD & WJR/Detroit; KQRS, KXXR, WGVX, WGVY & WGVZ/Minneapolis; and KGO & KSFO/San Francisco. Through a 10-year licensing agreement, Citadel will deliver ABC News Radio programming, but ABC parent Disney will continue to distribute ABC News content in other formats such as broadband, wireless and satellite.
Suleman said, "We look forward to welcoming our talented new colleagues at ABC Radio who have a long history of strong market performance, and are eager to work together to integrate ABC's top-notch assets into our new strategically enhanced radio group." Disney CEO Robert Iger added, "Our ABC Radio business represents a premier set of assets that have been exceptionally well-managed. ABC Radio and Citadel are a strong strategic fit."

R&R backtracks on Cumulus reporting status

2006-02-02T16:16:00.000-05:00

R&R Reinstates Cumulus Stations Feb. 02, 2006 By Paul Heine
Two days after temporarily suspending all monitored Cumulus Media stations from all of its chart panels, Radio & Records announced Wednesday (Feb. 1) that the stations will be reinstated beginning with next week’s charts. The announcement came on the same day that Cox Radio said it would cease reporting music adds to trade publications – the second large radio chain to do so in less than two weeks.

A January 23 announcement from Cumulus that it would no longer supply lists of music adds precipitated the short-lived removal of Cumulus airplay data from R&R’s charts. Cumulus executive VP John Dickey said the decision was “designed to give our program directors and our music directors more discretion and, ultimately, more creativity and leeway to add music and play music that they have strong convictions in for reasons above and beyond charts and callout research.”Cox CEO Bob Neil said the move was born out of the company’s annual review of its payola and plugola policies. “We want bright lines between relationships,” Neil told Billboard Radio Monitor. “We want to make sure that we’re completely above board, that there aren’t hazy issues and the best way for us to do that was just to not report adds.”

The decisions by Cumulus and Cox will not affect any Billboard Radio Monitor charts or features, which are based entirely on electronic monitoring of actual station broadcasts provided by Nielsen BDS, rather than reported play provided by individual stations.

Cox ends trade reporting status February 1, 2006

2006-02-02T09:10:00.000-05:00

It's quite obvious that the Spitzer Payola investigation is turning up skeletons. It's no coincedence the Cumulus and now Cox are distancing themselves from record labels and reporting.Reporting music only helps labels build chart position and boost sales. Although in today's age of digital detection, radio spins can be easilyidentified.

Non reporting is going to make Billboard and others rethink their current system. Only time will tell if stations will stop playing the same titles that are still dictated by the label. I personally feel it is a fancy smoke screen, and business is still preceding as usual. Only timewill tell.

16 year old dead in Spotsylvania VA. dancing to CRIME MOB

2006-01-26T09:53:00.000-05:00

Crime Mob Lyrics
Knuck If You Buck Lyrics
[background]
[chorus]Knuck if you buck boy [repeat 10x]
Knuck if you buckKnuck if you buckKnuck if you buckKn Kn Kn Kn Kn Kn Knuck if you buck boy
[Lil Scrappy]Crime Mob ho, Crime Mob hoHey this ya boy Lil Scrappy,
"Tha Prince Of Crunk"yea, Lil J on tha track nigga,
Ay its time for all security to get around It's going down........
[Verse 1]YeahWell I'ma gat totin' pistol holdin'Nigga on yo damn street
Stompin jumpin bumpin And get crunk off in this damn thang
Throwin dem bows up at dez hoes
They screamin they bleedin from they nose
But we start to swang we makin niggas hit the flo'
Ain't no game off in this thang We too deep off yo partyCrime mob niggas gettin started Ellenwood niggas be the hardest
So if a nigga come and run his mouth just like a hoe
Punch em dead up in his nose
And stomp his ass down to the flo'
[Verse 2]
Yeah we knuckin and buckin and ready to fight
I betcha Im'a throw dem thangs
So haters best to think twice See me I ain't nothin nice
And crime mob it ain't no stoppin'They be like Sadaam Husein, Hitler and Osama Bin Laden
Like they steady gum poppin And I am actin a fool
I wish a hater would get crunk up on this crime mob crew
Now enough is enough boyRough and get stuffed boyLuck is a must boy
Knuck if you buck boy
[Chorus]
[Verse 3]
Jumpin off from on the stage
Throwin' bows like Johnny Cage
All my niggas startin' riots
Knockin down the baracade
Ellenwood we be to deepThe M.O.B is to elite Flawless lookin shawties
You'll be jawless gettin close to me
Bullets bustin constantly. Rammin through yo city streets
Broken bones laying long scattered across the concrete
Knuckin if u buckin you'll be duckin if u get too close
In my eyes you wasn't wise
I think its time I knuck you ho
[Verse 4]I come in da clubShakin my dreads, throwin dem bows
And bussin dez headsBitch you irrelevant come to my residence
Betsa back up for I leave you ellect
I been in drama and commiting a crime

Not leavin' a trace not leavin' a line
We knuckin and buckin cuz I got a nine
I blow you away cuz you wastin my time
Stupid ass niggas I know what to do I waste yo ass you step to my crew
I'm through wit you haters so watch what you do
You talkin bout me then I'm talkin to you
You buckin on us and we leave you in plastic
You buckin on me and that shit gone get nasty
I'm colder than ice and I'm freezing off hits
I shot at yo city but you cannot tell

[Verse 5]Knuck if you buck boy
But you betta come equipped
I got some shit off in my trunk thats gonna make yo body flip hollow tip
Bussin off the rizo soon as a hit the do'Anybody make a false move they body on the flo'Fuckin wit no hoes boy neva been no lame main
Aint Neva seen no pussy niggas scared to throw dem thangs mainCrime mob niggas off in this bitch
Break bread records I represent
Fuckin wit them HB niggaz you bout to get yo wig split[chorus]

Clear Channel to buy radio's #1 scheduling software company

2006-01-26T09:40:00.000-05:00

Thursday, Jan. 26, 2006
Has Clear Channel Acquired RCS?

A source close to the situation tells R&R that Clear Channel on Tuesday acquired White Plains, NY-based Radio Computing Services, a provider of scheduling and broadcast software to radio, for an undisclosed price. Company founder Dr. Andrew Economos is no longer involved in the company's day-to-day operations, the source said. Calls to Clear Channel and RCS representatives were made after hours and not returned by press time.
RCS was founded in 1979 and among its products is the popular Selector music-scheduling system. RCS also provides non-musical elements such as jingles and promos via its Linker scheduling system and owns the Master Control digital automation system. As of 2005 RCS had roughly 7,000 clients worldwide.
Thursday, Jan. 26, 2006
Has Clear Channel Acquired RCS?

A source close to the situation tells R&R that Clear Channel on Tuesday acquired White Plains, NY-based Radio Computing Services, a provider of scheduling and broadcast software to radio, for an undisclosed price. Company founder Dr. Andrew Economos is no longer involved in the company's day-to-day operations, the source said. Calls to Clear Channel and RCS representatives were made after hours and not returned by press time.
RCS was founded in 1979 and among its products is the popular Selector music-scheduling system. RCS also provides non-musical elements such as jingles and promos via its Linker scheduling system and owns the Master Control digital automation system. As of 2005 RCS had roughly 7,000 clients worldwide.

Cumulus ends music reporting

2006-01-24T08:41:00.000-05:00

Cumulus To Stop Reporting Music Adds To Trades
As of next week we are no longer reporting adds. Our philosophy is that
the charts do nothing for us as a business.
CUMULUS Exec. VP JOHN DICKEY has announced that, beginning next
week, the company will no longer report music adds to trade
publications.
DICKEY explained to ALL ACCESS, "As of next week we are no longer
reporting adds. Our philosophy is that the charts do nothing for us as
a
business. Our job is to program to serve the listener and advertisers.
It's no longer a broad enough of a horizon to look just at ADDS and
charts. That's only a small part of what it should be.
"It should be retail sales, clubs, and other points of national and
regional media influence. We have been training a breed of programmers
who have become too reliant on charts and callout. They all have a
place
but I want to train folks to become more innovative and use their
guts."
He went on to explain why "adding" records no longer works for CUMULUS:
"The 'TUESDAY Add Mentality' causes folks to run songs up and down more
than they should be doing. I just don't see any advantage to reporting
records to the trades. If they want to know specifics, they can look at
MEDIABASE. We should think about adding records at any point during the
week, not just on a Tuesday."
When asked if the non-monitored CUMULUS stations would still send out a
playlist or guide as to what is going into rotation, DICKEY said, "What
we play is our business, and in our non-monitored stations we are no
longer going to send out weekly playlists. We want to be cutting edge
and forward-thinking, and so we are out of the add business as of next
week. We are excited about getting out of the ADD business.
The national programming staff at CUMULUS, Sr. Format Dir. Top 40 JAN
JEFFRIES, Exec. Format Dir. VAL GARRIS, and Nat'l Format Dir./Pop MARK
POLITT will still have input with the stations. "Music decisions will
continue to be a collaborative process with our national programing
staff. BIG CHAMPAGNE, SOUNDSCAN, and other media sources both inside
and
outside of radio will allow us to be far more in touch regionally and
locally with what we need to play. This is a more intelligent and
expansive approach and will allow us take more intelligent risks with
our programming."
DICKEY noted that "JOHN KILGO is now officially an employee of CUMULUS.
He is our Sr. Dir./Label Relations. He is charged with developing
business models that work for labels and CUMULUSCumulus To Stop Reporting Music Adds To Trades
As of next week we are no longer reporting adds. Our philosophy is that
the charts do nothing for us as a business.
CUMULUS Exec. VP JOHN DICKEY has announced that, beginning next
week, the company will no longer report music adds to trade
publications.
DICKEY explained to ALL ACCESS, "As of next week we are no longer
reporting adds. Our philosophy is that the charts do nothing for us as
a
business. Our job is to program to serve the listener and advertisers.
It's no longer a broad enough of a horizon to look just at ADDS and
charts. That's only a small part of what it should be.
"It should be retail sales, clubs, and other points of national and
regional media influence. We have been training a breed of programmers
who have become too reliant on charts and callout. They all have a
place
but I want to train folks to become more innovative and use their
guts."
He went on to explain why "adding" records no longer works for CUMULUS:
"The 'TUESDAY Add Mentality' causes folks to run songs up and down more
than they should be doing. I just don't see any advantage to reporting
records to the trades. If they want to know specifics, they can look at
MEDIABASE. We should think about adding records at any point during the
week, not just on a Tuesday."
When asked if the non-monitored CUMULUS stations would still send out a
playlist or guide as to what is going into rotation, DICKEY said, "What
we play is our business, and in our non-monitored stations we are no
longer going to send out weekly playlists. We want to be cutting edge
and forward-thinking, and so we are out of the add business as of next
week. We are excited about getting out of the ADD business.
The national programming staff at CUMULUS, Sr. Format Dir. Top 40 JAN
JEFFRIES, Exec. Format Dir. VAL GARRIS, and Nat'l Format Dir./Pop MARK
POLITT will still have input with the stations. "Music decisions will
continue to be a collaborative process with our national programing
staff. BIG CHAMPAGNE, SOUNDSCAN, and other media sources both inside
and
outside of radio will allow us to be far more in touch regionally and
locally with what we need to play. This is a more intelligent and
expansive approach and will allow us take more intelligent risks with
our programming."
DICKEY noted that "JOHN KILGO is now officially an employee of CUMULUS.
He is our Sr. Dir./Label Relations. He is charged with developing
business models that work for labels and CUMULUSCumulus To Stop Reporting Music Adds To Trades
As of next week we are no longer reporting adds. Our philosophy is that
the charts do nothing for us as a business.
CUMULUS Exec. VP JOHN DICKEY has announced that, beginning next
week, the company will no longer report music adds to trade
publications.
DICKEY explained to ALL ACCESS, "As of next week we are no longer
reporting adds. Our philosophy is that the charts do nothing for us as
a
business. Our job is to program to serve the listener and advertisers.
It's no longer a broad enough of a horizon to look just at ADDS and
charts. That's only a small part of what it should be.
"It should be retail sales, clubs, and other points of national and
regional media influence. We have been training a breed of programmers
who have become too reliant on charts and callout. They all have a
place
but I want to train folks to become more innovative and use their
guts."
He went on to explain why "adding" records no longer works for CUMULUS:
"The 'TUESDAY Add Mentality' causes folks to run songs up and down more
than they should be doing. I just don't see any advantage to reporting
records to the trades. If they want to know specifics, they can look at
MEDIABASE. We should think about adding records at any point during the
week, not just on a Tuesday."
When asked if the non-monitored CUMULUS stations would still send out a
playlist or guide as to what is going into rotation, DICKEY said, "What
we play is our business, and in our non-monitored stations we are no
longer going to send out weekly playlists. We want to be cutting edge
and forward-thinking, and so we are out of the add business as of next
week. We are excited about getting out of the ADD business.
The national programming staff at CUMULUS, Sr. Format Dir. Top 40 JAN
JEFFRIES, Exec. Format Dir. VAL GARRIS, and Nat'l Format Dir./Pop MARK
POLITT will still have input with the stations. "Music decisions will
continue to be a collaborative process with our national programing
staff. BIG CHAMPAGNE, SOUNDSCAN, and other media sources both inside
and
outside of radio will allow us to be far more in touch regionally and
locally with what we need to play. This is a more intelligent and
expansive approach and will allow us take more intelligent risks with
our programming."
DICKEY noted that "JOHN KILGO is now officially an employee of CUMULUS.
He is our Sr. Dir./Label Relations. He is charged with developing
business models that work for labels and CUMULUSCumulus To Stop Reporting Music Adds To Trades
As of next week we are no longer reporting adds. Our philosophy is that
the charts do nothing for us as a business.
CUMULUS Exec. VP JOHN DICKEY has announced that, beginning next
week, the company will no longer report music adds to trade
publications.
DICKEY explained to ALL ACCESS, "As of next week we are no longer
reporting adds. Our philosophy is that the charts do nothing for us as
a
business. Our job is to program to serve the listener and advertisers.
It's no longer a broad enough of a horizon to look just at ADDS and
charts. That's only a small part of what it should be.
"It should be retail sales, clubs, and other points of national and
regional media influence. We have been training a breed of programmers
who have become too reliant on charts and callout. They all have a
place
but I want to train folks to become more innovative and use their
guts."
He went on to explain why "adding" records no longer works for CUMULUS:
"The 'TUESDAY Add Mentality' causes folks to run songs up and down more
than they should be doing. I just don't see any advantage to reporting
records to the trades. If they want to know specifics, they can look at
MEDIABASE. We should think about adding records at any point during the
week, not just on a Tuesday."
When asked if the non-monitored CUMULUS stations would still send out a
playlist or guide as to what is going into rotation, DICKEY said, "What
we play is our business, and in our non-monitored stations we are no
longer going to send out weekly playlists. We want to be cutting edge
and forward-thinking, and so we are out of the add business as of next
week. We are excited about getting out of the ADD business.
The national programming staff at CUMULUS, Sr. Format Dir. Top 40 JAN
JEFFRIES, Exec. Format Dir. VAL GARRIS, and Nat'l Format Dir./Pop MARK
POLITT will still have input with the stations. "Music decisions will
continue to be a collaborative process with our national programing
staff. BIG CHAMPAGNE, SOUNDSCAN, and other media sources both inside
and
outside of radio will allow us to be far more in touch regionally and
locally with what we need to play. This is a more intelligent and
expansive approach and will allow us take more intelligent risks with
our programming."
DICKEY noted that "JOHN KILGO is now officially an employee of CUMULUS.
He is our Sr. Dir./Label Relations. He is charged with developing
business models that work for labels and CUMULUS

HIP HOP COPS

2006-01-21T10:08:00.000-05:00

US police put hip-hop under surveillance Hotels staked out and lyrics scrutinised in battle to stop rap's violence Gary Younge in New YorkThursday March 11, 2004The Guardian
50 Cent survived an attempt on his life in May 2000 possibly over the lyrics of Ghetto Koran
The Miami and Miami Beach police have a black ring-binder six inches thick that starts with 50 Cent and ends with Ja Rule. In between come photographs, arrest records and other information on all the other major rappers in the US, from P Diddy to DMX. The police photograph them arriving at Miami airport, stake out hotels and video shoots and scrutinise their lyrics and connections in search of hints of potential violent conflict.

It is the latest development in a nationwide effort to place every aspect of hip-hop culture under state surveillance.
Miami officials say the binder was given to them by the New York police department during a three-day "hip-hop training session" in May that was also attended by officers from Atlanta and Los Angeles.
"Everyone that went got a binder with information on rappers that have been arrested, outlining charges," says Miami police sergeant Rafael Tapanes.
"They were trained what to look for in the lyrics, what to look for when they go to hip-hop concerts, what radio stations and TV stations to monitor to keep abreast of any rift between these rappers."
Miami police say they are just doing their job, monitoring a section of the music industry that has lost some of its most prominent talent, including Tupac Shakur, the Notorious BIG and Jam Master Jay, to violence.
"We have to keep an eye on these rivalries," the Miami Beach assistant police chief, Charles Press, told the Miami Herald. "What would law enforcement be if we closed our eyes? Our job is to know as much about things that could hurt innocent people."
Racial stereotypingBut rappers and civil rights advocates say it is an unnecessary intrusion on their civil liberties that smacks of racial profiling. "This kind of conduct shows insensitivity to constitutional limitations," says Bruce Rogow, a lawyer who represented 2 Live Crew in their successful defence against obscenity charges in the early 1990s. "It also implicates racial stereotyping."
The rap world has all the terminology of a modern state, it was only a matter of time before it got a dedicated police unit.
What has become known as the hip-hop "nation" is governed by a hip-hop "generation", where conflicts are resolved and agendas mapped out at hip-hop "summits", during which the hip-hop "community" decide how to protect and promote hip-hop "culture".
Rap is an adversarial genre in which artists do battle through their lyrics. In the past few years, there has been a concerted attempt to channel the creative energy - and billions of dollars - that have emerged into political activism, social responsibility and lobbying. This has been done most notably by rap impresario Russell Simmons through his Hip-Hop Summit Action Network.
Meanwhile, rappers have tried to improve their image. After running the marathon, P Diddy (who was acquitted of gun possession and bribing a witness in 2001 after a shoot-out in a New York nightclub) donated $2m (now £1.1m) to the children of New York city.
On her single Wake Up, Missy Elliott sings: "If you don't got a gun, it's all right/ If you're makin' legal money, it's all right."
The hip-hop label Murder Inc, which is under investigation by nearly a dozen law enforcement agencies for (among other things) its relationships with drug traffickers, has said it will drop the word "murder" from its title.
None the less, violence, all too often explicit in the lyrics, can spill out into real life with deadly consequences.
Last week, Chauncey Hawkins (otherwise known as Rapper Loon) was charged with assault with a deadly weapon after attacking a guard in Los Angeles.
Six months ago, Gerard Fields, 26, a rapper with what was Murder Inc, was shot dead. And, in recent times, there have been several attempts on the life of 50 Cent.
The intensity has abated since the east coast/west coast rivalry of the mid-1990s, which took the lives of two of rap's most promising stars: the Notorious BIG and Tupac Shakur.
Monitoring the 'crews'But 18 months ago, Jam Master Jay, the DJ for Run-DMC, was shot in the head as he sat on a sofa in the lounge of a recording studio. Jay's murder sparked the NYPD to establish a special section within its gang intelligence unit. According to the New York Times, a team of six detectives monitor sales and keep track of the movements of different "crews" to make sure that rivals do not get in each other's way.
Miami police started collecting data after 250,000 hip-hop fans came to South Beach for a four-day party and there were 211 arrests, mostly for disorderly conduct and excessive drinking.
While no rap stars were arrested, the police felt their ignorance left them vulnerable. "Nobody on the beach had a handle on who the players were," said Mr Press.
"We didn't know anything, we didn't know who were the big record labels, who were the kingpins; we didn't know why there were rivalries with Ja Rule and Eminem." US police put hip-hop under surveillance Hotels staked out and lyrics scrutinised in battle to stop rap's violence Gary Younge in New YorkThursday March 11, 2004The Guardian
50 Cent survived an attempt on his life in May 2000 possibly over the lyrics of Ghetto Koran
The Miami and Miami Beach police have a black ring-binder six inches thick that starts with 50 Cent and ends with Ja Rule. In between come photographs, arrest records and other information on all the other major rappers in the US, from P Diddy to DMX. The police photograph them arriving at Miami airport, stake out hotels and video shoots and scrutinise their lyrics and connections in search of hints of potential violent conflict.

Article continues

It is the latest development in a nationwide effort to place every aspect of hip-hop culture under state surveillance.
Miami officials say the binder was given to them by the New York police department during a three-day "hip-hop training session" in May that was also attended by officers from Atlanta and Los Angeles.
"Everyone that went got a binder with information on rappers that have been arrested, outlining charges," says Miami police sergeant Rafael Tapanes.
"They were trained what to look for in the lyrics, what to look for when they go to hip-hop concerts, what radio stations and TV stations to monitor to keep abreast of any rift between these rappers."
Miami police say they are just doing their job, monitoring a section of the music industry that has lost some of its most prominent talent, including Tupac Shakur, the Notorious BIG and Jam Master Jay, to violence.
"We have to keep an eye on these rivalries," the Miami Beach assistant police chief, Charles Press, told the Miami Herald. "What would law enforcement be if we closed our eyes? Our job is to know as much about things that could hurt innocent people."
Racial stereotypingBut rappers and civil rights advocates say it is an unnecessary intrusion on their civil liberties that smacks of racial profiling. "This kind of conduct shows insensitivity to constitutional limitations," says Bruce Rogow, a lawyer who represented 2 Live Crew in their successful defence against obscenity charges in the early 1990s. "It also implicates racial stereotyping."
The rap world has all the terminology of a modern state, it was only a matter of time before it got a dedicated police unit.
What has become known as the hip-hop "nation" is governed by a hip-hop "generation", where conflicts are resolved and agendas mapped out at hip-hop "summits", during which the hip-hop "community" decide how to protect and promote hip-hop "culture".
Rap is an adversarial genre in which artists do battle through their lyrics. In the past few years, there has been a concerted attempt to channel the creative energy - and billions of dollars - that have emerged into political activism, social responsibility and lobbying. This has been done most notably by rap impresario Russell Simmons through his Hip-Hop Summit Action Network.
Meanwhile, rappers have tried to improve their image. After running the marathon, P Diddy (who was acquitted of gun possession and bribing a witness in 2001 after a shoot-out in a New York nightclub) donated $2m (now £1.1m) to the children of New York city.
On her single Wake Up, Missy Elliott sings: "If you don't got a gun, it's all right/ If you're makin' legal money, it's all right."
The hip-hop label Murder Inc, which is under investigation by nearly a dozen law enforcement agencies for (among other things) its relationships with drug traffickers, has said it will drop the word "murder" from its title.
None the less, violence, all too often explicit in the lyrics, can spill out into real life with deadly consequences.
Last week, Chauncey Hawkins (otherwise known as Rapper Loon) was charged with assault with a deadly weapon after attacking a guard in Los Angeles.
Six months ago, Gerard Fields, 26, a rapper with what was Murder Inc, was shot dead. And, in recent times, there have been several attempts on the life of 50 Cent.
The intensity has abated since the east coast/west coast rivalry of the mid-1990s, which took the lives of two of rap's most promising stars: the Notorious BIG and Tupac Shakur.
Monitoring the 'crews'But 18 months ago, Jam Master Jay, the DJ for Run-DMC, was shot in the head as he sat on a sofa in the lounge of a recording studio. Jay's murder sparked the NYPD to establish a special section within its gang intelligence unit. According to the New York Times, a team of six detectives monitor sales and keep track of the movements of different "crews" to make sure that rivals do not get in each other's way.
Miami police started collecting data after 250,000 hip-hop fans came to South Beach for a four-day party and there were 211 arrests, mostly for disorderly conduct and excessive drinking.
While no rap stars were arrested, the police felt their ignorance left them vulnerable. "Nobody on the beach had a handle on who the players were," said Mr Press.
"We didn't know anything, we didn't know who were the big record labels, who were the kingpins; we didn't know why there were rivalries with Ja Rule and Eminem."

FCC Copps unfazed with zero fines in 05

2006-01-20T13:25:00.000-05:00

Friday, Jan. 20, 2006
Michael Copps Unfazed By Lack Of Indecency Fines

While the agency's Enforcement Bureau didn't levy a single indecency fine last year, the FCC Commissioner tells R&R he's pleased with the bureau's efforts. "We've been very active on the indecency front, and I'm not at all worried that we're losing our focus," he said after today's FCC meeting, during which the heads of each FCC bureau briefed the commissioners on their divisions' efforts in 2005 and plans for the year ahead.
In fact, Copps hinted that broadcast indecency could move back to the forefront of the Enforcement Bureau's agenda before long. "I think we'll be seeing some action before long," he said.
Though no indecency fines were issued last year, Enforcement Bureau Chief Kris Monteith noted that her bureau has been busy in other areas: Last year it investigated more than 200 complaints concerning pirate broadcasters and conducted 500 inspections of radio stations for compliance with the agency's main studio and public-inspection files.
She also pointed out that her bureau extended the Emergency Alert System rules to satellite radio and other digital services last year.

FCC's Adelstein urges...

2006-01-20T13:23:00.000-05:00

Friday, Jan. 20, 2006
FCC Commissioner Urges Tougher Sponsorship Enforcement

Pointing to the illegal activities uncovered under New York Attorney General Eliot Spitzer's blockbuster payola investigation , FCC Commissioner Jonathan Adelstein today urged his agency's Enforcement Bureau to keep a close eye on radio stations' compliance with the FCC's sponsorship rules.
"Eliot Spitzer uncovered a lot of potential examples where our sponsorship rules may have been violated," Adelstein told Enforcement Bureau Chief Kris Monteith, who reviewed her bureau's actions from last year and previewed its 2006 agenda during today's FCC meeting. "This could be a widespread phenomenon, and we have a responsibility to enforce our rules to the fullest extent possible."
He also thanked Monteith for the bureau's work with indecency enforcement and praised its efforts in tackling a full agenda that also includes pirate broadcasters and wireless and wireline violations. "I sometimes worry about your resources, especially with number of complaints we get, so I appreciate your efforts," Adelstein said.

NY DAILY NEWS Mayo exits HOT97

2006-01-19T10:39:00.000-05:00

Hot-97, Kiss exec is dialing back
By DAVID HINCKLEYDAILY NEWS STAFF WRITER

After three eventful years whose low points included Hot-97's "Tsunami Song" and whose high points included Kiss-FM returning to the top of the ratings, Barry Mayo is stepping down as senior vice president and market manager for Emmis Radio.
"I'm a radio guy," he said yesterday. "But there's another Barry Mayo who does other things, and he's been feeling very unfulfilled.
"I told my bosses yesterday that this job requires 110% of your time. So even though I can't imagine another company that would be better to work for, I want some of that time back."
Among the things he will resume, he said, is photography: He's compiling a long-term study of race issues.
He will continue at Emmis, overseeing WRKS (98.7 FM), WQHT (97.1 FM) and WQCD (101.9 FM), until a successor is named. He will also remain an in-house consultant for a year and may eventually consult for "one or two" other stations.
"I know people in radio say, 'Consultant? Oh God, that means he got fired,'" said Mayo with a laugh. "But this is my choice. I had a contract option for another year that the company said it wanted to pick up. I said no."
On the whole, he said, he's pleased with what's happened since he took the job in February 2003 - starting with the fact that ad revenue rose every year.
On the air, he said, a big win was boosting WRKS from 11th place up to a tie for second, a jump that started when Mayo replaced Tom Joyner's syndicated morning show with the local Jeff Foxx show.
"That was a tough decision," said Mayo. "I remember [Emmis radio division President] Rick Cummings saying, 'Are you really sure about that?' But for a year I had begged Tom to add New York elements to his show, and he didn't. When I made the decision, it ruined a 25-year friendship. Tom hasn't spoken to me since.
"But I knew we had the talent to do our own show."
Kiss also scored with afternoon host Michael Baisden, though Mayo deflects credit. "That was all [program director] Toya Beasley," he said.
Smooth-jazz WQCD has remained generally steady and calm, which isn't a word that would be applied to Hot-97 after a year that started with last January's ill-advised "Tsunami Song" parody.
"There's no way in hell I could have foreseen what would happen with Hot last year," Mayo admitted. "And if there's anything I could take back, it's pretty obvious it would be 'The Tsunami Song.' I didn't hear it or approve it beforehand, but I take full responsibility for the fact it went on the air for four days.
"It was clearly the biggest f-up of my career."
The resulting firestorm led to two dismissals from the Miss Jones morning show, considerable losses from canceled advertising and Emmis paying $1 million to a tsunami relief fund.
It also cast Hot-97 as a villain in discussions on whether radio goes too far.
Mayo praised Emmis yesterday for holding the line where it did. "Almost any other company," he said, "would have fired [station management]."
Most important, said Mayo, listeners also stayed loyal. Although rival WWPR (105.1 FM) passed Hot in the morning after hiring former Hot morning man Star, WQHT remains slightly ahead overall.
"I told everyone at Hot they should be enormously proud," Mayo said. "No radio station ever had that kind of year, and to rebound like they did is amazing."
Other than "Tsunami," said Mayo, "There aren't a lot of things I would have done differently in the past three years."
But he does think radio in general should reassess some things, like the consequences of the 1996 Telecom Act that allowed companies to own more stations.
"When I started 30 years ago, radio was broadcaster-driven," he said. "Now it's investor-driven. You get a report card every 90 days [Arbitron ratings], and you have to get your ratings, make your numbers.
"So you start getting more outrageous to get people's attention, and I think that's what leads to things like 'The Tsunami Song' and Opie and Anthony and some of what Star does.
"I'm just not sure it's good for radio in the long term. I'm not sure it's the best way to build a business."
Still, he won't bail out. "I'd never get out of radio completely," he said. "But for a while, I'd like to be an artist who also happens to do radio." Originally published on January 19, 2006

Jamaica Observer... PAYOLA ABROAD

2006-01-02T02:44:00.000-05:00

Payola on the increase, say music industry sources No pay,no airplay

BY ROLAND HENRY
Sunday Observer reporterSunday, January 01, 2006

IT'S hard to prove and those who get involved are extremely tight-lipped, but music industry sources say payola, an old unethical pay-to-play or publish scheme involving the media, is on the rise.
STANBURY... practice not illegal under Jamaican law
So pervasive is payola that many producers, artistes, and artistes' managers believe that if they don't pay, they don't get airplay.But how much payola makes the rounds in newsrooms and radio studios is unknown; it has never been studied or assessed.
"No direct research of the music industry, in terms of the total amount of money turned over annually, exists," says Dr Clinton Hutton, lecturer in cultural studies at the University of the West Indies.And since payola is done in secret, he says, there is no way of even 'guesstimating' how much money is lost from the practice.
Top entertainment lawyer, Lloyd Stanbury, says he often receives complaints from artistes and producers about demands being made on them by radio personalities.
"Music needs to get a fair chance if the industry is to make sense once again. The payola thing is a demon because it destroys the fabric of our music," says veteran reggae crooner, Freddie McGregor, one of the more vocal artistes against the corrupt practice.According to McGregor, the system allows mainstream acceptance of inferior music.
"It just allow for the rotation of garbage over the local airwaves," he said.Payola, the term used to describe the pay-off that artistes give to persons in the media to ensure that their music gets played on the radio, or that they get favourable reviews and articles written about them in the press, is not always on the form of cash - some media workers ask for items like high-tech gadgets, cellphones, expensive jewellery, and trips to exotic locations.
The Planning Institute of Jamaica (PIOJ) last reported in its Economic and Social Survey Jamaica 2004 that sales from locally distributed music - vinyl and compact discs - were recorded at $223.1 million, over the period June 2003 to June 2004; down from $275.7 million sold between June 2002 to June 2003.
MCGREGOR... the payola thing is a demon
The PIOJ notes, however, that what it reports is only a fraction of real sales, saying a lot of the business is done through financial transactions.Despite the perceived widespread practice of pay-for-play, most media houses and industry players were unwilling to share their experiences publicly with the Sunday Observer.
Most denied even knowing about payola.One exception was Brian Schmidt, marketing manager at IRIE FM, one of the top two radio stations in Jamaica, and who admits that he has been approached by people who try to bribe him to play their material, by offering cash or kind.
"We have people from all over the world ask us, 'how much will it cost to play our material?' The issue is not specific to Jamaica," says Schmidt.Reggae, a local music form internationalised by Bob Marley and others after him, was in 2004 valued at US$1.02 billion, representing about three per cent of the global music market, according to Wayne Wright, consultant in film music and entertainment commission at Jampro, a state investment promotion agency.
Jamaican producers, performers and songwriters, said Wright, collectively earn "approximately US$255 million each year." That figure converts to about $16.5 billion.
A producer at one of Jamaica's top artiste management firms, who spoke on condition of anonymity, acknowledged the "corrupt scenario", but accepts it as a necessary evil.Producers take big financial risks, frequently spending over $1.5 million to compose rhythms, and pay artistes to 'voice' on these rhythms and to book studio time, he said.
"Let's face it, the music industry has become so demanding, talent alone can no longer propel an artiste," said the producer. "Sometimes you find that a disc jockey will have your tune for all three weeks without ever playing it once - what must the producer do? He wants to make back his money, so he or she pays off the disc jockey."
Radio 92 FM disc jockey and morning show host, Jennifer 'Jenny Jenny' Small also curses the practice, but says it won't stop until the media fraternity collectively addresses it.
"Some of my industry mates are busy playing crap because they took money to do so... and it chokes talent. There are several people out there with real talent that nobody is looking at, just because they can't afford to pay," says Small.
Much of what drives payola, she said, is not need but greed."Many of them get good salaries, and are popular and well respected within the entertainment industry," she says of broadcast colleagues, but they accept payola because "they are just greedy."
Lester Spaulding, managing director of the RJR Communications Group, which includes radio stations 92 FM, FAME 95, RJR 94, and Television Jamaica, says his media, as a matter of policy, do their utmost to prevent and curtail payola. "We have written guidelines which stipulate that any person found guilty of this will be instantly dismissed," said Spaulding.
Still, both Spaulding and Schmidt agree that the practice of payola is hard to track or punish, because the arrangements are usually done in secret. "It's not easy. Payola is something that is not readily identified because it can take so many forms," said Schmidt.But what also appears as corrupt play, might not be.
"You have to be careful (in accusing people of taking bribes), because sometimes what people perceive to be payola really isn't. The disc jock might just like what this artiste or label does, or get lots of request from the public," said Schmidt.
Attorney Stanbury adds that while payola may be unethical, it is not illegal."I see no provisions that make payola illegal in the Broadcasting and Re-diffusion Act, which governs us here in Jamaica," he tells the Sunday Observer.
Stanbury believes that to counter payola, media houses need to ensure that their on-air staff receive reasonable compensation for their work."Disc jockeys seek to justify their demands for pay-to-play by saying they are not being adequately compensated by the stations," he said, adding that, more open discussions about the negative implications of payola should be encouraged.

henryr@jamaicaobserver.com

Clear Channel DC ends public service

2005-12-23T14:31:00.000-05:00

Clear Channel Drops Fixture of D.C.
RadioBy Marc FisherWashington Post Staff Writer
Thursday, December 22, 2005; B

For 35 years, Jerry Phillips has been the voice of the community on the radio in Washington. This week, Clear Channel Communications, which owns eight D.C. stations, shut down its public affairs department and let Phillips go, eliminating what some local charities called their main link to the public."We're taking a new direction," said Bennett Zier, Clear Channel's regional vice president. "Jerry is moving on."Zier said his stations, which currently have no news staff, will add "personality-based news for our morning shows," including some public affairs content.As WHUR's morning host in the 1970s and '80s, Phillips was a beloved, if sometimes corny, daily reflection of the black Washington of green-and-white awnings and people who regarded anyone whose family had been here less than a century as out-of-towners. For the past 13 years at Clear Channel, Phillips "was the main voice for the downtrodden and for small local organizations, whether it was traffic safety, drug addiction or the homeless," said Lon Anderson, the AAA Potomac spokesman and a frequent guest on Phillips's "Metro Talk" on Big 100 (WBIG) and WTEM."For small nonprofits like us, this is how we got our message out," said Diane Charles, director of Stop Child Abuse Now in Alexandria and host of "Raising Children Today," a program Phillips produced on DC101 (WWDC).A fifth-generation Washingtonian, Phillips, who is black, often criticized outsiders such as Louis Farrakhan or Jesse Jackson for stealing the spotlight on local issues. "Radio's changing," Phillips said. "Local concerns get left out. I studied to be a priest, so I guess this has been my priesthood, trying to help."Phillips said his last show, a Christmas special he was producing to raise money for the Capital Area Food Bank, will not air.http://www.washingtonpost.com/wp-dyn/content/article/2005/12/21/AR2005122102196.html

LA Times SONY Pay for Play

2005-12-05T12:11:00.000-05:00

Hitmakers Implicated in 'Pay for Play' Plans
Investigators looking into the corruption charges found evidence against two Sony BMG senior executives, sources say.
By Charles Duhigg, Times Staff Writer
When Sony BMG Music Entertainment, the nation's second-largest record company, settled with New York Atty. Gen. Eliot Spitzer in July and agreed to pay $10 million for engaging in "pay-for-play" practices, Spitzer said such corruption reached "the very top of the industry."Documents released by Spitzer charged that bribing radio programmers with plasma TVs, vacations and laptop computers in exchange for airplay was not only commonplace at Sony BMG, but also had "been tolerated and facilitated by senior executives."

Investigators identified one such executive by title: the executive vice president of promotion at Sony Music's Columbia Records. Spitzer stopped short of naming names.But an inquiry by The Times has found that Spitzer was told that the trail led to two of the company's highest-ranking executives and some of the most powerful men in music: the Columbia vice president, Charlie Walk, and his boss, Sony Music Label Group U.S. Chief Executive Don Ienner.Two sources interviewed by The Times said they'd told Spitzer's investigators that Ienner and Walk tolerated and condoned pay-for-play, which is generically referred to as "payola." A third source with firsthand knowledge of the investigation confirmed this.In response to questions from The Times, Paul Gardephe, a lawyer who negotiated with Spitzer on behalf of Sony BMG, said in a statement: "There is absolutely no evidence that Ienner or Walk knew of any payola activities. If the attorney general's office had such proof, the settlement would have been dramatically different."A spokesman for Sony BMG said: "After a long, in-depth investigation by the attorney general's office, this whole matter was resolved months ago. It's unfortunate that malicious gossip and false allegations by anonymous sources are now being used to damage the reputations of good and honest people."Through their lawyers, Ienner and Walk declined to answer questions for this article. Attorneys for both men denied that either one condoned or participated in pay-for-play.Sony BMG agreed to settle with Spitzer without affirming or denying his allegations, but acknowledged in settlement documents that "some of its employees pursued improper promotion practices."However, according to three former Sony BMG executives and a fourth source with firsthand knowledge of the investigation, in the months leading up to the settlement, investigators made clear to representatives of Sony BMG that evidence showed that Ienner and Walk knew about pay-for-play.Two sources said that documents collected by Spitzer indicated that Ienner and Walk were aware of and condoned pay-for-play. The source with firsthand knowledge of the investigation, who has seen the documents, also said the same thing.Two sources also said that Spitzer's investigators would have named Ienner, Walk and other Sony BMG executives in the body of a complaint if one were brought against the company — not as individual defendants, but as managers who knew about pay-for-play. The source with firsthand knowledge of the investigation confirmed this.When Sony BMG decided to settle, Spitzer's office agreed to the company's request that documents released by the attorney general not name any Sony BMG employees.Ienner and Walk are two of the most powerful people in the music industry.Ienner oversees one of the world's largest music organizations and has been instrumental in building the careers of stars such as Mariah Carey and Lauryn Hill.Until last week, Walk, a longtime Ienner lieutenant, had managed the promotion departments where Spitzer found evidence that Sony BMG had improperly given radio programmers a Las Vegas trip.On Friday, Sony Music announced that Ienner had made promotions, including making Walk president of Epic Records, another of its divisions.The men oversee labels that shipped more than $1 billion worth of albums last year by artists such as Bruce Springsteen, Aerosmith, the Dixie Chicks and Beyoncé Knowles.In all, The Times interviewed seven former and current associates of Ienner and Walk who confirmed what sources say Spitzer's investigators had discovered. These sources — two current and five former Sony Music or Sony BMG employees — said that during the last decade they observed conversations in which one or both men acknowledged or condoned exchanging improper gifts for increased airplay of certain songs.All seven sources worked alongside Ienner and Walk when the executives were in their current positions or in previous leadership roles at Sony-owned Columbia Records. Two of those sources left the company after clashing with Ienner or Walk; four sources describe themselves as friends of one or both executives.Many people interviewed for this article requested anonymity because they feared incriminating themselves or jeopardizing their jobs within the insular music industry.All seven sources echoed Spitzer's depiction of Sony Music as a place where pay-for-play was a prevalent practice that was discreetly discussed.The message was veiled, but clear. As one source put it, when conversations regarding pay-for-play arose, "Donnie would tell you: 'Do whatever it takes. Get the song played.' "Other former colleagues disagreed. Tony Anderson worked with Ienner at Arista Records in the 1980s and at Columbia Records in the mid-1990s.Pay-for-play "is the kind of thing that Don was not a fan of nor supportive of," Anderson said. "When people would discuss improper practices, I'd hear him say, 'You must be out of your mind. We're not doing those kinds of things.' "Representatives of Spitzer's office would not discuss their investigation, nor why neither Ienner nor Walk were charged. When asked at a July news conference why his investigators did not name any Sony BMG executives, Spitzer said his staff focused on improving corporate practices rather than targeting specific individuals."The first effort is to change the way business is done," he said.Legal experts said it would have been difficult for Spitzer to win convictions of individual Sony BMG executives."These things seldom go to trial because they are so hard to prove," said Harry Cole, a communications attorney who has argued before the U.S. Supreme Court.The only Sony BMG executive fired in the wake of the investigation, Joel Klaiman, was accused of asking a San Diego radio programmer to provide a false name and social security number in exchange for a television.Through his attorney, Klaiman denied the allegations.Last month, Warner Music Group became the second music company to settle pay-for-play claims with Spitzer, agreeing to pay a $5-million fine.Spitzer continues to investigate the two other major record companies — Universal Music Group and EMI Group — as well as the country's largest radio corporations, including Clear Channel Communications Inc. and Infinity Broadcasting Corp.Defining BriberyPay-for-play has been practiced in the music industry since the 1930s, with some disc jockeys accepting cash, drugs or prostitutes in exchange for airplay.The bribes discovered by Spitzer were more genteel: merchandise, airplane tickets and electronics. But the goal was the same.Spitzer launched his investigation of Sony BMG under multiple New York laws, including commercial bribery, false advertising and deceptive practices statutes.In a letter to The Times, Sony BMG asserted that trading things of value for airplay was not in and of itself payola.Sony BMG general counsel and Executive Vice President Daniel Mandil wrote that although "providing things of value for a contest giveaway in exchange for airplay is now prohibited at Sony BMG — and has been since early in the attorney general's inquiry — it does not constitute payola. Providing financial support to a radio station itself in exchange for airplay, a practice also now prohibited by the company's guidelines, also does not constitute payola."But according to Spitzer's settlement, unless Sony BMG received the consent of station owners or management, trading goods and financial support for airplay may constitute commercial bribery.In his settlement documents, Spitzer details that under New York's commercial bribery law, "it is a misdemeanor for anyone to confer (or offer to confer) a benefit upon another party with the intent to influence the recipient's conduct regarding the business affairs of the recipient's employer, without the employer's consent."Spitzer's settlement labels as "bribes" the gifts, trips and listener giveaways Sony BMG gave to radio programmers and radio stations in exchange for airplay of songs.However, Spitzer formally alleges that the company violated two civil laws and does not charge that Sony BMG committed commercial bribery."It's common for Spitzer to exclude criminal charges in exchange for a settlement," said Elkan Abramowitz, a New York lawyer who has negotiated with him.In a statement, Gardephe, Sony BMG's outside counsel, disagreed, saying the attorney general's office "does not negotiate away criminal charges for individuals in exchange for corporate settlements."Spitzer does offer evidence that employees of both Clear Channel and Infinity received improper gifts from Sony BMG in exchange for airplay. Clear Channel has since fired at least two employees who were named in the Sony BMG settlement document.Representatives of Clear Channel and Infinity said their corporations' policies prohibited employees from consenting to the exchange of gifts for airplay. Infinity's policies have explicitly prohibited any exchanges since at least 1995, a company spokeswoman said. Clear Channel allows exchanges only if approved by station management and disclosed on-air.Four sources said that Sony BMG executives knew or should have known of Clear Channel's and Infinity's policies because the radio companies regularly communicated them to record labels. But these sources said Ienner and Walk nonetheless condoned their promotion executives trading goods for airplay when they knew it would not be disclosed on-air, and without receiving the consent of the station's managers or owners."Station management never knew," said one executive who worked with Ienner and Walk when both men were at Columbia Records. "Are you crazy? We would never tell them."On the WarpathIn 1989, when Ienner became president of Columbia Records at 36, he was the youngest person to head the label. Within a handful of years, he built the struggling company into the industry's No. 1 hit machine and developed a reputation as a fierce competitor.In a 2001 interview with The Times, Ienner likened his promotion strategy sessions to what he called "war meetings. We devise a plan of attack where we figure out … how bloody we expect the battles to be." He added, "I hate to lose."But according to seven sources, that competitive zeal made him look the other way when it came to pay-for-play — both at Columbia Records and, since 2003, at the label's parent company, Sony Music Label Group U.S.In interviews with The Times, one source said that he told Spitzer's investigators that in the last two years, Ienner was periodically informed of promotional activities, including when Sony employees gave radio programmers under-the-table presents to increase airplay — or "spins" — of specific songs. The source with firsthand knowledge of the investigation confirmed this.Three of the sources who are current or past employees of Sony Music or Sony BMG confirmed that Ienner was told of pay-for-play during that period."It's not something anyone runs at the mouth about," said a person who worked alongside Ienner. But "this thing was pervasive and rampant. It was standard business practice."Another source, who regularly attended meetings with Ienner, said he "would berate you. He would say, 'You are letting everyone down. You know what to do.' We would talk about getting [radio station employees] trips to see upcoming shows, about sending someone a TV."This source said some of those gifts were kept by programmers for personal use; others were used by stations to aid them in their daily broadcasts.John Rosenberg, Ienner's attorney, said in a statement: "Mr. Ienner emphatically and categorically denies that he engaged in any unlawful or improper conduct. It is troubling in the extreme that unnamed individuals, who are too cowardly to publicly stand behind their baseless allegations, believe it appropriate to attack Mr. Ienner's reputation. That they are willing to do so speaks volumes about their true motivation and their utter lack of credibility."Five executives who worked with Ienner when he was president of Columbia Records, from 1989 to 2003, said he was directly involved in overseeing pay-for-play. Three sources confirmed that Spitzer's investigators were told of Ienner's practices while he was at Columbia."I've been in rooms where Donnie says, 'Get the records on the radio. Get the envelopes ready,' " said one person who worked as an executive with Ienner at Columbia. "Envelopes" referred to cash and gifts for radio programmers in exchange for airplay, without the station management's consent, the former executive said.A second person who was also a Sony Music executive during that period said that although Ienner did not refer to envelopes, he told him to exchange gifts with radio programmers for airplay, again without the consent of station higher-ups."Donnie created this business. He taught me how to do this," this source said.Another executive said pay-for-play took different forms.Ienner "would say, 'I've approved $50,000 this year for that [program director], and when we're developing this baby band, we get nothing. Tell him if we don't get spins, we're cutting his support,' " this source said.The source added that the $50,000 in support might include electronics for a programmer's personal use, valuable gifts for DJs to give away on-air and services such as flying in bands to play at concerts free of charge. These exchanges were not disclosed on-air, said the source, though some exchanges had the consent of station management.Spitzer called these promotional practices "equally deceptive." Such "promotional support" exerts "the same influence over the stations' airplay decisions as when a bribe goes directly into a station employee's pocket," he said in the Sony BMG settlement document.Spitzer's settlement also states that in September 2001, when Ienner headed Columbia Records, "a senior staff meeting was called at Columbia to address the problem posed by the compensation Columbia was giving to indies.""Indies" are the independent promoters that Spitzer said Sony BMG hired to implement the company's pay-for-play strategy.Burt Baumgartner, a Columbia Records veteran who worked under Ienner in the mid-1990s, said he did not recall his boss explicitly directing improper gifts to programmers. But the expectation was there, he said."I would sign off on it," said Baumgartner, now executive vice president of MusicBiz, a music industry website. "There was always a buffer. But [Ienner] always knew how these relationships worked. He knew how much was getting spent. Every staff member gave stuff away."Lieutenant's RoleIn 2003, when Sony Music reorganized and Ienner was promoted to his current position as chief of U.S. operations, he tapped Walk to serve as Columbia Records' executive vice president of creative marketing and promotion.Walk started at Sony in 1987 as a promoter, pitching songs to radio stations. He rose through Columbia's ranks, helping turn such artists as John Mayer into stars.Several sources — former Sony Music executives and people outside the company — said Walk directly took part in exchanging gifts for radio airplay. Two sources who asked not to be named said they told Spitzer's investigators what they knew about Walk's role. That was confirmed by the source with firsthand knowledge of the investigation.Buffalo, N.Y., radio programmer David Universal said in an interview that Walk told him another Columbia executive would provide gifts in exchange for playing specific songs. That executive came through with plane tickets, Universal said, but they were not disclosed to station management nor to listeners over the air. Universal also alleged that Walk personally gave him limo rides and tickets for baseball games, although he said Walk did not attach strings to those presents.Universal's employer, WKSE, fired him in January for violating station rules against taking gifts.In a letter to The Times, Walk's attorney, Martin Singer, wrote: "It is an absolute lie to say that my client promised Mr. Universal, or anyone else, gifts as quid pro quo for airplay."Spitzer's investigation also found that Walk was directly involved in pay-for-play.According to Spitzer's settlement document, in an internal e-mail sent in October 2004, a Columbia executive told an employee that radio stations would need to make airplay commitments before he would authorize the band Switchfoot to perform at their Christmas shows.Spitzer did not name the executive who was "[s]eeking to ensure that these shows would generate significant airplay commitments," but did give his title: executive vice president of promotion.That executive is Walk, Walk's attorney acknowledged. But Singer said that Spitzer misinterpreted the e-mail. Walk, he said, was merely asking whether the radio station was already playing Switchfoot songs in order to determine whether listeners would be familiar with the band. He was not requesting an exchange of airplay for the band's appearance, Singer said.

WARNER MUSIC LOSES 30 Million LA TIMES

2005-12-04T18:19:00.000-05:00

December 2, 2005
latimes.com : Business : Entertainment Business
E-mail story Print Most E-mailed Change text size
Warner Music Cuts Loss to $30 Million
A boost in sales of digital downloads helps the company narrow its fiscal fourth-quarter shortfall. Revenue rises 13% to $905 million.
By Charles Duhigg, Times Staff Writer
Warner Music Group narrowed its fiscal fourth-quarter loss by more than $100 million, thanks to a jump in digital downloads and sales from such artists as the group Green Day, Eric Clapton and Faith Hill, the company announced Thursday.Warner Music's loss of $30 million, or 21 cents a share, in the period ended Sept. 30 contrasts with a $137-million deficit, or $1.27, a year earlier. Revenue rose 13% to $905 million.

"This is a big victory for Warner," said Bishop Cheen, an analyst at Wachovia Securities, which owns some of Warner Music's bonds. "Now comes the tough part of figuring out if digital downloads will offset the market's overall declines in sales of physical CDs."Excluding one-time restructuring and other charges, the company would have posted a profit of $12 million, or 8 cents a share. On that basis, analysts had expected Warner Music to report a loss of 4 cents, according to a Thomson Financial survey. The news pushed Warner Music's shares up $1 to $19.05, the company's highest closing price since its initial public stock offering in May.In a conference call with analysts, Chief Executive Edgar Bronfman Jr. pointed to the company's digital growth as evidence of Warner Music's ability to expand while overall sales were declining. "We're taking a unique approach, transforming Warner Music Group from a traditional records and songs based company into a music based content company," Bronfman said.Digital revenue was $53 million, Bronfman said, 20% more than the previous quarter and large enough to offset the company's decline in CD sales.For the fiscal year, Warner Music had a loss of $169 million as revenue rose 2% from the previous year to $3.5 billion. Revenue from digital downloads was $157 million, a fourfold increase from last year.Bronfman also said that Warner Music had become focused on urban music, such as rap.That market is dominated by Universal Music Group, a company Bronfman oversaw while CEO of Seagram Co., Universal's former parent. Bronfman led a group of private equity investors in the purchase of Warner Music from media-giant Time Warner Inc. in March 2004.The fourth-quarter results end what had been a difficult year for the nation's third-largest music company.Weighed down by $2 billion in buyout debt, Warner had a rocky public offering, with investors forcing the company to cut its offering price by more than 20% to $17.In August, Warner Music ousted Atlantic Records CEO Jason Flom, costing the company more than $20 million. In November, Warner Music agreed to settle a payola investigation by New York Atty. Gen. Eliot Spitzer by paying $5 million and promising to discontinue certain promotion practices.But Cheen said the earnings news should raise spirits."In 2004, everyone said these guys were fools to buy this company," Cheen said. "But Edgar has delivered, and then some."

Vince McMahon, Hip Hop influenced?

2005-12-02T16:47:00.000-05:00

Vince McMahon Refers to Wrestler John Cena as ‘My Nigga’
Filed under:
Hood News— FYI @ 8:28 pm
Editors Note: During a Backstage greeting WWF owner Vince McMahon called John Cena a Nigga and Cena accepted it as a friendly gesture.This is especially significant because of McMahon status in society and the fact he is white and owns the largest and most popular wrestling venue. He doesn’t totally own WWF. Yes and no. Vince McMahon has control over everything from booking matches to business decisions. He owned the WWF ever since he bought it from his father in the early 80’s but during his 1993 steroid trial, McMahon turned the company over to his wife Linda McMahon. Vince still held all power over the company but wasn’t the actual owner. In 1999 when Vince McMahon issued an Initial Public Offering (IPO) for the WWF he gave up a percentage of the company to the public through stocks but he still owns around 70% of the WWF and still controls every part of it. (more…)

Tucson Citizen Payola

2005-11-28T09:33:00.000-05:00

Monday, November 28, 2005
REVERE: Don’t think that radio payola is dead
C.T. REVERE
Metro Columnist
ADVERTISEMENT

The next time you’re listening to the latest radio hits on your favorite commercial station, ask yourself how those performers got there – and why other, equally talented musicians don’t.
The word “payola” conjures up images of an era of sock hops and ducktail haircuts.
But the old practice of paying deejays for radio play still thrives in multimillion-dollar corporate fashion.
What used to consist of slipping a C-note into the sleeve of a 45-rpm record on its way to the local radio station now involves high-priced middlemen working a sort of shell game between radio conglomerates and major record labels.
Now, efforts are under way from New York City and Washington, D.C., to southern Arizona to end a practice that lets a select few make huge profits from the public airways while radio listeners and a heck of a lot of really talented musicians pretty much get squat.
“Are they really entertaining us, or is this just a business transaction between the radio station and the recording company?” asks state Rep. Jonathan Paton, a Tucson Republican. “Are we receiving content that is simply manufactured to look popular? That’s what I want to know.”
Paton is planning to hold town hall meetings in the coming months to explore the issue, with an eye on introducing legislation to prevent abuse of Arizona airwaves.
“I want to have a hearing in which we get to hear from the feds, we get to hear from the radio stations and we get to hear from the musicians. If there’s no issue there, there’s no issue. But I want to put some sunshine on it.”
Tenacious New York Attorney General Eliot Spitzer already has provided plenty of evidence that there’s an issue here, enough so that he was able to reach a $10 million settlement with Sony BMG Music, which records hundreds of major artists including Aretha Franklin, the Dixie Chicks and Beyonce Knowles.
This month, Sen. Russ Feingold, D-Wis., introduced the Radio and Concert Disclosure and Competition Act of 2005, a bill intended to address a problem that Congress helped create by opening the door for huge corporations to gobble up the majority of radio stations across the nation.
In the process of creating the 1996 Telecommunications Act, which was intended to promote competition in the telecommunications industry for the sake of the public good, our elected ones let radio station owners into the room.
By lifting the limits on how many stations a company can own in a given market and nationwide, Congress created a small group of very large radio corporations that have succeeded in setting up a profitable system of checks and balances that adds up to payola.
It’s an indirect approach in which “independent promoters” sign exclusive contracts with radio stations, then accept payment from recording companies that want their artists to get air time.
“The only way to get on the air is if you hire this promoter,” said Michael Bracy, a founding member of The Future of Music Coalition, a Washington-based group lobbying for change in the industry. “As ownership of radio has come more and more into these national corporations, we’ve lost the local flavor. It’s basically a world where few songs get through the pipeline to get played.”
To make things even cozier for those on the inside, the major radio stations also own the concert venues.
Cross-ownership allows the radio stations to use the airwaves to promote their own concerts, further locking out the bands that don’t fit their corporate mold.
“Is it just a paid advertisement, or was it a song that was on the radio because people want to hear it?” Paton wondered.
Joey Burns said his Tucson-based band, Calexico, has found its niche playing in smaller venues in the U.S. and across Europe, but he’d welcome a chance to expand their fan base.
“We’d love to get played on some of those stations,” Burns said. “It’s upsetting because the individuality of radio and regionalism gets left out because of what’s happening nationally.”
Public radio – KXCI Community Radio in Tucson – provides the opportunity to hear a broad array of music that can’t be found on the commercial stations.
But being shut out of commercial radio severely limits the ability of independent artists and promoters to make a living, not to mention alienating music fans who want something other than the 50 or 60 songs on most playlists.
Radio stations are private property, but the airwaves they use are not. They are owned by the American people, and those who use them with the blessing of the Federal Communications Commission have an obligation that extends beyond their own bank accounts.
Through the efforts of people such as Spitzer, Feingold and Paton, perhaps we’ll be able to tune in commercial radio someday soon and hear what we want to hear instead of what greedy corporate executives want to feed us.
C.T. Revere can be reached at 573-4594 and ctrevere@tucsoncitizen.com. Address letters to P.O. Box 26767, Tucson AZ 85726-6767. His columns run Mondays and Thursdays.
STORY TOOLS

NY TIMES WARNER MUSIC PAYOLA SETTLEMENT

2005-11-23T09:54:00.000-05:00

2nd Music Settlement by Spitzer
By JEFF LEEDS

Published: November 23, 2005

A second major record company has reached a settlement with the New
York
attorney general, Eliot Spitzer, to resolve accusations that it made
payoffs to persuade radio programmers to play certain songs, the
attorney general said yesterday.

The $5 million settlement with the Warner Music Group, the nation's
third-biggest record company, was the latest in Mr. Spitzer's widening
investigation, which has exposed payments to radio programmers in
exchange for playing music and routine manipulation of playlist
information.

In July, Sony BMG Music Entertainment reached an agreement with Mr.
Spitzer. The two record companies that have not settled - the Universal
Music Group, a unit of Vivendi Universal, and the EMI Group - remain
under investigation, as do many big radio chains, according to people
involved in the inquiry.

Warner acknowledged yesterday that certain employees had pursued radio
promotion practices that were "wrong or improper," and apologized. In a
separate statement, the company added that "we consider this to have
been a valuable process."

"From our perspective, radio cannot be too consumer-driven. The music
that people hear on the radio always should represent the highest
quality the industry has to offer."

Mr. Spitzer said that Warner executives had obtained play time for
songs
through "deceptive and illegal" practices, including making payoffs in
the form of personal electronics and tickets to the Grammy Awards, the
World Series and the Super Bowl.

Warner executives also tried to land their artists on playlists by
paying for a station's daily operations, Mr. Spitzer said. He cited
examples of the record company's covering the cost of painting a
station
logo on a promotional vehicle, the production of a station "jingle,"
and
the costs of hiring a voiceover talent.

Warner, which counts acts like Green Day and Twista on its artist
roster, also provided an array of "promotional" items for use in
listener contests and giveaways, a practice company executives
described
as "an industry standard."

Indeed, Mr. Spitzer's investigation has shown that it is common for
record executives to link the amount of promotional support provided to
a station to the amount of play time. In February 2004, when Z-100, the
New York pop music powerhouse, requested the record company pay for a
listener trip to Los Angeles or Glasgow as the grand prize in a
contest,
a Warner executive wrote to another: "With the record in power, I feel
we should do one of these for them. Can we approve this?"

Clear Channel Communications, the parent of Z-100 and several other
stations cited by Mr. Spitzer, said in a statement: "We take this issue
very seriously and have zero tolerance for pay for play. Any employees
who violate this policy will be dealt with accordingly. We investigate
any allegation of improper conduct by our employees. This is no
exception."

The company, the nation's biggest radio broadcaster, fired two
programming executives last month after a review by the attorney
general's investigation.

Under the agreement announced yesterday, Warner will pay $5 million, to
be distributed to nonprofit organizations that finance music education
and appreciation. The company will also pay $50,000 to cover the costs
of the inquiry.

Warner also agreed to an array of changes that mirror those set out in
a
deal Mr. Spitzer reached with Sony BMG, which agreed to pay $10
million.
Warner, like Sony BMG, also agreed to end its use of certain
independent
promoters, middlemen who are paid by the company to press programmers
to
add songs. And the company agreed to limits on the efforts its
executives can undertake to market its artists.

Mr. Spitzer said in an interview: "In this case, as in others, the
acceptance and tolerance of paying for airtime is what has surprised
us.
It was routine."

He also criticized the Federal Communications Commission, which he said
had displayed a "disappointing" lack of action in dealing with the
radio
broadcasters under its jurisdiction since the New York inquiry became
public. The agency announced shortly after Mr. Spitzer's first
settlement that it would start its own inquiry.

Despite e-mail messages and other evidence that appear to point to
widespread violations of the federal law, Mr. Spitzer said broadcasters
did not seem worried about the prospect that the F.C.C. could impose
its
toughest penalty, revoking a station's license.

"Because the notion of license revocation is so clearly discounted,
nobody is terribly concerned about the consequences of the F.C.C.'s
involvement," Mr. Spitzer said. "That's too bad, because what's at
stake
here is the airwaves. Why the F.C.C. is not responding is a little
mysterious to me."

One F.C.C. commissioner, Jonathan S. Adelstein, also pressed for deeper
involvement, saying the agency "needs to act on this evidence and
conclude as soon as possible" its own inquiry. Mr. Adelstein said the
practices Mr. Spitzer illuminated appeared to reflect "the most
widespread and systematic abuse of F.C.C. rules in the history of
American broadcasting."

An F.C.C. spokesman declined to comment on the status of the
investigation, but said "three months is not a long period for
investigations."

Matthew Sweeney contributed reporting for this article.

NY DAILY NEWS MURDER INC TRIAL

2005-11-14T09:43:00.000-05:00

New York Daily News - http://www.nydailynews.com
Hip-hop's 'pact with the devil' By JOHN MARZULLIDAILY NEWS STAFF WRITER Monday, November 14th, 2005

You can call this rap "Get Rich or Go to Jail Tryin'."
Hip-hop moguls Irving (Irv Gotti) Lorenzo and Christopher (Chris Gotti) Lorenzo head to trial tomorrow in Brooklyn - in a case sure to be a high-security spectacle with possible appearances by stars like Jay-Z, Ashanti and Ja Rule, and testimony about the shooting of 50 Cent.
The Lorenzo brothers scored mega-platinum success with a record label daringly called Murder Inc., hyping themselves as gangsters in the rap underworld and adopting the Gotti name.
Now the record executives find themselves in the fight of their lives as federal prosecutors vow to peel back the Kevlar curtain on the Lorenzo legend and show how they made a deal with a devil - using a drug baron's money to start their empire.
If they're convicted of laundering crack-cocaine cash for Queens drug kingpin Kenneth (Supreme) McGriff, the Lorenzos face up to 20 years in prison and the forfeiture of millions.
Their high-powered lawyers say it's a bad rap.
"We did not get money from McGriff, period," said Gerald Shargel, who represents Christopher Lorenzo.
Irving, 34, and Christopher, 38, who are free on $1 million bail, come from humble origins in southern Queens, where their parents sheltered them from "any element that could lead them to gang or drug activity," according to court papers.
That was no easy task because the gritty neighborhood was dominated by dreaded crack barons Lorenzo (Fat Cat) Nichols, Howard (Pappy) Mason and McGriff's bloodthirsty crew, called the Supreme Team.
They declined pretrial interviews, but the brothers blast the feds in a new book, "Queens Reigns Supreme."
"This is the government, right?" Irving ranted. "They killed JFK. ... I'm saying that to give you a parallel that they can pretty much do whatever they want."
"If they wanna trump something up because we helped a friend in a legal fashion, so be it," Christopher told author Ethan Brown.
Although neither brother is charged with a crime of violence or ordering McGriff to hurt anyone, prosecutors argue both's hands are plenty dirty.
"Before Irving Lorenzo became powerful and rich, Supreme was looking out for him," Assistant U.S. Attorney Sean Haran said in court last week.
"That's what [McGriff] brings to the table," Haran said. "[If] Irv and Chris have a enemy, Supreme will get the job done."
In a hip-hop world racked by the slayings of Tupac Shakur, Biggie Smalls and Jam Master Jay, McGriff's muscle - and money - was key to the Lorenzos' success, prosecutors said.
The government alleges that Murder Inc. was founded with McGriff's cash in 1999.
Witnesses will also testify that between 1994 and 2000, drug money was delivered to Irving and Christopher, prosecutors revealed.
In exchange for laundering McGriff's cash, Murder Inc. artists and execs were given protection from would-be robbers and extortionists, they alleged.
Prosecutors want to show how the Lorenzos were surrounded by criminals. Among the tidbits they hope the jury will hear: Irving's bodyguard was hired out of prison after a 20-year stint for murder; Christopher's driver was a drug dealer allegedly involved in two homicides.
Haran also pushed Judge Edward Korman to permit evidence showing the Lorenzos were intimately aware of McGriff's violent activities - including his alleged involvement in the 2000 shooting of 50 Cent.
"I love the s--- out of you," Irving allegedly messaged McGriff after learning of the gunplay - which prosecutors believe was sparked by a 50 Cent song, "Ghetto Koran," written about McGriff.
But the defense says the feds are trying to bootstrap evidence against McGriff - who is being tried separately on murder and drug charges - onto the Lorenzos, whose courtroom supporters are expected to include pal Jay-Z and Murder Inc. artists Ashanti and Ja Rule.
"They want this trial to be about violence having nothing to do with Irv and Chris," said Irving's lawyer, Gerald Lefcourt.
Shargel acknowledges McGriff bestowed "street credibility" on Murder Inc. because "to be associated with McGriff is a means of protection."
Still, he insists there was nothing illegal in the relationship.
Christopher Lorenzo told the feds McGriff was a longtime friend who was showered with "favors" - like a corporate credit card and a soundtrack for his straight-to-video flick "Crime Partners" - for helping Murder Inc. scout new talent.
The key figures
KENNETH McGRIFF, 46, alias Supreme: Notorious drug kingpin, leader of the feared Supreme Team in South Jamaica. Served eight years in prison and resumed his criminal activities after his 1997 release, authorities say, allegedly aligning himself with the Lorenzos to launder cash. Suspected of orchestrating the attempted murder of rapper 50 Cent in 2000 as payback for an insult in a song. Under indictment on charges of racketeering, three murders and drug trafficking.
**
CHRISTOPHER LORENZO, 38, alias Chris Gotti: Helped little brother Irving with his music career in the city's biggest nightclubs. In 1993, Chris and sister Christine lent Irving $5,000 to produce his first single, "It's Real," by MC Geronimo. Father of two who lives in Queens, he oversees operations at the rap label as vice president. He is charged with money laundering and conspiracy.
**
IRVING LORENZO, 34, alias Irv Gotti: Started deejaying at 16, selling mix tapes out of a local barbershop. Hired as an A&R agent - artists' rep - at Television Tune Records in 1994 and jumped to Island Def Jam two years later, bringing along future stars Jay-Z, DMX and Ashanti. In 1999, founded the Murder Inc. record label, now known as The Inc. A father of three, he lives in Westchester County. He is charged with laundering drug money, conspiracy and skirting federal reporting requirements on financial transactions.
Big stakes for star prosecutor
The Murder Inc. trial pits Brooklyn U.S. Attorney Roslynn Mauskopf, who is looking for a big win after some recent setbacks, against two of the city's best-known criminal lawyers, Gerald Shargel and Gerald Lefcourt.
The two Gerrys are princes of the defense bar.
Shargel's courtroom skills are mesmerizing, and he's defended such high-profile clients as the late mob boss John Gotti and electrician Danny Pelosi, convicted of killing millionaire Ted Ammon.
Lefcourt once headed the National Association of Criminal Defense Lawyers, and he's represented everyone from the Black Panthers to hotel mogul Harry Helmsley to the Sex Pistols' Sid Vicious.
Mauskopf's prosecution of music impresarios Irving and Christopher Lorenzo is among several high-profile cases on her radar.
Two cases - the trial of city officials and crew members in the Staten Island ferry crash, and the reputed Mafia cops who allegedly leaked secrets to the mob - are in trouble.
The feds, who also endured a disastrous defeat in the seven-week trial of allegedly mobbed-up union officials, are hoping to bounce back with a victory in the Murder Inc. case.
There's been at least one bump: A prosecutor on the case since the inception of the probe four years ago resigned on the eve of the trial for personal reasons.
Mauskopf's team is now being led by a couple of battle-hardened drug prosecutors - Carol Pokorny and Sean Haran.

Washington Post FCC lack of Attack

2005-11-12T15:27:00.000-05:00

Delays, Low Fines Weaken FCC Attack on IndecencyBy Frank Ahrens
Washington Post Staff Writer
Thursday, November 10, 2005;

On the morning of June 3, 1996, Howard Stern hosted an explicit discussion between adult-film star Jenna Jameson and her father on a nationally syndicated radio show, broadcast to more than 10 million listeners.It didn't take long for the conversation to go from tasteless to downright vulgar.The Federal Communications Commission, under Democratic Chairman Reed E. Hundt, took one year to determine that the radio routine violated the agency's indecency regulations. But nearly four years and two FCC chairmen later, in February 2001, the $6,000 fine was rescinded "due to passage of time," FCC records note.The FCC's actions were hardly an aberration. A Washington Post analysis of all 92 known proposed indecency fines shows that the agency's record of policing the airwaves has been undermined by plodding investigations, insufficient fine amounts and inconsistent follow-up.The agency's role as broadcast nanny has come under greater scrutiny in recent months as consumers and lawmakers grow concerned about the increasingly coarse content of radio and television -- last year, the FCC received more than 1 million complaints about programs. Broadcasters say the FCC's content guidelines are too tough and arbitrarily applied while some lawmakers, viewers and interest groups blame the agency for being too lax.The issue has even split FCC officials serving on the same commission, hindering the process.Some chairmen made it a priority to collect fines; others let the penalties languish until the agency's five-year statute of limitations voided them. None of the chairmen was quick about it. The record shows that an average of 16 months passes from the broadcast date of an incident to the issuance of an indecency ruling. One case took 56 months to resolve.The FCC is preparing to release a wave of backlogged decisions in the next few weeks after nearly a year of silence, and agency officials promise that the process will speed up."I am concerned by the length of time it historically has taken for the commission to act on a complaint," said Kevin J. Martin, a Republican who became chairman in March. "Since I became chairman, we have been working to develop a process to reduce that time frame."The process can drag on because of the time it takes to secure tapes and transcripts from broadcasters and the lengthy legal wrangling that can ensue. But slow-footed investigations have not been the agency's only problem.The size of the fines appears to have had little lasting deterrent value for giant media conglomerates that collect hundreds of millions of dollars in profits. For instance, just one year before the Stern broadcast with the Jamesons, Stern's boss -- Infinity Broadcasting Corp. -- paid $1.7 million to settle multiple indecency rulings against the shock jock.Part of the problem, the agency says, is that fines are too low -- a maximum of $32,500. If broadcasters refuse to pay, the cases are turned over for enforcement to the Department of Justice, which has little incentive to pursue such small fines, members of Congress have said. Of four proposed fines turned over to the department, it collected two and refused to pursue two.Moreover, the FCC typically has allowed broadcasters to pay fines without admitting a violation of indecency rules. Thus, when a broadcaster's license comes up for renewal, it contains no record of indecency violations that could be used to block renewal.In more recent cases, the FCC has compelled some broadcasters to admit wrongdoing. But those acknowledgments are accompanied by language in the consent decrees that states the admissions cannot be used against the broadcasters in any way, say broadcasters familiar with the deals.Even with these shortcomings, Republican Michael K. Powell, who resigned as FCC chairman in March, argued that the agency under his leadership had an impact on indecency. He cited the decision by many broadcasters to impose "no tolerance" rules on on-air talent. The key, Powell said, is raising the political heat on broadcasters and threatening them with the prospect of higher fines."No Washington office head wants to bring their CEO before a congressional panel and be grilled for a full day" on indecency, Powell said.The FCC has struggled to balance First Amendment rights with laws that forbid over-the-air radio or television broadcasting between 6 a.m. and 10 p.m. of "patently offensive" material of a sexual or excretory nature. The courts have not helped much, as the guiding 1978 indecency statute is increasingly irrelevant in an era of 200 unpoliced cable and satellite channels that do not fall under the law.Some groups say the government should no longer monitor the nation's airwaves because technology -- such as the V-chip and cable and satellite blocking systems -- allows parents to determine what their children watch."We're hoping that regulators, lawmakers and the American public come to the same conclusion we have, that the system is broken," said James Dyke, executive director of Television Watch, a coalition that includes most major television networks, the U.S. Chamber of Commerce, some politically conservative organizations and First Amendment academics."The first step is realizing that the system is outdated and can easily be hijacked by a very few, if not one individual," he said.Dyke's reference is to the Parents Television Council, which flooded the FCC with complaints last year. Like the broadcasters, the PTC would prefer the government stay out of regulating content. "But because there is a law and the law seems to be very openly disregarded by the networks so frequently, our only recourse is to go to the congressionally mandated watchdog -- the FCC," said Tim Winter, a former NBC executive who is now the PTC's executive director.The PTC supports clearer guidelines about what is and is not indecent, Winter said. The FCC has maintained such guidelines would amount to prior restraint of free speech -- a constitutional problem.What seemed shocking 12 years ago -- tastefully shadowed partial nudity on ABC's "NYPD Blue" -- seems quaint today compared with more recent shows that have drawn fines, such as a Fox television show that featured whipped-cream-covered strippers or an Infinity radio broadcast that included a couple purportedly having sex in New York's St. Patrick's Cathedral.Jeffrey H. Smulyan, chairman of Emmis Communications Corp., which owns more than 40 radio and television stations and has been hit with $42,000 in proposed fines over the past four years, said the indecency standard is a moving line, one shifting in a more conservative direction."It makes it difficult to know what's acceptable in 21st-century America," Smulyan said. "From a broadcaster's standpoint, what was fine yesterday is now clearly indecent today. Unless there are some guidelines, it's impossible to police."Emmis is settling its indecency fines.Concerns over broadcast indecency crested in February 2003 when singer Janet Jackson's breast was exposed during a Super Bowl halftime show, leading lawmakers to call for higher fines and extend the FCC's authority to cable and satellite channels. In February, the House passed a bill that would raise the maximum fine to $500,000 and require a license-revocation hearing after a broadcaster's third offense. A similar bill waits in the Senate.The FCC has collected most of the fines it has imposed. But the long turnaround time has allowed some broadcasters to outwait the agency.An example: During an August 1987 morning show on Chicago rock powerhouse WLUP, deejays Steve Dahl and Garry Meier talked to a caller who offered a gay-themed song called "Kiddie Porn."More than two years passed before the FCC, under Republican Chairman Alfred E. Sikes, proposed a $6,000 indecency fine.The station's owner, Evergreen Media Corp., through its Washington law firm, Latham & Watkins, decided to appeal. "Our licenses were so valuable, we had to defend them," said James de Castro, president of Evergreen at the time.As part of its defense, Evergreen argued that community standards had relaxed in the two years since the broadcast, suggesting that if "Kiddie Porn" was indecent in 1987, it no longer was in 1989. The company appealed to the courts, with the Department of Justice prosecuting the FCC's case.It eventually landed in Chicago district court. As Latham lawyer Eric L. Bernthal recalled it, the judge said, " U.S. v. Evergreen . What is this, a drug case?""After I explained it was an indecency case, he basically looked over his glasses and said, 'You're kidding, right?' " By that time, the FCC had slapped Evergreen with an additional $33,750 in fines. Back in Washington, Bernthal persuaded the FCC to settle all the fines with no admission of guilt on Evergreen's behalf, to drop other complaints against the company that the FCC was investigating and to craft a set of decency guidelines for broadcasters, all in exchange for a $10,000 "voluntary contribution" to the U.S. Treasury.Post database editor Sarah Cohen contributed to this report.© 2005 The Washington Post Company

Payola links from FREEPRESS.net

2005-11-12T15:26:00.000-05:00

http://www.freepress.net/payola/Center for American Progress put this up on their CampusProgress page for student activists yesterday.http://www.campusprogress.org/tools/585/crib-sheet-payolaAlso check out our map of stations implicated in Spitzer's Sony probe:http://freepress.net/payola/map.php

Are you bought or up for sale?

2005-11-12T15:25:00.000-05:00

The civil rights movement possibly was the last rallying point for millions of Americans. Unfortunately that battled ended without winning the civil rights war. Economic empowerment received a band aid fix called the "American Dream".Segregation, education and constituational law were all fought for. Over forty years later we can all see that the playing field will never be balanced in this so called land of the free.Broadcast media does a great job of masking economic empowerment. Today's children see and hear more images showing money and bling not wealth. Television and Radio methodically tell us what our issues are. Hurricane Katrina is a prime example... We all were schocked by the pictures and now have rallied with enormous response.The shame is we have not rallied for the millions killed in Africa. Never rallied or became outraged like this because our children's schools are inferior. The owners, producers, program directors and print media hand feed us "our" issues. It is time to Katrina the media.My website colleague and most of all friend Lisa, shared a story on WLBT TV that resonates in my mind almost daily. During the civil rights movement WLBT in Jackson, Mississippi blatantly showed negative images of people of color during the movement. The NAACP challenged the FCC law and most of all challenged the system. The license was eventually revoked and new ownership installed the first Black GM of a television station in the late sixties.Almost forty years later there are thousands of employees thru out media. Some in positions of power but most bought while the other's are up for sale. Bamboozled into believing that a good living is economic empowerment.This past week I wrote a letter to management at WAOK radio in Atlanta. WAOK is owned by Infinity Radio whose parent company Viacom, owns BET and MTV. For the past six months WAOK has filled an evening airshift with "Community Talk" a daily show with various UNPAID host. WAOK has a Black GM and Program Director. WAOK is 24 hour talk. Understand my theory now on "being bought" or "up for sale" ?I caught hell for sending that email from Black folk. The management (bought) questioned my motives... The unpaid host (up for sale) bitched because they will be replaced with a PAID staffer. The "yes" master mentality is alive and well.Viacom the parent company has three top executives who each made 52 million in 2004. WAOK had six months of free "Community Talk". Can't get that economic empowerment unless you fight or ask for it.

NY DAILY NEWS SMACKFEST HOT97 Fined

2005-11-12T15:23:00.000-05:00

BY AUSTIN FENNERDAILY NEWS STAFF WRITERHip-hop station Hot 97 was slapped with a $300,000 bill yesterday for a twisted contest called "Smackfest" - and admitted the brutish gimmick wasn't its "finest hour."The station aired two dozen bouts of the game, which featured mostly female contestants competing to see how hard they could barehand each other in the face.State Attorney General Eliot Spitzer went after the station with a civil suit, claiming the contest violated the laws on combative sports.Hot 97's parent company, Emmis Communications, agreed to pay $240,000, plus $60,000 to the anti-violence nonprofit group Safe Horizons, to settle the case."Despite the fact that the contestants voluntarily participated in what was supposed to be harmless entertainment, it was not our finest hour, and New York City deserves better," Emmis Radio President Rick Cummings said.Hot 97 launched Smackfest in April 2004, inviting listeners to take shots at each other for concert tickets and a grand prize of $5,000.The station streamed video of the battles on the Internet, showing women cocking their arms to take open-handed slaps at their opponent's face.Barred from blocking the smacks, participants had to stand up straight and brace themselves for a crescendo of stinging blows.Spitzer said he hopes the price Hot 97 paid for its stunt will send a message to other broadcasters who push the envelope for ratings."This agreement should be a wakeup call to all those in the entertainment industry who think outrageousness is a clever marketing strategy," he said.Hot 97 has courted controversy before. The station came under fire this year for a racially charged parody of tsunami victims.

BILLBOARD MONITOR "Hip Hop's Explicit Lyric's"

2005-11-12T15:18:00.000-05:00

Hip Hop's Explicit Lyrics - Who's Responsible?Aug. 26, 2005By Ivory M. JonesYing Yang Twins. David Banner. Trillville. Pretty Ricky.The list reads like a who's who of acts topping the playlists of R&B/hip-hop stations across the country. These artists are also drawing heat for their sexually suggestive lyrics.Ying Yang Twins' "Wait (The Whisper Song)," Banner's "Play," Trillville's "Some Cut" and Pretty Ricky's "Grind With Me" all contain racy lyrics, and although the versions heard over the airwaves are often edited, critics say the songs still leave little to the imagination.Lisa Fager, co-founder of media watch group Industry Ears, compares radio edits to CliffsNotes guides, which offer shortened versions of books typically studied in schools."Sure, you get the abridged version, but does that change the meaning of the text? No. [Students] told me that they still know what the original book is about. I asked them about the edited versions of songs, and they said they already know what the real lyrics are, so they just sing the real words along to the edited versions," Fager says.This detail has not escaped R&B/hip-hop WEDR (99 Jamz) Miami's DJ Irie. "Some of the time, playing 'clean' radio edits isn't even enough, because the lyrics make it obvious enough that the song is about sex and violence," he says.Though labels are responsible for editing the material, the question of who monitors the final product is open-ended. Is it the station's duty to screen the songs before they hit the airwaves, or does that job fall on the labels that promote the songs? Or does the responsibility, ultimately, rest with listeners or their guardians?Jive Records national director of urban promotions Samantha Selolwane believes all these parties share responsibility."If an artist submits something to the label and it's overtly offensive, I think it's up to the label to monitor it. But the station does have a responsibility to the community. I think [the duty] falls on a number of people," she tells Billboard Radio Monitor.Patrick Lagreid, PD at rhythmic top 40 KMIH Mercer Island, Wash., a station owned by the local school district, echoes her sentiment."In theory," he says, "artists have responsibilities for what they put out there and labels have responsibilities for what they promote. But it's their right to put out what they want. Ultimately, I think it's the responsibility of the radio station. We have the ability to control what goes out over the airwaves."Fager thinks it goes beyond the PDs, however. Senior leadership at such broadcast giants as Emmis, Clear Channel and Radio One have the final say, she says. "Generally, it's not the program directors these days, though some of them have a little bit of power. It's about the broadcasters' accountability. I think that's where the audiences have gone awry—by thinking that the artists or the individual stations have some type of power."Industry Ears co-founder Paul Porter says he blames radio "for not having any guts. It's all corporate. It's all linked to the corporate structure these days."Porter, a former on-air personality, says his experience is proof that stations and local staff often take the fall for content despite their lack of control over it. While working at Emmis adult R&B WRKS (Kiss-FM) New York, he complained about a song that was airing on sister station WQHT. "Party and Bullshit" by rapper Rah Digga included the lyrics "beat that bitch with a bat."Porter says a 12-year-old student brought the song to his attention after she was teased by her peers."Her father had beaten her mother with a bat," he says. "When the students found out, they would taunt her with those lyrics. I was shocked and saddened because I had no answer for her."Porter says he took his concern to Emmis CEO Jeff Smulyan, and a memo was issued that detailed a new zero-tolerance policy for on-air profanity. However, Porter alleges that the memo also fingered him as a whistle-blower."Some of the DJs sided with me, but others were upset because all they had to play was music that contained explicit lyrics," he says.After leaving the station, Porter became an advocate for removing what he says is indecent content plaguing radio.Some good has come out of radio's current state, Fager says. She points to a group of Dorchester, Mass., teens who, weary of the lyrics on radio, founded a low-power station (Radio LOG 540 AM) that specializes in playing "positive music." Although it reaches a very small area, the station has generated international attention.While Fager believes that watchdog organizations like hers act as a voice for the public, WQHT assistant PD E-Bro warns people to pay attention to the intentions of such groups."It's case by case," he says. "Some organizations and organizers use young hip-hop stations and the 'edgy content' issue as a way to gain campaign support. If you notice, most of these issues really get flared around voting time. Also, note that news media outlets and talk show hosts use what's controversial and popular as a way to generate their own ratings under the guise of being responsible and taking a stance against the ills of our society."Indeed, many acknowledge that there is a thin line between monitoring inappropriate content and infringing on a station's or artist's freedom of speech."I understand where [media watchdogs] are coming from and don't have any objection," Lagreid says. "But at the same time, it's like they are trying to impede on a certain level of free speech. It's a fine line, and that's what's tough—that fine line seems to change without a lot of notice.""I don't feel that restricting an artist is healthy for their development," Selolwane says. "If an artist wants to have the freedom of expression, then they should be allowed to do that."DJ Irie adds, "In defense of the labels and the artists, they should be able to speak freely and record or release anything that the consenting public has an appetite for. Any adult that wants to hear that musical content should be able to access it. That's the beauty of free speech in a free country."Lagreid believes that there are adults who want to hear such content and that they are driving the multiple spins. On the flip side, however, he maintains that listeners can only request what is made available to them."People won't request what they don't know is out there," he says. "As programmers, we try to take the best educated guess on what we think people will like based on past performances and experiences. It's kind of a self-perpetuating thing. Songs like 'Wait' would have never made it if there hadn't already been songs out there with the same content. I've never had a listener call and say, 'I really like that song, [but] can you play something raunchier?' "In the end, E-Bro says, it is cyclical: "If the artists didn't make the product, then the consumer wouldn't look for it. If the label didn't promote it, the artists would change their direction. If everyone stopped playing it, the impressionable young consumer wouldn't have any outlet to get questionable content."Selolwane believes a simple balancing act by radio could improve the situation. "They have the power to pick what they play. If you're going to play 10 songs about ass, you should be playing 10 great songs to give that balance. I think when the balance is offset, that's when we have the cycle that we're in."E-Bro also points out that "parents can ultimately turn off what they don't like." And from DJ Irie's viewpoint, they can do even more."Parents need to educate their children about such music and make sure their kids are not naive to its existence. Nowadays, unless you can be with your kid 100% of the time, they will be subject to such music. Parents need to remove the shock value of such music and show their children how to make the right choice of what they listen to—and if they are going to listen to it, not to take it literally."Fager hopes a happy medium can be found. "Radio's supposed to be safe, but there are rules and regulations that are supposed to be enforced. Parents can only do so much . . . I'm not saying don't play the music, but put [it] on at times that are appropriate. People make porn, but they don't put it on NBC at 4 o'clock in the afternoon. So I don't understand why [the Ying Yang Twins lyric] 'Wait till you see my dick' gets played in the morning while kids are getting ready for school."-------Ivory M. JonesManaging Editor, R&B/Hip-Hop - Billboard Radio MonitorStaff Writer - Billboard Magazine770 Broadway, 6th FloorNew York, NY 10003(646) 654-4647 - direct line(646) 654-4681 - fax

NY TIMES McClusky Payola/ Jeff Leeds

2005-11-12T10:39:00.000-05:00

The New York Times--------------------
November 3, 2005
Music Promoter to Abandon a Radio Policy He Developed
By JEFF LEEDS

Jeff McClusky, a music entrepreneur who emerged as an influential behind-the-scenes player in the 1990's by devising a technique to curry favor with radio programmers while sidestepping laws against bribery, said this week that he was dumping the business model he pioneered.The move by Mr. McClusky comes three months after the New York attorney general, Eliot Spitzer, stunned the music business with revelations that the nation's second-biggest music corporation, Sony BMG Music Entertainment, bribed radio station personnel and engaged in other improper promotion practices. In a settlement with Mr. Spitzer, Sony BMG agreed to a series of changes - including severing ties to certain independent promoters - and to pay $10 million.Federal law prohibits broadcasters from accepting cash or anything of value in exchange for play of a specific song unless the transaction is disclosed to listeners. But since the late 1980's, the major record companies have used a tactic honed by Mr. McClusky.In the structure he engineered, Mr. McClusky provided "budgets," or annual fees, to radio stations, which could use the money to pay for T-shirts, contests and other promotions - but which were not supposed to be tied to airplay of specific songs. He would then bill record companies for each song added to a station's playlist.Major radio corporations and record labels embraced the system for years. But Mr. McClusky said yesterday that amid radio industry consolidation, shrinking music sales, and most recently, the chilling effect of Mr. Spitzer's inquiry, it was time to switch gears.Mr. McClusky said he notified the 30 stations with which he has deals - down from about 175 five years ago - that he would not renew contracts that call for him to provide them with annual fees. But he said he hoped to persuade them that he and his staff remain a valuable source of information and advice about new music. He also plans to continue working for major record companies - by being paid a flat amount instead of fees tied to radio playlists.Mr. McClusky, who is based in Chicago, added that his most profitable business was providing consulting to clients like music publishers and merchandise companies, who are looking for undiscovered artists, as well as venture capital firms interested in the music industry.All of that reflects a profound change for Mr. McClusky, whose tactics were adopted by about dozen major rivals.Independent promoters began to lose their footing after Congress passed a 1996 telecommunications bill that led to rapid consolidation of the radio industry. Clear Channel Communications, now the nation's largest radio corporation, then went from about 40 stations to about 1,200, and with its new leverage, directed independent promoters to negotiate with executives at corporate headquarters, not with individual station programmers. To many label executives, the move appeared to diminish whatever influence the promoters had in pushing programmers to add songs. (Clear Channel ended its ties with the promoters in 2003).Moreover, as the industry watched its sales decline amid Internet piracy, label executives sharply reduced payments to the promoters, draining their revenue.Mr. Spitzer's investigation appeared to be the nail in the coffin. Mr. Spitzer described Mr. McClusky's business model as "an effort to dodge the payola laws" and a means to "perpetuate the fiction" that stations were not receiving money or gifts from record companies in exchange for airplay.As part of its settlement with Mr. Spitzer, Sony BMG enacted a series of restrictions - including an agreement not to reimburse independent promoters for any expense made for a station or programmer - that effectively destroyed the foundation of Mr. McClusky's system. The other three major record companies - Vivendi Universal, Warner Music Group and EMI Group - remain under investigation by Mr. Spitzer, but are expected to agree to similar limits.Mr. McClusky said the terms still appeared to allow him to work for the companies on retainer. "Whether or not I agree with it, it is what it is," he said, "and I choose to comply because I do not want to interrupt the excellent promotion relationship I've had with Sony BMG labels."

Copyright 2005 The New York Times Company

NY TIMES Article on HIP HOP MEDIA

2005-06-08T16:47:00.000-04:00

 NY Times Article on Hip Hop media

June 8, 2005

The Hip-Hop Media - a World Where Crime Really Pays

By BRENT STAPLES
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The rap diva Kimberly "Lil' Kim" Jones parlayed the bare breast into a
fashion accessory long before Janet Jackson. But Ms. Jones was dressed
like an office manager when she was convicted of perjury earlier this
spring for lying to a grand jury about a Manhattan shootout that took
place four years ago. Fans and paparazzi are gearing up for her
sentencing, when she could potentially be shipped off to prison for 20
years.

The Lil' Kim case has put artists on notice that prosecutors have homed
in on the Wild West gunfights that have become common among rap crews
in
recent years. The case has also aimed a klieg light at hip-hop radio
stations that boost ratings by instigating potentially lethal disputes
among rap artists over the airwaves.

It has especially highlighted the counterproductive role played by the
hip-hop press, which has too often embraced the culture of lawlessness
and criminality that keeps the violence going.

The shootout that led prosecutors to pursue Ms. Jones so
single-mindedly
typifies the strain of violence that has been commonplace in rap music
for more than a decade. A rival insulted her on a "beef" recording - a
type of rap track on which a performer defames or hints at violence
against another. Warfare broke out when the two entourages encountered
one another at a Manhattan radio station, Hot 97, where more than 20
shots were fired from a half-dozen guns.

Prosecutors, who had gathered evidence from security cameras, were
incensed when Ms. Jones failed to answer truthfully about who had been
present. That she continued to misremember even after two of the
principals confessed and went to prison - virtually guaranteeing that
she would be convicted of perjury - made little sense, if measured by
mainstream standards. But it was perfectly logical in the world of
hip-hop, where it is seen as more noble to go to prison than to
"snitch"
to the authorities.

The problem with this code of silence is that it allows people to get
away with murder. That is precisely what has happened so far in the
deaths of legendary hip-hop stars like Jam Master Jay, who was killed
in
2002, and Tupac Shakur and the Notorious B.I.G., who were both gunned
down in the 1990's.

That the hip-hop code helped to prevent the murderers from being
brought
to justice is easy to see. This connection, however, has yet to dawn on
the music magazine pundits who lionize witnesses for not "snitching"
while attacking law enforcement officials for failing to solve
high-profile hip-hop murders.

The murders of Biggie and Tupac in the 90's sent tremors through the
hip-hop world and sent fans into mourning. But that world has become
inured to killings, thanks to recording executives who seem to be
competing with one another to land the most violent material possible.
Further fanning the love affair with crime are the "street bible"
publications, which make violence seem normal through their editorial
policies.

The July issue of the magazine XXL - "The Jail Issue" - trumpets
"exclusive interviews" with "hip-hop's incarcerated soldiers."

That issue, which is consistent with the material emanating from
similar
magazines, hails rappers like C-Murder, (a k a C-Miller) who is serving
time in connection with a shooting, and Drama, sent up for armed
robbery
and assault - as well as several others who are hailed as geniuses,
with
little apparent concern for their victims.

For the time being, makers of luxury goods seem to have embraced this
"crime pays" marketing strategy. They buy into the disturbing vision
offered by some of these magazines. The message is disastrous for
minority young people, who are already at risk of spending their lives
in prison or of dying prematurely from street violence.

Nevertheless, "The Jail Issue" of XXL is fattened by advertisements
placed by General Motors and Mennen deodorant, and apparel makers like
K-Swiss and Perry Ellis.

The segment of the hip-hop press that embraces violence and criminality
is clearly growing, both in influence and affluence. This reflects the
extent to which hip-hop itself has devolved from a richly blended
tapestry that valued poetics and sophisticated political commentary
into
a field where only those who have been shot, committed crimes and spent
time in jail are judged to hold the authentic street credentials that
make them worthy of studio recordings.

It was against this backdrop that The Source, another urban magazine,
implausibly likened Ms. Jones's prosecution to the dirty tricks that
were launched against law-abiding civil rights groups by the F.B.I.
under J. Edgar Hoover in the 1960's. This line of argument,
preposterous
on its face, underscores the extent to which the current generation of
hip-hop writers has largely lost touch with even the recent historical
past and with the journalistic traditions from which they spring.

It also explains why Ms. Jones's record sales will probably go through
the roof if she heads off to prison. When it comes to rap music, what's
poisonous for the culture - and dangerous for minority youth - tends to
be great for album sales.

Wise Intellegient from Poor Righteous Teachers

2005-05-24T07:04:00.000-04:00

Wise Intelligent: Hip Hop hasn’t really evolved. It has kind of digressed or regressed, so to speak. And at the same time, it is kind of stagnant in that when we look at this generation of Hip-Hop, the youth – everything that they do, from the sneakers they wear, the earrings in the girls’ ear – they all come from that 80s era. It is almost as if they haven’t created anything of their own yet. That is what gave birth to the throwbacks – the lack of creativity in this generation. They have to ‘throw back’ to that era when things were created and we were dealing with a more creative mindset.

As far as the content that we are dealing with in the music today, that came about, in my opinion, as a way of redirecting or putting leads on the people’s impulse to pursue revolution. They put leads in the form of gangster rap, pimpism, and hustlin’ culture on the people’s impulse for revolution to direct them into a self-destructive mindset and that’s where we are at right now. We are in that self-destructive mindset that the people went into based on leads that were put on that original impulse and desire to seek revolution. And it was planned. It was definitely planned. I was there when the transition was coming forth.

The Poor Righteous Teachers were signed to Profile Records and Profile Records had a couple of conscious groups and then they had Run D.M.C. and so on and so forth, but in the era of gangster rap we saw DJ Quik come in, we saw N 2 Deep come in, we saw Smooth Da Hustler come in at Profile Records, we saw these things happening right before our eyes. We saw the marketing dollars being redirected from the positive or socially conscious groups to the gangster rapper. We saw these things happening.

One thing that the 10% know is that whatever a person thinks, that will become their reality. Whatever a person thinks and believes to be true that will become their surroundings. And the 10% knew that Hip-Hop was very, very powerful in that era. We had youth braiding their hair up, wearing Afros putting on their medallions, seeking out the Qur’an, and even the Bible. We were just seeking knowledge in all forms everywhere. And they saw this and they knew that they had to stop this, so Counter Intelligence Programs came into effect and we got what we got and we have what we have today. That pretty much is the process in what happened in Hip-Hop.

We have to understand today, you know a lot of people like to say that ‘the artist is responsible, the artist shouldn’t say this’. I am not taking blame off of individuals that contribute to the self-destructive content in their music. But it is almost like blaming Jezebel for being born poor, but beautiful. It is almost like that (beauty) is the only thing she has to reach out and get the necessities that she needs. You know, the bare necessities. So she is using what she got to get what she wants, pretty much. And that is the science with poor people. Poor people can be controlled by the rich. There is a scripture in Proverbs that says, “It is the rich that cause the poor to sin”. Because the rich can make a poor man do anything for the bare necessities. And that is what the youth are. The youth are poor, living in poverty and want of all things. And when you are in such a condition it is easy for you to be led in the wrong direction.

When poor youth thought that they could rhyme positive, socially and politically conscious lyrics, and get record deals and sell records like Public Enemy, like KRS-One, like Poor Righteous Teachers, like X-Clan, they were doing it. The large majority of rappers were writing in a conscious format. Yet when they saw the shift, the youth made the shift also. Because they felt, ‘oh I can’t get paid no more doing that, so I have to do this.’ It is just like how at one point in my neighborhood, everybody was selling marijuana, everybody was selling weed. Everybody.

When crack came in 1982 and ’83 to my neighborhood, and they saw that crack was making more money, and there were more crack smokers, than weed smokers – weed wasn’t making enough money and they started selling crack. That’s what the poor kids do. They are going to do those things that they feel will get them what they desire.

Cedric Muhammad: You are right Wise, and even in some of the things that I have written on pertaining to the Congo, when the price of gold and silver went down, they started moving into mining col-tan and tantalum.

Wise Intelligent: Exactly!

HOW THE RADIO DESTROYS HIP HOP

Cedric Muhammad: So how much of this do you attribute to radio? For example, I was just listening to the song, "Freedom or Death" on the Pure Poverty album and Wise, I thought to myself, ‘this could never come out today (and be played on the radio)’. And today, we have seen, the lack of airplay for a song like Styles P.’s "I’m Black" and the phrase, ‘white man’ was edited out of the Kanye West song, "All Falls Down". We have written about that at BlackElectorate.com. So I wanted to know from you, what is your view on the role that you feel radio has played in the scenario you just described?

Wise Intelligent: Radio is the beast. You know, they definitely contribute to the dilemma in a very profound way. Their part cannot go unnoticed or ignored. They call themselves the home of ‘Hip-Hop and R & B’ and you know that they are targeting youth from the different shows that they have and I listen to the radio and there is absolutely no balance. There was a time where you could just take your record to the station and if the D J felt it, he just played it. Now, every radio station is playing the same ten songs, over and over and over again. Radio to me in large part is responsible, more so than anybody for the dissemination of the destructive influence into the Black community.

They will throw their little token ad on saying, ‘stop the violence’ or whatever they have for Mother’s day, ‘yeah my baby got shot and killed at a party, everybody stop the violence’. And as soon as that goes off (they are playing), ‘my metal go clap, your head will go back’. They are playing Beanie Sigel, and ‘kill a nigga’ music (laughter). You know what I mean? But that is the radio. And you listen to the Black radio you do not hear anything based on entrepreneurialism. There is no business network (promoted through) Black radio, unless you go to an adult contemporary radio station that is 40-years old and up. There is nothing for the youth to listen to, to teach them how to invest money in the stock market or anything. Hardly anything other than, ‘clap somebody.’ That is all you get.

Now, it is either ads for liposuction, plastic surgery, all types of this stuff on Hip-Hop radio stations. It is pathetic. Since Black radio sold its soul it has become a gossip column that contributes to the violence. – ‘a moment of silence for the dead Black race/ that measures life by the inches/ on the chrome set of spinners’. That’s where we are at.

Cedric Muhammad: I just wanted to know your view of - as you look at the evolutionary role of radio - the reemergence of the Star and Buc Wild show, which I find to be very important and interesting. One aspect of course is Star, who at his age of 41, operating in today’s Hip-Hop format, is one of the few good sources of historical information regarding the evolution of the culture and the industry. And then of course, I always find him to be very respectful of the Nation of Gods and Earths, and the 5% Nation Of Islam. So I wanted to just ask your opinion of Star, his show and what it represents.

Wise Intelligent: Man, I really enjoy Star’s show. I listen to it when I commute from Trenton, New Jersey to Philadelphia in the mornings. So I am checking it out. The thing is, a lot of people say they are just on that show acting ignorant. I have heard a lot of people say that in comments in reference to the show. Yet they make you think. If you are paying attention if you are doing the knowledge to the show, there is subject matter that is being discussed on there that is not being discussed on a lot of radio. I heard the term, ‘eugenics’ being discussed on his show. I am riding down the highway and I am like ‘oh’. I just heard the term eugenics come across the air, and they are discussing that, and they are breaking that down to a degree. And you don’t get that from a lot of radio disc jockeys. Some of them are afraid to be real and to be honest. And Star calls himself the original hater (laughter).

But it is objective, man. It is objective criticism. And the thing is you can’t say you dislike something without first analyzing it, understanding it. Star has a serious understanding man. And I say this to any individual that takes him lightly, you know - don’t be mistaken, that is a very intelligent Black man on that radio. That is a very intelligent Black man. And if you (laugher) come sideways (at Star) you better make sure that you did the knowledge, that you did your homework before you come at that Black man, because he is very knowledgeable, very well-read, a very thoroughly educated Black man. And it shows.

Some people they just don’t get the understanding. I like to say, ‘get knowledge, get wisdom, but in all of your getting get understanding.’ And that is what I get when I am listening to his show. You know even the personalities, the different characters he has on there, ‘Crossover Negro Reese’ (laughter), ‘White Trash Helene’ and so on and so forth. All of the characters contribute to a dialogue that is conducive to expanding your consciousness, point blank. That’s what I get out of their show. It expands your consciousness regardless to what your political view is, religious view or ethnic background.

I really enjoy the Star and Buc Wild show, man, it is a good show and I think they touch a lot of good topics. Whether it is in passing or on the fly-by, things get addressed on there. That is the first radio show that I heard somebody even dare to mention eugenics, or dare to touch racial issues that they touch. They keep it clean. Star keeps it real clean and he don’t bite his tongue. He gets right to the point and lets the knowledge be brought forth. I respect that. You got to respect a man that stands on his square.

HOW BLACK RECORD OWNERS BECOME LIKE THE OPPRESSOR

Cedric Muhammad: Now, about three years ago I wrote something on BlackElectorate.com called, "The consciousness of Suge, Jay-Z and Wu-Tang". And I directed it at many of the fans of many of the conscious artists that we all know and love. And the point that I was trying to make was that I feel that there has been a blind spot in the knowledge that we have had and the understanding of it because we have totally equated business and doing trade among ourselves and others as capitalism and exploitative behavior. So I wanted to know from you, in terms of the fall of the prominence of conscious Hip-Hop, do you attribute that to a lack of understanding in our consciousness as it relates to the science of business and doing trade among ourselves and others?

Wise Intelligent: It is tough to say. It is tough to say. But I think a lot of it has to do with our desire to become the oppressor. A lot of us envy the oppressor so much that when we get into a position of power we become him. I know a lot of rappers who have did their thing, sold millions of records and then, in turn got their own record companies and record deals and so on and so forth and end up oppressing the artist the same way.

You had Puffy and the Lox, and the Lox are like, ‘yo we need to get off of here (Bad Boy Records), he is enslaving us.’ I mean, how is that even possible? That shouldn’t happen. But we envy our oppressor. But that’s what happens when the oppressed wants to replace their oppressor and become him. They don’t want to co-exist with him. They want to become him. And that is what the problem is. A lot of Black artists are living on a line, whereas our culture is a circle. European culture I define it as a line. Wherever you put your peg on that line, somebody is in the front, back or on top or the bottom, depending on whether that line is horizontal or vertical. That is their culture.

Our culture is a circle. You put your peg on the circle, I put my peg on the circle and neither one of us is in front, neither one of us is in back, neither one of us is on the top and neither one of us is on the bottom. It is a community. It is a circle. And that is what a lot of rappers don’t see. They don’t have that knowledge to see that. They are trying to adjust to, adapt, and live in a culture that is not conducive to their spirit. So a lot of them have become the oppressor. They have become sub-human as I always like to say. Because any time a Black man has abandoned his culture, his language, his people, and all of the things that make him, him; whenever he puts off from being Black to adopt a culture, religion, language of someone else – then he is no longer what he was and he is not quite a European, so he is somewhere in between. He is a subhuman.

He has demoted himself to the lower animals that he should not be respected, at all. There is no way he should be respected. He should not be respected. He deserves what happens to him in the world, when he refuses and rejects his own culture, his own people to be more like the European. And that is the problem right now with a lot of the Black leaders. They don’t want to turn us into a Black nation, they want to turn us into a sub-European nation. If they become the power and authority, they would set things up the same way. And we would have the same capitalist, imperialist structure, just ran by Black men. It is not going to be any change until this system is done away with. It is the system that is the problem. And until your leader is talking about changing the system and separating us ideologically from this system, then he is not the one to follow.

Davey D "The Clear Channeling of America"

2005-05-24T06:54:00.000-04:00

AMY GOODMAN: Over 2,000 people converged in St. Louis, Missouri, last weekend for the second ever National Conference on Media Reform. Among the keynote speakers, journalist, hip-hop historian and radio deejay Davey D of Pacifica Radio station, KPFA. He talked about the Clear Channeling of America and the hip-hop generation. This is Davey D.

DAVEY D: I have been involved with this sort of struggle about media accountability for a very long time. I think I can safely say when I speak, especially for a lot of us who are in communities of color, dealing with the onslaught of media injustice and distortion has been -- has forced us to be in the fight, whether we care to be in it or not. Turning on the evening news and constantly seeing depictions of black males as criminals, unintelligent, and every other negative pathology that people like to talk about, and the Bill O'Reillys of world make a good living off of misreporting, has forced us to be in this fight, and it's been going on for a long time. But there was a time where you wouldn't have this many people coming together to talk about reforming and changing the media, so give yourselves a lot of props for being out here, because this is a very strong showing.

The thing that I always tell people is that media -- at this point in time, 2005, we can no longer afford to treat media as a passive spectator sport. 2005, it requires us to step it up and be interactive. Interactive means that we hold everybody who is reporting the news, who is presenting information, who is on the airwaves that our tax dollars help pay for, we have to be in their faces 24 hours a day, seven days a week, every angle possible, whether you are coming at it from the low end, from the policy side, whether you are creating your own media to be competition to them, but we have to hold them accountable, because I can tell you as somebody who has been involved with some of these stations that have laid out some of the groundwork for some of these ongoing assaults -- and I worked for Clear Channel for a number of years -- that they spend a lot of time studying and figuring out ways to seduce and attract and lull a lot of the people who aren’t in this room to sleep and make it seem like what they present is something that is all good, and therefore, there's no problem, until one day we wake up and find out that there's a lot of things we don't know about, there's a lot of laws that have been passed, there's a lot of things that that are missing that are very important to our lives, but by then, the train has left the station. So it's up to us in this room to not only continue to do the work that we're doing, but also to inform creatively and intelligently all of those who may not find this issue very attractive. We have to do that.

That means we have a responsibility to first of all to truly know the full spectrum of this game. I often tell a lot of the rap artists before you get in the business, understand the game, that it's a business. Know the shot callers. If you don't know Rick Cummings or Jeff Smulyan or John Hogan or Doc Winters or Steve Smith or Kathy Hughes or Alfred Liggins, these are people from Radio One, Clear Channel and Emmis Broadcasting, Steve Rivers. If you don't know these people, then there's a problem, because these are the folks that shot-call what goes on these airwaves day in and day out. And when we talk about radio, especially urban radio, in every city in America, these stations are the number one or number two or number three station in the market.

So when we talk about a lot of the things about poor people and crime and prison-industrial complex and things that we need to do to change that, and we look at media as being one of these agencies that may be moving people in the wrong direction but has the potential to move them in the right direction if it's used creatively and effectively, then we’ve got to know that these are the people that are 40 and 50-year-old men and women behind the scenes, calling the shots, deciding that at 7:00 at night, you can hear the Yin Yang Twins talking about “wait until you see my d-i-c-k,” and that it’s not a problem. That is a 40-year-old man that makes that decision, but then we'll blame the artist and we’ll blame the kids for falling prey to the seducing techniques that these people do.

I'm very happy that there's a lot of us on the other side of the spectrum, that hip-hop spectrum, the communities of color spectrum, that have been fighting the good fight and really making some head waves. Malkia Cyril, who was here earlier from Youth Media Council, probably talked to you about the very effective campaign that we ran in San Francisco with a lot of local artists who looked around and said, ‘Well, you know, news and information is cool, but for us, it's the fact that local artists don't get on the airwaves.’ And so there was a well-heeled campaign that required us to monitor the stations and take notes and keep bringing the heat up. And we identified. We sat in a room and strategized. What's the weakness? And this is something that all of us can do. What's the weakness, so that we can make sure that when we shoot the shot that we hit it effectively. So in 2005, you go to the Bay Area, you do hear local artists on the radio, but that victory is not enough for us. That victory is not enough, because that's just a stall tactic so that they can continue to maybe misinform the community.

So you have other people like my man, Raheem Pierre, who has decided to go around the country, interview people from the inner city, get their perspectives, talk to artists and then he brings to the forefront a documentary that he's going to drop in June called Radio Politricks, to make sure the community understands what it takes to run a radio station and how these people are misleading us and abusing the airwaves. So these people deserve props.

In New York City, 2002, 2003, radio veteran Bob Law was sick and tired of the way that we were being mistreated in the media, so he brought together more than a thousand people and held a tribunal in Harlem and brought everybody out there to talk about what was on the radio. Six hours later, there was an earful that the city council people and everybody had. Started a campaign called “Turn Off the Radio Campaign.” People didn't pick this up.

Fast forward to this year, Hot 97, which was one of the targeted stations, that’s Emmis Broadcasting, decided to play a parody song making fun of the Asian community. They figured, ‘You know what? These Asian folks, they're kind of small in number. They don't know anything. Nobody is going to hear them.’ But they didn't realize that some of those Asians that they pissed off were very good friends with the people from the Turn Off the Radio Campaign. So blacks and Asians and Latinos all came together and brought the heat to Emmis Broadcasting, made their stocks plummet, started strategically going, ‘You know what? We're not going to talk about the deejays, Funkmaster Flex or Miss Jones, and none ever these people. We want to know Jeff Smulyan’s name. We want to know Rick Cummings’s name. We are going to put them on blast.’ And we started sending emails to advertisers. And people -- this got everybody involved. The hip-hop community from all over the country was supporting the effort in New York to the point that they had to call a meeting.

And here is this. This is what we're up against in 2005. Hip-hop pioneer Afrika Bambaataa is sitting in the room. People like Rosa Clemente from our sister station BAI, an activist well known in New York, is there. DJ Kuttin’ Kandi, all these people who mean something to our communities are sitting in the room, intelligent human beings. They're asking for community access. They’re asking for racial sensitivity. And more importantly, saying, you know, every time we turn on the radio, we hear your deejays using the n-word and the b-word and other disparaging words that we say we don't want to hear anymore. White program director who never programmed an urban station in his life sat up there and looked these people in the face, looked Afrika Bambaataa in the face, the man who started the hip-hop movement that he is making money off of, said, “No, we can’t stop using the n-word because we don't want to lose our lower demographics.” This is in 2005. This is the fight that we're dealing with.

So, when you turn on the radio and you go, “What's going on?” it is not the people in our neighborhood that's making these decisions. Let me just quote, I think it was Rick Cummings or Jeff Smulyan who said, “Well, you know, we don't know what these young people -- we don't know what's going on with these young people. How do I know? I'm a 50-year-old white guy. I don't know about hip-hop.” Then why the hell do you have a license for the number one station in that market? This is the fight that we have.

But we are winning it. First thing I tell people all the time, recognize our victories. We shifted the conversation from talking about the artists and the shortcomings of the deejays to talking about the shortcomings and the lack of responsibility of the broadcast owners. So, that's a major victory right there. And we will continue to bring the heat.

Big shout out to the folks from Industry Ears, who decided that, you know what, these folks are doing a smack-fest where they get sisters to smack each other until they start bleeding, and then the corporation, Emmis Broadcasting, gives them $500 when one of them gives up. Well, they didn’t think hip-hoppers were smart. We’re all 30-plus. We all have houses and homes. One of them was a law student, found out that it's a violation of New York state laws to have a pugilistic competition, and then one of the fools from Emmis went on "Hannity & Colmes," and said, “It’s just like a boxing match.” So a few phone calls later and Eliot Spitzer and a few city council conversations brought him up on charges and said, “You can’t have a pugilistic competition. You are violating New York City state law.”

These and others are victories that are taking place. And these victories come because of several things. One, we communicate with each other. Two, it’s not about the individual, and it’s not about one organization, but it's about all of us looking out for the future generations that are coming up that are being seduced by these broadcasters day in and day out, who think it's okay for them to do the things that they do because they don't live in the East Oaklands, they don’t live in the Southsides of Chicago, they don't live in the Harlems. But what we do, and we have to deal with the nonsense that they leave. So we're committed to it.

Young women up in Boston, we got to give them a major shout out, because they got sick and tired of what was going on. And they decided to start their own radio station. Big shout out to my crew in Los Angeles. They started their own. Big shout out to people like FreeMix and all of those with websites and podcasters. These are communities of color doing their own thing, creating their own media, trying to not only counteract what's going on, but to make themselves competitive and hopefully surpass some of these people who are misusing the airwaves today. So those people deserve props, and I wish that those stories could be told in more fuller detail. But I'm going to represent for them tonight and give them a round of applause, because they're not here, but they're hard at work.

Lastly, as I close, the big white elephant that's in the room, that we're getting ready to deal with, the big white elephant that is determining a lot of the stuff that we have to deal with day in and day out, the big white elephant that is saying, you know what, we are going to play these nasty songs for seven-year-olds in the middle of the morning, we're going to keep some of these beasts going on, because it makes us money, etc., etc. The payola word. A lot of people don't like to talk about it. The commissioners are here. We are making these recordings and making it known that what is on these airwaves is bought and paid for by corporations. We gotta deal with that because nothing else that we do will matter, if you got big-time money funding some of the nonsense that we're up against right now. And it doesn't stop with the records. Maybe some of the news things that we hear as Commission Adelstein had alluded to, maybe those are bought and paid for, too. So don't talk about the war effort. You’re paid not to. Let's not play any of the anti-war songs – there are four compilation albums out by hip-hop artists. Not one of them gets on the air? Who is paying for that not to happen?

And in closing, all of us got to continue to do three things. One, communicate with one another. Continue to network with one another. Use each other's resources and, more importantly, recognize that all of us have strengths, and that we should use these to our full advantage to make sure that next year when we come to this sort of gathering, that the landscape has significantly changed for the better. Thank you very much.

AMY GOODMAN: Davey D, hip-hop historian, Pacifica Radio producer at KPFA at DaveyD.com, speaking at the National Conference on Media Reform last weekend in St. Louis, Missouri.

Kaiser Youth Market Study

2005-05-23T14:13:00.000-04:00

Youth Market

a. According to a Kaiser Family Foundation Study released in 2005, 74% of 8
to 18 year olds listen to the

Radio…. That’s more than listen to a CD, tape, or MP3 player

b. The Kaiser Study also found that 84% of 8 to 18 year olds have a Radio in
their bedroom -- that’s more

than have a TV (68%) and a lot more than have a computer (31%)

c. Over one-third of 12 to 24 year olds noticed stations playing fewer
commercials (36%) and shorter

breaks (39%) in the Arbitron/Edison Media Spot Load Study

d. The same Spot Load Study found that younger listeners (12 to 24) are more
likely to increase Time Spent Listening to Radio when a decrease in spot
loads is perceived

NY Radio billing

2005-05-23T14:09:00.000-04:00

Here are BIA's estimated 2004 ad revenues for New York stations. The number in parenthesis is where that station finished in the last Arbitron ratings.

1. WLTW $70.2 million (1)

2. WINS $60.6 million (7)

3. WCBS-AM $55.7 million (17)

4. WFAN $52.5 million (20)

5. WXRK $52.2 million (12)

6. WHTZ $48.6 million (6)

7. WQHT $40.8 million (4)

8. WPLJ $39.6 million (20)

9. WKTU $38.4 million (14)

10. WSKQ $36.9 million (2)

11. WCBS-FM $34.1 million (9)

12. WAXQ $33.5 million (10)

13. WRKS $28.8 million (3)

14. WQCD $27 million (16)

15. WBLS $25.5 million (13)

16. WABC $24 million (8)

17. WWPR $23.9 million (5)

18. WOR $19.6 million (19)

19. WQXR $15.4 million (15)

20. WPAT-FM $14.8 million (10)

21. WMCA $8.3 million (36)

22. WNEW $7.9 million (22)

23. WEPN $7.8 million (29)

24. WADO $7.7 million (23)

25. WBBR $5.1 million (30)

26. WCAA $4.1 million (18)

27. WLIB $4 million (24)

28. WWRL $2.7 million (36)

29. WQEW $1.9 million

Originally published on May 23, 2005

Charlotte Post Image persist

2005-05-13T05:01:00.000-04:00

CoolNavBar by Georges Auberger (http://www.auberger.com) -->You are here: Home > Arts & Entertainment

Alter State of Hip HopWar over words, image persistsBy Cheris F. Hodges cheris.hodges@thecharlottepost.com
Back in the day, the message in hip-hop was clear: Don't push me because I'm close to the edge.
Hip-hop star and Charlotte Bobcats minority owner Nelly is part of urban music's new breed.
associated press photo/andrea a. dixon
Nowadays, hip-hop is a myriad of messages, and critics say that message is violence, drugs and sex.
"There is an imbalance in the message," said Paul Porter of Industry Ears, a consortium of entertainment and broadcast industry professionals dedicated to promoting justice in media. He added that 75 percent of hip-hop songs played on broadcast radio have a message of sex, drugs and violence and that's marketed to teens.
"And the whole theory that broadcasters tell the public is bull," he said. "You can turn your radio off, but those are public air waves. And there are too many other ways for children to get the negative information."
Porter recalled hanging out with his 8-year-old nephew who was on the Internet watching a Ying Yang Twins video. "Parents can't be with their children 24 hours a day," he said.
But music videos and radios are always around. On Charlotte radio, songs like Trick Daddy's "Sugar (gimme some)" and the Ying Yang Twins "Wait (The Whisper Song)" are popular not just on urban station like WPEG (98) FM, but hit music stations WNKS (95.1) and WIBT (96.1).
Porter said this shows radio stations aren't to blame for what's played, but their parent companies.
"We're being held under corporate hostage. I don't blame WPEG, I blame Infinity (the parent company of WPEG and WNKS). They send a corporate play list in," Porter said.
Essence Magazine has launched a yearlong look into how the images portrayed in hip-hop songs and videos effect young women.
At press time, an editor from the magazine had not returned a call to the Post. But according to the web site, "When we search for ourselves in music lyrics, mixtapes and DVDs and on the pages of hip-hop magazines, we only seem to find our bare breasts and butts. And when we finally get our five minutes at the mic, too many of us waste it on hypersexual braggadocio and profane one-upmanship. The damage of this imbalanced portrayal of black women is impossible to measure. An entire generation of black girls are being raised on these narrow images. And as the messages and images are broadcast globally, they have become the lens through which the world now sees us. This cannot continue."
But Joe Wiggins, director of urban communications for TVT records, home of the Ying Yang Twins and Lil' John and the Eastside Boys, said if people don't like the music, they don't have to listen to it or buy it.
"Because of the way hip-hop has grown, its critics have grown 10 fold," Wiggins said.
"Everyone always has an opinion. But I don't think any organization in America should believe in censorship."
WPEG morning show host "No Limit" Larry Mims said some of the same people who complain about the music aren't doing anything to give artists an alternative.
"They're not offering the artists any jobs," he said. "It's not our job to be the parents. If you don't like the artist, don't buy the CD and don't support the artist."
WPEG, said Mims, won't play certain songs that have suggestive lyrics during the daytime. "We play those songs at night when the kids should be in the bed. We do keep the kids in mind."
When "Wait" hit the airwaves, Wiggins said that it was because the song was leaked from a recording session.
"I don't know if it would have been released to radio," he said.
The song, which has an infectious beat and very provocative lyrics, has drawn sharp criticism.
Wiggins said the artists didn't record "Wait" to be malicious and public demand was strong enough for the label to release the song.
When asked if record companies have a moral responsibility about the songs it releases, Wiggins didn't have an answer.
"That's a good question," he said. "I think that's debatable and should be asked of all genres of music."
Mims said the debate over hip-hop lyrics shows that the genre is in the forefront. "They talked about Rock and Roll the same way," he said. "It wouldn't make sense to attack something at the bottom."
Other Arts & Entertainment Articles in this Issue: Exhibit a look into teens' frame of mind
News Business Life/Religion Arts&Entertainment Sports Health Editorials Classifieds Home Demographics Calendar of Events Feedback Black Guide

NY TIMES on Hip Hop

2005-05-13T01:54:00.000-04:00

Published: May 12, 2005African-American teenagers are beset on all sides by dangerous myths about race. The most poisonous one defines middle-class normalcy and achievement as "white," while embracing violence, illiteracy and drug dealing as "authentically" black. This fiction rears its head from time to time in films and literature. But it finds its most virulent expression in rap music, which started out with a broad palette of themes but has increasingly evolved into a medium for worshiping misogyny, materialism and murder. Readers<http://graphics8.nytimes.com/images/article3/readers_opinions_header.gif>Forum: Today's Editorials <http://forums.nytimes.com/top/opinion/readersopinions/forums/editorialsoped/todayseditorials/index.html?page=recent>This dangerous narrowing of hip-hop music would be reason for concern in any case. But it is especially troubling against the backdrop of the 1990's, when rappers provoked a real-world gang war by using recordings and music videos to insult and threaten rivals. Two of the music's biggest stars - Tupac Shakur and the Notorious B.I.G. - were eventually shot to death.People who pay only minimal attention to the rap world may have thought the killings would sober up the rap community. Not quite. The May cover of the hip-hop magazine Vibe was on the mark when it depicted fallen rappers standing among tombstones under the headline: "Hip-Hop Murders: Why Haven't We Learned Anything?"The cover may have been prompted in part by a rivalry between two rappers that culminated in a shootout at a New York radio station, Hot 97, earlier this spring. The events that led up to the shooting show how recording labels now exploit violence to make and sell recordings.At the center of that Hot 97 shootout was none other than 50 Cent, whose given name is Curtis Jackson III. Mr. Jackson is a confessed former drug dealer who seems to revel in the fact that he was shot several times while dealing in Queens. He has also made a career of "beef" recordings, in which he whips up controversy and heightens tension by insulting rival artists.He was following this pattern in a radio interview in March when a rival showed up at the station. The story's murky, but it appears that the rival's entourage met Mr. Jackson's on the street, resulting in gunfire.Mr. Jackson's on-air agitation was clearly timed to coincide with the release of "The Massacre," his grotesquely violent and misogynist compact disc. The CD cover depicts the artist standing before a wall adorned with weapons, pointing what appears to be a shotgun at the camera. The photographs in the liner notes depict every ghetto stereotype - the artist selling drugs, the artist in a gunfight - and includes a mock autopsy report that has been seen as a covert threat aimed at some of his critics.The "Massacre" promotion raises the ante in a most destructive way. New artists, desperate for stardom, will say or do anything to win notice - and buzz - for their next projects. As the trend escalates, inner-city listeners who are already at risk of dying prematurely are being fed a toxic diet of rap cuts that glorify murder and make it seem perfectly normal to spend your life in prison.Critics who have been angered by this trend have pointed at Jimmy Iovine, the music impresario whose Interscope Records reaped millions on gangster rap in the 90's. Mr. Iovine makes a convenient target as a white man who is lording over an essentially black art form. But also listed on "The Massacre" as an executive producer is the legendary rapper Dr. Dre, a black man who happens to be one of the most powerful people in the business. Dr. Dre has a unique vantage point on rap-related violence. He was co-founder of Death Row Records, an infamous California company that marketed West Coast rap in the 1990's and had a front-row seat for the feud that led to so much bloodshed back then.The music business hopes to make a financial killing on a recently announced summer concert tour that is set to feature 50 Cent and the mega-selling rap star Eminem. But promoters will need to make heavy use of metal detectors to suppress the kind of gun-related violence that gangster artists celebrate. That this lethal genre of art has grown speaks volumes about the industry's greed and lack of self-control.But trends like this reach a tipping point, when business as usual becomes unacceptable to the public as a whole. Judging from the rising hue and cry, hip-hop is just about there.

HOT 97 NY Daily News Errol Louis

2005-04-29T17:44:00.000-04:00

Hot 97 feeling a cold snap

Hot 97, the hip-hop radio station whose offensive antics have resulted in community petitions, protest rallies and calls for a crackdown by government regulators, just got more bad news - this time from state Controller Alan Hevesi, who as sole trustee of the state's $120 billion Common Retirement Fund controls 225,000 shares of Emmis Communications, the parent company of Hot 97.

Hevesi has fired off a heated letter to Jeffrey Smulyan, the president of Emmis, essentially telling him to clean up Hot 97's act - or else.

"As a shareholder, I am concerned that the judgment displayed by management as of late [at Hot 97] has not been in the best interest of the business," Hevesi says in the letter. "Are the directors of the board aware of the station's programming and the subsequent public outcry?"

The letter goes on to ask pointed questions about drops in ratings and advertising that have cost Hot 97 money in recent months. Emmis has publicly acknowledged losing millions because companies like Sprint pulled their advertising from Hot 97's morning show in reaction to a song parody ridiculing victims of December's tsunami in openly racist terms.

Three cheers for Hevesi.

It's about time Emmis was held accountable for the lax or nonexistent supervision of its deejays and producers, who have written and aired disgusting, demeaning material like the song parody.

Emmis also has to answer for the real-world violence that has taken place at Hot 97, including two shootouts in front of the station by groups egged on by its deejays. Not to mention the sickening, now-discontinued, in-studio "smackfest" contest, in which listeners were offered cash to smash one another in the face.

Smulyan still doesn't get it.

"While we will be providing a prompt response to Controller Hevesi, many of the questions raised in his letter have already been publicly answered," an Emmis spokesman says.

Although two low-ranking employees were fired after the tsunami incident, the Coalition Against Hate Media - the group that alerted Hevesi in the first place - is still calling on Hot 97 to fire Miss Jones, the hostess of the morning show that aired the song. Also missing is a clear, public, zero-airplay policy by Emmis for staffers and guests who engage in, or encourage, violence.

There is a long, honorable tradition of pension funds using their clout to make callous companies adopt, and live up to, a higher standard of corporate behavior.

Shareholder pressure persuaded major corporations to pull out of South Africa during the apartheid era. Right now, a coordinated campaign is underway by a major shareholder coalition, the Social Investment Forum, to make big corporations lower pollution emissions as a way to fight global warming.

A shareholder campaign targeting irresponsible media firms may be the fastest way to show out-of-control companies like Emmis that filling the airwaves with thoughtless, offensive garbage isn't a viable way to do business.

Originally published on April 28, 2005

Infinity turns TALK to PODCASTING in San Fran

2005-04-27T11:49:00.000-04:00

Wednesday, April 27, 2005

Infinity Launches Podcast-Programmed
Radio Station

Starting on May 16, Infinity will shift the programming of Talk KYCY/San Francisco from its current predominantly syndicated lineup to a wide-open slate of content created exclusively by listeners.

Listeners will upload podcasts they create on any topic to a website being launched exclusively for the venture www.kyouradio.com. From there, Infinity will review and select which programs to air on the station, with programming guided by listener interests and feedback. Additionally, the station's programming will be streamed on the website.

Infinity CEO Joel Hollander says, "We're always thrilled when we can incubate new programming ideas and bring them to life on our radio stations in ways we never before imagined. There is a profound shift underway in the way we use technology that allows everyone to have a voice. We envision KYOURADIO not only as a place to hear a fresh and new perspective created from the outside, but an outlet with which to foster the creativity of undiscovered talent from all walks of life."

Infinity spokesperson Karen Mateo tells R&R that show topics could include politics, current events, music or just about anything else. "It can take any shape of form," she says. "It's like blogging, but in an audio format."

Infinity plans to have advertising on the station.

Listeners can begin uploading podcasts to the site starting today.

Indy Promotion sues Universal

2005-04-27T07:34:00.000-04:00

Radio Promoters Accuse Universal of Racketeering

Tue Apr 26, 2005 03:01 AM ET

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LOS ANGELES (Reuters) - Two independent music promoters have sued Universal Music Group for $100 million, claiming the record company forced them to submit false invoices so Universal could recoup promotional costs from artists such as rapper Nelly.

The suit raises "pay-for-play" issues similar to those being probed by New York Attorney General Eliot Spitzer in a wide-ranging investigation into whether record companies have broken U.S. law by paying radio stations to play their songs.

The two promoters, National Music Marketing Inc. of Los Angeles and Majestic Promotions Inc. of Atlanta, Georgia, claim they were forced to doctor invoices that then allowed Universal to bill promotional costs to artists whom the promoters never represented.

"What (Universal) was doing was defrauding their artists -- some of their biggest artists," plaintiffs' lawyer David J. Cohen said on Monday.

"I'm sure (rapper) Nelly is not going to be too happy that they were taking money out of his promotion budget to pay for promotions for other artists -- money that he had to pay back from his royalties," Cohen said.

The lawsuit said that when National and Majestic refused to submit fraudulent invoices, Universal fired them and told radio stations not to do business with the promoters.

"They bullied these promoters into submitting false bills," Cohen said. The suit accuses UMG of racketeering, fraud, trade libel and breach of contract.

A spokesman for UMG could not immediately be reached for comment.

Federal law prohibits radio stations from taking bribes to play specific songs unless the transaction is made public. But for decades, record labels have used independent promoters as middlemen to get more air time for their artists.

Each time a song is played, the record labels pay promoters who, in turn, pass along the money indirectly via thousands of dollars they shell out for advance copies of radio station play lists, according to the lawsuit.

In New York, Spitzer has served subpoenas on major record companies including Universal Music Group, Sony BMG Entertainment, the EMI Group and the Warner Music Group.

Cohen said the Attorney General's office has contacted his clients. He said Universal drove National Music Marketing, one of the nation's largest promoters, out of business last year. Majestic was "hanging on by a thread" after being defamed by Universal executives, he added.

Universal Music Group is a unit of French communications company Vivendi Universal (EAUG.PA: Quote, Profile, Research) . Sony BMG is part of Sony Corp. (6758.T: Quote, Profile, Research) The EMI Group Plc (EMI.L: Quote, Profile, Research) is a publicly owned entity and Warmer Music Group is privately held.

© Reuters 2005. All Rights Reserved.

The GAME slapped with 280 Million dollar suit

2005-04-24T16:45:00.000-04:00

50 Cent and The Game Sued Over a Smash Hit
April 22, 2005

"Hate it or Love it" is 50 Cent and The Game's newest hit, and the video version is featured on The Game's debut CD, "The Documentary." But an extended version on 50's CD, "The Massacre," is apparently too much for one Maryland man to take.

Kwasi Jones claims The Game and a crew of more than 20 assaulted him and a radio DJ after an interview back in January at a station near Washington D.C. He claims The Game then rapped about it in a song.

"I'm still trying to get over the situation and the song doesn't help," Jones said.

Kwasi claims The Game bragged about the beating, but then begged for mercy during the video's premiere on BET, saying, "This is my public apology. To all the people at Radio 1, I'm being sincere; we're sorry about what happened in D.C. It'll never happen again."

Kwasi claims the rage erupted after The Game's manager thought the DJ was making fun of his hi-tech earpiece by making a "Star Trek" Vulcan sign.

Kwasi says they escaped into an office, but when he went back to get a cell phone, the beating resumed.

"Next you know I'm being choked from behind very, very hard, to point where I'm blacking out," Jones said. "But just to be choked like that, you know it was intentional. I think it was to kill me."

So on his behalf, attorneys Stephanie Moran and Gregory Watson are suing The Game, 50 Cent and the record labels of Dr. Dre and Eminem for $280 million dollars, alleging assault and battery, intentional infliction of emotional distress and negligence for both the alleged beating and the song.

"The irony of this is in The Game's song, he says, 'Hate it or love it, the underdog's on top.' Well, he's really going to hate it when my client Mr. Jones ends this on top," Moran said.

The civil lawsuit is one thing. The Game also has to keep on top of a criminal case. Prosecutors in Prince George's county, Maryland, have formally charged him with assault on the DJ.

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	<script> </script>

SaY OUCH IT HURTS!

2005-04-22T13:42:00.000-04:00

Ouch it Hurts -Open letter to Music Industry
By Paul Porter of IndustryEars.com

Seem strange that the majority of comments on the topics that involve job security
and growth. Very few think of longevity and how to evolve and survive. Year by year jobs are cut and
devalued without even a blurb. Salaries are at an all time low while mouths continue to roar with no rhyme
or reason. You can’t figure out where your going if you don’t know where you been.

Case in point , let’s start with programming and the demise of Black programmers. How is it that Radio One
continues to hire a white PD in LA without the eyeballs of the industry taking notice? Yeah I heard
the defense from the band of idiots before. Tom is great he’s a winner. Jay Stevens is the best. John
Dimick’s ratings have not suffered. Wake the f*c* up you band of idiots and realize these jobs are your
jobs. It never happens in country radio that a Black PD makes that kind of switch. It never happens that
way in CHR not ever. We continue to hide behind our paltry salaries and never stand up for a damn thing
anymore. Hip Hop is our culture and we continue to see our slide go unnoticed without even a whimper.

Suckers are born everyday and Radio has the largest bunch. Toby Mayo in New York leads the charge as Emmis
has kept it’s hands lilly white in succesion with Steve Smith, Tracy Cloherty and now john Dimick.
Coincedence or calculated move? If you ask Mayo he will tell you he hired the best man. Rick Cummings
might as well have a string connected to his puppet sized GM. Case and point in LA with the departure of
Scorpio and the substitution of Calicocci. Mary Catherine pulls another KKK like coo and you continue
to roll over.

How about the country’s big monster Clear Channel and their Black leadership? Oh yeah you say Doc Wynter
with a smile right? Wrong again he is the Director of programming without VP stripes. You figure.

Look at the picture on the big boy’s corporate websites not a Black face on the Board of Directors at
Clear Channel, Emmis or Infinity. Hell billion dollar Bob Johnson never held a seat at Viacom and now he is
gone. I think it is time to start looking at things in Black and White your color PC is effecting your
vision. Salaries are down and you have to have worked in the biz for a minute to truly understand that so
don’t even comment unless you have played this game for over 10 years.

By now your pissed already thinking of a way to defend the truth. Jay Stevens is great because brothers made
him that way! Ask Reggie Rouse if he makes one fourth of Jay’s salary. Ask Mary Catherine how she creates
and controls the largest Black broadcast company in America. Ask Barry Mayo why he hired a country/smooth
jazz dude to handle HOT97. I have heard from all of you stand for nothing negroes before with the same old
comment… I got a check.

Personally I see the big stick being shoved up many a radio ass without a word. A real man would say ouch
but many continue to say damn what else can I do. I love my job.

Viacom's one for the price of three

2005-04-20T17:34:00.000-04:00

Viacom Paid Top 3 Execs $160M in 2004
04.18.2005, 04:14 PM

Viacom Inc., the media conglomerate that owns CBS, MTV and VH1, paid
its
chief executive Sumner Redstone $56 million last year, a 58 percent
increase over the year before, even though the company's stock price
fell 18 percent in 2004.

Viacom also posted a net loss of $17.5 billion for 2004, weighed down
by
multi-billion dollar charges to write down the value of its radio and
outdoor advertising portfolios as well as its video rental business,
Blockbuster Inc., which it has since split off to shareholders.

In addition, Viacom also awarded rich pay packages to Tom Freston and
Leslie Moonves, who where named last year to be co-presidents and
co-chief operating officers of Viacom following the departure of former
chief operating officer Mel Karmazin.

Viacom is proceeding with plans to split itself into two companies,
which Freston and Moonves are expected to lead. Both Freston and
Moonves
each received compensation packages last year that were worth $52
million. Comparable amounts were not available from the year before,
when both executives held lower posts.

According to Viacom's annual proxy statement, which it released in a
securities filing Friday evening, Redstone received a salary of $4.97
million last year, along with a bonus of $16.5 million and stock
options
valued at $34.4 million.

Freston received a salary of $4.2 million, a bonus of $16 million and
stock options worth $32 million. Moonves took home a salary of $5.8
million, a bonus of $14 million and stock options worth $32 million.

In total, the three executives received about $160 million in
compensation in 2004.

Even in the world of media conglomerates, which are known for hefty pay
packages, Viacom's compensation to its top executives stood out.
Earlier
this month Time Warner Inc., whose stock rose 8 percent last year,
disclosed that it paid its CEO Dick Parsons a total of $16.2 million
last year, up 17 percent from 2003.

"If you're looking for pay for performance, you better go someplace
else, because you're not going to find it at Viacom," said Patrick
McGurn, executive vice president at Institutional Shareholder Services,
a firm that advises major investors on corporate governance and other
issues.

"They're not paying one CEO, they're paying three, in essence," McGurn
said. "You're getting one for the price of three."

A company spokesman did not immediately return a call seeking comment.

Who Should Run Urban Radio?

2005-04-19T18:47:00.000-04:00

Tuesday, April 19, 2005

Who Should Decide What's Indecent?

During an NAB conference panel on broadcast indecency this morning, Emmis Chairman/CEO Jeff Smulyan said the issue of who should dictate what constitutes indecent programming is just as difficult as determining what programming violates the FCC's indecency regulations.

In a reference to Emmis' CHR/Rhythmic WQHT/New York (Hot 97), he asked whether a "64-year-old Congressman from Tupelo, MS," who likely doesn't relate to an Urban station's young audience, could or should have the power to set standards for that station. He pointed out that the station's audience is similar to those of TV shows like Fear Factor or Celebrity Boxing in that it seeks out a type of programming that only appeals to certain segments of the population.

Smulyan also noted that society has become "more coarse" over the years and has changed a lot since the 50s, when shows like The Adventures of Ozzie and Harriet were on TV.

Clear Channel CEO Mark Mays added that considering the 24-hour nature of the radio business, the industry should be credited for the few instances of indecency that actually arise. Both Mays and Smulyan also said both of their companies carefully train their airstaff and have policies their talent must follow to protect them and the company from drawing indecency fines.

Maybe Jeff Smulyan is letting us know that broadcasters along with Congress don't have a clue. The comments of the Emmis CEO clearly let us know that broadcasters along with Congress don't know the audience that brings in billions. The comparision to "Fear Factor and Celebrity Boxing" mirrored the comments of Rick Cummings President of programming made on Hannity & Colmes on March 9th. During that interview Cummings also stated that he is a 50 year old white guy who does not understand the Hip hop culture.

By the way I worked for Emmis for two years and never received one minute of training. Maybe it is time to let broadcasters know that the Urban audience has more on the brain then sex, violence and drugs.

Drop Jeff or Rick a note and let them know.

Jeff@emmis.com
Rick@emmis.com

Contents counts at Reebok and Harvard

2005-04-19T00:30:00.000-04:00

LYRICS UNDO DEALS FOR 50 CENT;
SNOOP: Reebok scraps 50 campaign;
Harvard rescinds Snoop invite.
*The folks at Reebok and Harvard
University have bowed to pressure put
on by groups who have protested recent
deals with controversial rappers.
Reebokâ€™s much-hyped ad campaign
in the UK starring 50 Cent and his nine
gunshot wounds was canceled following
the roar of anti-violence group Mothers
Against Guns. The commercial, part
of Reebok's "I Am What I Am" campaign,
features the G-Unit leader counting to
nine, in reference to the nine bullet
holes in his body.
The spot was initially defended
by the company, which said that "it
references what he has had to overcome
to reach his global iconic status," but
Mothers Against Guns founder Lucy
Cope argued the ad "glamorizes gun
crime. My son died of one bullet.
50 Cent is very lucky to be shot
nine times and survive."
Meanwhile, Harvard University's
Undergraduate Council had invited
Snoop Dogg to perform on campus
next month, but decided to pull the
after some students voiced objections
to his love of all things pimp.
CBS reports that a number of
students on the Ivy League campus
had issues with such pimp-friendly
songs as "Can You Control Yo Hoe,"
a ditty from Snoopâ€™s latest CD "R&G
(Rhythm & Gangsta): The Masterpiece."
The song includes the line "If she won't
do what you say, why aren't you
slapping her?"
However, a short statement by
the Harvard University's Undergraduate
Council makes no mention of Snoopâ€™s
lyrics as the culprit. It attributes the
dis-invitation to financial considerations
and unavoidable obstacles.

NY DAILY NEWS "Singing a different tune"

2005-04-18T23:46:00.000-04:00

Singing different tune

The record labels and media broadcasters that have gleefully blessed and promoted a tidal wave of cultural garbage in recent years - conveniently looking the other way when the bullets start flying - might finally be on the verge of understanding the level of public disgust over their irresponsibility.

One hopeful sign emerged over the weekend, when a standing-room-only crowd filled a midtown hotel ballroom to join a dozen or so entertainment industry heavyweights in a discussion of hip hop's role in contributing to real-world violence. The panel was part of the annual meeting of the Rev. Al Sharpton's National Action Network.

Instead of offering the usual whiny evasions, nearly all of the panelists admitted that, yes, the record labels, cable broadcasters, radio stations and fan magazines have spent years selling words and images of violence toa young and impressionable audience, with tragic results.

Brooklyn author Kevin Powell, who spent four years writing for Vibe magazine in the 1990s, put it bluntly. "Everyone in this room who's worked in the industry at some point has blood on their hands," he said. "Who's going to be responsible here?"

Panelist Robin Kearse, a former Arista exec, said she was shocked recently to catch her 9-year-old son playing Grand Theft Auto, a hyperviolent video game. "We're marketing adult content to children," she said. "We have another generation of kids growing up without boundaries."

Dave Mays, the owner and founder of The Source magazine, correctly assigned much of the blame to giant record labels. "What's available in the marketplace is very limited in scope, and it's being controlled by a very small number of corporations," he said. "When the public airwaves become hostage to a record label, you have a serious problem."

Barry Mayo, the general manager of Hot 97 radio station, who brought his two young sons to the forum, invited the public to send complaints about violent lyrics or deejay banter on the station to him directly.

"I read every letter I get. I don't get very many," he said.

Consider that an invitation to let Mayo hear how you feel about the sickening tsunami parody, the degrading Smackfest game and the two shootouts between rival rap groups in front of the station's headquarters.

Mayo's address at Hot 97 is 395 Hudson St., 7th Floor, New York, N.Y. 10014; E-mail should go to hot97@hot97.com.

Direct contact works.

Just last week, readers of thiscolumn sent a flood of messages to Balloon Saloon, astore selling the offensive Ghettopoly board game.

The store agreed to stop selling it.

"The artists with the most negative messages are getting the most marketing support," saysKirsten Foy, a young political organizer affiliated with Sharpton who is building a national campaign to combat violence in hip hop.

People outraged over the way much of hip-hop music has descended into an orgy of obscenity, women-hating and real-world violence should join the campaign - and keep the heat on.

Hip Hops image

2005-04-14T21:59:00.000-04:00

The time for a music industry change obviously is now. Is it just me or an abundance of disturbing news surrounding music? In recent months media has tighten the fist and continues to squeeze out bad news.

Many eyes opened with the recent blunders of the infamous HOT 97 in New York. The ill timed Tsunami Parody made national news and shined a bright light on the radio game and its lack direction.

HOT 97 “Smackfest” and Tsunami parody are just the tip of the iceberg that has been steaming downhill for the past ten years. Smackfest ran for months on HOT 97 in NY had contestants slapping each other for cash prizes. Smackfest for months was posted proudly on HOT97.com home page. Radio has made it a point to desensitize the urban landscape. First the steady diet of mind altering product. The acceptance of gangster coupled with the demise of conscious rap. More sex, drugs and violence shaping lives and images.

Radio’s defense has been laughable at best. Rick Cummings, President of Emmis Radio division for years has been lauded as the Hip Hop guru. Cummings was instrumental in giving Hip Hop a radio home. Cummings led the charge at Power 106 in Los Angeles and later flipped the switch on New York’s HOT 97. The two top cities gave Hip Hop a home. Cummings to this day still does not understand the music and certainly not the culture.

In early March Rick Cummings appeared on Hannity & Colmes cable’s top rated show. Cummings quickly defended Smackfest as part of Hip Hop’s culture. Admitting to millions that “there are a lot of things about the hip-hop culture that I cringe about. Look I am a fifty year old white guy”.

Could you imagine Bill Gates on 60 Minutes defending dial up over DSL? Broadcast executives should know their product and marketplace. Cumming’s statement was alarming. Radio’s top executives only defense is that Hip Hop makes money. The effect is not needed when the bottom line is Hip Hop’s billion dollar industry. Radio will continue to promote Black on Black crime and hate until someone derails the train.

Creative media minds have faded at warp speed. Bet’s new fall line up will include media mogul Damon Dash ripping off gold chains in an ‘Apprentice” like Amos and Andy reality show called “Ultimate Hustler”. BET just announced the cancellation of “Nightly New” that has been a part of the network for over ten years.

Former Def Jam executive Lyor Cohen will host his own reality show that will amplify that Hip Hop has no stars. A reality Hip Hop show, can you say cancellation? Stars in Hip Hop are created by marketing dollars and radio airplay. Hell the Ying Yang Twins whisper there way up the charts with “Wait”.  The stars of Hip Hop are the executives that have stuffed a water downed product down our throats. Every type of music has suffered a major dry spell Hip Hop’s time is now.

HOT 97 in 2004 had a promo running that puts the current state of Hip Hop in a nutshell. During New York City’s 3^rd grade city wide testing the HOT 97 morning show interviewed a young third grader. The clever morning show asked do you know the first Black President. The third grader responded with a pause and a nervous no. The morning show quickly sighed and then asked do you know how many times 50 cent was shot? Of course the youngster quickly responded with “NINE” to a room full of applause. HOT 97 then featured that segment in a station promo that stated “Who says HOT 97 does not influence the community”.

Can you imagine being say 10 or 12 years old idolizing 50 Cent like generations before loved Michael Jackson. Michael’s credibility and fame came from talent and the moonwalk. 50 Cent took nine shots to fame and fortune. Michael’s image led to karaoke and millions trying to moonwalk. Today’s youth take pride in following 50 Cent and taking a bullet if need be.

Choose a current mainstream Hip Hop story. I am sure you will find sex and violence as the hook. We are all being played by the media. History repeats itself. TV Western’s shaped the image of the American Indian as drunken head chopping savages. John Wayne quickly became and American icon. Who could forget Tarzan swinging through the jungle out smarting Africans in their native land? “Me Tarzan you Jane” not exactly the brightest fellow controlling the Motherland… By the way MTV launches next week in Africa. Hollywood also created Superfly and a series of exploitation before the Cosby show. Hopefully Hip Hop is in its Superfly stage now because its image is in need of face lift.

BET drops Nightly News

2005-04-13T20:32:00.000-04:00

BET Dropping 'Nightly News'
Associated PressWednesday, April 13, 2005; Page C08
NEW YORK, April 12 -- BET is canceling its "Nightly News," saying it instead will offer news briefs throughout the day, specials about newsworthy events and an urban affairs show, "The Cousin Jeff Chronicles," that will run four times a year.
Robert Johnson, founder of the leading cable channel for black viewers, said the change does not represent a reduction of BET's news commitment. He said it would improve how BET offers news.
Start of rightcontent.inc

"With 24-hour news networks and everyone getting news off the Internet, our audience doesn't want to wait until 11 p.m. to find out what the news is," said Debra Lee, BET president and chief operating officer.
As its executives explained in a sales presentation to advertisers here on Tuesday, BET targets black viewers ages 18 to 34, with music programming as its primary offering. Lee said the network had not decided what would replace "BET Nightly News" when it ends this summer.
In recent years, BET has canceled other public affairs programming such as "Lead Story" (now replicated by host Ed Gordon on National Public Radio) and "Teen Summit," noted Richard Prince, who writes the online column "Journal-isms" for the Robert C. Maynard Institute for Journalism Education.
BET also fired "BET Tonight" host Tavis Smiley in 2001 after a dispute about Smiley offering a newsworthy interview to ABC instead of BET.
Lee said that "hopefully people will work with us and we'll find a way of doing the news in a way that works."

Congress working to rewrite Telecommunications Act

2005-04-13T14:32:00.000-04:00

HOUSE COMMERCE COMMITTEE Chairman JOE BARTON (R-TX) says he wants to "re-think the old rules" and "Start from scratch" in a sweeping rewrite of telecommunications laws. BARTON told an audience at a FEDERAL COMMUNICATIONS BAR ASSOCIATION luncheon TUESDAY (4/12) that he hoped to get a rewrite of the 1996 Telecommunications Act approved by Congress by AUGUST. "We'll start with a clean piece of paper and see if we can come up with an enhancement or substitute," BARTON said, although NATIONAL CHAMBER OF COMMERCE Pres. THOMAS DONOHUE said he does not expect reform of the rules to be passed this year.

MTV goes to Africa

2005-04-12T15:18:00.000-04:00

How MTV Underdeveloped Africa:

Pistols, Pimps and Pan Africanism

Min. Paul Scott

A.F.R.I.C.A. Angola, Soweto, Zimbabwe, Tanzania, Zambia, Mozambique and Botswana.

So let us speak....about the Motherland -Stetsasonic

Almost a century ago, the Honorable Marcus Garvey had a vision of a Pan Africanism that would unite all African people under a social, political and economic system of racial pride. In 2005, MTV has realized Garvey's dream with its own version of Pan Africanism: a world filled with Black men shooting at each other and scantily clad Black women, 'droppin it like it's hot.'

On April 20th, MTV will formally celebrate its recent launch of MTV Base, a local African network that is broadcast to over 40 African countries, with a massive 'Death' Jam in tha Motherland. However, based on the history of the media’s propaganda attack on Afrikan people, as well as MTV's role in the mental destruction of African children in America, this endeavor must be viewed with skepticism by those who realize that genocide is not only physical but a mental and spiritual reality, as well.

For my parents and grandparents the image of African people on the continent was one of a bunch of cannibals with bones in their noses chasing a white man in a loin cloth, swingin' from trees and hollerin' like he's lost his darn mind. As a child, I can remember 'Archie Bunker's daughter ' (Sally Struthers) making me feel so bad about starving Ethiopian children that I would break open my piggy bank so that I could get 50 cents so some poor child would have dinner that night. I didn't know that in some parts of Africa our Brothers and Sisters were chillin' in phat cribs watching cable tv.

For African people on the continent the image of Afrikans in America is that of a bunch of heavily armed Black men who only stop fighting each other long enough to put a dollar in Chocolate Thunda's thong at tha strip club. When Afrikans in America meet our Brothers and Sisters from "the continent' we have a fear that they may be considering to literally, have us for lunch. This misinformation by the MEDIA (MisEducation Destroying Intelligent Afrikans) has resulted in a deep distrust amongst Afrikan people, globally.

MTV'S role in anti-African propaganda cannot be overstated, from its humble beginnings in the early 80's when the only Black videos they showed were by Michael Jackson to the present where, as Fred Sanford would say, 'they got more Black folks than a Tarzan movie' MTV has, undeniably, helped shape the world's image of African people.

In its heyday, YO! MTV Raps, showed the world the diversity of Hip Hop and the pleas for Black unity of the Self Destruction video outweighed the sexually explicit 2 Live Crew joints. But the good ole days of MTV Raps is over and Kool Moe D's 'I never ever ran from the KU Klux Klan, so I shouldn't have to run from a Black man' lyric has been replaced by Lil John's ode to Black on Black violence' If ya fall up in tha club and them niggaz wanna mug. When ya step to they face...what they gonna do????'

Although MTV is promoting this endeavor as part business/part humanitarian effort, there are several reasons why the humanitarian aspect is subject to scrutiny. According to news reports MTV base will include performances by local groups to showcase Africa's rich culture. However, one must ask how much rich local talent doing positive Hip Hop is shown on MTV in America ? Also, it was stated that MTVbase will show programing focusing on Africa's AIDS epidemic. It seems hypocritical that a network that is known for videos that promote reckless ' Freak-a-leekin' in America would adopt such a puritanical ethic when across seas. You can't get on the plane in America as Paris Hilton and get off the plane, in Africa as Mother Teresa. It just doesn't work that way. One might also argue that if MTV Base is so Afrocentrically positive, then maybe it is needed more in the United States , where Black children have been exposed to MTV's ugly side for more than a decade, than in Africa.

Yet, while we may bemoan MTV's African Odyssey, the question that we must ask ourselves is why has MTV and Hip Hop in general, succeeded in uniting African people in ways that Garvey never dreamed and why have we not successfully applied these techniques in our effort to reach Black youth.

The failure of the Black Nationalist community to come up with a International Hip Hop Agenda cannot be overlooked. Why hasn't the Black Nationalist community implemented simple strategies such as a Hip Hop Peace Council that will be responsible for squashing "beefs" or groups of Black Power 'missionaries' in communities that will seek dialogue with Hip Hop artists when they travel to different cities.

The lack of a Hip Hop agenda makes many Black youth feel that Black scholars are more interested in teaching Black folks how to build pyramids out of soup cans and paper glue then teaching them how to use Hip Hop to change their realities. In the words of Doughboy from 'Boys in the Hood' 'either they don't know. don't show or don't care about what's goin' on in tha 'hood. '

Unless, we as Afrikan people develop a Pan Africanism to counter MTV's Pan Africanism, company's like MTV will continue to get rich off of our suffering while we continue to dance to our own destruction.

Minister Paul Scott represents the Messianic Afrikan Nation in Durham NC. He can be reached at (919) 949-4352. Email minpaulscott@yahoo.com

Emmis Radio LA sets a raunchy record

2005-04-09T03:08:00.000-04:00

KPWR LA's #1 spins Trillville "Some Cut" 101 times in 7 days!

Do the math 14 times in 24 hours

Trillville Lyrics
Some Cut Lyrics
[Chorus]What it is hoe, ah what's up (what's up)Can a nigga get in them guts (them guts)Cut you up like you ain't been cut (been cut)Show your ass how to really catch a nut (oh yeah yeah)Well give me you number and I'll call (I'll call)And I'll follow that ass in the mall (in the mall)Take you home, let you juggle my balls (my balls)While I'm beatin and tearin down your walls (oh yeah)[Verse One]This your boy Mr. Funkadelic, what's the business babyI've been eyeing you all day in the mall miss ladyYou looking good, I think I seen your ass in the hoodWith your friends dressed up, trying to front if you couldBut anyway, gone and drop a number or somethingSo I can call you later on,on your phone or somethingTake you home, and maybe we could bone or somethingIt's no limits to what we do,cause tonight we cutting, gut bustingI'm digging in your walls something visciousWith your legs to the ceiling, catch a nut someting seriousYou delirious,or might I say you taste so deliciousWith your pretty brown skin, like Almond Joys and KissesAnd you ah certified head doctorNumber one staller that takes dick in the ass and won't hollerBend you over and I"ll follow you straight to the roomWhere it goes down lovely in the Leagon of Doom[Chorus][Verse Two]Shit, you know the deal before a nigga even steppedDamn that ass hot, seems like it's gone meltYou know I give it to you til you run out of breatheThen bust a nut all over yourselfThe first time I called, you were juggling on my ballsIn and out of your jaws, I was beating down your wallsHad your ass breaking laws for a player was the causeAnd every time you seen a G you was slipping off your drawers, I recallI met your ass at the mall, in the fallYou the one with the dress on, let me take you homeShow your ass how to buss a nut, up in the gutsCut you up like you ain't been cutFrom the back (back) then to the side (side) to the frontTurn around,you got me rightI smack them thighs, anyway that you want meSo gone see about a pimp and that monkeyAnd that's fo' sho'[Chorus][Verse Three]What's the buiseness baby, can I get in them drawesI like the way your hands rub against my ballsCause you the one, a nigga met at south dekalb mallWith your pretty brown skin, thick thighs and all135 petite, and your smell is uniqueMaybe we can exchange numbers and hook up in the weekOh, You a freak, I knew it from the first time I saw youThe way you played with your tongue, I knew right then I would call youSo what it is, they call me Super Don from the villeAnd I'ma tell you like this, cause a nigga so real, and stay trillCause all I wanna do is just drill, with that ass in the air, and the pussy I killAnd I feel, you love to fuck up on a hillSuck dick from behind, and take nut in your grillSo bitch chill, and shut your mouth just for a secondWhile I lay this dick down on you just like I'm Teddy[Chorus]

A Great radio story!

2005-04-06T21:27:00.000-04:00

Teenage girls spin the dial toward positive lyrics
By April Austin
Staff writer of The Christian Science Monitor

High on a hill overlooking triple-decker houses and hairpin streets, a handful of girls from the predominantly African-American and immigrant-rich Dorchester neighborhood of Boston are giving their own spin to radio. These are the young women of Radio LOG 540 AM, a low-power station that sends out a high-decibel message of respect and empowerment for girls.These are young women on a mission. Conceived by three teenage girls fed up with the bad-mouthing of women and girls in rap and hip-hop songs, the station has expanded to include 12 girls and a 12-week course in media literacy through the Log School. It was launched in February with much fanfare.It's late afternoon on a Monday, and the girls - ages 13 to 18 - come straight from school to spend the next 3-1/2 hours in this small room. After grabbing sandwiches from atop a file cabinet, they divide up the day's tasks under the proud eye of Pat Younger and Steve Drayton, two of the station's adult advisers. Radio LOG is on the air from 4 to 7 p.m., and the girls write public-service announcements, conduct interviews and chat sessions, and play music that sends a positive message to girls.Today, Melissa Martin sits at the board and spins Cape Verdean music, while her teammates quickly settle into a rhythm. Jandira Cardosa takes on the job of producer, and Azia Carle, the youngest team member at 13, will read local news of interest to teens. Dalida Rocha, who at 19 has already graduated from high school, comes in frequently to lend a hand. Today, she's going over an already vetted pile of CDs to help figure out the play list. Atop the stack is Alicia Keyes.Rap music is everywhere, says Stephanie Alves, one of the founders, who's now a freshman at Boston College. "Kids as young as 5 are going around singing these [sexually explicit] lyrics, and they don't know what they're saying."Ms. Alves, along with Ms. Rocha and Mary Lewis, decided it was time for a change. They wanted an alternative to radio stations that played endless rap and hip-hop songs that depicted women as sex objects and fashion accessories.So two years ago, they took their idea to Larry Mayes, director of the Log School in Dorchester. The timing couldn't have been better, as Mr. Mayes was looking for a way to add a radio station to the school's programs. An all-girl radio station was born.The station, which was enthusiastically endorsed by Boston Mayor Tom Menino, has plans to take its broadcasts to the Web, possibly in the summer. Expanding its current 1-square-mile range would be a boon, but the girls say they're already reaching peers in the neighborhood."We want them to trust themselves," says Rocha. "If the girls change, if they stop listening to rappers [who] disrespect them, then [eventually] the industry might pay attention."The young women insist that they're not out to tell people what to listen to or to preach against rap, but to offer alternatives.Mayor Menino says Radio LOG is successful because "it's teenagers speaking to teenagers, not just a program handed down by adults."Rocha and others say they still listen to rap, such as 50 Cent and Li'l Kim, but they're much more aware of the lyrics and of what message they take in. And they find few rap or hip-hop artists whose songs meet the standards for Radio LOG's format. "I like the beat, but these singers still put girls down," Rocha says.The tools for analyzing these images are taught in Ms. Younger's Media Minds course, which she says walks a line between the practical aspects of running a station and the academic work of dissecting media messages. From the start, she has seen an immediate rise in her students' self-esteem. They begin to see how the media, especially advertising, can set the tone for music and images that degrade women, she says."We all understand the power of words," says Danene Washington of Youth Entertainment Studios in Chesapeake, Va., which designed the radio-training curriculum used by R-LOG. "Words seep into your spirit

BET Steps to new lows... A gold chain emphasis

2005-04-06T00:04:00.000-04:00

Game on for "Ultimate Hustler"

by Julie Keller
Apr 5, 2005, 9:55 AM PT

What happens when The Apprentice goes hip-hop?

It becomes The Ultimate Hustler.

a d v e r t i s e m e n t

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BET has announced the launch of a new series that The Hollywood Reporter calls a "hip-hop version of The Apprentice."

Hustler is a cut-throat competition between would-be business people that will hosted by Roc-A-Fella Records C.E.O. Damon Dash. In the now-infamous Donald Trump role, Dash will create his own version of the famed "You’re fired" line by yanking Roc-A Fella gold chains off the necks of the losers.

The show will debut later this year.

Hustler is one of several new shows being launched by the network, marking the first time the 25-year-old cable channel has introduced original programming. According to the Reporter, the network plans to introduce a new series every three months.

Also on tap is Remixed, a makeover series featuring guest stylists and life coaches with a hip-hop flavor. Remixed will be the lead-in to Hustler.

And, starting April 21 is Blowin' Up!: Fatty Koo, a show that follows the development of a new band signed by Sony Music.

"We realized if we're going to make our mark, it's in original programming," Executive VP of Entertainment and Music Programming Stephen Hill said in a statement. "We know it's ambitious, but it's a long time coming."

Network execs say that with these changes, they hope to make BET a network for all ethnicities, particularly those in the coveted 18- to 34-year-old demographic, not just the African American community.

"Hip-hop crosses all ethnicities," Robyn Lattaker-Johnson, vice president of programming development, told the Reporter. "We are talking about the black community, but we all know there are a lot of urban white kids who are watching what we're doing."

NY POST HOT97 CEO admits "screw ups"

2005-04-01T10:52:00.000-05:00

CEO SMACKS DOWN HOT 97
By NEIL GRAVES

Jeff Smulyan, head of Emmis Communications which owns Hot 97 (WQHT-FM), told a Banc of America Securities conference Wednesday that he'd "never seen a couple [of] screw-ups like what we've seen in New York," according to Radio & Records, a newsletter that tracks the radio industry.

Hot 97 broadcast a "Smackfest" — featuring two women standing toe to toe, slapping each other silly for a $5,000 jackpot — and the boneheaded "Tsunami Song" — a mockery of the victims and survivors of the horrific south Asian disaster by a morning-show host and crew.

"The 'Tsunami Song' was an egregious mistake," said the Indianapolis-based Smulyan, according to the newsletter. "We're not proud of it."

Smulyan, nonetheless, said the latest preliminary ratings book, which shows the station's rating jumping 0.6 to 4.8, is "wonderful."

"It happens," he said of the negative publicity. "In any business over a course of time, you're going to have things that go really right and things that go really wrong. The ironic thing is, if you look at the Arbitrend ratings that came out two days ago Hot 97 had a wonderful book.

"I can tell you that it wasn't part of our plan to have this controversy that would increase our ratings, but clearly it has affected us."

Hot 97 has taken a series of hits this past year. Gunfire outside the station's West Village studio in 2001 resulted in rapper Lil' Kim being found guilty last month — for lying about the shootout.

As her trial played out, more shots were fired outside the station between supporters of rapper 50 Cent and his rival protege, The Game.

The live "Smackfest" was discontinued, but the video was streamed over the Internet until last week. Smulyan said the station has been losing revenues to its sister station, adult contemporary KISS 98.7, the newsletter said.

Additional reporting by Philip Recchia

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April 1, 2005 -- The CEO of controversial rap station Hot 97 — awash in negative publicity especially from its recent brutal "Smackfest" segments — said staffers at his top-rated station have been behaving like "screw-ups."

"The 'Tsunami Song' was an egregious mistake," said the Indianapolis-based Smulyan, according to the newsletter. "We're not proud of it."

Smulyan, nonetheless, said the latest preliminary ratings book, which shows the station's rating jumping 0.6 to 4.8, is "wonderful."

"I can tell you that it wasn't part of our plan to have this controversy that would increase our ratings, but clearly it has affected us."

Hot 97 has taken a series of hits this past year. Gunfire outside the station's West Village studio in 2001 resulted in rapper Lil' Kim being found guilty last month — for lying about the shootout.

As her trial played out, more shots were fired outside the station between supporters of rapper 50 Cent and his rival protege, The Game.

Additional reporting by Philip Recchia

NY DAILY NEWS "Give Rap a Break"

2005-03-31T15:54:00.000-05:00

Give rap a break

Hip-hop culture doesn't deserve its recent bad press

The No. 1 rapper 50 Cent (above) has been targeted by critics because a member of his rival, The Game's (below,) posse was shot.

Acts like LL Cool J don't deserve the bad press that rap has gotten lately.

A lot of the folks who have been unloading on rap music and hip-hop culture in the last few weeks have been enjoying this beat-down just a little too much.

Now it's true that some rappers have not been doing their music any favors. While verbal posturing has always been part of rap, just like it was always part of "Dirty Harry" and John Wayne Westerns, the fun stops when the guns are real and loaded. Firing guns at anyone is bad business.

But hotheads with guns don't define hip hop any more than steroid junkies define baseball, and for all the talk about a dangerous hip-hop "crisis" right now, that turns out to be a confluence of unrelated events spread over several years.

It started because the most popular rapper of the moment, 50 Cent, cultivates an image of danger. He's also funny and self-aware, and the fact he strikes up verbal feuds with fellow artists only means he's doing something that was done years ago by Bing Crosby, Frank Sinatra and John Lennon.

But a few weeks ago, after 50 publicly criticized The Game, a member of Game's entourage was wounded by gunfire outside radio station WQHT.

This gave critics a twofer. Not only could they blast 50, they could pounce again on Hot 97, which they say fans the flames of conflict, making itself part of an axis of cultural evil.

Hot 97, in defense, says that its listeners demand the most popular records and demand that the station ask the tough questions of the most popular rappers. If Hot's deejays don't, their rivals over at Power 105 would be only too happy to step in.

More to the point, neither Hot nor Power created hip-hop culture and it's problematic how much they shape it. If they changed their formats tomorrow to German oompah music, hip hop would march along exactly as it's marching now.

But Hot 97 is a lightning rod for critics, who fold together a handful of incidents over several years, some serious and some minor, to give the rather misleading impression that every day at Hot 97 plays like the opening scene of "Saving Private Ryan."

It's safe to say the current "crisis" will subside, as did the trumped-up "rap concerts are war zones" furor that dogged Run-DMC in the mid-'80s and the "rappers are out to destroy society" furor that followed Ice-T's "Cop Killer" in the early '90s. Today, of course, Ice-T plays a cop on television.

But the criticism will continue, because a lot of people just don't like rap. They think it's noise, no melody, not music at all. You know, all the things people once said about jazz and rock 'n' roll.

And that's fine. Everyone gets to like what they like.

With rap, though, the dislike often seems to go past the music to the people who make it. Rappers are viewed as dangerous. Because of their visibility, they become surrogates for everything people find disquieting about young people, urban youth and white kids who pick up on black culture.

Some recent criticism pinpoints exactly who or what in rap has gone out of line. That's fair, at times accurate, and deserves serious discussion.

But much of the criticism indicts all rappers and further carries the insulting implication that rap fans take nothing from the music except swaggering self-promotion, derogatory slaps at women and verbal violence.

Sure, fans hear all of that. You can't miss it. They also hear a lot more, which critics don't.

The huge majority understand, for instance, that violence in entertainment is a device, not a behavioral blueprint.

From the ancient Greeks up through opera, folk songs, detective novels and television, entertainment media have focused on excess, that is, behavior beyond normal standards, as a way of making a point.

WHY IT MATTERS

Audiences get this. Rap audiences get this. If violent lyrics really had the direct impact its critics warn about, America's streets would be knee-deep in dead rap fans - just as movie theaters would have been knee-deep in corpses after "Beverly Hills Cop" and living rooms every Sunday night after "Deadwood."

What we really need to do is take a step or two back and remember why hip hop, a style that's been under constant fire for 30 years, not only thrives today but has become our dominant popular music.

Because it speaks to its listeners.

Over 30 years it has said an enormous number of compelling things, some profound and some not, to tens of millions of people of all colors and persuasions.

From the love songs of LL Cool J and Usher to the hard rhymes of Public Enemy to the humor of Snoop Dogg, with a hundred thousand party and road mixes in between, hip hop has survived because it matters to its listeners. When it doesn't, and not before, it will go away.

Originally published on March 27, 2005

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LEFT

COO of HOT97 calls it a "screw up"

2005-03-31T07:11:00.000-05:00

Thursday, March 31, 2005
Jeff Smulyan Admits Revenue Drop After 'Tsunami Song' Fiasco

The head of Emmis Communications yesterday commented on the recent problems at CHR/Rhythmic WQHT (Hot 97)/New York, telling those in attendance at the Banc Of America Securities conference that he's "never seen a couple screw-ups like what we've seen in New York" -- namely the now-infamous "Tsunami Song" parody and a "Smackfest" promotion. Smulyan said, however, "It happens. In any business over a course of time, you're going to have things that go really right and things that go really wrong. The ironic thing is, if you look at the Arbitrend ratings that came out two days ago, Hot 97 had a wonderful book. I can tell you that it wasn't part of our plan to have this controversy that would increase our ratings, but clearly it has affected us."
Smulyan also notes that WQHT has seen some loss in business but has made some strides. "Some of the business we lost at Hot went to [Urban AC sister WRKS] Kiss, but I can't defend it," he said. "The 'Tsunami Song' was an egregious mistake; we're not proud of it." The Indianapolis Star recently reported that, according to unnamed Emmis officials, the company lost "millions" in advertising over the controversy surrounding Hot 97.