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GUEST COMMENTARY
Money, Black Power and radio
By
Iyanna Jones
Published Aug 14, 2008 10:52 PM
The August 2008 issue of Black Enterprise featured an article entitled
“Money, Power & Black Radio: How Steve Harvey and Tom Joyner Capture
Your Ears and Dollars” written by George Alexander. In the article
Alexander points out the viability of Black radio in today’s
market—despite the seemingly obvious challenges.
As is the case with the approach to many of the problems affecting Black people
in America today, the article addresses the “symptoms” and treats
them as the focus rather than reaching deeper to present an accurate analysis
of the problems facing a medium that has always been under siege.
The article cites “a rapidly changing industry” and ‘brutal
competition” as some of the major obstacles facing Black radio today. It
claims that the medium “can survive through syndicated programming and
bold entrepreneurial moves.”
But what causes these inequities? There are stations that are doing well
despite the market’s overall slump. So why is it that with all the sound
business models they could emulate, Black radio still struggles? Why has it
historically had difficulty competing despite the fact that Black music (or
urban, as it is called today) is one of the most popular genres in the
world?
The article makes no mention of the historically inequitable treatment that
Black radio station owners receive at the hands of Arbitron, the radio ratings
system which discounts Black-owned and -programmed radio stations through
inaccurate, outdated and racially biased measurement systems. Nor does it
mention the Madison Avenue executives who render Black radio unprofitable by
refusing to pay premium advertising rates, even though these stations enjoy the
largest audience across the board.
Alexander points out that Black radio suffers because a Beyonce, for example,
can be heard on many mainstream stations and that listeners need not tune in to
exclusively Black-programmed stations to hear her music. But it neglects to
deal with the aspects that historically set Black radio apart from all other
radio in the first place and that are now nonexistent: serious Black talk and
personality radio.
During its golden age Black radio was exciting because it allowed listeners to
hear new music; it made listeners enthusiastic about the listening experience
because the jocks viewed their uniqueness as a strength. Now we’re forced
to hear the same ten songs by the same five artists over and over, played by
disc jockeys who promise not to talk too much.
Today’s mainstream Black radio does not deal with Black issues in the
unapologetic manner that helped it make a connection with the community. Bob
Law’s show, Night Talk, was popular not solely because it was syndicated.
It was popular because Bob Law’s approach to politics and culture was
relevant, and the show’s content was potent. Comparing the availability
of a Black crossover pop artist to the availability of the kind of political
content and local coverage offered from the 1960s through the 1980s does us a
disservice.
As pointed out in the Black Waxx Multimedia, Inc. film “Disappearing
Voices: The Decline of Black Radio,” it is not simply the artists or the
jocks who are disappearing. Nor is it simply their absence that renders Black
radio impotent. It is the fact that the voice of the community they represent
has no forum.
Racism and inequality
The Alexander article sought to treat the predicament of Black radio as merely
an economic one, when in fact politics and America’s inherent racism are
to blame. Even from an economic standpoint we must go back to the beginning of
Black people’s presence in this country. While whites owned businesses
and set up institutions, Blacks were forced to work for free. Even at the point
of the emancipation of the enslaved there were no programs set up so Blacks
could “catch up.”
The disparities grew exponentially as time passed. When radio spectrum licenses
were first given out, Blacks were excluded. We can’t imagine there is a
level playing field in the radio industry today when there is still a need for
affirmative action in the workplaces and educational institutions across the
nation.
The answer to conglomeration and racism is not an updated business model. The
National Association of Black Owned Broadcasters complains about the monopoly
that conglomerates like Clear Channel enjoy, but there is more to the story
than that. Arbitron and Madison Avenue work to keep Black radio poor,
patronizing it with substandard rates to maintain their false face of
diversity. White-owned media enjoy proliferation while Black-owned radio
struggles to stay afloat. Meanwhile NABOB members won’t go for the
jugular because they need the crumbs the ad execs dangle in front of them in
order to survive.
How can the station owners be sure of their audience when they can’t
trust the people measuring them? And if Arbitron’s numbers can’t be
trusted, how many times will station owners continue to change their format
without questioning the fact that no matter what they play they get paid the
same substandard rates for airtime?
Another factor that isn’t taken into consideration is the role the
Federal Communications Commission plays–or doesn’t play. The FCC is
supposed to protect the interests of the public by seeing to it that radio
station owners operate with some level of responsibility to the public, which
includes offering programming that serves the community as well as protecting
station owners from being forced out of business by monopolies. Clear Channel
and Infinity Broadcasting are stark evidence that the FCC is not doing that
job. In the article there is no mention of holding this government body
accountable.
The fact is most people may not listen to the radio anymore because they sense
a lack of loyalty on the part of these owners. A huge sector of the Black
population wants more from Black radio than relationship guidance, gossip,
comedy and Jesus. They want to be taken seriously from a political perspective.
They want radio that reflects their local issues.
They don’t want Black-faced radio that furthers a
white-business/political/cultural agenda. They want Black radio that reflects
what is best and brightest about their community. You can’t have that if
a guy who’s never been to their town and who doesn’t know about the
young boy who was killed by police that week is on the radio during all the
prime times. Meanwhile coverage of local activists who make positive changes in
the community is replaced by gossip jocks whose sole contribution to the
airwaves is “who’s sleeping with who, who’s gay, and whose
breasts are fake.”
We need to make room for our best and brightest. There are too many charismatic
and informed individuals who need access to the microphone. Regardless of the
success of a few chosen ones, if we settle for anything less, we can’t
really call it Black radio with a clear conscience.
The writer is with Black Waxx Multimedia, Inc. and appeared in the
documentary, “Disappearing Voices: The Decline of Black Radio.” Go
to www.disappearingvoices.com. Email:[email protected].
Articles copyright 1995-2012 Workers World.
Verbatim copying and distribution of this entire article is permitted in any medium without royalty provided this notice is preserved.
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