To get a black to program a record by a black independent label is as close to impos-sible as one can get without falling off the edge of the earth. In most instances, it would be easier for the black record manor artist to become the grand dragon of the Klu Klux Klan or/and have ex-Governor George Wallace fix him up with his sister.

At this moment black radio is playing Simply Red, Michael Bolton, New Kids on the Block and the Beastie Boys because it fits their programming, it's what the black community wants (?), it figures into their demographics, etc. On the same note, black/urban whatever....radio will not touch the new Bobby Bland LP even though it's the biggest selling record in Chicago for the past three weeks. Why not??? It's too black!! Picture this ... B.B. King walks into his house, strolls over to his mother with out-stretched arms and says "I love You" …She responds by kicking him in the nuts and shouting "Don't touch me-You're too black." That's just how inane this shit has become.

Black programmers classify black rec-ords, but don't classify white records, keep-ing alive the "White is right, Black stand back" syndrome. If you tell a black pro-grammer that you have a blues/R'n'B rec-ord, he acts as though you've just told him that you have AIDS. Blues is now synony-mous with inferior in their book. They also act as though you have deep-rooted psychological problems if you have a blues label. Music directors refuse to accept calls from blues companies and when they do, they seize this moment to sharpen their rudeness.

I've talked to a multitude of these silly assholes in the hope of showing them the handwriting on their paycheck I've said things like "When you lose your job, you are not going to be hired by white radio"...."New Kids on the Block are not coming to your block to help stamp out whatever needs stamping out this week because they are not part of your community. They appreciate the support of the black community, but they have commitments in their own back-yard which get priority. The majors, whom you've substituted for the massa in hope of being granted eternal radio life is going to have to let your black silly ass drag ground in the guises of good business, so you'd better make some roots in your own commu-nity. Being shitty to other blacks does not secure you a place in "white heaven" be-cause no one has any deep-rooted respect for someone who does not respect his own.

Blues fans support John Lee Hooker, Albert Collins, Albert King, Etta James, B.B. King, Johnny Taylor, Denise LaSalle, etc., but if the blues had to depend on black programmers, all of these people would be homeless. Whenever the masses are allowed to hear or see the blues R 'n' B acts, they buy the records and pay the cost of admission. How can it be said that blues/R'n'B ain't shit, don't sell and the audience is miniscule when Robert Cray's last two LPs were RIAA gold certified? Right now their are some black MD's going "who the fuck is Robert Cray?"-your next social worker, you dumb motherfucker because you are welfare bound....that's who he is!

The concept of urban radio has been grossly distorted. I had a programmer tell me that he wasn't going to consider listening to a particular album because he didn't like the LP cover. It didn't fit his urban concept of an album jacket. In urban radio an artist has to be either a Bobby Brown or a Paula Abdul clone via looks and sound. I'm in agreement with everyone else that Bobby Brown is one of the most talented artists produced by our troubled 80's, but even he gives other music forms and musicians credit for being entertaining. Little Milton is too black for urban radio, but Simply Red is just right. Barry Mayo (V-103) had the guts and insight to give Chicago a mixture of it all including blues/R'n'B and, as a result, he's kicking everybody's ass in the market. He knows how to mix and match, plus he has the nerve to be an individual....That's why he is the programmer's programmer.

Black record shops (mom and pops) have almost become extinct because MD's don't play black/R'n'B any more. It hasn't hit them that they are running their entrepre-neur mothers, fathers, friends and some damn nice strangers out of the world backwards. The majors don't spend the reported four thousand dollars with Gemini Records (Chicago), etc., for in-store promotion and play as they do with the mall stores. Major blues legends are walking the back streets crying for work. Aspiring blues/R'n'B musicians peep in quickly and see the ruins of their heroes and run like thieves in the night. In spite of this, the blues live on....It's
far from being dead and the irony is that it's a reprieve form death attributed to Eric Clapton, Rolling Stones, Stevie Ray Vaughn, Thunderbirds, Don Johnson, Bruce Willis, etc., who all happen to be earning a million dollars a minute performing the blues. With much pride they identify their roots as Muddy Waters, Howling Wolf, Joe Turner, John Lee Hooker, Lightning Hopkins, Jimmy Reed and soon and so on ....Then why are we ashamed to claim these roots? If Mick Jagger can give us credit, why can't we give credit to ourselves? Black programmers, black MD's ....wake up! Wipe that shit out of your eyes and pick the boogers out of your ears and program the motherfuckin' radio. Stop waiting for a pat on the head by Mr. White. When you put your station in a money making plus category, start getting those 12.7's and 15.5 Birch and Arbitrons, you'll get what you already feel you deserve now, but why should you get it now when you're trailing a Spanish, two news/talk, two top forty's, one religious and the number one station in your market is country. Until you give your community what it needs from you and your radio, you will continue to suck in your market like a two dollar whore. If you don't believe me, consult your unem-ployed predecessors.

-Swamp Dogg

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