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LeBron James $75,000 a Week Anguilla Beach House (Pics)

Radio Facts: This is what $75,000 a week will get you for this summer beach house. TMZ Sports reports. The property comes with a...

Spotify's Unique Direct Floor Listing Risky or Progressive?

Radio Facts:Launched 12 years ago, Spotify (SPOTIFY TECHNOLOGY S A SHS SPOT: NYSE) currently has 157 million customers and is slated for continued growth...
Steve Harvey Turned $50 into $50 Million Doing One Damn Thing

Steve Harvey's Harsh Memo to Former Chicago Staff Could have Current On-Air Team Imodium...

rfocus.orgI was going to hold off on this story because so many other sites are running it and bashing Steve for his arrogance.As many of you know I am not a big fan of The Steve Harvey Morning Show. Out of all the syndicated shows on Black radio, his show is the hardest to listen to because of Steve's broadcast communication defects and complete non-radio approach. To be honest, I've heard better podcasts from people who have never been on the radio but there is an audience for Steve, obviously, so it is what it is and God bless em. A memo that he sent to staff in Chicago, a majority of which or all of whom he terminated for his move to LA with little warning backfired when one of them released the memo to Chicago journalist Robert Feder. In all fairness, several of Harvey's points are valid but we also don't know how the staff perceived him overall.I'm predicting a couple of the heads on the current radio morning show will roll as I have heard many complaints about too many people on the new show and if Steve is like this to his off-air staff ... the on-air staff must REALLY be walking on eggshells and having multiple bowel breaks. This type of amped arrogance has to be stressful for the people who have to deal with it. No doubt Harvey is surrounded by a plethora of glute suckers and everybody is afraid to tell him to 'STFU Mr. Dentures!'A memo that he sent to his staff in Chicago, a majority of which or all of whom he terminated for his move to LA with little warning, backfired when one of them released the memo to the press. Harvey's requests are quite harsh and full of arrogance and lead-singer-divatry but at least he starts the memo off nice.Good morning, everyone. Welcome back.I’d like you all to review and adhere to the following notes and rules for Season 5 of my talk show.There will be no meetings in my dressing room. No stopping by or popping in. NO ONE.Do not come to my dressing room unless invited.Do not open my dressing room door. IF YOU OPEN MY DOOR, EXPECT TO BE REMOVED.My security team will stop everyone from standing at my door who have the intent to see or speak to me.I want all the ambushing to stop now. That includes TV staff.You must schedule an appointment.I have been taken advantage of by my lenient policy in the past. This ends now. NO MORE.Do not approach me while I’m in the makeup chair unless I ask to speak with you directly. Either knock or use the doorbell.I am seeking more free time for me throughout the day.Do not wait in any hallway to speak to me. I hate being ambushed. Please make an appointment.I promise you I will not entertain you in the hallway, and do not attempt to walk with me.If you’re reading this, yes, I mean you.Everyone, do not take offense to the new way of doing business. It is for the good of my personal life and enjoyment.Thank you all,Steve HarveyYes, this is bad. Extreme to say the least. Creates a hostile working environment when you're afraid to talk to the host of the show. "Personal life and enjoyment" or WORK! Who cares about his personal life when a job has to be done.
Steve Harvey Turned $50 into $50 Million Doing One Damn Thing

Steve Harvey’s Harsh Memo to Former Chicago Staff Could have Current On-Air Team Imodium...

rfocus.orgI was going to hold off on this story because so many other sites are running it and bashing Steve for his arrogance.As many of you know I am not a big fan of The Steve Harvey Morning Show. Out of all the syndicated shows on Black radio, his show is the hardest to listen to because of Steve's broadcast communication defects and complete non-radio approach. To be honest, I've heard better podcasts from people who have never been on the radio but there is an audience for Steve, obviously, so it is what it is and God bless em. A memo that he sent to staff in Chicago, a majority of which or all of whom he terminated for his move to LA with little warning backfired when one of them released the memo to Chicago journalist Robert Feder. In all fairness, several of Harvey's points are valid but we also don't know how the staff perceived him overall.I'm predicting a couple of the heads on the current radio morning show will roll as I have heard many complaints about too many people on the new show and if Steve is like this to his off-air staff ... the on-air staff must REALLY be walking on eggshells and having multiple bowel breaks. This type of amped arrogance has to be stressful for the people who have to deal with it. No doubt Harvey is surrounded by a plethora of glute suckers and everybody is afraid to tell him to 'STFU Mr. Dentures!'A memo that he sent to his staff in Chicago, a majority of which or all of whom he terminated for his move to LA with little warning, backfired when one of them released the memo to the press. Harvey's requests are quite harsh and full of arrogance and lead-singer-divatry but at least he starts the memo off nice.Good morning, everyone. Welcome back.I’d like you all to review and adhere to the following notes and rules for Season 5 of my talk show.There will be no meetings in my dressing room. No stopping by or popping in. NO ONE.Do not come to my dressing room unless invited.Do not open my dressing room door. IF YOU OPEN MY DOOR, EXPECT TO BE REMOVED.My security team will stop everyone from standing at my door who have the intent to see or speak to me.I want all the ambushing to stop now. That includes TV staff.You must schedule an appointment.I have been taken advantage of by my lenient policy in the past. This ends now. NO MORE.Do not approach me while I’m in the makeup chair unless I ask to speak with you directly. Either knock or use the doorbell.I am seeking more free time for me throughout the day.Do not wait in any hallway to speak to me. I hate being ambushed. Please make an appointment.I promise you I will not entertain you in the hallway, and do not attempt to walk with me.If you’re reading this, yes, I mean you.Everyone, do not take offense to the new way of doing business. It is for the good of my personal life and enjoyment.Thank you all,Steve HarveyYes, this is bad. Extreme to say the least. Creates a hostile working environment when you're afraid to talk to the host of the show. "Personal life and enjoyment" or WORK! Who cares about his personal life when a job has to be done.
ATLANTA: The Nation’s Urban Radio Capital

ATLANTA: The Nation’s Urban Radio Capital

rfocus.orgBy LaMonte Hayes and Kevin RossEveryone knows that Atlanta has been making great strides over the last few decades as the black music mecca. It’s not surprising that TV and film production followed. Now the city reigns among broadcast markets with the most Black radio stations in the nation.
To say the market is interesting is an understatement. There is a total of eleven stations that are either Black or leaning Black now competing for the greatest piece of the listenership pie. While local listeners must be thrilled with their options, this is an incredible challenge for the corporations, programmers, DJs and particularly account executives in the market. Competition is particularly fierce when concerts by top Black artists come to town.

How can eleven stations avoid clashing when it comes to requesting artists for shows and appearances? It’s not possible. “Having this many stations in the market certainly keeps you on your toes. I actually like the challenge,” one radio programmer told us. But other programmers that we’ve talked to around the country state the opposite; they see this many stations as causing way too much stress and non-stop work. But as many of us in the radio realm know, there are many people who are addicted to the radio industry, who live and breathe it, and enjoy the competition. The programmers in the market have to be some of the best in order to survive.
 
Atlanta is also the leader in broadcasting the most nationally syndicated Black radio shows, including those hosted by Tom Joyner , Rickey Smiley, Michael Baisden, Ed Lover, Willie Moore Jr., and others.  
 
Yes, some of the best Black radio is in Atlanta. The reasons for it come directly from the competition. As program director, Reggie Rouse of V103 (WVEE) tells Radio Facts: “The Atlanta market is extremely competitive. To stay ahead of the pack, we invest in our air talent. We believe in personality radio, being in the community, and focusing on what happens here in A.T.L..”
 
Rouse’s approach has proven effective. V103 has held the top spot in the market for many years, even beating out non-Black stations; but looking at its PPM (Nielsen’s Personal People Meter) ratings, the station is definitely being challenged by the ten other Black, or “Black leaning,” stations in the market. In this context, “Black-leaning” means a pop or rhythmic station that plays a large proportion of Black music but has broader target audience in addition to African Americans.
 
“When something does happen in Atlanta, listeners come to V103 first,” Rouse continues. “We are the Internet for the African American community … music, entertainment, news, sports and even inspiration. We have an emotional connection with our audience. And that’s what makes V103 unique. That’s why we are the People’s Station.”

The current plethora of Black broadcast signals in the Atlanta metropolitan area services an exploding population of 5.7 million people, per 2016 census estimates. This top ten radio market ranked the ninth largest in the country, plays host to the following:
  • Two classic hip-hop stations, WUMJ and WWWQ
  • Two Black adult stations, WALR and WAMJ, which simulcasts on another signal
  • Four Black stations, WSTR, WHTA, WVEE and WRDG, which simulcasts on another signal
  • Urban oldies Old School 87.7
  • One gospel outlet, My Praise 102.5
  • One Black AM talk station WAOK

In addition, an independent low-power FM, W233BF-FM (Streetz 94.5), is making a name for itself by going against the usual research grain and playing unknown artists to a limited but crucial part of Atlanta, something that the other stations with their comparatively herculean signals are unable to do. Streetz rounds out the 360 degrees of Black radio programming in a market that manages to cater to everyone’s musical appetite. Not even New York City can boast that type of Black radio presence.
 
“Streetz 94-5 debuted in June of 2012 to fill a void. It’s best known for playing the street/ club/ party music first before any other Atlanta radio station,” explains Steve Hegwood, PD of Streetz 94.5. “For many years Atlanta has and continues to dominate the hip-hop world. Streetz 94-5 is in the forefront of that movement by supporting many of our Atlanta artists as they blow up and take over the radio coast to coast.”
 
Hegwood is an industry entrepreneur who owns two stations in Atlanta. The low-power FMs basically cover a relatively small area of the city, but Hegwood constantly comes up with brilliant concepts to capitalize on their reach, like using a TV station’s signal to transmit audio. Further, Hegwood has been able to nab local advertisers that may not be able to afford time on the bigger corporate stations or on stations trying to reach hardcore hip-hop fans, or both, putting his station in a great position to compete. His stations are so well programmed and uniquely positioned that, like David versus Goliath, they have become strong competitors among Atlanta’s radio giants. Hegwood told Radio Facts, “Atlanta is extremely competitive with at least eleven stations targeting the Black audience, fighting for audience share and advertising dollars. Every day is a new experience. Through the grace of God, we continue to succeed.”
 
Streetz plays local music first, giving homegrown musicians (mostly hip-hop artists) a major advantage because the market is a well-known launching pad for Black music. That doesn’t mean the artists automatically get played on all the radio stations. However, Hegwood one of the most respected programmers in the industry for his creative hustle as an entrepreneurcan take a lot more chances than the corporate stations. He is well connected with the artists, both local and national, and in the best position to fast-track local artists to national fame. Streetz is credited with creating several hip-hop giants. “We are extremely proud of the success of Future, 2 Chainz, Gucci Mane, Rich Homie Quan, YFN Lucci, Dae Dae, The Migos and many others coming soon.”
 
Of course, in order to remain competitive in the radio game stations have to play by a set of rules. But Hegwood is “The Little Engine That Could” among Atlanta’s profusion of Black stations because he uses his leverage as a small station to reach a specific target: hardcore hip-hop fans within a small but valuable radius in the city. In addition, Hegwood’s radio career includes positions with some of the same corporations he is competing against, enabling him to create a sound that’s just as big as that of the behemoths.

On the other end of the musical spectrum, Hegwood also has a great-sounding adult station in Old School 87-7, which plays classic R&B  from the ‘70s, ‘80s and ‘90s with only the best hip-hop titles. Old School 87-7 has only been on the air for just over a year and is experiencing incredible success. The station features market veteran Porshe Foxx.
 
Radio Advertising Challenges
 
Radio sales executives in Atlanta have long said the market is experiencing a declining ad revenue base, given the number of stations. One account executive said, “There is only so much radio advertising in the market for these targeted demographics and the climate is really tough for us with all the competition.” Meanwhile, advertisers are enjoying a bonanza as they have many choices for its targeted demographic. It’s currently anyone’s guess as to who will win the ad-sales war in the Black radio marketplace.

Another issue with the current avalanche of Black radio signals in the market is that two stations have air personalities who are homegrown Atlantans
, seasoned broadcasters who hold down the fort and are staples in the community representing competition at its best, as real radio is live and local.  Both Greg Street and DJ Nabs are long-time on-air staples with rich histories in the market.  

In today’s broadcast climate of national programmers, consultants, and national radio playlists composed by large radio conglomerates, Atlanta is still one of the few radio markets left that dances to the beat of its own drum.Atlanta’s Black radio is famous for giving real radio exposure to local independent artists with a buzz. Other markets’ local artists are often pigeonholed into a mix show only on weekends or late nights — pacifying everyone without truly giving the music a fighting chance. In Atlanta, this scenario is the opposite. Several artists can flourish and grow on a national platform, due to the support of the expansive programming approach in the new Black mecca.

There is no doubt that Atlanta, now a well-rounded entertainment market, will continue to dominate Black entertainment culture.
 
The Break-Down: Understanding the Modern Day Music BUSINESS 1

The Break-Down: Understanding the Modern Day Music BUSINESS

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rfocus.orgI was recently asked to tackle a question that seems to have reared its ugly head again: "Lamonte, where do you see the breakdown in today's music business?"

I decided to compare our modern-day music business to the circumstances of the Charles Dickens novel "A Tale of Two Cities." This infamous novel is based upon two classes of people who occupied the same geographic space and their two different worlds. One class was the French peasants who were demoralized by the French aristocrats, the more privileged class of people, in the mid-1800s. I continued giving the example, as today Black music would fall into the peasantry class in comparison to other genres of music, which comprise the "majority" or aristocrats of the music business.

"MORE TIMES THAN NOT, URBAN RADIO WAITS ON SOMEONE WHO ISN’T REPRESENTATIVE OF THE GENRE OR someone outside of radio TO SAY THAT A RECORD IS HOT, AND THAT WE SHOULD EXPOSE THIS TO THE CULTURE."

When I use the term "Black music" I MUST include the recording artists, recording business or record companies, radio stations, and now digital platforms.

Let’s break down this true "Tale of Two Cities" as it pertains to the music industry.

The first and most important factor in this breakdown is that the music industry isn't about music anymore! The entire focus is on business and not music. A large majority of today's recording artists have one goal in mind, and that’s to change their current financial circumstances. With that type of focus, the real emphasis on cultivating and perfecting their music artistry is lost. When they lose that center, it affects their creativity in music and it shows in all aspects of their artistry. That's a major factor in why today's music has a dwindling life span. Also, I believe artists today lack knowledge of the history showing how Black music created "cool"! Be clear: Nothing moves without Black music.

Since the beginning of our existence in this great land of the United States, we started singing in the cotton fields.  We created jubilant musical tones in spite of horrific living conditions.  Over the past 300 years, we have been responsible for jazz, blues, gospel, soul, R&B and now hip-hop – genres now known as "Black." Some will say that rock'n'roll, country, and pop music have stemmed from these creations. But somehow, at times, these formats have been positioned in various platforms as superior genres. I believe that with the knowledge of Black music's rich history, artists are instilled with a sense of pride and responsibility in themselves and their craft, and that will increase the quality of today's musical output and decrease the level of what I call "foolishly peasant-sounding music"!

Keep in mind that the blame for this dysfunction in Black music can't be placed solely at the feet of the Black recording artists. Over the past 20 years, I have witnessed the mammoths in the music industry dismantle almost every Black music department and minimize the influence of the Black music executive. Today, that job is nearly complete. Again, this circumstance mimics the aristocrat vs. the peasant caste system … or as Tyler Perry would say, "The Haves and Have Nots."

Let's look at what some would call the aristocratic class in today's major recording companies, with a focus on promotions. Pop, crossover and country promo departments may not have flourished over the years, but they have ALL maintained a level of non-dismantling – while Black departments have been consolidated and downsized. The average tenure of an employee in a pop, crossover or country division, in comparison to that in Black, is 35 percent longer (and, this is according to various executives who have been polled across formats).

From observing this decline, the takeaway is that a level of cultivation that all, not just younger, music executives need – to flourish and to harvest great product – is virtually non-existent. I believe the Black music executive not only understands the art of business but brings a sense of science – insights about what consumers in the genre want to see and hear.

Next is what I like the call the UBER peasantry mentality and dysfunction that plague the Black radio business today. I truly believe that many people have lost the understanding that Black radio has always created the "cool" I referenced earlier. Historically, the power of a microphone has been paramount in the Black community – way before the age of television and what we now call the "internet of things."

Not only is radio nostalgic but, per recent data, radio is still the number one driver of music introduced to consumers. This illusion – that the power of "cool" creation has been taken away by YouTube clicks and Instagram likes – needs to be abandoned. Today's Black radio landscape has a "wait and see" mentality instead of the trailblazing attitude of yesteryear. Other genres and their executives take an opposite approach.

Artist embracement also needs to be restored at Black radio, not only to new artists in the genre but especially to our core legacy artists.

Years ago, I took a Mary J. Blige record to a radio programmer and he said, "Lamonte, I really like this record and I know it's Mary J. But, remember it's my job to tell you why I shouldn't play your record and it's your job to tell me why I should."  I sat in his office, dumbfounded, saying to myself, "this is crazy." This happened years ago, but this type of dysfunction continues today, albeit covertly. It makes me wonder, does this happen at country, pop or rock radio?

More times than not, Black radio waits on someone who isn't representative of the genre, or someone outside of radio, to say that a record is hot, and that we should expose this to the culture. I'll use Donald Glover as an example; for the record, we in the culture knew him as Childish Gambino many moons ago. But, before Gambino shouted out the Migos during his Golden Globe Awards acceptance speech, we knew that the track "Bad and Boujee" was HOT! We've consumed and rubber-stamped the Migos' many singles before. If you haven't been under a rock for the past seven years, you know we have all sung or rapped the lyrics to "Versace," "Pipe it Up," "Handsome & Wealthy," "Hanna Montana" and don't forget "Look At My DAB" (no, Cam Newton did not create that)! What Gambino did on the Golden Globes stage was a great look for Migos, but it should not have been a license – or a form or research – for some Black radio stations to now embrace the Migos in a way they had not been over the past seven years. That's dysfunctional.

I truly understand Black radio and its hierarchy, where most local programmers are not empowered or given the autonomy to support artists and brand themselves as creators of "cool." We should find a way for Black radio to be loyal to their artists as well as protect the base of Black music again, just as other formats do, in such a way that this level of dysfunction is NEVER displayed.

A wise Black radio person once said, "If you are in the Black radio business, understand that this is a war and being on the front line is a thankless job and when the glory comes you will be the last to receive it, so figure it out and let's create 'cool.' " So, Black radio, it's time to embrace the fact that, historically, you have been the teacher to the community you serve, and you must take responsibility for some of the things that you do and the music you play. Urban radio is a teacher and it teaches people what to consume. Ratings may say one thing, but the people in the Black community are listening.

The digital music business is the newest sector of the music business; it does not show as much of the "A Tale of Two Cities" mentality. But through my lens, I see something that is still common practice that only seems to be formatted for Black music, "FREE DIGITAL MUSIC."   

Back in the late '90s and early 2000s, there was Napster. This free, online file-sharing platform had become massively popular within its first year until it caught the eye of some in the aristocratic class of the music industry.

In early 2000, the rock group Metallica discovered that one of its songs appeared on Napster before its release date and the single made it to radio before its actual release date. The group and its label were not happy. Also, Metallica found out that its back catalog was available online for all to share. Several weeks later, the group contacted its attorneys and a lawsuit was filed against Napster for copyright infringement.

Also, multi-million-selling hip-hop producer and artist Dr. Dre got caught up with Napster. He filed a lawsuit against Napster exactly one month after Metallica did, using the same litigators. One year later, both cases were settled out of court and Napster was completely shut down.

Fast forward 15 years. In the digital space today, you have a plethora of music platforms that peddle Black music with a special emphasis on hip-hop, that is downloadable for free. The availability of these Black music downloads is embraced and encouraged by the music business. But in 2016 Metallica released an album titled "Hardwired to Self-Destruct" and sold more than 2 million copies. I couldn’t find one website where I could download it for free. NOT ONE! This is utter aristocratic behavior that feeds right into the narrative of "what’s good for Black music isn’t good for Metallica and other genres."

Let's look at the uber-talented Chance The Rapper from the great city of Chicago. He is a rap artist who recently won Best New Artist, Best Rap Album and Best Rap Performance at the 59th Annual GRAMMY Awards. He travels the world performing on the biggest stages, sells tons of merchandise, and was a regular at the White House during Barack Obama’s presidency.

In 2016 Chance released an album titled "Coloring Book" that was available on every digital platform imaginable, all for FREE. To date, it is still available. Chance and his team believe that he should give his music away for free because it gives his fans FREEDOM. Let's be clear – when it's time to acquire some Chance concert tickets or some of that super-fly merchandise on his website, that isn't free! No FREEDOM is needed there. So, I ask you: Is a fan of Metallica more important than a fan of Chance the Rapper? Does a Metallica fan need to be set free? Why would Metallica make more than 2 million people pay for their newly 2016 released album?

Many would say these are silly questions, but I say that the aristocrats of this newly created digital music business didn't play that in 2000 when Metallica was the example and they surely aren't playing that in 2017 with that FREE foolishness. Whereas Chance the Rapper – although very talented and successful in certain circles – can be found on Datpiff.com, Mixtapes.com and even on his own website, giving away his musical excellence for free.

This brings us back to the initial question of where I see the breakdown in today's Black music business.

We first must acknowledge that we are inside the Charles Dickens novel, "A Tale of Two Cities," and the Black music business continues to be blocked from the music aristocracy. Urban music must recognize and understand some of our current dysfunctional behavior with our artists, inside our record companies, at Black radio and even in the digital space. This all starts with us, as we are the architects of this culture. Urban music has dominated and led popular culture around the globe. We must embrace the love and channel it back into our music so that it increases our artistic measure. This disconnect between consumers and the industry must cease. 

And finally, and most importantly, we must internalize the fact that we determine what's "cool"; we are the Architects of "Cool!"

This story may not be reposted or reprinted without the permission of Radio Facts .

RadioFacts Presents "Podcast Port" The First All Urban Podcast Site, Seeking first 20 Shows 1

Digital and Radio Facts Presents "Podcast Port" The First All Urban Podcast Site, Seeking...

PodcastPort_WEB_Black
LOS ANGELES, CA. JUNE 16, 2016 - RADIO FACTS, the most read urban radio and music industry site, is introducing the FIRST ALL URBAN podcast site, PODCAST PORT (www.podcastport.com) shows to promote to the music, entertainment, radio industry and beyond.
We're looking for the first 20 shows to premiere and promote directly to the industry. "There are a LOT of AMAZING podcast shows out there done by ALL hosts but when it comes to black hosts, shows they are often lost in a plethora of other podcasts and it's a lot of work to find the shows that are of specific interest to African Americans." stated Kevin Ross, COO of Digital and Radio Facts (radiofacts.com). "I've been trying to assemble a podcast site for six years even BEFORE the trend caught on because I saw the potential but I foolishly waited for others who did not see the vision, to come on board and time was waisted."  Ross went on to say. Ross, a former radio DJ, Program Director and industry liaison hosts his own podcast, a series of vignettes called "Pennies from Kevin" where he gives advice to enhance the lives and experiences of listeners. WHAT PODCAST PORT IS ABOUT... "Podcast Port is about EVERYTHING that commercial urban radio is not. We want everyone and everything in the African American community from Small Business, Hip Hop, Women, Men, LGBT, Church, Parenting, Comedy, Real Estate, Cultural Concerns, Education, Entertainment, Money Matters, Music Industry to people who want the industry to hear their ideas for potential new shows and we plan to use our unique channels and our database to market the shows directly on our Number One radio industry site RADIO FACTS. HOW TO PODCAST Ross states that the site will also post news, tips and profiles in podcasting via the blog on PODCAST PORT.  In addition, the site will also offer some direction to clients who subscribe, on how to do the best podcasts and tips on improving their shows. It's a win/win for the hosts of the shows as well as PODCAST PORT. SUBMITING A PODCAST You can submit your podcast for possible inclusion here >https://podcastport.com/podcast-port-submission/ If we are interested, we will contact you. Digital and Radio Facts - Your Online Industry Information Station Podcast Port - Everything You'll (N)EVER hear on Commercial Radio Follow Digital and Radio Facts on twitter @radiofactsblog and follow us on Podcast Port @podcastport

Digital and Radio Facts Presents “Podcast Port” The First All Urban Podcast Site, Seeking...

PodcastPort_WEB_Black
LOS ANGELES, CA. JUNE 16, 2016 - RADIO FACTS, the most read Black radio and music industry site, is introducing the FIRST ALL URBAN podcast site, PODCAST PORT (www.podcastport.com) shows to promote to the music, entertainment, radio industry and beyond.
We're looking for the first 20 shows to premiere and promote directly to the industry. "There are a LOT of AMAZING podcast shows out there done by ALL hosts but when it comes to black hosts, shows they are often lost in a plethora of other podcasts and it's a lot of work to find the shows that are of specific interest to African Americans." stated Kevin Ross, COO of Digital and Radio Facts (radiofacts.com). "I've been trying to assemble a podcast site for six years even BEFORE the trend caught on because I saw the potential but I foolishly waited for others who did not see the vision, to come on board and time was waisted."  Ross went on to say.Ross, a former radio DJ, Program Director and industry liaison hosts his own podcast, a series of vignettes called "Pennies from Kevin" where he gives advice to enhance the lives and experiences of listeners.WHAT PODCAST PORT IS ABOUT..."Podcast Port is about EVERYTHING that commercial Black radio is not. We want everyone and everything in the African American community from Small Business, Hip Hop, Women, Men, LGBT, Church, Parenting, Comedy, Real Estate, Cultural Concerns, Education, Entertainment, Money Matters, Music Industry to people who want the industry to hear their ideas for potential new shows and we plan to use our unique channels and our database to market the shows directly on our Number One radio industry site RADIO FACTS.HOW TO PODCASTRoss states that the site will also post news, tips and profiles in podcasting via the blog on PODCAST PORT.  In addition, the site will also offer some direction to clients who subscribe, on how to do the best podcasts and tips on improving their shows. It's a win/win for the hosts of the shows as well as PODCAST PORT.SUBMITING A PODCASTYou can submit your podcast for possible inclusion here >https://podcastport.com/podcast-port-submission/ If we are interested, we will contact you. Digital and Radio Facts - Your Online Industry Information Station Podcast Port - Everything You'll (N)EVER hear on Commercial Radio Follow Digital and Radio Facts on twitter @radiofactsblog and follow us on Podcast Port @podcastport
Katt Williams' Fight with Teen Proves Need for Help (vid)

Katt Williams' Fight with Teen Proves Need for Help (vid)

One must ask how this man keeps getting booked when he is obviously in need of help, an intervention, counseling etc. The response would easily be that people are so used to William's antics at this point that it's expected of him. What's unfortunate is you have to wonder how many people pay to see him anticipating another breakdown. Here he gets into a fight with a teenager but what ...
Katt Williams' Fight with Teen Proves Need for Help (vid)

Katt Williams’ Fight with Teen Proves Need for Help (vid)

One must ask how this man keeps getting booked when he is obviously in need of help, an intervention, counseling etc. The response would easily be that people are so used to William's antics at this point that it's expected of him. What's unfortunate is you have to wonder how many people pay to see him anticipating another breakdown. Here he gets into a fight with a teenager but what ...
Floyd Mayweather May have Witnessed Friend's Murder/Suicide on FaceTime

Floyd Mayweather May have Witnessed Friend’s Murder/Suicide on FaceTime

stephanieTMZ is reporting that a longtime close associate of floyd mayweather a rapper named Earl Hayes, 31,  reached out to him this morning at the end of his rope because he had learned that his girlfriend, dancer on the VHI show "Hit the Floor," Stepahnie Mosley, 30, had been cheating on him. Hayes allegedly told Mayweather he was going to kill her and Mayweather pleaded with him not to go through with it. All of this according to TMZ was on FaceTime. Neighbors heard a woman's screams and up to 10 gunshots. Police were called and 2 more gunshots were heard. Self described "Life Coach" to Hayes, Burrell Hicks was the first on the scene to discover the crime scene then shortly thereafter at about 7:30 police arrived. They entered the apartment near The Grove in LA and found both Mosley and Hayes dead, it was not apparent who killed who at the time. TMZ states Maywheather is besides himself with grief. Hayes was certainly close to Mayweather as his Facebook page has a plethora of images with him and Mayweather with several well known rappers and entertainers.  Below is audio of Hayes rapping.

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