According to the FCC, the broadcast of obscene, indecent and profane material can be unlawful. Broadcasters, including radio stations and TV networks, may be violating their public interest obligation by playing music which promotes explicit sex acts, drug use, rape, and other disturbing behaviors.
So why the hell are most popular radio stations and TV networks in the nation allowed to play music that does nothing but promote sex, drugs, violence and crime? Is there an ulterior agenda?
Hip Hop music has been hijacked by corporate Klansmen who suppress the righteous lyrics of artists “like Dead Prez, Capital X, Immortal Technique, Rebel Diaz, Jasiri X, and Bahamadia.” Rap artists that have enslaved themselves to the production of stereotypes and gratuitous violence should be rehabilitated, if possible, but “we must boycott any music that denigrates people of color and women.”
Broadcast popular radio – which through consolidation is now controlled by a few major companies – is at a similar crossroad today, and it is making all the wrong decisions. In its heyday, it was both the dominant form of music delivery and the place to find new music, with local program directors creatively duking it out to break new songs. But in 2014, facing alternative music discovery sources ranging from YouTube to Spotify to internet radio, the broadcast radio industry has become a shadow of its former self in both popularity and its impact. It loses an average of 3% of its listeners per year, a pace that is accelerating. And incredibly, its response has been to combat those aggressive upstarts by growing even more conservative. Unwieldy in size, its programming is now largely done nationally, and focuses on playing smaller, safer playlists filled exclusively with established hits. The average hit song on pop radio gets nearly twice the spins that it would have gotten just ten years ago, as big box program directors have determined that the most important attractions for listeners are familiarity and comfort – and certainly not discovery. New songs and trends, and the “cool” factor that go with them, are left for its upstart competitors