Topic: Radio

Dr. Logan Westbrook explains the "redlining" of radio, where black stations were often relegated to the far right of the dial with weaker signals. This technical disadvantage forced black executives to seek "crossover" hits on Top 40 stations to reach larger audiences. The hosts discuss the branding of stations like WBLS and how the 107.5 frequency became a recognizable home for black radio across different markets.

Adam Curry discusses his new show, "Boostagram Ball," and the importance of human curation in music discovery. Mo Facts argues that the "suggestion algorithm" replaced the human DJ, who used to be the center of the music conversation. They celebrate the freedom of the value-for-value music system, which allows for a wider variety of styles beyond the limited playlists of mainstream radio.

Adam Curry discusses how repetition on the radio creates "hits," even if the song isn't high quality. Mo Facts compares music curation to a wine palette, noting that most people are "taste dumb" and accept whatever is fed to them by corporations. They emphasize the importance of decentralized curators who find "bottles of wine" in the countryside rather than at Walmart.

Adam Curry and Mo Facts read the executive producer credits for episode 90, thanking donors who support the show via the Value for Value model. A significant donation of $3,506 from "Sir Onymous of Dog Patch" is highlighted. The hosts read personal notes from listeners, including a touching tribute from Dame Vox regarding the loss of her parents and best friend during the COVID-19 era.

The hosts critique the "Undressing Room" podcast featuring Eva Marcille and L'Oreal, noting the contradictions in their messaging. While the show promotes LGBTQ acceptance, the hosts also complain about men "wearing purses" and the decline of traditional "gangster" rules that protected women and children. This is cited as an example of the confusing and often hypocritical narratives found in modern Black radio.

A historical parallel is drawn between digital platforms and previous forms of black communication, such as hip-hop being "Black CNN" and the use of party lines and cassette tapes. These self-invented means of communication allowed underrepresented groups to build influence using existing infrastructure before being recognized by mainstream media.

Mo Facts and Adam Curry discuss the critical role of fathers and father figures in providing an "anchor" for men. Adam shares that while his father was absent after age six, he was fortunate to have older mentors who taught him about hobbies like CB radio. They reiterate that the state's isolation tactics are specifically designed to remove these modes of support from young men's lives.

The hosts trace how presidents have harnessed new technologies to communicate: FDR with radio, JFK with television optics, Obama with the internet, and Trump with social media. They discuss how FDR's "Fireside Chats" were used to soothe a panicked public during the Great Depression and World War II. They note that each era's technology defines the relationship between the leader and the electorate.

Comedian D.L. Hughley recounts a 2009 radio interview where Bill Cosby was "a dick" and criticized Hughley's use of the n-word. Hughley claims Cosby used his immense power at NBC and Emmis Communications to suppress the tape of their argument. The segment highlights Cosby's reputation for being an arrogant gatekeeper who actively tried to stop the rise of "Def Comedy Jam" and younger, edgier black comedians.

A series of clips from "White Mike" (Michael Rohrer) challenges the normalization of violence in black-targeted media. He questions why radio stations celebrate black-on-black murder while white artists are not marketed for similar themes, noting that homicide is a leading cause of death for young black males compared to accidental injury for whites. The hosts discuss how this disparity is romanticized by the industry and accepted by a broad audience, including white consumers.

The hosts critique the music and radio industries for encouraging a "dumbing down" of hip-hop culture, where hyper-criminalized and hyper-sexualized imagery is branded for young audiences. They discuss "code-switching" and the intentional mispronunciation of words as a form of modern "blackface" performance. The segment highlights how white-owned companies profit from these caricatures while maintaining a monopoly on what is played on free public airwaves.

The hosts analyze a segment from Charlamagne Tha God's book *Shook Ones* regarding the physiological effects of chronic stress and cortisol on African Americans. They accuse Charlamagne and other morning radio hosts, like Tom Joyner, of being "witch doctors" who profit from charging up their audience with fear and anxiety. They argue that peddling fear is more dangerous than the physical drugs Charlamagne admitted to selling in his youth.

Adam Curry and Moe open the episode during the March 2020 COVID-19 pandemic lockdown, announcing the temporary branding of "Rona Radio." They discuss the challenges of working from home and the impact of school closures on Moe's four children. Adam checks the availability of and registers the domain ronaradio.com during the segment.

The term "people of color" is criticized as a tool to lump non-white groups together into a manageable, less important ball. Radio host Russ Parr is highlighted for his use of a stereotypical Asian character named Mei Ling, which is presented as an example of hypocrisy regarding racial sensitivity in media. The discussion explores how terminology like "colored people" versus "people of color" is used to maintain specific political structures.

Legendary radio host Tom Joyner signed off from his syndicated morning show after 25 years. Joyner was famously credited with registering 250,000 black voters and served as a primary gatekeeper for Democratic politicians. The hosts discuss the decline of traditional radio in the face of podcasting and the shift in target demographics from "boomers" to younger voters.

Sean King appeared on the Tom Joyner Morning Show to promote the election of "woke" progressive prosecutors, a strategy heavily funded by George Soros. The lack of pushback from Joyner is attributed to his business ties with News One and Radio One, which are protective of King. This highlights the influence of black radio as a primary vehicle for distributing political talking points to urban audiences.

The hosts conclude the episode by emphasizing the importance of independent funding through the value-for-value model. They encourage listeners to visit mofax.com to support the show, noting that they are not funded by any outside organizations or PACs. The episode ends with a musical track titled "Brother's Gonna Work It Out," reinforcing the themes of community self-reliance and awareness.

The use of political polls is characterized as a "beef" tactic to create the illusion of a close race and maintain public interest. One host shares an anecdote from working at Z100 radio in New York, where they successfully used an "underdog" persona to defeat established competitors. This same strategy is applied to politics, where social media companies may favor underdogs to force frontrunners to increase their advertising spend.