Many of my peers often ask how I’ve managed to remain relevant in the entertainment industry. The answer is simple: I’ve held onto the lessons I learned while working in Black promotion for major labels.
During my time with the majors, the training we received wasn’t rooted in professional development or mentorship. Instead, we were groomed to operate as sophisticated "pimps," tasked with getting music heard, played, and sold across the United States. There were no formal business courses or mentoring programs offered—just a system of money, drugs, and sexual favors, ensuring that DJs, Music Directors, Program Directors, and, in some cases, radio station owners played the labels’ music.
The reality was grim: radio professionals were treated like underpaid laborers in this exploitative system. Many DJs struggled with severe cocaine addictions, financial instability, and personal challenges, making them easy targets for the labels’ manipulation.
The so-called “Black departments” (later rebranded as Urban departments) weren’t given the tools to compete effectively with industry executives. Most of the Black promoters brought in by the major labels had backgrounds in radio but lacked formal business skills or corporate experience. In some cases, they were even considered unqualified or illiterate.
However, a few visionaries recognized the “game” for what it was and worked to change it. These individuals mentored their teams, teaching them critical skills like managing budgets, preparing detailed market reports, and tracking sales performance. I was fortunate to learn from pioneers like Ernie Singleton and Jimmy Bee, who taught me to create weekly tracking sheets, maintain accurate expense reports, and measure the growth of the records I promoted.
In the early days of Black radio, Black record promoters didn’t exist. However, trailblazing Black radio announcers paved the way, demanding that people of color—who truly understood their audience—handle the music and artists being brought to their stations.
I’m grateful to those radio announcers who stood firm, refusing to accept music from my white counterparts and insisting on representation that reflected their listeners. Legends like Jerry Rushin, Mad Hatter, Joe Fisher, Larry Dean, Nick with the Solid Kick, Scotty Andrews, Al Benson, Daddio Daley, Herb Kent, E. Rodney Jones, Lucky Cordell, Jockey Jack Gibson, Martha Steinberg, and Chatty Hattie played a pivotal role in fostering the Black record promotion professional. Their efforts led to the creation of Black (Urban) departments within the music industry, forever changing its landscape.
Their insistence on cultural representation led to the rise of Black record promotion professionals and the establishment of Black (Urban) departments within the music industry. Their contributions laid the foundation for the industry we know today, and for that, I am forever thankful.
I’ve always been an early adopter. When I realized the Internet was evolving into a global delivery system, I didn’t hesitate to act. My first website, The Music Specialist, became the #7 music website on Yahoo during its early days. Among my initial online clients were icons like Dick Gregory and Jeff Majors, as well as several local R&B acts from Miami.
Recognizing the potential of the digital age, I set up one of the first online office accounts, encouraging my business associates to transition online. At the time, many dismissed the Internet as a passing fad, but I saw a different future. When MP3 files began gaining traction and platforms like iTunes emerged, it was clear to me that the era of traditional Black record promotion was coming to an end. The need for in-person visits to radio stations diminished as communication shifted entirely online. With just a few computers and phones, major labels could now reach the entire Black music community efficiently.
The shift accelerated with the introduction of SoundScan by Billboard, which provided precise sales data from Black-owned retail stores. To incentivize reporting, major labels even gave retailers free computers. I warned retailers at an industry conference in California that once their buying habits were fully understood, their importance would decline. My caution was met with ridicule, but my prediction came true—today, there are no Black-owned music retailers left.
Seeing the writing on the wall, I pivoted. I embraced digital music early, becoming a digital distributor in the early 2000s. At the same time, I dove into publishing deals, sync licensing, and catalog building to adapt to the changing landscape.
Today, I remain committed to staying ahead. I continue to educate myself on emerging music delivery systems, niche marketing strategies, digital distribution, and online touring. Reinvention is essential to maintaining a competitive edge in this ever-changing industry.
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