Instagram Disables SDC RadioWorks Account for Cause, Again

SDC NEWS ONE | Meta Data - 

 Why They Hate Aussie Country Music?Instagram Disables SDC RadioWorks Account for Cause, Again 

SDC RadioWorks Takes The Gloves Off Against Meta, Again - 
 

MEMPHIS TN [IFS] - The fluorescent lights of the Smith Data Communications OmniMedia Group headquarters hummed with a clinical, rhythmic persistence, a sound that Kenneth Howard Smith, Esq., usually found comforting. It was the sound of data moving, of archives growing, and of a legacy being built.

As CEO and President, Kenneth didn’t view social media through the lens of a teenager seeking validation. To him, the SDC RadioWorks Instagram account was a ledger—a visual and auditory filing cabinet for the SDC Digital Radio Networks. It was a repository for the soul of their programming, specifically the raw, dusty, and honest chords of Australian Country and Americana.

Then came the email.

It arrived at 2:14 AM, a cold digital executioner. “Your account has been disabled.”

Kenneth sat back in his leather chair, the glow of the monitor reflecting off his glasses. The accusation was as vague as it was insulting: “Falsifying the platform with questionable posts.” Meta’s algorithms had flagged SDC Digital Radio’s latest archival upload—September 2025 Volume 3—as some form of deception.

“Questionable?” Kenneth whispered to the empty office.

He looked at the tracklist he had meticulously curated. Track 2: The Goo Goo Dolls, Not Goodbye. Track 9: Larry Cann, Many Good Reasons. Track 13: Olivia Millin, Soul For The Taking. These weren’t just files; they were the heartbeat of a cross-continental bridge between the outback and the American heartland. From the Rick Stone Band’s redneck pride to the haunting melodies of Phoebe Hutchinson, every post was a documented piece of music history.

SDC didn’t play the "click-bait" game. They weren't hunting for "likes" or viral fame. They were storage-heavy, data-driven curators. Every image used, every artist featured—from the gritty vocals of Michael J. Versluis to the breezy rhythms of Steen Rylander—was authorized, verified, and part of the OmniMedia Group’s controlled ecosystem.

The system, however, didn’t care about the law or the facts. It cared about patterns.

A glimmer of hope appeared when Meta requested a "self-photo" to verify his identity. It felt beneath a man of his standing—a President and an attorney being asked to prove he existed to a machine—but Kenneth complied. He stood against a white wall, held the digital gaze of his camera, and sent the evidence of his humanity into the ether.

The response was near-instant, and it was a door slamming shut.

“Our review is final. This decision is non-reversible.”

The irony wasn’t lost on him. SDC RadioWorks was being erased for "deceiving" the platform, while the platform itself used a faceless, nameless process to strip a legitimate business of its digital archives. They claimed the music and the artists—the very essence of Australian Country—were somehow "questionable." To the algorithm, perhaps the sudden influx of Americana from a digital radio network in September 2025 looked like a glitch. To Kenneth, it was simply Tuesday’s programming.

He looked at the tracklist one last time. Track 21: Window Vain, Are You Happy.

Kenneth Howard Smith didn’t feel happy. He felt the weight of a new era—an era where a CEO’s word and a lawyer’s record could be overruled by a line of code that couldn’t tell the difference between a bot and the steel guitar of a Rick Stone track.

But SDC OmniMedia Group wasn't built on rented land. While Meta could close a window, they couldn’t stop the broadcast. The music was still there, stored in the proprietary servers, humming in the quiet of the office.

“Non-reversible,” Kenneth mused, his fingers hovering over the keyboard. “We’ll see about that.”

In the world of data, nothing is ever truly gone. It just moves to a frequency the giants can’t hear. As the sun began to rise, the SDC Digital Music Mix for September 2025 began to play, filling the room with the sound of The Rubber Meets The Road.

The account was gone, but the radio was still loud, and the truth was still on the record.

VINYL KNIGHTS - Carmen C. Murphy - Maestros, Music Please!

 VINYL KNIGHTS | HOB Records and Detroit Music

The air in Detroit didn’t just smell like gasoline and burnt rubber from the Ford plants; it smelled like ambition. In the late 1950s, the "D" in D-Town was a promise. It was a city of iron-clad contrasts: the roar of the assembly line by day and the celestial hum of church pews by night. But beneath the industrial grind, there was a rhythm waiting for a heartbeat.

At that time, the gatekeepers lived three thousand miles away. The Bhari Brothers out of California held the keys to the kingdom with Modern and Kent Records. If you wanted to hear the blues, you listened to B.B. King; if you wanted soul, you looked to Etta James. They were the giants. But in the basements of Detroit’s brick houses, a new generation of musicians was tired of looking West. They wanted to build their own kingdom right here on Woodward Avenue.

The problem wasn’t the talent—it was the press. To get a record into a listener’s hands, you needed a "godfather" in the business. Distribution was a labyrinth controlled by shadowy power brokers and pressing plants in Memphis. If you didn’t have a name, you didn’t have a voice.

Enter Carmen C. Murphy.

She was a woman who didn't know the meaning of the word "no." Already a millionaire from her cosmetics empire, she saw the music business not just as an investment, but as a calling. Alongside Jack Ellis, a radio engineer with a golden ear, she turned the "House of Beauty" into HOB Records. It was a revolution in a bottle: the first Black-owned beauty supply company that doubled as a powerhouse for gospel music. While women were getting their hair pressed upstairs, the Peppermints were harmonizing in the basement. Carmen Murphy wasn’t just selling lipstick; she was selling the soul of the city.

But if Carmen was the grace of Detroit, Mike Hanks was its fire.

In 1957, Hanks launched MAH’s Records—later D-Town—with Lee Rogers’ "Sad Affair." Mike was a man of high-octane passion and a short-fuse temperament. He was the kind of producer who could hear a hit in a rainstorm, but his volatility was a live wire. D-Town was a beacon of local pride, but it stood in the shadow of a rising titan: Berry Gordy.

Berry Gordy’s strategy was surgical. He didn't just want to make music; he wanted to own the airwaves. He watched the smaller labels like a hawk. When Golden World Records hit #1 with the Romeos’ "Just Like Romeo and Juliet," Berry didn't just applaud; he planned. He began absorbing the competition, buying up labels like Ric-Tic and D-Town, folding their talent into the "Hitsville" machine. He added his signature "symphony strings" to everything, a polished, uptown sheen that defined the Motown Sound.

Yet, whether it was a gritty D-Town track or a polished Motown anthem, the heartbeat remained the same. It belonged to one man: James Jamerson.

Jamerson was the Maestro. He didn’t need sheet music. He didn’t need instructions. He would sit in the studio, impeccably dressed, perhaps with a drink nearby, and wait for the track to begin. He’d listen once, his fingers finding the pocket of a rhythm no one else had discovered yet. When he played the bassline for Jr. Walker’s "Shot Gun," he wasn’t just playing notes—illegally syncopated and dangerously funky, he was driving the car.

I remember sitting with him in 1979, sharing a bottle of wine. He was a man of laughter and stories, a king who knew he had built the foundation of an era. He died shortly after, but that bassline? That lives forever.

Tragedy, however, was the flip side of the Detroit coin. Mike Hanks’ temper eventually caught up with him. A violent confrontation with his girlfriend’s brothers ended his life on the doorstep of his own club, marking a dark end to one of D-Town’s most vibrant chapters.

But the music was too big to stay in one city. Lee Rogers, the voice of D-Town, eventually followed the rhythm south to Memphis. In a legendary session at Hi Records, he walked into the studio with the greats—Al Jackson Jr. on drums and "Duck" Dunn on bass. Lee didn't have a single note written down. He stood at the mic, closed his eyes, and recorded "Love For A Love" in one take. Fifteen minutes of work for a lifetime of legend.

Eventually, the road led West. Berry Gordy moved the machine to Hollywood, and Lee Rogers followed the sun. It was there, among the palms and the neon of the ABC Shindig sets, that the Detroit sound fused with California dreams.

The story of the Detroit Sound isn't just a discography of hits. It’s a story of people like Carmen Murphy, who saw beauty in a basement; Mike Hanks, who fought for every note; and James Jamerson, who gave the world a pulse. It was a "Beginning of a Beginning"—a testament to the fact that while labels can be sold and studios can be closed, a true Maestro’s music never stops playing.

Maestros, music please!

Carmen C. Murphy created HOB Records, Anna Records, D-Town right along with Motown

 SDC News One | The Other Side Of the Motor City Tracks

January 5, 2015 | SDC News One

MEMPHIS TN (IFS) -- D-Town Records co-founder and musical genius Michael Alonzo Hanks daughter joins the family with her BHS Enterprises which will be anchored in Atlanta, Georgia.  Kenneth Howard Smith, the current CEO and President of the 55 year old label welcome a Michael Hanks namesake back into the fold of the label.

It has been over 45 years since a member of the Hanks family has been invited back to sit at the table of D-Town Records.  In 1966, Roosevelt Grier, Roger Brown, Pete Hall and Martha Jean Steinberg took over the reins of D-Town Records in Detroit, leaving Hanks to go to Motown Records, taking with him the groups of The Fabulous Peps and his Soul Records label.

D-Town did not suffer in the transition as it produced a string of hits with Lee Rogers, the Precision, Dee Edwards, Connie Van Dyke, the Staple Singers and Rosey Grier.

With Hanks now a member of the Motown family did not wait to long to get his international attention, as his group the Fabulous Peps changed their name to the Undisputed Truth, scoring a Billboard Number #1 record with "Smiling Faces", Gladys Knight and the Pips, Leo and the Leopards, the Elgins and several other groups before his untimely death.

Hanks with the help of Carmen C. Murphy created D-Town right along with Motown labels.  Murphy had the only licensed record pressing permit in Detroit and she help to sponsor many of the young labels in their early days.

The four men in Murphy's recording life was Mickey Stevenson, Jack Surrell, Hanks and Gordy.  Murphy's label was called the "House Of Beauty" Records.  With a suggestion by Hanks and Gordy to just use the first initials of the company for the record label, HOB Records was born.

The first recordings by HOB included James Cleveland's Voice of Tabernacle and the young boy group of the Peppermints with Lee Rogers and later with Ty Douglass (of the Originals and the Contours).

Hanks and Berry Gordy, Jr., worked together at the Chrysler plant manufacturing cars.  It those early days, Hanks and Gordy would spend their lunch breaks writing songs.  It's not hard to listen to those early songs and the men generated the same sounds, using the core players headed by Jamie Jameson.

As with most relationships in those days, the split between Hanks and Gordy comes with a woman by the name of Mary Wells.  Both men had written great songs for her, but only one voice would prevail, with Wells deciding to go with Gordy.

The competition between Hanks and Gordy would prove to be one of the greatest rivalries in music history.  Both men tied at the hip to Murphy's HOB Records, began to deliver an unprecedented amount of music into the marketplace.

Murphy's gave the name Motown to Gordy and D-Town to Hanks.  With Anna Gordy in the mix, Berry's new record release on his new found Motown label had to be delayed and given over to Anna Records, as Anna financed the recording and record pressing for his first release.  The artist was Barrett Strong and the song was entitled "Money (That's What I want)" created such a great sensation, that Gordy had enough money to move his operation into his own building.

Uarda Minyoun NJie, was born in Detroit, Michigan on October 6, 1950, the oldest of three children of Mike Alonzo Hanks and Ella Pierce.  A naïve Detroiter,  Uarda’s, roots started early at an elementary school for handicapped children continuing on to Mackenzie High School graduate  and completing two year of Wayne Community College where she major in Interior Design. 

Although, she was born with Polio, that didn’t stop her from running the streets with her cousins, often across state lines. Uarda was described as the “chosen one” by her childhood friends, with such a unique name “Uarda” has always had a love for people that was one of her special gifts.   Being blessed with two brothers as musicians, Uarda traveled frequently with them, playing different clubs, concerts, venues, she was there.  

In a band, very young, her brothers always would insist “Uarda” entertained the idea of singing back up, other than that idea, she has always been a music lover, and maintain great love for the entertainment business.  Working with her son at 11 yrs. old, in recording studio, “Uarda” realized her love for the music business.

Hanks continued to record and sign up and coming new artists, including the Staple Singers and the Fugitives (with Todd Rundgren).

Having a passion for hair Uarda attended beauty school at the Virginia Farrell School of beauty where she graduated with honors.   Uarda had no problem dominating Detroit’s hair scene she often coiffed the locks of various well-known musical artists and actors. She even moved and did hair in California, where she was swept off of her feet by African businessman, Baboucar NJie.  

The two were married after 2 years and had 2 children together, Mallorie, and Baboucar Jr.  Uarda also had 4 older step children that were from Baboucar’s previous marriage, who she took in and cared for as her own.  

Uarda and her family eventually found their way back to Detroit after living in both Wisconsin and Ohio. Uarda owned her fair share of successful beauty parlors around the Detroit metro area. The last shop in Detroit she owned was with her baby sister Angel, one of Detroit’s leading nail techs.

Then, it was on to Atlanta, GA. While in Atlanta, Uarda tried working desk jobs but her heart lead her back to hair.   Uarda worked in a few shops around the Atlanta area, and after the passing of her husband in 2010, she decided to open her own. She named it Broads. Uarda enjoyed working in her own shop again for awhile but closed the shop after only 2 years.   She now lives in Austell, GA where she is as active as she has ever been.

Her favorite things to do are play bingo, spend time with her grandkids, and of course, listen to music.  Attending Ashford University, Uarda’s has found a new found passion in writing, majoring in journalism and is looking forward to putting out several books, one of her late great father an autobiography.

NJie's BHS Enterprises will have distribution and manufacturing rights to the entire D-Town Records catalog written and produced by her famous father.  Furthermore, NJie's will have a seat on the D-Town Records' Board of Directors which will make her late father very happy.

After all it has taken over 45 years for a relative of Mike Hanks to be invited back to the table.  This is a historical event in the annuals of music history.

Uarda attended beauty school at the Virginia Farrell School of beauty where she graduated with honors having being in the business for thirty –fives or more with no problem, dominating Detroit’s hair scene she often coiffed the locks of various well-known musical artists and actors. Uarda broaden her horizons and moved to California in the eighties tackle the scene of hair, and was swept off of her feet by an African businessman, Baboucar NJie.   

The two were married after 2 years and had 2 children together, Mallorie, and Baboucar Jr.    Uarda and her family eventually found their way back to Detroit after living in two other states, Wisconsin and Ohio. Uarda owned her fair share of successful beauty salons around the Detroit metro area. The last hurrah, was in “1997” in the city of Detroit with her baby sister Angel, one of Detroit’s leading nail techs, the salon was called “Sistah’s Hair & Nails!”

Then, it was on to Atlanta, GA. While in Atlanta, Uarda decided to tried “corporate job” but her heart lead her back to hair.   Uarda worked in a few shops around the Atlanta area, and after the passing of her husband in 2010, she decided to open her own.

Uarda enjoyed working in her own salon again for a while, but closed the salon after only 2 years realizing the passion was gone and a new passion had surfaced.   She now lives in Austell, GA where she is as active as she has ever been, spend time with her grandkids, and of course, listen to music.

Attending Ashford University, Uarda’s has a new found passion in writing, majoring in journalism and is looking forward to putting out several books, one of her late great father, an autobiography and some novels.

 

List of interview questions for Uarda NJie:

 

1.         Tell me about yourself?

 

2.         Why did you leave your last job?

 

3.         Please tell me about your long-term career goals as a Music producer/label owner?

 

4.         Prospective artist Informs you that you would be a resource using this organization?

 

5.         Why Research and Development (R&D) Are the toughest options to produce?

 

6.         How will you handle it once the artist is wrong?

 

7.         What kind of success are you looking for as a record label owner?

 

8.         What irritates you about new recording artists?

 

9.         Furthermore, do you develop trends or start them?

 

10.        What are key tasks for a Music producer/label owner?

 

11.        What have you learned from your past jobs that relates to the music industry?

 

12.        Do you like to work individually or around a team?

 

13.        Now when was the ultimate time you were angry? What went wrong?

 

14.        How will you handle stress/pressure?

 

15.        Describe the rate of interest where you were employed?

 

16.        The amount of hours can you work?

 

17.        What made you choose this field as a Music/record producer?

 

18.        What are top 3 skills for a Music producer?

 

19.        How do you apply ISO 9001 for your Music producer job?

 

20.        What are the most common mistakes for Music producer’s job and how to solve them?

 

21.        Do you have any questions?

RESOLUTION 01-01-2015-001

January 5, 2015

 

TO WHOM IT MAY CONCERN:

Uarda Minyoun NJie ,minuarda@yahoo.com

BHS Enterprises

Atlanta. GA

Upon recommendation and approval by the current members of the D-Town Records, Inc., Board of Directors;

 

Kenneth Howard Smith, CEO/President, D-Town Records

Russell George Ingersoll, CEO/President, Hotrax Record Productions

Deborah Clinton-Carter, CEO/President, Platinum Sound Productions

Anthony Craton, CEO/President, Jantony Record Productions

Uarda Minyoun NJie, CEO/President,  BHS Enterprises

 

Uarda Minyoun NJie 's BHS Enterprises will have distribution and manufacturing rights to the entire D-Town Records catalog as written and produced by her father.  June 1, 2014

Furthermore, NJie's will have been appointed a seat on the D-Town Records' Board of Director as of March 3, 2014.

On this date, first written above, by vote and approval, that all interest in the original D-Town Records recordings, logos and business interest, not to include the Associated labels artists, mechanical rights, logos and promotions, that D-TOWN RECORDS shall become the sole property of Uarda Minyoun NJie, as she has all the rights and privileges of total control and ownership of the D-TOWN RECORDS company so stated above, as of this date, January 12, 2015.

So say one, and so say yea all, that the ownership of seventy (70%) per cent ownership shall be passed to Uarda Minyoun NJie, and that Anthony Craton, and Jantony Production shall be a permanent member of the Board of Directors; with control of (thirty (30%) and that the resignation of Russell George Ingersoll, Deborah Clinton-Carter, and Kenneth Howard Smith be immediate and desolved for the total sum of ONE HUNDRED THOUSAND DOLLARS ($100,000.00) to be received in hand on a date in the future with cash and stock securities to be determined by the profits received from sales and mechanical rights from licensing to others.

That, the stock securities and cash option shall be delayed from payment to the former board members, as shall be called in a date and time to be agreed upon date in the future.

And so, with these gifts to be distributed in the future as promised, D-TOWN RECORDS hereby becomes the property and control of Uarda Minyoun NJie, and BHS Enterprises so stated above.

//s//

Kenneth Howard Smith

CEO/President, D-Town Records

 

 

 

 

 

1930 VOLLINTINE AVENUE, MEMPHIS, TN 38107-3117 -  (901-310-9061)

 SDCINTERNETICS@MSN.COM

January 19, 2015

Uarda Minyoun NJie ,minuarda@yahoo.com

BHS Enterprises

Atlanta. GA

RESOLUTION 01-01-2015-001

January 5, 2015

 

Dear Ms. Njie,

Per your telecom on/or about  January 8, 2015, your issue being that you could not understand the division of D-Town Records equity, i.e., that SDC OmniMedia Group only took a Five (5%) per cent interest position at $100,000 dollars.

First, to clarify the position equity:

1)      Each percentage point is valued at $20,000, i.e., One (1%) percent equals $20,000.00, which means that the SDC OmniMedia Group’s position is only $100,000.00.

2)      Tony Craton’s Jantony Records Productions is valued at TWENTY-FIVE (25%) and/or $20,000.00 per one (1%) percentage point, or $500,000.00

3)      That BHS Enterprises point is valued at $1, 400,000.00. (ONE MILLION FOUR HUNDRED THOUSAND DOLLARS) i.e.,  One (1%) percent  equals $20,000.00, which means that BHS Enterprises is in control of SEVENTY (70%) percent

As, I stated earlier in our conversation, that in 1998, Price Waterhouse valued D-Town Records at approximately $4.2 MILLION DOLLARS.

As I finalized this D-Town Records Resolution, it was my last act as co-owner and president, by dissolving the present Board of Directors and stepping down as the head of D-Town Records, which means that there is no more executive interest and/or controlling decisions by me on the interest and direction of D-Town Records, which has been officially transferred to you and your organization.

However, at this point in time, if you request any future direction from me, my standard charge is $250.00 per hour, billed in one quarter (1/4) hours.

I wish you and your family the best and continued success.

Respectfully,

THE SDC OMNIMEDIA GROUP

/s/

KENNETH HOWARD SMITH