William Barlow - Voice over: the making of Black radio
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Temple University Press, Philadelphia 19122 Copyright 1999 by Temple University. All rights reserved Published 1999 Printed in the United States of America
Text design by Kate Nichols
The paper used in this publication meets the requirements of American National Standard for Information SciencesPermanence of Paper for Printed Library Materials, ANSI Z39.48-1984
Library of Congress Cataloging-in-Publication Data
Barlow, William, 1943 Voice over : the making of Black radio / William Barlow. p. cm. Includes bibliographical references and index. ISBN 1-56639-666-2 (alk. paper). ISBN 1-56639-667-0 (pbk. : alk. paper) 1. Afro-Americans in radio broadcasting. I. Title. PN1991.8.A35B37 1999 384.54'089'96073dc21 98-29943
Page v
CONTENTS
Preface
vii
Introduction: Shifting Voices
1
Part I. "I'se Regusted": Blackface Radio
13
1. From the Jazz Age to Jim Crow
15
2. The Controversial Phenomenon of Amos 'n' Andy
35
Part II. "New World a-Coming": Black Pride Radio
47
3. Brown Bombers and Black Radio Pioneers
49
4. "Destination Freedom"
67
Part III. "Rappin' the Mike": Black Appeal Radio
91
5. Buying Time and Making Rhyme
93
6. The Rise of Black Appeal Radio
108
7. Spin Doctors of the Postwar Era
134
Page vi
Part IV. "Rockin' the Pot": Black Counterfeit Radio
155
8. The White DJ Crossover Crusade
157
9. The Rock-and-Roll Rebels
176
Part V. "Burn Baby Burn": Black Power Radio
195
10. "A Change Is Gonna Come"
197
11. Microphones in the Riot Zones
212
12. The FM Frontier
226
Part VI. "Payin' the Cost to Be the Boss": Black-Owned Radio
243
13. Bridging the Ownership Gap
245
14. Entrepreneurs with Attitude
264
15. Blackgrounding Public Radio
279
Afterword: Talking Drums
294
Notes
299
Index
319
Photographs Follow Page
164
Page vii
PREFACE
Most writers, even cultural critics and scholars, tend to write about subjects that intrigue them, and I am no exception. This project and my other books have grown out of my own experiences of black radio, initially as a listener and more recently as a music programmer. My first encounter with black radio, in Columbus, Ohio, during the mid-1950s, was memorable for the level of culture shock involved. At the time, I was a fairly typical "army brat"; my father was a career officer and a West Point graduate. We moved to Columbus after being stationed in Heidelberg, Germany, for three years. While in Heidelberg, I attended a small, all-white grade school for military dependents and listened to sports and pop-music programming on the Armed Forces Radio Service (AFRS). My favorite radio show was the Friday-Night Hit Parade. Spike Jones and Johnnie Ray were my early pop idols; I even took to imitating Ray's famous tearjerker "Cry" at local school talent contests. By the time I left Heidelberg, Pat Boone's version of "Tutti Frutti'' was the
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The paper used in this publication meets the requirements of American National Standard for Information SciencesPermanence of Paper for Printed Library Materials, ANSI Z39.48-1984