Legendary Pioneers of Black Radio Gilbert A

LEGENDARY PIONEERS OF BLACK RADIO GILBERT A. WILLIAMS After World War II, when thousands of African Americans left farms, plantations, and asouthern way of life to migrate north, African Amer- ican disc jockeys helped them make the transition to the urban life by playing familiar music and giving them tips on how to function in northern cities. These disc jockeys became cultural heroes and had a major role in the development of American broadcasting. This collec- tion of interviews documents the personalities of the pioneers of Black radio, as well as their per- sonal struggles and successes. The interviewees also define their roles in the civil rights movement and relate how their efforts have had an impact on how African Americans are portrayed over the air. LEGENDARY PIONEERS OF BLACK RADIO GILBERT A. WILLIAMS Westport, Connecticut London Library of Congress Cataloging-in-Publication Data Williams, Gilbert Anthony, 1951- Legendary pioneers of Black radio / Gilbert A. Williams. p. cm. Includes bibliographical references and index. ISBN 0-275-95888-4 (alk. paper) 1. Disc jockeys—United States—Interviews. 2. Afro-American disc jockeys—United States—Interviews. 3. Afro-Americans in radio broadcasting. I. Title. ML406.W56 1998 791.44'089'96073—dc21 97-38995 British Library Cataloguing in Publication Data is available. Copyright © 1998 by Gilbert A. Williams All rights reserved. No portion of this book may be reproduced, by any process or technique, without the express written consent of the publisher. Library of Congress Catalog Card Number: 97-38995 ISBN: 0-275-95888-4 First published in 1998 Praeger Publishers, 88 Post Road West, Westport, CT 06881 An imprint of Greenwood Publishing Group, Inc. Printed in the United States of America e- The paper used in this book complies with the Permanent Paper Standard issued by the National Information Standards Organization (Z39.48-1984). 10 9 8 7 6 5 4 3 2 1 Every reasonable effort has been made to trace the owners of copyright materials in this book, but in some instances this has proven impossible. The author and publisher will be glad to re- ceive information leading to more complete acknowledgments in subsequent printings of the book and in the meantime extend their apologies for any omissions. This book is dedicated to Ann I. Alchin, at one time aco-worker in the Department of Telecommunication at Michigan State University, and now avery true friend. Ann has generously offered her time and assistance in the preparation of this book, for which Iwill always be grateful. Contents Preface ix Acknowledgments xiii 1. Introduction: On-Air Power—Legendary Pioneers of Black Radio 1 2. William T. -Hass" Allen 29 3. Eddie Castleberry 37 4. "Sir Johnny O." Compton 47 5. Moses Lindberg "Lucky" Cordell 61 6. Larry Dean Faulkner 73 7. Jack Gibson 79 8. “Joltin' Joe" Howard 91 9. Maurice "Hot Rod" Hulbert, Jr. 105 10. Al Jefferson 117 11. Tom Joyner 133 12. Eddie O'Jay 141 13. Norman W. Spaulding 157 14 Richard Stams 163 15. Roy Wood, Sr. 173 viii • Contents Conclusion 189 Bibliography 191 Index 195 Photo section follows chapter 7. Preface Sociologist Lawrence Levine argues that culture is not "fixed, static and unchanging;" instead it is "dynamic, always changing, and adapting." African-American culture has adapted to changes in American society over time. Moreover, it has been "a cushion be- tween" African Americans and "their environment," and enabled them to survive slavery, Jim Crow laws and racial discrimination. 2 African Americans used the reservoir of Central and West African cultures that was their collective consciousness and created an improvisational culture. For example, scholars have written about improvisational features in African-American language, black dialect and "communication style." Also, linguists have shown that black dialect uses grammatical structure, idioms and speech patterns com- monly found in West and Central African languages. 3 In dance, several "elements or motifs characteristic of African dancing" are "integral parts of American Black dancing. "4 Moreover, African-American religious practices have the imprint of African culture. Scholars have generally considered these elements in isolation or as African survivals or retentions in African-American culture. Taken as awhole, however, the features of improvisational culture ex- ist as "conceptual approaches—as unique ways of doing things and making things happen." Improvisational culture is not fixed, but is a process and a unique way of doing things. 5 Black DJs epitomize improvisational culture. They are the masters of improvisation. They can combine music, timing, tempo and other elements to keep audiences entertained. As purveyors of African-American popular culture, black DJs promote ideas and values their communities need to hear. As griots or storytellers, they help shape the moral character of their listeners. As pioneers in radio broadcasting, they have helped other African Ameri- cans find work in this field. Finally, as ministers, teachers and jesters, they have become cultural heroes. x • Preface Before anyone can comprehend the many roles these individuals have played, one must understand the perspectives that they brought to their work. Some black DJs had worked in vaudeville and had learned about show business in that arena. Others were college edu- cated and spoke middle-American English. On the other hand, some black DJs had only a basic education but knew "people." A few had been ministers, while others had worked in advertising, using sound trucks to sell merchandise. In other words, the African-American men and women who became DJs came from all walks of life and were not a part of any elite group. Moreover, as purveyors of popular culture, they had to deal with is- sues and concerns that affected most African Americans. In this way and others, they were truly of the people. Like culture heroes of earlier times, who brought fire and other new "technology" back to villages, black DJs brought electronic communication, the lifeblood of modern society, back to their village people. Black DJs became cultural heroes because they were the vanguard of African-American culture. As thousands of African Americans left farms and plantations, they needed someone to tell them how to survive in the concrete jungles of urban America. Black Ws performed this vital role. Black DJs helped boost the spirits of migrants by playing the blues, jazz, gospel, rhythm and blues and soul music. To make listeners laugh they told jokes and made outlandish boasts and toasts. To help their people remember the past, they told stories about achievement and struggle. While black DJs played music that African Americans wanted to hear, they also helped maintain African traditions and oral culture. As the griots in African villages memorized the collective history of their people, black DJs kept alive the traditions of improvisational culture. Moreover, through their work, they influenced American culture. African-American creativity behind the microphone influenced listeners of all races. Many whites emulated black DJs. For instance, during the 1960s, Bill Drake, aradio consultant for the MO Corpora- tion, "indoctrinated stations in such basics as .. deejays talking over intros and endings" of records, a practice black DJs had created two decades earlier. 6 Significantly, black DJs helped corporations market their products to black consumers as they were able to communicate effectively with and sell products to African Americans. Therefore, corporations rec- ognized the importance of having black DJs ad-lib commercials and endorse products. As illustrated briefly, black DJs are the embodiments of improvisational culture and have been for the past seventy years through their Preface •xi unique style of communicating and their participaton in improvisational culture. This culture fulfills psychological and sociological needs of African Americans. By creating this process and unique way of doing things, African Americans have survived in American society. Black DJs promote and help perpetuate improvisational culture by using it and teaching others how to use improvisation in their work, social activities and American society in general. NOTES 1. Levine, Lawrence W. (1977), Black Culture and Black Consciousness. New York: Oxford University Press, p. 5. 2. Brown, Ina Corrine (1963), Understanding Other Cultures. Englewood Cliffs, NJ: Prentice Hall, pp. 5-24. 3. Assante, Molefe Kete, "African Elements in African-American English," in Joseph E. Holloway (ed.) (1990), Africanisms in American Culture. Bloom- ington and Indianapolis: Indiana University Press, pp. 19-33. 4. Brooks, Tilford (1984), America's Black Musical Heritage. Englewood Cliffs, NJ: Prentice Hall, p. 29. 5. Maultsby, Portia K., "Africanisms in African-American Music," in Jo- seph E. Holloway (ed.) (1990), Africanisms in American Culture. Bloomington and Indianapolis: Indiana University Press, pp. 185-210. 6. Spaulding, Norman W. (1981), "History of Black Oriented Radio in Chicago, 1929-1963," Ph.D. dissertation, University of Illinois, Urbana- Champaign, p. 124. See also, Heimenz, Jack, "DeeJay Blues: The Story of Rock Radio," Sound, September 1975, pp. 28-30. Acknowledgments Iwish to acknowledge my parents, L. V. and Johnyne Williams (in memory), and my sisters and brothers—Donald, Sandra, Janice, Di- ane (in memory), Victor, Terry, Michael, Elmer, Kathy, Greg and Jen- nifer—for their strong and continuous support over the years. They have helped me in many ways, especially with words of encourage- ment and, at times, financial assistance. For all of their supportive efforts, Iam grateful. P. Macia Richardson, archivist and Head of Public and Technical Services, at the Archive of African American Music and Culture, de- serves special acknowledgment. Macia has been ajoy to work with and assisted in identifying and securing many of the photographs in this book. Ithank you, Macia, for all of your help. Preston A. Blakely, Willie Mustafa and Karen Cathey, my graduate students, helped with the research for this book.

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