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Usually circulating music out the backs of their cars, these business owners carried the still-secluded jukeboxes that provided good songs and improved the solo stations that would broadened the music.

R&B RIDES THE RADIO WAVES

Rhythm and blues, also commonly known as R&B, was brought to a nationwide crowd through independent radio. Before 1948, four different widespread networks controlled radio which aimed to advocate for Caucasian middle-class, family-centered programming that was hugely similar from different grids. However, the increase of television shattered radio networks. Nationwide programming yielded many of the locally programmed radio stations, all of them attracting their own crowd. The perfect, normal voice, no accent and very even “radio voice” of the classic speaker was shortly replaced by peculiar, quick-speaking DJs, that had zero problems adding their own persona, and ethnic qualities in their shows. The DJs established an immediate bond with their supporters that listened to them. DJ Diggie Doo, from Baton Rouge, explains how everyone knew who they were. The foundation of their triumph was R&B. The main location for the R&B radio was in the south. There were spearhead African-American R&B DJs and there were also well-known Caucasian R&B DJs. Several “Negro stations” from the South had demonstrated to be very prosperous by the early 1950s. Spider Burks had a broadcast to St. Louis’ huge African American community over the radio station KXLW. WOKJ, a station located in Jackson, Mississippi, had obtained over 100,000 African American listeners. Memphis, Tennessee’s radio station, WDIA, could transmit to approximately 10% of America’s 12 million black citizens. Nashville’s station, WSOK, professed to have numerous African American stockholders. The first fully African American owned radio station in America is named WERD from Atlanta, which was created in 1951. All kinds of DJs from different backgrounds in R&B radio shortly thrived nationally and showed that they can be well-known with all audiences of all skin types. Because both black and white audiences enjoyed R&B, record sales began to increase. In 1952, an African American retail outlet in LA, Dolphin’s Hollywood Record Shop, grown significantly and their company had more white customers. The owners accredited it to single DJs playing R&B records. The same thing was occurring with other record stores around the country. It gestured a difference in the desired music preferences that made several artists popular with both African American and Caucasian crowds.

ROCK ‘N’ ROLL TRANSFORMS THE MUSIC INDUSTRY

The foundation of the music enterprise was drastically changed once rock ‘n’ roll was introduced. It guided different artists and writers from all contrasting backgrounds into the norm. It gave little solo record labels to participate strongly with huge companies; and it carved the way for peculiar DJs to develop essential taste makers. Considering much of its forces plus implicitly all its beginning creators were black. Rock ‘n’ roll boosted a changed the sensibilities and the styles toward the working class toward black Americans. Fundamentally, it questioned the current works of ethnic quality and popular opinions. Briefly, the division of classes and races that had led the process of the musical industry and the sway of all the social encounters. Big record labels committed to a specific number of talent purchasing, and started distributing “cover” songs. For example, artists would release pop versions of authentic rock ‘n’ roll and R&B songs. Which usually sold way more than he original song. DJs were thought to be very responsible for the crossing of African American music into the pop genre. Because of the, ASCAP, The American Society of Composers, Authors and Publishers, made a sequence of government inspections addressing suspicious DJ practices. This then lead to a peak in “payola”, the practice bribing of someone (money, sex etc.) to promote music, towards the end of the decade. Earlier in the 1900s, song plugging was pillar of marketing in the industry. Yet, in the 50s, the focal point on payments to DJs initiated the main strategy balancing rock ‘n’ roll. Alan Freed, a DJ, became one of the leading victims of the hearings. This showed a small amount to show in the misconduct. However, this adjusted the radio by adding music and program directors to control the self-rule of DJs. The center of controversy was the DJ, Alan Freed. He’s been controversial since 1951. He played a big part in making music highly favored amongst white teenagers. Also, he continuously forced original African American music during the cover-record time. During his employment, he advertised his interracial tours to satisfy his interracial audience. Once payola came into the light, he was instantly fired.

THE MUSIC INDUSTRY AND THE CIVIL RIGHTS MOVEMENT The progressions Black artists made in the music were endangered because of the payola hearings. During this however, the Civil Rights Movement gave off a countervailing force. At this time, African American artists had controlled a continuum of dance crazes. Black women singing groups, also known conjointly with their white correlates as “girl groups” came together as a popular trend in music for the first time. Motown is the most successful Black-owned record label, founded in Detroit, Michigan. “The Twist” was a popular dance move in the 60s was created by Chubby Checker. This song reached #1 on the pop charts two times. Many popular African American artists like Same Cooke and the Isley Brothers, also started to do the twist.