About | HeinOnline Law Journal Library | HeinOnline Law Journal Library | HeinOnline
LOG IN
LOG IN

12 J. Radio Stud. 61 (2005)
Blackface Broadcasting in the Early Days of Radio

handle is hein.journals/jradstud12 and id is 63 raw text is: Blackface Broadcasting in the Early Days of Radio Noah Arceneaux Numerous radio historians have studied the significance and influence of Amos 'n' Andy during broadcasting's formative years, but scant attention has been paid to other programs that were similarly inspired by the traditions of blackface minstrelsy. This study traces the history of radio minstrelsy as a distinct genre and outlines its influence on other forms of programming using evidence drawn from trade publications and newspaper articles, the previous literature on early radio, and surviving audio recordings. The study also examines hillbilly shows from radio's early years, which drew from a similar performance tradition. In a study of blackface entertainment on the BBC, Michael Pickering (1996) writes that historians' neglect of the topic is a story of omission and evasion (p. 161). The same is true of American radio history. Much has been written about radio, its history, programming, and social impact, but to date, no historian has specifically studied the phenomenon of radio minstrel shows in the United States. When the subject has been broached, it has been within the context of a larger study, with perhaps a few para- graphs devoted to these specific programs, followed by a much lengthier discussion of Amos 'n'Andy (Barlow, 1999; Boskin, 1986; Hilmes, 1997; MacDonald, 1979; Vaillant, 2002; Watkins, 1994; Wertheim, 1979). This series was enormously popular, but it was certainly not the only radio program based on the traditions of the 19th- century minstrel show. The purpose of this study is to examine the entire genre of radio minstrelsy to illustrate how the specific conventions of blackface were adapted for broadcast presentation. This research not only fills a void in the historical record but also sheds light on the complex interplay of race, class, and gender within popular culture, themes that continue to fascinate and frustrate media scholars.' Toll (1974) wrote that White performers had been blacking up since before the American Revolution, though minstrel shows did not crystallize into a distinct tradi- tion until the 1840s (p. 26). In 1843, four White men calling themselves The Virginia Minstrels darkened their faces, adopted exaggerated dialects to parody Black speech, and performed a mixture of comedy and songs. The act inspired imitators across the country, and the minstrel show became a national institution virtually overnight (p. 21). Minstrelsy, the name given to this theatrical form, enjoyed great Noah Arceneaux, University of Georgia. © 2005 Broadcast Education Association Journal of Radio Studies 12(1), 2005, pp. 61-73

What Is HeinOnline?

HeinOnline is a subscription-based resource containing thousands of academic and legal journals from inception; complete coverage of government documents such as U.S. Statutes at Large, U.S. Code, Federal Register, Code of Federal Regulations, U.S. Reports, and much more. Documents are image-based, fully searchable PDFs with the authority of print combined with the accessibility of a user-friendly and powerful database. For more information, request a quote or trial for your organization below.



Short-term subscription options include 24 hours, 48 hours, or 1 week to HeinOnline.

Purchase Access

Contact us for annual subscription options:

Contact Us

Already a HeinOnline Subscriber?

Log In

profiles profiles most