T R U C T U R A L AND I NS TI T UTI O N A L RACISM SEVEN GUITARS

Racism In The Music Industry Of The Midcentury And The Policing Of Black Bodies

FLOYD BARTON SINGS THE BLUES: DREAMS DEFERRED BY RACISM IN THE MUSIC INDUSTRY

the Black culture such as blues, jazz, gospel, and others. These records were marketed towards Black audiences and highlighted Black performers, but did not give the Black community the benefits befitting their popularity.

In Seven Guitars, Floyd sets out to find his place in a music industry made to exploit him and other talented musicians of color. In the play we learn that Floyd has recorded music in Chicago and is planning to return, but has not gotten the compensation that he rightfully deserves for his talents. This story was not uncommon for many Black artists of his time.

During the early days of recorded music, producers did not quite understand that there was an audience for the performances of musicians of color, more specifically Black musicians. Once producers caught on that there was money to be made, “race record” departments became a part of many major record labels, highlighting the music of Black artists and genres that originated in

Most record labels were run by white people who profited off the labor of Black artists; there were a few labels run by Black producers, but “Segregation and racism, combined with only fleeting access to capital, technology, and distribution—which were almost exclusively controlled by whites—placed the African-American labels at a disadvantage and ultimately contributed to their quick demise,” notes historian Matthew A. Killmeier. Many albums were published without the artist’s name attached, so artists were unable to parlay recording success into touring gigs. Many songs were previously unpublished, so labels bought the recording rights along with the recordings themselves and could have anyone record the pieces again or could sell the songs for profit. Black artists often recorded without contracts or without royalty agreements, leading them to little to no compensation for their work. Starting in the 1920s, labels took portable equipment to the South and recorded local performances with unknown artists who were never recognized or acknowledged for their work.

Eventually, the “race records” became popular with white audiences as well, and they were rebranded as “Rhythm & Blues,” but often the unethical treatment of Black artists continued.