ScreenPlay2007

HITMAKERS

(A Screenplay)

August 2008

Music can be a powerful tool for changing lives. And during the 1950’s, the rhythm and rhymes of “race music”– with its foot-stomping Blues, Jazz, Gospel, and R&B – played a vital role in uniting Blacks and Whites. The screenplay, HITMAKERS, is a mystery-drama that documents the savvy “wheeling and dealing” of the 1950’s music industry and the underlying political and social conflicts that defined that era. Inspired by a book written by Marsha Washington-George entitled “Black Radio – Winner Takes All”, I wrote HITMAKERS not merely to tell a story, but to depict how negative forces in our past can teach us very subtle lessons and warnings about humanity. History has a tendency of repeating itself – in many alarming ways. Yet today, in a world where the blind lead the blind, this message rarely sees light. It is my desire to open people’s eyes to the lessons of our past. Therefore, I seek your assistance in getting this project produced into a full length feature film or mini-series. Marsha Washington-George’s book is a collection of audio-taped interviews with America’s first Black radio pioneers -- such as Ken Knight (her uncle), Hal Jackson, Jack Gibson (a.k.a. Jack the Rapper), Eddie O’Jay, Tommy Smalls, Paul E.X. Brown, and more. The screenplay revisits the pioneering days of Black radio – dramatizing the behind-the-scene hurdles that these disc jockeys overcame in “hitmaking” records to Top-40 status. They were the pied pipers of “race music” who – with the mere flick of a switch and a mic in hand – mesmerized Blacks and Whites with their daily antics, humor, witty commercials, giggles, and their poetic “rap styles”. “Race music” was the emollient that enabled these Black radio legends to unite the nation and soothe hostilities.

HITMAKERS explores the untold sacrifices, setbacks, and successes these forgotten legends encountered in lifting the spirits of an impoverished Black race – who, up to then, were weighed down by centuries of oppression and low self-esteem. Based on actual events, the screenplay is set in the South in 1951 – six years after the advent of television. Like radio, television catered only to White audiences. But as television became the predominant pastime in White households, American radio become a virtual wasteland as network programming and advertisers migrated to TV. One after the other, they reincarnated their audible productions into the more visual forms of entertainment. And, as a result, radio station owners began to seek newer ideas for entertaining their now dwindling audience. Desperate to try anything – and faced with threats of foreclosure – a few radio broadcasters took the risk of handing the on-air microphone to Black announcers. (A smart move since over 90% of Black Americans owned radios.) What ensued was a money-making frenzy that not only had radio stations literally “changing their tune” from coast-to-coast, but it also revived the failing industry! By 1949, broadcasters and advertisers were reaping unprecedented profits by cashing-in on what was discovered to be an untapped 10 billion dollar Black market.

It was during this time of outright racism that the Black forefathers of Black radio were given unprecedented reign to “steer” the course of race music off the beaten paths of the underground to the bright spotlights of mainstream America. They unleashed an array of unheard-of, finger-popping tunes and social conscious lyrics that swooned the hearts of both Blacks and Whites alike. In every instance, they turned radio station towers into beacons of “gold”. However, as the popularity of R&B spawned into “Rock-n-Roll”, these talented disc jockeys were given a “rude awakening” to the other side of fame and fortune. From their view behind the mic, they saw the “greed” and, even more, the “fear”. It was a fear that imbedded itself in the eyes of deprived Black citizens and the eyes of White citizens as well. The greed and financial exploits of the Black music industry during the 1950’s brought these radio announcers face-to-face with the criminal elements that started infiltrating radio. But more criminal were the organized racist groups who opposed “race music” and the McCarthy “witch-hunters” who electronically monitored radio. Yet, driven by tenacity and a genuine compassion to heal, these pioneering radio jocks focused on the more important “calling” of addressing the hardships of their listeners on-air. They used their popularity and political “muscle” to appease public fears and tear down barriers of prejudice. (Often, against the directives of their program managers who were also under pressure.)

HITMAKERS depicts the hardships of an undiscovered, light-skinned singer in 1950’s Georgia whose color becomes an obstacle in her success. Outcast by a racist White society who view her as an “embarassment” and a jealous Black society who view her as “uppity”, this fictional prodigy struggles daily with the torments of her bitter reality. In an effort to find meaning in her life, she unexpectedly retreats from the South to seek success up North -- escorted by her newly found “shady” friend. Eventually, this “diamond in the rough” encounters more resistance from the major record labels. But not for long. Under the guidance and good company of the “hitmakers” – the “Bad Boys” of radio, she embarks on a cross-country, radio station tour that ignites her singing career. Parading as on-air radio jocks by day and moonlighting as concert promoters by night, these radio pioneers use their shrewd methods to break this “rising star” through the glass ceilings of Top-40 radio! And yet, as her voice mesmerizes the nation, this “troubled star” discovers that her “newly found friend” is a key figure in reveling a dark secret surrounding her bi-racial birth! From this revelation, she’s inspired to cherish her own true blackness.

The 1950’s was an era in which many White communities expressed outspoken discomfort over the mere presence of Blacks in society. So much so, that some Whites routinely vented their unrest through destructive acts of hatred, mockery, and snobbery. This was an America where racist propaganda and stereotyped caricatures of “Blackness” dominated American culture. And hence, Blacks, in like manner, harbored the same prejudice against one another – resulting in a self-demeaning “color war” that rages on today among some Black Americans. Believing in all the hype, they too fail to see their own inner and outer beauty. . . The institutionalized mockery” of “Colored” people – that besieged radio, television, billboards, print, product marketing, and public commentary during the 1950’s and beyond – blazed paths of destruction in the conscience of Black Americans. And HITMAKERS vicariously explores how the forefathers of Black radio positioned themselves as “voices” in their communities to help change our view of Black humanity – (in Whites and Blacks).

HITMAKERS immerses the audience in the dazzling concerts of the ‘50’s, the fashion, the dance, the poetry, the lingo, the music, and the ethnic vibe that “Negroes” sought refuge in – away from the harsh world outside. It illustrates just how much of a sobering affect music – along with other forms of art – have on the hostile vices that can intoxicate our minds and spirits. But it is through the visual re-enactment of our past that the audience realizes how HITMAKERS foreshadows the greed and indecency that plagues the industry today. Like the negative propaganda of our past, now a new generation erects “canvases” of hatred, violence, and obscenity to a younger generation who “don’t know any better”. It’s the same demeaning “propaganda” of yesteryear – manifesting the worst in humanity against poor Black folk. Except the main perpetrators today are Black themselves! . . . “Where is the love?” . . . . . . We need only look to our past to discern and learn the lessons of our future. HITMAKERS depicts how overcoming the pitfalls and prejudices of life is entirely dependent on each human being embracing – or at least accepting – the beauty of each other’s cultures, regardless of nationality. And, in like manner, overcoming the unnecessary hostility and violence emanating out of Black communities today is dependent on “Black youth” embracing and respecting the beauty of their own culture. “Artistic expression” (or even “artistic propaganda”) has the power to change for good -- whether it be through poetry, creative writing, sculpture, dance, theater, or through music. We are all impressionable creatures. We learn by example – be it positive or negative. And like the subtle wind that blows the leaves, similarly, where ever the wind blows, our hearts and minds also follow. So, . . we have a choice. We can either inspire and unite mankind or condemn and segregate mankind. Either way, art has the power to impact the good and to combat the bad! It is a weapon! And, like the “race music” of yesteryear, art has the power to stir up enough emotion to triumph over the vices of humanity! . . . . . . . . . . . . . . . . Use it wisely.

Marsha Washington George, Author Black Radio...Winner Takes All! America's 1st Black DJs