Lots of examples of this down the years, many emanating from the USA .... ... In southern states till after the mid 60's, audiences were segregated for music shows, even those that starred an all black line-up. Anyone getting up to dance to say Little Richard or the Marvelettes at a show would be attacked with billy sticks by the local police if they 'mingled' whilst dancing (each colour had to stay their own side of the dividing rope).

Black acts being told they couldn't eat / sleep / drink in lots of southern food halls & hotels. In Miami, top black acts appearing as the star attraction in the hotel's concert room weren't allowed to eat / drink or stay at those same hotels and they were even banned from entering them via the main front doors. How ingrained this practise was is illustrated by US soul singers who came to the UK in the 60's to tour ... many felt too scared to use the front entrance to the London hotel they were staying in whilst in the city (even when told by their British friends that they had no need to use the service entrance.

The top US music mag -- BILLBOARD -- even abandoned it's black chart (R&B CHART) for a period of around 14 months (up to late Jan 65) as ... there was no need for a black chart with so many R&B records getting in their HOT 100 pop chart. The first R&B chart after Billboard reinstated it (30th Jan 65) showed every 45 as a new entry even though many of them had been on the charts for some months.

All the US major record labels treated 'race music' / black music as a 2nd class citizen right through to the early 60's. The likes of Mercury would include new Rhythm & Blues releases on their full page ads but only as a small section tucked away near the bottom. The likes of RCA never really paid much attention to black acts (apart from a few such as Sam Cooke) until the mid 60's -- by then they had to as black acts were some of the biggest sellers in the US. Right through the 50's / 60's, if there was a popular black record out, the majors would rush out a 'white pop' version of the song to take away many sales from the original version. They'd also get their top white acts to cut covers of popular 'black songs' -- the likes of Elvis, the Crew Cuts, Pat Boone, the Maguire Sisters, Ricky Nelson. In fact, Pat Boone had so many top hits with his insipid covers of R&B songs that his whole career was built on them.

Top black acts had to fight to get bookings (even in the mid 60's) in top night clubs (New York's Copacabana for instance), top tourist resorts (Vegas & Miami Beach) and on US TV shows. It was only the likes of the Supremes, Temptations & other top Motown acts that eventually 'broke through' -- and to achieve that Berry Gordy had to get them to include many show tunes , MOR rubbish in their acts.

Radio wasn't that much better, with most US pop stations ignoring the original black version of a popular song and playlisting the white cover version instead. US Forces radio was no better -- by the late 60's, the vast majority of soldiers sent to fight in front-line positions in Viet Nam were black guys. Loads were being called up & sent over there only to return in body bags (they weren't allowed to use 'bone spurs' as a way of avoiding service). Even though the military audience for Forces radio was substantially black, AFN didn't have much interest in programming black records. Up to Feb 69 a breakdown of AFN music content showed these % ... ... .. .. ... .. 24% MOR , 21% white rock / pop, 11% easy listening, 10% c & w, 7% classical, 5% jazz & 4% R&B. It was only because of overwhelming demand that they started R&B shows hosted by the likes of Barbara McNair & Hernan Griffin to meet their audience's needs.

At least, in this country, we only treated black acts as inferior second-classers on very few occasions. In fact we usually treated visiting US singers / groups with great respect (not something that could always be said about how our Caribbean immigrant UK based acts were often treated). It wasn't just coincidence that DAVE GODIN used to end his B&S articles with the 'DO WHAT'S RIGHT, NOT WHAT'S WHITE' statement back in the day.

Of course, in the 'wider world' across America, many other injustices occurred. When politicians deemed it necessary for major freeways to be constructed to connect into city centres, it was just about always black neighborhoods that would be selected as the route for these wide roads. The likes of Miami, Detroit, Chicago & many other cities had their main black housing areas demolished. With their clientele scattered to the 4 winds, the local black businesses (hotels, clubs, bars, shops) would soon have to close down. . . . . I'm sure lots of other examples of discrimination in the music world have gone unlisted above ... anyone want to list any others I've missed ...

Edited June 18Jun 18 by Roburt

I don't think any of us here in the UK knew when we went to see our favourite bands perform live on stage back in the 60s just how badly they were treated in the States - to us they were our heroes! I remember chatting to a few (Jimmy Cliff, Oscar Tony Jr, J.J. Jackson, Jimmy Ruffin are a few that come to mind) before they went on stage at The Wheel - they didn't have the same "big" attitude that some of the UK stars had - it was just like chatting to one of your mates. I felt so lucky & honoured to meet them, but none ever mentioned their life " back home". It was much later when I saw news reports that I began to realise just how bad life was for them in the USA.

Edited June 18Jun 18 by Kathryn Magson

Remember Dave Godin saying at an early Soul Essence that Diana Ross questioned whether she was allowed to travel in the same car as him when the Motown review toured in the early 60s.

27 minutes ago, Kathryn Magson said:

Jimmy Cliff, Oscar Tony Jr, J.J. Jackson, Jimmy Ruffin are a few that come to mind) - they didn't have the same "big" attitude that some of the UK stars had - it was just like chatting to one of your mates. I felt so lucky & honoured to meet them, but none ever mentioned their life " back home".

How true. Lots were bowled over by the kindness shown them by Brits, both industry people & their audience members. FOR INSTANCE, Edwin Starr was booked to play his 1st ever UK club date @ the King Mojo in Sheffield. He headed up to the 'Steel City' from London, UK backing band in tow. Only when he got there did he realise he was playing the niter session & wouldn't be on stage till around 2am. The band were OK with that as they just planned to drive back home (London ?) thru the night. But Edwin didn't want to do that as his body clock was still on US time. He had words with Pete Stringfellow & Pete arranged for him to sleep on the floor at his mother's house after his performance & go on with his UK exploits the next day in normal time (i.e. after 9am) ... after that, one of Edwin's best British friends was always Pete Stringfellow (that's why Edwin was signed to Stringers record label in 1985).

I remember being very close to Ike & Tina when they were on stage at The Wheel (it was a very small stage & I was in what would now be called the moshing pit lol). I was surprised to see that Tina had a carefully-mended hole in her tights. Funny how odd little things stick in your mind even after all these years! Also - we didn't know back then just how badly she was treated by Ike, so maybe she wasn't allowed much money to spend on herself? She certainly made up for it later though didn't she? Well done Tina! xx

Just like AFN usually ignored the listening needs of black military guys ... USO usually did the same.

USO was the United Services Organisation and they sent entertainers overseas to perform for the troops. In Vite Nam they usually got a package headed by Bob Hope or a visit from John Wayne or the like. Not many black army guys were too thrilled with those performers & wanted someone to be booked who they'd like to see.

In the Korean War, Marilyn Monroe did a USO tour visiting about a dozen different camps -- she was accompanied on these shows by a black doo-wop group. There's 100's of pictures of her on that tour & dozens of articles about it. But even though the doo wop group are even pictured singing with her on stage, I couldn't find one mention of who they were. They weren't named even once.

Eventually James Brown said he'd go out to Viet Nam to do some shows & they were so popular he was awarded a medal. A few other black stars were added to Bib Hope style packages that headed out to the far east too, but not that many (Lola Falana being one -- see pic).

Philly radio DJ Georgie Woods even toured Viet Nam (with Jimmy Wisner) to meet the needs for entertainment of blacks in the military.

Edited June 18Jun 18 by Roburt

A view from the 'other side' ... Wayne Cochran's view on colour in music ...

BUT THEN ... Wayne got a Vegas residency for some years (@ the International which became the Hilton). Ike & Tina played Vegas (back in the day), so did Little Anthony & Imperials, Jackie Wilson, Motown artists & many black acts ... but the only black group I can recall getting a long Vegas residency (at a top casino) was the Checkmates Ltd.

There were a few articles about racism in Blues and Soul around 1972. I was fortunate to have a letter published decrying the articles and mentioning artists like Dean Parrish etc and how we loved their music and input into our 'scene'. Unfortunately I don't have the B&S issue any longer but I'm sure someone on here will be able to trace it.

The rubbish being printed soon ended.

A big show (BATTLE OF THE BANDS) @ DC's Howard Theatre in summer 67.

The Howard was a chitlin circuit venue -- just about all black acts would appear there -- with the odd white soul artist being included on occasional revue bills that played the venue (the Magnificent Men being such a group on these shows).

Blacks acts predominately played chitlin venues and got used to how they were treated by the owners. Bigger venues such as the big city theatres (Howard, Royal, Uptown, Fox, Regal, Apollo, etc) would usually have their own band backing up the acts, so the groups / singers had to do very little to set-up. In smaller venues & clubs, black acts had to use their own backing band. The band would be expected to tun up early, drag all their equipment (amps, instruments) into the place, set it up / sound balance it, etc and then come back to do the actual show later in the day.

This was the sort of touring experience the likes of Lou Ragland's Hot Chocolate had to get used to. He'd earlier done the same when touring as a member of Kim Tolliver's band and in the band backing the O'Jays. BUT in 1967, Terry Knight split from his group, the Pack. He was in big demand for live shows as he'd had a hit with his cover of Ben E King's "I Who Have Nothing". He had always been popular in Cleveland & had lots of friends there. So he headed over to Ohio to hire a new backing band. Lou was just about the 1st guy he hired & the new ensemble were soon off on the road. Terry played mainly 'white circuit' clubs and Lou couldn't believe the difference in how they were treated in these. The band would turn up at the venue, to be met by guys hired by the club. They'd shift all their heavy gear into the club & set it up on stge. While this was going on, the musicians would be given food & drink. When all was ready, they'd do a quick sound check & then head off to a local hotel to rest till it was time for the show. Back to the club in the evening & do the show. Afterwards they'd spend time chatting with any fans who stayed back after the show finished, until the club's hired help had loaded all their gear back on their van / bus. Then it was either back to the local hotel to sleep or a start would be made on the journey to their next gig.

Lou never really came to terms with the difference in how he was treated when backing a white singer & how he was normally treated as a black musician working behind a black act.

Edited 17 hours ago17 hr by Roburt

Anything goes

The show was called Anything Goes - hence the drum skin with the same words on 👍🏻

In 1954, Marilyn Monroe entertained over 100,000 American troops in Korea during an organized show titled "Anything Goes."

14 minutes ago, Zoomsoulblue said:

The show was called Anything Goes - hence the drum skin with the same words on 👍🏻

In 1954, Marilyn Monroe entertained over 100,000 American troops in Korea during an organized show titled "Anything Goes."

But do you know the name of the doo wop group that performed there with her ? (see pic in my post above).

31 minutes ago, Zoomsoulblue said:

The show was called Anything Goes - hence the drum skin with the same words on 👍🏻

In 1954, Marilyn Monroe entertained over 100,000 American troops in Korea during an organized show titled "Anything Goes."

Edited 7 hours ago7 hr by Woodbutcher

The above must have been a different tour, as the group I posted her performing with in Korea were definitely black (or she had 2 different backing groups with her).

3 minutes ago, Roburt said:

The above must have been a different tour, as the group I posted her performing with in Korea were definitely black (or she had 2 different backing groups with her).

At about 1:50 in the video she's on stage with the doo-wop group shown in your photo , comprising one black chap and three white fellas so I'm not sure where your statement fits.