“Mike Fright”
This chapter examines the racialization of sound and language during the transitional period in Hollywood. It argues that the studios’ interest in African American representation in the talkies participated in the ongoing construction in US popular culture of the “Black voice” and of ethnically marked ways of speaking as signifiers of substance and vitality. Tracing the genealogy of this “thrown” voice back through white radio comedians’ vocal mimicry, dialect fiction written by white authors, and blackface minstrelsy, the chapter demonstrates that the talkies were a technological medium of racial ventriloquism. Examining the popular RKO feature Check and Double Check (1930)—a complex product both of radio minstrelsy and the early sound era “vogue” for African American musical performance—the chapter centers on a highly revealing gesture of counter-ventriloquism by the members of the Duke Ellington Orchestra, who refuse to adopt the thrown “Black voice” scripted for them, appropriating white singers’ voices instead.