As the title suggests, from time to time, I go off the topic of my dialysis journey. Today is no exception. I’m going to relate to you a little of the background from my formative years, the mid-fifties, when I was 15-17, and a sophomore-senior in high school.

Quite often during the time frame suggested, a small group of boys who were also into fast cars would meet in a friend’s garage (Paul Hinton to be exact) where we would discuss cars, girls, drink beer, play poker, and listen to radio station WLAC Nashville. Guys would drop in after dates, with some bringing their female friends with them. All through this, WLAC took front and center. So what’s with WLAC of yore? WLAC was, at the time, at the front of R&B. It brought R&B to the public’s attention and ours. In short, we listened to artists and music long before it reached the airwaves in Springfield, Ohio. WolfMan Jack hadn’t been invented, but WLAC had. Since WLAC played such a pivotal role in my early music listening, it is worth looking back to see where I am now. I quizzed Perplexity with the following Prompt and results. Following at bottom is a clip from Bo Diddley on how he got started. He was one of the artists on WLAC early on. I also inserted a Howlin’ Wolf rendition to give you a flavor of the tunes coming across from WLAC at the time.

Prompt: In the 50s, there was a station in Nashville, WLAC, that played real R&B sponsored by “white rose petroleum jelly” Tell us about this

WLAC and Its Pioneering R&B Broadcasts in the 1950s

WLAC was a Nashville, Tennessee, powerhouse AM radio station (1510 AM) that became legendary in the 1950s for broadcasting rhythm and blues (R&B) music across much of the United States, especially at night when its 50,000-watt clear-channel signal reached up to 28 states, parts of Canada, and the Caribbean. WLAC played a crucial role in introducing Black R&B music to both Black and white audiences during a time of deep segregation and limited access to such music on mainstream radio.

The WLAC R&B Format

• Programming: Starting in the mid-1940s and peaking through the 1950s and 1960s, WLAC’s nighttime airwaves were dominated by a quartet of white DJs—Gene Nobles, John Richbourg (known as “John R.”), Bill “Hoss” Allen, and Herman Grizzard—who played records by Black artists such as Chuck Berry, Fats Domino, Little Richard, Muddy Waters, and Etta James.
• Audience: The station’s management deliberately targeted Black listeners, knowing their signal reached 80% of Black homes in the country at night. However, the shows also attracted a large number of white teenagers, many of whom were hearing authentic R&B for the first time.
• Cultural Impact: WLAC’s broadcasts helped lay the groundwork for the rock and roll explosion, influencing future musicians and helping to bridge racial divides in American popular music.

Sponsorship and “White Rose Petroleum Jelly”

• Advertising Approach: The DJs’ shows were heavily sponsored by products marketed to Black consumers, many of which were sold via mail order and promoted with colorful, sometimes humorous, and often suggestive on-air pitches.
• White Rose Petroleum Jelly: Among the most famous sponsors was “White Rose Petroleum Jelly,” a brand of white petroleum jelly. The DJs would read lively and sometimes double-entendre-filled commercials for this product, joking about its many supposed uses. The playful, sometimes risqué nature of these ads became part of the station’s mystique and appeal, especially among teenagers who felt they were part of a secret, subversive listening club.
• Other Products: Alongside White Rose Petroleum Jelly, the station also advertised products like Royal Crown Hair Pomade and even live baby chicks, all targeting the station’s core late-night audience.

Business Model and Legacy

• Mail-Order Economy: Much of the station’s revenue came from mail-order businesses, such as Randy’s Record Mart, which became the nation’s largest mail-order record seller thanks to WLAC’s reach and influence.
• Social Change: While the DJs and station management profited from Black music and audiences, many Black musicians appreciated the exposure and career opportunities WLAC provided, even as the station’s aggressive product promotion sometimes took advantage of its listeners.
• Enduring Influence: WLAC’s R&B shows were instrumental in breaking down racial barriers in American music, inspiring countless musicians (including Bob Dylan and members of The Band) and helping to usher in the rock and roll era.

“During the hours not sponsored by record shops, WLAC featured a whole slew of wonderful commercials for such things as… ‘live baby chicks,’ ‘Royal Crown Hair Dressing’ and ‘White Rose Petroleum Jelly.’ The disc jockeys used to have a lot of fun mentioning creative uses for that versatile substance, many with double entendre meanings.”

Summary Table: WLAC R&B Era Highlights

Feature	Details
Location	Nashville, Tennessee (not Memphis)
Era	1940s–1970s (peak R&B influence in 1950s–60s)
Signal Reach	50,000 watts; up to 28 states, Canada, Caribbean at night
Key DJs	Gene Nobles, John Richbourg (“John R.”), Bill “Hoss” Allen, Herman Grizzard
Audience	Primarily Black listeners, but also white teenagers across the eastern U.S.
Notable Sponsors	White Rose Petroleum Jelly, Royal Crown Hair Pomade, Randy’s Record Mart, live chicks
Legacy	Broke racial barriers, fueled R&B/rock crossover, influenced generations of musicians

WLAC’s nightly R&B programming, with its iconic product pitches for items like White Rose Petroleum Jelly, stands as a pivotal chapter in American radio and music history, shaping tastes and breaking down social barriers in the mid-20th century.