This article examines the racial politics of radio programming in the United States by focusing on the development of a new radio format in the late 1980s. This new format, which the radio industry referred to as Crossover, attracted a coalition audience of Black, white, and Latinx listeners by playing up-tempo dance, R&B, and pop music. In so doing, this format challenged the segregated structure of the radio industry, acknowledging the presence and tastes of Latinx audiences and commodifying young multicultural audiences. The success of this format influenced programming on Top 40 radio stations, bringing the sounds of multicultural publics into the US popular music mainstream. Among these sounds was hip hop, which Crossover programmers embraced for its ability to appeal across diverse audiences; these stations helped facilitate the growth of this burgeoning genre. But like many forms of liberal multiculturalism in the 1980s and 1990s, the racial politics of these stations were complex, as they decentered individual minority groups’ interests in the name of colorblindness and inclusion.

中文翻译：

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1980 年代的“新音乐组合”：跨界电台广播多元文化主义

本文通过关注 1980 年代后期新广播格式的发展来审视美国广播节目的种族政治。这种被广播行业称为 Crossover 的新格式通过播放快节奏的舞蹈、R&B 和流行音乐吸引了由黑人、白人和拉丁裔听众组成的联盟听众。通过这样做，这种格式挑战了广播行业的隔离结构，承认了拉丁观众的存在和品味，并将年轻的多元文化观众商品化。这种格式的成功影响了前 40 名广播电台的节目，将多元文化公众的声音带入了美国流行音乐的主流。这些声音中包括嘻哈音乐，Crossover 程序员因其能够吸引不同观众而欣然接受它；这些电台帮助促进了这一新兴类型的发展。但与 1980 年代和 1990 年代许多形式的自由多元文化主义一样，这些电台的种族政治很复杂，因为它们以色盲和包容的名义分散了个别少数群体的利益。