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Videos 10/25/99: Hal Jackson
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VIDEO REQUEST
October 21, 1999
ACCEPT
REGRE P6:49 PENDING
TO:
Stephanie Streett
Assistant to the President and Director of Scheduling and
Advance for the President
FROM:
Minyon Moore
Assistant to the President and Director of Political Affairs
REQUEST:
For the President to videotape remarks for the Urban
Network Magazine salute to Mr. Hal Jackson.
PURPOSE:
To congratulate Hal Jackson as he is honored for his
pioneering leadership in the radio and recording industries.
BACKGROUND:
Hal Jackson is being honored as a pioneer in American
radio broadcasting. He is one of the "Founding Fathers" of
modern radio and was the first African American inducted
into the Broadcast Hall of Fame and the Radio Hall of
Fame. Now in his 80s, Mr. Jackson continues to provide
encouragement and training to new broadcast leaders.
Hal Jackson will be honored in a celebration in New York
City sponsored by the Urban Network Magazine. Honorary
Co-Chairs include Clarence Avant, Quincy Jones, Berry
Gordy, Diana Ross and Stevie Wonder. Smokey Robinson
will perform for the more than 600 guests in attendance.
DATE AND TIME OF EVENT:
Wednesday, November 3, 1999
DURATION:
2 minutes
LOCATION OF EVENT:
Rainbow Cipriani, New York, NY
SCRIPT:
Draft script attached
SOURCE OF PAYMENT:
Urban Network Magazine
CONTACT:
Minyon Moore or Jocelyn Bucaro, 6-7910
ORIGIN OF THIS PROPOSAL:
Jane Jackson Harley (daughter of Hal Jackson)
CHERRATE
OFBROADCAST October 21, 1999
A D $ H P
HONORARY CHAIRS
Ms. Minyon Moore, Assistant to the President
CLARENCE AVANT
Interior Music
Director of Public Affairs
HON. DAVID N. DINKINS
The White House
AHMeT ERTEGUN
Washington, DC 20502
Atlantic Recording Corporation
BERRY GORDY
Wese Grand Media
Dear Ms. Moore:
QUINCY JONES
Quincy Jones Productions
On behalf of the Jackson family, I would like to express our deep
DIANA Ross
Artist
appreciation to President Clinton for his dedicated service to our country.
PERCY E. SUTTON
Our prayers are with him and his family.
Inner City Broadcasting
STEVIE WONDER
Artist
I am writing to request a video of congratulations from President Clinton in
CHAIRS
recognition of my father, Hal Jackson, to be presented on the occasion of the
ED BRADLEY
"Hal Jackson's 60 Years of Broadcast Leadership" celebration on November
CBS-60 Minutes
3, 1999 at the Rainbow Cipriani, 30 Rockefeller Plaza in New York City. Ed
JHERYL BUSBY
Dreamworks Music
Bradley will be the host for the evening, Smokey Robinson will be the guest
RICHARD D. PARSONS
artist, and music will be provided by Jon Lucien. More than 600 guest will
TimeWarner
attend the celebration.
SUZANNE DE PASSE
de Passe Ensertainment
Tito PUENTE
Hal Jackson is a pioneer of American radio broadcasting. He is one of the
Artist
"Founding Fathers" of modern radio. He was the first African-American
HON. CHARLES B. RANGEL
inducted into the Broadcast Hall of Fame and the Radio Hall of Fame. Now
SYLVIA RHONE
Elchtra Entertainment Group
in his 80's, his work continues to impact growth and development in
PIERRE M. SUTTON
communi-cations through the encouragement and training he gives to the
Innor City Broadcasting
next generation of broadcast leaders.
CHARLES WARFIELD
AMPM Inc.
ADVISORY COUNCIL
Ms. Moore, my father is great admirer of President Clinton, and I know that
BRUCE DUMONT
a short message from the President would will mean so much to him. If you
Radio Mall of Fame
have need for additional information, please contact me at (202) 479-4164.
EDWARD O. FRITTS
National Association of Broadcasters
STEVEN NEWSOME
Thank you very much for your assistance.
Smithsonian Museum and Center
for African American
History s Culture
Sincerely,
TERRY STEWART
Rock and Roll Mall of Fame
Lois WRIGHT
National Association of
Black Owned Broadcasters
EXECUTIVE-IN-CHANGE
JEWELL JACKSON MCCABE
jewell Jadson McCabe Associates
Committee in formation
Youth Development Foundation, Inc. 1230 Park Avenue, New York, NY, 10128 212-397-9980 Fax-212+956-4087
10/22/99
FRI 17:24 FAX 2024562983
002
It is my pleasure to join you tonight en this very special occasion.
I am happy to Join you, Hal Jackson, your family and friends to
celebrate your 60 years of broadcast leadership.
Hal, your dedicated work has gained you the reputation as one of
the mest popular and one of the most respected men in the
communication Industry. What you have accomplished in your
career in breadcasting truly makes you deserving to be
recognized as one of the "Founding fathers" of medern radie. Hal.
Your list of awards and honors is impressive. From being the first
black radio announcer on network radio, to being the first black
play by play sports announcer on radio in this century, to being
the first black to be the host of an international network
television presentation, you also found the time and energy to
organize and own the first Black team to win the World's
Basketball Championship. And finally. in the spring of 1990 you
were henered with being the first Black [ or minority 1 Inducted
into the National Association of Broadcasters Hall of Fame and in
the fall of 1995, you were the first Black inducted Into the Radio
Hall of Fame.
Mr. Jackson, While I am not the first American President to
acknowledge your achievements, I am proud to be the first
president to wish you a happy 60th year in your distinguished
broadcasting career.
Mr. Jackson, on behalf of myself and Hilary, I salute you.
10
FAX
2024562983
001
THE WHITE HOUSE
OFFICE OF POLITICAL AFFAIRS
Minyon Moore
Assistant to the President
and Director of Political Affairs
Phone (202) 456-6257
Fax (202) 456-2983
To: Josh Gottheimer
Date: 10/22
FAX #: 6-2505
# of Pages (including cover) 2
COMMENTS
Script for Hal Jackson video.
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The Virginian-Pilot (Norfolk, VA), July 27, 1999
Copyright 1999 Landmark Communications, Inc.
The Virginian-Pilot (Norfolk, VA)
July 27, 1999, Tuesday, FINAL EDITION
SECTION: LOCAL, Pg. B1
LENGTH: 703 words
HEADLINE: WHAT'S IT TAKE TO GET TEEN TO TALENT CONTEST? STARTS WITH "V"
BYLINE: ROSEMARY HARRIS
BODY:
"It takes a whole village to raise one child."
That African axiom has been used by everyone - the Rev. Jesse Jackson, journalist Bill Moyers, first
lady Hillary Rodham Clinton.
Still, I've heard people snicker when the "village" philosophy is invoked.
Some just don't understand the powerful influence of many hands and hearts touching the life of a
child.
But every time I see proud villagers gathered to support one of their own, that saying from The
Motherland springs to mind.
On Saturday, the community that has been so instrumental in raising Bianca Danielle Hicks
gathered 'round her - and her mother, Denise Willey - to wish them godspeed and good fortune as
they prepared to travel to St. Thomas in the U.S. Virgin Islands.
There, 17-year-old Bianca, a Maury High School rising senior, will represent Virginia in the "Hal
Jackson Talented Teens International Competition," which began on Monday and will culminate
Saturday night.
For nearly 30 years, radio/TV veteran Hal Jackson has shined a light on the nation's most
promising African-American talents. Since 1971 the contest has been held in places such as the
historic Apollo Theater in Harlem, N.Y., and the John F. Kennedy Center for the Performing Arts in
Washington, D.C. In 1976, the competition went international, bringing together young women
from the Caribbean and South America. Fifty contestants will compete this week.
This village, though, is cheering Bianca.
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To say that she will do Virginia proud is an understatement.
She's brilliant, gracious, spiritual, gorgeous - and she plays the steel drum like nobody's business.
To say that her mother should receive a commendation is an understatement, too.
By example, she has raised a child steeped in the traditional values of service to God, family and
community.
But neither Bianca nor her mother could have done these things alone.
It took a village.
I could never say that too many times.
At the Art Atrium - a downtown Portsmouth gallery owned by Bianca's aunt and uncle, Joan
Rhodes-Copeland and Waymon Copeland - the villagers gathered on Saturday. There was an
electrical storm raging outside. Inside, there was a quiet storm of love, the glow of community - all
set to the sounds of throbbing steel drums and Bianca's specialty, the steel pan.
Bianca is a youth missionary and a church usher. She plans to attend the University of Virginia and
major in computer science. Her dream is to one day own a computer-related business - in Japan.
For now, she plays the piano, sings and raps Christian lyrics. But she didn't learn to play the steel
pan until her church, Third Baptist in Portsmouth, sponsored Camp Kwanzaa, a summer arts
experience conducted by the city's Urban Arts Center.
When arts center director Charisse Minvera Spencer heard Bianca's talent, she encouraged her to
continue her lessons. Because of that encouragement, Bianca received instruction from master
teachers such as Earl Sawyer, Keith St. Louis and Bruce Asbury.
They are all part of her village.
In February, Bianca played "Amazing Grace" on the steel pan at the funeral of her uncle James
Long, who was part of her village.
Amanda Murray, first lady at First Baptist Church in Norfolk, heard that rendition and encouraged
Bianca to enter the Hal Jackson competition.
Sister Murray and the Rev. Robert Murray, too, are part of her village.
Many Hampton Roads business owners are part of it, too. When Bianca needed to raise $ 400 to
help defray the cost of the state pageant, people responded. Bianca and her mother raised $
2,400.
It takes a whole village.
Last Sunday, the Rev. Joe B. Fleming, pastor at Third Baptist, asked the congregation to back up
its well-wishes with contributions to help pay for outfits, costumes and jewelry that Bianca needed
for St. Thomas.
That moment was overwhelming for Denise Willey.
She cried tears of joy.
She knows that it takes a village to raise a child as remarkable as Bianca. And it takes a village to
raise my child, your child, every child for that matter.
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This week, Bianca Danielle Hicks - already a winner - will be representing our whole village.
Represent, child, represent!
GRAPHIC: File photo;
Bianca Hicks of Maury High School is headed to a teen talent competition in St. Thomas.;
Photo;
SPECIAL TO THE VIRGINIAN-PILOT;
Denise Willey, right, cried tears of joy when the pastor at her church asked the congregation to
donate money to help her daughter, Bianca Hicks, left, pay for costumes she needed for a talent
competition. Thanks to help from others and her own hard work, Bianca is headed to the Virgin
Islands.
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Daily News (New York) October 27, 1995, Friday
Copyright 1995 Daily News, L.P.
Daily News (New York)
October 27, 1995, Friday
SECTION: Television; Pg. 138
LENGTH: 338 words
HEADLINE: A FAME-D VOICE OF BLACK EXPERIENCE
BYLINE: BY DAVID HINCKLEY
BODY:
HAL JACKSON has broken a lot of barriers over his 57-year career in radio, starting in the 1930s
when he was told that no black man only the phrase wasn't "black man" would ever have an on-air
position in radio.
Since then, Jackson has broadcast sports, hosted talk shows, even done TV. He has played pop
music from Big Bands to hip hop, and he still does, on "Sunday Classics" over WBLS (107.5 FM), 8
a.m.-4 p.m.
This Sunday, however, he's got another date. He will be one of the first five African-Americans
inducted into the Radio Hall of Fame in Chicago.
After somehow missing blacks for the first six years of its existence, the Hall is catching up.
Besides Jackson, it's inducting Herb Kent ("The Kool Gent"), Jesse Blayton Sr., whose WERD was
the first black-owned station in the country, Kansas City's Andrew Carter and jazz pioneer Yvonne
Daniels. All but Jackson and Kent are deceased.
"I knew them all," says Jackson. "All fine people, and it's a real honor to be alongside them."
The recognition "comes a little late," Jackson agrees, in a tone that says this is nothing new. "But
I'm so honored to get it."
Other inductees at the ceremony, which will be broadcast live Sunday over WABC (770 AM), 8-10
p.m., include baseball announcer Jack Buck, satirist Stan Freberg, executive Edward McLaughlin
and long-time WTIC (Hartford) morning man Bob Steele. "The CBS World News Roundup" will also
be inducted.
The Hall was started in 1988 in Freehold, N.J., by the Emerson Radio Corp. and moved to Chicago's
Museum of Broadcast Communication in 1991. It keeps extensive radio archives.
Jackson will do part of his Sunday show by phone, then go back to work next week at WBLS, where
he's a vice president of Inner City Broadcasting. Not bad for a man well into his 70s.
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"Retire?" he says with a laugh. "I don't know what I'd do if I retired. This is what keeps me young."
TIME TO GIVE: WNYC (93.9 FM, 820 AM) yesterday launched its fall fund-raising drive. The, yoal is
$ 800,000.
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Daily News (New York) February 27, 1997, Thursday
Copyright 1997 Daily News, L.P.
Daily News (New York)
February 27, 1997, Thursday
SECTION: Television; Pg. 108
LENGTH: 569 words
hold conventos
HEADLINE: BLACK STATIONS AT CROSSROADS?
BYLINE: By DAVID HINCKLEY
BODY:
WHAT "black radio" does over the next few years may determine whether it survives, a panel of
music and radio people warned last week. The questions, said the panel, range from black
ownership of media to "crossover" music to commercial radio's role in breaking new artists.
While many of these issues affect radio in general, Hal Jackson of WBLS (107.5 FM) noted that
black radio stations have for decades held a unique role in black communities, whose concerns
often get little attention in "mainstream" media.
A tal Jadres one said "Black adio IT one catv
"Black radio is a nerve center, said Jackson, who has been in radio for some 60 years. "A radio
station has to be involved with the community. If a deejay does 4-5 hours on the radio, then walks
out thinking he's God, that station is going to be gone. It's cut off its roots."
Nor is that the only threat, warned Imhotep Gary Byrd of WLIB (1190 AM). The current move
toward ownership of multiple stations by conglomerates "threatens the survival of black radio
The next 3 to 5 years are a time of great peril."
What's happening, said Byrd, is that white-owned stations have adopted the style and sound of
black-owned stations "so successfully, it's impossible now in many markets to tell who is
black-owned."
And in response, he suggested that "black stations have been so concerned about 'crossing over'
themselves that they've lost some of their key elements, including personality and our musical
legacy."
Byrd has for years warned that by not playing more heritage R & B and soul music, black radio is
abandoning that vital music to other stations.
He noted that Jackson's "Sunday Classics" show, which plays everything from Billie Holiday and
Muddy Waters to hip hop, is the highest-rated Sunday show in the city. "To anyone who says
listeners don't want to hear different styles of music together," said Byrd, "I give you Hal
Jackson."
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Other panelists suggested black radio must also be more responsive to new music.
"Black radio too often falls behind," said WBAI's Darrell McNeill. "Hip hop spent years in the
underground before it developed enough critical mass for black radio. Today the same thing is
happening with dance music, and black radio is behind the curve again. Artists like Tony Rich,
Maxwell and Des'ree were ignored by black radio. Their fans had to go to MTV, or pop stations.
"This is how black radio will make itself obsolete."
"Listeners are starving for something new," said Vivian Scott of Epic, citing artists like Maxi Priest
and D'Angelo. The trick is to find that something with the music biz and radio working together.
Theda Sandiford Waller of Billboard, however, suggested these are questions all radio stations
always face. "Black radio is still the primary place to break black music," she said. "It's in flux, but
all radio is in flux."
"Radio is a business," said Tom Brancamontes of Sony. "It's about making money, and black radio
today is making money. The way it will grow is for more black people to get together and buy more
stations."
AROUND THE DIAL: Joe Namath guests today on Larry Hardesty's "Sportsbox" on WLIB (1190 AM),
9 a.m
Don't be surprised if the scene around Madison Square Garden tonight, for the Howard
Stern movie premiere, dwarfs the scene for last night's Grammys.
Angie Martinez of WQHT
(97.1 FM) can be seen tomorrow on TV's "Ricki Lake" (Ch. 9, 5 p.m.).
GRAPHIC: ONE MAN'S SPIN: WBLS deejay Hal Jackson
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The New York Times, October 23, 1993
Copyright 1993 The New York Times Company
The New York Times
October 23, 1993, Saturday, Late Edition - Final
SECTION: Section 1; Page 49; Column 5; Cultural Desk
LENGTH: 1187 words
HEADLINE: Radio Host's Reflections On Race, Rap And Rhythm
BYLINE: By ALISON FRANCE
BODY:
In entertainment, newer is often considered better. Not so for Hal Jackson, a veteran New York
City disk jockey who has found remarkable success playing what he calls "the dusty oldies" on a
show called "Sunday Morning Classics."
Each Sunday Mr. Jackson travels from his Upper East Side apartment to the cramped studio of
WBLS-FM (107.5) in midtown, greets his listeners at 8 A.M. and spends the next eight hours
playing a seamless mix of rhythm and blues, jazz, pop, salsa, reggae and gospel. The very range
of the program's music is unusual in this day of narrow radio formats.
"I can't follow that trend that says you can't play certain things together," he said recently as he
settled in for his shift, one of the longest on a big-city station. "Why can't you?"
The show serves as something of a history lesson in black music, because listeners are as likely to
hear something from 1943 as from 1993. More likely, in fact. Mr. Jackson has been on the radio
since the late 1930's, and at 77, he remembers when many old tunes were new. His delivery is
warm and inviting, and his voice has a slightly raspy quality that stays just this side of grating.
Show Keeps Expanding
"Sunday Morning Classics" has had a steady following since it started in 1984. What began as a
two-hour taped show has grown into a live, all-day affair. Arbitron rates it No. 1 during the hours
of 10 A.M. to 3 P.M. on Sundays. Mr. Jackson is helped by two co-hosts: his wife, who is known on
the air as Debi B., and Clay Berry, who also serves as the engineer.
The show, which at first was heard only in the New York region, is now broadcast in the Caribbean,
and in August, the American Urban Radio Networks began offering prerecorded segments to some
of its 225 affiliates nationwide.
There is no single reason for the show's success. Maybe it's because Mr. Jackson has always been a
familiar face or voice in black communities, as familiar as Ed Sullivan was to white audiences.
In fact, Mr. Jackson appeared on television soon after Mr. Sullivan, as the host of a variety show
broadcast live in 1949 from the Howard Theater in Washington. He's also well known to black
audiences as the producer of the Talented Teens International contest, a competition for young
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women.
While there are plenty of other radio shows that focus on the oldies, none are as far-reaching as
"Sunday Morning Classics." Mr. Jackson might start with Fats Waller, slide into the Temptations,
then wrap up the segment with Barbra Streisand.
White Artists, Too
That's right, Barbra Streisand. Although Mr. Jackson specializes in music by black artists (what
white record company executives used to classify as "race music"), he does play white artists. Most
of the time it's because he likes their songs. But it also helps him make a point: that many of their
hits were first recorded by blacks, who never received the fame or the royalties.
So while he's quite fond of Peggy Lee, for example, that doesn't stop him from pointing out that
her version of "Fever," recorded in 1958, got far more exposure than the version by Little Willie
John, who recorded it two years earlier.
For similar reasons, Elvis Presley is not one of his favorites. "He listened to a whole lot of black
folks, you know what I mean?" Mr. Jackson said. He also recalled the days when white producers
would go to the Apollo Theater in Harlem, secretly tape black performers, then release the same
songs, but by white artists. He remembers, too, the harsh realities of radio before opportunities for
minorities began to open up in the 1960's and 70's. Before then, the only black people on the air
were a handful of entertainers, and black-owned stations were a rarity.
Deception Defeated Racism
But Mr. Jackson always wanted a career in radio. He was Born Harold Baron Jackson on Nov. 3,
1915, in Charleston, S.C. By the age of 7, he was an orphan and was sent to live with relatives in
Washington. At 12 he was shining shoes, washing dishes and doing whatever he could as he
worked his way through school. He began announcing football and basketball games as a student
at Howard University.
One of Mr. Jackson's favorite stories concerns his first job outside of sports broadcasting, which he
got by tricking the white executives at a station in Washington, who had told him that no "nigger"
was ever going on the air. He still recalls with relish how he hired a white advertising agency to
buy time on the station, slipped into the studio just before the show went on the air and had a firm
hold on the microphone before executives could stop him.
The show was a success, and within months he had offers from other stations. Soon he was doing
up to four shows a day at four stations, working up to 18 hours at a stretch. He would sell
advertising time during breaks in his schedule, using his percentage to supplement a salary that
was usually less than $50 a week at each station.
Stars 'From Here to Mars'
Until "Sunday Morning Classics," the radio show that Mr. Jackson was most famous for was "The
House That Jack Built," which was first broadcast in Washington in the late 1930's. He would get
things going by saying, "We're going to hear all the recorded stars from here to Mars." His sign-off:
"I've gotta pack the shellac and hit the track, but I'll be back."
By the 1960's Mr. Jackson was shuttling between stations in New York and Washington. In 1971,
he joined other investors to buy WLIB-AM, where he once worked, and later, the FM station that
became WBLS. These stations have been his base ever since.
Some listeners say they like the show because they appreciate Mr. Jackson's connection to many of
the artists he plays. Dinah Washington was a regular on a show he broadcast from the Birdland
jazz club. ("She talked all bad," he recalled, "but she had the softest heart.")
2 of 3
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He remembers running into Tina Turner backstage just minutes before she was supposed to
perform, her face bloodied from a run-in with Ike Turner. "I love the woman because she was
determined not to let Ike or life -- defeat her," he said.
Youth, but No Rap
Listeners may hear Ms. Turner's gritty rendition of "Honky Tonk Woman," but that is about as raw
as it gets on "Sunday Morning Classics." What they won't hear is hard-core rap. "Noooooo, not on
my show," Mr. Jackson said. "I relate to very little of it. I try, because I don't want to be on the
outside looking in. But some of this rap is pretty rough."
There are many younger artists he does like, including Luther Vandross, Mariah Carey and Whitney
Houston. "Whitney can hold her own, and will," he said. "She's one of those who can be here for
many, many years."
He, too, plans to stay around. "Just the thought of retirement," he said, his voice trailing off. It's as
if he never really considered it, or if he did, quickly cast the thought aside.
People have warned Mr. Jackson about wearing himself out, or perhaps even wearing out his
welcome. But given his long run, those kinds of thoughts don't bother him. "I guess you just take
that chance," he said.
GRAPHIC: Photo: Hal Jackson, the disk jockey responsible for "Sunday Morning Classics" on
WBLS-FM (107.5). (Chester Higgins Jr./The New York Times)
LANGUAGE: ENGLISH
LOAD-DATE: October 23, 1993
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Copyright 1990 Information Access Company, a Thomson Corporation Company
ASAP
Copyright 1990 Reed Publishing USA
Broadcasting
October 22, 1990
SECTION: Vol. 119 ; No. 17 ; Pg. 103; ISSN: 0007-2028
LENGTH: 797 words
HEADLINE: Hal Jackson: breaking the sound barrier; Fifth Estater; column
BODY:
As an orphan growing up in the nation's capital, one of Harold (Hal) Jackson's dreams was to
do play-by-play for the Washington Senators. After graduation from Howard University, he began
broadcasting the school's football and basketball games over a radio network set up by the Colored
Intercollegiate Athletic Association and later called the games of the old Negro baseball leagues.
But this was 1939: Jackie Robinson was years away from breaking the baseball color barrier and
"coloreds" weren't welcome in downtown Washington or in most broadcast booths.
When he approached WINX(AM) Washington for an on-air job, management told him: "No nigger is
ever going on the air in Washington." Taking this edict as a challenge, he hired a white advertising
agency to buy time on the station, then waited outside the studios until just before air time. Before
station executives knew it, Jackson was on the air interviewing two prominent black community
leaders. The station apparently had no prejudice against success. "The show took off, they kept us
on and in three months I had offers from stations in Baltimore-wsID(AMY-and
Annapolis-WANN(AM).
"
He chalked up numerous 18-hour days, first broadcasting his daily show on WINX, then driving to
Baltimore for a five-hour sports program, then to Annapolis for another.
In 1949, Harry Novik, general manager at WLIB(AM), brought Jackson to New York to broadcast a
daily show. Jackson worked at the station for eight months, but grew homesick for Washington. He
returned to WCBB(AM) there, which was renamed WUSI', referring to "U Street, the main street
where the blacks hung out. An important programing element was racing reports, Jackson
remembers. In six months, "we were number one," he says.
WMCA(AM) President Nathan Strauss asked Jackson to return to New York. "Strauss had never had
a black on the air at the time," says Jackson, "and he was intrigued. He told me: 'I don't want you
to identify with the black person on the air, I want you to do pop things.' So I played a mix of
artists like Mantovani, Ella Fitzgerald and Jo Stafford. "
At this time, record producer and jazz club promoter Morris Levy introduced Jackson to programing
executives at WABC(AM), who signed him to broadcast an all-night show on the station and the
network. "The show would be aired from Levy's Birdland Club," Jackson says. "I had to clear the id
S wit Strauss, and he said fine. Jackson also returned to WLIB(AM) for the afternoon (4 p. m. to 6
p. m.) shift, and once again was on the air at three different stations a day.
1 of 3
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"I'd start the day at WMCA, then I'd go across the street to Birdland, then back to WLIB. And on
Sundays I was doing a kid's show on channel I I featuring Uncle Hal, The Kiddies Pal, " Jackson
recalls. The radio triangle lasted some three years, at which point Jackson joined other New York
disk jockeys in broadcasting live every Saturday from Palisades Park in New Jersey on both
WNJR(AM) Newark and WLIB(AM) New York.
Little did Jackson know when he returned to WLIB in 1953 how important the
station would prove to his career. When Palisades Park closed in the late 1960's, Jackson was
approached by broadcaster/ investor Percy Sutton: "The chairman said: Hal, you've been working
for all these other guys for so long, why don't we buy the station so you can work for yourself. "
Jackson, Sutton and other investors raised the cash and Inner City Broadcasting was born.
Jackson also convinced Sutton and the other partners to purchase the option for WLIB(FM), which
Jackson felt would, in time, become profitable. He was right: by 1980, the new WBLS(FM) had one
of the largest radio audiences in the U.S. In the interim, Inner City had acquired WKSG(FM)
Detroit, KBFN-KBLX(FM) San Francisco, KSJL(AM)-KSAQ(FM) San Antonio, Tex., and
KGFJ(AM)-KUTE(FM) Los Angeles (which has since been sold). Jackson, group chairman of ICBC,
chairman of Apollo Theatre Records, and president of Hal Jackson Productions, largely has been
responsible for programing all the company's stations and still hosts a regular music show on
WBLS.
Last November, Jackson marked his golden anniversary in the broadcasting industry with a
celebration at Apollo Theatre honoring his various contributions to the medium and the
community. Among the latter: Hal Jackson's Talented Teens pageant for young black women and
his work against polio, cerebral palsy and muscular dystrophy.
Why all the public service? "I try to tell my story to people who may be depressed by their
situation. I tell them to stay in school and not to look for something to be handed to you on a
silver platter. You have to be willing to make sacrifices, and when you succeed you should reach
back and try to help others.
GRAPHIC: Portrait; Hal Jackson. (portrait)
JOSHYA
SIC: 4833 Television broadcasting stations
IAC-NUMBER: IAC 09098870
IAC-CLASS: Trade & Industry
LANGUAGE: ENGLISH
LOAD-DATE: August 18, 1995
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PAGE
3
Essence, November, 1999
Sprewell's dedication to his family and his game. The father of two daughters
and one son (Aquilla, 10; Page, 8; and Latrell, II, 3) has emerged from the fire
to receive much love from fans, renewed commercial inquiries (including And 1
sneaker commercials) and, more important, a second chance. "I never want people
to talk negatively about my game," says the dazzling hoopster.
DANNY J. BAKEWELL, SR.
ACTIVIST ON A CRUSADE
Whether he's marching outside Paramount Studios demanding the cancellation of
a sitcom with racial stereotypes or boycotting a South Central liquor store
because the Korean owner shot a Black girl, Danny Bakewell, Sr., gets results --
and respect. Bakewell, 52, has spent 26 years at the helm of the self-help
organization the Brotherhood Crusade, building it into the largest
African-American charitable organization. And as chairman of the Bakewell Co.,
one of the largest Black development companies, Bakewell headed several
multimillion-dollar revitalization efforts in southern California. His
historical $ 100 million acquisition of Los Angeles Hawthorne Plaza, for
example, represented the most significant purchase made by an African-American
to date in the United States. His ultimate wish? "I hope someday we will live
in a nation where there is no need for a global Brotherhood Crusade," says the
New Orleans native. "But until that day arrives, I will defend my brothers and
sisters to my last breath."
HAL JACKSON
RADIO'S MAGIC MAN
When 16-year-old Hal Jackson approached a radio station about doing a show in
segregated 1930's Washington, D.C., management told him, "No niggers will ever
broadcast on this station." So Jackson did what any determined brother would do:
He got the Black businesspeople of Washington to sponsor his talk and music
radio program, on which he interviewed such guests as Dr. Mary McLeod Bethune.
The show became so popular that within two months, the young brother was
broadcasting on three different stations each day. Sixty years later, with a
whole cache of distinguished firsts under his broadcasting belt, Jackson is
group chairman of Inner City Broadcasting, home of New York's WBLS-FM (he also
hosts the Sunday Morning Classics radio program) and WLIB-AM. For three decades
he has also given thousands of young performers (Jada Pinkett, Vanessa L.
Williams and Sheryl Lee Ralph among them) opportunities with his Hal Jackson
Talented Teens International Scholarship competition for young women. On the
eve of his eighty-third birthday, the married father of three claims one goal:
"To keep moving this industry forward for the next 60 years!"
WALTER LATHAM
ENTREPRENEUR WITH A FUNNY BONE
While growing up in Brooklyn, Walter Latham could have been the poster boy
for the slogan "Show me the money!" All the budding businessman wanted to do
then was get paid. In 1998 Latham, now 27, did just that when his two-year-old
promotional company, Southeast Concerts, Inc., in Greensboro, North Carolina,
grossed more than $ 20 million. Not only was it a money-making year for the
young CEO but it was a record-breaking one as well. Latham had created the
PAGE
14
42ND STORY of Level 1 printed in FULL format.
Copyright 1993 The New York Times Company
The New York Times
October 23, 1993, Saturday, Late Edition - Final
SECTION: Section 1; Page 49; Column 5; Cultural Desk
LENGTH: 1187 words
HEADLINE: Radio Host's Reflections On Race, Rap And Rhythm
BYLINE: By ALISON FRANCE
BODY:
In entertainment, newer is often considered better. Not so for Hal Jackson, a
veteran New York City disk jockey who has found remarkable success playing what
he calls "the dusty oldies" on a show called "Sunday Morning Classics.'
Each Sunday Mr. Jackson travels from his Upper East Side apartment to the
cramped studio of WBLS-FM (107.5) in midtown, greets his listeners at 8 A.M. and
spends the next eight hours playing a seamless mix of rhythm and blues, jazz,
pop, salsa, reggae and gospel. The very range of the program's music is unusual
in this day of narrow radio formats.
"I can't follow that trend that says you can't play certain things
together," he said recently as he settled in for his shift, one of the longest
on a big-city station. "Why can't you?"
The show serves as something of a history lesson in black music, because
listeners are as likely to hear something from 1943 as from 1993. More likely,
in fact. Mr. Jackson has been on the radio since the late 1930's, and at 77, he
remembers when many old tunes were new. His delivery is warm and inviting, and
his voice has a slightly raspy quality that stays just this side of grating.
Show Keeps Expanding
"Sunday Morning Classics" has had a steady following since it started in
1984. What began as a two-hour taped show has grown into a live, all-day affair.
Arbitron rates it No. 1 during the hours of 10 A.M. to 3 P.M. on Sundays. Mr.
Jackson is helped by two co-hosts: his wife, who is known on the air as Debi B.,
and Clay Berry, who also serves as the engineer.
The show, which at first was heard only in the New York region, is now
broadcast in the Caribbean, and in August, the American Urban Radio Networks
began offering prerecorded segments to some of its 225 affiliates nationwide.
There is no single reason for the show's success. Maybe it's because Mr.
Jackson has always been a familiar face -- or voice -- in black communities, as
familiar as Ed Sullivan was to white audiences. In fact, Mr. Jackson appeared on
television soon after Mr. Sullivan, as the host of a variety show broadcast live
in 1949 from the Howard Theater in Washington. He's also well known to black
audiences as the producer of the Talented Teens International contest, a
competition for young women.
PAGE
15
The New York Times, October 23, 1993
While there are plenty of other radio shows that focus on the oldies, none
are as far-reaching as "Sunday Morning Classics." Mr. Jackson might start with
Fats Waller, slide into the Temptations, then wrap up the segment with Barbra
Streisand.
White Artists, Too
That's right, Barbra Streisand. Although Mr. Jackson specializes in music by
black artists (what white record company executives used to classify as "race
music"), he does play white artists. Most of the time it's because he likes
their songs. But it also helps him make a point: that many of their hits were
first recorded by blacks, who never received the fame or the royalties.
So while he's quite fond of Peggy Lee, for example, that doesn't stop him
from pointing out that her version of "Fever," recorded in 1958, got far more
exposure than the version by Little Willie John, who recorded it two years
earlier.
For similar reasons, Elvis Presley is not one of his favorites. "He listened
to a whole lot of black folks, you know what I mean?" Mr. Jackson said. He also
recalled the days when white producers would go to the Apollo Theater in Harlem,
secretly tape black performers, then release the same songs, but by white
artists. He remembers, too, the harsh realities of radio before opportunities
for minorities began to open up in the 1960's and 70's. Before then, the only
black people on the air were a handful of entertainers, and black-owned stations
were a rarity.
Deception Defeated Racism
But Mr. Jackson always wanted a career in radio. He was born Harold Baron
Jackson on Nov. 3, 1915, in Charleston, S.C. By the age of 7, he was an orphan
and was sent to live with relatives in Washington. At 12 he was shining shoes,
washing dishes and doing whatever he could as he worked his way through school.
He began announcing football and basketball games as a student at Howard
University.
One of Mr. Jackson's favorite stories concerns his first job outside of
sports broadcasting, which he got by tricking the white executives at a station
in Washington, who had told him that no "nigger" was ever going on the air. He
still recalls with relish how he hired a white advertising agency to buy time on
the station, slipped into the studio just before the show went on the air and
had a firm hold on the microphone before executives could stop him.
The show was a success, and within months he had offers from other stations.
Soon he was doing up to four shows a day at four stations, working up to 18
hours at a stretch. He would sell advertising time during breaks in his
schedule, using his percentage to supplement a salary that was usually less than
$50 a week at each station.
Stars 'From Here to Mars'
Until "Sunday Morning Classics," the radio show that Mr. Jackson was most
famous for was "The House That Jack Built," which was first broadcast in
Washington in the late 1930's. He would get things going by saying, "We're going
to hear all the recorded stars from here to Mars." His sign-off: "I've gotta
PAGE
16
The New York Times, October 23, 1993
pack the shellac and hit the track, but I'll be back."
By the 1960's Mr. Jackson was shuttling between stations in New York and
Washington. In 1971, he joined other investors to buy WLIB-AM, where he once
worked, and later, the FM station that became WBLS. These stations have been his
base ever since.
Some listeners say they like the show because they appreciate Mr. Jackson's
connection to many of the artists he plays. Dinah Washington was a regular on a
show he broadcast from the Birdland jazz club. ("She talked all bad, he
recalled, "but she had the softest heart. ")
He remembers running into Tina Turner backstage just minutes before she was
supposed to perform, her face bloodied from a run-in with Ike Turner. "I love
the woman because she was determined not to let Ike -- or life -- defeat her,"
he said.
Youth, but No Rap
Listeners may hear Ms. Turner's gritty rendition of "Honky Tonk Woman," but
that is about as raw as it gets on "Sunday Morning Classics.' What they won't
hear is hard-core rap. "Noooooo, not on my show," Mr. Jackson said. "I relate to
very little of it. I try, because I don't want to be on the outside looking in.
But some of this rap is pretty rough."
There are many younger artists he does like, including Luther Vandross,
Mariah Carey and Whitney Houston. "Whitney can hold her own, and will," he said.
"She's one of those who can be here for many, many years."
He, too, plans to stay around. "Just the thought of retirement," he said, his
voice trailing off. It's as if he never really considered it, or if he did,
quickly cast the thought aside.
People have warned Mr. Jackson about wearing himself out, or perhaps even
wearing out his welcome. But given his long run, those kinds of thoughts don't
bother him. "I guess you just take that chance," he said.
GRAPHIC: Photo: Hal Jackson, the disk jockey responsible for "Sunday Morning
Classics" on WBLS-FM (107.5). (Chester Higgins Jr./The New York Times)
LANGUAGE: ENGLISH
LOAD-DATE: October 23, 1993
PAGE
17
48TH STORY of Level 1 printed in FULL format.
Copyright 1990 Information Access Company, a Thomson Corporation Company
ASAP
Copyright 1990 Reed Publishing USA
Broadcasting
October 22, 1990
SECTION: Vol. 119 ; No. 17 ; Pg. 103; ISSN: 0007-2028
LENGTH: 797 words
HEADLINE: Hal Jackson: breaking the sound barrier; Fifth Estater; column
BODY:
As an orphan growing up in the nation's capital, one of Harold (Hal)
Jackson's dreams was to do play-by-play for the Washington Senators. After
graduation from Howard University, he began broadcasting the school's football
and basketball games over a radio network set up by the Colored Intercollegiate
Athletic Association and later called the games of the old Negro baseball
leagues. But this was 1939: Jackie Robinson was years away from breaking the
baseball color barrier and "coloreds" weren't welcome in downtown Washington or
in most broadcast booths.
When he approached WINX (AM) Washington for an on-air job, management told
him: "No nigger is ever going on the air in Washington." Taking this edict as a
challenge, he hired a white advertising agency to buy time on the station, then
waited outside the studios until just before air time. Before station executives
knew it, Jackson was on the air interviewing two prominent black community
leaders. The station apparently had no prejudice against success. "The show took
off, they kept us on and in three months I had offers from stations in
Baltimore-wsID (AMY-and Annapolis-WANN (AM) "
He chalked up numerous 18-hour days, first broadcasting his daily show on
WINX, then driving to Baltimore for a five-hour sports program, then to
Annapolis for another.
In 1949, Harry Novik, general manager at WLIB (AM), brought Jackson to New
York to broadcast a daily show. Jackson worked at the station for eight months,
but grew homesick for Washington. He returned to WCBB (AM) there, which was
renamed WUSI', referring to "U Street, the main street where the blacks hung
out. " An important programing element was racing reports, Jackson remembers. In
six months, "we were number one, he says.
WMCA (AM) President Nathan Strauss asked Jackson to return to New York.
"Strauss had never had a black on the air at the time," says Jackson, "and he
was intrigued. He told me: 'I don't want you to identify with the black person
on the air, I want you to do pop things. So I played a mix of artists like
Mantovani, Ella Fitzgerald and Jo Stafford.
"
At this time, record producer and jazz club promoter Morris Levy introduced
Jackson to programing executives at WABC (AM), who signed him to broadcast an
all-night show on the station and the network. "The show would be aired from
Levy's Birdland Club," Jackson says. "I had to clear the id S wit Strauss, and
he said fine. Jackson also returned to WLIB (AM) for the afternoon (4 p. m. to 6
p. m.) shift, and once again was on the air at three different stations a day.
PAGE 18
"I'd start the day at WMCA, then I'd go across the street to Birdland, then
back to WLIB. And on Sundays I was doing a kid's show on channel I I featuring
Uncle Hal, The Kiddies Pal, " Jackson recalls. The radio triangle lasted some
three years, at which point Jackson joined other New York disk jockeys in
broadcasting live every Saturday from Palisades Park in New Jersey on both
WNJR (AM) Newark and WLIB (AM) New York.
Little did Jackson know when he returned to WLIB in 1953 how important the
station would prove to his career. When Palisades Park closed in the late
1960's, Jackson was approached by broadcaster/ investor Percy Sutton: "The
chairman said: Hal, you've been working for all these other guys for so long,
why don't we buy the station so you can work for yourself. " Jackson, Sutton and
other investors raised the cash and Inner City Broadcasting was born.
Jackson also convinced Sutton and the other partners to purchase the option
for WLIB (FM), which Jackson felt would, in time, become profitable. He was
right: by 1980, the new WBLS (FM) had one of the largest radio audiences in the
U.S. In the interim, Inner City had acquired WKSG (FM) Detroit, KBFN-KBLX (FM) San
Francisco, KSJL (AM) -KSAQ (FM) San Antonio, Tex., and KGFJ (AM) -KUTE (FM) Los
Angeles (which has since been sold) Jackson, group chairman of ICBC, chairman
of Apollo Theatre Records, and president of Hal Jackson Productions, largely has
been responsible for programing all the company's stations and still hosts a
regular music show on WBLS.
Last November, Jackson marked his golden anniversary in the broadcasting
industry with a celebration at Apollo Theatre honoring his various contributions
to the medium and the community. Among the latter: Hal Jackson's Talented Teens
pageant for young black women and his work against polio, cerebral palsy and
muscular dystrophy.
Why all the public service? "I try to tell my story to people who may be
depressed by their situation. I tell them to stay in school and not to look for
something to be handed to you on a silver platter. You have to be willing to
make sacrifices, and when you succeed you should reach back and try to help
others. "
GRAPHIC: Portrait; Hal Jackson. (portrait)
SIC: 4833 Television broadcasting stations
IAC-NUMBER: IAC 09098870
IAC-CLASS: Trade & Industry
LANGUAGE: ENGLISH
LOAD-DATE: August 18, 1995
PAGE
10
27TH STORY of Level 1 printed in FULL format.
Copyright 1996 SOFTLINE INFORMATION, INC.
The Ethnic NewsWatch
Washington Afro-American
May 25, 1996
SECTION: Vol. 104; No. 40; Pg. A1
LENGTH: 332 words
HEADLINE: 'It started with Hal Jackson and look where we are now!': SCHOOL OF
THE WEEK
BYLINE: Graves, Desiree A.
BODY:
'It started with Hal Jackson and look where we are now!': SCHOOL OF THE. WEEK
There's a new school in town: the African American Media Incubator (AAMI), a
radio broadcast training school at 2164 Wisconsin Ave. N.W.
Hal Jackson, broadcast pioneer, known as the dean of broadcasting, during his
56 years of service, celebrated "Looking Back and Shaping Skills for the Future"
with the historic, first AAMI graduating class.
"We want our students to look forward while never forgetting the pioneers in
this industry who paved the way, and those like Hal Jackson still actively
working in broadcasting," said Chris Hall, production administrator at AAMI.
Hal Jackson began broadcasting by announcing home games for Howard
University, as well as other schools, and the American Negro Baseball League
over radio station WOOK. He established himself as the first Black radio
sportscaster in the country.
Later, he could be heard "hosting" on three different stations daily: WINX,
WSID, and WANN; seen on the stage of the Lincoln Theater; and with charitable
efforts of "The House That Jack Built."
The first AAMI graduates are: Edgar Dews, JaVonne Harley, Howard Jackson,
Mario Kimvilikani, Phyllis Major, Nadine Cross-Maye, and Kathy Williams.
Four of the graduates have been hired by major radio stations in the area.
Mr. DEWS is production assistant, WPGC 95.5 FM, "Donnie Simpson Show," and works
full-time in WPGC Sales Department; Mrs. CROSS-MAYE is production assistant,
WPGC 1580 AM, "Robin Breedon Show:" Mr. JACKSON has his own show on WPFW,
Monday-Friday, 3-6 a.m.; and Ms. HARLEY is pursuing a career in Voice-Over
Commercial Production.
Students train in the areas of production engineers, voice-over specialists,
board operators, newscasters, disc jockeys, and talk show hosts. There are day
and evening classes. "The proof of any school's training ability is if the
student can get a job in that trade when they graduate," said Pearl Murphy, AAMI
executive director.
PAGE
8
8TH STORY of Level 1 printed in FULL format.
Copyright 1998 SOFTLINE INFORMATION, INC.
The Ethnic NewsWatch
New York Voice Inc./Harlem USA
June 17, 1998
SECTION: Vol. 41; No. 11; Pg. 9
LENGTH: 560 words
HEADLINE: Harlem Teen Wins Hal Jackson Talented Teens Contest
BODY:
Harlem Teen Wins Hal Jackson Talented Teens Contest
The 28th New York State competition which is sponsored by the Committee for
Positive Youth and chaired by Flora Haynes, celebrated its anniversary this year
with 17 young ladies between the ages of 13 and 17 competing for the title. They
presented a show that was both vitalizing and effective.
The contest, which was founded by radio pioneer Hal Jackson, affords teenage
girls an opportunity to display their performing talents on a prestigious stage
to an audience that is both supportive and appreciative.
The contestants were judged in three categories: appearance, personality and
achievement, and talent. Each young lady had 20 seconds to speak about the
school they attend, hobbies, award and honors they received, and aspirations for
the future. Talent ranged from singing; modern, ballet and tap dancing.
Debi Gilchrist, Miss New York State 1981, a proficient singer, opened the
show with a jubilant rendition of "Lift Every Voice and Sing," assisted by the
Harlem Marine Cadets as color guard. Serving as hostesses were Nadine Shaw,
Miss New York State 1982, and Minnie Mobley, Miss New York State 1993.
The curtain opened with "The Impossible Dream" featuring reigning queen
Sophia Moon. The contestants looked bewitching in their pastel colored gowns.
After all phases of the competition were over, reigning queen Sophia Moon
sang a soul-stirring rendition of her winning song, "One Moment In Time." Sophia
joined all of the contestants in a production number choreographed by Tiffany
Walker and Nicole Vaughan, which had the audience in an uproar.
The distinguished panel of judges responsible for selecting this year's
winners included Ken Jones, Assistant Public Relations Director of Ophelia
DeVore Associates; Elinor Tatum, Publisher of the Amsterdam News; Irene Merring,
Miss New York State 1994; Victoria Dillard, actress, ABC series "Spin City" and
HBO's "Gravedigger's Daughter;" Elaine Smith, Assistant Professor of Physical
Education and founder/Director of the Dillard University Dance Ensemble.
Three of the winners were dancers, and two singers. As the final moment
came, the stage was tense with emotions. The fourth runner-up, 16 year old
singer Saja Gibbs from the Bronx, performed an old favorite, "If I Could." Third
runner-up, 14 year old Kiya Jenkins from Harlem, tap danced to "It Don't Mean a
Thing." Second runner-up, 16 year old Janine Beckles from Manhattan, was a
ballerina. First runner-up, 17 year old Chantal Bowen, a modern dancer from
PAGE
6
4TH STORY of Level 1 printed in FULL format.
Copyright 1999 Johnson Publishing Company, Inc.
Jet
April 12, 1999
SECTION: COMMUNICATIONS; Pg. 32
LENGTH: 682 words
HEADLINE: Black Broadcasters Organization Salutes Celebrated Communicators
BODY:
Mariah Carey, Carl Franklin, Shirley Caesar, Hal Jackson, Tom Joyner, Danny
Glover and Lauryn Hill recently were honored at the National Association of
Black Owned Broadcasters (NABOB) 15th Annual Communications Awards Dinner in
Washington, D.C.
More than 900 guests attended the black-tie affair hosted by comedian Cedric
"The Entertainer.'
The first recipient of the evening, Mariah Carey, was saluted as Entertainer
of the Year. The sultry songstress who has sold more than 90 million records
worldwide, making her the biggest-selling female artist of the '90s, was very
grateful to the Black media for supporting her career.
"I know how very important it is to be here to thank the Black media, said
Carey. "You have given me so much support."
Guests were swooned by balladeer Smokey Robinson, who performed an hour-long
concert of his famous tunes. More Love, Being With You, OOOO Baby, Baby, My
Girl, and The Tracks of My Tears were just a few of the tunes Robinson and his
band performed to serenade the screaming audience.
Gospel recording artist Cissy Houston presented the Pioneer in Music Award to
her longtime friend and nine-time Grammy-winner Shirley Caesar.
"I'm grateful for the Grammys,' said Caesar. "But let me tell you something,
it's good when you can be honored by your own. "
Feature film director Carl Franklin was presented the Oscar Micheaux Award
for Excellence in Film. Actor Don Cheadle, who had a prominent role in
Franklin's firm Devil in a Blue Dress, presented the award to Franklin, whose
most recent project, One True Thing, earned actress Meryl Streep an Oscar
nomination.
The Pioneer in Broadcasting Award went to syndicated radio disc jockey Tom
Joyner. Known for being the "Fly Jock," and "the hardest-working man in
radio, Joyner spoke passionately about the recent blatant racism that is
attacking the radio waves and the Black advertising market.
"Together our voices can drown out the racist rhetoric," said Joyner.
Lauryn Hill was honored with the NABOB Entertainment Achievement Award.
Hill, who was performing at the final show of her three-day, sold-out concert in
Washington, D.C., was unable to attend the dinner, but she accepted the award
PAGE
7
Jet, April 12, 1999
the previous evening during her show.
The final two awards were bestowed upon actor and humanitarian Danny Glover
and Hal Jackson, the 60-year veteran of radio and television who has paved the
way for most Blacks in the communications field.
Jackson was the first Black radio announcer in network radio, the first
Black play-by-play sports announcer on radio in the country and the first
Black to host an interracial network TV show on NBC-TV. He received the NABOB
Lifetime Achievement Award.
The Mickey Leland Public Service Award was presented to Glover by musical
genius Stevie Wonder.
Glover, who has used his super-stardom to help those less fortunate, has
devoted his time to many causes. Some include helping at-risk young people,
stressing the importance of education; supporting humanitarian efforts to
improve the lives of people throughout the world; promoting the advancement of
human rights; and sustaining economic development for nations of Africa and the
Caribbean.
"The fact that Stevie Wonder presented the award is most special because he
is a public servant,' said Glover. "This award is more than anything I could
ever wish for. Mickey Leland gave his time to African causes, and he was always
there
Some distinguished guests included the Rev. Al Sharpton, president, the
National Action Network; William Kennard, chairman, Federal Communications
Commission; Percy Sutton, chairman emeritus, Inner City Broadcasting Corp.; and
Pierre Sutton, chairman, Inner City Broadcasting Corp.
NABOB was organized in 1976 as a response to the underrepresentation of
Black Americans in the communications industry. As the voice of the Black
broadcast industry, NABOB has been instrumental in shaping national government
and industry policies to improve the opportunities for success for Black and all
other minority station owners.
GRAPHIC: Picture 1, Mariah Carey, the biggest-selling female singer of the '90s,
was NABOB's Entertainer of the Year; Picture 2, Other honorees included Carl
Franklin, Oscar Micheaux Award for Excellence in Film; Shirley Caesar, Pioneer
in Music Award; Hal Jackson, NABOB Lifetime Achievement Award; and Tom Joyner,
Pioneer in Broadcasting Award, Picture 3, Actor Danny Glover affectionately hugs
singer and humanitarian Stevie Wonder as he presents Glover with the Mickey
Leland Public Service Award. Priscilla Clarke; Picture 4, Comedian and NABOB
dinner host Cedric "The Entertainer" kept the NABOB audience laughing all
evening; Picture 5, Balladeer Smokey Robinson performed an array of his famous
hits including More Love, Being With You. Oooo Baby, Baby, My Girl and The
Tracks of My Tears.
LANGUAGE: ENGLISH
LOAD-DATE: April 20, 1999
PAGE
12
33RD STORY of Level 1 printed in FULL format.
Copyright 1995 Daily News, L.P.
Daily News (New York)
October 27, 1995, Friday
SECTION: Television; Pg. 138
LENGTH: 338 words
HEADLINE: A FAME-D VOICE OF BLACK EXPERIENCE
BYLINE: BY DAVID HINCKLEY
BODY:
HAL JACKSON has broken a lot of barriers over his 57-year career in radio,
starting in the 1930s when he was told that no black man only the phrase wasn't
"black man" would ever have an on-air position in radio.
Since then, Jackson has broadcast sports, hosted talk shows, even done TV. He
has played pop music from Big Bands to hip hop, and he still does, on "Sunday
Classics" over WBLS (107.5 FM), 8 a.m.-4 p.m.
This Sunday, however, he's got another date. He will be one of the first five
African-Americans inducted into the Radio Hall of Fame in Chicago.
After somehow missing blacks for the first six years of its existence, the
Hall is catching up. Besides Jackson, it's inducting Herb Kent ("The Kool
Gent"), Jesse Blayton Sr., whose WERD was the first black-owned station in the
country, Kansas City's Andrew Carter and jazz pioneer Yvonne Daniels. All but
Jackson and Kent are deceased.
"I knew them all," says Jackson. "All fine people, and it's a real honor to
be alongside them.
The recognition "comes a little late," Jackson agrees, in a tone that says
this is nothing new. "But I'm so honored to get it."
Other inductees at the ceremony, which will be broadcast live Sunday over
WABC (770 AM), 8-10 p.m., include baseball announcer Jack Buck, satirist Stan
Freberg, executive Edward McLaughlin and long-time WTIC (Hartford) morning man
Bob Steele. "The CBS World News Roundup" will also be inducted.
The Hall was started in 1988 in Freehold, N.J., by the Emerson Radio Corp.
and moved to Chicago's Museum of Broadcast Communication in 1991. It keeps
extensive radio archives.
Jackson will do part of his Sunday show by phone, then go back to work next
week at WBLS, where he's a vice president of Inner City Broadcasting. Not bad
for a man well into his 70s.
"Retire?" he says with a laugh. "I don't know what I'd do if I retired. This
is what keeps me young.
TIME TO GIVE: WNYC (93.9 FM, 820 AM) yesterday launched its fall fund-raising
drive. The goal is $ 800,000.
Thoughts
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