Talk:Joseph Deighton Gibson Jr.

"Jack the Rapper is considered to be the father of Black radio and came from that ilk of people who created a unique style of on air announcing. Famous DJs like Daddy O, Jocko Henderson and numerous others often incorporated rhymes in their daily chatter. The DJ featured in Spike Lee's movie 'Do The Right Thing' exemplified this style. It was these early rhyme styles that were heard by Jamaican DJs who then were inspired to use such styles in their what they called 'Toasts'. Jack The Rapper was part of that important group of people who inadvertently kept alive the African Oral tradition which is the basis for rap.."

"Now I'm not suggesting that guys like Jack The Rapper got on the mic and executed flows like Method Man or Rakim.. but trust me when Jack heard such individuals emceeing, it wasn't something that came as a big surprise. Now I'm not sure if Jack's historic connection to Hip Hop was intended. What he was best known for was his pioneering efforts in bringing together folks within Black music. He founded an organization for Black Radio DJs called NARA [National Association of Radio Announcers]. He also put out the first Black music trade magazine called 'Jack the Rapper Mello Yello'. He put together his first music convention in 1977.. In 1980 he made history when he had Minister Farrakhan address this body of Black music professionals. The speech given was absolutely incredible and was actually released on a record."

Post WWII over 100,000 rural blacks from the south migrated to Chicago along with some of the 1,000,000 blacks that served overseas, following in the footsteps of the great migration north and west that began in the 20's. Hearing one of their own on the radio was the link to home, Al Benson's voice in the dialect they knew made him very important in the community, and they in turn rewarded him by following all the products he recommended on air. Jockey Jack mimic'd the Jive patter and when he went to Atlanta he captured that audience. Jack was always trying things, and was also breaking color barriers, walking in thru the front door and sneaking blacks in thru the side door during Jim Crow. Modern Hip-hop owes its start to the 50's rhyme, jive and be-bop jazz R&B DJ's. They just need to see the roots of the tree to know where the fruit came from....CaptJayRuffins (talk) 02:51, 29 June 2018 (UTC)

Death age incorrect

It says he died at the age of 79 in 2000, but this is not possible. He would not have turned 79 until May 13th, 2001, meaning, he would have been 77 at the time of his death. His birth year could also be incorrect, and he could have been born in 1921 instead. Moline1 (talk) 17:00, 29 April 2023 (UTC)

His birth year ended up being wrong. It was showing as 1922, when it should have been 1920, as it states in the source for it. I fixed this, so we don't have more people like me wondering how he could have been 79 in 2000 after supposedly being born in 1922, lol. Moline1 (talk) 17:19, 29 April 2023 (UTC)

Article Copyvio

With as many cites as this had, removal of the entire article for one short section seems overly done. Here is the article with the offending passage rewritten. https://en.wikipedia.org/wiki/Talk:Joseph_Deighton_Gibson_Jr./Temp

Joseph Deighton Gibson, Jr.: Pioneer of Black Music Conventions

Joseph Deighton Gibson Jr.
Born	Joseph Deighton Gibson Jr. (1920-05-13)May 13, 1920 Chicago, U.S.
Died	January 30, 2000(2000-01-30) (aged 79) Las Vegas, NV
Education	B.A. Science (1942)
Alma mater	Lincoln University
Occupation(s)	Actor, Disc Jockey, Rapper
Notable credit	The Family Affair Black Radio Announcers Convention

Joseph Deighton Gibson, Jr. (May 13, 1920 – January 30, 2000) was an American radio disc jockey and actor. He attended Lincoln University in Jefferson City, Missouri from 1940 to 1942, earning a bachelor's degree in science. He is regarded as the father of the Black appeal radio format.

History

Gibson began his career in radio under the wing of Al Benson, one of radio’s legends, a jive-patter-talking disc jockey (DJ) of the Be-Bop school at Chicago’s WJJD.

Benson, the ‘Old Swingmaster’ (born Arthur Bernard Leaner in 1920 in Jackson, Mississippi) as he was known, had come to radio in 1943 as a pastor, but was prohibited from selling airtime, so he switched to become a secular DJ, and mentored some of the Black DJ’s at WGES and WJJD. He rapidly rose to fame in Chicago, Illinois playing swing and Be-Bop jazz. His phenomenal appeal was due to the Black jive talk he peppered between songs. He was the first DJ to speak with a Black southern accent, and frequently used ‘street slang’. He came to this by way of his previous employment with the Works Progress Administration as an interviewer. His bond with the Black migrants to northern cities was from his ‘mushmouth,’ as the first Black radio ‘personality jock.’ He was the first to play hit urban blues records on air, and with success at selling airtime, the station became immensely popular. When Jack Gibson came to work for him at WJJD a bell rang, and thus was born the idea of Black appeal radio. 'Jockey Jack' was born here. In publicity stills, Gibson was pictured straddling a microphone and turntable in jockey silk outfits, and he gained a following playing to a Black audience.

Also he had parts in the anthology Destination Freedom, a series written by Richard Durham, dedicated to the retelling the lives of notable Negros in the Americas. In 1949, Gibson left WJJD to found a new station, WERD in Atlanta, Georgia. WERD was the first radio station to be owned by a Black person, and the first voice heard on it was ‘Jockey Jack.’ He and Jesse Blayton Jr. flipped the switch on a money-losing big-band station. The station played the new Rhythm and Blues (R&B)—a mix of gospel vocal styles, swing-band instrumentals, and electrified urban blues which Benson had helped to popularize after WWII. R&B was outselling jazz in the Black music market but had little traction on-air as DJs at other Black-themed stations did not play it, preferring the then-popular big-band format. The use of ‘back home’ street patter and R&B music was popular with the youth culture and was considered ‘gangsta’ and a bit obscene. Along with other Benson-inspired DJ’s, a new wave of rhyming and signifying African-American culture hit American urban centers on air, with boastful patter, the ‘dozens,’ and rhyming at the end of sentences which became de jure. The first to do that was a former Negro League baseball announcer named Lavada Durst, known as Doctor Hep Cat, who spieled rhyme that was not obscene and was the precursor to modern rap and hip-hop. There was also Holmes (Daddy-O) Daylie, the rapping bartender who did his entire show in rhyme. Daddy-O was responsible for the Be-Bop revolution in jazz vernacular, creating a hipster idiom that Be-Bop artist Dizzy Gillespie credits for popularizing with modern jazz lovers in the 1950s and 1960s.

Rappers Delight

Jumpin’ jills and jivin' cats,

Upstate Gates in Stetson hats,

Lace your boots and tighten your wig,

Here’s some jive, can you dig?

I'm Doctor Hep Cat, on the scene,

With a stack of shellac in my record machine,

I'm hip to the tip, and bop to the top,

I'm long time coming and I just won't stop.

—Doctor Hep Cat, KVET Austin, 1948

Durst published a pamphlet called “The Jives of Doctor Hep Cat” which included his radio rhymes and a dictionary of “jive talk.” For much of the 1950s and well into the 1960s Doctor Hep Cat ruled the late-night in Austin, Texas. These DJs did not assimilate the culture; they were populists, broadcasting music and speech that Black folk used in the street. This set the stage for the birth of Black appeal radio stations in the post-war era of swing and Be-Bop. When Hal Jackson (Inner City Broadcasting Corporation head) entered mass-market radio he put his own stamp on Black radio, one that eschewed fast-talking jive, and with WWRL he found greater audiences broadcasting in the smoother patter of the inner city. When his station WLIB purchased WBLS and FM radio audiences came to understand there was more to music than top-40, disc jockeys like Frankie Crocker and his urban contemporary cohorts Johnny 'The Duke' Allen, Vaughn 'Quiet Storm' Harper, and Ken ‘Spider’ Webb went from just some ‘jive turkeys’ to number one in their market, then to the number-one radio station in the country.

Gibson would go on the air in his ‘Jockey Jack’ persona, wearing real silks, playing bugle calls from the track Kentucky-derby style, talking about ‘riding the hits.’ (During 1951–1953, both Gibson and Dean were working at WLOU Louisville, Kentucky, home of the Kentucky Derby.) The year 1953 found him as program director at WMBM, and then at WFEC. The following year he was back at WERD.

Family Affair

To his peers in radio his nickname was “Jockey Jack,” and he achieved renown for his annual Black radio convention, where he was known as Jack the Rapper, for an all-inclusive Black/urban music showcase and convention. He is listed in the Nevada Broadcasters Association Hall of Fame. In 1989, he was inducted into the Black Radio Hall of Fame.

1950's WERD

Gibson was a radio personality at WERD, a station that shared a building with Dr. Martin Luther King, Jr.'s Southern Christian Leadership Conference (SCLC). In a unique collaboration, whenever Dr. King needed to broadcast announcements about upcoming rallies, he would signal Gibson by knocking on the ceiling with a broomstick, which was directly under the WERD broadcast studio. Gibson, heeding the call, would dangle his microphone out of the studio window, lowering it to the SCLC office window below. Dr. King would then take the microphone and speak directly to the listeners, issuing his powerful calls to action for civil rights protests. Jack Gibson, known as "Jockey Jack," became famous for his work at WERD, which was indeed the first African-American owned radio station in the United States, launched in Atlanta in 1949. His role as a disc jockey there contributed significantly to his prominence. He was a key figure in the emergence of a new style of radio broadcasting. He was among a cohort of influential African-American radio personalities who infused their programs with vibrant language, known as "jive," which resonated with the cultural dynamics of the time. This jargon was characterized by rhythmic, rhyming slang that added a distinct flavor to their commentaries and music programming. These disc jockeys, “Genial” Gene Potts, Tommy “Dr. Jive” Smalls, “Long Tall Lanky Larry Dean” and John “Honey Boy” Hardy with their catchy monikers, played a crucial role in shaping the radio landscape and were instrumental in popularizing the music and culture of African-Americans across the nation.

His signature "This is the Jockey playing the hits on WERD — 860 on your dial — the good word station — the only all-Negro station in Atlanta, Georgia…” gave listeners a place to visualize the Afro-centric view on the air.

Embracing his on-air moniker "Jockey Jack" with a sense of humor, he went as far as to wear authentic jockey silks during his radio shifts, fully embodying the persona that listeners across Atlanta had come to enjoy.

NATRA

In 1955, Gibson founded the National Association of Radio Announcers for Black DJs. In the 1960s it was renamed the National Association of Television and Radio Announcers (NATRA). Bringing together disparate elements of Black Appeal Radio under one body placed Gibson at the head of the table, and as the father he declared, "I slapped this baby's bottom and brought it to life!"

1960's Motown After his career as a DJ, Gibson transitioned to a role at Motown Records in 1961 as a promotions executive. At record previews he introduced new artists such as Steveland Wonder, the Jackson 5 and many Motown hitmakers. It was here that he conceived the idea of creating a newsletter to promote the label's artists.

In 1963 Gibson joined the staff of Motown records as a public-relations (PR) manager. While there, he mentored the Supremes, Marvin Gaye, The Jackson Five, and Stevie Wonder, and as Director of International PR, he often provided their first introductions to the public on stage. In 1969 he moved to STAX records, where he remained until 1972.

Mello Yello

In the 1970s, with encouragement from his wife Sadye, he evolved the newsletter into a comprehensive black music industry tipsheet named Mello Yello. The distinctive name came from the color of the paper on which it was printed, chosen to make the publication visually pop among rivals. However, inside the industry, there was a running belief that the name 'Mello Yello' was also a tongue-in-cheek reference to Gibson's own very light skin tone.

In 1976 he began publication of a two-sided trade pamphlet called "Mello Yello," about the radio industry.

"Jack the Rapper's Mello Yello" is the oldest and largest-circulated Black radio/music trade publication in America.

1970's Conventions

Gibson was a visionary in the black music industry, and is known for his pivotal role in creating and organizing annual conventions that celebrated and propelled the growth of black music. Inspired by the success of Dick Clark's American Bandstand, Gibson recognized the need for a platform that specifically catered to the vibrant black music scene in the late 70’s.

He drew inspiration from Don Cornelius, who created "Soul Train" after seeing the success of "American Bandstand," Gibson envisioned his own black music convention. It would parallel Billboard Magazine's annual event but with a unique focus. In 1977, the inaugural Jack The Rapper Family Affair took place in Atlanta, Georgia—affectionately termed by Gibson as "Martin's Town." It attracted major sponsorship from entities like CBS Records and featured seminars on radio and music production, alongside vibrant parties

This event was a hit and, together with Sidney Miller's Black Radio Exclusive conference in Los Angeles, provided the black music industry with significant networking, strategizing, fellowship, and celebration opportunities.

The convention featured seminars on radio programming, music production, and networking opportunities, creating an atmosphere of camaraderie and celebration. Remarkably, the first Family Affair even welcomed Minister Louis Farrakhan as one of its keynote speakers, adding a powerful cultural and political dimension to the event.

The success of the Family Affair convention paved the way for other influential gatherings within the black music industry. Sidney Miller's annual Black Radio Exclusive (BRE) conference in Los Angeles became another significant event where networking, strategizing, and fellowship thrived. The Impact Convention in Washington, D.C., the Young Black Programmer's Coalition conference, and Tom Silverman's New Music Seminar were among the other notable conventions that followed suit. Each of these events provided a platform for black artists, industry professionals, and enthusiasts to connect, exchange ideas, and celebrate the contributions of black music professionals.

His conventions were instrumental in connecting individuals to the past, present, and future of black music culture. Attending these gatherings meant immersing oneself in a dynamic tapestry of talent, creativity, and innovation. They allowed for the exploration of industry trends, the discovery of emerging artists, and the forging of invaluable connections that propelled careers forward.

Gibson's unwavering vision and dedication to fostering community within the black music industry left an indelible mark. His conventions became essential annual events, where the power of black music was showcased, celebrated, and propelled to new heights.

1980's Radio to Rap

By the third year, the Family Affair had outgrown Colony Square, so it was moved to Peachtree Plaza in 1979 and 1980. "After that we moved to the Marriot."

In 1985 Gibson was involved with the effort to un-ban Stevie Wonder, whose records were banned in South Africa after his acceptance of an Academy award in the name of Nelson Mandela. Some 230 radio stations joined his call to salute the singer/songwriter on his birthday.

In 1986 Gibson was honored by the Smithsonian Institution for his work promoting Black radio.

In 1987, after learning that soul singer Jackie Wilson had been buried next to his mother in an unmarked grave, Gibson launched what is today known as a crowd-sourcing fundraiser for a marker and tomb for the pair. A prisoner in Kansas donated 50 cents, and by May donations were estimated at $10,000, often donated in $1 increments, to build a mausoleum and headstone with the inscription, "And now, no more lonely teardrops" for the singer.

The Jack the Rapper Family Affair was where influential people in Black urban radio gathered and listened to what record companies had to offer. Performing live could launch a new act's career, and affirmed the viability of older, established musicians like Prince and Whitney Houston. When Rap emerged in the 1980s and 1990s, up-and-coming Rap acts flocked to the Family Affairs, confusing the name 'Jack the Rapper' and also attracting an element who caused hotel venues to rethink their relationship with Gibson's affairs.

Gangsta Rap

The Family Affair convention faced several challenges that ultimately led to its decline. While the convention gained popularity and recognition for its inclusive approach, there were certain incidents and changing social dynamics that impacted its future.

One such notorious incident occurred during the 1980s at a Family Affair convention, where a Saturday night reception sponsored by Skyywalker Records took an unexpected turn. The headline performance featured the controversial group 2 Live Crew and their explicit lyrics. To add to the discomfort, dancers from a nearby gentlemen's entertainment club joined the group on stage. This unexpected display clashed with the socially conservative values of many radio DJ’s used to broadcast rules of decorum, who were perhaps unprepared for such explicit content. This incident, which showcased a clash of cultural expectations, may have caused some attendees to question the direction of the convention.

Additionally, as societal norms evolved and the music industry shifted, the Family Affair convention faced challenges in keeping pace with the changing landscape. The convention had initially embraced the emerging hip-hop industry and maintained an open-minded approach toward its inclusion. However, the evolving nature of hip-hop, with its explicit lyrics and provocative performances, may have created a disconnect with the convention's traditionally more conservative audience. The clash between the convention's original intent and the changing dynamics of the music industry may have contributed to its decline.

During the 1993 conference, a violent brawl erupted in one of the panel discussions involving representatives from Death Row Records and Skyywalker Records, disrupting a session with a loud commotion. After the fight, the room was in disarray with furniture scattered. The police intervened, evacuating the area. The incident cast a shadow over the event, sparking discussions about self-sabotage within the community. This altercation at the Family Affair, which was originally created to unite the black R&B music industry against discrimination, highlighted emerging internal conflicts within the scene.

As chaos escalated at later Family Affairs, Gibson held his ground amidst criticism. He defended his inclusive stance, saying:

"I certainly didn't want that violence any more than anybody else. Many supporters pointed fingers at me for not excluding rappers from the event. But excluding rappers was out of the question—they're a legitimate part of black music, and I wasn't going to segregate based on genre. It seemed like a situation where standing by your convictions came with a price. And indeed, I was paying that price, quite literally knocked off my feet."

The root cause of the turmoil at the 1993 conference can be traced back to the cultural shift in hip-hop during the early 1990s. The genre evolved from its African-consciousness roots to embracing a more violent image, mirroring the rise of the street crack trade. As law enforcement cracked down on the drug trade, individuals from that world increasingly moved into the rap industry. Simultaneously, music industry professionals, even those with college educations and middle-class backgrounds, began adopting tougher personas to align with the genre's shift from socially conscious lyrics to those glorifying criminal lifestyles. This cultural pivot towards a more aggressive and crime-centric image in hip-hop was reflected in the behaviors and altercations at events like the Family Affair conference.

Moreover, as time passed, the generational shift within the black music industry also played a role in the convention's demise. The socially conservative audience, many of whom had personally witnessed the sermons of Dr. Martin Luther King Jr. and were accustomed to a different era of music and entertainment, faced difficulty adapting to the evolving cultural expressions and performances showcased at the convention. This generational gap may have hindered the convention's ability to resonate with a broader audience and maintain its relevance.

These factors, including the clash of cultural expectations, the evolving nature of the music industry, and the generational shift within its audience, contributed to the decline of the Family Affair convention. Despite its eventual demise, the convention remains a significant part of black music history, highlighting the challenges and complexities of navigating cultural dynamics within the industry.

Rap Wars

Gibson relocated the 1994 Family Affair from Atlanta to Orlando, Florida to deter incidents that had marred recent conferences. It had grown to over 5,000 attendees and claimed an annual $13.8 million influx of business to Atlanta. People who wanted to hobnob with celebrities were buying tickets on-site to party, and these crowds overwhelmed the venues and organizers alike, as Jill Gibson-Bell, Gibson's daughter, recalled. A security issue also presented itself. The 1997 Miramax film "Rhyme & Reason" is a documentary that explored the history, culture, and reality of the hip-hop scene. It includes interviews with a wide array of rappers and industry figures, discussing the significance of hip-hop music and its roots, socio-political impact, and the controversies surrounding it. The film also captures some of the tensions and incidents that occurred during events like the one mentioned, providing a raw look at the challenges and dynamics within the hip-hop community of that era.

There were many talented artists who started at a Family Affair who developed into superstars. There were seminars that gave people in the industry an opportunity to exchange ideas, and they often returned to their jobs equipped with fresh concepts, ready to make changes. But the show was over, and extra security failed to secure the venue. It was killed by the very acts Gibson had defended who brought the street to the 'family friendly' upscale convention. In 1996, the entirety of Gibson's books, records, and photographs was donated to the Archives of African American Music and Culture at Indiana University. That year Gibson also was named to the Entertainment Committee for the 1996 Olympic Games in Atlanta.

Gibson moved to Las Vegas, Nevada in 1990 and was inducted into the Nevada Broadcasting Hall of Fame in 1998.

Personal life

Gibson was married to Sadye Gibson for 47 years; they had two children. She died in 1990. His second wife, Elsie Harris-Gibson, currently resides in Las Vegas, Nevada.

Gibson died of prostate cancer on January 30, 2000, at age 79 in Las Vegas, Nevada.

See also

• Archives of African American Music and Culture
• African American firsts
• Imhotep Gary Byrd
• Kool DJ Red Alert
• Bob Perkins
• Jocko Henderson
• Ed Castleberry
• Yvonne Daniels
• DJ Nat D.
• Jive
• Signifying Jive talk

Further reading

• Black Radio in Los Angeles, Chicago & New York A Bibliography, Dr George Hill APR & JJ Johnson with foreword by Jack Gibson

External links

• Etling, Laurence W. (2006-04-12). "WERD". New Georgia Encyclopedia. Archived from the original on 2007-05-26. Retrieved 2007-05-18.
• Barlow, William (1999). Voice Over: The Making of Black Radio. Philadelphia: Temple University Press. ISBN 978-1566396677.
• Smith, Walker (2015). Mello Yello: The Life of Jack the Rapper. Atlanta, Ga: Sonata Books LLC.