Asante Sana, #TonyBrown of #TonyBrownsJournal

FROM MY 2001 DISSERTATION:

….William Greaves, who was the sole host of the show [Black Journal] by 1970, left that year to focus on his film company. Black Journal did a nationwide search for a new producer/host. It focused on a colleague of Greaves, a Detroit civil rights activist named Tony Brown. A native of Charleston, West Virginia, Brown earned a bachelor· s degree in sociology and psychology and a master’s degree in psychiatric social work at Wayne State University in Detroit. As a local civil rights activist, Brown had featured Martin Luther King in one of his marches. He began his journalistic career writing for The Detroit Courier, a Black weekly newspaper. He hosted a local public-affairs show for WTVS, a public television station. The show, sponsored by the Detroit Junior League, was called C.P.T. (C.P.T. stood for “Colored People’s Time,” a humorous, intra-racial term among many Blacks used to chide chronic Black lateness.) It was the first Black-oriented show on the station. Brown also remained involved in print journalism, publishing The Detroit Sun, a Black magazine.

In 1970, according to Brown, Greaves held a conference of Black public-affairs program producers in Wisconsin. Out of that meeting came the National Association of Black Media Producers, of which Brown, the founding dean of the Howard University School of Communications, was elected president. Brown says as president, he began challenging the licenses to broadcast stations that practiced racial exclusion in 1970, the year that he was appointed as Black Journal host. With major white commercial corporate sponsorship. Brown moved the show to commercial syndication in 1977. where it was renamed Tony Brown’s Journal. Brown’s own Tony Brown Productions produced it, and continues to do so today [in 2001]. Tony Brown’s Journal aired in commercial markets until 1981, when it returned to public television, where the show, hosted, produced and owned by Brown, airs in 2001.

The half-hour program has had several formats and identities in its long history. During the 1970s, dashikis turned into business suits. In the 1980s, the show had a studio audience. In the 1990s — the decade Brown. a longtime neo-conservative, publicly declared himself to be a member of the Republican Party—it adopted a one-on-one talk format. Favorite topics have included Black history and culture, Black economic empowerment in the 1980s and early 1990s and, in the late 1990s, Black empowerment through computers and non-racialized subjects such as the Y2K computer compliance crisis. and alternative medicine. Over the years. major white corporations. including Texaco and Pepsi Cola, have sponsored the program. There have been no studies yet conducted on Brown, his show or his audience. Tony Brown’s Journal has produced–and still updates in 2000–documentaries on subjects such as slavery as well as the life and death of Malcolm X and Martin Luther King. During the mid- to the late-l990s. Brown hosted a talk show on New York radio station 1190 WLIB-AM. Brown remains a community activist with a public involvement in building economic opportunities for Blacks.

He is the only known Black public affairs show television host on commercial or public television to both produce and own his own program. In a 1990 article profiling Brown, Greaves said Tony Brown’s Journal has survived when other Black public affairs shows didn’t because the producers of those shows …would not fight for their survival… If you are a producer and you fight for your show, you are seen as a troublemaker in the mainstream media, thus endangering any future you might have had at the networks.”

*************

I learned a lot about Brown from Roberto Santiago’s “The Outspoken Tony Brown,” published in Emerge magazine, February 1990, pp. 38, and from WABC-TV’s Like It Is, Show No. 762, “The Long-Distance Runners,” March 11, 1990. Like It Is producer-host Gil Noble did a program on Black public-affairs shows. His guests were Brown, Greaves, Gustav Heningburg, the longtime host of WNBC-TV’ s Positively Black and Bill McCreary, executive producer and host of WNEW-TV’s (now WNYW’s) The McCreary Report. In 2026, a new (academic) book about Positively Black was published.

#imixwhatilike w/ #JaredBall: #EyesOnThePrize #EyesOnThePrizeIII w Dr. #ToddStevenBurroughs

#TriceEdneyNewsWire: “Photographer Roy Lewis Honored by #NationalAssociationofBlackJournalists #NABJ at Chicago Confab” By Hamil R. Harris

Every Black community has somebody like Roy Lewis. When I lived in the D.C. area and was at a Black political event, the way I knew I was at the main one of the day was spotting Roy, clicking away.

*****

Having taken thousands of photos of people receiving awards and making news, Roy Lewis waited his turn to be honored by the National Association of Black Journalists. PHOTO: Roland Martin/#Roland Martin Unfiltered
Roy Lewis, relaxing later with his NABJ Legacy Award.

Roy Lewis (center) receives the Legacy Award from NABJ representatives Frank Holland of CNBC and Abby Phillip of CNN. PHOTO: Roland Martin/#Roland Martin Unfiltered


September 2, 2024

Photographer Roy Lewis Honored by NABJ at Chicago Confab

By Hamil R. Harris

(TriceEdneyWire.com) – Roy Lewis has photographed iconic images across Black America for decades and his love for the lens was captured by Jet magazine in 1964 when it published his photograph of pianist Thelonious Monk.
Born in 1937, on a plantation below Natchez, Mississippi, Lewis’s resourcefulness is part of his gift. He first fell in love with vocational photography in high school. He later practiced that love on a professional level at the Johnson Publishing Company on South Michigan Avenue in Chicago. He earned the money for a 35-mm camera after he was drafted into the U.S. Army.
This summer, Lewis, 87, was back on South Michigan Avenue in Chicago, but not at the John H. Johnson headquarters. He was there to receive “special honors,” at the convention of the National Association of Black Journalists.“I worked for Mr. Johnson from 1956 to 1968 and then to be honored on this Avenue…” Lewis said. “It’s not about the pictures; it’s about the feeling of being honored by your peers and being back in Chicago, where I did some of my top work.”
Lewis was bestowed with the Legacy Award during NABJ’s annual convention in August. The Legacy Award recognizes a Black print, broadcast, digital, or photojournalist of “extraordinary accomplishment who has broken barriers and blazed trails.”
Legacy Award honorees are those who have “contributed to the understanding or advancement of people and issues in the African Diaspora,” according to NABJ.
The NABJ wrote, “Lewis is a renowned photographer and activist whose photography career started in 1964 when Jet magazine published his photograph of musician Thelonious Monk. His work has been celebrated nationwide, including in his ‘Everywhere with Roy Lewis Exhibition,’ beginning in 2008 at the Essence Music Festival.”
Lewis, who left Chicago in 1973 and moved to Washington D.C., was nominated for the award by Sam Ford, a founding member of the NABJ who worked for more than 51 years as an award-winning broadcaster for three decades on air at WJLA-TV, Washington, D.C.’s ABC affiliate.
“Roy has been part of the Washington press corps for as far as I can remember,” Ford said. “Roy started taking pictures when he was 17 years old. He will be 87 this year…That is more than 70 years connected with the news media except when he was in the army.”
Lewis also worked in his hometown paper in Natchez and went back to work for Ebony and Jet after the army. He has a large collection of pictures from his days at Ebony and Jet from the 1960s and he is still a photographer for The Washington Informer newspaper, the Trice Edney News Wire and the NNPA News Service, which serves 200 Black newspapers and their websites. “I thought he needed recognition. When a person is going for 87 years you don’t want to wait too long,” Ford said.
According to Lewis’ HistoryMakers biography, he was drafted in 1960, and he developed his photography talent in the army. He purchased his first camera for just $25. In 1968, Lewis left Johnson Publishing and joined the staff at Northeastern University, filming student activities. In 1970, Lewis videotaped an exclusive interview with the late Honorable Elijah Muhammad. Lewis’s work was featured in the film A Nation of Common Sense. In 1974, Lewis traveled to Zaire to film the Muhammad Ali-George Foreman fight. This historic video would later be featured in the documentary on that classic clash, When We Were Kings. In 1975, Lewis worked on River Road on the Mississippi, a pictorial book that focused on African-American people and life along the Mississippi River.
Dr. Ben Chavis, NNPA president/CEO, said in an interview, “The National Newspaper Publishers Association salutes Roy Lewis as a phenomenal photojournalist and for his long-standing contribution to freedom, justice, and equality. Roy Lewis is an icon of the Black Press.”
Likewise, Hazel Trice Edney, editor-in-chief of the Trice Edney News Wire, said, “Roy Lewis’s name is synonymous with excellence in Black Press photography.” Under her leadership as president of the Capital Press Club in 2014, Lewis was also an award recipient during the CPC’s 70th anniversary celebration. She said, “Roy is deserving, not just because of great and historic photography, but because of his commitment to the cause.” 
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