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ABOUT THE LIBRARY

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2012 INDUCTEES IN BOLD

GIANTS OF BROADCASTING: THE FIRST 150

©2012 A Publication of the Library of American Broadcasting. All Rights Reserved.

T H E S TO R Y O F T H E

VO L UM E T E N – 2 0 1 2

BY MARK K . MILLER

GeorgeBeasleyThe Up-from-Nowhere Story

of How to Succeedin Radio

GeorgeBeasley

George Beasley is a go-getter. He useda G.I. Bill–financed education to be-come a teacher, took his small sav-ings to build a radio station in a townof 2,300 and parlayed it into a radio

group that now comprises 44 stations. Hisfinancial savvy is typified by his 1989 purchaseof KRTH-AM-FM Los Angeles for the then-recordprice of $86.6 million. He spun off the AM for$24 million and after driving the FM to the topof the ratings, sold it in 1994 for $117 million.

George Garland Beasley was born April 9,1932, in Patrick County, Va. After his fatherdied in a motel fire when George was justeight years old, his mother moved Beasleyand his sister to her parents’ Virginiafarmhouse and Beasley grew up on hisgrandparents’ tobacco farm.

After receiving his high school diploma, hewent on to graduate from Virginia’s NationalBusiness College with a junior accountingcertificate and after he graduated, “I couldn’tget a job. I wanted a four-year degree and Ididn’t have any money so I joined the Army,”he recalls. On March 5, 1953, he enlisted andserved state-side as a cryptography instructor.

Beasley was honorably discharged fromthe Army on Dec. 7, 1955, and three days laterput his G.I. Bill benefits to use by enrolling atNorth Carolina’s Appalachian State University(ASU). There, he graduated cum laude with abachelor’s degree in business and social stud-ies. Later, he would earn his master’s degree inbusiness and school administration, also atASU. After teaching for one year, he was hiredas a high school assistant principal at DanRiver High School in the small town of Ring-gold, Va. At the same time, he received someadvice from one of his ASU professors that he

took to heart: “It’s great that you’re going intoschool administration, but if you want adecent standard of living, you’d better have asideline,” Beasley remembers. “That got myattention and I began thinking what in theworld could I do as a sideline?”

At this time he also began working for hisuncle and conversing with his cousin whoboth owned radio stations in Mount Airy, N.C.He was broadcasting the evening show on hisuncle’s station, and “the more I workedaround my uncle’s station, the more I liked it.”

Beasley continued learning more aboutradio while working for his uncle—he beganselling time and broadcasting high schoolbasketball games—and decided that radiocould be his “sideline.” So he applied to theFCC for a construction permit and secured asmall line of credit to build his first radio sta-tion. WPYB-AM in Benson, N.C. (population2,300), which went on the air in December1961 (the calls stood for “We Promote YourBusiness”). It cost him $1,000 to build and heput 10% down on $17,000 of equipment,leased tower space for $15 a month and hewas on the air. It was profitable by May 1962.

Beasley was commuting six hours betweenRinggold and Benson each weekend—a three-hour trip each way—to build and overseethe station. To be closer to the station, hearranged to get a job as principal of MeadowHigh School near Benson, seven miles fromthe station, beginning later in 1962.

He operated the school for seven years.In 1966, he sold WPYB-AM for $125,000 andpurchased WFMC-AM in the much largermarket of Goldsboro, N.C., for $115,000.

In 1969, he decided to leave educationand made radio his full-time job, moving to

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Goldsboro and becoming very active in thecommunity, including serving on the schoolboard for 16 years, including three terms aschairman. This provided him with what was tobecome a key in his local broadcastingphilosophy: The importance of localcommunity involvement.

Next he built an FM station to pair withWFMC-AM. It was the first African-Americanformatted station in Eastern North Carolina.

After that, he continued this process ofacquiring and improving under-performingstations and has purchased or invested inmore than 100 stations across the countryduring his 50-year career. During the 1960s andearly ’70s, he purchased stations in Virginia,Kentucky, Georgia, South Carolina, Alabama,Indiana and Ohio.

A highlight was the 1976 purchase of WDMT-FM in Cleveland, which marked his first purchaseof a major market station. “I could just feel thatFM was getting ready to explode.”He paid$180,000. Again, marketing to the unserved Afri-can-American community, the station flourishedand Beasley eventually sold it for $4 million.

Beasley Broadcast Group entered the na-tion’s top 10 radio markets through the 1984acquisition of WXTU-FM in Philadelphia and the1986 acquisition of WPOW-FM in Miami. In 1989BBGI purchased KRTH-AM-FM Los Angeles, pay-ing the then-record price for a radio station of$86.6 million. “My plans were to sell off the AMfor at least $20 million and reduce the debt. Wewere successful … selling it for $24 million.” TheFM was running an oldies format and in the early1990s,CBS-owned KCBS decided to compete withit head on and soon overtook it in the ratings.Beasley called on legendary programming guru

Bill Drake and asked for his help. Beasleyfollowed Drake’s recommendations for programdirector, promotion and research changes andalso hired away CBS’s best DJ, Don Steele. Inless than a year KRTH was back on top. “We out-promoted them, we out-programmed them andwe never looked back. It was a huge success.”

The station generated substantial revenueand cash flow for the company and when Infin-ity’s Mel Karmazin offered Beasley $117 millionfor it in 1994, he took it.

Since that time, Beasley Broadcast Grouphas broadened and refined its large marketoperations, entering leading markets Las Vegasand Atlanta and adding stations in Miami. In1996 following passage of the Telecommunica-tions Act, the Beasley Broadcast Group aggres-sively expanded its station clusters.

Beasley Broadcast Group, now headquar-tered in Naples, Fla., celebrated its 50th anni-versary in December 2011. It went public in 2000(Nasdaq: BBGI), has approximately 650 employ-ees and owns and operates 43 radio stations (27FM and 16 AM) in 11markets. Addition-ally, the companymanages one FM inLas Vegas that isowned personallyby Beasley, whonow is chairmanand CEO. Four of hisfive children arealso on the com-pany’s executiveroster—Bruce, Caro-line, Brian and Brad.

Early in the new

millennium, Beasley took a leadership role inthe radio industry as one of the firstbroadcasters to embrace and invest in HDRadio™, the technology that lets radio stationsbroadcast their programs digitally, providinglisteners with radically improved audio quality,better signal reception, song and artistinformation, as well as the ability to choosebetween multiple programming options on thesame FM frequency.

“I think HD radio may well be the future ofour business. I’m convinced that with otherplatforms out there [including SiriusXM andPandora], we know we’ve got competitioncoming at us from every direction. You have toadapt. My thinking is that … we must con-centrate on the local community and becomea part of it. We want to be so close to ourcommunities that most business andcommunity leaders immediately recognize uswhen they see us coming.

“I think content, localism and communityfocus are the real keys to the survival of radio.”

George Beasley (far right) and his friends experimenting with radio in college.

DonCorneliusThe Agony and theEcstasy of Making Itwith Soul Train

DonCornelius

Donald Cortez Cornelius was bornon Sept. 27, 1936, in Chicago’sSouth Side. Following his gradua-tion from DuSable High School in1954, he joined the United States

Marine Corps and served 18 months inKorea. He worked at various jobs followinghis stint in the military, including selling tires,automobiles, and insurance, and as an officerwith the Chicago Police Department.

He quit his day job to take a three-monthbroadcasting course in 1966, despite beingmarried with two sons and having only $400in the bank account. In 1966, he landed a jobas an announcer, news reporter and discjockey on Chicago’s WVON-AM. “I started as anewsman, but I was also the swing[overnight] man,” he told Billboard. “I filled inas an all-around substitute at WVON. I wassitting in for DJs and newspeople, doingpublic affairs outside the station, doing thetalk show and doing commercials.”

When Roy Wood, Cornelius’s superiorand mentor at WVON, moved to WCIU-TV, asmall Chicago UHF station, Cornelius beganmoonlighting for his former boss. He becamea sports anchor and the host of A Black’sView of the News on WCIU in 1968. But hehad an idea for a new show and knew whathe wanted to call it: Soul Train, the name of atraveling music show he had hosted forWVON. The format—featuring dancingteenagers and popular records—came fromDick Clark’s American Bandstand. “Almost allof what I learned about mounting andhosting a dance show I learned from DickClark,” Cornelius told Advertising Age.

What made Soul Train different was itsblack music format. WCIU’s management wasalready introducing “ethnic” programming,

so when Cornelius pitched his idea, theyagreed to give it a try.

“Soul Train was developed as a radio showon television,” Cornelius told the New YorkTimes in 1995. “It was the radio show that Ialways wanted and never had. I selected themusic, and still do, by simply seeing what hadchart success.” As he explained to the Associ-ated Press in 2006, “There was no program-ming that targeted any particular ethnicity. I’mtrying to use euphemisms here, trying toavoid saying there was no television for blackfolks, which they knew was for them.”

On Aug. 17, 1970, Soul Train premiered onWCIU. Cornelius hosted the show, producedit and sold all the advertising. “The showcentered on a live appearance by singer JerryButler [then of the Impressions] and dancersand myself in some goofy outfit we came upwith,” Cornelius related in Billboard. “Butaside from the fact that it was the most inex-pensive package imaginable, it was basicallywhat we do today, same style and attitude.”

Cornelius figured that Soul Train would dowell in other cities where there was no black-oriented TV programming and began workingon plans to syndicate it throughout the coun-try. He found the perfect primary sponsor inGeorge Johnson, president of Johnson Prod-ucts, a black-owned manufacturer of hair andfacial cosmetics. Soul Train’s audience wascomposed of the same people who boughtmost of Johnson’s products—young blacks.

The syndicated weekly Soul Train debutedon Oct. 2, 1971. Produced at Hollywood’sMetromedia Studios, it was glitzier and morecolorful than the Chicago version, but in allother respects it was the same. Cornelius wasconfident of success. “Because of Chicago, Iknew something that most of my doubters

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didn’t know, and when they smirked, I smiled,”he noted in Billboard. “I also knew GeorgeJohnson’s criteria for quality and I wasdetermined to attain it.”

The national show ran into problems at first,however. The syndicator was able to debut SoulTrain in only seven of the 25 markets Corneliushad targeted. “Practically all the stations thatturned the show down had no other black-oriented entertainment shows running,”Cornelius told Billboard. But the show’s rapidand strong popularity changed minds. Withineight months, Soul Train had found a TV homein all 25 of those targeted markets. And, inAugust of 1972, Cornelius signed a $1 millionadvertising deal with Johnson Products.

By 1974, 95 stations were showing SoulTrain. “I’d like to say it was a struggle,” Corne-lius told Billboard, “but it really wasn’t; it justwas a thing that was so long overdue that itcaught on instantaneously. The point is thatthere should be far more than just that onehour of black-oriented entertainment.”

In 1975 Cornelius and Dick Griffey, a promo-ter and talent coordinator on Soul Train, formedSoul Train Records, which was distributed byRCA.

In 1986 Cornelius introduced the Soul TrainMusic Awards, which was at that time the onlymusic awards show on TV dedicated exclusivelyto black musicians. Soul Train Music Awardsbecame extremely popular, and not only withviewers, but advertisers as well. For the 1990broadcast, Chrysler became Soul Train‘s firstadvertiser from the automotive industry. “We’refinally getting—particularly for the awardsshow—the major advertisers ... that probablyshould have been advertising on Soul Train for

the last 20 years,” Cornelius told the Los AngelesTimes in 1990. “We were stereotyped to wherewe weren’t supposed to sell anything but blackhair-care products and records. Of course, nowit’s known that we buy tires and shoes andhouses too.”

When American Bandstand went off the airin 1989, Soul Train was still going strong. In 1993,Cornelius gave up his duties as host andbrought in guest hosts. “I had come to believe ...that the era of the well-spoken, well-dressedDick Clark, Don Cornelius-type in a suit and atie was over.... I am just convinced that peoplewant to see people on TV who are more likethemselves,” he told the NewYork Times.

By 2005, Soul Train was being seen in 105cities, reaching an estimated 85 percent ofblack households.

Facing increasing health problems anddistribution difficulties, Cornelius stoppedproducing new shows in 2006 and sold thefranchise and the archives two years later. SoulTrain holds the record as the longest-runningnationally syndicated TV show at 35 years.

In 2008, Cornelius was arrested andcharged with spousal battery, assault with adeadly weapon and dissuading a witness frommaking a police report, all misdemeanors. Hepled no contest. The incident led to a bitterdivorce battle between Cornelius and hissecond wife, Viktoria, in 2009.

In the early hours of Feb. 1, 2012, police re-sponded to a report of a shooting at his homeand found Cornelius dead from an apparentself-inflicted gunshot wound to the head. Anautopsy found that he had been suffering fromseizures during the last 15 years of his life, acomplication of a 21-hour brain operation he

underwent in 1982. He had said earlier that hewas never quite the same after that surgery andit was a factor in his decision to retire fromhosting Soul Train in 1991.

News of his death prompted an outpouringof tributes from civil rights leaders, musicians,entrepreneurs, academics and writers. ABCNews reported that Cornelius’ “lasting legacyis his impact on diversifying pop culture andgiving rise to a hugely influential group ofblack performers.”

Trailblazer Don Cornelius always endedSoul Train with his signature sign-off: “I’m DonCornelius, and as always in parting, we wishyou love, peace and soul!”

Don Cornelius brought Soul, Funk, R&B and other African-American musical genres to an ever-expanding number of viewers.

EricaFarberHer Straight Lineto the Top LookedMore Like a ‘Z’

EricaFarber

For someone who says she never had acareer or life plan, and didn’t stay atjobs very long, Erica Farber has foundsuccess, respect and recognition in afield that, when she started, was pretty

much closed to women.

Erica Farber was born in Denton, Texas.Her father died when she was a child andshortly after, her mother moved Farber, hersister and her grandmother to Los Angeles.Her mother, who had never worked before,got a job to keep the family afloat.

In the late 1960s, to help with the family’sfinances, Farber entered a work program inher freshman year of high school where at 1p.m. she would be finished with her classesand go to work for a film and graphic designcompany. At the same time she was doingsome theater work, and then some on-cameratelevision work, including commercials. “Mybig claim to fame,” she says, “was playingGoober’s niece onMayberry RFD.”

After graduating early from high school(she skipped a grade), “I never thought abouthaving a career. I didn’t have a plan and Ididn’t think about it. In those days, girls werethinking about getting married and that wasn’tanything I thought about. And I knew I didn’twant to be a flight attendant. I did apply tocollege and I went for a day and I realized thatthere was no way I could go to college andwork full time since we didn’t have any money.

“So I was working. I changed jobs aboutevery six months, but it was always Girl Friday–type jobs. I remember my mother saying,‘Why can’t you keep a job?’ and I said it’s notthat I can’t keep them, I just lose interest.”

She was still doing some acting on the early1970s when she got into radio “as kind of a

goof, actually.” She was working at a small adagency as the receptionist and she did somemedia buying. Her boss thought she should begetting serious about figuring out a career andsaid she was going to fire her for her owngood, but Farber could stay until she foundanother job.

She was making a radio buy at KIIS-AM andtold the salesman that she probably wouldn’tbe there when the buy was over. He askedwhy; she explained the situation and he said“why don’t you sell radio time?” She wasskeptical but he gave her his sales manager’sname and number and she set up a meeting,“I went to see him and he patted me on thehead, literally, and said, ‘Little one, why wouldwe hire you? We already have one girl andshe’s black so we get two points for her.’”

Farber took a media kit and drove a fewblocks from the station, parked and startedwalking into stores. The third one she wentinto was a shoe store. She asked the owner ifhe ever advertised on radio and he said no, heused the newspaper. She got out the kit, talkedto him about radio, took his newspaper ad andwrote a radio ad with him, told him she’d voiceit and got him to write a check—never sayingthat she didn’t work for the station.

Then she went back to KIIS “and said tothe sales manager: ‘How hard is this?’ And helooked at me and said, ‘You’re hired.’ Theythrew me a Yellow Pages and said ‘good luck.’It took me a couple of days to find the ladiesroom and then all of a sudden it dawned onme what was happening on the radio andthat’s when I realized how important theproduct was. Our program director wasChuck Blore, certainly a legend.”

So Farber asked if she could shadow him

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at the end of the day to learn about radio“because the more I understand what goes onthe air, the better I can sell it and understandhow people react to radio.” He said yes, soafter she finished her sales day at 5, she’d“hang out in programming all night long …and I got the bug. It was exciting.”

About a year-and-a-half later she got a callfrom KABC-TV, and, while skeptical about TV, shegot the job. “What I found out on the second orthird day was that in order to make room for me,every salesperson had to give up some of theiraccounts to me. I also got sent home my firstweek for wearing a pant suit—women weren’tallowed to wear pants.” After she pointed outthat a woman bending over in the then-stylishvery short skirts looked much less professionalthan one in pants, a memo came down fromABC chief Elton Rule approving pant suits.

“I really missed radio because in radio youwere involved with programming and sales andpromotion,” she says, so she left TV after land-ing a job at RKO’s KRTH-FM. Shortly after gettingthere she told her GM that she really wanted tobecome a sales manager and asked his adviceon how to do that. He set up a lunch for herwith RKO’s executive vice president of radiowhere the three talked about her ambition.

Several months later, in January 1975, shewas named general sales manager of WROR-FMBoston and was promoted to general managerin June of that year, becoming notable at thetime as the first woman general manager of amajor market station. Her rapid success thenled to an appointment as vice president/gener-al manager of WXLO-FM New York in 1976. “Itwas a blast. In a short time we were the most-listened-to FM station in America.”

In January of 1980, she joined radio rep

McGavren Guild as director of promotionalselling and was soon named director of businessdevelopment and promotion. In 1983 she wasappointed VP-general manager of the RadioMarketing Division for McGavren Guild’s parentcompany, Interep, one of the radio industry’sleading rep firms. Two years later, Farber wasnamed VP-GM of McGavren Guild’s InterepMarketing Systems and in 1986 was namedexecutive vice president/radio developmentdirector of Interep. She also acted as Interep’sindustry association specialist, ensuring theactive involvement of the company at variousbroadcast conferences.

In 1992, after 12 years, she needed to moveback to the West Coast to help her mother soshe left the Interep companies to join thetrade magazine Radio & Records as executivevice president of sales and marketing. In Aprilof 1994 she was promoted to chief operatingofficer, and assumed full publishing responsi-bilities in January of 1995. In January of 1996,her title was formally changed to publisher andchief executive officer. After 12years of partnership with a pri-vate equity firm, Farber directedthe due diligence process duringthe company’s sale to the NielsenCo. in August 2006. Workingthrough the transition of the sale,Farber formally stepped down atthe end of 2008.

“It was a phenomenal companyto be involved with in an industrythat I love,” she says. “I was in aposition, having been on so manysides within the industry, to giveback to a business that had reallygiven me an amazing career.”

She feels strongly about giving back.Throughout her career Farber has been in-volved, in her words, “in just about every com-mittee, conference, nonprofit that has anythingto do with the industry.” (Among them is theLibrary of American Broadcasting Foundation,for which she is an active director.)

After taking some time off and runningher own consulting firm, in 2011 she was ap-proached by Jeff Haley, the then-president ofthe Radio Advertising Bureau, to become thetrade association’s executive vice president.She came on board this January, and then inMarch, Haley told her that he was leaving andurged her to tell the RAB executive committeewhy she should be his replacement.

So on April 16, she was named RAB presi-dent-CEO. “I’m honored, I’m proud to be in thisposition. It’s a great vantage point and a veryinteresting time in the whole media landscape—and certainly radio. It’s never a dull moment.”

Just like Erica Farber’s career.

Erica Farber discusses talk-radio sales with Sound Mind president Kraig T. Kitchin at the 2012 Radio Show.

NormanLearThe Thinking Man’s

Writer WhoChanged TV’s Game

NormanLear

Television is a medium often criticized forpandering to the lowest commondenominator, offering bland entertain-ment that avoids rocking the boat at allcosts. Norman Lear flies in the face of

that kind of thinking. Beginning in the 1970s,he put before the American viewing public allmanner of hot-button issues, presented byvary different types of characters never beforeseen on the small screen: a big-mouthed,white bigot; an equally big-mouthed womanof the liberal persuasion; and a self-made, self-important black entrepreneur.

Lear’s genius is that while his All in theFamily, Maude and The Jeffersons dealt withblack-white relations, abortion, inter-racialmarriage and other tough topics, the charac-ters, scripts and presentation were so com-pelling that the shows were far bigger hitsthan most of the pablum-pushing fare thatfilled the rest of the broadcast schedules.

Norman Milton Lear was born July 27,1922, in New Haven, Conn. After high schoolin Hartford, Conn., he received a full schol-arship to Emerson College in Boston afterwinning first prize in the American LegionOratorical Contest. He dropped out in 1942to join the United States Army Air Forces. Heserved in the Mediterranean Theater duringWorld War II as a radio operator/gunner onB-17 Flying Fortress bombers, flying 52combat missions, for which he was awardedthe Air Medal with four Oak Leaf Clusters.

After his discharge from the Army in 1945,Lear moved to New York where he had a briefcareer in public relations. The PR choicedidn’t pan out and he looked West, moving toLos Angeles where he joined forces with hiscousin Ed Simmons to try comedy writing.

The pair’s television writing debut was with

the variety comedy show Ford Star Revue star-ring Jack Haley in 1951. After only four shows,they were hired away to write for the ColgateComedy Hour that starred Dean Martin andJerry Lewis, for which they continued to writeuntil 1953. Lear then began writing on his ownfor comedy shows including The Martha RayeShow, The George Gobel Show and The Ten-nessee Ernie Ford Show. That same year Learalso made his screenwriting debut with theDean Martin and Jerry Lewis film Scared Stiff.

In 1955, Lear made his producing debutwith the short-lived Martha Raye Show (NBC,1955-1956). He also wrote episodes and hadhis first taste of television directing with theshow. The series marked his last partnershipwith Simmons. Without Simmons, Lear wroteepisodes for the Emmy-nominated TennesseeErnie Ford Show during 1957 and 1958 andThe George Gobel Show in 1958.

In 1958, Lear teamed with director BudYorkin to form Tandem Productions. Togetherthey produced several feature films, with Leartaking on roles as executive producer, writerand director. He emerged as a televisionseries creator when he co-created (withRoland Kibbee) a half-hour western series forNBC titled The Deputy, which starred HenryFonda and Allen Case. The show ran fromSeptember 1959 to July 1961.

In 1967 he was nominated for an AcademyAward for his script for Divorce AmericanStyle. In 1970, CBS signed with Tandem toproduce All in the Family, which first aired onJan. 12, 1971, and ran for nine seasons. Thegroundbreaking sitcom earned four EmmyAwards for Best Comedy series as well as aPeabody Award in 1977.

After All in the Family, Lear teamed up withBud Yorkin to create and executive produce

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the comedy series Sanford and Son, which likeAll in the Family was based on a British sitcom.During its run on NBC from January 1972 toMarch 1977, the show, which starred Redd Foxxand Demond Wilson, garnered seven Emmynominations and a Golden Globe Award forBest TV Actor-Musical/Comedy (Foxx in 1973).

In 1972, Lear created the sitcom Maude, aspin-off of All in the Family that starred BeaArthur as Edith’s cousin Maude Findlay. Theshow ran on CBS from September 1972 to April1978. Lear also served as an executive produceron the Maude spin-off Good Times, which ranon CBS from February 1974 to August 1979.

Lear parted ways with Yorkin in the mid-1970s and founded TAT Communications withtalent agent Jerry Perenchio. Under TAT Com-munications, he developed the sitcom The Jef-fersons, the second spin-off show from All inthe Family, which starred Isabel Sanford andSherman Hemsley. The show ran on CBS fromJanuary 1975 to June 1985.

Following a string of successes, Lear suffereda disappointment with the sitcom Hot L Balti-more, which was based on a hit off-Broadwayplay. Executive produced by Lear, the ABC showaired from January to April 1975. He quicklybounced back with the CBS popular sitcomOne Day at a Time, which starred Bonnie Frank-lin, Mackenzie Phillips, Valerie Bertinelli and PatHarrington. Executive produced by Lear, theshow ran from December 1975 to May 1984.

In 1976 Lear executive-produced thesyndicated Mary Hartman, Mary Hartman andreceived an Emmy nomination for SpecialClassification of Outstanding Program andIndividual Achievement for his work on theshow. The rest of the 1970s saw Lear producinga number of network shows and films.

Concerned about the growing influence ofradical religious evangelists, Lear in 1980 formedPeople for the American Way, a nonprofitorganization designed to speak out for Bill ofRights guarantees and to monitor violations ofconstitutional freedoms. It was a reaction to theRev. Jerry Falwell’s Moral Majority.

In 1982 Lear was reunited with longtime part-ner Bud Yorkin to executive produce the ABCvariety special I Love Liberty, which he also co-wrote. The special, with a cast of stars and anaudience filling the Los Angeles Sports Arena,brought Lear a 1982 Emmy nomination for Out-standing Writing in a Variety or Music Programand a WGA award. The same year, he joined for-ces with Jerry Perenchio to buy Embassy Filmsfor $25 million. He then changed TAT Communi-cations to Embassy Television. Embassy Filmswas renamed Embassy Films Associates in 1984, ayear before Lear sold the company to the CocaCole Co. for $485 million.

Lear then created and is currently chairmanof Act III Communications, a multimediaholding company with interests in therecording, motion picture, broadcast-ing, publishing and licensing indus-tries, including Concord Music Groupand Village Roadshow Pictures Group.The company’s unusual name, Learsaid, came about because “the sale toCoca-Cola represents the second-actcurtain in my life.”

In addition to People for the Amer-ican Way, Lear has founded other non-profit organizations, including theNorman Lear Center at the USC Ann-enberg School for Communication(2000-present), a multidisciplinaryresearch and public policy center

dedicated to exploring the convergence ofentertainment, commerce and society; theBusiness Enterprise Trust (1989-2000) to spotlightexemplary social innovations in Americanbusiness; and with his wife, Lyn, co-founded theEnvironmental Media Association (1989-present),to mobilize the entertainment industry tobecome more environmentally responsible.

In 1999, President Clinton bestowed theNational Medal of Arts on Mr. Lear, noting that“Norman Lear has held up a mirror to Ameri-can society and changed the way we look at it.”He has the distinction of being among the firstseven television pioneers inducted into theTelevision Academy Hall of Fame (1984). Inaddition to his awards for All in the Family, hehas been honored by the International Plat-form Association (1977), the Writers Guild ofAmerica (1977) and many other professionaland civic organizations.

Norman Lear’s career—and, indeed, hiswhole life—is an amazing journey of creativityand passion.

Norman Lear, flanked by stars Jean Stapleton and Carroll O’Connor, makes script changes on the All in the Family set.

RobertMacNeil &Jim LehrerWhen Two HeadsProve BetterThan One

RobertMacNeil &Jim Lehrer

With the exception of Huntley &Brinkley, there’s probably noteam of television journalistsmore famous than RobertMacNeil & Jim Lehrer.

The duo’s extraordinary run on PBS con-tinues after the two have stepped back fromtheir on-camera work together in the form ofMacNeil/Lehrer Productions, their companythat continues to produce the nightly PBSnews hour as well as numerous award-winningnews and public affairs programs for PBS,commercial networks and cable distribution.

How did it all start? Watergate. Jim Lehrerfirst joined forces with Robert MacNeil in1973 to anchor public television’s unprece-dented, gavel-to-gavel coverage of the SenateWatergate hearings. The team earned an

Emmy Award and began one of the mostenduring and respected journalisticpartnerships in television history.

In 1975, The Robert MacNeil Report, a half-hour news program each weeknight that pro-vided in-depth coverage of a different singleissue, debuted locally on noncommercialWNET New York, with Jim Lehrer as Washing-ton correspondent. A few months later, thesuccessful program was re-titled The MacNeil/Lehrer Report and was distributed nationallyby PBS. For the next seven years, the programset a standard for TV journalism and garneredmore than 30 major awards for its co-anchors,including a Peabody Award, an Alfred I.DuPont-Columbia Award and a TelevisionCritics Circle Award.

In 1981, MacNeil and Lehrer foundedMacNeil/Lehrer Productions (MLP) to pro-duce the program that remains the corner-stone of their company.

In 1983, the Report expanded to becomethe nation’s first full hour of evening news,The MacNeil/Lehrer NewsHour, proving thereexisted both a need and a substantial audi-ence for serious, long-form journalism.Broadcasting simultaneously from New Yorkand Washington, The NewsHour expressedthe MacNeil/Lehrer signature style—low-key,evenhanded, inclusive of all perspectives—and included thousands of the world’s pivotalnewsmakers, as well as a growing roster oftop-flight correspondents and analysts. TheNewsHour received numerous Emmy andPeabody awards, along with virtually everyother significant award for quality televisionand outstanding journalism.

With Robert MacNeil’s departure in 1995,the broadcast was relaunched as The News-Hour With Jim Lehrer. Under Lehrer’s direc-

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tion, The NewsHour extended its reach in 1996by launching a website and, in 1997, by openinga West Coast studio at KQED San Francisco.

In 2009, The NewsHour with Jim Lehrer wasrelaunched as the PBS NewsHour, with the addi-tion of a second anchor and the merger of theon-air and online news operations. In Septem-ber 2010, the PBS NewsHour was awarded theChairman’s Award at the News and Documen-tary Emmys. The award is presented to an org-anization that has made a significant and dis-tinguished contribution to the craft of broadcastjournalism or documentary filmmaking.

On May 12, 2011, Lehrer announced hewould be stepping down as anchor of PBSNewsHour on June 6, 2011, but would continueto moderate the Friday news analysis seg-ments, and would remain involved with MLP.

Robert Breckenridge Ware MacNeil wasborn Jan. 19, 1931, in Montreal and raised in Hal-ifax, Nova Scotia. He attended Dalhousie Uni-versity in Halifax and graduated from CarletonUniversity in Ottawa in 1955. During his years atcollege, MacNeil was an actor for CBC Radio inHalifax, an announcer at CJCH Halifax, later atCFRA Ottawa, and CBO-CBOT Ottawa. He was anaspiring playwright before going into journalism.

MacNeil’s 40-year journalism career beganwith five years at Reuters News Agency inLondon. He moved to television in 1960 as anNBC News London-based correspondent,covering such major events as the fighting inthe Belgian Congo, the Civil War in Algeria, theconstruction of the Berlin Wall, and the CubanMissile Crisis. In 1963, he was transferred toNBC’s Washington bureau to report on theunfolding civil rights story and to help coverthe White House. MacNeil was the NBC News

correspondent covering President Kennedy onthe day he was assassinated in Dallas.

In 1965, MacNeil became the co-anchor ofthe first half-hour weekend news broadcast,the Scherer-MacNeil Report on NBC. He alsoanchored local newscasts and NBC Newsdocumentaries, includingWhose Right to BearArms. In 1967 he returned to London to coverAmerican and European politics as a reporterfor the British Broadcasting Corp.’s Panoramaprogram. MacNeil left the BBC in 1971 to be asenior correspondent for PBS.

He retired from PBS in October 1995,became an American citizen in 1997 anddevotes his time to writing numerous books aswell as television projects for MLP.

James Charles Lehrer was born May 19, 1934,in Wichita, Kan. He received an A.A. degree fromVictoria College and a B.J. in 1956 from the Uni-versity of Missouri before joining the MarineCorps. From 1959 to 1966, he was a reporter forthe Dallas Morning News and then the DallasTimes-Herald (his byline appears on the frontpage of that eveningpaper’s breaking newscoverage of John F.Kennedy’s assassina-tion.) He was also apolitical columnist atthe Times-Herald forseveral years and in1968 became the cityeditor.

Lehrer’s news-paper career led himto public television,first in Dallas, as KERA’sexecutive director of

public affairs, on-air host and editor of a nightlynews program. He subsequently moved toWashington to serve as the public affairscoordinator for PBS, and was also a member ofPBS’s Journalism Advisory Board and a fellow atthe Corporation for Public Broadcasting. Lehrerwent on to join the National Public Affairs Cen-ter for Television (NPACT) as a correspondent.

It was Lehrer’s work with NPACT that led tohis initial association with MacNeil and, ulti-mately, to their long-term partnership.

This August, the Commission on PresidentialDebates invited Lehrer to moderate his 12th na-tionally televised presidential debate on Oct. 3in Denver. Since 1988, he has moderated at leastone debate in every presidential election cycle.

Lehrer is the author of 20 novels, two mem-oirs, three plays and a non-fiction work aboutthe presidential debates titled Tension City.

It’s telling that both of these much-honored,longtime television journalists have writing astheir major outside interest, for that’s wheregood storytelling begins, no matter the medium.

Back in the day: Associate editor Jim Lehrer discusses the night’s scriptwith executive editor Robert MacNeil prior to a 1985 broadcast.

AndyRooney

Being HimselfAlways Seemedthe Best Way

AndyRooney

For someone whose public persona wasa curmudgeon, few people loved theirlife and work as much as Andy Rooney.

Rooney wrote for television since itsbirth, spending more than 60 years at

CBS, 30 of them behind the camera as a wri-ter and producer, first for entertainment andthen news programming, before becoming atelevision personality—a role in which he saidhe was never comfortable. He preferred to beknown as a writer and was the author of best-selling books and a national newspapercolumn, in addition to his 60 Minutes essays.

Andrew Aitken Rooney was born Jan. 14,1919, in Albany, N.Y. He graduated fromAlbany Academy High School and attendedColgate University until being drafted intothe U.S. Army in 1941, his junior year. Afterbrief service in an artillery unit in England, hebecame a correspondent for The Stars andStripes for three years. Rooney was one of sixcorrespondents to fly with the Army’s 8th AirForce on the second American bombing raidover Germany—a risky mission the enemyfully expected. He then covered the Alliedinvasion of Europe and, after the surrenderof Germany, filed reports from the Far East.He was awarded the Bronze Star for hisreporting under fire at the battle of Saint Lo.

Rooney wrote about his war experiencesin his first three books, the second of which,The Story of the Stars and Stripes, was boughtby Metro-Goldwyn-Mayer for movie rights.Despite going to Hollywood and writing afilm script, the film was never made, but thesizable sum he earned enabled him to writeas a freelancer for several years after the war.

He was hired by CBS in 1949 after a boldencounter in the elevator with Arthur God-frey. Rooney told the biggest radio star of the

day he could use some better writing. Hisnerve moved Godfrey to hire him for ArthurGodfrey’s Talent Scouts, which moved to tele-vision and became a top-10 hit that was No. 1in 1952. He also wrote for Godfrey’s otherprimetime program, Arthur Godfrey and HisFriends, and the star’s daily morning show. Hebecame Godfrey’s only writer in 1953, beforequitting the lucrative work in 1955 because hefelt he could be doing something more im-portant. But after a period of unemployment,with a wife and four children to support, hereturned to television writing on CBS’s TheMorning News with Will Rogers Jr. in 1957. Thebest thing that happened to Rooney on theshort-lived program was meeting and be-friending CBS News Correspondent HarryReasoner, with whom he collaborated later togreat success.

He also wrote for The Garry Moore Show(1959-65), helping it to achieve hit status as atop-20 program. Such regularly featuredtalents as Victor Borge, Bob and Ray and PerryComo spoke the words written by Rooneyduring this period. At the same time, hewrote for CBS News public affairs broadcasts,including The Twentieth Century, News ofAmerica and Adventure, and he freelancedarticles for the biggest magazines of the day.

Rooney had convinced CBS News he couldwrite for television on any subject when hewrote his first television essay in 1964, an ori-ginal genre he is credited with developing.Proving his point, he picked doors as the sub-ject and Reasoner as the voice for An Essay onDoors. The team—Rooney writing and produc-ing and Reasoner narrating—went on to createsuch critically acclaimed specials as An Essayon Bridges (1965), An Essay on Hotels (1966),An Essay onWomen (1967), An Essay on Chairs

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(1968) and The Strange Case of the English Lan-guage (1968). Rooney also wrote and producedmany news documentaries, including thecomprehensive television treatment of FrankSinatra, Frank Sinatra: LivingWith the Legend, in1965. He wrote two CBS News specials for theseriesOf Black America in 1968, one of which,“Black History: Lost, Stolen or Strayed,”won himhis first Emmy and the Robert F. KennedyJournalism Awards First Prize for Television.

Rooney also produced for Reasoner at 60Minutes during the broadcast’s first few seasonsand made his on-screen debut. He and thebroadcast’s senior producer, Palmer Williams,appeared in silhouette as “Ipso and Facto” in ashort-lived opinion segment called “Digres-sions.” Then, after Reasoner left for ABC in 1970,Rooney also left the network briefly. Havingtrouble getting his material on the air, he pur-chased his An Essay on War from CBS and tookit to public television to be broadcast on GreatAmerican Dream Machine. The 1971 programwas Rooney’s first appearance as himself ontelevision and won him his third Writers GuildAward. He wrote and produced more essays forthe program, appearing in those as well.

He returned to CBS in 1973 after a short stintwith Reasoner at ABC News and then wrote,produced and narrated a series of broadcasts forCBS News on various aspects of American lifebetween 1975 and 1989, includingMr. RooneyGoes toWashington, for which he won a Pea-body Award, Andy Rooney Takes Off,Mr. RooneyGoes toWork andMr. Rooney Goes to Dinner.He also appeared several times in 1977 and 1978on 60 Minutes.

Rooney then was given the job as summerreplacement for the Shana Alexander and JamesKilpatrick “Point/Counterpoint” 60 Minutes seg-

ment on July 2, 1978. In this first essay, “ThreeMinutes or So with Andy Rooney,” he attackedthe dark tradition of tallying the highway deathsduring the holiday weekend. In the fall, “A FewMinutes With Andy Rooney”became a regularsegment, alternating with Alexander and Kilpat-rick. The following season (1979-80), Rooney hadthe end of the broadcast to himself, holding forthin front of an audience approaching 40 million—the No. 1 television program in America.

Rooney delivered his 60 Minutes essays frombehind a desk that he, an expert woodworker,made himself. The topics ranged from the con-tents of that desk to whether God existed. Heoften weighed in on major news topics. In anearly 60 Minutes essay that won him the third ofhis four Emmy Awards, his compromise to thegrain embargo against the Soviet Union was tosell them cereal. “Are they going to take usseriously as an enemy if they think we eat Cap’nCrunch for breakfast?” deadpanned Rooney.

Mainly, his essays struck a chord in viewersby pointing out life’s unspoken truths or moreoften complainingabout its subtle lies,earning him the “cur-mudgeon” status hewore like a uniform. “Iobviously have a knackfor getting on paperwhat a lot of peoplehave thought and didn’trealize they thought,”Rooney told the Asso-ciated Press in 1998.

No group was off-limits for Rooney, espe-cially CBS managementand his own colleagues.

Rooney poked fun at the 60 Minutes correspon-dents on a regular basis in his essays, while hequestioned CBS management on issues, such aslayoffs and strikes, sometimes in his 60 Minutesessays, but more often in his syndicated news-paper column for Tribune Media Services or inmedia interviews. During a Writers Guild ofAmerica strike against CBS, Rooney, though notin the union, supported it by not writing any 60Minutes pieces until the strike was settled. Hepublicly blamed CBS’s troubles of the early 1990son Chairman Laurence Tisch’s cutbacks, daringTisch to fire him.

On Oct. 2, 2011, in his 1,097th essay for 60Minutes, he announced that he would nolonger appear regularly. Just over a monthlater, on Nov. 4, 2011, Andy Rooney died in ahospital in New York City of complicationsfollowing minor surgery. He was 92.

His was a most distinctive voice, and 60Minutes doesn’t seem quite the same withouthim sending us off at the broadcast’s end eachSunday night.

Andy Rooney in 1978, displaying one of his trademark Underwood No. 5 manual typewriters.

DinahShoreA Wonderful Rayof Sunshine

DinahShore

Her career would make a greatJeopardy! answer: “She was the firstfemale star to host a primetimetelevision variety show, became oneof the nation’s most popular TV

personalities, won nine Emmys, a Peabody, aGolden Globe, has three stars on the Holly-wood Walk of Fame and appears on a U.S.postage stamp.”Who was ... Dinah Shore?

Frances Rose Shore was born on Feb. 29,1916, in Winchester, Tenn. When she wastwo years old, she was stricken with polio, adisease that was not preventable at thetime, and for which treatment was limitedto bed rest. Her parents provided intensivecare for her and she recovered, but walkedwith a limp.

As a small child she loved to sing and wasencouraged by her mother, who harboredoperatic aspirations. Her father would oftentake her to his dry goods store where shewould perform impromptu songs for thecustomers. In 1924, the Shore family (whichincluded Dinah’s only sibling, older sisterBessie) moved to McMinnville, Tenn., whereher father had opened a department store.Although shy because of her limp, shebecame involved in sports and was acheerleader in high school.

When she was only 14, decked out in herolder sister’s dress, Shore talked her way into asinging job at a local nightclub by lying abouther age. Making her professional debut, shewas surprised to spot her parents in the audi-ence. The Shores allowed Frances to finish heract but then hurried her home, where she wasadmonished to concentrate on her studies andto forget about nightclubs for a while.

When Shore was 16, her mother diedunexpectedly of a heart attack. After highschool, Shore decided to pursue hereducation, enrolling in Vanderbilt Universityin Nashville, where she participated in manyevents and activities. She also landed her ownsinging show,Our Little Cheerleader of Song,at Nashville’s clear channel powerhouse,WSM-AM, home of the Grand Ole Opry.

After graduating from Vanderbilt in thespring of 1938, Shore moved to New York topursue a singing career and got a job as afeatured performer on Martin Block’s WNEW-AM radio show and joined another up-and-coming singer, Frank Sinatra. When Blockforgot her name after her audition, he calledher “that Dinah girl” because she had sung acurrent favorite, Dinah. The name stuck, andshe was known as Dinah Shore from thatpoint on. While in New York, she alsoappeared in some experimental televisionbroadcasts at NBC.

In January of 1939 she joined the LeoReisman Orchestra for a two-weekengagement. While singing with Reisman,she was spotted by orchestra leader XavierCugat, who asked her to provide the vocalsfor a series of records he was scheduled tomake. Those recordings won Shore an evenwider audience and caught the attention ofBen Bernie, who asked her to appear withhis orchestra on CBS Radio. Shore’sappearances with some of the leadingorchestras of the period and her radio workestablished her as one of the promising newsingers of the early 1940s.

Eddie Cantor, impressed by Shore, signedher to appear on his Time to Smile radio

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show in 1940. In 1943, she made her film debutin Thank Your Lucky Stars, starring Cantor.Later that year she was asked to host her ownradio show, Call to Music, and later starred onPaul Whiteman Presents. During World War IIshe entertained the troops and appearedfrequently on the Armed Forces RadioNetwork. During this same period two of herrecordings hit No. 1 on the pop charts: I’ll WalkAlone and Blues in the Night.

In 1949 Shore made her network televisiondebut on the Ed Wynn Show and shortlythereafter appeared on Bob Hope’s first TVshow. By the fall of 1951 she had been signedto do her own show on NBC. The 15-minuteshow, two of which aired each week, weresponsored by Chevrolet and were animmediate hit, winning her an Emmy in 1955.The following year she did two hour-longspecials for Chevrolet.

The success of Shore’s specials won her aregular Sunday-night variety show entitled theDinah Shore Chevy Show, which ran until 1961under Chevrolet’s sponsorship (she evenappeared in some of the show’s commercials,singing See the U.S.A. in Your Chevrolet!) andfor another two years as the Dinah Shore Showwith another sponsor. Over 12 seasons, from1951 to 1963, Shore made 125 hour-longprograms and 444 15-minute shows.

Throughout the latter half of the 1960s, shecontinued to play concert dates and appearedin a number of television specials. Shorereturned to regularly scheduled television in1970 with Dinah’s Place, a 30-minute NBCdaytime show that offered a mixture of talk

and music. When NBC failed to renew theshow in 1974, Shore jumped to CBS with a 90-minute daily show entitled Dinah! that ranuntil 1980. Shore’s lifelong love of sports andher participation in a number of charitysporting events made her a natural candidateto host her own sporting event. In the early1970s Colgate invited her to host a women’sgolf tournament, an idea that Shoreimmediately embraced, launching the annualColgate (sponsorship later switched toNabisco) Dinah Shore Tournament in 1972.

During the 1970s Shore was romanticallylinked with actor Burt Reynolds, nearly twodecades her junior. Although the relationshipseemed a strange one to many of her fans, itdid nothing to dim her popularity. She hostedanother successful daytime television talkshow, Dinah and Friends, from 1979 to 1984.

In 1989 Shore brought her talk show formatto cable, where A Conversation with Dinah ranon The Nashville Network (TNN). It featured allthe ingredients—talk,music, and cookingtips—that had made herprevious shows sosuccessful. The showlasted for a couple ofyears, after which Shorelargely retired frompublic life, serving onlyas hostess for herannual golf tournament.

On Feb. 24, 1994, shelost a brief battle withovarian cancer. The

news came as a shock to the public and evensome of her friends, who knew nothing of herillness.

Her legacy was aptly described by DouglasGomery, resident scholar at the Library ofAmerican Broadcasting: “Shore represented arare woman able to achieve major successhosting a TV variety show. In the late 1950s herenthusiasm and lack of pretension proved sopopular that she was four times named to thelist of the ‘most admired woman in the world.’Shore made listeners and, later, viewers feelgood, and so beginning with her firstbroadcasts on radio in the late 1930s and thenon television, she was able to remain aconstant presence in American broadcastingfor more than 50 years.”

Those who enjoyed Dinah Shore’s longcareer as a singer, actress and televisionpersonality are likely to remember her as FrankSinatra once described her: “A wonderful rayof sunshine.”

In the 1977 movie Oh, God!, Dinah Shore plays herself interviewing guest Jerry Landers(John Denver), who claims to have spoken with God, on Dinah!; Carl Reiner (who

directed the film) plays himself in the scene as another guest on her show.

Sir HowardStringerThe Wedding ofBusiness with aCreative Core

Sir HowardStringer

It’s safe to say that Howard Stringer is theworld’s only CEO who has both fought inVietnam for the United States Army andkneeled before Queen Elizabeth II atBuckingham Palace to be knighted—he’s

been Sir Howard since July 2000.

Howard Stringer was born in Cardiff,Wales, on Feb. 19, 1942, the son of a schoolteacher and a sergeant in the Royal Air Force.

He earned B.A. and M.A. degrees inmodern history from Oxford University in1964. After graduating, he drove a truck toearn enough money to pay for his passage ona ship to New York. He set sail with $100 in hispocket, hoping to land a job in television.

“It was a sluggish time for the Britisheconomy,” he later explained. “There was noexcitement in either the political or businesslandscape. In America, it was just after Presi-dent Kennedy had been killed, and PresidentJohnson was leading the Great Society. It was avery dynamic society with opportunities to dothings you weren’t expected to do…. To me,going to the U.S. was a personal adventure.”

He sent out about 20 job applications. Theonly company that responded was CBS. Strin-ger, who had seen Edward R. Murrow andGeorge Burns on British television, knew CBSwas the broadcast industry leader. The net-work hired the well-educated newcomer as aclerk to log commercial times at flagshipWCBS-TV New York.

A few months later, to his astonishment,Stringer was drafted into the U.S. Army. “Ihave three choices,” he told a friend. “I can goto Canada, as many are doing. I can go backto the U.K., or I can stay here and get drafted.”He opted for the risky path, entering theArmy, which shipped him to Vietnam.

He returned to CBS with a stronger senseof purpose. “Vietnam had taken away some ofmy youth and naiveté,” Stringer said. “When Icame out of Vietnam, I thought I had some-thing to say. And journalism was the best wayto say it.” He began at all-news WCBS-AM NewYork, soon moved to television news, andfound a home at CBS Reports, the network’sprestigious documentary unit, where hespent more than a decade.

Stringer wrote and produced programs oncivil strife in Ireland, the Palestinians, the FBIand the Rockefeller family. As head of CBSReports from 1976 to 1981, he oversaw notableand hard-hitting projects, including the five-hour The Defense of the United States, a criti-cal look at the military-industrial complex. “It isprobably the most important show I ever did,”he said. He won nine Emmy Awards for writ-ing, producing and directing documentaries.

However, Stringer’s management skillswere tested at CBS News from 1986 to 1988when he served as president of the division.This was a time when all of the broadcastnetworks were losing audience and advertisersto cable competitors. A new owner and CEOof CBS, Laurence Tisch, who had installedStringer as the news president, soon demand-ed that he reduce costs. Stringer complied,cutting the news budget by $36 million, orabout 10 percent, and laying off 215 people,including longtime colleagues. He was tornbetween the economic realities of thebusiness—watching expenses was prudent,and news operations had become bloated—and his loyalty to the fraternity of journalistswho worried about the quality of news. In theend, he made no one happy. “It was theloneliest moment of my life,” he told People.

Happier times followed. Stringer was

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named president of CBS in 1988, a job thatgave him oversight of all news, sports andentertainment broadcasting, plus the 22 radioand television stations then owned by CBS.The network was in trouble, occupying lastplace in the ratings and recoiling from its worstprimetime season ever. Stringer developed astrategy, assembled a group of well-regardedexecutives to work with him, and made anumber of strategic moves—and one cele-brated hire—to get the network back on track.

In his biggest broadcasting coup, hepersuaded popular latenight host DavidLetterman to leave NBC, the only network forwhich he’d worked, to launch CBS’s first-eversuccessful latenight franchise.

By the mid-1990s, though, the broadcastingbusiness was struggling, Larry Tisch wasshopping CBS around, and Stringer wanted anew challenge. Michael Ovitz, the Hollywoodsuper-agent who represented Letterman andhad come to admire Stringer, approached theCBS executive with a deal that, Stringer wouldlater joke, made him chief executive of aphone booth. He signed on as CEO of astartup called Tele-TV, a joint venture of PacificTelesis, Bell Atlantic and Nynex that wascreated to lead the phone companies into theworld of interactive television.

The Tele-TV job was fraught with difficulties:technologies that were ahead of their time, bud-gets that didn’t quite materialize, bureaucratsfrom the telephone companies who didn’t seeeye-to-eye. The experience, however, openedthe door to another opportunity for him.

He took another risk in 1997, accepting asmall job with a big title—president of SonyCorp. of America—but little in the way of realpower. Most of Sony’s U.S. businesses reported

not to him, but to Tokyo. His salary was lessthan he earned at Tele-TV or CBS. “If a job isworth doing, that is more important than thesalary,” he later explained.

Eventually, Stringer was given authority overSony’s U.S. operations—first the music andmovie studios, then electronics. After that, hegot down to the grueling task of getting Sony’screative, technical and business people in theU.S. and Japan—who, literally and figuratively,spoke different languages—to work together.

But in the mid-2000s, the parent company inJapan was trailing its competitors in the fight fordigital supremacy.

The company turned to Stringer, naming himits chairman and CEO in 2005, the first non-Japanese to head the iconic company. He im-mediately set out to inject some fighting spiritinto an operation that had been a little too nice,in keeping with the jobs-for-life culture of Japan.

Early in 2008, Stringer enjoyed Sony’s mosthigh-profile and significant winin years when the company’sBlu-ray technology triumphedin the format war with Toshibaover high-definition opticaldisks. Sony had little time tosavor its triumph, however.Like virtually every globalbusiness, the company wasrocked by the financial crisisthat swept across the world inthe fall of 2008. The companyreported a $1 billion loss inthat fiscal year.

As the economy continuedto deteriorate through the falland winter, decisive action wasneeded. In February 2009,

Stringer announced a new leadership team andfundamentally reorganized the company’selectronics and video games business.

At the Consumer Electronics Show in January2010, Stringer reinforced Sony’s determination tobe a global leader in 3D and its position as theonly company fully immersed in every link ofthe 3D value chain.

On Feb. 1, 2012, Sony Corp. announced thatKazuo Hirai, executive deputy president, wouldsucceed Stringer as president and chief exec-utive officer of the company on April 1. Stringerbecame chairman of the board of directors inJune. As the global economy begins to showsigns of recovery, Stringer exhorted his col-leagues at Sony to work more closely with oneanother, to focus on innovation and the con-sumer, to compete harder. “We are all part ofthe new Sony,” he said. “The new Sony that cancome out of this recession stronger than any-one else and win the battles ahead.”

Howard Stringer and Laurence Tisch announce the move of David Letterman to CBS’ late-might lineup.

TedTurnerThe Fearless FuryWho BrokeAll the Barriers

TedTurner

Few would have thought in the 1970sand ’80s that the flamboyant, opinion-ated, brash media upstart Ted Turnerwould become one of the world’smost important philanthropists. But

that’s how the life and career of the “Mouthof the South” has played out over the inter-vening years—from winning sailing’s Ameri-ca’s Cup in 1977 to donating $1 billion to theUnited Nations in 1998.

Robert Edward Turner III was born Nov.19, 1938, in Cincinnati, Ohio, to Florence andRobert Edward Turner II, who made his for-tune in the billboard business. Ted’s fatherserved in the Navy during World War II andafterwards the family moved to Savannah,Ga., and Ted was enrolled in the GeorgiaMilitary Academy, then attended McCallie, aboarding school in Chattanooga, Tenn. AfterMcCallie, Turner wanted to go to the U.S.Naval Academy, but his father wanted him toattend Harvard. He didn’t get in and, instead,went to Brown in 1956, eventually majoring ineconomics. Before graduation in 1959, Turnerwas expelled for being caught with a femalestudent in his dormitory room. (The univer-sity eventually forgave him, presenting himwith an honorary B.A. in 1989.)

After that, he joined his father’s companyas general manager of the Macon, Ga., branchof Turner Advertising. Turner did well, morethan doubling the office’s revenue in his firstyear. When his father bought out a competitorin 1962, the costly buyout and subsequentdebt placed the company in a tenuousfinancial condition. Fearing bankruptcy andstruggling to cope with bipolar disorder, hisfather committed suicide in March 1963.

Turner dealt with his grief by throwing

himself into his work. He took over the rolesof president and chief executive officer atTurner Advertising, which he renamed TurnerCommunications in the late 1960s as thecompany bought several radio stations.

In 1969, he sold his several radio stations tobuy a struggling UHF television station inAtlanta, WTCG, then purchased another UHF inCharlotte, N.C., WRET. Independent UHF sta-tions were not ratings winners or that profit-able even in larger markets, but Turner hadthe foresight that this would change as peoplewanted more viewing choices. Initially, thestations ran old movies from the 1930s, 1940sand 1950s, along with theatrical cartoons andvery old sitcoms and old drama shows. Asbetter syndicated product was dropped byVHF stations, Turner would pick it up for hisstation at low prices. In addition, in 1973, henegotiated a deal for the rights to carry theAtlanta Braves baseball games on WTCG.

In 1976, Turner made a risky and dramaticmove to reach an even larger audiencethrough the use of satellite technology. Hewould beam the WTCG signal (promoting it as“WTCG-TV Super-Station”) to cable televisionsystems across the country that were lookingfor more programming to attract subscribers.

That same year, Turner bought the AtlantaBraves and the NBA Atlanta Hawks, partiallyto provide programming for WTCG. His com-pany, now rebranded as Turner BroadcastingCo., was able to increase its ad rates as cableadded more and more viewers.

In 1978, Turner struck a deal with astudent-operated radio station at MIT toobtain the rights to the WTBS call sign for$50,000 and also changed the corporate name

F

to Turner Broadcasting System. WTBS’ carriageof the Braves games made the team intohousehold name in a few short years.

In 1979, Turner sold WRET for $20 million,giving him the seed money for his nextproject: a national cable news channel. OnJune 1, 1980, he flipped the switch in Atlanta,launching the Cable News Network, a 24-hournews service picked up by 172 cable systems.Six years later, CNN was in the black.

Next, Turner turned his acquisitive intereststo CBS. In 1981 he met twice with the networkexecutives to discuss “some marriage orrelationship” between TBS and CBS. Then, in1985, Turner made a $5.2 billion offer to buyCBS. CBS managed to hold off the takeoverattempt with a $1 billion share repurchase.

Turner quickly turned his attention toanother billion-dollar company—MGM/UA.This time he sealed the deal. Although the $1.4billion purchase in 1986 almost broke himfinancially, the studio of Gone with the Windgave Turner films, TV series and cartoons tofeed the needs of WTBS and other program-ming ambitions. Thus, the creation of TurnerNetwork Television (TNT) in 1988.

In 1991, Turner bought Hanna-Barbera andits library of 3,000 animated half-hours for $320million and the next year launched the CartoonNetwork.

The media company Turner created had nowitself become an attractive target and in 1996Time Warner absorbed TBS’s extensive domes-tic and international assets in a $7.5 billionmerger. Turner was the biggest winner, cashingin the company he built virtually from scratchfor a $2.5 billion, 11.3% stake in the world’slargest media and entertainment company.

After the merger, Turner stayed on and ranthe company’s cable networks, includingHome Box Office. In 2001, Time Warnermerged with America Online.

After this, Turner turned his attentions to newbusiness ventures—including Ted’s MontanaGrill, a restaurant chain specializing in bisonmeat—and his growing philanthropic activities.

In 1989, Turner created the Turner TomorrowFellowship for fiction offering positive solutionsto global problems. In 1990, he founded theTurner Foundation, which focuses on philan-thropic grants in environment and population.In 1991, Turner became the first media figure tobe named Timemagazine’s Man of the Year.

After the American-led boycott of the 1980Summer Olympics, Turner founded theGoodwill Games as a statement for peacethrough sports.

In 1998, Turner pledged to donate$1 billion of his then $3 billion to UnitedNations causes, and created the UnitedNations Foundation to administer the gift.The foundation “builds and implementspublic-private partnerships to address theworld’s most pressing problems, andbroadens support for the UN throughadvocacy and public outreach.”

His current philanthropic interests alsoinclude:

• The Nuclear Threat Initiative—“A non-profit, nonpartisan organization with amission to strengthen global security byreducing the risk of use and preventingthe spread of nuclear, biological, andchemical weapons and to work to buildthe trust, transparency and security thatare preconditions to the ultimate fulfill-

ment of the Non-Proliferation Treaty’sgoals and ambitions.”

• The Captain Planet Foundation—“Themission of the Captain Planet Foundationis to give the next generation of environ-mental stewards an active understandingand love for the natural world in whichthey live.”

• The Turner Endangered Species Fund—“This private, nonprofit charity is dedica-ted to conserving biodiversity by ensur-ing the persistence of imperiled speciesand their habitats.”

The onetime “Captain Outrageous”nowdedicates his time and resources “to making theworld a better, safer place for future generations.”

The many faces of Ted Turner: At a Braves game, 1976; announcing the launch of CNN, 1980; At the wheel of his yachtCourageous, 1977;

Few people in radio or television havetheir names inextricably linked to anevent or entire musical genre. Dick Clark

managed over the course of a 50-plus-yearcareer to hitch his star to two: rock ‘n’ rolland New Year’s Eve. The creator and host ofAmerican Bandstand, New Year’s Rockin’ Evealso produced variety programs, made-for-TVmovies and game shows, most successfullyThe $25,000 Pyramid and TV’s Bloopers &Practical Jokes. Among the many awardsprograms to spring from his Dick ClarkProductions was the American MusicAwards, which Clark created as a rival to theGrammy Awards. “America’s Oldest Teenager”died on April 18 at age 82.

Fhe unquestioned “poet laureate” ofradio’s golden age, Norman Corwin wasamong the first writers and producers to

regularly use entertainment to highlightserious social issues. His programs rangedthrough the genres of drama and comedy,including love stories, satire, biography,fantasy, mystery, Bible stories, travelogues,history, media analyses and philosophy andmore. All of them, along with his programson current events and the stories ofAmerica’s history, are superb examples of theall-but-forgotten art of radio. His radio careerranged from the 1930s until close to his deathon Oct. 18, 2011, at 101.

F T

Giantsin Passage

C o r w i nC l a r k

Once Hal Jackson got in front of a micro-phone at Washington, D.C.’s HowardUniversity in the 1930s, he wasn’t going

to stop—and he didn’t for more than 70 years,amassing an amazing career with an impres-sive list of “firsts.” He broke color barriers atradio stations in Washington and New York.He turned his hand to ownership with InnerCity Broadcasting, which eventually ownedstations in New York, Los Angeles, Philadel-phia, Detroit and San Francisco. But, ever theDJ at heart, Jackson missed playing music onthe air. So in 1984, at age 69, when a slot onSunday mornings opened up on WBLS-FM,Jackson moved from California back to NewYork to host Sunday Morning Classics, whichhe did until a few weeks before his death onMay 23 at 96.

Ft’s the stuff of a Country & Western song:Nashville girl all set to become a teacherdiscovers the business side of the music

business and through grit and determinationbecomes, in the words of Fortunemagazine,“one of the true powerhouses of the pop musicbusiness.” From her start as a receptionist atNashville powerhouse WSM-AM, she rose tobecome the president of Broadcast Music Inc.,one of the world’s largest music licensing firms.Preston led the efforts to build BMI’s repertoireinto the world’s most popular and to consistent-ly increase royalty payments. She remainedpolitically vigilant when it came to the rightsand incomes of songwriters, composers andpublishers, and vigorously supported the fightfor legislation to assure fair compensation tosongwriters and performers in the digital age.She died on April 7 at 93.

Describe an interview as a “Mike Wallace-type interview” and everyone knows whatyou mean—tough, unrelenting, no holds

barred. The 60 Minutes icon got his start in 1939with an announcing job at WOOD-AM GrandRapids, Mich., that led to jobs in Detroit andChicago, where he combined news writing andannouncing (as did co-worker Douglas Ed-wards) with announcing for programs includingThe Lone Ranger and The Green Hornet, doingcommercials, quiz shows and talk shows. Afterhis son died in 1962 Wallace decided he wantedback into news, and landed a job at CBS Radiodoing interviews. When Don Hewitt wasworking on a new show for CBS TV called 60Minutes, he hired Wallace, figuring his inter-view skills would be useful. The rest, as theysay, is history. Wallace died on April 7 at 93.

O I DP r e s t o nJ a c k s o n W a l l a c e

The Don Cornelius Foundation,Inc., is a non-profitformed by the family ofDonald C. Cornelius,Creator of “Soul Train,”who ended his life by suicideon February 1, 2012.

Renaissance man DonCornelius’ entrepreneurial spiritand vast contributionsto television, music, the arts andpopular culture are unparalleled.

In keeping with the traditionof entrepreneurship as it relates

to television, music and the arts, The Don Cornelius Foundation is alsocommitted to establishing programs to support those in transition and in needof healing.

The Foundation’s dedicated mission is to establish programs for awareness,prevention, and support for those contemplating suicide, or survivors who havelost loved ones.

The Don Cornelius Foundation, Inc., will launch its inaugural “People AllOver The World” campaign in early 2013.

Please visit our website at www.thedoncorneliusfoundation.comLike us on facebook.com/TheDonCorneliusFoundation

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would like to offerour sincere thanks to

for their kind assistance in making this year’sGiants of Broadcastingan event to remember

by being here for those who could not

DICK ARLETTANTHONY CORNELIUS

AND

LESLEY STAHL

Congratulations to Erica Farber for Blazing Trails

in the Radio Industry!

The MIWs Salute Erica Farber on being named among the

Library of American Broadcasting’sGiants of Broadcasting 2012 Honorees

The Mentoring and Inspiring Women in Radio Group (MIW) is dedi-cated to using its influence and resources to support and advocate

the advancement of women to senior positions in the radio industry.

LG Electronics USASalutes the 2012

Giants of BroadcastingHonorees