Jackson, George 1960(?)–

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George Jackson 1960(?)–

Record company executive, film producer

After rising through the ranks in Hollywood film studios to become a successful producer, George Jackson has parlayed his media experience into a prominent position in the music industry. Hired as the president and CEO of Motown Records in late 1997, Jackson accepted the challenge of rebuilding the once preeminent pop music label. A Harlem native with a B. A. in Sociology from Harvard, he was chosen for talents that combine creative passion and business acumen. As a film producer, Jackson has made popular films with urban themes, including New Jack City and House Party 2. His films are notable for their soundtracks and for making nearly double the average gross income for films in their budget range.

The man who is known to his friends and associates as “Poppa George,” came to Hollywood in 1982 to work for Paramount Television’s sitcom The New Odd Couple. The next year, he moved to Universal Pictures to become executive assistant to Thom Mount, the president of Worldwide Production. Jackson’s steady climb upwards continued when he spent the next two years as executive vice president of production at Indigo, Richard Pryor’s production company at Columbia Pictures. Next, he headed Grio Entertainment Group, a Warner Bros.-based partnership with Quincy Jones and Clarence Avant.

Formed Film Team in Hollywood

In 1985 Jackson set up shop to make his own films when he co-founded Jackson-McHenry Entertainment Company with Doug McHenry. The team produced and sometimes directed youth-and music-oriented films that were more notable for their box office returns than for their artistic impact. Their first film was the 1985 rap-oriented Krush Groove. In varying degrees, music would be important in all Jackson-McHenry films, which have generated soundtracks that gained gold and multi-platinum status. Comedies House Party 2 and House Party 3 were an opportunity for the pair to mix Animal House-style humor with more serious commentary about the experiences of black college students. The first of the two films, which both feature the comedy duo Kid ‘N Play, was also Jackson’s and McHenry’s directorial debut. This endeavor was typical of the hands-on approach favored by the team, who are known for being involved in all aspects of a film’s production, including scriptwriting,

At a Glance…

Born in 1960?, in Harlem, NY; married Yuko Sum ida, 1998. Education: Harvard University, B.A. in sociology.

Career: Production assistant, Paramount Television show, The New Odd Couple, 1982-83; executive assistant to president of Worldwide Production, Universal Pictures, 1983-84; executive vice president of production, Indigo, Columbia Pictures, 1984-86; head of Grio Entertainment Group, Warner Bros.; co-founder Jackson-McHenry Entertainment, 1985, Elephant Walk Entertainment, 1996; co-produced Krush Groove, 1985, House Party 2, 1991, New Jack City, 1991 House Party 3, 1994, Jason’s Lyric, 1994, A Thin Line Between Love and Hate, 1996, TV movie Body Count, 1998, and television series Malcolm & Eddie; president and CEO, Motown Record Company, 1997-.

Member: Producers Guild, American Film Institute Third Decade Council, Independent Film Project West, Black Filmmaker Foundation, Big Brothers Association of America.

Awards: NAACP Image Award, Black American Cinema Society Award, Communications Excellence to Black Audiences Award.

Addresses: Office —Motown Record Co., L.P. 825 8th Avenue, 29th Floor, New York, NY 10019-1736.

music, and marketing.

Perhaps the most successful—and controversial—Jackson-McHenry film is New Jack City. The story of a community’s battle to bring down a crack-selling drug lord in Harlem, New Jack City grossed some $48 million during its first year and was credited by Los Angeles Times writer Claudia Puig for being “probably what broke the ice for pictures like ‘Boyz N the Hood.’” It also generated considerable criticism, however, when a series of violent events at theaters across the United States were tied to the film. The partnership responded with a New York Times editorial that included the comment: “Those who argue, as many have, that our film encourages viewers to imitate the violence they’ve seen on the screen are wrong. The real cause of violence at the theaters is not cinematic images of drug culture but decades of poverty in our communities.” The producers also noted their cinematic intent of condemning drug culture, and their determination to present an accurate picture of it.

Talking to the Los Angeles Times in 1991, reporter Joe Prichirallo noted, “The interesting thing about Doug and George is they want to be more than just creative people. They want to be the black Samuel Goldwyns. They want to be moguls. They want to run studios.” This idea was confirmed by the 1996 creation of Elephant Walk Entertainment, in which Jackson became partners with McHenry and Rob Lee. The Elephant Walk company umbrella includes Jackson-McHenry Films, talent agency Elephant Walk Management, Elephant Walk Television—which produces United Paramount Network’s Malcolm & Eddie, record label JacMac, music publishers Harlem Boys Music and Oaktown Boys Music, and the SLANG music website. Jackson’s work as a producer since New Jack City includes Jason’s Lyric (1994), A Thin Line Between Love and Hate (1996), and the TV movie Body Count (1998). In this last film, Jackson also appeared on screen as a ticket agent.

Accepted Motown Makeover

When Jackson became president and CEO of Motown in 1997, it raised the question of whether his hiring was a sound decision. As Jackson acknowledged in USA Today in February of 1998, “I wasn’t a record man. I was a movie guy, and how dare I try to run a record company, and not just any record company—Motown.…For a lot of people, the jury is still out.” Certainly, Jackson had big shoes to fill. Motown Records was a huge hit producer during the 1960s and 1970s under founder Berry Gordy, who signed acts including the Miracles, The Commodores, The Four Tops, The Jackson Five, Diana Ross, The Temptations, and Stevie Wonder. The record label foundered after Gordy sold the company in 1988 to Boston Ventures. Polygram later purchased the company, placing a huge value on the catalog and brand name, but Motown did poorly under the stewardship of Jackson’s predecessor, Andre Harrell.

Describing Jackson’s predicament in Fortune, Roy S. Johnson said, “he is entering a real quagmire—assuming the leadership of the most recognizable brand in the music business at a time when the company is still reeling from years of disappointing results, poor management, public controversy, and intrigue.” Clarence Avant, Motown’s chairman emeritus, saw Jackson’s role in reviving Motown in a larger context when he commented in Fortune, “White people can afford to lose Pan Am, Montgomery Ward, or Woolworth’s.… There are a million other white-run institutions. Blacks cannot afford to lose even one.” And Avant explained why he felt Jackson was up to the task of reviving Motown in Black Enterprise: “I’ve known George for 15 years.…He’s always been ahead of the marketplace in identifying trends, and music has always been a part of his life and his projects. I think George is uniquely suited to lead the company given his understanding of trends, technologies, music and entertainment in general.”

Expanded Roster and Visibility

Jackson began rebuilding Motown’s fortunes by making staffing cuts and signing new artists. He presided over Motown’s 40th anniversary in 1998, and the many events and promotions related to its celebration. At the time of his hire, Boyz II Men and Queen Latifah were the biggest names on the Motown roster, which had shrunk considerably in size and prominence since the label’s heyday. In response to this situation, Motown merged with Polygram’s Mercury Records R&B division in February of 1998, and several Mercury acts were transferred to the Motown label including Tony Toni Tone, Brian McKnight, Will Downing, and Raphael Saadiq. According to Billboard’s Anita M. Samuels at the time of the merger, “Although Motown’s specialties are R&B and hip-hop, the company’s immediate plans include making inroads in rap music.” Jackson also hoped to create tour packages resembling the old Motown Revues and supervised the institution of two new television programs, Motown Mondays on VH1 and the syndicated Motown Live.

In addition to his responsibilities at Motown, Jackson’s professional plans include a remake of The Mack, a 1973 blaxploitation film about a pimp named Goldie. Working with McHenry and 20th Century Fox, he has tackled the difficult job of reworking a film that some consider politically incorrect. Jackson, however, remarked in the Los Angeles Times that he saw the remake as an opportunity to “expose society’s hypocrisy, get the roaches out from under the carpet.…Gangster films take an uncompromising view of what has come to be known as the ‘American way.’” As with New Jack City, Jackson seeks to provide his audience with an entertaining film, but one that also expresses the real concerns of the black community.