During the Roaring ’20s, America experienced a cultural revolution that would echo throughout history, breaking from the traditional Victorian values of the previous century and ushering in an era of change. Women’s roles in society began to change behind the efforts of suffragettes, the automobile connected communities like never before, and America launched its “noble experiment” of Prohibition, setting the scene for one of the most consequential decades in American history. In this theater, one Centre County native played an integral role in amplifying the most influential Black voices during this period.
James Albert Jackson was born on June 20, 1878, in Bellefonte. In the late 19th century, Bellefonte was at its peak. At the height of the post Civil War Victorian era, the governors’ town flourished with ever-expanding businesses and activities. Attitudes toward Black community members were notably different from those in much of America at the time, evidenced by the desegregating of Bellefonte’s schools during that period and a flourishing AME Church congregation. This environment would be in stark contrast to what Jackson would experience in other times of his life. Following his schooling in the community, Jackson dreamed of stardom and aimed to make his mark in the entertainment industry. Around the turn of the century, he made his way to New York City.
J.A. Jackson would come to find what he was looking for in New York. He began writing for Billboard magazine, and by 1920 he was named the first African American editor of its Negro Department. The magazine was one of the preeminent publications in the entertainment industry, and its executives looked to capture a burgeoning market: Black entertainment. It was through Jackson’s widely published columns that he became immortalized by his nickname, “Billboard Jackson.”
Jackson would play a pivotal role during one of the most historically significant periods in entertainment history: the Harlem Renaissance. The Harlem Renaissance was, as Langston Hughes would say, “an expression of our dark-skinned selves.” It was an explosion of culture and pride through poetry, art, song, and prose. Figures like W.E.B. Du Bois, Marcus Garvey, Cyril Briggs, Louis Armstrong, Billie Holiday, and Zora Neale Hurston were thrust into celebrity, as media outlets looked to provide readers with the latest on this new wave of artistic expression. As the editor at Billboard, Jackson helped amplify these voices, bringing these figures and their art, writings, music, and ideas into homes across America.
During the height of his fame, Jackson’s story would take a unique twist, as he would be approached by the U.S. Department of Commerce to serve as an advisor on “black business and entrepreneurship.” In segregated America, with his experiences as a small-town kid turned acclaimed editor and voice for the Black entertainment industry, Jackson was an ideal candidate to provide insights on how to best serve marginalized communities and influence policy for the betterment of urban areas.
In 1934, Jackson would shift careers once again, this time making history as Esso Standard Oil Company’s first Black marketing employee, working as a special representative to research the role and impact of Black consumers in America. Most notably in his role at Esso, Jackson worked with Victor Green to devise a plan to stock the “Green Book” in Esso stations across the country. The “Green Book” was a travel guide published during the segregation era to inform travelers of businesses that would accept Black customers, as well as other valuable advice on safety and areas to avoid. Due to the efforts of Jackson, Esso stations became a key sponsor to the “Green Book” and one of the only U.S. oil companies that allowed Blacks to buy franchises.
“Billboard” Jackson would serve in his position at Esso another 21 years. In 1940, he was named the first Black member of the American Marketing Association and would be invited to speak to groups across the United States over the next 20 years, encouraging Black commercial development and industrial training until his death in 1960.
Today, a marker stands on East High Street in Bellefonte, commemorating one of the most influential Bellefonte natives of the 20th century and our connection to some of the most culturally and historically significant happenings of the time. T&G
Local Historia is a passion for local history, community, and preservation. Its mission is to connect you with local history through engaging content and walking tours. Local Historia is owned by public historians Matt Maris and Dustin Elder, who co-author this column. For more, visit localhistoria.com.
A new African American identity: The Harlem Renaissance | National Museum of African American History and Culture. (n.d.). https://nmaahc.si.edu/explore/stories/new-african-american-identity-harlem-renaissance
Phillips, D. C. (2021, June 30). James Albert “Billboard” Jackson (1878-1960) •. https://www.blackpast.org/african-american-history/jackson-james-albert-billboard-1878-1960/
Stevens, C. (1992). J. A. (Billboard) Jackson and the News: Pioneer in Black Musical Entertainment and Journalism. The Western Journal of Black Studies, 16(1).
Traveling with the Green Book. Negro Motorist Green Book. (n.d.). https://negromotoristgreenbook.si.edu/virtual-exhibit/traveling/#:~:text=In%201934%2C%20Esso%20Standard%20Oil,JACKSON%20WAS%20AFRICAN%20AMERICAN.
