Former US Marshal Matthew Fogg Sued the Justice Dept Us Marshal Service and won

 

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Host Deardra Shuler interviews motivational speaker Matthew Fogg, the first African American US Marshal to win the largest racial discrimination lawsuit vs. the Dept. of Justice.

Mr. Fogg received the District of Columbia, U.S. Attorney, and Federal Bar Association’s highest law enforcement awards for tracking down over 300 ofAmerica’s Most-Wanted and dangerous fugitives charged with prison escape, murder, rape, child molestation, robbery, illegal narcotics trafficking, and other heinous crimes in the U.S. and abroad.  

Nationally known as a civil rights law enforcement Icon after receiving a 1998, Landmark Title VII civil rights verdict against his employer in federal court for the District of Columbia. The jury awarded him $4-million, reduced to $300,000, finding” the USMS under supervision of the United States Department of Justice (DOJ), was operating as a racially hostile environment for all African American deputy US marshals nationwide.

In 2008, he received the NAACP Barrier Breakers Award as an American who blazed a path for others," and for his valiant stand against the federal blue wall of silence. Mr. Fogg later helped win many favorable decisions before the US EEO Commission by representing other federal employees who blew the whistle on various forms of discrimination. Trained in SWAT, FBI and hand- to-hand combat techniques, he also advocates for the civil rights of citizens in fear of police misconduct and brutality.  He has appeared on TV and radio.

He is the National First V.P. (elect) of Blacks In Government and the National VP for Congressional Relations of Federally Employed Women and the National President for FEW Legal & Education Fund Inc

Sowa’s Red Gravy Stirs up a Tasty Brew

By Deardra Shuler
Photo by Gerry Goldstein

 “Sowa’s Red Gravy” ends it production at the Castillo Theatre, located at 543 West 42^nd Street in Manhattan this Sunday where a veritable witches’ brew was being cooked up.

 The talented singer, composer and actress, Lonette McKee, played the lead role of Sowa in Diane Richards’ occasionally complicated but very comical play of ancient witches, whose understanding of nature, archaic African ritual and wise-women ways, led them to conjure for the Harlem locals, cooking up voodoo type love potions and youthful spells that made the 3 centenarians look less than half their age.  “I cast a spell that made me look 52,” claimed the 110 year old Sowa, because it was just too much trouble to cast a spell to look younger.”

 
Narrating the audience through this tale of many twist and turns, while showing how temptation affects even those professing to be most holy, Sowa reveals she is in competition with fellow witches Luwanna (Kimberly “Q”) and Windy Willow (Toni Seawright) who stir up their own recipe of red gravy to capture the attention of Sapphire (Jonathan Peck) and turn him into their individual love slave.  Thing is, the cocky Sapphire uses his manly tool and sexual charms to make the witches just as much his slaves as he is theirs.  He couldn’t help the sexy spells he cast on women simply with his manly swagger and bedroom eyes, he was just born that way. Or so he claimed.

 Baaad Luwanna with her spiky hair, is so proud of her sexual prowess she stays in her negligee and always looks like she is ready for bed.  She has no intentions of giving the “good-lovin” Sapphire up.  Thus, what results are witchy cat fights between the witches as they test their powers and try to out-spell one another.  Unable to best Luwanna who keeps Sapphire at her beck and call, Sowa and Windy Willow join forces to get Sapphire for Sowa. 

“Are you with me or a’gen me” asks Sowa of Windy Willow who claimed her magic was so powerful she turned herself 30, a month after her birth.  So fast did Windy raise herself up from birth, that she couldn’t tell whether she was a man in a women’s body or just a lesbian that sometimes loved men. Although, she did not reveal to her fellow witches her attraction to Sapphire, whose manly ways even had the oft-times lesbian, feeling her feminine side; other men got on her nerves so badly, Windy Willow was not above whipping up a deadly herbal concoction to get rid of them. So powerful was Willow’s witchy-bitchy ways, she even enticed the Devil, Belozah (Kene Holliday), who was fascinated by Willow’s swiveling hips and evil countenance. 

In fact, in one very amusing scene, Willow tries to get Belozah to devour one of her poison brews but it only set the devil’s bowels on fire making the devil even more enchanted with her, since it takes guts to try and kill the devil.

 Kene Holliday has fun as the devil Belozah, kicking up a storm as the red devil, dressed from top to bottom in red hue, representing the fires of hell and the lust for life that the devil has for the wild side.  Belozah enjoys women, wine and sin and a good cigar.  He has so much fun corrupting people who enjoy being corrupted, he asks why sinners don’t celebrate his birthday like that do that goody two shoes the earth calls the son.

 The entire cast is on point and makes this play very appetizing.  It brings to the fore ancient wisdom, knowledge of nature and the power of those that know the secrets of the cosmic mysteries that has been explored through the centuries by diverse cultures and students of enchantment; whether it is voo doo, the earth magic of Wicca, witchcraft or the Jewish magic of Cabala.  Actor Aaron Fried plays a double role as a paranoid white man looking for a protection spell to safeguard him against becoming a minority in the growing browning of America.  He is delightful also as the Jewish neighborhood baker Bernstein, using magic charms and herbal magic remedies he kneads into the bread he bakes. Gary E. Vincent keeps the audience in stitches with his rendition of a pesky stuttering suitor that gets on Luwanna’s nerves and as the firy preacher, Reverend Walker, whose glib tongue and whoring ways keep the church ladies happy and their husbands running for their shotguns.

 Drummer David D. Wright keeps the rhythms flowing as dancer, Iris Wilson, graces the stage with her sensuous dance numbers and witty banter as a church lady during the church scene.

All and all, Sowa’s Red Gravy gave the audience a devil of a time. Directed by Woodie King, Jr., Sowa’s Red Gravy casts a spell on its audience and made the play a tasty and palatable brew.

Matlock Star Kene Holliday Appears on "Topically Yours" on theBlakeRadio Network

Listen to internet radio with Rainbow Soul on Blog Talk Radio

Listen to internet radio with Rainbow Soul on Blog Talk Radio

Is Black Radio In Threat of Dying?

Is Black Radio in threat of disappearing? In April, New York's KISS-FM was merged into WBLS. "Open Line" a popular talk show was kept, but the Michael Baison Show, also popular, was not, thus the merge did not include all of the KISS-FM programming. Now there is fear that WBLS itself is about to be bought by YMF Partners. This has prompted former WWRL "Night Talk" Show host, Bob Law, to file a petition along with Councilman Charles Barron, Michael North and Betty Dopson of the Committee to Eliminate Media Offensive to African People, asking the FCC to delay the sale of WBLS to YMF since YMF cannot purchase the station without FCC approval.

 A community activist, Bob Law is the founder of the National Respect Yourself Youth Organization, which established a national network of Respect Yourself Saturdays involving academia. The respect organization has operated a baseball little league, a summer entrepreneur program which helps young people start their own summer business. He is also the organizer of the New York Peacekeepers campaign which encourages non-violence.

 A filmmaker, Law is involved in film projects with the Black Spectrum Theatre in Queens, where he is chairman of the board. His play, "The Magic Clown," a play for children, is being performed in NYC Public schools. He is also the author of "Voice for the Future." Mr. Law is the owner of "Namaskar," Bob's Health and Wellness store, and Bob Law's Seafood Cafe, located in Brooklyn.

 In 1949, WLIB was purchased by the New Broadcasting Company headed by Morris and Harry Novik. Although White-owned, the Novik Brothers served ethnic audiences, targeting the Jewish and African American communities. The station eventually became the voice of the Black community, with the Noviks developing a press room and a Community Affairs department that allowed the Black community to utilize the station for their own public affairs announcements. By the 1950s, disc jockeys such as the late Hal Jackson were part of the on-air staff. The staff also included actor William Marshall and Victor Bozeman. By the 1960s, WLIB was one of several commercial jazz stations in New York featuring radio jocks such as Billy Taylor, Del Shields and Ed Williams who built up a large listening audience and worked together to establish a radio music format that is used to this day.

 In the 1970s, there was a political outcry by African Americans for a black-owned radio station. Due to political pressure and after years in radio, the Novik brothers were ready to retire. Therefore, the Noviks looked for someone to buy the station that would meet with the approval of the Black Community. Therefore, when Percy Sutton, backed by several black investors came along, the Novik brothers felt Sutton met with the approval of the Black Community so chose Sutton just as much as he chose them. Sutton and his backers bought the station and formed Inner City Broadcasting. Eventually Inner City fell into bankruptcy and now their stations are under threat of being bought by YMF Partners once YMF obtains FCC approval. It is the contention of Messrs. Law, North, Barron and Ms. Dopson, that it was predatory lending and the Arbitron ratings system that helped to reduce advertising revenue (which is oftentimes doled out disportionately to black Media), that brought about the bankruptcy. They are also concerned that once YMF gets the approval from FCC to purchase WBLS, YMF will simply turn around and sell it to a mega corporation that will eliminate the black format for their own format. Thereby effectively wiping out black talk media and thus eliminating the black voice which reflects Black culture.

 "I am not sure it's coincidental that there is an effort to silence Black voices and dismantle Black radio," remarked Law. "This agenda is set to go full steam in this election year. The Million Man March was supported by black radio since there was no popular political support, Black or white, who supported the march. Black Radio told the people to go when the politicos said not to go. Did the people go? So then who had more clout and influence?" “As I see it, this may have brought attention to the powers-to-be, how influential Black radio is, thus the desire to silence it" stated the community leader.

 "So what happened next is, Black radio was made unprofitable. This happened via a consistent and deliberate undercounting of black listeners in NYC and perhaps across the nation. Arbitron (the ratings company) has been accused of giving out information to the ad industry that undercounts black listeners so the radio station cannot get paid for the audiences they actually deliver. No matter how well these stations perform, their performance is being under counted. When Andrew Cuomo was attorney general, he brought a lawsuit against Arbitron here in NY. The language in Cuomo's indictment said "Arbitron was willingly and knowingly giving out incorrect information to their clients, both ad agencies and radio stations, and they were doing so to the detriment of black radio stations." Cuomo's findings said "...that Arbitron's numbers is so far off and black radio is being so underpaid, that it is actually causing the financial demise of black radio." In February 2012, the Attorney General in Los Angeles, California, also brought a suit against Arbitron stating nearly the same thing Cuomo said in his litigation. Arbitron settled out of Court, although I have yet to see they corrected what they were doing," remarked Mr. Law.

 "There is a thing they do in ad agencies called "Minority Set Aside," wherein X amount of dollars are set aside for minorities. But all the minorities dip into this same "minority set aside" pot, no matter if one minority station is doing better than the Hispanic or Asian stations, or vice versa, since the amount of money is fixed. Therefore, those whose market may surpass the others still cannot get the money they earned. This is part of the process of how these minority radio stations are kept poor inspite of their performance," claimed the former "Night Talk" host.

 Bob went on to say this is not just a Republican agenda but some Democrats are also involved.

"Bill Clinton when he was president authored and pushed through a telecommunications bill which took the limit off of how many stations someone can own and removed all the protections the general public had in how the airwaves were used. Clinton's legislation said that anyone can have as many stations as they want as long as they can afford to buy them. Who can afford as many stations as they want? Disney can, MS Clear Channel can, CBS can, Fortress can, and all those mega companies can. But the little stand alone stations cannot afford to compete with these huge corporations. I believe Bill Clinton knew that full well when he authored his bill. I think it was a conscious and deliberate decision on Bill Clinton's part when he orchestrated this bill. Of course, these smaller stations want to own more radio stations. This puts the smaller stations in the position of having to purchase a cluster of stations in order to attract the advertisers who can advertise with the bigger corporations. Since the bigger corporations can approach the advertiser and say advertise with us because we can run your product in our "multiple" stations while the smaller station can only run your product in their "one" station. So where do you think the advertiser is going to advertise? Therefore, in order to stay in business, the minority stations and the black owned stations were forced to buy other stations. And, that is when the predatory lenders came along. The predator lenders gave loans that said these stations had to allow the lenders to have veto power in their stations, power to vote on policy, and be involved in the stations' operation. These bad deals were made because the stations could not get loans from the banks so could only hope to pay these predators off as soon as possible. The Black owners found out that they had made a deal with the devil and their loan became a loan to own scheme. The fact that the lenders had insinuated themselves into the daily operations of the station and making policy, made it virtually impossible for the stations to pay the money back. Then of course the predatory lenders began to demand their money and thus forced the stations into foreclosure and into bankruptcy so they could seize the stations. So now what we are looking at -- is the loss of black voices from the airwaves, not just in NYC but across the nation," continued the community activist and author.

 "Advertisers looked at the Arbitron figures and told Black stations that "Black" doesn't sell. Yet, advertisers make huge profits from the Black communities even though they do not ask black folks for their money. White advertisers as a whole do not advertise in black newspapers, radio stations, newspapers or businesses. Yet, black folks spend their money with these white advertisers freely. Our FCC petition, we understand, (and we do not stand alone in this petition), may not be granted. We will see. But we think that the FCC will more than likely rule against the people and opt to go with the big money, ignoring our petition no matter how strong our argument is and/or how credible," said Bob, of what he expects will happen in terms of the petition he and others filed to stop the sale of the last black radio station in NY.

Bob discussed what he thinks the Black community must do -- not only to keep their stations but to secure their position as a culture within the rapidly changing American society.

Black people are not paying attention remarked Law. He is concerned that Black folks need to start to pay attention, not just black folks, all the minorities, if they plan to survive in the 21st Century. Minorities must pay attention to the political climate around them because whether they realize it or not, it impacts them. It impacts them via educating their children, surviving economically and culturally.

 "The Black community as consumers will have to come together. We have been intimidated and embarrassed and made to feel that to mention black is being racist. Some black folks feel that way because others have convinced them that nothing black has any merit. And because they have that mindset, everything is being taken away from Black folks -- from our dollars to our vote. It’s time to step up and not be silenced or sidelined. We need to learn critical spending.  Begin to spend our money wisely. We do not have to march in the streets, we simply need to go to our pantry and ask ourselves can I do without these products. Look around your homes and determine what you really need and what you can do without. Do you need that pizza, that coke, that beer? You don't even have to sacrifice that long, just long enough to get the advertisers attention. Tell these advertisers since they are not paying attention to the people or believe that black people for example, are a huge consumer market base, show them you are.  Just stop buying and see how long it takes before these mega-corporations start missing your dollars?" concluded the playwright, activist, author and entrepreneur.

 Take back your consumer power because that is a viable power. One that will not be ignored once you show the powers-to-be you know how to cleverly use your consumer power.

 If you wish to hear more of the interview with Bob Law, click onto the radio icon above under Bob Law's photo.

The Hadley Players venture “This Way Forward”

By Deardra Shuler

Photo Credit : Peter Cooper

“This Way Forward” is the latest offering of The Hadley Players, a community theatre group nestled within the Harlem School of the Arts, located on 142^nd Street and St Nicholas Avenue, and founded by 97-year-old Gertrude Jeannette, a denizen of the arts.

Ms. Jeannette is the playwright of “This Way Forward,” starring Colette Bryce, Maxx Carr, Khadim Diop, Albert Eggleston, Ivan Goris, Gary Lawson, Ralph McCain, Louise Mike, Janet Mitchell, Kimberlee Monroe, Ward Nixon, Arjenis Mora, Chantal Ngwa, Malek Ogee, Stacey Pryor, Jared Reinmuth, Sharon Shah, Rodney Sheley, Kalina Singleton, Kalvin Singleton, Donnell Smith, Nzintha Smith, Valarie Tekosky, Joan Valentina and Cookie Winborn.  Ward Nixon directed the production.

Having written five plays, “This Way Forward” is the first play written by Ms. Jeannette per the suggestion and encouragement of Lee Strasberg, an American actor, director and acting teacher who had a profound influence on the American theatre and with whom Gertrude studied directing and playwriting.  Strasberg was the director of the Actors Studio and the founder of the Lee Strasberg Theatre and Film Institute in New York and in Hollywood.  Included among his students were: Marlon Brando, Marilyn Monroe, Paul Newman, Al Pacino, Robert DeNiro, James Dean and Elia Kazan. Naturally Gertrude wrote about what she knew, so penned details of having grown up in Arkansas on a large family farm. Although, in the play, there is no specific region mentioned other than the southwest.  “This Way Forward” featuring a 24-character cast, is based on accounts from Miss Jeanette’s childhood when both whites and Blacks sharecropped and had large families to help provide the labor to work their farms.  Therefore, few children had the luxury of an education beyond the fifth grade. 

Naturally every generation wants their children to do better, so Bertha Crawford (Valarie Tekosky), the wife of Dan Crawford (Ralph McCain) the central characters in the play, was determined to extend the community’s all-black school to the level of 9^th grade. More educated than her husband, Bertha initially had to convince her husband and then eventually the rest of the community who were more concerned with survival than education, of the importance of a higher education. Although the Great Depression did not hit until 1929, there was a small recession in 1924 and then another one in 1927.  Naturally, whatever affected whites, affected Black people twice as much.  But this play did not dwell on material poverty but rather poverty of the mind.  Bertha saw education as a way of giving black children opportunity and a choice outside of sharecropping. 

Dan Crawford had gone as far as the fifth grade and believed he had all the book learning he needed since he had acquired a large farm.  He was generous in giving his time and labor to his neighbors, but was the kind of proud man that would not ask anything of his neighbors ― preferring to run his farm primarily by the sweat of his brow and that of his two sons ―  Herman (Gary Lawson) and Floyd (Donnell Smith). The Crawford neighbors were played by Albert Eggleston as Rev. Jackson, Tom Williams (Ward Nixon), Stacey Pryor as Sarah, Kimberlee Monroe as Minnie and Cookie Winborn as Aunt Effie (Louise Mike alternated).  The ladies often got together to form sewing-bees and gossip. Segregation was still in effect during the era of this play, thus making Aunt Effie essential to the life and death of the community as their midwife since oft-times Black folks were barred admittance to hospitals. While the ladies gossiped, their husbands joked and drank, but the younger men found their recreation occasionally on the seedier side of town where they found their entertainment in the form of liquor, dice, cards, loose women and the occasional fist fight.  This often frightened Bertha whose ambitions for her older son Herman were not shared by him. Her constant efforts to push her son to stay in school only caused him to dig in his heels and misinterpret his mother’s intentions toward him.  Eventually this divide brought about tragic results. 

This production has a limited engagement with the last show on Sunday, May 27th at 2:30 pm.

Community theatres are struggling all throughout New York and it is up to us the theatergoer and lovers of art to keep our theatres thriving.  In doing so, we keep our history alive and our stories told.  Open your wallets and send your donations to the Hadley Players, 204 West 133th Street, NYC, 10030, so that we can live into perpetuity through our art forms. 

Gil Noble's Obituary

Gilbert Edward Noble was born to parents Gilbert Robert Noble and Iris Villiers Noble both from

Jamaica, WI on February 22,1932 in Harlem, New York.Seven years later, his brother Keith Alexander

Noble was born. Keith was an aspiring professional golfer. The brothers were very close which left

Gil devastated by his brother's sudden death, due to a brain tumor, in 1968. His mother was a

community center leader and his father owned an auto repair shop. Gil Noble attended City College

in Harlem and was later drafted into the United States Army during the Korean War where he trained

as a medic.

Gil Noble loved music, and was a jazz aficionado. His mother played classical piano, but Gil Noble

loved Jazz. His love for Jazz began in his teens when a friend played a new record, "Laura" and

"Somebody Loves Me" by pianist Erroll Garner. He was hooked. He purchased his own piano and

taught himself how to play this "new" music. He later formed a jazz group called the "Gil Noble Trio"

and recorded several albums. His love of jazz music and performing as a jazz musician continued

throughout his life. Gil Noble was also an accomplished artist and sculptor in his free time.

In November of 1959 Gil Noble was introduced to the love of his life, his wife Norma Jean

Johnston. At the time, they were both hired as African American models in New York for a fashion

show in Moscow, Russia, part of the American Exhibition. He proposed to Jean after one month of

courtship and romance. Gil and Jean's presence in the show, and their wedding on August 7, 1959,

was historic and made the cover of the New York Times, and was featured in Life, Ebony, and

Jet magazines.

On February 21, 1965 Malcolm X was assassinated. A neighbor invited Gil Noble to hear an

unedited recording of a speech by Malcolm X.That speech had the most profound impact on Gil as an

African American man, father, and journalist. Malcolm's words drove Gil to explore African

American History, African History and Malcolm's message helped Gil navigate with grace, dignity

and strength through forty years in the headquarters of the most challenging corporate media

environment in America - The American Broadcasting Company (NABC").

Gil Noble began his career in broadcasting at the radio Station WLIBin New York.As a new, young

newscaster at WLIB, Gil was forced to perform all the tasks of news radio; from announcing, to

reading and writing the newscast, to operating all the technical equipment, to making sure the

teletype machine did not run out of paper. Developing the ability to perform these multiple tasks,

many often times performed simultaneously, helped prepare him for his career in Television.

Harlem was an incredible incubator for Gil in his early professional years. WLIB was located

around the corner from the Lewis Michaux bookstore, The National Memorial African Bookstore,

where the historians Dr. John Henrik Clarke, Dr. Yosef A. Ben-Iochannan and others gathered,

planned, and envisioned a better future for African Peoples. It also served as the hub for many rallies

and speakers such as Kwame Nkrumah, Fidel Castro, Dr. Martin Luther King [r., Malcolm X, and

many others. Many of these individuals were later guests or subjects on Gil Noble's Emmy Award

winning weekly WABC show, "Like It Is."

In 1967,Gil Noble was hired by WABCTV.One of his first assignments was to cover the urban

rebellion in Newark, New Jersey. While other reporters stayed outside of the city, Gil Noble crossed

the police barriers and reported the story of the people. As a young reporter waiting outside a Harlem

restaurant with a few dozen reporters, he was spotted by Muhammad Ali.Ali was so excited to see an

African American reporter that he invited him for lunch and agreed to an interview. After just four

months of employment at WABCTV,Gil Noble's impactful live reports throughout New York and

New Jersey had impressed senior executives at ABC and he was hired as The Anchor for the WABC

weekend news.

In 1968,after the assassination of Martin Luther King Jr.,WABC agreed to the idea of a program

featuring African American current events and topics, which would be produced with African

Americans. It was Historic, the first of its kind to include African Americans as the producers of their

own TV network shows. Initially done with Robert Hooks as the Host and Gil Noble as the the news

correspondent, they created "Like It Is." They fought hard for the title, music by Jackie McLean, and

content. After a few months, Mr. Hooks left and continued his acting career. Gil Noble took over as

host, producer, writer, and editor. Like It Is produced the first documentary for television on Marcus

Garvey, and the first one for Malcolm X including the first interview of his widow, Dr. Betty Shabazz.

For his outstanding achievements and monumental contributions, Gil Noble received several

honorary degrees, and over 700 awards, including seven Emmy Awards for his documentaries El

Haij Malik El Shabazz, Paul Robeson, Dr. Martin Luther King Jr., The Rev. Adam Clayton Powell [r., Decade

of Struggle, Essay on Drugs, and Outstanding Series. Like It Is remains one of the longest running

programs on Television.

Like It Is provided a platform and documented the telling of the "untold stories." Gil Noble was

most proud of the symbiotic relationship between Like it Is with Harlem and its magnificent people.

Gil Noble enjoyed and cherished wonderful unwavering support and love, from the community of

Harlem, and the African Diaspora throughout the United States and the World. He was proud of his

attention to accuracy. Because of his meticulous preparation, no one was able to question his

authenticity. Gil Noble made sure to ask pointed questions, in a way that allowed him to report on

indisputable facts, rather than merely .commentary. Like It Is was the much needed balance to

everything else on television. Gil Noble was always grateful for the message that Like It Is told, and

felt blessed by the people and the struggle that made it all possible.

Two of the most transformational moments of his great career occurred in the 1970's and 1980's.

With the collaboration of his talented associate Elombe Brathe, Gil Noble was able to present exposes

on the Liberation Movements and Independent struggles of African Peoples on the continent and in

the Caribbean. In 1986 Gil Noble traveled to Egypt to participate in a historic pilgrimage and

conference in the Nile Valley which involved more than one thousand people of African descent.

After taking part in this powerful experience, Gil Noble, through Like It Is, was able to bring the truth

of African history to schools worldwide. With the assistance of scholars like Dr. Ben and Dr. Clarke,

he was able to film, document and brilliantly clarify the issues surrounding the stolen legacy of the

Africans of the Nile.

The last two paragraphs of Gil Noble's book, Black is The Color of my TV Tube, reads "Many in this

business say I am too serious. I believe I am not serious enough. The condition of Black people today

is serious to me, and that condition requires serious action. I will be preoccupied with the question of

race until racism is dead."

Gil Noble fought long and he fought hard and he made a difference. Gil Noble's legacy will

forever challenge racism and be a source of inspiration for African Peoples and others to pursue the

truth and hold it up high to light the way to the future. His illustrious career was truly a great and

mighty walk through contemporary history and his Legacy will surely endure through

the ages.

Dr. Gilbert Edward Noble, Husband, Father, Brother, Grandfather, Teacher, Artist, Musician, and

pioneering World Renown Journalist departed this life on April 5, 2012. He is survived by: his loving

wife of fifty-two-plus years, Norma Jean Noble; his son, Chris; his daughters, Lynn, Lisa, Leslie, and

Jennifer; and his grandchildren, Alexandria, Jordan, Jasmin, Jade, Christian, Ejiah, Kayla, and Miles.

The family is thankful to the many friends, colleagues, and fans who expressed their love and

support during his illness, and after his passing.

Gil Noble's dream was to have his work empower children everywhere. In lieu of flowers, the

family appreciates kind contributions to maintain The Gil Noble Archives.Please send contributions
to the Gil Noble Archives, P.O Box 431138, Upper Montclair, New Jersey 07043 or online,
www.gilnoblearchive.com