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40 Years of Cathy Hughes’ Leadership at Urban One

NNPA NEWSWIRE — The media company that for decades was known as Radio One Inc. for its stable of radio stations across the country, changed its name in 2017 to Urban One, a new name that reflects, its owners believed, its channeled mission of providing media content to urban audiences via all forms of media through its divisions including radio, television programming with its TV One cable network and now the Internet.

Published

6 years ago

January 13, 2020

Oakland Post

Photos of Urban One Inc awards and Cathy Hughes, courtesy Urban One Inc.

Fulfilling Dr. King’s Dream

By Keith L. Alexander

OXON HILL, Md. – Inside the illuminated MGM National Harbor towering over the Potomac River, the 3,000-seat theater slowly fills with African Americans donned in tuxedos and gowns as Hollywood’s and New York’s top entertainers mix with some of Washington, D.C.’s bourgeoisie including politicians and business leaders. All have gathered to celebrate the 40th anniversary of Urban One Inc., the nation’s largest distributor of news and entertainment aimed solely at black consumers, which also includes the largest African American owned TV network.

The media company that for decades was known as Radio One Inc. for its stable of radio stations across the country, changed its name in 2017 to Urban One, a new name that reflects, its owners believed, its channeled mission of providing media content to urban audiences via all forms of media through its divisions including radio, television programming with its TV One cable network and now the Internet.

Still at the helm of Urban One is the legendary woman with the mic, camera and now computer keyboard is the company’s founder and chairwoman, Cathy Hughes. On this recent night, the 72-year-old energetic and spirited Hughes is also serving as co-host for the 40th anniversary Urban One Honors awards show with comedian Chris Tucker, which is scheduled to air Hughes’s TV One network Jan. 20.

The show, however, is already running late before it even began. Taping was supposed to begin 20 minutes or so ago. But people are still slowly filling their seats. Then, to a round of staccato applause and without an introduction, Hughes, with her broad smile, walked onto the stage. She apologized for the late start. The staffing at the entrances of the MGM, she said, have been slow in allowing audience members through the doors. “But I’ll take care of this,” she said while putting a finger in the air.

Hughes disappears backstage. And within 10 minutes, as if a dam burst, audience members began rushing into the theater to their seats. Minutes later, the orchestra begins playing and Hughes and Tucker walk on stage arm in arm to begin the two-hour show.

No one messes with Cathy Hughes, especially when she is their boss. That’s right, in addition to the various entertainment companies, Urban One also owns nearly 7 percent of the $1.4 billion, MGM casino, hotel and resort, a purchase the company made when the resort opened three years ago.

As the nation celebrates the birthday of the Rev. Dr. Martin Luther King Jr. this month, those who knew King well, say Hughes and Urban One are the epitome of King’s dream. Dr. Benjamin Chavis, who worked as a youth leader for King in the 1960’s, said Hughes was able to break through the historically, white male controlled world of media ownership and create her own media company that she uses to not only to reach millions of people around the world to ensure that the voices of African Americans continue to be shared and visible.

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“Urban One continues to fulfill Dr. King’s dream,” Chavis said. “The best way to celebrate black history is to make more history. Cathy Hughes continues to make black history.” Chavis is now head of the National Newspaper Publishers Association, made up of more than 200 black-owned newspapers across the country.

The Hughes media story is well known. She began her career in 1969 at an AM radio station in her native Omaha, but left for Washington, D.C. when she was offered a job as a lecturer at Howard University. In 1973, Hughes was named general sales manager of WHUR, Howard’s FM radio station. Two years later, Hughes was promoted to general manager. There she created the late night, slow-jam formatted staple called “The Quiet Storm” a signature sound that expanded to radio stations around the country. In that short time, Hughes had taken annual revenues at the station from $250,000 to more than $3.5 million.

In 1979, Hughes and then-husband Dewey Hughes sought financing to purchase their own radio station and were rejected by 32 banks until 1980 when they secured lending to buy WOL-AM, a tiny Washington, D.C. station located in Northeast Washington. That first station led to the acquisitions of dozens of radio stations around the country. Then in 2004, with her son Alfred C. Liggins III, a Wharton School of Business MBA graduate as chief executive officer his mother’s company, Radio One branched into television by creating TV One, a cable network reaching more than 40 million African American TV households.

In 2017, TV One changed its name to Urban One after it acquired a collection of Internet media websites, now known as iOne Digital, that focus on news, sports and entertainment stories about and for black audiences.

Today, Urban One is worth, according to Wall Street estimates based on stock price of about $98 million. The company boasts of reaching 59 million households, 22 million listeners, 40 million video streams, 20 million unique Web visitors. It owns 57 broadcast stations in 15 urban markets, two cable networks and some 80 websites. Hughes works closely with her son who she credits with diversifying Urban One beyond radio and TV.

“This company has a commitment to serving our audience that is evidenced beyond just the mission of making money. It is to build an organization that represents the needs and interests of a community that for the majority of this country’s history, hasn’t had a voice to fight for it,” Liggins, 54, said recently.

Throughout the night at the star-studded awards at the MGM, the influence that Hughes has garnered over the four decades was repeatedly echoed by those who took the stage.

Missy “Misdemeanor” Elliott surrounded on stage by other rap legends Lil Kim and Da Brat, became emotional during her acceptance speech. She described Hughes as “bold, fierce, strong, innovative (and) a visionary.” Elliott said a “big” part of her success was due to Urban One. “We are all chosen, but there are certain people chosen to be a vessel,” Elliott said of Hughes.

During his acceptance speech, actor and singer Jamie Foxx spoke of when he and director and writer Quentin Tarantino were making the 2012 “Django Unchained,” they were concerned about the use of the N-word in the film and how audiences would receive the racist word. Foxx told the audience that he told Tarantino “the only person who could help them” ensure audiences would not be put off by the repeated use of the racist word would be Hughes. So, the two asked Hughes to come to the movie set so she could see the filming and hear the vision behind it. Foxx said they needed Hughes’s “blessing” knowing that her influence with audiences could ultimately make or break the film.

When he took the stage, Broadway, film and TV performer Billy Porter described how being celebrated by a black media company in front of a predominately black audience, was unusual for out, gay black entertainers. “As a black, queer man in the world, this is such a special day for me. I never felt welcomed. Today in this space, for the first time in my life, I feel like I am a part of this community,” Porter said grabbing Hughes’s hand as she joined him on stage.

During his acceptance speech, Chance the Rapper described Hughes – or Miss H. as he calls her – as a “trailblazer” and a “maverick” who, he said, “built an entire industry, for us.”

Hughes says she plans to continue to build and rebuild the media industry as the technology changes how black households receive their information and entertainment.

“Today, we reach 92 percent of black households,” Hughes added. “We plan to get to 100 percent.”

“If the black audience that we serve decides that they want to receive our messages via carrier pigeon, then I’m getting ready to go into the bird business. I don’t know what it will take in the future in order to reach that goal. That will depend on what advances occur in technology.”

Urban One’s plan, Hughes says, is to ensure the company will be at the center, the premiere go-to media outlet for black households.

“It’s important for us to have black owned and controlled, particularly in the media, business ventures, nobody is going to tell our stories from our perspective, except us,” she said. “Nobody is going to do that for us. Why should they or would they? It’s our responsibility to do that.”

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2026 Lucid Air Grand Touring Review — Is This $136K EV Sedan Worth It?

AUTONETWORK ON BLACKPRESSUSA — Finished in Stellar White Metallic with the Tahoe Grand Touring interior, this Lucid makes a strong first impression. The shape is sleek and low, but it still feels elegant instead of trying too hard. Features like soft-close doors, powered illuminated door handles, 20-inch Aero Lite wheels, and the Glass Canopy Roof help the car feel expensive before you even start it.

Published

3 weeks ago

May 3, 2026

Oakland Post

The 2026 Lucid Air Grand Touring is the kind of luxury EV that makes people stop and ask a simple question: Is this really better than a Tesla Model S, Mercedes EQS, or BMW i7? At $136,150, it has to do more than look futuristic. It has to feel special every time you get in it.

Finished in Stellar White Metallic with the Tahoe Grand Touring interior, this Lucid makes a strong first impression. The shape is sleek and low, yet it still feels elegant rather than trying too hard. Features like soft-close doors, powered illuminated door handles, 20-inch Aero Lite wheels, and the Glass Canopy Roof help the car feel expensive before you even start it.

Inside is where the Air Grand Touring really makes its case. The 34-inch Glass Cockpit Display and retractable Pilot Panel screen give the cabin a clean, modern look that still feels different from other EVs. The Tahoe Extended Leather and Lucid Black Alcantara headliner lifts the sense of occasion, and the front seats are a highlight. They are 20-way power-adjustable, heated, ventilated, and include massage. That matters because luxury buyers at this price expect comfort first.

Rear passengers are not ignored either. You get 5-zone heated rear seating, a rear center console display, and power rear and rear side window sunshades. Add in the Surreal Sound Pro system with 21 speakers, and the Air feels like a true long-distance luxury sedan.

Lucid also gives this car serious EV hardware. The dual-motor all-wheel-drive system, 900V+ charging architecture, and Wunderbox onboard charger are big talking points. Buyers in this segment care about range, charging speed, and everyday ease, not just raw performance. That is where the Lucid continues to stand out.

On the technology side, the Air Grand Touring includes DreamDrive Premium, with 3D Surround View Monitoring, Blind Spot Warning, Automatic Park In and Out, Automatic Emergency Braking, and a Driver Monitoring System with distracted and drowsy driver alerts. This one also has DreamDrive Pro, which adds future-capable ADAS hardware.

There are still some real-world annoyances. Based on your notes, the windshield wiper control is hard to find and use, and that matters more than people think in a high-tech car. When controls become less intuitive, even a beautiful interior can feel frustrating.

Still, the 2026 Lucid Air Grand Touring succeeds where it matters most. It feels luxurious, advanced, comfortable, and thoughtfully engineered. For buyers who want an EV sedan that feels truly premium and less common than the usual choices, this Lucid makes a very strong case.

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Snoop Dogg Celebrates 10 Til’ Midnight at the Compound

LOS ANGELES SENTINEL — The album is paired with a film that stars Snoop Dogg, Hitta J3, G Perico, and Ray Vaughn, and one of the strongest elements of the whole project is that the production stayed rooted right here in Los Angeles.

Published

3 weeks ago

May 3, 2026

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Snoop Dogg celebrated the premiere of 10 Til’ Midnight at his Inglewood recording studio & multipurpose facility, The Compound, but the night felt like much more than an album release. It felt like Los Angeles. It felt like legacy. And it felt like another major move from one of the city’s greatest cultural architects as he continues to prove that he is not just dropping music — he is building moments, shaping narratives, and pushing the culture forward in real time.

What made the event so powerful was the clarity behind the vision. During a panel conversation with DJ Hed, Snoop opened up about the heart behind 10 Til’ Midnight, explaining that the project was created to help bridge older and younger generations while also speaking to the long-standing divisions between Bloods and Crips in a unique way through film. That alone gave the project a different kind of weight. This was not just about songs. This was about using creativity as a tool for connection. This was about taking a story rooted in Los Angeles and telling it in a way that could bring people together.

Snoop Congratulated By Rapper & Fellow 10 Til Midnight Cast Member G Perico (CreativeLB/KreativeKapturez)

The album is paired with a film that stars Snoop Dogg, Hitta J3, G Perico, and Ray Vaughn, and one of the strongest elements of the whole project is that the production stayed rooted right here in Los Angeles. The film was shot in the city, including at WePlay Studios in Inglewood, which gave the entire project an even deeper hometown feel. It was not just a West Coast story in content — it was a Los Angeles-made production from the ground up.

That matters because, in a city like this, authenticity still carries weight. Snoop understands how to make sure that what he creates does not just represent Los Angeles on the surface, but actually comes from it.

What also makes 10 Til’ Midnight significant is that it represents another major step in Snoop’s evolution as both an artist and executive. Public reporting around the project identifies it as his 22nd studio album, but the bigger story is what it represents in this season of his life. This is one of several consecutive moves he has made in his 50s that show he is still building, still expanding, and still finding new ways to reinvent what the next chapter looks like.

Snoop Dogg at the Premiere of 10 Til Midnight (CreativeLB/KreativeKapturez)

Now, as the head of Death Row Records and the newly aligned leader of Death Row Pictures, he is taking the brand into a new dimension. That is what made this moment feel bigger than music. Snoop is not just protecting the legacy of Death Row — he is stretching it. He is expanding it beyond records and into film, visual storytelling, and larger creative worlds that can continue carrying the label’s impact forward. Public reporting has noted that this project arrives as part of that broader cinematic push.

That is a major Los Angeles move because the city has always been built on the intersection of music, film, neighborhood identity, and cultural storytelling. With 10 Til’ Midnight, Snoop is leaning all the way into that intersection.

The room at The Compound reflected that. It felt like a private premiere, but it also felt like a statement — a reminder that Snoop Dogg’s staying power has never been based only on nostalgia. It comes from his ability to remain connected, remain visionary, and remain in tune with how to move the culture without losing the essence of who he is.

That is why this premiere mattered. It was not just about celebrating another album. It was about witnessing a Los Angeles legend continue to evolve, continue to unify, and continue to use art to tell stories that hit deeper than entertainment alone.

In that sense, 10 Til’ Midnight became more than a project launch. It became another example of how Snoop Dogg is still taking Los Angeles to the next level — using music, film, and legacy together to build something bigger than a moment.

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OP-ED: Small Businesses Need Minnesota to Act on Pass-Through Tax Policy

MINNESOTA SPOKESMAN RECORDER — A Twin Cities immigrant entrepreneur who built several businesses including grocery stores in underserved neighborhoods is calling on Minnesota lawmakers to extend the Pass-Through Entity tax option before it expires, warning that its loss would hit small businesses already recovering from Operation Metro Surge with higher federal tax bills.

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3 weeks ago

May 3, 2026

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A Twin Cities Small Business Owner Is Urging Minnesota to Extend a Tax Policy That Could Save Thousands of Businesses

By Daniel Hernandez | Minnesota Spokesman Recorder

I came to the United States as a teenager with a clear goal: to build something meaningful through hard work. I put in long days in construction, restaurants, and landscaping; doing whatever it took to learn, save, and eventually start my own business.

Over time, I built and ran several successful ventures, including an event photography company, a magazine, a tax and accounting firm, and now grocery stores serving neighborhoods across the Twin Cities where other retailers chose not to invest. I’ve created jobs, supported families, and committed to communities that deserve stability and opportunity.

That’s why I’m speaking out now.

Small business owners in Minneapolis and the communities we serve are recovering from serious disruptions, including the impacts of Operation Metro Surge. That event hit immigrant communities especially hard. In my own case, I lost nearly half of my 60 employees and saw revenue drop by about 85%. While I worked to provide competitive wages, health benefits, and paid time off, the real hardship fell on the people who lost their jobs and income.

Even as we rebuild, small businesses are facing another challenge. The Minnesota Legislature is considering letting an important tax policy expire: the Pass-Through Entity tax option.

Here’s what that means in plain terms.

Many small businesses, including mine, are pass-through businesses. That means the business itself doesn’t pay income tax. Instead, the owners report the income on their personal tax returns. But under current federal rules, there’s a limit on how much state tax we can deduct. That often leads to higher federal tax bills.

The Pass-Through Entity option fixes that. It allows the business to pay the state tax directly, which means the business can fully deduct those taxes on its federal return and lower the total amount of income taxed federally. The result is straightforward: small business owners pay less in federal taxes, without reducing what the state collects.

This policy is not new or controversial. Thirty-six states already offer it. It doesn’t cost Minnesota anything, it’s revenue neutral. And it benefits more than 66,000 businesses across the state.

In a state where the cost of doing business is already high, it’s hard to understand why we wouldn’t offer the same basic tax treatment as states like California and Illinois.

Small businesses have carried a heavy load in recent years, through a pandemic, rising costs and public safety disruptions. We’ve adapted, reinvested and stayed committed to our communities. What we need now are practical policies that support that work, not make it harder.

If the Minnesota House does not act soon, many businesses will face significantly higher federal tax bills. That’s money that could otherwise be used to hire workers, raise wages or reinvest in local neighborhoods.

I urge Gov. Tim Walz and members of the House Tax Committee to pass House File 3127 and extend the Pass-Through Entity election.

Small businesses are the backbone of our communities. We’ve proven our resilience. Now we need our state leaders to show the same commitment to us.

Daniel Hernandez is the owner of Colonial Market located at 2100 E. Lake St.

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