By Donald Bogle
In vibrant Boulevards, daring goals, Donald Bogle tells–for the 1st time–the tale of a spot either mythic and actual: Black Hollywood. Spanning sixty years, this deliciously enjoyable historical past uncovers the audacious demeanour within which many blacks made a spot for themselves in an that initially had no position for them.
Through interviews and the private reminiscences of Hollywood luminaries, Bogle items jointly a impressive heritage that is still mostly imprecise to this present day. we find that Black Hollywood was once a spot distinctive from the studio-system-dominated Tinseltown–a international unto itself, with detailed principles and social hierarchy. It had its personal expertise scouts and media, its personal watering holes, dependent resorts, and stylish nightspots, and naturally its personal glamorous and extraordinary personalities.
Along with well-known actors together with invoice “Bojangles” Robinson, Hattie McDaniel (whose domestic used to be between Hollywood’s such a lot exquisite), and, later, the stunningly appealing Lena Horne and the fabulously talented Sammy Davis, Jr., we meet the likes of heartthrob James Edwards, whose promising profession used to be derailed via whispers of an affair with Lana Turner, and the mysterious Madame Sul-Te-Wan, who shared an in depth lifelong friendship with pioneering director D. W. Griffith. yet Bogle additionally seems at different participants of the black community–from the white stars’ black servants, who had their very own funds and status, to gossip columnists, hairstylists, and architects–and on the global that grew up round them alongside valuable road, the Harlem of the West.
In the culture of Hortense Powdermaker’s vintage Hollywood: The Dream manufacturing unit and Neal Gabler’s An Empire in their personal, in shiny Boulevards, daring desires, Donald Bogle re-creates a vanished global that left an indelible mark on Hollywood–and on all of the United States.
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Additional info for Bright Boulevards, Bold Dreams: The Story of Black Hollywood
Critics, academics, pundits etc. use the channels of the media to present their tastes and preferences as the accepted view of what is ‘good art’ and ‘bad art’. There are dangerous liaisons with private or business sponsorships. A national theatre company in the UK was refused much-needed corporate sponsorship for its production of a Jacobean tragedy, ’Tis Pity She’s A Whore, because the corporation did not wish its name to be associated with the word ‘whore’. A private art collector buys up – at huge expense – the early work of new, young and potentially subversive ﬁne artists, turning both art and artist into ‘brands’.
It is important not to see a short project as ‘lesser’ than a longer one. Multi-twinned projects. The Contacting the World international project twins twelve groups (six pairs of twins), all engaged in the same process, over a nine-month period. Such a project demands greater organisation – and possibly resources – but such a model could also be applied locally, regionally or nationally. ‘Agenda-based’ projects. Projects that are linked to, or framed by, a particular major event or enterprise – local, national or international.
The combination of the two can translate into a twinned project being allowed to lean towards English as the common vocabulary. That can seem the easiest route. But those of us who have English as our ﬁrst language, and those who wish to learn English as a second language, need to think about the implications of that for our projects. A diversity of languages (like species of plants or animals) is disappearing from our planet at an alarming rate, and as artists (who should value diversity of expression) we should be seeking ways to combat that.
Bright Boulevards, Bold Dreams: The Story of Black Hollywood by Donald Bogle