by Donald Bogle
I would like to thank my colleagues in the Dramatic Writing Department of New York University’s Tisch School of the Arts, especially David Rhangelli, Janet Neipris, Mark Dickerman, Gary Garrison, Yolanda Culler, and department chair Richard Wesley. My gratitude is also extended to my colleagues at the Center for Africana Studies at the University of Pennsylvania: Gale Garrison and Carol Davis as well as former Center colleague Audrey Smith-Bey. I could not ask for a more agreeable and pleasant group.
Friends and colleagues who proved especially important during the writing and researching of this book include my very dear friend Carol Leonard; my very good friend Sarah Orrick, who opened the door of the home she shares with Jeff Christiansen in Harpers Ferry, where I stayed while doing research at the Library of Congress in a sweltering Washington, D.C.; Dr. Harry Ford and Peg Henehan, at whose home in Boston I’ve had many relaxing hours and from there, many delightful trips (to unwind) to L. L. Bean’s in Freeport, Maine; my long-standing friends from a special summer at Harvard—Susan Peterson and Nigel Forrest; my good friends from my days at Ebony Barbara Reynolds, Steven Morris, and Herma Ross Shorty; Rigmor Newman, who helped me locate a rare photograph of Ethel with Eddie Mallory along with the young Harold Nicholas, at the Cotton Club; Ronald Mason; filmmaker William Greaves and Louise Greaves; Robert Katz; Martin Radburd; Alan Sukoenig and Hiroko Hatanaka; Grace and Jim Frankowsky; my friends at the Newark Museum, Gloria Buck, museum director Mary Sue Sweeney Price, Clement Price, and Pat Faison; Celeste Bateman, who fields so many calls for me and also handles many of my speaking engagements; Carmen Smith of Disney; Judith Osborne; Nels Johnson; Cathie Nelson; Billie Johnson; Jeanne Moutoussamy-Ashe; Catherine “Kay” Nelson; and the divine Anna Deavere Smith, who years ago gave me a very rare edition of His Eye Is on the Sparrow.
As always, my dear friend, writer Sally Placksin, the author of the invaluable American Women in Jazz, provided great insights as she discussed music history with an emphasis on jazz and the great blues singers. Another good friend, Joerg Klebe, of German Educational Television, also was helpful. At Turner Classic Movies, there were many people who were encouraging without even realizing it: the terrific host Robert Osborne; Darcy Hettrich; and especially my friend Charles Tabesh, TCM’s vice-president, who was of immense help in locating films for me and making sure I could screen them. His sense of humor and sane view of the world proved more important than he may have realized.
Other associates, friends, and family members whom I wish to thank for their patience and enthusiasm include Jacqueline Bogle Mosley; Robert Bogle Sr., publisher of the Philadelphia Tribune, and Marie Kanalas Bogle; Roslynne Bogle; Jeanne Bogle Charleston and Fred Charleston; Janet Bogle Schenck and her husband, Jerry Schenck, both of whom are great movie enthusiasts and always encouraging; Roger Bogle; Gerald Grant Bogle and Carol Bogle; Jay Kevin Bogle; Fred “Pele” Charleston; Ayana Charleston; Hassan and Denise Charleston; Bettina Glasgow Batchleor; Robert Bogle Jr.; Mariskia Bogle; Michelle Mosley Palmer and Hermon Palmer; Shaaron Bogle; Carol White; Carolyn and Chris Jackson; Ann Marie Cunningham; Patricia Ferguson; Margaret Crosthwaite Pascuzzi; David Crosthwaite; Michael Pascuzzi; Denise Pascuzzi and her husband, Richard; my former editor Robert Silverstein and his wife, Hameda; Deesha Hill; Josslyn Luckett; Daniel Beer; Logan Johnson; Marcia White, the arts director of the national organization of African American women, the Links; Kathe Sandler; Marie Orlandi, who has always been supportive and encouraging; Jennifer Calderone; Kaz Wilson-Wright; Heidi Stack; Doug and Liza Rossini; dear Rae Taylor Rossini; Arthur and Joanie Rossi; Ruth Lazar; Barbara, Ellen, and James LaGow; Pam Mosley; Ann Marie Cunningham; Monica Freeman; Jamal Bogle; Alex Bogle; Karin Leak; Sylvia Ghoston; Franchesa Pannell; Georgtte Scheer; Clifford Laurent; Andrew Carl; Fotini Lomke; Linda “Doll” Tarrant Reid and Stuart Reid; Bret Haber; Jamie Vega, guardian of my Los Angeles hideaway who always makes sure everything is in shape for my arrival; Winsome Carey; Keiko Kimura; Luellen Fletcher; Mimi Goldstein; and my darling goddaughter, YeMaya Bogle.
Phil Bertelsen, who is my former researcher and now a director, provided valuable comments and advice as he read various drafts of the book. At this point, he has a solid knowledge of Black entertainment history. My former editor Evander Lomke also read the manuscript and offered excellent suggestions. In Los Angeles, Jerald Silverhardt was always good to bounce ideas off. He knows contemporary Hollywood as few others do. The same can be said of the wondrous drama coach and acting teacher Janet Alhanti.
Bruce Goldstein also carefully read the manuscript and gave very informed suggestions for ways to tighten the material and further clarify some topics. Bruce was one of the people who urged me to write a biography of Waters, who he believed too important not to have a book detailing her accomplishments. With his remarkable memory and broad knowledge of film history, he remains one of few people with whom it is always a sheer pleasure to discuss films and early popular culture.
It has also always been wonderful, invigorating, and exciting to discuss films and film history with my very dear friend, the terrific film producer Debra Martin Chase, who has a special interest in and enthusiasm for the history of African American women in popular culture. Though our schedules don’t permit us to get together as often as we’d both prefer, she remains a real jewel. There is no one with whom I’d rather talk about the old classic Hollywood than the dazzling Debra.
Also of great help was my good friend, the novelist and attorney Enrico Pellegrini. His wisdom, humor, and intelligence have all proven important as I worked on this book.
Marie Brown has always been encouraging and insightful. In the midst of her demanding schedule, she takes the time to answer questions and offer advice. For so many of us in publishing, she’s a rock of strength and steady reserve and perceptiveness—a one-of-a-kind woman who makes so many lives brighter and more focused.
Gratitude is also extended to my agent on this book, Jennifer Lyons, who has been on top of so many issues during the writing of this book. I value her energy, her resilience, and her intelligence—as well as her tough-minded deal-making powers.
I also have to express my gratitude to Bill Strachan of HarperCollins, who stepped in as my editor during the later stages of the book. I have really valued his patience and his expert advice as he read the manuscript. It has been a pleasure to work with him. I would also like to thank Kate Whitenight at HarperCollins and copy editor Martha Cameron.
Finally, my heartfelt thanks and deepest gratitude go to my original editor, the phenomenal Elisabeth Dyssegaard, who has been my editor on four books. There are few people I trust and respect as much as Elisabeth. For some time, she encouraged me to write a biography of Ethel Waters. She read an early draft of the manuscript and was encouraging and insightful. When she left HarperCollins, I felt a little lost. But her spirit remained with me—and with the book. She is the absolute best.
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