bojangles

A complete entertainer, ill-served by Hollywood

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His early Hollywood music was darker than we recall.

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Typist by day, jazzbo by night.

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One of the most soulful tenor men of his generation.

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His first film was 1932’s PIE, PIE, BLACKBIRD.

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He wrote a bestselling work of socialist utopianism.

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“Coarse, brutal, sordid, bestial, but painted with marvelous vividness”

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Too Jewish for ethnically repressed Hollywood.

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Entertainment, grand landscapes, and dialectical troubles.

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La propriété, c’est le vol.

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“We must get to the painting of ourselves, our history…”

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His genius thrived in stages: chromatic, atonal, serial.

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He could adapt to and enliven nearly any musical situation.

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She mined veins of melancholy, fatalistic, introspective truth.

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An unsurpassed fusion of energy, density, speed and lyricism.

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Handsome, quick-witted and casually virtuous.

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He played long, luminous tones on his trumpet.

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In search of roles commensurate with his ability and ethics.

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His talent stretched back to Yiddish theater.

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He created a boldly self-contained sound world.

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Charlie Parker vs. feebleminded ofays.

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In 1968, a year of riots, he reached his ascendancy.

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A versatile virtuoso — from jazz to Hawaiian to country to pop.

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His Cold War movies predict Pynchon’s seriocomic acuities.