Duke Ellington’s feature film debut was in a 1929 film that starred “Amos and Andy,” Charles Correll and Freeman Gosden, two popular white comedians who played black characters on radio and wore blackface in order to play them on screen…In fact, two members of the Ellington band, Juan Tizol and Barney Bigard, had to wear blackface in the film because their skin was so light. It was unacceptable that they should appear in a black band in a film that starred two white men wearing blackface. You can’t make up things like that, and you don’t have to. Truth is always better. Truth is always funnier. Truth is always more telling.
Ethan Iverson interviews Duke biographer Terry Teachout
James Baldwin on the Patterson/Liston fight in 1962. I could read Baldwin all day. Every day.
Anyway, I liked him, liked him very much. He sat opposite me at the table, sideways, head down, waiting for the blow: for Liston knows, as only the inarticulately suffering can, just how inarticulate he is. But let me clarify that: I say suffering because it seems to me that he has suffered a great deal. It is in his face, in the silence of that face, and in the curiously distant light in the eyes—a light which rarely signals because there have been so few answering signals. And when I say inarticulate, I really do not mean to suggest that he does not know how to talk. He is inarticulate in the way we all are when more has happened to us than we know how to express; and inarticulate in a particularly Negro way—he has a long tale to tell which no one wants to hear. I said, “I can’t ask you any questions because everything’s been asked. Perhaps I’m only here, really, to say that I wish you well.”