Hollywood Studio Magazine (July 1972)

Record Details:

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NOW OPEN IiflS JAEARANBA5 il/|QZQtfflAi,lM6xijC0 The first 500 reservations MADE AT LAS JACARANDAS BY READERS OF SFV MAGAZINE WILL RECEIVE A FREE DAY AND NIGHT FOR EVERY 7 NIGHTS RESERVED - PLUS A COCKTAIL PARTY AS OUR GUEST. For information and Reservations write to LAS JACARANDAS Dept. SFV. Apartado 702 Mazatlan, Sinaloa, Mexico astounding that those experienced guys did not realize that the laugh-a-second technique of the first record had made it a sensation. They stretched material out, three or four jokes a side, for other records. They were not boffo. But the team became top-salaried headliners. Money avalanched. Mack even put out a ghost-written novel, “The Two Black Crows in the A.E.F.” Paramount was to pay him a bundle for the screen rights and made it into the second Two Black Crows movie. That was “Anybody’s War.” A network was elated to get the pair to do a 13-week radio show. They put it together while playing the gigantic Paramount Theatre in New York. Then they railroaded West to star in two pictures for Paramount. I was elated when I was assigned to publicize the movies. There were pluses for me in those pictures. First there was Octavus Roy Cohen. His Florian Slapley “Darktown” stories for the Saturday Evening Post were the most popular “Negro” comedy tales in history. Paramount signed Cohen to write an original for “Why Bring That Up?” I saw him often and did a campaign on him. He was a small, thin man with a crew cut who looked like a teacher. Cohen writing “Darky” comedy for the team figured. Moran and Mack represented a form of comedy that today could not be believed. Caucasians putting on burnt cork to do “blackface” comedy. It was burlesque of levee characters and made stars of such as A1 Jolson and Eddie Cantor. Minstrel Shows, with a stage full of blackface entertainers and endmen, Tambo and Bones, toured for years. Even immortals like Bert Williams added lampblack to black skin. In “Why Bring That Up?” the two were Caucasians who blacked up to do several Two Black Crows routines during a backstage story. In “Anybody’s War,” they played “Darkies” throughout. Another plus of that first picture was George Abbott. He directed it and a second Paramount film before scampering back to New York where he became practically Mr. Broadway. What a gracious gentleman. The first picture was a physical ordeal. Paramount had no sound-proof stages. All talkies were being made on thin-walled silent-movie stages while a concrete stage was being constructed. Cameras were wrapped in blankets.