Golden2Golden Entertainment


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Golden2Golden Entertainment is a tour de force Company that has built a solid business and fan-base rooted in The GLBT Community by breaking new ground In Photography, Online Film Shorts, Human Behavior Doc- Films, Stage Plays and Books... with no regrets.



I began my artistic career designing Posters and T-shirts for Stage & Independent Films.
After studying the craft of Film Making, I formed my own independent company Golden2Golden Entertainment I made my debut on the Film Festival Circuit with short films: Mr.Big Stuff, The List and Pleasure Victim.



My film credits also include; Geovanny Room: Confessions of a Go-Go Boy which was screened at the 2004 Cannes Film Festival and The Venice Film Festival. Me, Myself and Dandridge: which was screened at the 2005 Cannes Film Festival Short Film Corner.


I've also have Written, Produced and Dircted a number of Stage Productions such as Off Broadway hit's: "I Heart Porgy"...



Photography Book:
"ALONE WITH ME" A Gorgeously Crafted Erotic Coffee Table Book, featuring a collection of Photographs of Beautiful Dream-Boy Jerome Schwab in moments of Playful Love and Lust.


Golden2Golden Entertainment


Donyale Luna




An American model and cover girl. She also appeared in several films, in Camp (1965) by Andy Warhol, Qui êtes-vous, Polly Maggoo? (1966) by William Klein, as Groucho Marx's companion in Otto Preminger's Skidoo (1968), and most notably as Oenothea in Federico Fellini's Satyricon (1970) and as the title character in Salomé (1972), a film by director Carmelo Bene.

She was born Peggy Ann Freeman in Detroit, Michigan. She attended the prestigious Cass Technical High School. Her parents were Peggy and Nathaniel Freeman; her mother killed her father, who was reportedly abusive, when Donyale was 18. Luna's mother wanted her to become a nurse.


Despite the parentage stated on her birth certificate, she insisted that her biological father was a man with the surname Luna and that her mother was Indigenous Mexican and of Afro-Egyptian lineage. According to the model, one of her grandmothers was reportedly an Irish former actress who married a black interior decorator. Whether any of this background is true is uncertain. In the mid 1960s, a relative described Luna as being "a very weird child, even from birth, living in a wonderland, a dream."

After being discovered by the photographer David McCabe, she moved from Detroit to New York City to pursue a modeling career. In January 1965, a sketch of Luna appeared on the cover of Harper's Bazaar


She became the first African American model to appear on the cover of a Vogue magazine, the March 1966 British issue, shot by British photographer David Bailey.


According to The New York Times, she was under exclusive contract to the photographer Richard Avedon for a year at the beginning of her career.


An article in Time magazine published on 1 April 1966, "The Luna Year", described her as "a new heavenly body who, because of her striking singularity, promises to remain on high for many a season. Donyale Luna, as she calls herself, is unquestionably the hottest model in Europe at the moment. She is only 20, a Negro, hails from Detroit, and is not to be missed if one reads Harper's Bazaar, Paris Match, Britain's Queen, the British, French or American editions of Vogue.


In 1967, the mannequin manufacturer Adel Rootstein created a mannequin in Luna's image, a follow-up to the company's Twiggy mannequin of 1966.


During the late 1960s and early 1970s, Luna appeared in several films.
She appeared in several movies produced by Andy Warhol. These included Screen Test: Donyale Luna (1964), in which critic Wayne Koestenbaum described Luna as "pure diva, presenting a delicious mobile excess of mannerism"; Camp (1965), and Donyale Luna (1967), a 33-minute color film in which the model starred as Snow White.


In Federico Fellini's Fellini Satyricon (1970), she portrayed the witch Oenothea, "who," according to one commentator, "in a trade-off with a wizard long ago ended up with fire between her legs. And it's real fire too, because Fellini shows us a scene in which a long line of foolish-looking peasants wait with unlit torches at Oenothea's bed. When their time comes, each devoutly places his torch between her legs to her sex, and, Poof."

Luna also appeared in The Rolling Stones Rock and Roll Circus, the Otto Preminger comedy Skidoo (in which she was featured as the mistress of crime boss "God", who was portrayed by Groucho Marx), and the British documentary Tonite Let's All Make Love in London.
Luna starred as the title character in the 1972 Italian film Salomé, by director Carmelo Bene.

According to the journalist Judy Stone, who wrote a profile of Luna for The New York Times in 1968, the model was "secretive, mysterious, contradictory, evasive, mercurial, and insistent upon her multiracial lineage -- exotic, chameleon strands of Indigenous-Mexican, Indonesian, Irish, and, last but least escapable, African." A London magazine (The Sunday Times Magazine, article by Harold Carlton) hailed her as "the completely New Image of the Negro woman. Fashion finds itself in an instrumental position for changing history, however slightly, for it is about to bring out into the open the veneration, the adoration, the idolization of the Negro ... "


When Stone asked her about whether her appearances in Hollywood films would benefit the cause of black actresses, Luna answered, "If it brings about more jobs for Mexicans, Asians, Native Americans, Africans, groovy. It could be good, it could be bad. I couldn't care less."

In the mid 1960s, Luna was married to an actor for 10 months. Later she reportedly was engaged to the Austrian-born Swiss actor Maximilian Schell, to an unnamed Danish photographer, and to Georg Willing, a German actor who appeared in European horror films (such as 1970's "Necropolis") and with the Living Theatre.


Around 1969 Luna was also romantically involved with German actor Klaus Kinski. Both posed together on several photographs. The relationship ended when Kinski asked her entourage to leave his house in Rome: he was concerned that their drug use could damage his career.
Luna married the Italian photographer Luigi Cazzaniga. In 1977 they had a child: Dream Cazzaniga.



 
April 1975 Donyale told Playboy Magazine "I’m not a model, I’m an artist, I do modeling and acting as a part of my artistry; instead of a paintbrush and canvas, I use film.
I have many visions of myself when I go through photographic trips, I’ve gone through periods from Nerfertiti to Josephine Baker.


 Berry Gordy’s 1975 film Mahogany was loosely base on Luna’s rise to the top of the fashion world,
but...without the Hollywood ending.


On May 17, 1979– Luna died in Rome, Italy, in a clinic, after an accidental drug overdose of presentation sleeping pills. She was only 34 years old.


 Donyale Luna was only the tip of an iceberg when it comes to black women in Fashion.
 Many more followed.



Donyale Luna
(August 31, 1945 – May 17, 1979)

Island in the Sun, 1957



Island in the Sun is a 1957 controversial drama film. The film centers around an ensemble cast including James Mason, Harry Belafonte, Joan Fontaine, Joan Collins, Dorothy Dandridge, Michael Rennie, Stephen Boyd, Patricia Owens, John Justin, Diana Wynyard, and Basil Sydney. The film is about race relations and interracial romance set in the fictitious island of Santa Marta. Barbados and Grenada were selected as the sites for the movie based on the novel by Alec Waugh.

The film follows several characters both black, white as well as mixed. Maxwell Fleury (James Mason) is a white plantation owner's son who suffers from an inferiority complex and makes rash decisions to prove his worth. He lives with his beautiful wife, Sylvia (Patricia Owens). Maxwell is tormented by extreme jealousy of his wife, and is envious of his younger sister Jocelyn (Joan Collins). Jocelyn is being courted by Evan Templeton (Stephen Boyd), a war hero visiting the Governor of the island, his father Lord Templeton (Ronald Squire).
The film also follows David Boyeur (Harry Belafonte), a young black man emerging as a powerful politician representing the common people and seen as a threat to the white ruling class. Mavis Norman (Joan Fontaine), a woman from the elite white class strikes up a romantic interest in Boyeur and much of the film explores the tension between these two.
Finally, the film takes a look at the interracial romance between Margot Seaton (Dorothy Dandridge), a black drug store clerk, and Denis Archer (John Justin), aide to the Governor. Other characters include Hilary Carson (Michael Rennie) who Maxwell Fleury thinks is having an affair with his wife; Colonel Whittingham (John Williams), the head of police, who investigates the murder of Hilary Carson central to the plot; a journalist named Bradshaw (Hartley Power); and finally Julian Fleury (Basil Sydney) and his wife (Diana Wynyard) who are both hiding secrets from their children.

The characters and their relationships with each other are all shown to be complex and the issues being addressed were rather taboo for 1957. Furthermore, the film can be enjoyed for the lush, beautiful scenery and unpredictable plot dynamics. Belafonte breaks his character to sing a calypso title song.
As of 2009 a proposal was floated to demolish the remains of the real mansion used in the film. The mansion is located in Farley Hill, Barbados. The mansion was gutted by fire just after the filming of the movie and all that remains are the foundations and exterior walls of the building.
The film was Dorothy Dandridge's "come-back" movie, as she hadn't made a film since 1954's Carmen Jones, with Dandridge playing the lead. In 1955, she had been offered supporting roles in The King and I and The Lieutenant Wore Skirts but Otto Preminger, her lover and Carmen Jones' director, advised her to turn down the roles. This was Dandridge's first film role in three years: she was third billed, but appeared in only a supporting role.
Premiering in June 1957, Island in the Sun was greeted with negative reviews. The film's controversial plotline was considered unsuitable for 1957 viewers. Magazines, unknowingly, gave the film publicity with photos of Belafonte's and Fontaine's characters; as-well-as with Dandridge's and Justin's characters. However, these photos followed with stories. These stories mainly stated that the film was a disgrace to the film industry, with black and whites "falling in love". Despite the bad reviews, stories, and "photos", Island in the Sun was a major box office success. The film earned $5,550,00 worldwide, and finished as the sixth highest-grossing film of 1957.

Island in the Sun 1957

JAMES EDWARDS: Home of the Brave


 Home of the Brave is a 1949 film based on a 1946 play by Arthur Laurents. It was directed by Mark Robson and stars James Edwards, Douglas Dick, Jeff Corey, Lloyd Bridges, Frank Lovejoy, and Steve Brodie. The original play featured the protagonist being Jewish rather than black.
The National Board of Review named the film the eighth best of 1949. Home of the Brave
utilizes the recurrent theme of a diverse group of men being subjected to the horror of war and their individual reactions, in this case, the hell of jungle combat against the Japanese in World War II.


Undergoing psychoanalysis by an Army psychiatrist (Corey), paralyzed Black war veteran Private Peter Moss (Edwards) begins to walk again only when he confronts his fear of forever being an "outsider."



The film uses flashback techniques to show Moss, an Engineer topography specialist assigned to a reconnaissance patrol who are clandestinely landed from a PT boat on a Japanese-held island in the South Pacific to prepare the island for a major amphibious landing. The patrol is led by a young major (Dick) and includes Moss's lifelong white friend Finch (Bridges), whose death leaves him racked with guilt; redneck-bigot corporal T.J. (Brodie); and sturdy but troubled Sergeant Mingo (Lovejoy).



When the patrol is discovered Finch is left behind and captured by the Japanese who force him to cry out to the patrol. The dying Finch escapes and dies in Moss's arms. In a firefight with the Japanese, Mingo is wounded in the arm and Moss is unable to walk. T.J. carries Moss to the returning PT boat that covers the men with its twin .50 calibre machine guns.



In the film's crucial scene, the doctor forces Moss to overcome his paralysis by yelling a racial slur. From this point on, Moss will never again kowtow to prejudice. Mingo and Moss decide to go into business together.
Arthur Laurents spent World War II with the Army Pictorial Service based at the film studio in Astoria, Queens and rose to the rank of sergeant. After his discharge he wrote a play called Home of the Brave in nine consecutive nights that was inspired by a photograph of GIs in a South Pacific jungle. The drama about anti-semitism in the military opened on Broadway on December 27, 1945 and ran for 69 performances.



When Laurents sold the rights to Hollywood, he was told that the lead character would be turned from Jewish into black because "Jews have been done".
Producer Stanley Kramer filmed in secrecy under the working title of High Noon. The film was completed in thirty days for the cost of US $525,000 with Kramer using three different units at the same time. The majority of the film was made on indoor sets except for the climax that took place on Malibu beach with a former navy PT boat. Associate Producer Robert Stillman financed the film with the help of his father without the usual procedure of borrowing funds from banks.


 Home of the Brave managed to combine three of the top film genres of 1949: the war film, the psychological drama, and the problems of African-Americans. It was the first Hollywood movie to be allowed to use the N-Word- after The Emperor Jones (with the 1934 establishment of the Hays Code, the word had been forbidden by censors).
Director Robson, who had begun his directing career with several Val Lewton RKO horror films brings a frighting feeling to the claustrophobic jungle set with Dimitri Tiomkin providing an eerie choral rendition of Sometimes I Feel Like a Motherless Child performed by the Jester Hairston choir as the patrol escapes their Japanese pursuers.



In the movie's final scene, Sergeant Mingo recites Eve Merriam's 1943 poem The Coward to Private Moss in friendship: "Divided we fall, united we stand; coward take my coward's hand." The New York Herald Tribune reported that a man named Herbert Tweedy imitated the sound of twelve different birds native to the South Pacific for the film.
In a topical decision, President Truman's Executive Order 9981 had ordered the U.S. Armed Forces to be fully integrated in 1948.


JAMES EDWARDS: Home of the Brave, 1949

James Richmond Barthé


James Richmond Barthé was a popular African-American sculptor associated with the Harlem Renaissance. He used his art as a means of working out internal conflicts related to race and sexuality.
Born on January 28, 1901, in Bay St. Louis, Mississippi, into a family of devout Roman Catholic Creoles, Barthé left home at sixteen to work as a houseboy for a wealthy and socially prominent New Orleans family.


In 1924, he moved to Chicago, where he took evening art classes at the Art Institute of Chicago and discovered his talent for sculpture. Only months before the stock market crash in 1929, Barthé moved to New York City. There he quickly made the acquaintance of many important artists, writers, patrons, and other intellectuals of the Harlem Renaissance.
Although he became renowned as a portraitist of celebrities in the worlds of art, theater, and dance, Barthé produced a variety of sculptures throughout his career. His three major themes are racial politics, religion, and eroticism.


Barthé's life and art were devoted to resolving internal conflicts resulting from the political pressures he felt as a black artist in New York, as a deeply spiritual person, and as a homosexual. His sculptures became the means through which he attempted to work out and work through these conflicts.



Although he has been labeled a New Negro Artist, Barthé did not fit in well with the New Negro philosophy as articulated by Alain Locke, the chief intellectual of the Harlem Renaissance. Barthé saw himself as set apart from those common black folk described so passionately in the writings of Langston Hughes and Zora Neale Hurston. Unlike many of his artistic and literary contemporaries, Barthé was not overtly political or activist in his promotion of the race, though racial issues frequently surface in his work.
In 1931, Barthé's solo exhibition in a New York gallery brought him to the attention of critics. His work expresses a range of emotions and experiences, from lynching as a social reality for blacks to the ephemerality and eroticism of dance.
Artistically, Barthé preferred traditional styles and methods. He was particularly inspired by Western classical notions of beauty and Michelangelo's idealization of the male nude. He coupled this interest with Rodinesque expressive compositions and a fascination with primitivism.


These qualities are particularly noticeable in his many images of dancing men and women. For Barthé, dance was an inexhaustible theme; he even took dance lessons with Mary Radin of the Martha Graham group soon after arriving in New York as a way to authenticate movement in his figures. In his images of males and females engaged in dance Barthé confronts and attempts to resolve his preoccupations with race, spirituality, and homoerotic desire. Many of the dancing
figures suggest the sculptor's ritualistic and erotic involvement with the single male or female
subject in motion.

In 1937, Barthé exhibited six dance figures at the "Dance International 1900-1937" exhibition held at Rockefeller Center: African Boy Dancing; Feral Benga; Kolombuan; The Lindy Hoppers; African Dancer; and Wetta. The exhibition was a critical triumph for the artist and all of his works were immensely popular with the public, especially his statue of Feral Benga, which was widely publicized.
African Dancer is especially interesting for its androgynous features: a masculinized face combined with large breasts and narrow hips. By using modern dance as a theme for his sculptures, Barthé hoped to engage contemporary ideas of expression, primitivism, and modernity.



Barthé was unique among African-American artists during the Harlem Renaissance in that he was the only one to exploit fully the black male nude for its political, racial, aesthetic, and erotic significance, as in Feral Benga and Stevedore. His homoeroticism is expressed in both Western mythological themes and in notions of the Africanized primitive.
Although Barthé remained closeted all his life, he entered an established network of gay men and women soon after his arrival in Harlem in 1929. His penchant for homoerotic themes was encouraged by his friends in New York's gay and artistic communities, which stretched across barriers of race, gender, and class.



Among his black friends and associates were Wallace Thurman, Claude McKay, Langston Hughes, Jimmie Daniels, Countee Cullen, and Harold Jackman. His white allies included Carl Van Vechten, Noel Sullivan, Charles Cullen, Lincoln Kirstein, Paul Cadmus, and Jared French.
The majority of Barthé's patrons were white and gay. They included notables such as Winifred Ellerman, who published under the pseudonym Bryher, Van Vechten, Lyle Saxon, and Edgar Kaufmann, Jr. His most important African-American supporters included his friend and one-time lover, Richard Bruce Nugent, as well as Alain Locke.


James Richmond Barthé
 (January 28, 1901 – March 5, 1989)