Hollyhock House at Barnsdall Art Park
Perched atop Olive Hill, the Hollyhock House stands as one of Frank Lloyd Wright’s most significant West Coast works and a UNESCO World Heritage Site. Built in the early 1920s for oil heiress Aline Barnsdall, the home represents Wright’s experimentation with blending architecture and environment, what he called “organic architecture.”

�þ��� explored the house’s Mayan Revival influences, geometric motifs and the iconic hollyhock flower design woven throughout the structure. The site offered a powerful introduction to how Los Angeles became a testing ground for architectural innovation, especially during a time when the city was rapidly expanding and redefining itself culturally.

Downtown Los Angeles: Layers of History and Movement
Traveling via the Los Angeles Metro, students experienced the city as Angelenos do, through its evolving public transit system, before diving into the heart of downtown.

Union Station – Opened in 1939, Union Station is often called the “Last of the Great Railway Stations.” Its architecture blends Spanish Colonial Revival, Mission Revival, and Art Deco styles, reflecting Los Angeles’s layered cultural identity. Inside, students observed the grandeur of its waiting rooms, tiled floors, and wooden beam ceilings, symbols of a bygone era when rail travel defined urban movement.

Angels Flight – Just a short walk away, Angels Flight, the world’s shortest railway, offered insight into the city’s early 20th-century infrastructure. Originally built in 1901, the funicular once transported residents up Bunker Hill, a neighborhood that has since undergone dramatic redevelopment. Its preservation speaks to ongoing efforts to maintain pieces of Los Angeles’ historic fabric amid modernization.

Los Angeles City Hall & Chinatown
At City Hall, students discussed civic architecture and governance, noting the building’s Art Deco style and symbolic prominence in the LA skyline. Nearby Chinatown provided a contrasting cultural lens, highlighting immigrant histories, urban displacement and the evolution of ethnic enclaves in Los Angeles.

Olvera Street
Often referred to as the birthplace of Los Angeles, Olvera Street immerses visitors in Mexican-American heritage. �þ��� explored its marketplace, murals and historic buildings while discussing the complexities of cultural preservation versus commercialization. The site reflects both celebration and simplification of heritage, an important conversation in art and public history.

Angelus Temple & Echo Park
In Echo Park, students visited Angelus Temple, a striking example of early 20th-century religious architecture and a cornerstone of the Foursquare Church movement founded by evangelist Aimee Semple McPherson. Built in 1923, the temple reflects a blend of revivalist architecture and emerging media-savvy religious practices, as McPherson was one of the first to use radio to reach a national audience.

The surrounding Echo Park neighborhood added another layer to the visit, offering insight into how communities evolve over time. Once a streetcar suburb, Echo Park has transformed into a culturally vibrant area shaped by waves of immigration, artistic communities, and, more recently, gentrification. Together, the site and neighborhood sparked discussion on the intersection of faith, media and urban change.

The Gamble House
In Pasadena, students visited the Gamble House, a masterpiece of the American Arts and Crafts movement designed by architects Charles Sumner Greene and Henry Mather Greene in 1908. Commissioned by the Procter & Gamble family, the home emphasizes craftsmanship, natural materials, and harmony with its surroundings.

�þ��� examined intricate woodwork, custom furnishings, and the intentional use of light and space—hallmarks of the Arts and Crafts philosophy, which emerged as a reaction against industrialization. The visit provided a striking contrast to Wright’s modernism, allowing students to compare different architectural responses to similar cultural shifts.

Looking ahead: Final excursions
As the semester continues, students will expand their exploration of the city’s artistic and architectural landscape with one final site visit.
The course will conclude with a visit to the Walt Disney Concert Hall, designed by renowned architect Frank Gehry. Celebrated for its sweeping stainless-steel forms and innovative acoustics, the building stands as a defining example of contemporary architecture in Los Angeles. Here, students will consider how modern design continues to push artistic and structural boundaries while shaping the city’s global cultural identity.

These excursions bring course themes to life, allowing students to critically engage with Los Angeles as a living museum. From early 20th-century architectural movements to the layered cultural histories embedded in downtown neighborhoods and beyond, each site offers a unique perspective on how art and environment shape one another.

By navigating the city firsthand, students not only deepen their understanding of art history but also develop a stronger connection to LA itself—its stories, its communities and its ever-evolving identity.

The immersive Study USA Los Angeles semester and summer experiences offer students opportunities for alumni engagement, community service, unique academic classes with industry professionals and site-based experiential learning. .

This event is sold out.

Journalist and bestselling author Frank Bruni will deliver the Elder Lecture on Thursday, April 9, at 6:30 p.m. in Whitley Auditorium.

Bruni is the author of five New York Times bestsellers including “The Age of Grievance,” a dive into why Americans are so angry. He makes the case that Americans conflate legitimate causes and petty complaints, creating a condition of constant self-victimization. People obsess over how they’ve been wronged and who to blame, which poses a threat to American democracy, rather than choosing to focus on civil, productive dialogue and constructive action.

“The Beauty of Dusk” is a memoir detailing Bruni’s adjustment to the sudden loss of vision in one eye and the acceptance of the reality that the same fate could befall the other at any moment. It earned rave reviews from people and publications including Oprah Winfrey, Katie Couric, People magazine, The New York Times and The Washington Post.

The first openly gay op-ed columnist at the Times, Bruni is a recipient of the National Lesbian and Gay Journalists Association’s Randy Shilts Award for his career-long contributions to the LGBTQ community and the GLAAD Media Award for Outstanding Newspaper Columnist. A Pulitzer Prize finalist in feature writing, he is the Eugene C. Patterson Professor of the Practice of Journalism and Public Policy at Duke University’s Sanford School of Public Policy.

That journey culminated on March 11, when the ensemble took the stage at Carnegie Hall for the first time in university history, performing as part of the New York Wind Band Festival. For the 51 student musicians, who represent majors from across the university, the moment carried both personal and collective significance.

“There is so much history at Carnegie Hall,” says Jonathan Poquette, Fletcher Moore Distinguished Emerging Scholar and director of bands. “The fact that we are now part of that history is quite remarkable.”

Months of preparation led to a program that reflected both technical precision and artistic ambition, including a piece by Associate Professor of Music Todd Coleman. But for students, the experience extended far beyond the performance itself.

“Being able to perform on such an iconic stage was truly extraordinary,” says Astrid Hughes ’27, a statistics major and clarinetist. “I have been playing the clarinet for around 10 years and have never been in such awe of a space I was performing in. The music we were able to create in that space is unlike anything I have ever done before. It was a product of all the hard work we put in as an ensemble.”

That sense of awe and accomplishment was shaped throughout the week by a series of experiences that deepened students’ understanding of what a life in the arts can look like.

The ensemble first performed at high schools in Delaware and Staten Island, sharing their music with younger students and building confidence ahead of their Carnegie Hall debut. For many in those audiences, it was their first time hearing a collegiate wind ensemble in person, an introduction that underscored the lasting role music can play beyond high school.

In New York, the learning continued in a different setting: Broadway.

�þ��� attended performances of “Aladdin” and “The Book of Mormon,” where they also connected with Elon alumni now performing on some of the world’s most prominent stages. After the shows, alumni welcomed students backstage, offering a glimpse into the professional world of theater.

Being able to perform on such an iconic stage was truly extraordinary. — Astrid Hughes ’27

Michael Callahan ’13 and Campy Rodriguez ’26 hosted students following a performance of “Aladdin,” sharing their journeys and leading a behind-the-scenes tour. Callahan, a swing who covers multiple roles and serves as dance and fight captain, and Rodriguez, making his Broadway debut, spoke about the discipline and versatility required to sustain a career in the arts.

“Getting to meet Michael and Campy made such a big city feel like a small world,” says Alana Driver ’27, a flutist. “It was inspiring to hear about their journeys and see how their experiences at Elon helped lead them to where they are now.”

Another group met ensemble cast member Andrew Stevens Purdy ’20 following a performance of “The Book of Mormon,” stepping onto the stage and seeing firsthand the complexity of a Broadway production — from props and lighting to the choreography happening just out of view.

Those moments helped students connect their own experiences at Elon with the paths forged by those who came before them.

“This was a collaborative event, and I am so proud of the students and all their hard work,” Poquette says. “They represented themselves, the band program, the Department of Music and the university with the highest level of professionalism and class.”

Beyond Broadway, the group explored the city between performances, taking in views from atop Rockefeller Center and interacting with composers and guest artists. Each moment added another layer to a trip designed not just to showcase talent, but to broaden perspective.

When the ensemble finally took the stage at Carnegie Hall, those layers came together in a defining moment. The performance ended with a standing ovation — a reflection not only of musical excellence, but of the journey that led there.

And long after the final note faded inside one of the world’s most storied concert halls, the experience itself continues to resonate as a reminder that at Elon, the path to extraordinary moments is built through both preparation and possibility

Inspired by real-world stories about the high-stakes race for valedictorian, student filmmakers and spent the past several years bringing to life “Valediction,” a feature-length film set to premiere on Wednesday, April 8, in .

A twisted coming-of-age comedy, this first-ever feature film by Elon �þ���s explores the dangers of apathy and obsession. The screening, scheduled from 7 to 9 p.m., will be followed by an informal reception.

“I think people should be excited for the screening because it’s the culmination of so many Elon students and faculty’s hard work over these past two and a half years,” said Martin, a strategic communications and cinema and television arts double major. “No matter your major, you will almost certainly see a familiar face or two onscreen or in the credits.”

What began as a concept rooted in academic pressure quickly expanded into a genre-bending, feature-length production – an uncommon scope for �þ��� filmmakers. Sherouse, a cinema and television arts BFA major, and Martin collaborated to develop an intricate story and cast of characters, ultimately committing to a longer format to fully realize their vision.

At the center of their story is Sam, played by , an isolated overachiever who fights her classmates tooth and nail for the title of valedictorian. The film draws inspiration from the competition surrounding academic achievement, a dynamic explored in Margaret Talbot’s 2005 New Yorker article that examines how the pursuit of valedictorian status can push students to extremes. Sherouse said he read the article years ago, and the subject stayed with him long after.

“To include everything we wanted in the story, it became clear to us that ‘Valediction’ had to be feature-length, rather than a short film like most Elon productions,” Sherouse said. “We knew it would be a long and arduous process, but worth it to bring this story to life.”

That extended scope also shaped how the story is told. A balance of satire and suspense drives the film’s tone, blending humor with unexpected twists.

“‘Valediction’ is simply a movie that’s meant to be seen by a large audience,” Sherouse said. “There are laughs, scares and shocking turns – a whole emotional rollercoaster that’s best experienced with friends. I guarantee there are some twists you won’t see coming.”

As the premiere approaches, the scale of that effort is giving way to reflection.

Martin expressed pride in what the team accomplished and excitement to share the finished film, while Sherouse acknowledged the mix of anticipation and nerves that comes with completing a nearly three-year creative process.

Produced through , “Valediction” drew on support from faculty across campus.

Assistant Professor of Cinema and Television Arts Kai Swanson served as the project’s primary faculty sponsor, while Director of Technology, Operations and Multimedia Projects Bryan Baker and Assistant Professor of Cinema and Television Arts Youssef Osman provided mentorship and feedback throughout development and production. Baker also assisted with securing equipment for principal photography.

Faculty also stepped into the story itself. Several faculty members appear in the film, including Assistant Professor of Journalism Israel Balderas, Assistant Professor of Classical Languages Tedd Wimperis, Associate Professor of English Scott Proudfit and former journalism professor Susan Ladd – many trying their hand at acting for the first time.

Several mentors praised the students’ ambition and execution in bringing a feature-length film to the screen.

“I had the chance to see a rough cut and was very impressed with their ability, passion and perseverance in completing an entire feature film on their own,” Osman said. “The film is a fun, highly stylized and engaging dark comedy.”

Swanson noted that the project originated as a student pitch and has grown into ESTV’s first made-for-TV movie.

“The students have put an incredible amount of work into this project, from development through production and post,” Swanson said. “It’s a great example of the kind of ambitious, long-form work students are starting to pursue.”

Credits

Roof Rat Productions (creative team)

• Talula Martin – co-director, co-writer, producer, actress
• Hammond Sherouse – co-director, co-writer
• Althea Muldrew – producer
• Katharyn MacDonald – lead actress, associate producer

Crew

• JJ Duckworth – production sound mixer, actor
• Karter Evans – makeup artist
• Lauren Nesbit – costume designer
• Gabi Emerson & B Underhill-Reed – composers

Cast

• Katharyn MacDonald – Sam
• Hope Hynes Love – Eliza (Sam’s mother)
• Jeff Alguire – Dr. Whistler (Sam’s father)
• Grace Minton – Deidre (Sam’s friend)
• JJ Duckworth – Ben (politician)
• Monty Lewis – Henry (student reporter)
• Amelia Brinson – Abe (theater kid)
• Graham Boggess – Nate (jock)
• Ryan Voisard – Charlie (stranger)
• Susan Ladd – Mrs. Garden (psychology teacher)
• Hank Heimlich – Seth (theater kid)
• Talula Martin – Jeremy (theater kid)
• J. Israel Balderas – Mr. Haruspex (principal)
• Jackson Bennett – Patrick (student reporter)
• Maverick Powell – Nora (student reporter)
• Rose Fyffe – Sarah (theater kid)
• Tedd Wimperis – Dr. Franklin (scientist)
• Wrigley Koch – Ms. Burnesse (guidance counselor)
• Scott Proudfit – Dr. Miles (scientist)

The panel was led by Elon faculty members Ifeoma Udeh, Titch Madzima, Sandra Darfour-Oduro, Sheila Otieno and Mussa Idris. Each speaker contributed unique perspectives shaped by their research, professional backgrounds, and personal experiences, offering attendees a multifaceted view of contemporary issues affecting African nations. Throughout the event, the panelists addressed a series of thought-provoking questions that guided the discussion. “Which issues in Africa have most influenced your research? allowing each speaker to reflect on the driving forces behind their academic work.

Healthcare, trade, culture and religion in African countries were the major focus of discussion. Panelists emphasized the importance of the African Continental Free Trade among African countries. They also acknowledged the surge in non-communicable diseases and discussed promoting health education, investing in healthcare, and expanding access to medical care in Africa.

Religion and culture were explored as a powerful social force, particularly in response to the question, “Can religion be leveraged as a tool for social and health promotion in Africa and how?” Panelists discussed how religious institutions often serve as trusted community hubs and can play a significant role in disseminating information, encouraging positive behavioral changes and fostering social cohesion.

Finally, the discussion concluded on an optimistic note with the question, “What gives you the most hope about Africa’s future?” Panelists pointed to many different things that gave them hope, but among them were the continent’s rapidly growing youth population, increasing innovation and expanding opportunities as key sources of hope. They emphasized the resilience and creativity of African communities, as well as the potential for continued growth and global influence. The event was moderated by Salome Onikolase and Mariama Jalloh.

In addition to the academic discussion, attendees were treated to a traditional Ghanaian meal, which added a meaningful cultural dimension to the event. Sharing food created a welcoming atmosphere and allowed participants to experience a tangible aspect of African culture, reinforcing the event’s goal of connection and understanding. The event was made possible through the support of Associate Provost for Academic Inclusive Excellence Naeemah Clark, Dean of Global Education Nick Gozick, the Isabella Cannon Global Education Center at Elon, and Beth DeFord, program assistant.

In preparation, students from the Center for Design Thinking have been working alongside Power + Place storytellers to mentor youth in Robert Alvis’ Civic Literacy course at Walter Williams High School.

In addition, students from Professor Deidre Yancey’s “Leadership Theories” class have been preparing to facilitate conversations around leadership and changemaking for community attendees.

The American Queen is a North Carolina Reads 2025 pick from the North Carolina Humanities NC Center. The book is based on the true story of Louella and William Montgomery, two freed slaves who became the self-proclaimed king and queen of the Kingdom of Happy Land nestled in the Blue Ridge Mountains of western NC.

Alamance Reads is funded by the Friends of the Alamance County Public Libraries, a nonprofit that raises money through annual book sales to support all programming initiatives, including the Zoom Pass program, the Lucky Day collection, the Seed Library, book club kits, educational resource kits and downloadable electronic content.

To help make these connections possible, the Center for Design Thinking and the Power+Place Collaborative were awarded $20,000 from the North Carolina Humanities Awards Large Project Grant. The grant, entitled “Storying Home: Cultivating Cross-Cultural Connections through Storytelling,” supports civic storytelling efforts across the county. The goals are to connect people to different ideas in their local communities and encourage a deeper understanding of the importance of conversation between different generations and backgrounds.

After several years of self-publication, Associate Professor of Music and Director of Choral Activities Stephen Futrell’s arrangement of Freddie Mercury’s “Golden Boy” has now been officially published through Hal Leonard publications.

“I am honored and extremely pleased that this has been accepted for publication,” said Futrell.

The song “Golden Boy” is featured on Freddie Mercury’s album “Barcelona.” Futrell’s arrangement is now published and available on several sites, such as sheetmusicplus.com, sheetmusicdirect.com and noteflight.com.

A live recording of the arrangement with Futrell as solo vocalist, along with his UMKC vocal coach Anne De Launay, at a concert honoring Eph Ehly’s retirement from University of Missouri Kansas City can be viewed online:.

The performance, held in a concert hall regarded as one of the most prestigious stages in classical music, was the culmination of months of practice by the musicians and faculty.

For ensemble members, the opportunity to perform in the same venue as well-known musicians such as Frank Sinatra, Bob Dylan and Etta James was both an honor and milestone.

“There is so much history at Carnegie Hall and the fact that we are now part of that history, is quite remarkable,” said Jonathan Poquette, Fletcher Moore Distinguished Emerging Scholar and director of bands. “I am truly grateful for all that the students, community and university have done to make this possible. It still doesn’t feel real.”

The program featured five pieces, including “The Arc of the Helios and the Celestial Dial” composed by Associate Professor Todd Coleman. Another performance piece was “Unfrettered” by composer Jim Stephenson, who attended the performance.

The Wind Ensemble performance concluded the 24th Annual New York Wind Band Festival. Poquette said he enjoyed seeing the students’ excitement and sense of pride before, during and after the performance.

“While we were performing, I was trying to remain in the moment,” he said. “Then the emotions shifted to a sense of pride for the students, and joy for all of their work.”

For many of the student performers, the trip to New York City and the chance to perform at Carnegie Hall was a once-in-a-lifetime experience and a defining moment in their college career.

Reflections from student performers: 

• “Being able to perform on such an iconic stage was truly extraordinary. I have been playing the clarinet for around 10 years and have never been in such awe of a space I was performing in. The music we were able to create in that space is unlike anything I have ever done before. It was a product of all the hard work we put in as an ensemble.” – Astrid Hughes ‘27, a statistics major from Long Valley, New Jersey
• “It means the world that I was able to end my college band career with such an incredible performance playing on a Carnegie Hall Steinway & Sons grand piano. I remember standing backstage and seeing a schedule for those working the event and ‘piano tuning’’ was scheduled before the concert started. At that moment, it really hit me that I would be playing on a near perfect piano for possibly the only time in my life. I will remember the look at Dr. Poquette’s face when we finished playing our last piece, “Machu Picchu.” I played my last chord, looked at the piano, then looked at him, and I have never seen such a huge smile on his face. I felt so proud of us for our performance in that moment.” – Faith Almond ‘26, a creative writing major from Apex, North Carolina
• “It was so special to play at Carnegie Hall with my best friends. The moment I will remember most is when we finished our last song on Carnegie stage and the audience gave us a standing ovation; it was very emotional. I will cherish this trip forever.” – Chloe Hyatt ‘27, a secondary English education major from Ann Arbor, Michigan
• “I have never played on a stage as world renowned as Carnegie Hall and to be in New York City for the first time and play trumpet is such a wonderful experience. I am so grateful to Elon for this experience.” – Andrew Pipeling ‘29, an applied mathematics and music performance major from Durham, North Carolina

• “It means a lot to me to have the opportunity to play at Carnegie Hall. I played in a small band in high school and Dr. Poquette was my trumpet teacher so getting to go to New York City and play with somebody who was such a big mentor figure is such an honor. I visited Carnegie Hall last summer and loved it so much, but I had no idea that I would have the opportunity to pay there.” – Kalyn Faille ‘29, a history, political science and music in the liberal arts major from Burlington, North Carolina

Inspiring Young Musicians

While on the trip, the ensemble also shared its music with younger musicians through performances at Middletown High School in Delaware and Susan E. Wagner High School in Staten Island, New York.

“Having the opportunity to perform at these high schools was a tremendous benefit for the ensemble,” Poquette said. “Not only did it allow us to continue refining our performance, but it gave our students confidence before they took the stage at Carnegie Hall, while building relationships with colleagues in other parts of the country.”

The visits provided the Wind Ensemble an opportunity to perform for student audiences and connect with high school band programs.

“A lot of my students have never seen or heard a professional wind ensemble in person,” said Emily Poll, the band director at Middletown High School. “To be able to experience the quality of sound and dedication to the craft was truly a special experience for my students. They were able to see that you can still play in band post-graduation from high school and that music can only keep growing in your life.”

The high school students appreciated having the Wind Ensemble on their own stage and were in are of the power and sound during the performance, Poll said.

“This opportunity is a great way to promote arts education and the value of wind ensembles at both the collegiate and K-12 levels,” Poll said. “The collaboration between college students and high school students allows both parties to grow as musicians and is the most exciting part about being in the field.”

While in New York City, the ensemble also visited Top of the Rock at Rockefeller Center, attended a Broadway show and interacted with composers and guest soloists.

“This was a collaborative event, and I am so proud of the students and all their hard work,” Poquette said. “They represented themselves, the band program, the Department of Music and the university with the highest level of professionalism and class.”

While in the city, the ensemble also had the opportunity to meet with Elon alumni currently performing on Broadway.

During the week, students attended performances of “Aladdin” and “The Book of Mormon.” Alumni currently performing in the productions took time to meet with the students after the shows to share stories of their experiences on Broadway.

Michael Callahan ‘13 and Campy Rodriguez ‘26 welcomed one group of students following the March 10 performance of “Aladdin” for photos and a backstage tour. Callahan is cast as a swing — covering multiple ensemble roles, dance captain, fight captain and understudy to Iago and Omar. Rodriguez is making his Broadway debut as a henchman, ensemble member and understudy to Aladdin.

Callahan and Rodriguez gave the students a behind-the-scenes tour of the theatre, offering students a rare look backstage at the production. �þ��� were able to see props and technical elements used in the show and learn more about what it takes to bring the Broadway production to life each show.

“Getting to meet Michael and Campy made such a big city feel like a small world, knowing I had an Elon connection to people doing such amazing things on Broadway,” said Alana Driver ‘27, a flutist in the Wind Ensemble. “It was inspiring to hear about their journeys and see how their experiences at Elon helped lead them to where they are now. … Standing on the stage and realizing Elon alumni are part of what makes those productions possible was incredibly meaningful.”

Andrew Stevens Purdy ‘20 invited another group of students onto the stage for a photo following a March 10 performance of “The Book of Mormon” where he is making his Broadway debut in the ensemble cast.

“Meeting an Elon alumni on Broadway showed me that with hard work and perseverance, you can achieve the seemingly unattainable goals you set for yourself,” said Ian Wong ‘28, a flutist in the Wind Ensemble. “At one point, he was in the exact position I am in now — a first-year student at Elon, striving to work hard and make a name for myself. Being able to go backstage and walk on a Broadway stage was an incredible experience. Seeing first-hand the complexity of the props, lighting and all the details that go into making a show run smoothly was really eye-opening.”

The Broadway shows were one of several experiences the Wind Ensemble enjoyed during their trip in New York City, culminating in their performance at Carnegie Hall, the first time an Elon ensemble has performed at the venue.

The alumni were excited for the opportunity to meet current Elon students and share a part of their world with them.

“I had a wonderful time meeting this group of Elon students and, hopefully, helped them bridge the gap between dream and reality in some small way,” Callahan said. “I remember the Elon alumni who were, and still are, resources for me as I graduated and pursued a career in New York City. I’m honored to pay it forward.”

The little-known history of Greensboro, North Carolina’s 1938 movie theater boycott protesting Jim Crow censorship was the topic of a March 6 public talk by Assistant Professor of Journalism Lorraine Ahearn at the city’s

The event at the museum, site of the pivotal Woolworth sit-in protests of 1960, also featured a presentation on North Carolina’s first commercially produced movie, 1948’s “Pitch a Boogie Woogie.” Veteran Associated Press reporter Skip Foreman talked about the once-lost featurette and the role his father, Tom Foreman, Sr., played in the all-Black cast.

“These two events expand our understanding of film history and the long journey of screen representation of African Americans,” Ahearn said. “They reveal Black people in North Carolina both resisting and negotiating Jim Crow conventions during two decades not often emphasized in this struggle.”

In 1938, students at Greensboro’s Bennett College for Women, an HBCU, organized a community boycott of white movie theaters. The students discovered that white exhibitors in the South were censoring out scenes casting Black performers on an equal social footing with whites, violating Jim Crow-era typecasting that relegated Black actors to subservient or comic stereotypes. The Black press was instrumental in covering the months-long boycott.

Ahearn first wrote about the forgotten incident as a newspaper reporter, then extended the research as a chapter in a scholarly anthology edited by Naeemah Clark, Elon’s Associate Provost for Academic Inclusive Excellence.

“The ‘38 boycott is noteworthy on a couple of counts,” Ahearn said. “For one, it comes a whole generation before Woolworth’s, lengthening the timeline of direct action initiated — once again — by college students. Equally important, the movie boycott turned not on the issue of where Black people were physically allowed to sit or eat, but on how Black people were allowed to be depicted to white audiences in the most powerful new medium of the time, Hollywood movies.”

A decade later, “Pitch a Boogie Woogie,” captured the disappearing genre of tented Black vaudeville and traveling minstrel shows in a complex post-war era of social and musical evolution. Black actors, musicians and dancers played all the parts in the short movie a white Greenville producer made exclusively for Black audiences and scored by the popular Greensboro band The Rhythm Vets. The band members were veterans of the World War II-era US Navy B-1 Band, among the first African Americans to hold Navy ranks above that of mess officer.