Roy Orbison and Friends: A Black and White Night is a 1988 Cinemax television special originally broadcast on January 3, 1988, starring triple Hall of Fame inductee (Rock and Roll Hall of Fame, Nashville Songwriters Hall of Fame and Songwriters Hall of Fame) rock/pop singer/songwriter Roy Orbison and backing band TCB Band with special guests including Bruce Springsteen, k.d. lang and others. The special was filmed entirely in black and white. After the broadcast the concert was released on VHS and Laserdisc. A live album was released in 1989.
Film On Dvd White Nights Night 3
The special consisted of a performance of many of Orbison's hits at the then Ambassador Hotel's Coconut Grove nightclub in Los Angeles, filmed on September 30, 1987, approximately fourteen months before his death. Three songs, "Blue Bayou", "Claudette", and "Blue Angel", were filmed but not included in the original broadcast due to time constraints.
From 1930 to 1956, the movie industry's self-imposed regulation, the Production Code, banned the depiction of "sex relationships between the white and black races" on screen. In 1998, a cover story published in Jet magazine, wondered whether it was "still Taboo for Blacks and Whites to Kiss in Movies?" The numerous films depicting interracial romances on screen, quoted in the article indeed seemed to indicate that the topic was no longer a taboo. Yet, notwithstanding the connotations of the titles of the feature films quoted in the magazine, White Nights (1985), Angel Heart (1987), Harlem Nights (1989), Jungle Fever (1991), The Bodyguard (1992), Virtuosity (1995), Bad Company (1995), One Night Stand (1997) and The Rich Man's Wife (1997), out of all these dramas and thrillers, only Jungle Fever puts its interracial couple at the center of the film's subplot (Santaolalla 151). In the other films, the couples are simply interracial.
Interracial romance may be more common to independent films, such as Something New (2005), than in Hollywood feature films. Film historian Donald Bogle credits Hollywood's "soft-pedal" safeguards on the issue to reception concerns for mainstream white audiences. But he also claims that African American viewers "don't want to see an interracial romance that isn't really explained to" them. (1)
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