Thank you! The colorism thing was definitely a factor. Henry L. Gates mentions the idea of a "bridge Negro" during those early days of the movement. Some held the idea that whites would only accept other Black people if someone who kinda looked like them were advanced. Belafonte had two white grandparents, which made him a bridge candidate.

But there were two sides to this, as Belafonte himself pointed out at some point. The films that made Sidney Poitier a star required someone who was unmistakably black, not mixed as Belafonte was.

It all seems odd today, some 60 years on. And yet...

I really appreciate your taking the time to read my article and adding your thoughtful remarks. Thanks again.