The thrill of Sugar Hill
Black entertainers not only revived West Adams—they challenged racist covenants and laid the groundwork for the Fair Housing ActNobody threw a party like Hattie McDaniel. In her white and green Mediterranean mansion high atop the Los Angeles neighborhood of Sugar Hill, McDaniel, dressed in the latest fashion, hosted evening salons that brought together some of the greatest entertainers of the 20th century.
“The best of black show business performed within the walls of 2203 South Harvard,” McDaniel’s biographer Jill Watts writes. “Duke Ellington, Cab Calloway, and Count Basie all played there. Ethel Waters sang and Butterfly McQueen did dramatic recitations. On many evenings, McDaniel herself joined in. It was private and intimate, but it was also independent and unfettered, free of white interference.”
The daughter of two former slaves, the multi-talented McDaniel had moved into the rambling mansion in the early 1940s. “She had the most exquisite house I had ever seen in my life, the best of everything,” entertainment legend Lena Horne recalled.
The property boasted endless porches, a beautiful, large backyard, and a basement that McDaniel converted to an air raid shelter. The public rooms were delicately appointed, painted in light colors, and decorated with French provincial ivory furniture. McDaniel’s eclectic passions and achievements were on full display—her white grand piano, her collection of books on African-American art and history, her doll collection.
And on the fireplace mantle, the best supporting actress Oscar she had won for playing Mammy in Gone with the Wind. “I’m a fine black Mammy [on screen],” McDaniel told Horne. “But I’m Hattie McDaniel in my house.”
While McDaniel was the undisputed queen of WWII-era Sugar Hill, the neighborhood had enjoyed a long and storied history before her arrival. When it was laid out in 1902, the hilly area was called West Adams Heights.
“In the unplanned early-day chaos of Los Angeles, West Adams Heights was obviously something very special,” Carey McWilliams wrote in 1949, “an island in an ocean of bungalows—approachable, but withdrawn and reclusive.”
On South Harvard Boulevard, the most prominent families built Craftsman and Victorian mansions that put most LA structures of the time to shame.
New homeowners, made up of the solidifying white upper class of boomtown Los Angeles, were required to sign racially restrictive covenants as part of the deed to their properties, promising to never sell to African Americans. These covenants were prevalent throughout Los Angeles (and all of America) during the early 20th century, a reaction to increasing black mobility. Covenants were the reason that African-American life in LA centered around Central Avenue during the first half of the 20th century; it was one of the few places in Los Angeles that black people were legally allowed to live.
During the 1910s and ’20s, West Adams Heights saw its status as one of the premier addresses in Los Angeles decline. There was an exodus westward to new tony neighborhoods like Beverly Hills. With the coming of the Depression, many of the remaining West Adams Heights homeowners were forced to sell their homes. In need of cash, they were willing to sell to anyone who could pay, regardless of what their deeds said.
Sensing an opportunity to establish a new foothold for the numerous middle class and affluent members of the black community, social leaders started to buy homes in West Adams Heights.