The Letters of Cole Porter
Page 74
61. Reproduced in Eells, The Life that Late He Led, 314.
62. Marked ‘Night Letter’. Stanford University, Cole Porter Collection, shelfmark FE209, Correspondence: 1960 (on Waldorf stationery), 1–20.
63. Ibid (on 416 N. Rockingham stationery).
64. Lieberson Papers, Yale University.
65. CPT, Correspondence 1960. Written from N. Rockingham.
66. Ibid.
67. Stanford University, Cole Porter Collection, shelfmark FE209, Correspondence: 1960 (on 416 N. Rockingham stationery), 1–20.
68. Stanford University, Cole Porter Collection, shelfmark FE209, Correspondence: 1960 (on Waldorf stationery), 1–20.
69. Ibid.
70. Letter of 26 November 1960 from Sam Stark to Madeline P. Smith. Stanford University, Cole Porter Collection, shelfmark FE209, Correspondence: 1960, 1–20.
71. Letter of 1 December 1960 from Madeline P. Smith to Sam Stark. Stanford University, Cole Porter Collection, shelfmark FE209, Correspondence: 1960 (on Waldorf stationery), 1–20.
72. Stanford University, Cole Porter Collection, shelfmark FE209, Correspondence: 1960 (on Waldorf stationery), 1–20.
73. Letter of 6 January 1961 from Madeline P. Smith to Sam Stark. Stanford University, Cole Porter Collection, shelfmark FE209, Correspondence: 1961 (on Waldorf stationery), 1–21.
74. CPT, Correspondence 1961.
75. Stanford University, Cole Porter Collection, shelfmark FE209, Correspondence: 1961 (on Waldorf stationery), 1–21.
76. Ibid.
77. Ibid.
78. Ibid.
79. Ibid.
80. Letter of 13 July 1961 from Madeline P. Smith to Harriette and Sam Stark. Stanford University, Cole Porter Collection, shelfmark FE209, Correspondence: 1961 (on Waldorf stationery), 1–21.
81. CPT, Correspondence 1961.
82. George Eells Collection, USC, folder 5, Cole Porter research.
83. The Bearss family connection is discussed in chapter 1. A photograph of the hotel can be seen at https://indianaalbum.pastperfectonline.com/photo/3868198B-3D63-46D7-9805-549618767485 (accessed 11 September 2018).
84. Letter of 28 July 1961 from Madeline P. Smith to Sam Stark. Stanford University, Cole Porter Collection, shelfmark FE209, Correspondence: 1961, 1–21.
85. Schubertiade music. https://www.schubertiademusic.com/items/details/14466-porter-cole-four-short-typed-letters-signed-to-doc-sirmay (accessed 8 August 2018).
86. Richard Lewine Papers, NYPL, *T-Mss 2006-008, Box 1.
87. Richard Lewine and Alfred Simon, Encyclopedia of Theatre Music (New York, 1961).
88. CPT, Correspondence 1961.
89. Letter of 14 December 1961 from Madeline P. Smith to Sam and Harriette Stark. Stanford University, Cole Porter Collection, shelfmark FE209, Correspondence: 1961, 1–20.
90. Letter of 15 December 1961 from Lew Kesler to Harriette and Sam Stark (Buxton Hill stationery). Stanford University, Cole Porter Collection, shelfmark FE209, Correspondence: 1961, 1–21.
91. Letter of 26 January 1962 from Madeline P. Smith to Sam Stark. Stanford University, Cole Porter Collection, shelfmark FE209, Correspondence: 1962, 1–22.
92. Copy in a private collection.
93. Stanford University, Cole Porter Collection, shelfmark FE209, Correspondence: 1962, 1–22.
94. Ibid.
95. Letter of 24 August 1962 from Madeline P. Smith to Harriette and Sam Stark. Stanford University, Cole Porter Collection, shelfmark FE209, Correspondence: 1962 (on Waldorf stationery), 1–22.
96. Letter of 25 August 1962 from Margaret Egan to Harriette and Sam Stark. Stanford University, Cole Porter Collection, shelfmark FE209, Correspondence: 1962, 1–22.
97. Sent from 416 N. Rockingham, LA. https://www.ebay.com/itm/COLE-PORTER-TYPED-LETTER-SIGNED-10-13-1962/282714521873?hash=item41d3194111:g:v9AAAOSwXaRZ947e (accessed 31 October 2017).
98. CPT, Correspondence 1962.
99. Margaret Herrick Library, George Cukor Collection, Box 854 (on Waldorf stationery).
100. Letter of 24 December 1962 from Madeline P. Smith to Harriette and Sam Stark. Stanford University, Cole Porter Collection, shelfmark FE209, Correspondence: 1962, 1–22.
101. Letter of 4 January 1963 from Madeline P. Smith to Sam Stark. Stanford University, Cole Porter Collection, shelfmark FE209, Correspondence: 1963, 1–23.
102. Letter of 11 April 1963 from Madeline P. Smith to Sam Stark. Stanford University, Cole Porter Collection, shelfmark FE209, Correspondence: 1963, 1–23.
103. Letter of 10 May 1963 from Madeline P. Smith to Sam Stark. Ibid.
104. Stanford University, Cole Porter Collection, shelfmark FE209, Correspondence: 1963, 1–23.
105. Irving Berlin Collection, LC (handwritten on Waldorf stationery).
106. Stanford University, Cole Porter Collection, shelfmark FE209, Correspondence: 1963, 1–23.
107. Ibid.
108. Letter of 2 August 1963 from Margaret Egan to Sam and Harriette Stark. Stanford University, Cole Porter Collection, shelfmark FE209, Correspondence: 1963, 1–23.
109. Stanford University, Cole Porter Collection, shelfmark FE209, Correspondence: 1963, 1–23.
110. Letter of 5 January 1964 from Smith to Stark. Stanford University, Cole Porter Collection, shelfmark FE209, Correspondence: 1964, 1–23.
111. Stanford University, Cole Porter Collection, shelfmark FE209, Correspondence: 1964, 1–23.
112. Letter of 17 March 1964 from Irving Berlin to Porter. CPT, Correspondence 1964.
113. Letter of 11 March 1964 from Irving Berlin to Cole Porter. Irving Berlin Collection, LC.
114. Source (both letters): Berlin Collection, LC.
115. Stanford University, Cole Porter Collection, shelfmark FE209, Correspondence: 1964, 1–23.
116. Ibid.
117. Jean Howard Papers, AHC, Box 6.
118. Stanford University, Cole Porter Collection, shelfmark FE209, Correspondence: 1964, 1–23.
119. Jean Howard Papers, AHC, Box 6.
120. Stanford University, Cole Porter Collection, shelfmark FE209, Correspondence: 1964, 1–23 (carbon copy).
121. Letter of 20 August 1964 from Madeline P. Smith to Sam Stark. Stanford University, Cole Porter Collection, shelfmark FE209, Correspondence: 1964 (on Waldorf stationery), 1–23.
122. Letter of 25 August 1964: Margaret Egan to Harriette and Sam Stark. Stanford University, Cole Porter Collection, shelfmark FE209, Correspondence: 1964, 1–23.
123. Letter of 14 October 1964 from Stanley Musgrove to Sam Stark. Ibid.
124. Stanford University, Cole Porter Collection, shelfmark FE209, Correspondence: 1964, 1–23.
125. Jean Howard Papers, AHC, Box 6.
SELECTED BIBLIOGRAPHY
Block, Geoffrey. Enchanted Evenings: The Broadway Musical from “Show Boat” to Sondheim and Lloyd Weber, second edition (New York: Oxford University Press, 2009)
Citron, Stephen. Noel & Cole: The Sophisticates (New York: Oxford University Press, 1993)
Eells, George. The Life that Late He Led: A Biography of Cole Porter (New York: G. P. Putnam’s Sons, 1967)
Ewen, David. The Cole Porter Story (New York: Holt, Rinehart and Winston, 1965)
Furia, Philip. The Poets of Tin Pan Alley: A History of America’s Great Lyricists (New York: Oxford University Press, 1992)
Gill, Brendan. Cole: A Biographical Essay (London: Joseph, 1972)
Grafton, David. Red, Hot & Rich!: An Oral History of Cole Porter (New York: Stein and Day, 1987)
Hischak, Thomas S. The Oxford Companion to the American Musical (New York: Oxford University Press, 2008)
Howard, Jean. Travels with Cole Porter (New York: Abrams, 1991)
Hubler, Richard G. The Cole Porter Story, as Told to Richard G. Hubler (Cleveland: World Publishing Co., 1965)
Kimball, Robert. The Complete Lyrics of Cole Porter (New York: Alfred A. Knopf, 1983)
Kimball, Robert. “Cole Porter”. You’re the Top: Cole Porter in the 1930s (Indianapolis: Indiana Historical Societ
y, 1992)
Kimball, Robert and Brendan Gill. Cole (New York: Dell, 1971)
Krasker, Tommy and Robert Kimball. Catalog of the American Musical: Musicals of Irving Berlin, George and Ira Gershwin, Cole Porter, Richard Rodgers and Lorenz Hart (Washington, DC: National Institute for Opera and Musical Theater, 1988)
McBrien, William. Cole Porter: A Definitive Biography (New York: Alfred A. Knopf, 1998)
Morella, Joe and George Mazzei. Genius and Lust: The Creativity and Sexuality of Cole Porter and Noel Coward (London: Robson Books, 1996)
Randel, Don M., Matthew Shaftel and Susan Forscher Weiss, eds. A Cole Porter Companion (Urbana: University of Illinois Press, 2016)
Rimler, Walter. A Cole Porter Discography (San Francisco: Sylvan, 1995)
Salsini, Paul. Cole Porter: Twentieth Century Composer of Popular Songs (Charlotteville, NY: SamHar Press, 1972)
Schwartz, Charles. Cole Porter: A Biography (New York: Da Capo Press, 1977)
Wilder, Alec. American Popular Song: The Great Innovators 1900–1950 (New York: Oxford University Press, 1972)
INDEX
1-2-3 Club, (i), (ii)
Abbott, George, (i), (ii), (iii), (iv)
Abercrombie, Dr Daniel Webster, (i), (ii), (iii)
Abravanel, Maurice, (i)
Academy Awards, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x)
Acheson, Dean, (i)
Adair, Yvonne, (i), (ii), (iii), (iv)
Adam’s Rib, (i), (ii), (iii), (iv)
Adios Argentina, (i), (ii), (iii), (iv), (v)
Aladdin, (i), (ii), (iii)
Alba, Duke of, (i), (ii), (iii), (iv), (v)
Alberghetti, Anna Maria, (i)
Alfonso XIII, King of Spain, (i)
All About Eve, (i), (ii), (iii)
‘All of You’, (i)
Ameche, Don, (i), (ii)
Anderson, John Murray, (i), (ii)
Anderson Galleries, (i)
Anything Goes
Broadway show (1934 and revivals), (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x), (xi), (xii), (xiii), (xiv), (xv), (xvi), (xvii), (xviii), (xix), (xx), (xxi), (xxii),
movie (1956), (i), (ii), (iii)
television version (1950), (i)
television version (1954), (i)
Armstrong, Louis, (i), (ii), (iii), (iv)
Armstrong, Paul, (i), (ii), (iii), (iv), (v)
Armstrong, Roger, (i)
Around the World (Porter musical), (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x), (xi), (xii), (xiii)
Around the World in Eighty Days (movie), (i)
Ashley, Sylvia, (i), (ii), (iii), (iv), (v), (vi), (vii)
Astaire, Fred, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x), (xi), (xii), (xiii), (xiv), (xv), (xvi), (xvii), (xviii), (xix), (xx), (xxi), (xxii), (xxiii), (xxiv), (xxv), (xxvi), (xxvii), (xxviii), (xxix)
Astaire, Phyllis, (i), (ii), (iii)
Astor, Alice, (i), (ii)
Astor, Mary, (i)
Astor, Vincent, (i), (ii), (iii)
As Thousands Cheer, (i), (ii), (iii)
Atkinson, Brooks, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii)
‘At Long Last Love’, (i), (ii)
Ayers, Lemuel, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix)
Bacall, Lauren, (i), (ii)
Baker, Phil, (i)
Ball, Lucille, (i), (ii)
Ballets Russes, (i), (ii), (iii), (iv), (v), (vi)
Ballets Suédois, (i)
Bankhead, Tallulah, (i), (ii)
Barclift, Nelson, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x), (xi), (xii), (xiii), (xiv), (xv)
Barrymore, John, (i)
Baz, Ben, (i), (ii)
‘Be a Clown’, (i), (ii)
‘Bearded Lady’, (i)
Bearss, Lou, (i), (ii), (iii), (iv), (v)
Beebe, Lucius, (i)
‘Begin the Beguine’, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x), (xi), (xii), (xiii), (xiv), (xv), (xvi)
Behrman, S. N., (i)
Benchley, Bob, (i), (ii)
Bennett, Robert Russell, (i), (ii), (iii)
Benson, Sir Rex, (i)
Berenson, Bernard, (i), (ii), (iii), (iv), (v), (vi), (vii)
Berkeley Square, (i), (ii), (iii)
Berlin, Ellin, (i), (ii), (iii), (iv)
Berlin, Irving, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x), (xi), (xii), (xiii), (xiv), (xv), (xvi), (xvii), (xviii), (xix), (xx), (xxi), (xxii), (xxiii), (xxiv), (xxv), (xxvi), (xxvii), (xxviii), (xxix), (xxx), (xxxi), (xxxii), (xxxiii), (xxxiv), (xxxv), (xxxvi)
Bernstein, Leonard, (i), (ii), (iii), (iv), (v)
‘Bianca’, (i), (ii)
Bismarck, Otto, (i)
‘Blow, Gabriel, Blow’, (i), (ii), (iii), (iv), (v)
Bocher, Main see Mainbocher
Boland, Mary, (i), (ii), (iii)
Bolger, Ray, (i), (ii), (iii)
Bolton, Guy, (i), (ii)
Bordoni, Irene, (i), (ii), (iii), (iv), (v)
Born to Dance, (i), (ii), (iii), (iv), (v), (vi)
Boston, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x), (xi), (xii), (xiii), (xiv), (xv), (xvi), (xvii), (xviii), (xix), (xx), (xxi), (xxii), (xxiii), (xxiv), (xxv), (xxvi), (xxvii), (xxviii), (xxix), (xxx), (xxxi)
Boston Pops Orchestra, (i), (ii), (iii)
Boy Meets Girl, (i), (ii)
Bray, Robert, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x), (xi), (xii), (xiii), (xiv), (xv), (xvi), (xvii), (xviii), (xix), (xx), (xxi), (xxii), (xxiii), (xxiv), (xxv), (xxvi), (xxvii), (xxviii), (xxix), (xxx), (xxxi), (xxxii)
Brent, Romney, (i), (ii)
Brice, Fanny, (i), (ii), (iii), (iv), (v), (vi), (vii)
Bricktop (Ada Smith), (i), (ii)
Broadway Melody of 1940, (i), (ii), (iii)
Broadway Theatre, New York, (i)
Browning, Elizabeth Barrett, (i)
Browning, Robert, (i), (ii)
Bruce, Carol, (i)
Bruce, Virginia, (i), (ii), (iii), (iv)
‘Brush Up Your Shakespeare’, (i), (ii), (iii)
Buchanan, Jack, (i), (ii), (iii)
‘Bull Dog’, (i)
Burke, Joe, (i)
Burke, Johnny, (i)
Burrows, Abe, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x), (xi), (xii), (xiii), (xiv), (xv), (xvi), (xvii), (xviii)
‘But in the Morning, No’, (i)
Buxton Hill, Williamstown, (i), (ii), (iii), (iv), (v), (vi), (vii)
Buxton Hill (publishing company), (i), (ii), (iii)
Byron, George, (i)
‘Ça, c’est l’amour’, (i)
Caesar and Cleopatra, (i)
Can-Can, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x), (xi), (xii), (xiii), (xiv), (xv), (xvi), (xvii), (xviii), (xix), (xx), (xxi), (xxii), (xxiii), (xxiv), (xxv)
Capehart, (i), (ii), (iii)
Carnarvon, Lord, (i), (ii)
CBS, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix)
censors, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii)
Cerf, Bennett, (i)
‘C’est Magnifique’, (i)
Chanel, Coco, (i)
Chaplin, Charles, (i), (ii), (iii), (iv), (v)
Chaplin, Michael, (i)
Chaplin, Saul, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii)
Chappell (music publisher), (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x), (xi), (xii), (xiii), (xiv), (xv), (xvi), (xvii), (xviii), (xix), (xx), (xxi), (xxii), (xxiii)
Chappell, George, (i)
Chicago, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x), (xi), (xii)
Chicago Lyric Opera, (i)
Cinderella (fairytale), (i)
Cinderella ’53, (i)
circus, (i), (ii), (iii)
Clark, Bobby, (i), (ii)
Cochran, Charles B., (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (i
x)
Cocteau, Jean, (i), (ii), (iii)
Colbert, Claudette, (i)
Colby, Frank, (i)
Cole, Albert Harvey, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x), (xi), (xii), (xiii), (xiv), (xv), (xvi), (xvii), (xviii), (xix)
Cole, James Omar, (i), (ii)
Cole, Jules Omar, (i)
Cole, Kate, (i), (ii)
Cole, Omar, (i), (ii), (iii), (iv), (v), (vi), (vii)
Cole Porter Songbook, (i), (ii)
Collier, Constance, (i), (ii)
Comden, Betty, (i), (ii), (iii), (iv), (v), (vi)
‘Come to the Supermarket in Old Peking’, (i), (ii)
Cooper, Lady Diana, (i)
Cooper, Duff, (i)
Cooper, Gary, (i)
Copland, Aaron, (i)
Coward, Noël, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x), (xi), (xii), (xiii)
Crawford, Douglas, (i)
Crawford, Joan, (i)
Crawford, Kathryn, (i)
La Création du Monde, (i), (ii)
Crosby, Bing, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix)
Crosby, John, (i)
Crouse, Russel, (i), (ii), (iii), (iv), (v), (vi), (vii)
Cukor, George, (i), (ii), (iii), (iv), (v)
Curtiz, Michael, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii)
Dali, Salvador, (i), (ii)
Damn Yankees, (i)
Davis, Betty, (i)
Davis, Eddie, (i), (ii)
Davis, Luther, (i)
Davis, Roger, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix)
Davis, Sammy Jr., (i)
De Gunzborg, Baron Nicholas [Niki], (i), (ii)
De Mille, Agnes, (i), (ii)
De Polignac, Princesse Edmond [Winaretta Singer], (i), (ii), (iii), (iv)
De Sylva, Buddy, (i), (ii), (iii)
Detroit, (i), (ii), (iii), (iv)
De Wolfe, Elsie, (i), (ii), (iii), (iv), (v), (vi)
Diaghilev, Serge, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii)
Dietrich, Marlene, (i), (ii), (iii), (iv)
Dietz, Howard, (i), (ii)
Di San Faustino, Princess Jane, (i), (ii)
Di Zoppola, Countess Edith, (i), (ii), (iii)
‘Do I Love You?’, (i), (ii)
Donahue, Jimmy Jr., (i)
‘Don’t Fence Me In’, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x)
‘Down in the Depths on the Ninetieth Floor’, (i), (ii), (iii)
Drake, Alfred, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix)