NEW GENERATION OF FILMMAKERS: The “corned beef and cabbage” joke comes from Bruce Humberstone to ASB (I), Mar. 11, 1984; “Columbia, the ‘Germ’ of the Ocean” is a chapter title in Frank Capra, The Name Above the Title (New York: Macmillan, 1971), pp. 81—99; GC to ASB (I), Sept. 11, 1979; an “interview” with Harry Cohn, recorded Mar. 26, 1928, in Bob Thomas, King Cohn: The Life and Times of Harry Cohn (New York: G. P. Putnam’s Sons, 1967), p. 47—8; layoffs at the studios are mentioned in a letter from Valeria Belletti to Irma Prina, Jan. 16, 1928.
RESETTLING OF THE STUDIOS: Wanamaker, “Before Hollywood Was Hollywood,” pp. 62—4; Sinclair, William Fox, p. 75; Richard B. Jewell (with Vernon Harbin), The RKO Story (New York: Arlington House, 1982), pp. 8—10; Lasky, I Blow, pp. 196—97; among those who referred to the United Artists studio as “Doug and Mary‘s” was Irving Sindler to ASB (I), May 22, 1980; lists of films released by United Artists, grouped by both year of release and producer, appear in Balio, United Artists, pp. 245—79.
HORNBLOW: Brooke Hayward, Haywire (New York: Alfred A. Knopf, 1977), pp. 80—1; Mrs. Arthur Hornblow, Jr., to ASB (I), Oct. 19, 1982; Julia Benita Colman, Ronald Colman: A Very Private Person (New York: William Morrow, 1975), pp. 79—80.
SG ENTERS TALKIES: “‘Westerns’ Dying in U.S.,” Variety, Jan. 18, 1928, p. 1; Variety, Jan. 25, 1928, p. 52; “Kidding Kissers in Talkers Burns ... ,” Variety, Oct. 30, 1929, pp. 1, 63; KV to ASB (I), June 11, 1980; FG, “Dear Sam, Do You Remember?,” p. 44.
THIS IS HEAVEN: Hope Loring, This Is Heaven (screenplay); (George Marion, Jr.), “Dialogue—‘This Is Heaven,”’ pp. 1—2; SG to Sime Silverman (unsent T), Jan. 21, 1929.
SG SEARCHING FOR NEW MATERIAL: SG to Robert Sherwood (then film critic for Life), Aug. 2, 1926; Arms and the Man was first suggested as a vehicle for Colman and Banky, JS to SG (T), Jan. 23, 1926; Arthur Hornblow to SG, Dec. 28, 1927; Jesse A. Levinson to SG (T), Sept. 27, 1927; SG to Louella Parsons (T), Nov. 4, 1924.
BULLDOG DRUMMOND: Colman, Colman , pp. 83—7; Wallace Smith, Bulldog Drummond—“Silent Version” and “Sound Version,” Scenes 1, 8—10, 296—300; “Weekly Negative Cost Report, ‘Bulldog Drummond,’” Nov. 28, 1931; Arthur Hornblow to SG (T), Oct. 27, 1928; GC to ASB (I), Sept. 11, 1979; Monta Bell, “The Director: His Problems and Qualifications,” Theatre Arts Monthly, Sept. 1929, quoted in Richard Koszarski, Hollywood Directors , 1914—1940 (New York: Oxford University Press, 1976), pp. 228—33; John Gillett, International Encyclopedia of Film (New York: Crown, 1972), p. 361; Barsacq, Caligari, pp. 142—43, 227; Joan Bennett to ASB (I), Nov. 15, 1983; SG discussed rehearsing Drummond, in Griffith, Goldwyn, pp. 19—20; Johnston, Great Goldwyn , pp. 92—3; the story about the word “din” was verified by Mrs. Arthur Hornblow, Jr., to ASB (I), Oct. 19, 1982.
FATE OF BANKY: Mrs. Arthur Hornblow, Jr., to ASB (I), Oct. 19, 1982; SG talked of Vilma Banky to Leonard Lyons, New York Daily News, July 1, 1930; AL to SG (T), June 4, 1929; Edward G. Robinson (with Leonard Spigelgass), All My Yesterdays (New York: Hawthorn Books, 1973), pp. 103—4; SG, (UN) for Jack Smith’s articles in Los Angeles Times, Spring 1959; “Hungarian Actress to Quit Films,” prob. Los Angeles Examiner, May 2, 1930; Schulberg, Moving Pictures, p. 176.
FORTUNE OF COLMAN: Colman, Colman , pp. 86—7; “Summary of Pictures Released,” Mar. 29, 1930, Aug. 1, 1931; statistics about the Academy Award are from Osborne, 50 Golden Years, pp. 15—16; Joan Bennett to ASB (I), Nov. 15, 1983; Arthur Hornblow, Jr., to SG (T), Oct. 27, 1928.
HOLLYWOOD COMES OUT OF SPIN: Hays, Memoirs, p. 394.
CAMINO PALMERO: “Historic Resources Inventory” for 1800 Camino Palmero, Lots 18, 19, and 20 of the Las Colinas Heights Tract (prepared by Bureau of Engineering, City of Los Angeles); SGJ to ASB (I), Mar. 7, 1984, Feb. 24, 1988; Lasky, I Blow, p. 240.
THE CRASH: “Wall St. Lays an Egg,” Variety, Oct. 30, 1929, pp. 1, 64.
12 MAKING WHOOPEE
REVERBERATIONS OF THE CRASH: SG’s finances are recorded in “SG, Inc. and Subsidiary Companies Reconciliation of Surplus Account,” Mar. 29, 1930, and JAM to AL, Apr. 30, 1928.
IDENTITIES OF THE STUDIOS: Behlmer and Thomas, Hollywood, pp. 42—3; Sinclair, William Fox, pp. 116—17; Charles Higham, Warner Brothers (New York: Charles Scribner’s Sons, 1975), p. 85; Oxford Companion to Film, p. 717; SG co A. H. Giannini, Apr. 10, 1930; SG on MGM’s formula, SGJ to ASB (I), Oct. 20, 1983; Lasky, I Blow, p. 240; WW to ASB (I), Apr. 1, 1980.
SG AND CONDEMNED: SGJ to ASB (I), Oct. 17, 1983; Arthur Hornblow, Jr., to SG (T), Oct. 22, 1928; Flexner, Listening, p. 434; “Weekly Negative Cost Report for Production #20—‘Condemned,’” Nov. 28, 1931; “Production Cost—‘Condemned to Devil’s Island,”’ Jan. 11, 1930.
RAFFLES: SG’s line about the “day of the director,” in Marill, Goldwyn Presents, p. 91; KV to ASB (I), June 11, 1980; Bruce Humberstone to ASB (I), Mar. 11, 1984; Colman, Colman, p. 95; John Springer and Jack Hamilton, They Had Faces Then (Secaucus, N.J.: Citadel Press, 1974), p. 110; Winona B. Meyer, “Ronald Colman Present at Fox for Big Preview,” New York Evening Telegram, Apr. 22, 1930; the reviews of the film were sent in a long telegram, Lynn Farnol to SG, July 25, 1930; “Weekly Negative Cost Report for Production #21—‘Raffles,”’ Nov. 28, 1931; SG to AL (M), Oct. 2, 1930; the Eisenstein story appears in Leon Moussinac, Sergei Eisenstein: An Investigation into Hist Films. and Philosophy (New York: Crown Publishers, 1970), p. 167. Jay Leyda, film critic and associate of Eisenstein, was present at the time Goldwyn made the remark, and he confirmed it, according to Stephanie Winston to ASB, Nov. 17, 1979.
THE DEVIL TO PAY: Terms of the Lonsdale deal appear in Reeves Espy to SG (IOC), July 11, 1939; SG to Frederick Lonsdale (T), June 30, 1930; Frederick Lonsdale to SG (T), July 1, 1930; SG to Frederick Lonsdale (T), July 1, 1930; Lonsdale’s arrival and stay are discussed in: SG to Frederick Lonsdale (T), July 17, 18, 1930; R. B. McIntyre to SG (M), July 18, 1930; Frederick Lonsdale to SG (T), Aug. 9, 1930; replacement of Constance Cummings appears in Colman, Colman, pp. 100—2; Loretta Young’s experiences are chronicled in ibid., pp. 103—6; Mordaunt Hall, New York Times, Dec. 19, 1930, p. 30; “New York charges to 5/2/31” (a memorandum attached to ”Weekly Negative Cost Report for Production #24—“The Devil to Pay,”‘ Nov. 28, 1931; SG Inc., “Royalty Statement—Frederick Lonsdale,” Dec. 31, 1932; SGJ to ASB (I), Oct. 20, 1983.
ZIEGFELD AND MUSICALS: SGJ to ASB (I), Oct. 20, 1983; Eddie Cantor, Take My Life (Garden City, N.Y.: Doubleday, 1957), pp. 11—13, 122, 123—24, 153, 161; Burke, Feather, pp. 221—22; Lasky, I Blow, p. 194; Bob Thomas, draft of article for Associated Press, after interview with SG, Feb. 4, 1963, pp. 2—3; SG to Nicholas Schenck, Aug. 19, 1930; Mordden, Hollywood Musical, pp. 17—18; Bruce Humberstone to ASB (I), Mar. 11, 1984.
FINANCING AND PRODUCING SG’S 1930 pictures: Evelyn Laye, Boo, to My Friends (London: Hurst & Blackett, 1958), p. 115; JS to SG, Mar. 26, 1930; A. H. Giannini to SG, Apr. 1, 1930; SG to A. H. Giannini, Apr. 10, 1930; Johnston, Great Golduyn, pp. 87, 94; Arthur Hornblow to SG, “A Plan for the Preparation and Production of ‘Whoopee,”’ Mar. 6, 1930.
Z & G PRODUCTIONS: SG to Florenz Ziegfeld (T), Feb. 8, 1930; Burke, Feather, p. 223; SG to Florenz Ziegfeld (T), Mar. 3, 1930; SG to Florenz Ziegfeld (unsent letter), Feb. 28, 1930; SGJ to ASB (I), Oct. 20, 1983; Florenz Ziegfeld to SG (T), Mar. 4, 1930; Florenz Ziegfeld to SG (T), Mar. 5, 1930; SG to Eddie Cantor (T), Feb. 4, 1930; SG to Florenz Ziegfeld (T), Jan. 31, 1930; SG to Florenz Ziegfeld (T), Mar. 3, 1930; Arthur Hornblow, Jr., to Lynn Farnol (T), Feb. 8, 1930; Florenz Ziegfeld to SG(T), Mar. 5, 1930.
SCRIPT AND COSTUMES OF WHOOPEE!: Eddie Cantor to SG (T), Feb. 17, 1930; Eddie Cantor to SG, Feb. 12, 1930; Cantor, Take My Life, pp. 136—37, 153—54; SG to Lynn Farnol (unsent T about Busby Berkeley’s drinking), Feb. 28, 1930; Lynn Farnol to SG (T), c. Feb. 28, 1930; Lynn Farnol to SG (T), Feb. 20, 1930; Florenz Ziegfeld to SG (DL), Mar. 4, 1930. Costumes are discussed in Florenz Ziegfeld to SG (T), Feb. 27, 1930; AL to JAM (T), Mar. 14, 1930; Florenz Ziegfeld to SG (T), Mar. 19,
1930; SG to Florenz Ziegfeld (T), Mar. 20, 1930; SG to Florenz Ziegfeld (T), Apr. 12, 1930; Burke, Feather, p. 217; Patricia Ziegfeld, The Ziegfelds’ Girl (Boston: Little, Brown, 1964), pp. 202—3,
GOLDWYN GIRLS: SGJ to ASB (I), Oct. 20, 1983; “The Goldwyn Girls Come Back,” unsigned typescript of article, Parade, Jan. 20, 1952; Johnston, Great Goldwyn, p. 87; Jean Howard to ASB (I), July 20, 1983; Bruce Humberstone to ASB (I), Mar 11, 1984.
RICHARD DAY: Barsacq, Caligari, pp. 51, 53, 57, 204.
ALFRED NEVPMAN: Tony Thomas, Music, for the Movies (South Brunswick, N.J.: A. S. Barnes, 1973), pp. 54—5; Frederick Steiner, The Making of an American Film Composer: A Study of Alfred Newman’s Music in the First Decade of the Sound Era (unpub. MS.), pp. 21—62, 63—99, 110—16; “Alfred Newman,” Look, Feb. 19, 1946, p. 86; Gordon Sawyer to ASB (I), Apr. 30, 1980.
FILMING OF WHOOPEE!: Eddie Cantor to SG, Feb. 8, 1930; Cantor, Take My Life, pp. 154, 155; Florenz Ziegfeld to SG, July 22, 1930; “Weekly Negative Cost Report for Production #22—‘Whoopee,’” May 2, 1931; Bruce Humberstone to ASB (I), Mar. 11, 1984; SGJ to ASB (I), Oct. 20, 1983.
ONE HEAVENLY NIGHT: Laye, Boo, pp. 114, 116—17; SG to A. H. Giannini, Mar. 24, 1930; Louis Bromfield to SG, Wednesday, Aug. 1930.
SG’S SOCIAL LIFE: Cardplaying anecdotes and Joseph P. Kennedy’s remark are reported in Richard Meryman, Mank (New York: William Morrow, 1978), pp. 134, 183; SGJ to ASB (I) Oct. 17, 1983, Jan. 20, 1984, Mar. 26, 1988, and May 21, 1988; Jean Howard to ASB (I), July 20, 1983; Bruce Humberstone to ASB (I), Mar. 11, 1984; Marjory Dye to ASB (I), Jan. 20, 1984; Irene Mayer Selznick to ASB (I), Oct. 9, 1985; Selznick, Private View, pp. 160, 367.
RESULTS OF WHOOPEE! AND ONE HEAVENLY NIGHT: “Z & G Motion Picture Corp., Royalty Statement,” Nov. 28, 1931; “Weekly Negative Cost Report for Production #23—‘One Heavenly Night,’” Nov. 28, 1931; “One Heavenly Night—N.Y. Charges to 11/28/31” (M); ”SG, Inc., Detailed Cost of Pictures,“ Nov. 28, 1931;”SG, Inc., Summary of Pictures Released,“ c. 1932; Whoopee! was reviewed in Variety, Oct. 8, 1920, p. 22; the other reviews of Whoopee! appeared in a memorandum,”New York Press Reports of ‘Whoopee,’“ prob. Lynn Farnol to SG, c. Sept. 30, 1930; SG to Nicholas Schenck, Aug. 19, 1930.
FATE OF ZIEGFELD: “Z & G Motion Picture Corp.—Stocks, Sept. 30, 1931”; Florenz Ziegfeld to SG, July 14, 1931; Florenz Ziegfeld to SG (T), Aug. 16, 1931; SG to Florenz Ziegfeld (T), Aug. 17, 1931; Jean Howard to ASB (I), July 20, 1983; Florenz Ziegfeld to SG (T), July 11, 1930; Ziegfeld, Ziegfelds’ Girl, pp. 202—3; Florenz Ziegfeld to SG (T), Mar. 23, 25, 1932; GC to ASB (I), Jan. 8, 1981; Katharine Hepburn to ASB (I), Apr. 5, 1983; Burke, Feather, pp. 241—42, 249.
13 COMING OF AGE
HOLLYWOOD BELLIES UP: Balio, United Artists, p. 96; Samuel Marx, Mayer and Thalberg, p. 265; Sinclair, William Fox, p. 117; Jewell, RK0, pp. 32, 44; Higham, Warner Brothers, pp. 100—1; Zukor, The Public, pp. 261—62; Lasky, I Blow, pp. 242—43; Stanton Griffis, Lying in State (Garden City, N.Y., Doubleday, 1952), p. 84.
STREET SCENE: Theodore Dreiser, “What Are America’s Powerful Motion Picture Companies Doing?,” Liberty, June 11, 1932, pp. 6—11; SGJ to ASB (I), Oct. 17, 1983; SG to Joseph P. Bickerton (T), Nov. 22, 1930; KV to ASB (I), June 11, 1980; Schulberg, Moving Pictures, pp. 351, 353-56; Sylvia Sidney to ASB (I), Apr. 4, 1983; JS to SG (T), May 25, 1931; Paul Rotha, The Film Till Now (Feltham, Middlesex: Hamlyn Publishing Group, Spring Books, 1967), p. 371; KV, A Tree, pp. 202—5; Beulah Bondi to ASB (I), Apr. 27, 1980; Helen Hayes to ASB (I), July 22, 1984; SG to JS, July 2, 1931; Mr. Codd to SG and AL (IOC), July 15, 1931, re cost of Street Scene; Siegfried Kracauer, Theory of Film: The Redemption of Reality (New York: Oxford Press, 1960), p. 139; René Clair, Cinema Yuterday and Today (New York: Dover, 1972), p. 132; Max Steiner’s comments, “Scoring the Film,” appear in We Make the Movies, ed. Nancy Naumburg (New York: W. W Norton, 1937), p. 218; Steiner, American Film Composer, pp. 127—32, 240—49; Lynn Farnol, “Street Scene Opens Tonight,” Press Release #6547, n.d.; Harpo Marx to SG (T), Aug. 27, 1931; Lynn Farnol to SG (IOC), Aug. 25, 1931; Elmer Rice to SG (T), Aug. 27, 1931.
TONIGHT OR NEVER: Irene Sharaff, Broadway & Hollywood (New York: Van Nostrand Reinhold, 1976), p. 16; Guy Croswell Smith to SG, June 5, 1931; Gloria Swanson to SG, Mar. 16, 1931; Lynn Farnol to SG (T), Mar. 4, 1931; SG to Lynn Farnol (T), Mar. 5, 1931; SG to Mile Chanel (T), Mar. 4, 1931; SG to Lynn Farnol (T), Mar. 3, 1931; Lynn Farnol to SG (T), Mar. 3, 1931; Lynn Farnol to SG (T), Mar. 4, 1931; SG to Mile Chanel (T), June 25, 1931; Swanson, Swanron, pp. 412—19; Helen Gahagan Douglas, A Full Life (Garden City, N.Y.: Doubleday, 1982), pp. 88, 94—5, 97, 103—4; Mervyn LeRoy (as told to Dick Kleiner), Mervyn Leroy: Take One (New York: Hawthorn Books, 1974), p. 103; Mervyn LeRoy to ASB (I), Feb. 7, 1980; Mordaunt Hall, New York Times, Dec. 18, 1931, p. 29.
THE GREEKS HAD A WORD FOR THEM: Arthur Hornblow, Jr., to SG (IOC), Feb. 12, 1931; Sidney Howard, “Notes for Screen Treatment of ‘The Greeks Had a Word for It,”’ n.d. (c. Feb. 12, 1931); Ina Claire to ASB (I), Mar. 11, 1980; SG to JS (T), May 22, 1931; SG to JS (T), May 28, 1931; “Final Shooting Schedule on ‘The Greeks Had a Word for It,”’ Aug. 21, 1931; Carole Lombard to SG, n.d. (c. Sept. 1, 1931); SG to JS (unsent letter), June 25, 1931; Ina Claire to SG, Jan. 15, 1932; AL to SG (IOC), Jan. 28, 1932; SG to AL (IOC), Feb. 1, 1932.
THE UNHOLY GARDEN: Colman, Colman, pp. 109—10; Ben Hecht, Charlie: The Improbable Life and Times of Charles, MacArthur, (New York: Harper & Brothers, 1957), pp. 174—78; Arthur Hornblow, Jr., to Leland Hayward (T), May 20, 1931; Ben Hecht to Arthur Hornblow, Jr. (T), May 21, 1931; Arthur Hornblow, Jr., to Leland Hayward (T), May 21, 1931; Ben Hecht to SG (T), May 22, 1931; Ben Hecht, A Child of the Century (New York: Simon & Schuster, 1954), p. 343; the reviews were sent from Lynn Farnol to SG (T), Oct. 29, 1931; “SG, Inc. Royalty Statement, ‘Unholy Garden,”’ Dec. 29, 1934.
ARROWSMITH: Grifhth, Goldwyn, pp. 20—1; Helen Hayes to ASB (I), July 22, 1984; Colman, Colman, pp. 111—12; Dan Ford, Pappy: The Life of John Ford (Englewood Cliffs, N.J.: Prentice-Hall, 1970), pp. 65—6; Sidney Howard, Arrowsmith (Sound version—Aug. 3, 1931), pp. 4, 8, 35, 96; rave notices reported by AL to SG (T), Feb. 4, 1932; Mordaunt Hall, “Arrowsmith,” New York Times, Dec. 8, 1931, p. 36; SG to Irving Thalberg, Jan. 29, 1932.
COLMAN TROUBLES: Colman, Colman, pp. 117—20; FG, unpub. draft for “Dear Sam: Do You Remember?” contains the anecdote about SGJ and Harpo Marx; “Ronald Colman Sues Goldwyn for Millions,” Los Angeles Herald-Express , Sept. 13, 1932, p. 1; SG (UN) (prob. to George Slaff), Dec. 8, 1952; William Randolph Hearst to SG, Nov. 29, 1932; Relman Morin, “Cinematters,” Los Angeles Record, n.d. (c. Sept. 15, 1932); “Colman Plumb Set on Quitting,” St. Louis Globe Democrat, Jan. 10, 1933; Ronald Colman co JS, Aug. 18, 1933; JS to Ronald Colman, Sept. 6, 1933.
CANTOR MUSICALS: Cantor, Take My Life, pp. 155—59; “SG, Inc. and Subsidiary Companies Summary of Pictures Released,” June 4, 1932; Royalty Statements for Eddie Cantor on Palmy Days and The Kid from Spain, both dated Dec. 30, 1933; LeRoy, Mervyn LeRoy, p. 102; souvenir program, The Kid from Spain, n.d., pp. 2—5, 16; SGJ to ASB (I), Oct. 20, 1983; “Mr. Cantor in the Bullring,” New York Times, Oct. 30, 1932, sec. VIII, p. 6; James and James, Biography of a Bank, p. 429; Lynn Farnol to SG (IOC), Jan. 23, 1933; Eddie Cantor to SG (T), Jan. 23, 1933; SG to Eddie Cantor, Feb. 3, 1933.
SG’S FINANCES: “SG, Inc. and Subsidiary Companies—Notes Payable,” Nov. 28, 1931; “Consolidated Balance Sheet,” June 4, 1932; “Consolidated Profit and Loss Statement,” June 4, 1932; “SG—Life Insurance,” July 8, 1932; SGJ to ASB (I), Mar. 7, 1984; the Goldwynism to Leo McCarey is quoted in George Oppenheimer, The View from the Sixties (New York: David McKay, 1966), p. 97.
RGC’S SETTLEMENT: RGC to ASB (I), Oct. 13, 1979, Jan. 30, 1988; Lasky, Jr., Whatever Happened, pp. 76—7; “BLANCHE GOLDFISH against SAMUEL GOLDFISH,” Mar. 3, 1932; SG to JAM, May 29, 1933; RGC to SG, May 24, 1933; SG to JAM, May 31, 1933; McClure Capps to SG (T), June 24, 1933; SG to JAM (T), June 26,
1933, 9:30 a.m.; SG to JAM (NL), June 26, 1933; AL to JAM (T), Sept. 12, 1933; SG to JAM (IOC), Sept. 23, 1933; “AGREEMENT between SG and RUTH TURNBULL CAPPS,” finally agreed and signed Nov. 29, 1933; SGJ to ASB (I), October 7, 11, 20, 1983.
14 “THAT LITTLE SOMETHING EXTRA”
DISCOVERY OF ANNA STEN AND PREPRODUCTION OF NANA: GC to ASB (I), Nov. 27, 1981; Kyle Crichton, “The Kid from the Ukraine,” Collier’s, Mar. 31, 1934, pp. 32, 52; “Making the Breaks for the New Stars,” proofsheets, Everyweek magazine (NEA Service, Inc.), Nov. 26, 1933, p. 5; Phil Gersdorf, “The Passionate Peasant,” unpub. article written for SG Productions, in five parts, n.d.; John Kobal, People Will Talk (New York: Alfred A. Knopf, 1985), pp. 129—41; Lynn Farnol to SG, Mar. 7, 1932; Anna Sten to ASB (I), Oct. 25, 1980; SG, “Do We Pay Our Picture Stars Too Much?,” Saturday Evening Post, Feb. 17, 1934, pp. 8—9, 90—2; SG, transcript of radio broadcast, KMTR, Los Angeles, Oct. 24, 1934, 7 p.m.; RGC to ASB (I), Oct. 13, 1979; SG to Lynn Farnol (T), Mar. 19, 1932; Lynn Farnol to SG (T), Mar. 27, 1932; SG to Lynn Farnol (T), Mar. 28, 1932; SG to Guy Smith (T), Apr. 6, 1932; Guy Smith to SG (T), Apr. 11, 1932; SG to Lynn Farnol (T), Apr. 15, 1932; Lynn Farnol to SG (T), Apr. 18, 1932; Lynn Farnol to SG (T), Apr. 19, 1932; Fred Kohlmar to SG (IOC), Dec. 29, 1932; Oppenheimer, View, pp. 95—6, 103, 109—11; SG to Cole Porter (T), June 5, 1932; Cole Porter, “Anything Goes,” refrain 3, as printed in Cole, ed. Robert Kimball (New York: Holt, Rinehart & Winston, 1971), p. 127.
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