Tag Archives: French Casino

Vanished New York City Art Deco: The French Casino

 

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Marquee of the French Casino.

Photograph of the entrance to the French Casino, 1937. Image from ebay.com

1934

By the end of 1934 the former Earl Carroll Theatre found the formula for success, with its conversion into the French Casino. But for most of the second half of the year, it sat empty. In July it looked as though a new enterprise would come to the rescue. The enormous theatre would undergo a conversion into a mixed entertainment venue.

 

Radio at the Casino Theatre.

Theatrical Notes, The New York Times, July 9, 1934, Pg. 18. Article from proquest.com.

For reasons now lost to us today, the plan for converting the theatre into the largest radio studio in the world never materialized. Instead a new entertainment trend was beginning. By the time the United States hit the rock bottom depths of the depression in the summer of 1932, many Manhattan theatres sat unused. The election of Franklin Roosevelt created hope and the economy started a very slow recovery. Repeal of prohibition in December of 1933 brought the speakeasy era to and end. Probably the most famous NYC speakeasies turned cafe society nightclubs were, 21 Club, The Stork Club and El Morocco. These typified Manhattan nightclubs, small spaces crammed into basements or brownstones.

 

 

With the combination of repeal and a seemingly recovering economy, the nightclub industry in New York City started to boom. New and larger venues were needed and empty theatres were perfect for conversion into large nightclubs. And with full stage facilities, providing elaborate shows was easy. In 1933 Continental Music Halls, Inc. took over the Hammerstein Theatre on Broadway and, directly adjacent to it on 54th Street, the Gallo Opera House. The Hammerstein became the Music Hall and the Gallo the Casino de Paris. Showman Billy Rose (1899-1966) oversaw the operations of both nightclubs and produced their shows.

 

 

 

Clifford C. Fischer

French Casino producer, Clifford C. Fischer.

 

Producer Clifford C. Fischer (1882-1951) who staged the Folies Bergeres show at the Century Progress World’s Fair in Chicago was looking for a venue in Manhattan for his revue. The empty Casino / Earl Carroll Theatre proved to be the spot being three times the size of either the Gallo Opera House or the Hammerstein Theatre. The enormous stage facilities were perfect for his elaborate Folies Bergeres show. The New York Times ran this announcement –

 

Clifford C. Fischer article, New York Times, November 7, 1934, Pg. 33.

The New York Times, November 7, 1934, Pg. 33. Article from proquest.com

 

Christmas, 1934

 

Opening night Ad for the French Casino.

Advertisement for the Folies Bergeres, the show that opened the French Casino. New York Herald-Tribune, December 24, 1934, Pg. 4. Image from Proquest.com.

On 10:00 P.M. of Christmas Day, the French Casino opened to the public. The remodeled interior consisted of some decorations applied to the black velvet walls. Tables  replaced the seats in the orchestra and balcony. By enlarging and extending the stage into the house it became a dance floor between shows.  New staircases extending down from the former box seats allowed guests in the balcony direct access to the dance floor. The enormous lounge under the balcony became a cocktail lounge. A new room length bar completed the space. This new cocktail lounge alone was nearly the size of the average Manhattan nightclub.

French Casino, view toward the stage.

French Casino view from under the balcony looking toward the stage. Image from the Folie Parisienne program, collection of the author.

 

French Casino view from the stage.

French Casino, view from the stage / dance floor, showing new staircase and wall decorations. Image from the Folie Parisienne program, collection of the author.

 

French Casino cocktail lounge.

The former lounge underneath the balcony converted to a cocktail lounge of the French Casino. On the right is the newly installed bar. Image from the Folie Parisienne program, collection of the author.

The new nightclub and the Revue Folies Bergeres received excellent reviews. The French Casino immediately became the place to go for a night on the town.

 

New York Times review of the Revue Folies Bergeres, December 27, 1934.

Review of the Revue Folies Bergeres, New York Times, December 27, 1934, Pg. 25. Article from proquest.com.

 

Scenes from the Revue Folies Bergeres

 

 

1935 – 1937

As the economy continued its slow improvement during the mid-1930s, the French Casino remained a popular night spot. And celebrities were often seen in the audience. Which made the French Casino even more popular with the general public.

 

John Barrymore at the French Casino.

John Barrymore and friend at the French Casino. (Photo by NY Daily News Archive via Getty Images)

 

Mrs. John Jacob Astor, 3r. at the French Casino.

Mrs. John Jacob Astor 3rd is chatting with Robert Gardiner, and some of their friends at the French Casino here. Photo from Getty Images.

 

Jack Dempsey and Wife at the French Casino_Getty Images_Bettmann

Jack Dempsey, the Mansassa Mauler, and his wife, the former Hannah Williams, singer, are pictured in the French Casino. Soon Jack will open a restaurant of his own. Photo from Getty Images.

 

Over the next three years, the French Casino presented some of the most continental nightclub shows in Manhattan. Even the French Line’s S.S. Normandie was featured in the show. Folie Parisienne featured scenes at the boat train, on board and at customs on the pier.

 

Folie Parisienne program cover, French Casino.

Cover of the Folie Parisienne program. From the collection of the author.

 

 

The French Casino was such a success that the Clifford C. Fischer expanded the company by opening night clubs in other cities. Over the next couple of years French Casinos opened in Chicago, Miami and a London Casino in that city’s West End theatre district. Then  in 1937 two events took place that would effect the fortune of the French Casino. First in August, the slowly recovering economy stalled and the United States slid back into a severe recession. Then less than a month later a new, large night club theatre opened in the heart of Times Square. The International Casino, after many delays, opened on September 17, 1937. It was huge, streamline moderne in design and it offered shows just as lavish and continental as the French Casino.

 

The International Casino.

The International Casino, 1938. Located on the east side of Times Square between 44th and 45th Street.(Photo by Keystone/FPG/Getty Images)

 

The Interior of the International Casino.

New Year’s Eve 1939-1940 inside the International Casino. Photo from Getty Images.

 

The combination of the new night spot, a shrinking economy and over expansion from opening night clubs in other cities dealt a death blow to the French Casino. Without any notice the French Casino closed on November 20, 1937.

 

The closing of the French Casino.

The New York Herald-Tribune article about the abrupt closing of the French Casino. November 23, 1937, Pg. 17. Article from proquest.com

 

After almost four years, the former Earl Carroll Theatre sat empty once again. But this was just a temporary situation. Soon into 1938 a new tenant decided to try his luck with the unlucky theatre.

 

1938

It’s time to welcome Producer Billy Rose back into the story. Rose who started the vogue of the theater/restaurant/nightclub back in 1933 with the Casino de Paris, moved into the former French Casino. In 1935 the success of the French Casino was the direct reason that those first two Billy Rose nightclub/theatres went out of business. Now Rose moved into the white elephant at 7th Avenue and 50th Street. The French Casino became the Casa Manana. For the Texas Centennial in 1936 Billy Rose was hired by Amon G. Carter to produce shows in a 4000 seat, amphitheatre / restaurant, the Casa Manana. It was very successful and popular remaining in operation even after the Centennial had passed. Now Rose decided to bring the Casa Manana to New York City. Just two months after the French Casino’s closing, on January 18, 1938 the Casa Manana opened its doors.

 

Advertisement for the opening night of Billy Rose's Casa Manana.

Advertisement for the opening night of the Casa Manana. New York Daily News, January 13, 1938. Clipping from newspapers.com.

 

The opening night show, Let’s Play Fair spoofed the up coming 1939 World’s Fair. Like the French Casino, the Casa Manana was off to a successful start. It was not unusual to spot celebrities in the audience.

 

Edward G. Robinson and wife with Claire Trevor at the opening of the Casa Manana.

Claire Trevor joins Edward G. Robinson and wife for the opening of the Casa Manana. Image from Getty Images.

 

Daily News review of the Casa Manana's opening night.

Review of the opening of the Casa Manana. New York Daily News, January 19, 1938, Pg.47. Clipping from newspapers.com.

 

Billy Rose and Eleanor Holm in the lounge.

Billy Rose and Aquacade swimming star and the future Mrs. Rose, Eleanor Holm relaxing in the Casa Manana lounge. Image from Getty Images.

 

Outside of some fresh paint the interior remained basically unchanged.

 

Casa Manana stage and dance floor.

The Casa Manana stage and dance floor. The proscenium arch was little changed from the days when it was the Earl Carroll Theatre. Image from the Bill Morrison Collection – Shubert Archive.

 

Casa Manana auditorium.

Casa Manana auditorium. Daily News Collection – Getty Images.

 

1939

The new year began well for the Casa Manana, with shows generally receiving good reviews and audiences still filling the large nightclub. But with the upcoming World’s Fair and Billy Rose getting his Aquacade ready, the quality of the shows in the spring started to lessen. So the inevitable of course happened. In mid-June Billy Rose closed the Casa Manana. After just a year and a half the large theatre sat vacant once again.

 

The Casa Manana closing notice, June, 1939.

The closing notice for the Casa Manana. New York Daily News, June 13, 1939, Pg. 41. Clipping from newspapers.com.

 

1939 – 1940

For the rest of 1939 many items appeared in the newspapers about what would happen next to the former Earl Carroll Theatre. George White showed interest in leasing the space to stage another revue of his, but it did not happen. Then, pretty much to everyone’s surprise just before New Year’s 1939/1940 The French Casino moved back into its old home. Song writer / producer Lew Brown reopened the place with a variety show. But this show was nothing like the continental revues that Clifford C. Fischer produced during the French Casino’s heyday.

 

The reopening of the French Casino.

The French Casino reopens. The New York Daily News, December 27, 1939, Pg. 43. Clipping from newspapers.com

 

And pretty much to no one’s surprise, it was not long into 1940 that this new version of the French Casino, closed. The owners, Haring and Blumenthal, must have been fed up with show business. By the summer, looking around for a new tenant, they made it known that they would not refuse a commercial business a lease. And that is just what happened.

 

New article announcing a five and dime to move into the former Casa Manana site.

The New York Daily News, May 23, 1940, Pg. 48. Clipping for newspapers.com.

 

In preparation for the conversion of the former Earl Carroll Theatre / Casino Theatre / French Casino / Casa Manana into a retail space, the six story building fronting 7th Avenue was demolished in the summer. It would be replaced by a two story “taxpayer”. A “taxpayer” is a small two, or three story building constructed to cover the property taxes.

 

 

 

On August 28, 1940 Variety ran an article announcing the new tenant for the former Theatre/nightclub.

 

The former Earl Carroll Theatre becomes a Woolworth's.

Variety, August 28, 1940, Pg. 45. Clipping for proquest.com.

 

Finally Haring and Bluementhal found a successful tenant. Woolworth’s moved in by the end of 1940 and stayed for the next 50 years.

Woolworths and the taxpayer.

Looking south east along 7th Avenue at the 1940 two floor taxpayer built on the former six story office building site, 1956. Photo from CInema Treasures.

The lobby was completely demolished. But the auditorium partially survived. The orchestra floor and balcony were completely torn out. New walls and a drop ceiling were installed and the stage was blocked off. But above the drop ceiling some of the original 1931 theatre remained. Some black velvet still survived on the walls, the original proscenium light fixtures and the top of the proscenium arch were there. And beyond that, most of the backstage facilities remained intact and unused. The dressing rooms sat empty and abandoned. Some of the black and buff modernistic brick work was still visible on 50th Street.

 

Earl Carroll Theatre color photograph.

Color photograph showing proscenium, ceiling and sidewall detail (1988). Image from the book Lost Broadway Theatres.

 

1980 photo of Woolworths.

Looking east on 50th Street towards the former Earl Carroll Theatre / French Casino. 1980 NYC tax photo.

But nothing in Manhattan is forever. Even Woolworth’s passed from the scene. Finally in 1990, the Woolworth’s at 7th Avenue and 50th Street was demolished and with it what was left the second Earl Carroll Theatre.

 

The Second Earl Carroll Theatre, 1931

The second Earl Carroll Theatre at 7th Avenue & 50th Street. View looking Southeast. Image from Getty Images / New York Historical Society.

 

Anthony & Chris (The Freakin’, ‘Tiquen Guys)

Sources: Lost Broadway Theatres, New York Times, New York Herald-Tribune, New York Daily News, Variety.

Vanished New York City Art Deco: The Earl Carroll Becomes the Casino.

 

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The Second Earl Carroll Theatre, 1931

The second Earl Carroll Theatre at 7th Avenue & 50th Street. View looking Southeast. Image from Getty Images / New York Historical Society.

 

Between 1931 – 1934 much happened with Earl Carroll’s massive, popular priced theatre. It would change ownership three times and  get a name change. Rechristened the Casino in the spring of 1932, the change of name did not bring good luck.

 

1931

During construction of the new Earl Carroll Theatre, Carroll announced additional plans for the Seventh Avenue site.

 

New York Evening Post Article_11_05_1930.

New York Evening Post, November 5, 1930, Pg. 28. Article from fultonhistory.com

 

 

By April of 1931 the plans for the office building changed and became more ambitious and a bit bizarre.

 

Skyscraper Restaurant, April 1, 1931.

The New York Herald-Tribune, April 1, 1931, Pg. 49. Image from Proquest.com.

 

In the past it was not uncommon for hotels and theatres to have roof gardens. Here is where after theatre patrons could enjoy drinks and shows and escape the city’s heat in the summer. The old Casino Theatre at Broadway and Thirty-Ninth Street started the fashion in 1882. Other famous roof spots came later at Madison Square Garden and the New Amsterdam Theatre.

 

A special after hours night spot was also part of the plans for the new theatre. The basement, not the roof, would be the place for Earl Carroll’s nightclub.

Site of the proposed night club in the basement of the Earl Carroll Theatre.

Site of the proposed night club in the basement of the Earl Carroll Theatre. Image from The Architectural Forum, November, 1931, usmodernist.org.

 

Lower floor plans of the Earl Carroll Theatre.

Floor plans of the lower levels of the Earl Carroll Theatre and space for the night club. Image from The Architectural Forum, November, 1931, usmodernist.org.

Carroll announced the plans for the night club to the press on July 4, 1931 as the theatre neared completion.

 

Earl Carroll Basement Night Club.

Richmond Times Dispatch, July 5, 1931, Pg. 40. Image from Newspapers.com.

Hoping to have the night club open by New Year’s Eve, by late November Carroll realized  the impossibility of this. He pushed back the opening to into early, 1932.

 

Earl Carroll Night Club delay opening.

New York Daily News, November 25, 1931, Pg. 29. Image from Newspapers.com

 

As 1931 came to an end so did Earl Carroll’s luck.  Even with the popular price seating policy, audience size dwindled as the depression deepened. Carroll fell behind in his rent and loan obligations. There was no opening of the night club in mid-January. It would never open.  Carroll lost his theatre just six months after it’s gala opening.  The following month the Seventh Avenue Corporation sued Earl Carroll and his backing angel W. R. Edrington for $400,000.

 

1932

 

Earl Carroll Rent Shy.

New York Daily News, February 22, 1932, Pg. 2. From Newspapers.com

 

As March, 1932 began, The Vanities moved to the Forty-Fourth Street Theatre and Carroll moved to offices on Fifth Avenue. He never returned to his theatre again. Carroll’s financial backer, Edrington, went back to his native Fort Worth, Texas and filed for bankruptcy. While there he succumbed to pneumonia on November 6, 1932 at the age of 60.

 

Florenz Ziegfeld

Florenz Ziegfeld.

Florenz Zeigfeld. Image from: https://commons.wikimedia.org/

This brand new and most modern theatre now needed a new tenant. And Florenz Ziegfeld would be the one. Looking for a theatre to stage a revival of his biggest success, Show Boat, the empty Earl Carroll Theatre was perfect. Ziegfeld too ill in the spring of 1932 to leave his house at Hastings-on-Hudson, announced to the press in late April his leasing of the theatre. One of the concessions the Seventh Avenue Corporation made to Ziegfeld was a changing the name. Starting with Show Boat the Earl Carroll Theatre became the Casino. This was Ziegfeld’s tribute to the original Casino Theatre at Broadway and 39th Street, which was razed just two years earlier.

 

Casino Theatre, 1882 - 1930.

The original Casino Theatre (1882 – 1930), Broadway and 39th Street. Image from: https://commons.wikimedia.org/

With its enormous size, Ziegfeld continued Carroll’s popular price policy. Show Boat found the success that eluded the Earl Carroll Vanities and became the most successful show of the season. Show Boat kept the lights on at the Casino Theatre from May 19 – October 22, 1932. A 180 performance run, which was unheard for a Broadway revival. The future was looking bright.

 

With Show Boat up and running, Ziegfeld began planning a follow up for the Casino. Unfortunately, his health continued to deteriorate. Spending a month in a New Mexico sanitarium, his health did begin to improve. On his release he traveled to Los Angeles, where his wife Billie Burke, was filming A Bill of Divorcement for R-K-O. But the trip proved too taxing. Ziegfeld’s health took a turn for the worse. He died soon after his arrival in California at Cedars of Lebanon Hospital on July 22, 1932.

 

Ziegfeld's Dead NY Daily News headline.

New York Daily News headline of Florenz Ziegfeld’s death. Image from Newspapers.com.

 

Upon Ziegfeld’s death, theatrical producer / promoter A. C. Blumenthal took over Ziegfeld’s business affairs. In late July Blumenthal announced to the press that a new edition of The Ziegfeld Follies would move into the Casino Theatre soon after the closing of Show Boat that autumn.

 

A. C. Blumenthal and June Lang, 1939.

A. C. Blumenthal with June Lang at a Hollywood premiere in 1939. Image from Hulton Archive / Getty Images.

 

For reasons now unknown, Blumenthal was unable to get a new edition of the Follies into production after the closing of Show Boat. In the early autumn of 1932, Blumenthal also planned to finance a new opera company that would make its home at the Casino.

New York Time, September 28, 1932, New Opera Company.

Announcement of a new popular price opera company to rival the Metropolitan. New York Times, September 28, 1932, Pg. 28. Image from Proquest.com.

Singers from the Metropolitan Opera, unhappy that their upcoming season would be reduced from twenty-four to sixteen weeks, were planning to form a rival popular price company. But like so many other enterprises during the depression, Blumenthal did not find the needed financial backing. The new company never materialized. Once again the Seventh Avenue Corporation went looking for a new tenant for their theatre.

 

George White in the early 1930s.

George White in the early 1930s. Image from imdb.com.

 

Now it was Earl Carroll’s revue competitor, George White who entered into the saga of the Earl Carroll / Casino Theatre. White’s home theatre for his revues, the Apollo, had been leased to another company. So for his new show he successfully leased the Casino. But this would not be a new edition of The Scandals. This was going be George White’s Music Hall Varieties. Basically The Scandals under a different name. Also different would be the number of performances.  The new show would have two performances daily, even on Sundays. Nearly doubling the normal eight performances a week of a Broadway show. But Actors Equity intervened preventing White from opening a Broadway revue under the guise of two-a-day vaudeville. As a result  the show played the standard number of weekly performances. With a $3.00 top, White continued the popular price policy.

 

Advertisement for opening night of Music Hall Varieties.

Advertisement for the opening night of George White’s Music Hall Varieties. New York Daily News, November 14, 1932, Pg. 33. Image from newspapers.com.

Headlining the revue was a 1932 powerhouse trio, singer Harry Richmond, actress Lili Damita and comedian Bert Lahr.

 

George White’s Music Hall Varieties was mildly successful. It had a two edition run before closing on January 21, 1933.

 

1933

 

Daily News advertisement for Melody.

February 5, 1933 advertisement for the opening of Melody on the 14th. New York Daily News, Pg. 59. From newspapers.com

 

In less than three weeks, White followed up the Music Hall Varieties with an operetta. Melody, with music by Sigmund Romberg and setting by Joseph Urban, opened at the Casino on February 14, 1933. Revues and operettas were waning in audience popularity by the 1930s. The run of Melody proved less successful than Music Hall Varieties, closing after 79 performances on April 22, 1933.

 

Melody chorus line.

Chorus line from Melody. Image from MCNY.org

With the closing of Melody the Casino went “dark” for two months. With no income coming in and taxes and interest on loans adding up, the Seventh Avenue Corporation was anxious for any source of revenue. They found it from a not so usual tenant.

 

 

Moonlight and Pretzels. Universal, 1933.

The two sheet poster for Moonlight and Pretzels (Directors: Karl Freund, Monte Brice). Image from Amazon.com.

 

Movie musicals had fallen out of audience favor by the end of 1930. With the release of Warner Bros. 42nd Street in March of 1933, the genre was enjoying a renewed popularity. All the studios rushed “backstage” musicals into production. And Universal Pictures joined in with Moonlight and Pretzels. Directed by Karl Freund and Monte Brice, the musical starred Leo Carrillo, Mary Brian and Roger Pryor. But Moonlight and Pretzels was not made in Hollywood. Filming took place at the Eastern Service Studios (formerly Paramount and today the Kaufman Astoria Studio) in Astoria, New York.

 

Paramount Astoria studio in 1921.

The Eastern Service Studio in 1921 when it was Paramount. Image from silentlocations.com.

While the studio’s soundstage proved more than adequate for the dramatic portions of the film, it was too cramped for big production numbers. The problem was solved by using the stage of the unused Casino Theatre in Manhattan. As a result of shooting inside the theatre, present day audiences get glimpses of the interior of the auditorium.

 

Moonlight and Pretzels, main title.

The main title for Moonlight and Pretzels, 1933. Frame grab from internet.

 

 

The Casino Theatre orchestra pit, showing the lighting console.

The lighting console for the theatre is seen directly behind the orchestra leader. Frame grab from the internet.

 

Shooting wrapped in June and once again the enormous theatre sat empty. With the Seventh Avenue Corporation receiving no income they fell behind on their obligations. The “white elephant” of a theatre went into foreclosure by the summer of 1933.

 

Casino sold at auction. August, 1933.

New York Daily News article. August 8, 1933, Pg.21. Image from newspapers.com.

 

The Mutual Life Insurance Company did not rush any productions into the Casino. In December, 1933 it was announced that the next show would be an import from Europe.  The White Horse Tavern, a very elaborate operetta would open in early 1934.

 

The White Horse Tavern, Casino Theatre.

Daily News article from December 21, 1933, announcing The White Horse Tavern for the Casino Theatre. Image from newspapers.com

It did not open in January, the show was too costly to mount at that time. A couple years later it did open on Broadway as White Horse Inn. By that time the Casino was no longer available, the Center Theatre would be its home.

 

1934

In the winter of 1934, opera kept the lights on at the Casino Theatre. But not the proposed opera company made up of singers from Metropolitan Opera. Two traveling companies found the stage facilities of the theatre perfect for their needs. The Russian Opera Company returning to New York, moved in to the Casino giving their first performance on February 1st.

 

Newspaper ad for the Russian Opera Company.

January 21, 1934 newspaper advertisement for the Russian Opera Company at the Casino Theatre. New York Herald-Tribune, Page D2. Article from proquest.com

After a two week stay, the Russian Opera Company’s last performance came on February 14th. But New York City opera lovers did not have a long wait before another company moved into the Casino Theatre.

 

San Carlo Opera Company moves into the Casino Theatre.

New York Times announces the opening of the San Carlo Opera Company’s season at the Casino Theatre. New York Times, February 23, 1934, Pg. 23. Article from proquest.com.

 

On Sunday evening March 4th, the San Carlo Opera closed their successful New York season with a performance of Il Trovatore. Just less than a month later, vaudeville replaced opera on the stage. Casino Varieties, headlined by George Jessel opened on the afternoon of April 2, 1934.

 

Casino Varieties review, New York Daily News.

Review for the Casino Varieties. New York Daily News, April 4, 1934, Pg.65. Image from newspapers.com.

 

Casino Varieties, closed one week shy of its planned four week run, on April 22nd. The theatre shut down completely for five days. It reopened on Friday April 27th with a new entertainment policy. The Casino Theatre began to show first run films with a five act stage show. This seemed to be the best solution for a theatre of such a large size.

 

Finishing School review.

Review for the first film shown at the Casino Theaatre, Finishing School (RKO, 1934). New York Daily News, April 28, 1934, Pg. 29. Image from newspapers.com.

 

Wanda Hale gives about equal time to the film and the theatre in her review. And it seems the theatre got the better notice. But like everything else concerning this theatre, even movies failed to find success. Whether it was lack of getting first run films or just too much competition, after only three weeks the film and stage show policy was dropped. And again the theatre sat dark. Two weeks later a tiny article appeared on page 14 of The New York Times, concerning a French theme dinner show headed for the Century of Progress Exposition in Chicago.

 

Folies Bergere theatre show.

New York Times, May 29, 1934, Pg. 14. Image from proquest.com

 

Unbeknownst to all at the time was how much this show would play a part in the success of the Casino Theatre.

 

Sources: The New York Daily News, The New York Evening Post, The New York Herald-Tribune, The New York Times, The Richmond Times Dispatch.

 

Anthony & Chris (The Freakin’, Tiquen’ Guys)

CLICK HERE FOR PART THREE