Tag Archives: Universal Pictures

Universal Horror The Black Cat – New Bright House

Universal Pictures Logo from 1932-1936.

The Universal logo (1932 – 1936) at the beginning of The Black Cat. Image from the Universal DVD.

 

The main title card for The Black Cat.

The main title card for The Black Cat. Image from the Universal DVD.

The Black Cat, Universal’s 1934 film teamed up their two kings of horror, Boris Karloff and Bela Lugosi for the first time. While the movie starts on a “dark and stormy night”, there’s no “old dark house” here but a very ultra modern one. This is the only 1930s Hollywood film with sets so directly inspired by Bauhaus design.

 

Black Cat lobby card showing Poelzig's bedroom.

A Black Cat lobby card with Boris Karloff as architect Hjalmar Poelzig. This card shows Poelzig’s bedroom. Notice the lamp on the night stand, more on that later. Image from alamy.com

 

During the 1920s Universal Pictures association with the horror genre began. The studio had massive success with The Hunchback of Notre Dame (1923) and The Phantom of the Opera (1925). With the 1927 film The Cat and the Canary art director Charles D. Hall, in collaboration with director Paul Leni, created an American expressionist look for an “old dark house” story. Enhancing the mood with the use of lighting and shadows.

 

The Cat and the Canary's old dark house.

The “old dark house” of The Cat and the Canary, Universal 1927, Paul Leni director, Charles D. Hall set designer. Frame capture from the Image DVD.

 

 

Charles Hall’s work on Dracula and Frankenstein, both from 1931, cemented the look of the typical 1930s horror film. Gothic, creepy and dark. These films established Universal as the leading producer of the horror genre. And they made stars of Bela Lugosi and Boris Karloff. As the depression deepened the popularity of the horror film continued to grow. Lugosi and Karloff would alternate starring in the parade of macabre titles Universal produced over the next two years.

 

The crumbling Castle Dracula.

Bela Lugosi greets a confused Dwight Frye in the crumbling section of Dracula’s Transylvania castle. This set epitomizes the look of the Universal horror film of the early 1930s, dark and sinister. Image from the Universal DVD.

 

 

Frankenstein's tower laboratory.

Charles Hall’s set for the tower laboratory set for Frankenstein became the standard look for a mad scientists workplace. Colin Clive as Frankenstein and Dwight Frye as his assistant Fritz. Image from the Universal DVD.

With the depression starting to loose its grip, at least a little bit, during the second half of 1933 and into 1934, the mood in the United States lightened. If prosperity was not exactly here, at least it felt it was on the way. The movies reflected this change. Musicals, practically off screens for two years, returned and the popularity of horror films began waning. So it only seemed natural to team Boris Karloff and Bela Lugosi in a film to boost box office potential. And why not throw some Edgar Allen Poe into the mix. Though the finished film has no relation to the Poe tale, except the title.

 

Ulmer's title card in the opening credits of The Black Cat.

Directorial credit title in the opening credits of The Black Cat. Image from the Universal DVD.

 

Universal originally planned to shoot The Black Cat in the autumn of 1933 with E. A. Dupont directing. But owing to financial constraints at the studio, the film did not go before the cameras until the end of February, 1934. By this time Edgar G. Ulmer was in the director’s chair. Born in what is now the Czech Republic, he lived in Vienna as a young man. There he worked as an actor and set designer while studying architecture and philosophy. Ulmer designed sets for the legendary Max Reinhardt and served an apprenticeship with film director F. W. Murnau. Ulmer accompanied Murnau to Hollywood in 1926, where he worked as an assistant set director on all of Murnau’s films.

 

Edgar G. Ulmer, director of the 1934 version of The Black Cat.

The director of The Black Cat (1934) Edgar G. Ulmer. Image from imdb.com.

 

Ulmer’s first Hollywood directed film was Damaged Lives (1933), a low budget movie about syphilis. Soon after completing the film he landed the job of directing The Black Cat. Going before the cameras on February 28, 1934, principal photography finished three weeks later on March 17th. After a few days of retakes at the end of March and post production completed in April, The Black Cat went into release on May 7th. The cost of the film came to an economical $95,745.31 ($1,842,004.00 in 2020).

 

Although Charles D. Hall did design the sets and receives credit as such, Ulmer’s influence for the look of the film is obvious. Coming from Germany Ulmer knew of the Bauhaus and its design aesthetic. it permeates throughout the film. Even naming Boris Karloff’s character, Hjalmar Poelzig, after German architect, set designer and painter Hans Poelzig. In the 1920’s Poelzig mentored Ulmer at the Ufa studio and during Ulmer’s early days with Max Reinhardt. The two men remained friends till Poelzig’s death in 1936.

 

A 1927 photograph of Hans Poelzig.

Hans Poelzig in 1927. Image from Wikipedia.org.

 

Most of the action of the film takes place at Poelzig’s home. Built on the ruins of the fictional Fort Marmorus, site of one of the First World War’s bloodiest battles. The film’s plot is a revenge story. Dr, Werdegast (Lugosi) imprisoned by the Russians since the war when his commander, Poelzig (Karloff) abandoned the Hungarian fort. He is now returning after 15 years to find his wife, whom Poelzig married, and his daughter. On the train from Budapest Werdegast shares a compartment with a honeymooning couple, played by David Manners and Jacqueline Wells. After transferring to a bus to complete their journey it crashes on the obligatory “dark and stormy night”. Luckily, or maybe not so luckily,  the crash just so happens down the hill from Poelzig’s ultra modern mansion.

 

The house of Poelzig.

Poelzig’s mansion in The Black Cat is built above the graves of the war dead, is very inspired by Bauhaus architecture. Image from the Universal DVD.

 

Poelzig besides being a master architect also dabbles in necrophilia and is a high priest of Satan. With a Satanic ceremony taking place the following night, for which the young bride is perfect for the sacrifice, Poelzig keeps the crash victims from leaving. They are prisoners in an extremely stylish “jail”.

 

The first glimpse of the interior of Poelzig's house in The Black Cat.

The first glimpse of the interior of Poelzig’s house. Staircase in front of wall of “glass” block. Image from the Universal DVD.

 

A daytime shot showing the staircase.

A daytime shot of the staircase in much better detail with David Manners at the top. Image from the Universal DVD.

 

A focal point of the set is the curving staircase located in front of what appears to be a wall of glass block. The budget for the sets of The Black Cat came to approximately $3,700.00. This set is a perfect example of the cost saving economy of the design. It appears at first that the “glass block” is actually painted to look like glass. But upon closer examination, the wall is actually translucent. And some of the blocks had what looks like wrinkles. So it seems to be a wooden grid covered in a muslin scrim. Which is a lot cheaper and easier to instal and tear down than a real glass block wall.

 

Wrinkles on the "glass block" wall.

Unusual shadows or wrinkles can be seen on the right hand side of the “glass block” wall. Image from the Universal DVD.

A highly polished Bakelite floor completes the living room set. While this gives the room a glossy look, it must have been very difficult to walk on.

 

The entrance hall to Poelzig's house in The Black Cat.

Poelzig’s entrance hall. Image from the Universal DVD.

 

Bauhaus inspiration is clearly evident in the entrance hall of Poelzig’s house with its simple lines. Notable features of the hall are the sliding front door and the lighted ceiling. In the living room a chrome, glass top table is accompanied by two chrome tube chairs. Some sources attribute these chairs to Hungarian designer and architect Marcel Breuer. There is no evidence that any of the furnishings used on the set of The Black Cat are European.

 

The Black Cat, Poelzig's living room.

Poelzig’s living room featuring chrome and glass table and two Lloyd Loom Manufacturing side chairs. Image from Universal DVD.

 

The chairs in The Black Cat look very much like a KEM Weber design for Lloyd Loom Manufacturing.

 

The decor of the guest rooms is typical of the moderne style enjoying popularity thanks to industrial design shows and exhibits at Chicago’s Century of Progress exposition in 1933.

 

A guest bedroom in the Poelzig house.

One of the guest bedrooms in Poelzig’s house. Image from the Universal DVD.

 

The then current decorating trend of using horizontal metal bands divide the walls of the guest rooms and give it a streamline effect. Also in one of the guest rooms is a very modern clock. The clock looks like an early model from Lawson, a California company, that has been painted to match the set.

 

Lawson clock on the night stand in a guest room.

Night stand with a Lawson clock. Image from the Universal DVD.

 

Lawson began production of these digital clocks in 1933. Numerals on rotating wheels tell the time, so it’s not exactly digital by today’s definition. Their advertisements claim this was the “first innovation in telling time since 1687”. Today these clocks are quite collectible and command premium prices. For an in depth history of Lawson clocks check out The Lawson Clock Story at Decopix.

 

The unusual modern radio in the living room, seems to be a fantasy creation out of the mind of the set designer, Charles Hall. The tuning dial sits above a louvered cabinet built into the wall and a very large aerial stands to the right. In the corner of the living room is a striking floor lamp with a great metal shade.

 

The modern radio in the living is a fanciful creation for the movie.

Poelzig’s modern radio, probably a creation of Charles Hall or Edgar Ulmer. Image from the Universal DVD.

 

There is another great lamp in the film and it must have been on sale. Because it is in almost every room of Poelzig’s house. Of course it just the one lamp over and over again on different sets. It’s a table lamp, rising from the circular base is a black metal cylinder that sets back to a shorter cylinder, just like a skyscraper. Chrome banding accents each set back. topping the lamp is a striped vellum shade and a glass or painted metal ball finial.

 

Great moderne table lamp on Poelzig's desk.

Poelzig’s study desk featuring a Koch Chrometal lamp. Image from Universal DVD.

 

Poelzig's bedroom night stand, with the skyscraper style table lamp.

The nightstand in Poelzig’s bedroom with that table lamp and a great combination cigarette box and lighter, possibly made by Ronson or Elgin. Image from the Universal DVD.

 

The Chrometal lamp in the living room.

And here is the lamp on a living room side table. Image from the Universal DVD.

 

Here the lamp is in Werdegast's guest room.

This lamp is also nice for a guest room. Here it is seen in Werdegast’s room. Image from the Universal DVD.

 

Like all the other furnishings in the film this lamp is not European, it is American. It was sold through the 1934 Kochs Chrometal catalog. Kochs Chrometal specialized in furniture and accessories for barber shops and beauty parlors.

 

The 1934 Koch Chrometal catalog featuring the lamp used in The Black Cat.

The 1934 Koch Chrometal catalog. Circled in red is the lamp that is so prominently featured in The Black Cat. Image from worthpoint.com.

 

Poelzig, being a high priest of Satan, of course has an alter room to practice his black arts. In comparison to the rest of his house the alter room is simply done and is sparse with decoration.

 

Boris Karloff as Poelzig holding a black mass in the alter room in The Black Cat.

Boris Karloff as Poelzig officiating a black mass in the alter room in The Black Cat. Image from the Universal DVD.

 

The six-sided alter sits above a pentagonal stepped platform, all painted in what appears to be off white. The dramatically lit walls are in dark gray. Four obelisks stand around the room. Dominating the alter is a double cross (I’m sure the pun was intended) on an angle, making it look something like a giant hashtag. The retable behind the alter resembles stylized skyscrapers. The double cross, the retable and the obelisks are very striking in their silver metallic paint. The retable is very similar in appearance to the tag on Paul Frankl’s Skycraper Furniture line.

 

The Black Cat alter and retable detail.

Detail of the double cross alter and the skyscraper retable. Image from The Black Cat Universal DVD.

 

Skyscraper Furniture tag.

Tag for Skyscraper Furniture by Paul Frankl. Photo from tftmmelrose.com

 

A lobby card for The Black Cat.

A lobby card for The Black Cat (1934). Image from Heritage Auctions.

 

So next Halloween or when ever you’re in the mood for a classic Universal horror film check out The Black Cat. The running time is a brisk 69 minutes, Karloff and Lugosi are great and it’s easy to tell they enjoy working together and if the film does not frighten you, the sets will surely impress you.

 

THE END logo.

The 1932 – 1936 Universal THE END logo. image from the Universal DVD.

 

Closing Universal logo.

Closing Universal credit, 1932 – 1936. Image from the Universal DVD.

Closing cast credits.

The closing cast credits for The Black Cat. Image from the Universal DVD.

Anthony & Chris (The Freakin’, ‘tiquen guys)

 

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

 

CLICK HERE FOR PART ONE

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