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CHAPTER FIVE

George S. Kaufman and Marc Connelly, Dulcy, in The Drama Reader (New York: Odyssey Press, 1962); Brooks Atkinson, Broadway (New York: Macmillan, 1974); Scott Meredith, George S. Kaufman and His Friends (Garden City, N.Y.: Doubleday, 1974); “My Lost City,” in Writing: A Literary Anthology of New York (New York: Library of America, 1998); Ann Douglas, Terrible Honesty: Mongrel Manhattan in the 1920s (New York: Farrar, Straus & Giroux, 1995); F. Scott Fitzgerald, This Side of Paradise (New York: Scribners, 1995); Frederick Lewis Allen, Only Yesterday (New York: Harper & Bros., 1931); David Belasco, “A Flapper Set Me Right,” in Smart Set, August 1927; Robert Baral, The Revue (New York: Fleet Publishing, 1962); Abel Green and Joe Laurie, Show Biz: From Vaude to Video (New York: Henry Holt, 1951); Edwin P. Hoyt, Alexander Woollcott: The Man Who Came to Dinner (London: Abel and Shulman, 1968); Gilbert Seldes, The Seven Lively Arts (New York: Sagamore Press, 1957); S. N. Behrman, People in a Diary (Boston: Little, Brown, 1972); Phillip Dunning and George Abbott, Broadway (New York: George H. Doran, 1927); Eugene O’Neill, Beyond the Horizon (New York: Horace Liveright, 1920); Mary C. Henderson, The City and the Theatre (New York: James T. White, 1973); Moss Hart, Act One (New York: Random House, 1959); George S. Kaufman, The Butter and Egg Man (New York: Boni & Liveright, 1926); George S. Kaufman and Marc Connelly, Beggar on Horseback (New York: Horace Liveright, 1924); Philip Furia, Irving Berlin: A Life in Song (New York: Schirmer Books, 1998); George S. Kaufman and Ring Lardner, June Moon (New York: Sam French, 1929); Ethan Mordden, Broadway Babies: The People Who Made the American Musical (New York: Oxford University Press, 1983); George S. Kaufman and George S. Gershwin, Strike Up the Band, videotape in collection of New York Public Library.

CHAPTER SIX

Benjamin de Casseres, Mirrors of New York (New York: Joseph Lawrence, 1925); Stanley Walker, The Nightclub Era (New York: Frederick A. Stokes, 1933); Paul Morand, New York (New York: Henry Holt, 1930); Nils T. Granlund, Blondes, Brunettes and Bullets (New York: David McKay, 1957); Gilbert W. Gabriel, “Blind Pigs in Clover,” in Vanity Fair, April 1927; Louise Berliner, Texas Guinan, Queen of the Nightclubs (Austin: University of Texas Press, 1993); Texas Guinan Clip File, New York Public Library; “Speakeasy Nights,” in The New Yorker, July 2, 1927; Neal Gabler, Winchell: Gossip, Power and the Culture of Celebrity (New York: Knopf, 1994); John Mosedale, The Men Who Invented Broadway: Damon Runyon, Walter Winchell and Their World (New York: Richard Marek, 1981); “Texas Guinan Says” File, New York Public Library; Damon Runyon, Broadway Stories (New York: Penguin, 1993); Jimmy Breslin, Damon Runyon (New York: Ticknor & Fields, 1981); William R. Taylor, “Broadway: The Place That Words Built,” in William R. Taylor, ed., Inventing Times Square: Commerce and Culture at the Crossroads of the World (Baltimore: Johns Hopkins University Press, 1991); F. Scott Fitzgerald, The Great Gatsby (Cambridge: Cambridge University Press, 1991); Gene Fowler, Beau James: The Life and Times of Jimmy Walker (New York: Viking Press, 1949).

CHAPTER SEVEN

J. Hoberman, 42nd Street (London: British Film Institute, 1993); Abel Green and Joe Laurie, Show Biz: From Vaude to Video (New York: Henry Holt, 1951); Bradford Ropes, 42nd Street (New York: Alfred H. King, 1932); 42nd Street videorecording; Bill Ballantine, Wild Tigers and Tame Fleas (New York: Rinehart, 1958); Irving Zeidman, The American Burlesque Show (New York: Hawthorne, 1967); Stanley Walker, The Nightclub Era (New York: Frederick A. Stokes, 1933); The WPA Guide to New York City (New York: The New Press, 1992); Jack Lait and Lee Mortimer, New York Confidential (Chicago: Ziff-Davis, 1948); Felix Riesenberg and Alexander Alland, Portrait of New York (New York: Macmillan, 1939); Margaret M. Knapp, “A Historical Study of the Legitimate Playhouses on