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0-1-Sequences of Toeplitz Type by Jacobs K., Keane M.

By Jacobs K., Keane M.

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Forgotten Com- 30 The Dame in the Kimono mandments: “She’s yours! She’s beautiful, fiery, white-skinned, redblooded! All she wants is love! Take her! Forget her husband! A rubber stamp gave her to him—a rubber stamp will give her to you. Any woman for any man. . ” The combination of the pictures, the advertisements, and the reformers translated into a loaded gun. Mae West and the Code would determine whether Hollywood shot itself in the foot or the head. In January 1933, Paramount invited James Wingate to a preview of the Mae West picture.

RKO finished Ann Vickers and Of Human Bondage with a wink and a nod for the Production Code and Doctor Wingate. Paramount was even worse. ” Other studios threatened to make the run on sex pictures a stampede. In Warners’ Mandalay, then in preproduction, Kay Francis stepped out of a bathtub and into Ricardo Cortez’s arms. ” Yet Wallis himself occasionally stepped over the line. “We must put brassieres on Joan Blondell and make her cover up her breasts [Jack Warner cautioned Wallis on Convention City] because, otherwise, we are going to have these pictures stopped in a lot of places.

During premiere week at the Paramount Theater, as West appeared on stage to sing songs and perform skits, audiences and several critics welcomed the return of two legends: Mae West and Diamond Lil. ” While New Outlook hailed Lil for “slipping undetected past chipmunky Tsar Hays and his ban,” Vanity Fair worried that the picture would inspire vulgar imitations; producers would dismiss the “beery poignancy” of the original, accentuate the bawdy elements, and force Hays to condemn West along with her smutty carbon copies.

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