Hollywood (1942)

Record Details:

Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.

Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.

He walks around the little room, showing you how an instrument works, cutting a slab of wood for you so that you can see how vicious the electric saw is. Back in the house again, he takes you downstairs. This time you see what you missed before. His bedroom, masculine, its wall paper striped in blue and coral, its heavy drapes of dark blue, its wide, simply-covered bed. His dressing room and bath with glass-enclosed shower. And, next to his, you see his little daughter's room. She is five, lives with John for six months of the year, and her quarters reflect her childish daintiness. There is sprigged paper on the walls, flowered chintz at the windows, and a collection of delicate French prints above the bed. In one corner, you find a small phonograph which is covered in a gay material. (John hopes that she shall grow to love music as he does, so he's giving it to her at an early age.) That is the house. Yes, that's all there is to it. It isn't large, yet it's spacious. It isn't by any means the ordinary "moom pitcher star" house. It's too simple a place for that. And, when you've seen the surface, John shows you what really makes it into a home. There is his collection of guns, for instance. He has about four hundred and fifty of them, old and new. One, he says, killed Billy the Kid. Two more are antique French duelling pistols. He pulls firearms out of filing cases, from the top of the piano, from drawers. You hope they aren't loaded, and momentarily expect an explosion which will scare you out of your wits. Then, too, you begin to see the part music plays in the life of John Carroll. One corner of the living room boasts a grand piano, fitted with an organ attachment. Behind this, you glimpse a 'cello. Against another wall stands a magnificent Capehart, with racks of records on it. There is also a professional recording machine, with which John can record the voice which won him a place in the roster of the Metropolitan Opera. You'll hear his voice again in M-G-M's Rio Rita. In the living room and his bedroom, too, you see the clues to another object of his devotion. On the walls, on tables, and in the book cases, there are pictures of his small daughter, Julie. Some are with him, the two of them laughing together. Some alone. And one shows her running across a sweep of lawn, her arms outstretched, smiling. You ask John what home means to him, why he built this house. "Home — " he says, "means a place where I can sing at any time of the day or night. Where I can make all the noise I want, without disturbing anyone. Where I have no one to consider but myself. Where I can live as I want to live." He pauses for a moment. "I saw a house once on a calendar," he continues. "That sounds like hokum, I know. It may be. But the place in the picture had a white picket fence around it and roses in the windows. It looked peaceful and warm. And this house — yes, you can call it my 'dream castle'! — looks just like it. It means what the other house meant. It means peace!" | Gown courtesy of Kalmour Use pf\ESH#2 and stay fresher! PUT FRESH #2 under one arm — put your present non-perspirant under the other. And then ... 1. See which one checks perspiration better. We think FRESH #2 will. 2. See which one prevents perspiration odor better. We are confident you'll find FRESH #2 will give you a feeling of complete under-arm security. 3. See how gentle FRESH #2 is — how pleasant to use. This easy-spreading vanishing cream is not greasy — not gritty— and not sticky. 4. See how convenient FRESH #2 is to apply. You can use it immediately before dressing — no waiting for it to dry. 5. And revel in the knowledge, as you use FRESH #2, that it will not rot even the most delicate fabric. Laboratory tests prove this. FRESH #2 comes in three sizes — 50i for extra-large jar; 15i for generous medium jar; and \0i for handy travel size. Make your own test. Once you make this under-arm test, we're sure you'll never be satisfied with any other perspiration-check. If you don't agree that FRESH #2 is the best under-arm cream you've ever used, the test will cost you nothing because your dealer ^-5?oiTBjb»n. will be glad to refund your /^GuaiaiSed b^i purchase price upon request. V?°d,1SSS^epi°5/ FRESH, Louisville, Ky. ^^Sa^sm^' Companion of FRESH #-2 is FRESH #1. FRESH #1 deodorizes, but does not stop perspiration. In a tube instead of a jar. Popular with men, too. 43