Author Archive

Olivia de Havilland to be honored

20 Mar

Back in July of 2016, Olivia de Havilland gave a interview with People Magazine on turning 100.…

During the course of that interview came an inevitable question:

Asked if there’s any advice she’d give to her younger self, she replies, “Take a long leave of absence from the Warner contract and go to Mills College, where the scholarship I had won in 1934 is still waiting for me!”

Now, I have a connection with this small women’s (undergraduate) and coed (graduate) college located in Oakland, California. And needless to say they were both DELIGHTED AND SURPRISED to have received this ultimate of complements.

I have since been informed that this complement is to be returned and the missed opportunity corrected of a sort:

“We are so thrilled to honor Olivia de Havilland at commencement this year on May 12th. Her daughter will be here to receive the honorary degree on her behalf. Such exciting times!”

So congratulations, in advance, to the soon to be GRADUATE!




— Karl


Hollywood and the Stars…

31 Oct

Back in 1963, there was the aforementioned series produced by David L Wolper. Those lucky enough, might catch a look at a particular program in the series titled “The Swashbucklers” (which featured Fairbanks Sr and…) sometimes MIGHT be found on a compilation tape of Flynn miscellaneous items (Pirate Party, etc.).

Always on the look out for a better copy in the hopes that the series would be commercially reissued.

With the passing of Wolper comes a change in that situation and its appearance on Youtube; narrated by Joseph Cotton and worth a look.

— Karl

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What 1 actor…

05 Jan

also appearing on the Perry Mason series, has a most unusual connection to Flynn. A quadruple threat in the arts: stage, screen, radio and (of course) television. Pondering the full import of his name, gives a strong indication as to not only a special location, but also its special contribution to a MOST SPECIAL film. Any one up for a SPECIAL challenge this evening?

— Karl


Passed in 2016 …

02 Jan

Did I miss it or did no one report on the fact that 2 Flynn alumni, from his very last dramatic appearance (The Golden Shanty), passed last year:

Patricia Barry (Adie Walker)

Arthur Hiller (Director) below with Errol.

  • golden-shanty_correct-ar

— Karl


Bonny's bubble car …

19 Feb

No sooner do I put out a request for help (as to Marelle's final day), then more of the answer comes!

I would like to most humbly thank our own member (and not to mention authoress: Master of Errol Flynn's Yacht Zaca Captain Patrick C. Cother) Bonny Cother, for her amazing resourcefulness!

What a great group, but on this day, BONNY SHINES!

Best- Karl

— Karl


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Bonny Cother's book Master of Errol Flynn's Yacht Zaca…

31 Jul

It has indeed been a GREAT couple of years or so for the release of books on Flynn.

Two EXCELLENT books in particular have come out more recently, which are RARE glimpses into, literally, the “interiors” of Flynn's two most beloved possessions: the Mulholland Drive home (Errol Flynn Slept Here by Robert Matzen and Mike Mazzone) and his beloved boat (Master of Errol Flynn's Yacht Zaca Captain Patrick C. Cother by Bonnie Cother).

As Bonnie's book has been less spoken about I will say a few words here.

We join Bonnie as she opens up a chest of her late father's most precious items- in particular, the photographic as well as paper records of her father's 18 month tenure as Captain of the Zaca (1956-7).

As is CLEARLY evidenced, Captain Cother was a PROFESSIONAL ship's master, and he brought with him the full breadth of his lifetime of experience. I speculate that he may well have been Zaca's FINEST captain.

We look at the day to day experience, through the ship's log, letters to various suppliers, his own personal memoirs, and ESPECIALLY his letters to (and from) the owner: Errol Flynn. Flynn, at the time, was engaged in chartering (rental) of the Zaca, and in fact, Captain Cother's first assignment was just that, and his clients: the Queen of the silents, Mary Pickford, and her husband Buddy Rogers and their family.

Captain Cother's conscientiousness to ALL details is mind boggling- from the proper maintenance of sails right way down to the literally, the “nuts and bolts” that held it all together. It even went to below decks and his problems with hot water, refrigeration, carpentry, and the motors. As Captain Cother was responsible for EVERYTHING, you begin to appreciate the “behind the scenes” of keeping the boat afloat, the challenges of sailing, and the interpersonal relations of crew, suppliers, repair people, charter clients, and finally, the owners (Flynn and Patrice Wymore)  as well.

This book is the full and complete record (or as near as we could come) to just what life aboard Zaca was ALL about in the time period late in the life of Flynn.

To give something more of an idea of what Captain Cother “signed on for”- Flynn had first overhauled the interior when he bought Zaca, but apparently little had been tended to above decks ever since. And there was MUCH in need of repair. He advised Flynn as such, and convinced him that it had to be done. And one has got to realize money was in short supply for Flynn at this time, and while at first somewhat skeptical, Flynn clearly came to TRUST him. I dare say Flynn RECOGNIZED what he had in such a man as Captain Cother.

Beyond the practical matters discussed, there are the various “other” stories that are reflected in the both the correspondence and the photographs contained in the book.

In short, it is the other side of the story, beyond the viewing of a beautiful photograph or footage of Zaca sailing that is told here.

And Bonnie has lovingly put this book together, as best she could (given a certain amount of deterioration of the original records, etc), and supplementing these documents with her own transcriptions (of the same) and her commentary, so you do follow all that is going on, even if you can't always “make something out” on the original document.

WHAT AN EFFORT THIS MUST HAVE TAKEN TO PUT IT TOGETHER- especially given that she WASN'T there to witness the various events spoken of first hand. She had to make sense of it all, and THEN communicate that to the reader. No small feat!

And if all that  weren't already enough, she had to choose a book cover that might even remotely begin to reflect its contents. What to do about that?

I leave it for you to decide (see attachment).

For me, all I can say is … just looking at the book cover (both sides) transported me almost immediately out to sea- which is what Zaca was ALL ABOUT.

Best- Karl


Added by David DeWitt:

Bonny Cother states:

Any person ordering a book, must email me at…, with their snail mailing address, and current email address. Paypal willl contact them, and send the transaction amount, which will include postage and packaging: $34.00 USD, USA – $44.00, USD – UK and Australia….

Paypal will convert the amount due to their currency . If they do not have paypal, they will be offered the opportunity to join. (Paypal Account is optional!)

If a USA buyer would prefer to obtain a Post Office money order for the $34.00, make it out to Veronica Cother Bentley. Send to P. O. Box 7621 Winter Haven, Florida 33883-7621

Notify me via email your preference of payment.

Once payment has been received it will take 6-10 days for the book to arrive depending on where in the world it is shipped to. Thanks so much!

— Karl


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Master of Errol Flynn's Yacht Zaca Captain Patrick C. Cother

02 Jun

Ahoy all Zaca lovers

At last, Bonnie Cother is back from her visit to the UK and I have just now been in touch.

The ordering particulars are these:

The book is $29 (USD) and for the USA, shipping and handling is $5. Please check with her if you are outside USA.

No credit card or personal checks. A money order or the equivalent and to please make the check out to Veronica Cother-Bentley and send your order to the address below.

The Post Office informs her that shipping usually takes between 5 and 6 days.

If you want it sooner that can be arranged also but you must contact her for a different price…
Veronica Cother-Bentley
P.O. Box 7621
Winter Haven, FL 33883

To refresh your memory:

She has said: “my father was the Master/Captain of Zaca during 56/57……….. the journal is full of photos of EF and family, copies of original letters to and from EF……..log book entrants……….. telegrams, and information dad has typed re meeting with EF.”

(Bonnie has further related this most interesting tidbit- that her father and Errol Flynn had MUCH common- not the least of which … a shared birthday!)

I am REALLY looking forward to this book as it is another unusual (and to date, unknown) witness to events that has come forward- albeit indirectly. In fact, had Ms Cother not gone through her fathers' things, discovered this treasure trove of Flynn stuff (and, in many cases VERY fragile items at that) and TAKEN THE TIME OFF to do loving justice to the assemblage of it all … I shudder to think of the alternative! Afterall, think of the almost fate of the Zaca itself!

Best- Karl

— Karl


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Early Zaca Logbook on the block

18 Apr

With excitement brewing over the Cother book, I went a searching and came up with a rather intersting item that is/was for sale:…

Log Book of Errol Flynns Luxury Yacht 'Zaca from October 12, 1945 – December 5, 1946. Including the Ships Ledger Listing Payments Made to the Crew and Itemized Payments Toward General Supplies and Services Through March 15, 1947
      1945 – 1947 – Standard ledger, 7 1/2″ x 12 1/8″, with 'ZACA in pencil on the front board for Errol Flynns yacht, 'Zaca with a carbon typescript of the ships crew list taped to the inside of the front board, hand signed by Errol Flynn in ink, indicating the name, place of birth, nationality, race, marital status, age, and station on board for fifteen men, with Flynns name at the top of the list as 'Master, married (at the time to Nora Eddington), age 37. Laid in is a counter check from the St. Francis Hotel in San Francisco, CA, made out by Errol Flynn in his hand and signed by him (twice – once on the front and, again endorsed on the verso), dated Oct. 27, 1945, in the amount of $100, with “S.F. re Zaca – Amazon” written by him in the memo field, and made payable to the California Bank in Los Angeles, with their endorsement stamps on the verso. Coincidentally, the St. Francis Hotel was built by the Crocker family, the descendent of which, Templeton Crocker, was the man who commissioned the building of Zaca. The log / ledger itself includes information spanning approximately a year and a half, from October 12, 1945 – March 15, 1947 indicating various details related to a relatively extensive refitting in San Francisco, crew activities, and repairs made to Zaca. The next to last log entry reads: “Wednesday, Dec. 5, 1945. Moored as before. 0.800 Bloody madhouse aboard. No further remarks.” Followed by: “? Dec. 5 / 1946. From Cocos Island to Gulf of Panama.” From there the entries are of related to the ships accounts – listing supplies, and payments made to the crew, ending on Mar. 15, 1947. The book is in very good condition with a few indications of use to the covers. The lovely Zaca was designed by naval architect Garland Rotch, inspired by the fastest fishing schooner ever built named the Bluenose. Rotch was hired in 1929 by San Francisco railroad heir Templeton Crocker, and took its maiden voyage in 1930, carrying Mr. Crocker and a few friends for a year long voyage around the world. Crocker went on to use Zaca as a scientific research vessel for trips to the Galapagos Island, the Solomon Islands, etc. Errol Flynn purchased Zaca, his 'dream ship, in 1945 after the war, during which time she had been requisitioned in by the U.S. Navy and renamed 'IX73 for patrolling duty off the California coast. Flynn had Zaca completely refurbished (as indicated in the log) and, as soon as she was sea worthy, took off with a group of Hollywood friends and a documentary film crew bound for Acapulco. Unfortunately, the crew jumped ship once they arrived, whereupon Flynn hired a new crew and rented Zaca to Orson Welles and Rita Hayworth to use in the filming of 'The Lady from Shanghai and the Zaca is well-featured in this film classic. In 1947, Flynn made his home aboard Zaca, in Port Antonio, Jamaica, sailing her to the Mediterranean in 1950, winding up at the Club Nautico in Palma de Mallorca, where he and his third wife, Patrice Wymore, lived on board. After Flynns death in 1959, Zaca remained berthed at Club Nautico in Jamaica, but eventually the estate negotiations broke down and Zaca was leased to English millionaire and playboy Freddie Tinsley who stripped her of anything valuable and abandoned her in the boatyard of Bernard Voisin in Villefranche. From there, the story goes that Zaca became a ghost ship, and was given an exorcism in 1979, which, apparently put an end to all ghostly phenomena. Zaca is currently owned by Roberto Memmo, who rescued her from serious deterioration and spent millions to rebuild and refit her. Her present home base is in Port de Fontvieille, Monte Carlo where she is dilligently maintained and made available for charter. With a DVD of the documentary by Luther Greene 'In the Wake [Attributes: Signed Copy]
      [Bookseller: James Pepper Rare Books, Inc., ABAA]

— Karl


Yet another Flynn book: Master of the Zaca

11 Apr

Ahoy all-

I have been in touch with the author of Master of Errol Flynn's Zaca Captain Patrick C. Cother. The writer is none other than his daughter Bonnie Cother.

Though currently traveling in the UK promoting the book, she was kind enough to send me a brochure. She'll be back June 1 stateside, ready to accept orders. It is selling for $29.00 US (plus the cost of shipping?).

I include a scan of the brochure sent me should anyone be interested … and after reading it- I SURE AM!

Best- Karl

— Karl

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Remembering Linc, Tony, and of course …

02 Jan


Ahoy all, and welcome to this New Year!

A few years ago, I purchased an audio collection entitled Too Hot For Radio, and on it was a brief selection that was a so-called “commercial spot” featuring Anthony Quinn and, of all people- Errol Flynn. No other information on it was given. It was an odd sort of offering, and not so clearly audible, nor understandable as to just what it was … and it intrigued me!

I began, sometime later, cataloguing the various extant Flynn audio, remembered this one, and started looking into its possible background. And through listening to it a number of times, it finally “spoke to me” as to a possible context, and lead me to checking out the written record (various books) for further insight.

One day,  Linc and I were aboard Zaca, at the same time, and I had recently sent him the recording of the Blood Drive Commercial … the following dialogue ensued, in real time, which I then edited and preserved in this separate form- round or about 6/26/06. It was very exciting to me at the time having “collaborated”, if only momentarily, with the GREAT Flynn scholar!


“Blood Drive Commercial description: This particular recording, I believe, is the ONLY known TRUE recording of an instance of a Flynn practical joke that has survived.  It has been preserved in the collection “Too Hot For Radio”. It is, ostensibly, a LIVE radio commercial break during an equally LIVE radio program broadcast. Anthony Quinn and Flynn are doing this spot for a blood drive. Quinn is making the pitch, in earnest, explaining the process of giving blood and highlighting how they give you a glass of milk at the end. Flynn playfully interjects: “Do they give you any brandy in it?” Quinn fumbles a bit in his words, and Flynn adds how they call the drink a “Velvet Cow” in Australia.  Quinn tries to recover and pick up where he left off and continues till he reaches his final point: ” …  with men giving their lives, the least everyone can do is give a drop of blood.” Errol, rather thick tongued in his speech, now takes over commenting on the quality of the preceding entertainment (the radio program) by saying: “As a matter of fact, you know all of this program, you know damn well it’s alot of crap.” And then just as suddenly retreats (in silence) leaving “Tony” to pick it up from there. Quinn doesn’t seem to know what to say next. Finally, a third person enters the conversation and is chewing them both out, about expletives being said on the Columbia Network, WITH HIS OWN EXPLETIVES. And that’s where the recording ends abruptly. Once thought about, there can be but one conclusion- the mike wasn’t live, and so this was, in fact, a practical joke played on Quinn, by the third man and Quinn’s partner. What we couldn’t hear, but was no doubt later said … “Gotcha Tony!” 2

Blood Drive Gotcha.mp3

(The following exchange is between Lincoln Hurst and Karl Holmberg about this unusual recording)

Karl: Now, Anthony Quinn, in his (1995) WONDERFUL autobiography One Man Tango (a sobriquet given him by no less than Orson Welles) tells a story of a prank pulled on him, which Flynn orchestrated, that involved a whole cast of characters including Quinn's father-in-law, Cecil B. DeMille. Quinn says it took place in St. Louis and it was during a war bond selling appearance on radio with Gene Tierney and Flynn. Flynn had kept him up most of the night, yet roused him early the next morning saying the broadcast time had been changed … I will say no more, but the description of it all is right up there with the Barrymore Body snatching story (which never happened) discussed here in the past. One Man Tango is worth a read along with Quinn's other (autobiography) Original Sin (1972).

Linc: Hmmm – I somehow got the feeling, while I listening to it, that Anthony may have embroidered the same story in his autobiography – just a little bit. To make the story complete, here's the full text of Quinn's account, as it appears in his autobiography 3:

“I WAS IN ST. LOUIS, selling war bonds over the radio with Errol Flynn and Gene Tierney, when my father-in-law* consented to work his clout in an elaborate charade at my expense.

I will backpedal, and explain. Errol Flynn was a delightful man, and an outstanding friend. I met him first through John Barrymore, whom he greatly admired, but he stood much taller on his own. When he was around Barrymore, Flynn was like a little boy. He wanted so badly to be like Jack that he was almost cartoonish in his emulation. (He even went on to play Barrymore in a 1958 Warner Bros. picture called Too Much Too Soon, based on the memoirs of Jack's daughter Diana.)

Still, I loved Flynn and cherished our friendship. He was a sweet, troubled man, and a wonderful athlete. (There was such grace to his movement!). He was also a famous practical joker. We made several pictures together, and when we found ourselves on shared patriotic duty in St. Louis, he took the opportunity to dupe me in high style. The night before our scheduled appearance, Flynn kept me out late, drinking. In those days, it did not take much to keep me out late, drinking, especially when I was on the road for one of these promotional appearances. I hated these godawful publicity tours! There was nothing more distasteful than having to sell myself to the public every time a picture came out, and these war bond pitches struck me merely as more of the same. A night on the town with an old friend like Errol Flynn made it bearable.

We were due to appear live on national radio at about eleven o'clock the following morning, and Flynn roused me from my bed in my hotel room at seven. I had just fallen asleep, and now he wanted me to go to work. He said the time of the broadcast had been changed, and we were needed down at the studio earlier than planned.

“Christ, Errol,” I said, trying to rediscover the powers of speech, “we were out till-four in the morning. I must look like shit. ”

“Up, up, up,” he said, bouncing about the room like it was nothing at all. (Even at seven o'clock in the morning, after a drunken evening, he moved like a dancer.)  “It's just radio. No one will see you.”

He called Gene Tierney, who was also a bit hung over from the night before, and told her of the change in schedule. The three of us gulped down some coffee and raced for the studio. When we got there, Flynn began to panic. He had been reasonably composed on the ride over, but now he unreasonably fell apart. There was no script, he railed. There was no coffee. There was no one from the war office to tell us what to do. It did not seem such a big deal-we had done the same thing a dozen times-but Flynn made such a flowery show of frustration that he soon had us all frantic. We hurriedly went over who would say what, and when, and developed a rough format to see us through the allotted time.

I went on first. I had a splitting headache, and wanted to be anywhere else but in that studio, but I tried to tough it out. It was for a good cause, and I had given my word. I introduced myself, made a little speech about my friends Gene and Errol, spoke about the importance of the American effort overseas, and turned the microphone over to Gene. She made her appeal, told a few jokes, and sent it back to me. Then I made another pitch, said a few kind words about Errol, and called on him to join me.

All of this took about five minutes, and we still had the balance of a half-hour to fill. We were counting on Errol to carry the day, but he stepped to the microphone and announced to all of America that he was so hung over he could not believe he had gotten out of bed at such a ridiculous hour. His speech was loud, and slurred, and colorful. “And this fucking Indian,” he said, looking at me, “my friend … He's the son-in-law of that sonofabitch, C. B. De Mille. Christ, I wish I could remember his name. He played with me in that Custer picture, maybe you've seen it. Ah, but what the hell, right? They're all the same.”

I was furious. I did not know whether to beat the crap out of Errol or pull him from the microphone to save all of us from any further embarrassment. In my indecision, I did nothing.

“And the lovely Miss Gene Tierney,” he rambled on. “What a gorgeous thing. I want to just state for the record that I am not having an affair with her, that I have never had an affair with her, and that I have no immediate plans to have an affair with her. She's a real fucking sweetheart, but that's all. Of course, if she would like to try to change my plans, I would be open to suggestions. ” He sounded more intoxicated than he had the night before, and it was a wonder Gene did not sock him right in the mouth, but he kept on, each sentence more inappropriate than the last. He must have gone on in this way for four or five minutes, but it seemed as if he filled the entire half-hour. Finally,
the studio director shot out of his booth, screaming and waving his arms. He cut the mike and lit into Flynn: This is live radio! You're supposed to be selling war bonds! What the hell are you doing? Then he admonished me for my complicity, and told Gene that by not responding to Flynn's lecherous remarks she had come across as a fool.

Errol grabbed the poor bastard by the collar and started wrestling with him on the ground. It was an ugly, offensive scene, and I watched it play out as if in slow motion, all the time thinking of the damage it would do to my already tentative career.

By the time I got back to my hotel room, there were messages from Hedda Hopper and Louella Parsons. Louella and I were friends (we played poker
once a week with Howard Hawks and assorted others), so I returned her call first. She told me that the broadcast was already the talk of the town, and wondered with me at the fallout. “Jesus, Tony,” she sympathized. “It's a terrible thing, for you to be caught up in something like this.”

As soon as I hung up, the phone rang again. It was De Mille. In all the time I had been married to Katherine, he had never picked up the telephone and called me himself. We spoke only at family occasions, and at the studio. For him to call-now, over such as this-was something indeed. “Tony,” he said, “about this mess our Mr. Flynn seems to have gotten us into. . . ”

“Mr. De Mille,” I said, cutting him off. “Let's not blame Errol. We were all out a bit late last night, and I'm afraid some of us had a bit too much to drink. He didn't know what he was saying. ” I do not know why, but 1 went out of my way to cover for Flynn.

De Mille blustered on about how my unprofessional behavior reflected badly on him, and on Katherine. He said he expected more of me, and worried that I would never be serious enough to sustain my career. I hung up the phone thinking I had let the great man down, even though I could not think of a thing I had done wrong.

Next it was Katherine on the line, and then my agent, and each call reinforced the urgency of the moment. God, this thing was turning out to be far more than I had counted on. I lay back down on the bed thinking my career was lost, the phone to my ear telling me I had stepped feet first into the latest Hollywood scandal.

And then came the punch line. The last call I took was from Errol Flynn, sounding sober as the day he was born. His was the last voice I wanted to hear. “Gotcha, Tony! ” he said, and then he laughed like a madman. When he calmed down enough to explain himself, my mischievous friend told me he had orchestrated the whole fine mess. He had slipped the studio hands a few bucks to let us in early to a dormant sound room, and asked the director to play along. Then he arranged for De Mille and the gossips to check in with their distress calls. No one outside the studio had heard Errol's rude commentary. The fight, the name calling, the loose talk … everything was staged.

(We went back to the radio station, at eleven, for the real broadcast.) I did not know what to think. I was relieved, of course, but beyond that I was not sure. In the end, what I was left to think was that if icons like Errol Flynn, Gene Tierney, Louella Parsons. and C. B. De Mille would go out of their way to lure me into a practical joke, then maybe things were not as bad as they seemed. Maybe there was a place for me in this business after all.”

Karl: A simple situation MUCH elaborated on (in true “Irish Inventiveness”) …. hmmm. Perhaps, I can provide some further support to your notion …

Buster Wiles, in his autobiography 4, relates what also sounds like a CURIOUSLY similar event:

“Colonel Bickerstaff flew us to St. Louis, where Flynn was to appear in another bond show, along with Gene Tierney and Anthony Quinn. Flynn was scheduled to do a Red Cross radio broadcast in the Chase Hotel, and we schemed an elaborate gag, with Tony Quinn as the victim. We had sent a script to Tony and asked if he would kindly participate in the show.

    The radio personnel were all in on the joke, playing it straight as Flynn and Tony began rehearsing their material. The director gave notice that the live broadcast was about to begin. Once underway, Flynn suddenly blurted out some very foul language, then in a shocked voice, he exclaimed, “Why Tony! Why did you say that?”
    Tony turned white and tried to continue. More foul language from Flynn. The director stormed from the control booth, indignantly yelling at Quinn.
    Errol, in a shocked tone said, “Tony, you shouldn't talk like that.”
    “But … but I didn't,” responded poor Tony.
    Flynn just shook his head: “Shame on you, Tony.”
    Another Guy ran up, saying, “We're getting phone calls from around the country, wanting to know why Anthony Quinn cursed on the radio!”
    “I'm ruined,” said a distraught Quinn. “I won't even be able to do a B picture now …”
    When Flynn told him it was only a joke, Quinn didn't believe it was only a prank. Tony was a great sport. He really loved Errol, and Flynn wouldn't have played the joke on him if he wasn't a good friend. All three of us laughed and laughed.”

Karl: Thank you for your heads up in HELPING me to think this one through more thoroughly – it never occurred to me before!  And, once again, Orson Welles was REALLY well ahead of the rest of us- me anyway.

Linc: Thanks, Karl, for you additional kind comments – much appreciated, as always.  Wiles certainly seems to be describing the same incident, though the details might differ somewhat.

Karl: The whole story is now presented for ALL to read- and I also have you (Linc) to thank for sending me to the Wiles book, because we now also have an approximate DATE for the said recording/event (through extrapolation from the facts presented therein): January 1944!


1 Peter Valenti, Errol Flynn: A Bio-Bibliography. Westport, Connecticut: Greenwood Press, 1984, p. 168

2 Too Hot For Radio (audio recordings), New Rochelle, New York: Great American Audio, 1997, cassette # 40437, side 2. (Karl’s synopsis of the Blood Drive commercial of January, 1944).

3 Anthony Quinn with Daniel Paisner,One Man Tango, New York: Harper Collins, 1995, pp. 184-186.

4 Buster Wiles with William Donati, My Days With Errol Flynn . Santa Monica, California: Harper and Row, 1988, p. 148.


— Karl


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