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threatened to become a national scandal on the eve of America’s long struggle for civil rights.

It started in 1957 at Chicago’s most famous nightclub, Chez Paree.

He had created the notorious second skin glittering with sequins that Marlene Dietrich wore for her nightclub premiere in Las Vegas in 1953; he would also sew Marilyn Monroe into the sequined formfitting gown she wore when she sang “Happy Birthday” to John F. Novak was installed at the Studio Club, a curfewed dormitory for young starlets where Cohn could have his expensive new possession watched around the clock—even tailed by studio detectives to make sure she didn’t follow the wayward path of Rita Hayworth. At some point in the transformation of Marilyn Novak, her studio-assigned publicist, Muriel Roberts, dreamed up an all-lavender scheme and insisted that they rinse her hair with a pale lavender tint.

The studio had wanted a gimmick to distinguish its blonde from the many other new platinum blondes on the block: Jayne Mansfield, Mamie Van Doren, Diana Dors, Joi Lansing—all outsize girls signed to compete with Marilyn Monroe and built like the decade’s big Chevys and Buicks.

But, in 1957, she fell in love with Sammy Davis Jr., who, with his immense popularity, was breaking the race barrier of a firmly segregated entertainment industry.

Sam Kashner chronicles the backlash against their affair, the alleged Mob hit ordered by Cohn which forced Davis to marry black singer Loray White, and the heartbreaking coda to the romance that Hollywood forbade.

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Every time she got married, her box-office standing eroded.

He ran Columbia Pictures as if it were a family business, and in a way it was, because he had wrangled control from his brother Jack, who was back on the East Coast in New York.

By the mid-1930s, Cohn had nurtured Columbia from a low-rent, B-movie studio on Hollywood’s “Poverty Row,” a block off Sunset, into a major Hollywood film studio.

He kept a framed photograph of his hero, Benito Mussolini, on his massive desk and had his office decorated to look like Il Duce’s.

The reporter James Bacon, fresh out of Chicago, was assigned to cover Hollywood for the Associated Press back in 1948. He used to fire people all the time—usually on Christmas Eve.”Henri Soulé, the owner of Le Pavillon and La Côte Basque in New York, detested Cohn and considered him a déclassé Hollywood hood.

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