_Tropical Revue_, during its two years under my management, was in an almost perpetual state of flux. It was revised and revised, and revised again. As the tours proceeded, Dunham did less and less dancing and more and more impersonation. But while her “bumps” grew more discreet, there was no lessening of the heat. Dunham’s choreography was best in theatricalized West Indian and Latin American folk dances, some of which approached full-scale ballets. The best of these, in my opinion, was _L’Ag’ya_, a three-scened work, Martinique at core, the high light of which was the “_ag’ya_,” a kicking dance. Here she was able to put to excellent use authentic Afro-Caribbean steps, and in the overall choreographic style, I would not feel it unfair to say that Dunham’s style had been considerably influenced by the Chicago choreographer and dancer, Ruth Page, with whom Dunham had collaborated early in her career. It did not take me long to discover the public was more interested in sizzling scenery than it was in anthropology, at least in the theatre. Since the _Tropical Revue_ was fairly highly budgeted, it was necessary for us, in order to attract the public, to emphasize sex over anthropology. Dunham, with a shrewd eye to publicity, oscillated between emphasis first on one and then on the other; her fingers were in everything. In addition to running the company, dancing, singing, revising, she lectured, carried on an unending correspondence by letter and by wire, entertained lavishly, and added considerably, I am sure, to the profits of the American Telephone and Telegraph Company. Columns were written about her, and fulsome essays, a good deal of which was balderdash. The handling of this tour presented its own special set of problems. Not the least of these was the constantly recurring one of housing. We have come a long way in the United States in disposing of Jim Crow; but there is still a great deal to be done. Hotel accommodations for the artists of the _Tropical Revue_ were a continual source of worry. One Pacific Coast city was impossible. When, after days of fruitless searching, our representative thought he had been able to install them in a neighboring town, the Chinese owner of the hotel, on learning his guests were not white, canceled the reservations. A certain midwestern city was another trouble spot, where, in one of the city’s leading hostelries, the employees threatened to strike because of the presence there of some of the principal artists. This was averted by some quick work on the part of our staff. It should be noted, too, that these unfortunate difficulties were all in cities north of what we hoped was the non-existent Mason and Dixon Line.