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On July 5, 1932, Reynolds was shot in his bedroom he died the next morning in the hospital and the coroner declared the death a suicide. The famously ill-fated marriage ended tragically at the Reynolds estate, “Reynolda,” near Winston-Salem, North Carolina.

An aviator, he flew from city to city courting her attention until November 16, 1931, when, just a few days after his divorce from Anne Cannon was finalized, the two were married by a justice of the peace in Monroe, Michigan. Reynolds tobacco fortune began, literally, to follow Holman’s career. Costarring with Fred Allen, Holman sang “Give Me Something to Remember You By” and “Body and Soul.” The latter was banned from the radio for obscenity but became one of the best-selling records of the time and the song most identified with Holman throughout her career. Her bisexuality became the talk of Broadway, only the first of many tabloid scandals she inspired in the thirties. By the time Howard Dietz and Arthur Schwartz’s Three’s a Crowd opened at the Selwyn Theater on October 15, 1930, Carpenter and Holman had become inseparable lovers. She always insisted, “Nothing could have pleased me more.” Inspired by her musical admiration for singers such as Ethel Waters, Holman cultivated racial ambiguity in her art.ĭuring this period, Clifton Webb introduced Holman to Louisa Carpenter, a millionaire member of the du Pont family. Her unusual basso contralto, Betty Boop lips, and untraditional beauty created what Times critic Brooks Atkinson labeled a “dark purple menace.” Many people believed that Holman was a “Negro” who passed as white, because of her rich black hair, dark skin, and “racial” style of singing. In 1929, she sang her trademark torch song, “Moanin’ Low,” in Clifton Webb’s The Little Show. Framed by a theatrical sketch in which Holman played a two-timing “mulatto” lover, “Moanin’ Low” made her a legend. Entrenched in New York’s bohemian, Prohibition dance-and-bathtub-gin culture, Holman swore, drank, and made regular late-night excursions to Harlem’s Cotton Club and Inferno. Her nearsightedness provided an unexpectedly alluring stage persona, while her palate, an eighth of an inch askew, helped produce her strangely throaty sustained laments and a grunting style she liked to call her “vomit.” Holman, now a minor celebrity, landed roles in Merry-Go-Round (1927), Rainbow (1928), and Gambols (1929). In 1925, she landed her first significant role in the play The Sapphire Ring and soon after joined the road company of The Greenwich Village Follies. Her big break came in Richard Rodgers and Lorenz Hart’s musical revue, The Garrick Gaieties (1925), which ran over 211 performances.

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