Proof that it's Pre-Code: The character of Max Merlin is played as a grotesque, exaggerated Jewish stereotype; The diner waitress reads a book entitled "Why Marry Your Wife?"; Eddie to Ruth: "They say travel broadens one," to which she replies "I hope not"; Lucille hints at Eddie's promiscuity ("That boy covers the waterfront, and then some"); Scantily clad chorines in the rehearsal scenes; Max sneaks out of rehearsal for a quickie with an ambitious chorus girl, who initiates the transaction; Stagehand to a chorine whose outstretched legs bar him from passing: "Why don't you put your foot where it belongs?" "Don't encourage me," she responds; Patsy, describing Lucille: "They wouldn't let her in the NRA; she couldn't be true to a guy forty hours a week"; The "Black Moonlight" number features a prostitute soliciting Johns, as well as lewd choreography with broad racist strokes (lighting effects that turn the skin of the Caucasian chorines black when they become sexually inflamed); Vern La Mond and her backup dancers are braless in the "Cradle Me with a Hotcha Lullaby" number; The wind machine blows the scanties off the chorines' bodies in the "Bucking the Wind" number.

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