DOCSLIB.ORG

Movie Poster Collection MS-0402

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Movie Poster Collection MS-0402 http://oac.cdlib.org/findaid/ark:/13030/kt3c60329b No online items Movie Poster Collection MS-0402 Special Collections & University Archives 06/12/2008 5500 Campanile Dr. MC 8050 San Diego, CA 92182-8050 [email protected] URL: http://library.sdsu.edu/scua Movie Poster Collection MS-0402 MS-0402 1 Contributing Institution: Special Collections & University Archives Title: Movie Poster Collection Identifier/Call Number: MS-0402 Physical Description: 0.20 Linear Feet Date (inclusive): 1930-1981 Language of Material: English . Scope and Contents The Movie Poster Collection consists of twenty-nine original and facsimile posters. They are filed alphabetically by film title. Conditions Governing Access This collection is open for research. Conditions Governing Use The copyright interests in these materials have not been transferred to San Diego State University. Copyright resides with the creators of materials contained in the collection or their heirs. The nature of historical archival and manuscript collections is such that copyright status may be difficult or even impossible to determine. Requests for permission to publish must be submitted to the Head of Special Collections, San Diego State University, Library and Information Access. When granted, permission is given on behalf of Special Collections as the owner of the physical item and is not intended to include or imply permission of the copyright holder(s), which must also be obtained in order to publish. Materials from our collections are made available for use in research, teaching, and private study. The user must assume full responsibility for any use of the materials, including but not limited to, infringement of copyright and publication rights of reproduced materials. Source of Acquisition Gordon Samples Preferred Citation Identification of item, folder title, box number, Movie Poster Collection, Special Collections and University Archives, San Diego State University Library. Accruals 9999-123 Subjects and Indexing Terms Film posters--Specimens item 1 "5 Against the House" (1939), United Artists movie poster reproduction Item 1 item 2 "All Quiet on the Western Front" (1930), Universal Studios movie poster reproduction Item 2 item 3 "Apocalypse Now" (1979), United Artists movie poster Item 3 item 4 "Apocalypse Now" (1979), United Artists Pressbook Item 4 item 5 "Benny Goodman Story, The" (1956), Universal Studios movie poster reproduction Item 5 item 6 "Charly" (1968), Cinerama movie poster reproductions Item 6 item 7 "Citizen Kane" (1941), RKO Radio Pictures movie poster reproduction Item 7 item 8 "Conspiracy of Hearts" (1960), Paramount Pictures movie poster Item 8 item 9 "Continental Divide" (1981), Universal movie advertisement calendar Item 9 item 10 "Cousin, Cousine" (1976) French movie poster reproduction Item 10 item 11 "The Geisha Boy" (1954), Paramount Pictures movie poster Item 11 item 12 "Georgy Girl" (1966), Columbia Pictures movie poster reproduction Item 12 item 13 "The Greatest Show on Earth" (1960), Paramount Pictures movie poster Item 13 item 14 "The Jazz Singer" (1980), EMI Films movie poster Item 14 item 15 "Kind Hearts and Coronets" (1950), Eagle Lion Films movie poster Item 15 item 16 "King Kong" (1933), RKO Radio Pictures movie poster Item 16 item 17 "King Kong" (1976), Columbia Pictures movie poster Item 17 item 18 "La Cage aux Folles" (1979), United Artists movie poster Item 18 item 19 "Little Kidnappers, The" (1954), United Artists movie poster Item 19 item 20 "The Littlest Outlaw" (1955), Walt Disney Productions movie poster Item 20 item 21 "The Living Desert" (1962), Walt Disney Productions movie poster Item 21 Movie Poster Collection MS-0402 MS-0402 2 item 22 "The Maltese Falcon" (1942), Warner Brothers movie poster Item 22 item 23 "Of Human Bondage" (1934), movie poster reproduction Item 23 item 24 "Sea Hawk, The" (1940), Warner Brothers movie poster reproduction Item 24 item 25 "Tiger Bay" (1960), Continental movie poster Item 25 item 26 "Top Hat" (1935), RKO Radio Pictures movie poster reproduction Item 26 item 27 "The Trouble With Harry" (1955), Paramount Pictures movie poster reproduction Item 27 item 28 "Viva Zapata!" (1952), 20th Century Fox movie poster reproduction Item 28 item 29 "Yankee Doodle Dandy" (1942), Warner Brothers movie poster reproduction Item 29 Movie Poster Collection MS-0402 MS-0402 3.
Load more

Recommended publications
  • E~:U;;; Tage of Alcohol, Penoza Road by DEBBIE FRANKEL from the Lottery for Traditional and Pencader Said
    University of Delaware, Newark, DE Friday, April10, 1981 Pro.cessing to begin on financial aid forms as House compromises By BRENDA GREENBERG will be less likely to receive The freeze that had been as much,'' Rogers said. placed on processing Pell A payment schedule (the Grant applications has been guidelines for the university lifted, and processing is to establish the student index scheduled to begin April 17, of eligibility) has not yet been according to Jerry Rogers, issued by the federal govern­ associate director of financial ment, Rogers said. aid. \ "As soon as we receive this Rogers said that Represen­ payment schedule we can tative Paul Simon (D-Ill.), start the processing and start chairman of the House issuing award notifications," postsecondary educational Rogers said. "We hope to committee, announced last start notifying students by week that a compromise has June." been reached between the Of the 3,000 university committee and the Reagan students now receiving the administration. They have Pell Grants, 500 come from decided to eliminate infla­ families with incomes of tionary adjustments, $25,000 or more, said Michael previously a factor in Lee, assistant director of calculating the amount that financial aid, at a March 26 families are expected to con­ program, "Reagan's Budget tribute to their children's col­ Cuts," sponsored by Kappa CONCERN for the ever-growing number of murdered black children in Atlanta is widespread lege costs. Alpha Psi fraternity. on campus, as evidenced by this banner hung by Kappa Alpha Psi fraternity. Simon also said the amount of the Pell Grant awards, Proposals to modify the (formerly the Basic Educa­ Guaranteed Student Loan tional Opportunity Grant), (GSL) program are not an­ Moonshine equipment confiscated which varies from $200 to ticipated to be in effect before By LORRI PIVINSKI Matthew Phillips (EG84) and While making routine $1,750, will not increase next October, Rogers said.
    [Show full text]
  • February 4, 2020 (XL:2) Lloyd Bacon: 42ND STREET (1933, 89M) the Version of This Goldenrod Handout Sent out in Our Monday Mailing, and the One Online, Has Hot Links
    February 4, 2020 (XL:2) Lloyd Bacon: 42ND STREET (1933, 89m) The version of this Goldenrod Handout sent out in our Monday mailing, and the one online, has hot links. Spelling and Style—use of italics, quotation marks or nothing at all for titles, e.g.—follows the form of the sources. DIRECTOR Lloyd Bacon WRITING Rian James and James Seymour wrote the screenplay with contributions from Whitney Bolton, based on a novel by Bradford Ropes. PRODUCER Darryl F. Zanuck CINEMATOGRAPHY Sol Polito EDITING Thomas Pratt and Frank Ware DANCE ENSEMBLE DESIGN Busby Berkeley The film was nominated for Best Picture and Best Sound at the 1934 Academy Awards. In 1998, the National Film Preservation Board entered the film into the National Film Registry. CAST Warner Baxter...Julian Marsh Bebe Daniels...Dorothy Brock George Brent...Pat Denning Knuckles (1927), She Couldn't Say No (1930), A Notorious Ruby Keeler...Peggy Sawyer Affair (1930), Moby Dick (1930), Gold Dust Gertie (1931), Guy Kibbee...Abner Dillon Manhattan Parade (1931), Fireman, Save My Child Una Merkel...Lorraine Fleming (1932), 42nd Street (1933), Mary Stevens, M.D. (1933), Ginger Rogers...Ann Lowell Footlight Parade (1933), Devil Dogs of the Air (1935), Ned Sparks...Thomas Barry Gold Diggers of 1937 (1936), San Quentin (1937), Dick Powell...Billy Lawler Espionage Agent (1939), Knute Rockne All American Allen Jenkins...Mac Elroy (1940), Action, the North Atlantic (1943), The Sullivans Edward J. Nugent...Terry (1944), You Were Meant for Me (1948), Give My Regards Robert McWade...Jones to Broadway (1948), It Happens Every Spring (1949), The George E.
    [Show full text]
  • Jazz and the Cultural Transformation of America in the 1920S
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 Jazz and the cultural transformation of America in the 1920s Courtney Patterson Carney Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the History Commons Recommended Citation Carney, Courtney Patterson, "Jazz and the cultural transformation of America in the 1920s" (2003). LSU Doctoral Dissertations. 176. https://digitalcommons.lsu.edu/gradschool_dissertations/176 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. JAZZ AND THE CULTURAL TRANSFORMATION OF AMERICA IN THE 1920S A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of History by Courtney Patterson Carney B.A., Baylor University, 1996 M.A., Louisiana State University, 1998 December 2003 For Big ii ACKNOWLEDGEMENTS The real truth about it is no one gets it right The real truth about it is we’re all supposed to try1 Over the course of the last few years I have been in contact with a long list of people, many of whom have had some impact on this dissertation. At the University of Chicago, Deborah Gillaspie and Ray Gadke helped immensely by guiding me through the Chicago Jazz Archive.
    [Show full text]
  • HOLLYWOOD – the Big Five Production Distribution Exhibition
    HOLLYWOOD – The Big Five Production Distribution Exhibition Paramount MGM 20th Century – Fox Warner Bros RKO Hollywood Oligopoly • Big 5 control first run theaters • Theater chains regional • Theaters required 100+ films/year • Big 5 share films to fill screens • Little 3 supply “B” films Hollywood Major • Producer Distributor Exhibitor • Distribution & Exhibition New York based • New York HQ determines budget, type & quantity of films Hollywood Studio • Hollywood production lots, backlots & ranches • Studio Boss • Head of Production • Story Dept Hollywood Star • Star System • Long Term Option Contract • Publicity Dept Paramount • Adolph Zukor • 1912- Famous Players • 1914- Hodkinson & Paramount • 1916– FP & Paramount merge • Producer Jesse Lasky • Director Cecil B. DeMille • Pickford, Fairbanks, Valentino • 1933- Receivership • 1936-1964 Pres.Barney Balaban • Studio Boss Y. Frank Freeman • 1966- Gulf & Western Paramount Theaters • Chicago, mid West • South • New England • Canada • Paramount Studios: Hollywood Paramount Directors Ernst Lubitsch 1892-1947 • 1926 So This Is Paris (WB) • 1929 The Love Parade • 1932 One Hour With You • 1932 Trouble in Paradise • 1933 Design for Living • 1939 Ninotchka (MGM) • 1940 The Shop Around the Corner (MGM Cecil B. DeMille 1881-1959 • 1914 THE SQUAW MAN • 1915 THE CHEAT • 1920 WHY CHANGE YOUR WIFE • 1923 THE 10 COMMANDMENTS • 1927 KING OF KINGS • 1934 CLEOPATRA • 1949 SAMSON & DELILAH • 1952 THE GREATEST SHOW ON EARTH • 1955 THE 10 COMMANDMENTS Paramount Directors Josef von Sternberg 1894-1969 • 1927
    [Show full text]
  • Vocal Jazz in the Choral Classroom: a Pedagogical Study
    University of Northern Colorado Scholarship & Creative Works @ Digital UNC Dissertations Student Research 5-2019 Vocal Jazz in the Choral Classroom: A Pedagogical Study Lara Marie Moline Follow this and additional works at: https://digscholarship.unco.edu/dissertations Recommended Citation Moline, Lara Marie, "Vocal Jazz in the Choral Classroom: A Pedagogical Study" (2019). Dissertations. 576. https://digscholarship.unco.edu/dissertations/576 This Text is brought to you for free and open access by the Student Research at Scholarship & Creative Works @ Digital UNC. It has been accepted for inclusion in Dissertations by an authorized administrator of Scholarship & Creative Works @ Digital UNC. For more information, please contact [email protected]. © 2019 LARA MARIE MOLINE ALL RIGHTS RESERVED UNIVERSITY OF NORTHERN COLORADO Greeley, Colorado The Graduate School VOCAL JAZZ IN THE CHORAL CLASSROOM: A PEDAGOGICAL STUDY A DIssertatIon SubMItted In PartIal FulfIllment Of the RequIrements for the Degree of Doctor of Arts Lara Marie MolIne College of Visual and Performing Arts School of Music May 2019 ThIs DIssertatIon by: Lara Marie MolIne EntItled: Vocal Jazz in the Choral Classroom: A Pedagogical Study has been approved as meetIng the requIrement for the Degree of Doctor of Arts in College of VIsual and Performing Arts In School of Music, Program of Choral ConductIng Accepted by the Doctoral CoMMIttee _________________________________________________ Galen Darrough D.M.A., ChaIr _________________________________________________ Jill Burgett D.A., CoMMIttee Member _________________________________________________ Michael Oravitz Ph.D., CoMMIttee Member _________________________________________________ Michael Welsh Ph.D., Faculty RepresentatIve Date of DIssertatIon Defense________________________________________ Accepted by the Graduate School ________________________________________________________ LInda L. Black, Ed.D. Associate Provost and Dean Graduate School and InternatIonal AdMIssions Research and Sponsored Projects ABSTRACT MolIne, Lara Marie.
    [Show full text]
  • Broadway Melody
    BROADWAY MELODY: The beginning of Hollywood musicals This film review features a discussion on the relationship of film criticisms written at the time of the film’s release and others, which were written years later. 10 pages long. BROADWAY MELODY: The beginning of Hollywood musicals Broadway Melody's release on February 1, 1929 captures the attention of such issues as sound replacing silence and technology rather then the usual racial and political overtones like a lot of other genres. Most musicals had very simplistic plots: boy meets girl, boy loses girl, boy sings song, and boy gets girl. Although there was racial discrimination like the depiction of black speciality acts, such as the Nicholas Brothers and the Berry Brothers, as janitors etc., the story lines were none violent, free of political issues and always ended on a happy note pretty much until West Side Story. By 1960 the musical was but a thing of the past with only a few films a year. All this being said, it is important to understand the context of the genre in order to formulate criticism other then saying that the shots are simple and that the acting, in general, was lousy. As one analyses a musical such as Broadway Melody of 1929 one finds that the art of the movie musical is found in the star's ability to sing, act and dance effectively. By far the most frequent comment about Broadway Melody is that of it's relationship with Broadway and it's backstage on stage look at vaudeville performance, an activity that most of all the audiences of the 10's and 20's could relate to.
    [Show full text]
  • Master List of Terms and Concepts : 20 Century Topics, Emphasizing the Americas
    Master List of Terms and Concepts : 20th Century Topics, Emphasizing the Americas Early 20th Century- Year 1 Unit 1 - The development of modern nations 1865-1929 (8 Weeks) “Cross of Gold” Chicago School of Architecture “Melting Pot” theory Cornelius Vanderbilt AFL Coxey’s Army Andrew Carnegie Edward Bellamy Bland-Allison Act (1878) Emma Lazarus Boss Tweed Gilded Age Carry Nation Gold bugs Gospel of Wealth Railroad Strike of 1877 Haymarket Riot (1886) Robber Barons Henry George Samuel Gompers Homestead Strike (1892) Settlement Movement Horatio Alger Sherman Antitrust Act (1890) Jacob Riis Sherman Silver Purchase Act (1890) Jane Addams Silver bugs Jay Gould Social Darwinism John D. Rockefeller Social Gospel Knights of Labor Thomas A. Edison Louis Sullivan Thomas Nast Mark Hanna U. S. v. E. C. Knight (1890) Panic of 1893 William Jennings Bryan Pendleton Act (1885) William Lloyd Wright Pullman Strike (1894) Yellow-dog contract Unit 2 - Emergence of the Americas in global affairs 1880-1929 (10 Weeks) Treaty of Kanagawa Pancho Villa “Seward’s Folly” John J. Pershing Alfred Thayer Mahan “Colossus of the North Jingoism James G. Blaine Yellow journalism Pan-Americanism William Randolph Hearst U. S. S. Maine Spanish-American War (1898) Commodore Matthew Perry De Lome Letter Commodore Dewey Remember the Maine, to Hell with Spain! Treaty of Paris (1898) Rough Riders Walter Reed Queen Liliukalani Insular Cases Emilio Aguinaldo Teller Amendment “White Man’s Burden” protectorate Anti-Imperialist League John Hay, Secretary of State Platt Amendment Boxer Rebellion Open Door Policy Teddy Roosevelt’s “Big Stick” policy Roosevelt Corollary Clayton-Bulwer Treaty Panama Canal Nationalism Gentleman’s Agreement First Battle of the Somme Treaty of Portsmouth (1905) Militarism “Dollar Diplomacy” Trench warfare Henry Cabot Lodge, Sr.
    [Show full text]
  • When Film Was Deaf (1895-1927) • THINGS MOVING WITHOUT NOISE
    ... Warning Concerning Copyrisht Restrictions The Copyright Law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted materials. Under certain conditions specified in the law, libraries and archives are authorized to furnish a photocopy or other reproduction. One of these specified conditions is that the photocopy or reproduction is not to be used for any purpose other than private study, scholarship, or research. If electronic transmission of reserve material is used for purposes in excess of what constitutes "fair use," that user may be liable for copyright infringement. • FILM, • • A SOUND ART • • ffllCHEL CHIOI • ·• TRANSLATED ev cL1uo,1 GDRBmAn • COLUMBIA UNIVERSITY PRESS ~ New York COLUMBIA UNIVERSITY PRESS Publishers Si?ce 1893 New York Chichester, West Sussex Copyright © 2003 !es Editions de l'Etoile Translation © 2009 Columbia University Press All rights reserved Library of Congress Cataloging-in-Publication Data Chion, Michel, 1947- [Art son ore, le cinema. English] Film, a sound art/ Michel Chion ; translated by Claudia Gorbman. p. cm.-(Film and culture) Includes bibliographical references and index. ISBN 978-0-231-13776-8 (cloth: alk. paper)-ISBN 978-0-231-13777-5 (pbk. : alk. paper) 1. Sound motion pictures. 2. Motion pictures-sound effects. 3, Motion pictures-Aesthetics. I. Title. I!. Series. PN1995.7C4513 zoo9 791.4302'4-dc22 2008054795 e Columbia University Press books are printed on permanent and durable acid-free paper. This book is printed on paper with recycled content. Printed in the United States of America C 10 9 8 7 6 5 4 3 p 10 9 8 7 6 5 4 References to Internet Web sites (URLs) were accurate at the time of writing.
    [Show full text]
  • One Night with Fanny Brice
    The American Century Theater presents Audience Guide Edited by Jack MarshallNovember 5–27 Rosslyn Spectrum Theater you can afford to seesee———— ppplaysplays you can’t afford to miss! About The American Century Theater The American Century Theater was founded in 1994. We are a professional company dedicated to presenting great, important, but overlooked American plays of the twentieth century . what Henry Luce called “the American Century.” The company’s mission is one of rediscovery, enlightenment, and perspective, not nostalgia or preservation. Americans must not lose the extraordinary vision and wisdom of past playwrights, nor can we afford to surrender our moorings to our shared cultural heritage. Our mission is also driven by a conviction that communities need theater, and theater needs audiences. To those ends, this company is committed to producing plays that challenge and move all Americans, of all ages, origins and points of view. In particular, we strive to create theatrical experiences that entire families can watch, enjoy, and discuss long afterward. These audience guides are part of our effort to enhance the appreciation of these works, so rich in history, content, and grist for debate. The American Century Theater is a 501(c)(3) professional nonprofit theater company dedicated to producing significant 20th Century American plays and musicals at risk of being forgotten. The American Century Theater is supported in part by Arlington County through the Cultural Affairs Division of the Department of Parks, Recreation, and Cultural Resources and the Arlington Commission for the Arts. This arts event is made possible in part by the Virginia Commission on the Arts and the National Endowment for the Arts, as well as by many generous donors.
    [Show full text]
  • Films Shown by Series
    Films Shown by Series: Fall 1999 - Winter 2006 Winter 2006 Cine Brazil 2000s The Man Who Copied Children’s Classics Matinees City of God Mary Poppins Olga Babe Bus 174 The Great Muppet Caper Possible Loves The Lady and the Tramp Carandiru Wallace and Gromit in The Curse of the God is Brazilian Were-Rabbit Madam Satan Hans Staden The Overlooked Ford Central Station Up the River The Whole Town’s Talking Fosse Pilgrimage Kiss Me Kate Judge Priest / The Sun Shines Bright The A!airs of Dobie Gillis The Fugitive White Christmas Wagon Master My Sister Eileen The Wings of Eagles The Pajama Game Cheyenne Autumn How to Succeed in Business Without Really Seven Women Trying Sweet Charity Labor, Globalization, and the New Econ- Cabaret omy: Recent Films The Little Prince Bread and Roses All That Jazz The Corporation Enron: The Smartest Guys in the Room Shaolin Chop Sockey!! Human Resources Enter the Dragon Life and Debt Shaolin Temple The Take Blazing Temple Blind Shaft The 36th Chamber of Shaolin The Devil’s Miner / The Yes Men Shao Lin Tzu Darwin’s Nightmare Martial Arts of Shaolin Iron Monkey Erich von Stroheim Fong Sai Yuk The Unbeliever Shaolin Soccer Blind Husbands Shaolin vs. Evil Dead Foolish Wives Merry-Go-Round Fall 2005 Greed The Merry Widow From the Trenches: The Everyday Soldier The Wedding March All Quiet on the Western Front The Great Gabbo Fires on the Plain (Nobi) Queen Kelly The Big Red One: The Reconstruction Five Graves to Cairo Das Boot Taegukgi Hwinalrmyeo: The Brotherhood of War Platoon Jean-Luc Godard (JLG): The Early Films,
    [Show full text]
  • Hollywood Be Thy Name
    UC_Weisenfeld.qxd 11/1/06 2:58 PM Page 19 one .“’Taint What You Was, It’s What You Is Today” Hallelujah and the Politics of Racial Authenticity In 1928 King Vidor, one of Metro-Goldwyn-Mayer’s most successful directors, find- ing himself between projects, decided to spend some time in Europe. Having directed a number of important and successful silent films for the studio—most notably The Big Parade (1925), a tremendously popular World War I epic, and The Crowd (1928), a study of the life of an average man in the large urban environment of New York City—Vidor returned home when the studio asked him to direct his first sound film. Despite his initial predictions that “sound pictures [would] do away entirely with the art of motion pictures,” Vidor soon began to see the possibilities that the new technology presented and was especially excited that sound would make it possible for him to direct a film that he had long wanted to make.1 Synchronous sound, in which the dialogue or singing corresponds with the movements of the actors’ lips, had only begun to make its way into American feature films since the 1927 release of Warner Bros.’ landmark film The Jazz Singer, itself very much about complex processes of racializing religion in America.2 Just as the projection of con- structions of race had been part of the development of the silent motion picture, as D. W. Griffith’s 1915 The Birth of a Nation had ably demonstrated, so the addition of sound had been bound up in conjunctions of religion and race from the outset.
    [Show full text]
  • Swanee”—Al Jolson (1920) Added to the National Registry: 2004 Essay by Cary O’Dell
    “Swanee”—Al Jolson (1920) Added to the National Registry: 2004 Essay by Cary O’Dell Al Jolson Original label Thanks to tributes, covers, excerpts and parodies, there are few people of any age that don’t know the chorus to “Swanee”: Swanee, How I love ya, how I love ya,… My dear old swanee…. Irving Caesar and George Gerswhin wrote it; Al Jolson made it immortal. “Swanee’s” success and endurance can be ascribed to many things, not the least of which is its cross-sectional appeal. It has the upbeat feel of a show tune (as which it began), the pride-of- place enthusiasm of a patriotic anthem, and the sing-along-ability of a campfire favorite. Along with becoming one of the songs most identified with the legendary Jolson, “Swanee” would also prove to be the prolific Gerswhin’s most successful song ever. As a recording, it sold over two-million copies and, as sheet music, one million copies. Its success allowed Gershwin to concentrate almost exclusively on his work in the theatre while solidifying Jolson’s position as one of America’s most revered entertainers. The birth of the song “Swanee” is well noted. Gerswhin and Caesar wrote it—allegedly as a response to Stephen Foster’s “Old Folk Home”--while on the upper deck of a double decker bus while traveling from the offices of the T.B. Harmes Publishing Company to Gerswhin’s apartment. As Caesar would remark later, “In those days, you wrote a song and then you tried to place it.” The first place “Swanee” was placed was in New Wayburn’s “Demi-Tasse Revue” which opened at New York’s Capitol Theater on October 24, 1919.
    [Show full text]