The following abbreviations are used throughout the notes.
1 Landes, “A Northerner Views the South,” 375. Landes trained with Ruth Benedict and Frank Boas at Columbia and published widely on everything from Afro-Brazilian women to Native American tribes. See Ruth Schollsberg Landes Papers, National Anthropological Archives, National Museum of American History, Washington, D.C.; Cole, “Mrs. Landes Meet Mrs. Benedict”; and Myrdal, An American Dilemma.
2 T. Brigham Bishop, “A Knot of Blue and Gray,” Oliver Ditson, Boston, 1899; George M. Cohan, “The Wedding of the Blue and Gray,” F. A. Mills, New York, 1906.
3 “Texas Tourists.”
4 On to Richmond; Cowan, New Invasion of the South; Tour of the Grand Army Club of Massachusetts, pamphlet, September 1899, VHS.
5 Karen L. Cox, “Confederate Monument at Arlington.”
6 On the reconciliation theme in films throughout the twentieth century, see Gallagher, Causes Won, Lost, and Forgotten; see especially the section on Birth of a Nation, pp. 106–7.
7 Herf, Reactionary Modernism, 1. Herf argues that reactionary modernists were able to reconcile an ideology about a technologically advanced nation with one that still honored a romantic German past that was not simply “backward-looking pastoralism.” For a similar examination of the same trends in American society, see Wiebe, Search for Order; and Lears, No Place of Grace.
8 Ralph, Dixie; or Southern Scenes and Sketches, 1.
9 Wiebe, Search for Order, 12.
10 Ibid., 39.
11 Lears, No Place of Grace.
12 Ibid. Lears refers to antimodernism as a form of escapism from modernity on p. xii.
13 Kirby, Media-Made Dixie. James Bernhard’s review in the Journal of Southern History describes Kirby’s book as primarily “anecdotal” because, he writes, the book “lacks focus” and draws no “meaningful conclusions.” Bernhard, “Book Review,” 619. Lowenstein’s review in Florida Historical Quarterly complains that Kirby “makes no serious attempt to show the effects of mass media” and is a “hodge podge” of information. See Lowenstein, “Book Review.” Robert Sklar’s assessment in the American Historical Review is that “this is a hybrid work that obscures what it accomplishes by claiming to accomplish too much.” Sklar, “Book Review.”
14 Helen Taylor’s Circling Dixie surveys the impact of popular images of the South in British society.
15 Reed, Enduring South, 4–5, 87; see also Reed, My Tears Spoiled My Aim; and Reed, Minding the South.
16 Duck, Nation’s Region; McPherson, Reconstructing Dixie; Graham, Framing the South.
17 Claude A. Barnett, “Role of the Press, Radio, and Motion Picture and Negro Morale.”
18 Cohn, The South, 10, 30; “Down South Everybody’s Happy,” Jerome H. Remick, New York, 1917.
1 Reminiscences of Jack Yellen, 1958, pp. 1–3, CUOHC; the quotation is from p. 3.
2 Lemons, “Black Stereotypes,” 110.
3 “Jack Yellen, 97, Writer of Lyrics for ‘Happy Days Are Here Again,’” NYT, April 19, 1991; Whitfield, “Is It True What They Sing about Dixie.”
NOTES TO PAGES 10-194 Goldberg, Tin Pan Alley, 46.
5 Ibid.; Spaeth, History of Popular Music in America, 3–6; Ewen, Panorama of American Popular Music.
6 “Songs for the South,” NYT, June 16, 1861.
7 Spaeth, History of Popular Music in America, 94–95, 137–40; Ewen, Panorama of American Popular Music, 69; Daniel Decatur Emmett, “I Wish I Was in Dixie’s Land,” Firth, Pond, New York, 1860.
8 Ewen, Panorama of American Popular Music, 74; Foster’s letter to Ed Christy is printed in Morneweck, Chronicles of Stephen Foster’s Family, 398; see also Key, “Sound and Sentimentality”; and Emerson, Doo-Dah!, 12–13.
9 “Old Black Joe,” Firth, Pond, New York, 1860.
10 Advertisement by Ticknor & Company in The Critic: A Weekly Review of Literature and the Arts, November 26, 1887.
11 Key, “Sound and Sentimentality,” 147; Ewen, Panorama of American Popular Music, 94.
12 The depiction of African Americans in popular songs of the nineteenth century is examined in Dorman, “Shaping the Popular Image”; Graziano, “Use of Dialect in African-American Spirituals, Popular Songs, and Folk Songs”; Ostendorf, “Minstrelsy & Early Jazz”; and Lemons, “Black Stereotypes.”
13 Dorman, “Shaping the Popular Image,” 452–53.
14 Ernest Hogan, “All Coons Look Alike to Me,” M. Witmark, New York, 1896.
15 Dorman, “Shaping the Popular Image,” 455–56; Ewen, Panorama of American Popular Music, 101–2.
16 Dorman, “Shaping the Popular Image,” 466. On reconciliation and Anglo-Saxonism, see Blight, Race and Reunion, 260; and Silber, Romance of Reunion, 136–37; see also Bloomfield, “Dixon’s ‘The Leopard’s Spots.’”
17 John Martin Hammond, Winter Journeys, 157.
18 “Cahillogues.”
19 Many of these songs can be found online at Indiana University, Lilly Library, Harmony Sheet Music collection, <http://webappl.dlib.indiana.edu/inharmony/welcome.do>. On the Jewish influence in popular songs about Dixie, see Whitfield, “Is It True What They Sing about Dixie.”
20 Whitfield, “Is It True What They Sing about Dixie,” 9.
21 Furia, Poets of Tin Pan Alley, 13.
22 Hamm, Irving Berlin, 9–10.
23 “Carolina Sunshine,” words by Walter Hirsch, music by Erwin R. Schmidt, Harry Von Tilzer Music Publishing, New York, 1919.
24 “In the Evening by the Moonlight in Dear Old Tennessee,” words and music by E. Clinton Keithley and Floyd Thompson, Frank K. Root & Company, New York, 1914.
25 Furia, Poets of Tin Pan Alley, 19–21; Reminiscences of Jack Yellen, 1958, p. 11 (first quotation), p. 25 (second quotation), CUOHC.
26 Furia, Poets of Tin Pan Alley, 22, 42.
27 Hamm, Irving Berlin, 12; “Little Puff of Smoke, Good Night—A Southern Croon,” words by R. W. Lardner, music by G. Harris White, Victor Kremer Company, Chicago, 1910; “Floatin’ Down the Mississippi (On Our Honeymoon),” words and music by Wendell L. Hall, Hall Music Company, New York, 1918.
28 “Are You from Dixie? (’Cause I’m from Dixie, too!),” words by Jack Yellen, music by George Cobb, M. Witmark, New York, 1913.
29 Ibid.
30 Witmark and Goldberg, From Ragtime to Swingtime, 132; Scheurer, Nineteenth Century and Tin Pan Alley, 109.
31 Hamm, Irving Berlin, 68–69.
32 Ibid., 5, 24–32, 50.
33 Ibid., 95; Hamm, “Genre, Performance and Ideology,” 145–46.
34 “When It’s Night Time Down in Dixieland,” words and music by Irving Berlin, Waterson, Berlin & Snyder, New York, 1914.
35 Furia, Poets of Tin Pan Alley, 33; Reminiscences of Jack Yellen, 1958, p. 23, CUOHC.
36 Hamm, Irving Berlin, 98–99.
37 Cohan’s song is mentioned in Lemons, “Black Stereotypes,” 110.
38 “The Dixie Volunteers,” words and music by Edgar Leslie and Harry Ruby, Waterson, Berlin & Snyder, New York, 1917.
39 Lindberg, “Popular Modernism”; quotation is from Witmark and Goldberg, From Ragtime to Swingtime, 68.
40 Furia, Poets of Tin Pan Alley, 36, 93, 245.
41 “Swanee,” words by Irving Caesar, music by George Gershwin, Francis Day & Hunter, New York, 1919. On the sale of “Swanee,” see Ewen, Panorama of American Popular Music, 183.
42 Ewen, Panorama of American Popular Music, 183.
43 Gershwin quoted in Wyatt and Johnson, George Gershwin Reader, 90, 93.
44 Ibid., 94.
45 Quotation is from Ellington, in Tucker, Duke Ellington Reader, 139. On “Rhapsody in Blue,” see Wyatt and Johnson, George Gershwin Reader, 206–8.
46 Wyatt and Johnson, George Gershwin Reader, 222.
47 Reminiscences of Jack Yellen, 1958, p. 27, CUOHC. Anthony Harkins argues that it was during the postwar years that country musicians and promoters aggressively marketed the music to a national audience. See Harkins, Hillbilly, 99. Jeffrey Lange also argues that country music did not become mainstream until the postwar era. See Lange, Smile When You Call Me a Hillbilly, 195–97. Bill C. Malone also delineates the difference between country and popular music in the period prior to World War II in his book Singing Cowboys and Musical Mountaineers, 55–65. On the image of the hillbilly in popular culture, one must begin with Green, “Hillbilly Music”; see also Huber, Linthead Stomp, xiii. Huber argues that hillbilly music did become “an American popular music that was commercially broadcast and recorded.”
NOTES TO PAGES 31-4048 Wilder, American Popular Song, 55. For a discussion of the radio program Show Boat, see chapter 3.
49 “Hollywood’s Dernier Cri,” NYT, June 9, 1929. In an interview with Yellen later in life, he claimed he did not like the move of the music industry from Tin Pan Alley to Hollywood, saying, “I never grew to like Hollywood.” Reminiscences of Jack Yellen, 1958, p. 22, CUOHC.
50 Furia, Poets of Tin Pan Alley, 183.
51 Reference to “Dixie” as “the greatest war song” comes from the film trailer for Dixie (1943).
52 Reminiscences of Jack Yellen, 1958, p. 24, CUOHC.
1 “Aunt Jemima Mills Company,” Case Studies, Information Center Records, JWTA; “Account History of Aunt Jemima Pancake Flour,” Account Files, Quaker Oats, JWTA. For an extended discussion of the development of the Aunt Jemima brand, see Manring, Slave in a Box.
2 Robinson, “Marketing Gum, Making Meanings.” Robinson argues that business is not separate from culture and that advertising offers proof of that connection.
3 Schudson, Advertising, the Uneasy Persuasion, 209–10; McGovern, Sold American, 3–8. On Dixie as a brand, see Hale, Making Whiteness, 138–50; and Cohen, Making a New Deal, 101–5.
4 Kitch, Pages from the Past, 2–3; “Songs of Dixie,” advertisement in LHJ, June 1891; “Game of Dixie-Land,” advertisement in LHJ, February 1898; A B C in Dixie advertisement in Town and Country, November 26, 1904; “Folks from Dixie,” advertisement of Dodd, Mead, in Bookman; A Review of Books and Life, August 1898.
5 Several books examine the cultural meanings of consumption, including Bronner, Consuming Visions; McCracken, Culture and Consumption; Brewer and Porter, Consumption and the World of Goods; Lears, Fables of Abundance; Strasser, Satisfaction Guaranteed; and Marchand, Advertising the American Dream. On advertising as a symbolic extension of cultural meaning, see Bronner, Consuming Visions, 29.
6 Wiebe, Search for Order, 40; Lears, No Place of Grace, 9–11.
7 Wiebe, Search for Order, 39.
8 Sivulka, Soap, Sex, and Cigarettes, 47.
9 Lears, Fables of Abundance, 124.
10 Ibid.
11 Ibid., 154; see also Strasser, Satisfaction Guaranteed.
12 On ad men and selling status, see McGovern, Sold American, 34–35; and Sivulka, Soap, Sex, and Cigarettes, 97.
13 “Aunt Jemima Fact Book” (1956), Account Files, Quaker Oats, JWTA.
14 Manring, Slave in a Box, 92–95.
15 As quoted in McGovern, Sold American, 31.
16 This telling is blended from two early accounts: “Account History of Aunt Jemima Pancake Flour” (1930) and “Aunt Jemima Fact Book” (1956), both in Account Files, Quaker Oats, JWTA.
17 Bronner, Consuming Visions, 191–93.
18 “Account History of Aunt Jemima Pancake Flour,” Account Files, Quaker Oats, JWTA.
19 Ibid.; Silvulka, Soap, Sex, and Cigarettes, 83, 115.
20 “Aunt Jemima Fact Book” (1956), Account Files, Quaker Oats, JWTA.
21 “Account History of Aunt Jemima Flour,” Account Files, Quaker Oats, JWTA; Sivulka, Soap, Sex, and Cigarettes, 149.
22 Sivulka, Soap, Sex, and Cigarettes, 149; see also Manring, Slave in a Box, 76.
23 Manring, Slave in a Box, 76; “Consumer Recognition of the Aunt Jemima Brand,” Account Files, 1885–2004, Quaker Oats, JWTA.
24 Cleveland Call and Post editorial, as quoted in Floyd J. Calvin, “The Digest,” Kansas City Plaindealer, January 31, 1937.
25 “Gorham Silver” advertisement in Life, October 5, 1928, 92; “J. P. Lippincott Holiday Books” advertisement in Town and Country, November 23, 1912.
26 Marchand, Advertising the American Dream, 164–68. On “atmospheric advertising,” see Sivulka, Soap, Sex, and Cigarettes, 113.
27 “Crab Orchard Whiskey” advertisement in Life, June 1, 1935, 8.
28 Maxwell House advertisement in LHJ, November 1928, Domestic Advertising Collection, JWTA.
29 “Cheek-Neale Company Account History,” Colin Dawkins Papers, JWTA.
30 Ibid.
31 Maxwell House advertisement in McCall’s, Domestic Advertising Collection, JWTA.
32 “Cheek-Neale Company Account History,” Colin Dawkins Papers, JWTA.
33 General Foods advertisement, D’arcy Masius Benton & Bowles Archives, 1941–44, JWTA.
34 Maxwell House advertisement in Saturday Evening Post, Domestic Advertising Collection, JWTA.
35 Sammis, “How Radio Programs Are Built,” 35.
36 Ibid., 35–36.
37 “On the Merry Go Round of Broadcasting,” NYT, June 23, 1935.
38 The Selznick-Mitchell conflict over commercial tie-ins can be found in Commercial Tie-Ins, MM-NYPL.
39 “Chronological Abstract,” Commercial Tie-Ins, MM-NYPL.
40 Regarding the Pepperell Manufacturing request, see G. A. Erskine to George P. Brett Jr., March 18, 1937, MM-NYPL.
41 Lois Dwight Cole to H. Y. Bingham, November 9, 1937, MM-NYPL.
42 Commercial Tie-Ins, ca. 1936–40, MM-NYPL.
43 Helen E. Sohl to Macmillan Co., April 26, 1937, MM-NYPL.
44 For Gone with the Wind–influenced advertisements, see Commercial Tie-Ins, ca. 1936–40, MM-NYPL.
NOTES TO PAGES 54-6345 Ad*Access On-line Project—Ad #BH1395 and 1397, JWTA.
46 Ad*Access On-line Project—Ad #BH1927–28, JWTA.
1 Correll and Gosden, Sam ’n’ Henry, 9, 11, 14, 51.
2 For detailed statistics on radio programs and audience share from 1926 to 1945, see Summers, History of Broadcasting.
3 On the development of the hillbilly stereotype, see Harkins, Hillbilly.
4 Jim Cox, Sold on Radio, 35.
5 Many scholars of early radio have discussed the phenomenon of radio minstrelsy, and still others have analyzed the role played by hillbilly acts. Yet this scholarship does not offer any in-depth analysis into how radio as a form of mass culture helped to shape Americans’ perceptions of the South and southerners. The historiography on minstrelsy is rich. For a general overview of minstrelsy, see Wittke, Tambo and Bones; Goldberg, Tin Pan Alley, 31–60; Toll, Blacking Up; and Lott, “The Seeming Counterfeit.” On minstrelsy in radio, see MacDonald, Don’t Touch That Dial, 329–48; Hilmes, Radio Voices, 30–31, 76–81; and Arceneux, “Blackface Broadcasting.” Discussions of hillbilly acts are found in Malone, Country Music U.S.A.; Lange, Smile When You Call Me a Hillbilly; McCusker, A Boy Named Sue; Hall, Lum and Abner; Grundy, “We Always Tried to Be Good People”; and Otto and Burns, “Black and White Cultural Interaction.” Arcenaux briefly discusses hillbillies, in “Blackface Broadcasting,” 68–70.
6 On the Golden Age of radio, see Barnouw, Tower in Babel; MacDonald, Don’t Touch That Dial; Hilmes, Radio Voices; Susan J. Douglas, Inventing American Broadcasting; Susan J. Douglas, Listening In; Nachman, Raised on Radio; and George H. Douglas, Early Days of Radio Broadcasting.
7 Susman, Culture as History, 150–71. For a discussion of Cantril and Allport’s Psychology of Radio, see Susan J. Douglas, Listening In, 130–33. On race, ethnicity, and mass culture, see Cohen, Making a New Deal, 143–54.
8 Susan J. Douglas, Listening In, 100–107.
9 On radio audience percentages, see Cantril and Allport, Psychology of Radio, 85–86.
10 Ibid., 96.
11 Correll and Gosden, All about Amos ’n’ Andy, 9–29.
12 Histories of Amos ’n’ Andy include Ely, Adventures of Amos ’n’ Andy; and McLeod, The Original Amos ’n’ Andy; see also Nachman, Raised on Radio, 272–84. The show is also discussed in numerous radio histories, including MacDonald, Don’t Touch That Dial, 27–29; Hilmes, Radio Voices, 76–90; and Susan J. Douglas, Listening In, 100–123.
13 Ely, Adventures of Amos ’n’ Andy, 189–90.
14 Ibid.; Vann’s editorial is quoted on p. 190.
15 Gregory, Southern Diaspora, 56. Gregory writes that Amos ’n’ Andy offered audiences the story of “fictional black southerners in the northern metropolis.”
16 Ibid., 59.
17 Walter J. Thompson, “Among the Merry Men of Minstrelsy,” San Francisco Chronicle, November 12, 1916.
18 Wittke, Tambo and Bones, 6.
19 Ibid., 8; see also Roediger, Wages of Whiteness, 98–116.
20 Correll and Gosden, All about Amos ’n’ Andy.
21 “Honey and Alexander,” 8–9.
22 As quoted in Arceneux, “Blackface Broadcasting,” 64.
23 White, Ar’n’t I a Woman, 27–62; see also Manring, Slave in a Box, 136, 193n37.
24 Hilmes, Radio Voices, 80.
25 Roles for black women were limited to musical performances. See “Tess ‘Aunt Jemima’ Gardella,” in Cullen, Vaudeville, Old and New, 430; see also Witt, Black Hunger, 21–53.
26 On Widmer’s acceptance by African American audiences, see “White Radio Actress in Negro Interpretations: ‘Aunt Jemima’ Wins Plaudits and Pleases Race,” Negro Star, May 20, 1938. A sound clip of Widmer as Aunt Jemima can be heard at <http://www.otrcat.com/aunt-jemima-p-48526.html.>
27 James Young lecture, “News Spreading Use of Advertising” (1934), Chicago Account Files, JWTA.
28 Avalon Show Boat Script, June 14, 1940, WENR Chicago, LAB-UMD.
29 Ely, Adventures of Amos ’n’ Andy, 109–14.
30 Sinclair Minstrels Script, December 18, 1933, LAB-UMD.
31 On John Henry, see “Voodoo on the Air”; and “For Distinguished Service.”
32 Photo caption, Radioland, March 1934.
33 Cantril and Allport, Psychology of Radio, 69.
34 “It’s Make Believe,” NYT, June 16, 1935.
35 “Keep Young and Beautiful”; “My Girls.” On the Boswell Sisters, see “How Three Southern Belles Found Fortune on the Radio,” NYT, February 28, 1932.
36 “Southern Charm.”
37 “Ethereal Songsters,” NYT, June 26, 1932.
38 Harkin, Hillbilly, 3–7.
39 Gregory, Southern Diaspora, 59–60.
40 Malone, Country Music U.S.A., 43. Malone credits Archie Green’s article “Hillbilly Music” for tracing the use of the term “hillbilly”; see also Huber and Drowne, “Hill Billy,” 215–16.
41 Harkin, Hillbilly, 80; Lange, Smile When You Call Me a Hillbilly, 27–29; Malone, Country Music U.S.A., 35; see also “National Barn Dance,” in Encyclopedia of Radio, 3:1537–38.
42 “National Barn Dance,” in Encyclopedia of Radio, 3:1537–38; see also “WLS has a Miracle Show in the Barn Dance,” 86–89; and Harkin, Hillbilly, 80–81.
43 “Renfro Valley Folks,” 16–17.
44 Ibid., 26.
45 Melick, “Hill Billy Menace,” 48–49.
NOTES TO PAGES 76-8446 Ibid.; Harkin, Hillbilly, 87.
47 “Pie Plant Pete Comes East,” NYT, July 17, 1932; “Coon Creek Girls from the Kentucky Hills,” NYT, June 4, 1939. In the case of the Coon Creek Girls, their manager, John Lair, was responsible for creating an image of them as traditional women and sought to control them on and off stage; Oral History Interview with Barbara Greenlief.
48 “Bob Burns (1890–1956).”
49 “Judy Canova,” in Kingsbury, Encyclopedia of Country Music, 77; Carlin, Country Music, 188–89; Bufwack and Oermann, Finding Her Voice, 103–4.
50 Hall, Lum and Abner, 4; “Lum and Abner,” in Encyclopedia of Radio, 2:412–14.
51 Siegel, “Revealing Lum and Abner.”
52 Hall, Lum and Abner, 10–14; the second quotation is from p. 34.
1 “Sowing the South Forty,” NYT, December 13, 1936; see also “The Screen in Review: Warners Start the Southern Cycle with ‘Jezebel’ at the Music Hall,” NYT, March 11, 1938. On Scarlett, see Frank S. Nugent, “‘Gone With,’ Etc.—or the Making of a Movie,” NYT, December 10, 1939.
2 There are a number of studies of the South in film, the most useful being Campbell, Celluloid South; French, The South and Film; Kirby, Media-Made Dixie; Graham, Framing the South; McPherson, Reconstructing Dixie; and Helen Taylor, Circling Dixie, esp. pp. 28–62. On the film image of the mountain South, see Harkins, Hillbilly, 141–72; and Williamson, Hillbillyland. On Gone with the Wind, see Haskell, Frankly, My Dear.
3 Sklar, Movie-Made America, 3, 4, 14. It is estimated that there were 20,000 nickelodeons in northern cities by 1910; see May, Screening Out the Past, 35.
4 On European influence and class, see Sklar, Movie-Made America, 42, 46.
5 May, Screening Out the Past, xii, xiv; Sklar, Movie-Made America, 196.
6 May, Screening Out the Past, xiv.
7 The American Film Institute’s catalogs of films made in the United States categorize films by region, state, and themes. It is difficult to determine the actual number of films set in the South versus films set in southern states or based on a particular theme. For example, during the 1930s, the catalog has the theme “planters,” meaning that a planter appears in the film. In this case, Gone with the Wind is not included. However, under the theme “plantations,” Gone with the Wind is listed. Munden, American Film Institute Catalog.
8 The Birth of a Nation has been analyzed by film scholars and historians. See especially May, Screening Out the Past, 62–65, 80–81; Sklar, Movie-Made America, 58–61; Staiger, Interpreting Films, 140–44; Merritt, “Dixon, Griffith, and the Southern Legend”; Franklin, “Birth of a Nation”; and Michael Hammond, “A Soul Stirring Appeal to Every Briton.”
9 W. E. B. Du Bois quoted in Merritt, “Dixon, Griffith, and the Southern Legend,” 35; Franklin, “Birth of a Nation,” 424–25.
10 Franklin, “Birth of a Nation,” 425.
11 Merritt, “Dixon, Griffith, and the Southern Legend,” 35; Staiger, Interpreting Films, 140.
12 Staiger, Interpreting Films, 140; May, Screening Out the Past, 61, 65; Merritt, “Dixon, Griffith, and the Southern Legend,” 27; Claude A. Barnett, “Role of the Press, Radio, and Motion Picture and Negro Morale,” 474. Dixon even tried to have the film remade as a talking version in 1933. See “Hollywood in Review: Author May Make Audible Film of ‘Birth of a Nation,’” NYT, January 22, 1933.
13 Munden, American Film Institute Catalog, 146, 155.
14 Figures on film settings are drawn from ibid. On the number of films set in the antebellum South, see Gaines, Music in the Old Bones, 186.
15 Munden, American Film Institute Catalog, 657.
16 Show Boat, Universal Studios, 1936; Munden, American Film Institute Catalog, 712; Breon, “Show Boat,” 99.
17 Munden, American Film Institute Catalog, 1205–6, 1400, 1986.
18 Johnston, Little Colonel.
19 The Little Colonel, Twentieth-Century Fox Films, 1935.
20 The Littlest Rebel, Twentieth-Century Fox Films, 1935.
21 “Surveying Scarlett O’Hara,” NYT, February 19, 1939; Bosley Crowther, “Mr. Selznick and a Scarlett Future,” NYT, October 30, 1938.
22 Letters from all the major movie studios are in the Mitchell Papers, MM-NYPL.
23 Margaret Mitchell to Harold Latham, May 25, 1936, MM-NYPL.
24 Baskette, “Gone with the Wind, Indeed!” Photoplay, March 1937.
25 Margaret Mitchell to Herschell Brickell, May 16, 1938, in Harwell, Margaret Mitchell’s Gone with the Wind Letters, 202.
26 Selznick’s letter is quoted in ibid., 202–3.
27 Frank S. Nugent, “The Screen in Review,” NYT, March 11, 1938; Jezebel, Warner Brothers, 1938.
28 Margaret Mitchell to Virginius Dabney, July 23, 1942, in Harwell, Margaret Mitchell’s Gone with the Wind Letters, 359.
29 Margaret Mitchell to Susan Myrick, February 10, 1939, and Margaret Mitchell to Jere Moore, February 16, 1939, in Harwell, Margaret Mitchell’s Gone with the Wind Letters, 249, 255.
30 B. R. Crisler, “Film Gossip of the Week: General Cukor’s Expeditionary Force Threatens Richmond—Director Talks,” NYT, April 25, 1937.
31 Lucille Pratt to David Selznick, August 3, 1938, Wilbur G. Kurtz Collection, AHC; Selznick quoted in “‘Scarlett’ Understands Book—Except about the June Bugs,” Atlanta Journal, January 14, 1939.
32 “Miss Leigh Gets O.K. as ‘Scarlett’ by UDC Head,” Atlanta Constitution, January 22, 1939; clippings on the Atlanta Ladies’ Memorial Association in Wilbur G. Kurtz Collection, AHC. Mitchell personally feared the backlash of the United Daughters of the Confederacy, because the organization was such a stickler for historical details.
NOTES TO PAGES 95-10833 Thomas Pryor, “Profitable Gleanings,” NYT, January 28, 1940. Advertisements appeared in the Atlanta Constitution, December 15, 1939.
34 Dabney, Below the Potomac, 2.
35 “Gone with the Wind,” Cleveland Gazette, December 30, 1939.
36 “Protest Film as Incitement for Lynchings,” Kansas American, February 3, 1940.
37 Andy Razaf, “Gone with the Wind,” Kansas City Plaindealer, January 19, 1940.
38 Dalton Trumbo quoted in McManus and Kronenberger, “Motion Pictures, the Theater, and Race Relations,” 152.
39 Ibid., 154–58.
40 Ibid., 154; see also Claude A. Barnett, “Role of the Press, Radio, and Motion Picture and Negro Morale”; and Barnard, Wendell Willkie, 338.
41 Regester, “African American Extras.”
42 Margaret Mitchell to Marcella Rabwin, February 15, 1939, in Harwell, Margaret Mitchell’s Gone with the Wind Letters, 253; Claude A. Barnett, “Role of the Press, Radio, and Motion Picture and Negro Morale,” 476.
43 On Hearts in Dixie, see Munden, American Film Institute Catalog, 335; and Claude A. Barnett, “Role of the Press, Radio, and Motion Picture and Negro Morale,” 476.
44 “Scratch a Hillbilly,” NYT, May 15, 1938.
45 “Lum and Abner [Radio Show and Movies]”; “Bob Burns (1890–1956).”
46 “Judy Canova,” in Parish and Pitts, Hollywood Songsters, 113; “Judy Canova,” in Jones, Country Music Humorists and Comedians, 109–10. Pudden’ Head, Sis Hopkins, and Joan of Ozark are discussed in Munden, American Film Institute Catalog, 1903, 2203, 1218. Joan of Ozark, Republic Pictures, 1942.
47 Harkins, Hillbilly, 162–63; see also Williamson, Hillbillyland, 79–81.
48 “Disney Wants It Right: Uncle Remus Filmers Visit Turnwold,” Atlanta Constitution, October 15, 1944; “Kurtzes to Advise on Uncle Remus Film,” Atlanta Constitution, October 4, 1944.
49 Wright Bryan, “Changing the Name of Uncle Remus,” Atlanta Journal, August 23, 1946.
50 Bosley Crowther, “Spanking Disney,” NYT, December 5, 1946. Regarding more positive reviews made in newspapers beyond the South, see Campbell, Celluloid South, 151–52.
51 Bosley Crowther, “Spanking Disney,” NYT, December 5, 1946; “NAACP Considers ‘Uncle Remus’ Dangerous,” Negro Star, December 6, 1946.
52 “Song of the South Picketed,” NYT, December 14, 1946.
53 “Films Chosen for Young,” NYT, December 26, 1946.
1 Margaret Mitchell to Harold Latham, January 8, 1937, MM-NYPL.
2 Ibid.
3 Archibald Henderson, “The Old South Yields to the New,” NYT, August 15, 1926.
4 On literature and southern identity, see Duck, Nation’s Region; Winchell, Reinventing the South; Gardner, Blood and Irony; Simpson, Dispossessed Garden; Brooks, Language of the American South; and Cobb, Away Down South, 130–31.
5 Aron, Working at Play, 142.
6 Sears, Sacred Places, 4–6.
7 Aron, Working at Play, 10. Aron argues that tourism and vacationing are related but that they are different types of travel. Vacationing, according to her, is defined as “pleasure trips that last at least a few days.”
8 Ibid., 127.
9 There is a vast literature on tourism, which includes ibid.; Jakle, The Tourist; Cocks, Doing the Town; Schaffer, See America First; Selwyn, Tourist Image (especially pp. 1–30); and Holloway, Business of Tourism, 1–31. Books that treat the southern tourist trade include John D. Cox, Traveling South; Yuhl, Golden Haze of Memory; and Stanonis, Creating the Big Easy.
10 Selwyn, Tourist Image, 1, 7–8, 21.
11 Plaag, “There Is an Abundance of Those Which Are Genuine,” 24–49. Several historians have defined the Lost Cause, including Wilson, Baptized in Blood; Foster, Ghosts of the Confederacy; and Karen L. Cox, Dixie’s Daughters.
12 King, The Great South.
13 Ibid.; “lazy negro” appears on p. 29; “intelligent-looking” appears on p. 782.
14 Lanier, Florida, 218–19, 260.
15 Mooney-Melvin, “Harnessing the Romance,” 36.
16 Hardy, Down South, 110.
17 “Richmond since the War,” 303–6; Berry, Other Side, 93; Russell, Letters of Matthew Arnold, 244.
18 Hardy, Down South, 4–15. C. B. Berry, an Englishman, on his visit to Richmond, wrote that “things down south seemed more homelike than farther north, if less luxurious.” Berry, Other Side, 89.
19 Russell, Letters of Matthew Arnold, 243–45.
20 James, American Scene, 370–74, 383–85.
21 Page, In Ole Virginia; Page, Social Life in Old Virginia; Dixon, Leopard’s Spots.
22 Lanier, Florida, 241.
23 Derry, Georgia, 87–90.
24 Hardy, Down South, 93.
25 Harley, Southward Ho, 62–64.
26 Mildred Cram’s husband, Allan, with whom she was traveling, made the comment about Spanish moss. Cram, Old Seaport Towns, 102.
27 John Martin Hammond, Winter Journeys, 130.
28 Brochure, The DeSoto: Tourist Season 1896–97, Greeting (Savannah: Watson & Powers, Proprietors, 1896), GHS.
29 Hadler, “Remus Orthography,” 100–104; Kersten, “Creative Potential of Dialect Writing,” 117.
30 Cram, Old Seaport Towns, 1, 3.
NOTES TO PAGES 116-2731 “Joel Chandler Harris (1845–1908).”
32 Harris, Uncle Remus, vii, xvii.
33 On reconciliation and Civil War memory, see Silber, Romance of Reunion; and Blight, Race and Reunion. On the cult of Anglo-Saxon supremacy, see Silber, Romance of Reunion, 136.
34 Mooney-Melvin, “Harnessing the Romance,” 384.
35 Hardy, Down South, 105; Ralph, Dixie; or Southern Scenes and Sketches, 1.
36 Cram, Old Seaport Towns, 102. Mildred Cram wrote the screenplay for Love Affair (Warner Brothers, 1939).
37 James, American Scene, 386.
38 John Martin Hammond, Winter Journeys, 157.
39 Ibid.
40 McIntyre, “Promoting the Gothic South,” 58. On historical sites and a sense of the past, see Jakle, The Tourist, 286.
41 McIntyre, “Promoting the Gothic South”; William Taylor, Cavalier and Yankee, 177–202.
42 Patrick, “Mobile Frontier.”
43 Cram, Old Seaport Towns, 148.
44 Ibid., 151–52.
45 Ibid., 153.
46 Ibid., 30.
47 Ibid., 36–37.
48 Stanard, “Quaint Old Richmond”; quotations from pp. 444–46.
49 “Edward Stratemeyer,” in American Writers for Children before 1900, 351–62.
50 Hope, Bunny Brown and His Sister Sue, 70.
51 Ibid., 76.
52 Ibid., 79.
53 Children’s stories in the South were a popular genre unto themselves. See Johnston, Little Colonel; Darlington, Circus Boys; and Rathbone, Chums in Dixie.
54 Brown, “Negro Character as Seen by White Authors,” 179, 196.
55 Conrad, “Philology of Negro Dialect,” 150–54. Even authors considered sympathetic to African Americans fell short; see, for example, McDowell, “Use of Negro Dialect.”
56 Yuhl, Golden Haze of Memory, 18.
57 Heyward, Porgy; Young, So Red the Rose.
58 On the South’s literary modernists, see Duck, Nation’s Region.
59 Harold Latham, “How the Publisher Secured the Manuscript,” in Mitchell, Gone with the Wind, 8–9.
60 Margaret Mitchell to Harold Latham, September 9, 1938, MM-NYPL.
61 Margaret Mitchell to Thomas W. Palmer, November 25, 1938, ibid.
62 Louise Bowman to the Editor, September 1939, and H. L. Banbe to Macmillan Co., April 10, 1940, ibid.
63 John Marsh to Lois Cole, February 9, 1936, ibid.
64 Franklin Davis, “World in Review,” Kansas City Plaindealer, May 14, 1937; Elizabeth Lawson, “Lynch Law and Pulitzer,” Cleveland Gazette, May 29, 1937.
65 “Three Historical Novels,” 48.
66 Constance Lindsay Skinner to Lois Cole, n.d., MM-NYPL.
67 All quotations are from Mitchell to Harold Latham, January 8, 1936, and September 9, 1938, ibid.
68 Margaret Mitchell Interview, typescript, September 5, 1941, ibid.
1 On to Richmond, 5.
2 Ibid., 28–29.
3 On veterans’ reunions, see Blight, Race and Reunion, 171–72; and Reardon, Pickett’s Charge, 91–109.
4 This is a version of the argument James Sears has made about American culture, which can be applied to regional tourism. See Sears, Sacred Places, 4.
5 Ibid., 7.
6 Aron, Working at Play, 131.
7 See, for example, Sears, Sacred Places; Cocks, Doing the Town; and Schaffer, See America First.
8 Brochure, Virginia Navigation Company, 190?, VHS.
9 Brochure, Raymond’s Vacation Excursions: Five Grand Autumn Trips (Boston, 1887), VHS.
10 Ibid.
11 Guide to Georgia and Florida (Atlantic and Coastal Railroad, 1876–77), pamphlet, GHS.
12 Derry, Georgia, 87.
13 “Sisterhood of States, Jamestown Exposition,” 169–70.
14 Glimpses of the Jamestown Exposition and Picturesque Virginia, n.p.
15 The National Magazine remarked that to name the parade grounds after Lee was a great tribute to the “loved son of the great South” (p. 166).
16 Official Encyclopedic Guide to Richmond and Vicinity Including Battlefields, 4, 9.
17 Confederate Memorial Association, Board of Lady Managers, Visitors Register, 1921–22, 1925, vol. 1, Confederate Memorial Association Records, VHS.
18 Virginia: The Land of Romance, Hospitality and Beauty, pamphlet (o.s.), Norfolk & Western Railway, 1928, VHS.
19 Ralph, Dixie; or Southern Scenes and Sketches, 168–69.
20 Sheffield, Improvement of the Road System of Georgia, 26.
21 Ibid., 31.
22 Lichtenstein, “Good Roads and Chain Gangs,” 86. Lichtenstein also argues that convict labor vis à vis chain gangs was preferred over traditional convict lease and was considered “a quintessential southern Progressive reform.”
23 The Dixie Flyer and the Cotton Belt Route advertised regularly in the Confederate Veteran between 1900 and 1920.
24 Akerman, “Selling Maps, Selling Highways,” 79.
25 Numerous articles address the issue of mapping roads and highway construction in the early twentieth century, including Ristow, “American Road Maps and Guides”; Hugill, “Good Roads and the Automobile”; Paxson, “The Highway Movement”; Akerman, “Selling Maps, Selling Highways”; Raitz, “American Roads, Roadside America”; LeRoy Barnett, “Why Is There a Dixie Highway in Michigan”; McIntyre, “Promoting the Gothic South”; and “Advertising Virginia.”
26 American Motorist 1, no. 4 (July 1909): 139.
27 American Motorist 1, no. 5 (August 1909): 211–12.
28 “Glidden Tour in October over Southern Highways,” NYT, August 6, 1911.
29 “Eighty-five Cars Will Leave for the South—Conditions for the Run,” NYT, October 8, 1911; “80 Cars Start for the South in Glidden Tour,” AJC, October 15, 1911.
30 “Governor Smith in Glidden Tour,” NYT, September 3, 1911.
31 “Seventy-five Cars Speed to the Southland for Famous Auto Prize,” NYT, October 15, 1911.
32 “80 Cars Start for South in Glidden Tour,” AJC, October 15, 1911.
33 “Auto Tourists Find Good Roads in South,” NYT, October 17, 1911.
34 Ibid.
35 Ibid.
36 “Glidden Tour Cars Ditched in Virginia,” NYT, October 18, 1911.
37 “Glidden Tourists Swamped in Creek,” NYT, October 19, 1911.
38 “Virginia Roads Defended,” NYT, October 20, 1911.
39 “South Welcomes Glidden Tourists,” NYT, October 20, 1911.
40 “Georgia Barbecue for Glidden Party,” NYT, October 24, 1911; “Great Reception for Gliddenites,” AJC, October 21, 1911.
41 “Glidden Tour Ends at Jacksonville,” NYT, October 27, 1911.
42 “No Better Roads Found in South,” AJC, September 25, 1910.
43 “Seventy-five Cars Full of Enthusiasts Begin 900-Mile Good Roads Tour of State,” AJC, October 18, 1911; “Miss Rambo’s Feat Wins Cheers and Loving Cup,” AJC, October 27, 1910.
44 “Warm Welcome for Cincinnati,” AJC, September 18, 1910.
45 “Miss Rambo’s Splendid Feat Wins Cheers and Loving Cup,” AJC, October 27, 1910; “Miss Regina Rambo to Go as Delegate to Good Roads Meeting at Montezuma,” AJC, June 5, 1911.
46 Hugill, “Good Roads and the Automobile,” 332; Paxson, “The Highway Movement,” 238.
47 “W. S. Gilbreath, 69, Road Expert, Dead: Automobile Club Official Had Helped to Map Route for the Dixie Highway,” NYT, October 14, 1936; LeRoy Barnett, “Why Is There a Dixie Highway?” 16.
48 “Highway Is 25 Years Old,” NYT, February 16, 1936.
49 Ibid.
50 “Michigan Wants Dixie Road,” NYT, May 22, 1915.
51 “Dixie Highway Contests,” NYT, June 25, 1915.
52 “Michigan Wants Dixie Road,” NYT, May 22, 1915.
53 “The Dixie Peaceway,” NYT, April 4, 1915.
54 Hugill, “Good Roads and the Automobile,” 342–42; Paxson, “The Highway Movement,” 244.
55 “North and South Link: Plans to Complete Seven-Mile Mountain Gap in Dixie Highway,” NYT, October 28, 1917.
56 “The Dixie Highway,” NYT, October 10, 1925.
57 “Kentucky Cheers Dixie ‘Motorcade’” NYT, October 10, 1925; “Chattanooga Hails Highway Caravan,” NYT, October 13, 1925.
58 “South Improves Motor Roads,” NYT, August 20, 1922; “Record Automobile Year in Output and Touring,” NYT, April 23, 1923.
59 “Improved Motor Roads for Florida Touring,” NYT, September 16, 1923.
60 Ibid.
61 “To Florida: Many Routes South for Motorists,” NYT, December 20, 1936.
62 “Southward, Man Pushes Again,” NYT, February 28, 1927.
63 Ibid.
64 “To Florida: Many Routes South for Motorists,” NYT, December 20, 1936.
65 A. A. Ainsworth to the Editor, Savannah Morning News, typescript, October 17, 1927, Granger Papers.
66 Harvey Granger to Clark Howell, typescript, March 9, 1929, ibid.
67 J. G. Hulmly to Harvey Granger, July 17, 1928, ibid.
68 Cocks, Doing the Town, 145–46.
69 Illustrated Richmond, n.p. Other guides similarly promoted investment in the city as well as its historic offerings. These include City of Richmond, of Historic Fame, of Commercial Prestige (Richmond, 1905) and Richmond Guide Book: Sketches and Views of Richmond, Virginia, both in VHS.
70 “Advertising Virginia.”
71 “A Tourist’s Guide to Richmond,” Richmond Magazine (1932), 36, VHS.
72 Down Where the South Begins, Richmond Chamber of Commerce, ca. 1930s, VHS.
73 This Year in Richmond, Automobile Club of Virginia, pamphlet, 1929, and Seeing Historic Richmond, Grayline Parlor Chair Coach pamphlet, 1929, both in VHS.
74 Yuhl, Golden Haze of Memory, 4–5.
75 Savannah: Where Tourists Go, Savannah Board of Trade pamphlet, 1924, GHS.
76 Key to Atlanta, Industrial Bureau, Atlanta Chamber of Commerce, pamphlet, 1925–26, AHC.
77 Stanonis, Creating the Big Easy, 28–69.
78 American Motorist, District of Columbia Edition, 1929, 40.
79 1930 Garden Club of Virginia Pilgrimage (Garden Club of Virginia, 2000), 12, 42, VHS.
NOTES TO PAGES 152-6680 On the development of Colonial Williamsburg, see Greenspan, Creating Colonial Williamsburg; Miller, “Mapping the Boosterist Imaginary”; and Key to Inscriptions on Virginia Highway Historical Markers (Richmond: State Commission on Conservation and Development, n.d.), 3rd ed., pamphlet, 3, VHS.
81 Travel Guide to Virginia (Richmond: G. F. Gulley, 1937), pamphlet, VHS; Greenspan, Creating Colonial Williamsburg, 37. According to Greenspan, the total visitation to Colonial Williamsburg in 1941 was just 36,000.
82 Biloxi (compiled and issued by the Chamber of Commerce, Biloxi, Mississippi, 1929), pamphlet, 2–10, MDAH.
83 “Know Mississippi Better,” Subject File, MDAH.
84 History of the Garden Club, Collection Description, Natchez Garden Club Records, MDAH; “Editorially Speaking” and “How the Pilgrimage Came About,” Natchez Club Affairs (March 1935), Natchez Pilgrimages Subject File, 1931–50, MDAH; “Natchez Hopes to Attract 50,000 during Pilgrimages,” ca. 1938, Natchez Pilgrimages Subject File, 1931–50, MDAH.
85 “Natchez Pilgrimage Week,” typescript, Natchez Pilgrimages Subject File, MDAH; Davis, “Struggle for Public History” (for the Natchez Pilgrimage, see pp. 52–55).
86 “Pilgrims Travel to Mississippi to View Deep South of Yesterday,” Motor News, Natchez Pilgrimages Subject File, MDAH.
87 “Mississippi: America’s Gateway to the Gulf,” Advertising Proof, MAC-MDAH.
88 Booklet, “Mississippi,” 1937–38, MAC-MDAH.
89 Ibid.
90 “DownSouth Travel Plan for Mississippi,” 1940–41, MAC-MDAH.
91 Photograph Collection, 1940, ibid.
92 The Mississippi Advertising Commission sent out a survey to other states in 1940 in order to ascertain the amount of advertising that southern states spent and how much they benefited from tourism. Those states that responded revealed that although their advertising budgets remained small (less than $20,000 per year) tourist dollars spent in southern states ranged from $36 million to over $100 million. Questionnaires & Surveys, MAC-MDAH.
1 “Pepsodent Won’t Hire Negro Typist; FEBC Is Needed,” Kansas City Plaindealer, April 26, 1946.
2 “The South,” NYT, May 9, 1954; see also “John Popham, 89, Dies; Journalist Was Known for Perceptive Coverage of the South,” NYT, December 14, 1999.
3 “The South,” NYT, May 9, 1954; John Popham, “Desegregation: Two Years after the Ruling,” NYT, May 13, 1956.
4 “Video Show Deplored,” NYT, September 21, 1951.
5 “GI’s in Korea Denounce ‘Amos ’n’ Andy’ Show,” Negro Star, September 14, 1951.
6 Kellner, Television and the Crisis of Democracy, 120.
7 Graham, Framing the South, 101, 158.