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NOTE: In the spring 2019 issue of the Mark Twain Journal, Part 1 of this study traced the efforts of the powerful film studio Metro-Goldwyn Mayer (MGM or Metro) to produce a musical version of Adventures of Huckleberry Finn from the early 1940s up to 1950. Under the guidance of MGM's leading musical producer, Arthur Freed, who hungered to create an authentic American folk opera, the studio commissioned treatments, scripts, and musical scores, while launching plans for designing costumes and sets and signing actors and other creative contributors. By the mid-1950, however, those efforts had come to nothing. None of the textual or musical material that had been written at great expense was ever used. Part 2 of the essay traces MGM's efforts to restart the production in 1951, continuing until as late as 1957. Never actually made, despite an enormous investment of time, talent, and money, the project is now almost forgotten. This two-part article is the first attempt to tell the whole story, parts of which must still remain mysteries. (93)

My mate Tommo says tickety-boo quite a lot. Everything is tickety-boo... just like an old Danny Kaye movie. What kind of guy says that? Tommo's kind, I suppose...

Most of the records I accessed came from the large collection of Welty's personal correspondence (Series 29a), the size and richness of which confirmed the wealth of primary materials at MDAH and their importance in the promotion and continuation of Welty studies. [...]my first week, which consisted of reading through approximately 15 boxes of letters (perhaps an efficient number for one week, but again, it was hardly a fraction of her lifetime's worth of letters), I realized that the archives would require many future visits in order to gain a more comprehensive understanding of Welty's correspondence. [...]for my first few days, I combed through Welty's correspondence both to intimate friends and literary/cinematic celebrities, including letters to Frank Lyell, John Robinson, crime writer Ross Macdonald (aka Kenneth Millar), and actor Danny Kaye; in particular, I moved through boxes 127-139 in Series 129a, which spanned the 1940s to the 1970s, Welty's main years of publication and artistic achievement.

Marcus discusses the vital role of fundraising for American music institutions, despite the enormous importance such activities have had for the financial well-being of the arts in America. He considers the efforts of Jack Benny and Danny Kaye as deserving for an attention, not only in terms of what they represented in postwar American musical culture. Moreover, he proposes that the seriousness of Benny and Kaye in their comedy not only keep symphony orchestras financially viable in the long term but to make classical music accessible to audiences across age and class lines. Among other things, he explores the notion of \"popularization,\" which has been the subject of several interdisciplinary studies, notably by cultural historian Lawrence Levine and musicologist Joseph Horrowitz.