“If 1,000 years from now, archaeologists happen to dig beneath the sands of Guadalupe, I hope they will not rush into print with the amazing news that Egyptian civilization, far from being confined to the valley of the Nile, extended all the way to the Pacific coast of North America.” ~”The Autobiography of Cecil B. DeMille,” 1959
So why did DeMille choose to bulldoze his set, rather than truck it back to Los Angeles?
“I think there were two things were going on,” Brosnan said, starting with DeMille’s pledge to leave the site as he’d found it. “Hauling away all that statuary would have been very expensive … so I think he pulled a fast one and buried it.”
In addition, he said, “(DeMille) knew that if he left it standing … the very next day somebody would be there filming a quickie on his set and they’d be on the streets with it in a few weeks. He was protecting his patent by taking it down.”
California Historical Society: Stills from “The Ten Commandments” 1923
Lost City of DeMille is a 1923 Film Set Buried in the Dunes
Cecil B. Demille’s biography
In 1900 Max began to work as an errand boy at the Brooklyn Daily Eagle. By 1904 he was a staff artist. In 1905 he married his childhood sweetheart, Essie Gold; they had two children. After he left the Eagle, Max briefly did artwork for two companies and then became art editor of Popular Science Monthly in 1914. There his childhood interest in mechanical matters was reignited.
In fact, it was a mechanical problem that pulled Max Fleischer into the field of animation. Early animation was frequently very choppy. Max theorized that if live-action footage were traced, frame by frame, fluid motion could be achieved. He enlisted the help of his brothers Dave and Joe, and the three developed the Rotoscope, a camera mounted under a piece of frosted glass with a crank to advance the film, so each frame could be traced.
It took the brothers a week to build the Rotoscope, but it was a full year before they finished their first cartoon. Dave donned a clown suit, and Max and Joe filmed him. Then they traced the clown on the Rotoscope. Work on the cartoon was completed in 1916, and a patent for the Rotoscope came through a year later.
The Fleischers put popular, modern music at the center of many of their films, building entire cartoons around jazz legends such as Cab Calloway, Louis Armstrong and Don Redman. These cartoons often featured the Fleischers’ signature combination of live action and animation; in fact the earliest known footage of Cab Calloway in performance can be seen in the Fleischer classic Minnie the Moocher.
In 1929 the Studio made a major agreement with Paramount that would allow Paramount to distribute all Fleischer films. That same year the Studio changed its name to ‘Fleischer Studios.’
OUT OF THE INKWELL compilation~ https://www.youtube.com/watch?v=ERprYNMQPhM
Max Fleischer NEWS SKETCHES compilation~ https://archive.org/details/max_fleischer_news_sketches
Lambiek Comiclopedia~ https://www.lambiek.net/artists/f/fleischer_max.htm
Since it was first published in 1947, Anne Frank’s diary has become one of the most powerful memoirs of the Holocaust. Its message of courage and hope in the face of adversity has reached millions. The diary has been translated into 67 languages with over 30 million copies sold. Anne Frank’s story is especially meaningful to young people today. For many she is their first, if not their only exposure to the history of the Holocaust.
© Anne Frank Haus / Anne Frank Fonds
Anne Frank and Her Family~ http://www.holocaustresearchproject.org/nazioccupation/annefrank.html
The Secret Annex Online~ http://www.annefrank.org/en/Subsites/Home/Enter-the-3D-house/#/house/20/help/
“The Hot Mikado,” starring Bill “Bojangles” Robinson, was a big Broadway hit. It was noted for its wild costuming and all black cast. It ran at the Broadhurst Theater, in Manhattan, from March 23 to June 3, 1939.
Producer Mike Todd announced he was moving the show to the New York World’s Fair. The show became one of the biggest hits at the fair and opened at the Hall of Music on June 22, 1939.
Silent movie film footage of the Michael Todd production at the New York World’s Fair 1939-1940:
Erskine Hawkins Orchestra – Two Selections from “Hot Mikado”~
The New York Public Library Digital Collections: “Hot Mikado”~
Ovrtur database for “Hot Mikado”~ http://www.ovrtur.com/production/2880750#pagetop
Bill “Bojangles” Robinson~ http://atdf.org/awards/bojangles.html