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For years I have been fascinated by how film noir unexpectedly coalesces with the musical. The inception of this book began twenty-nine years ago in 1985, when I saw Blues in the Night and the restoration of A Star Is Born. I began to explore the noir musical and to research a treasure trove of primary archival materials for this project, originally a paper, which grew into graduate research at the University of Southern California School of Cinematic Arts and the University of Texas at Austin. I am greatly indebted to many people over the course of this journey. I thank my editors and the staff at Johns Hopkins University Press for their efforts and support of this project. I appreciate the assistance of Matt McAdam, Michael Lonegro, Linda Forlifer, Mahinder Kingra, Helen Myers, Patricia Hanson, Steven Baker, Katy Meigs, Kelly Horvath, and Mary Lou Kenney. I am grateful to the archives and archival staff who assisted with the research for this project. Special thanks to Ned Comstock and the staff at the USC Cinematic Arts Library Special Collections, the USC Warner Bros. Archive, the Academy of Motion Picture Arts and Sciences Margaret Herrick Library and Center for Motion Picture Study, UCLA Young Research Arts Library Special Collections, UCLA Film and Television Archive, the Harry Ransom Humanities Research Center at the University of Texas, the New York Public Library for the Performing Arts Special Collections , the Library of Congress, the American Film Institute, the British Film Institute, Indiana University Lilly Library, the National Archives, and the Museum of Modern Art. I received support from the University of Texas at Austin, the University of Southern California, the University of California, the University of Leicester, and Rowan University to conduct research for this project. My work on this book was facilitated by a research sabbatical from Rowan University. I would like to thank many friends, colleagues, teachers, and my students for their encouragement and support over the years, especially Thomas Schatz, Brian Neve, Brian Taves, Richard B. Jewell, Drew Casper, Thomas Doherty, Nate Acknowledgments xii ac k now l e d g m e n t s Chinen, Clayton Koppes, Charles Maland, Robert Sklar, Robert Wise, Robert Relyea , Scott Curtis, Barbara Hall, Faye Thompson, Steve Hanson, Howard Prouty, Sam Gill, Noelle Carter, David Adler, Peter Lev, Kevin Hagopian, Peter Rollins, James Welsh, Felicia Campbell, Charles Ramirez Berg, Joseph Kruppa, Marsha Kinder, Michael Renov, Jon Wagner, David James, Todd Boyd, Rick Altman, Dudley Andrew, John Gizis, Mark Williams, Mary Desjardins, Leonard Leff, Dana Polan, Michael Anderegg, Cynthia Baron, Joseph Bierman, Richard Grupenhoff, Keith Brand, Nicholas Cull, Walter Metz, Diane Negra, Fred Metchick, Judith Bushnell, Martin Vego, Mary Beth Sandla, Githa Susan Srivatsa, Kelly Colla, Karah Ladd, Todd Takenaga, Tom Abbott, Mark Valente, and my family and grandparents. Music in the Shadows This page intentionally left blank ...

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