Breaking The Code To The Catcher In The Rye discussion

She said, "Keep your hands to yourself, if you don't mind." She was still sore at me. But not as sore as she was before. Anyway, we kept getting closer and closer to the carrousel and you could start to hear that nutty music it always plays. It was playing "Oh, Marie!" It played that same song about fifty years ago when I (Salinger?) was a little kid. That's one nice thing about carrousels (stock market https://www.goodreads.com/topic/show/...), they always play the same songs. "

"Oh Marie"
http://www.youtube.com/watch?v=Cq4PuP...

Holden says that this was the same song that was playing fifty years ago. (Page 210). So this is the reason that I picked the Tony Paster version.

I think the reason for mentioning this song is the man Tony Pastor.

Tony Pastor (May 28, 1837 – August 26, 1908) was an American impresario, variety performer and theatre owner who became one of the founding forces behind American vaudeville in the mid-to-late nineteenth century. The strongest elements of his entertainments were an almost jingoistic brand of United States patriotism and a strong commitment to attracting a mixed-gender audience, the latter being something revolutionary in the male-oriented variety halls of the mid-century.

Tony Pastor was the "Father of Vaudeville". http://en.m.wikipedia.org/wiki/Tony_P...

Vaudeville was popular before WWI. When cinema started charging less per show Vaudeville couldn't compete.

Vaudeville was separate unrelated acts grouped together. http://en.m.wikipedia.org/wiki/Vaudev...

" Lured by greater salaries and less arduous working conditions, many performers and personalities, such as Al Jolson, W. C. Fields, Mae West, Buster Keaton, the Marx Brothers, Jimmy Durante, Bill "Bojangles" Robinson, Edgar Bergen, Fanny Brice, Burns and Allen, and Eddie Cantor, used the prominence gained in live variety performance to vault into the new medium of cinema. The shift of New York City's Palace Theatre, vaudeville's epicenter, to an exclusively cinema presentation on November 16, 1932 is often considered to have been the death knell of vaudeville.[12] "

http://en.m.wikipedia.org/wiki/Palace...
Cinema would usurp vaudeville acts.

" By 1932, the Palace moved to four shows a day and lowered its admission price. In November of that year, it was rebranded the "RKO Palace" and converted to a cinema. "