Rhapsody in Blue stands as an iconic piece of American music with riveting orchestration, and a cultural footprint that reflects the modernity of the early 20th century. Beyond its artistic merits, the composition has provided numerous cultural touchstones, including its usage as the theme for United Airlines commercials, score backing for films such as “Fantasia 2000,” and countless memorable recorded performances, including a personal favorite by Leonard Bernstein. Among these recordings is a significant one performed by George Gershwin himself at the piano, with accompaniment by the Paul Whiteman Orchestra.
Recorded on June 10, 1924, and released that October, this version is not just historic for its timing, produced shortly after the piece’s premiere in February of the same year, but also for its details. While today’s audiences might not find it unusual, the phenomenon of a composer or musical artist performing their own work is rare in the history of human experience. Until the late 19th Century, the only way to experience music was in a live setting. By 1924, it had become more and more commonplace to experience music through commercially available recordings. When listening to the 1924 recording by Gershwin, listeners today have a direct auditory link to the piece’s 1924 inception. This is in stark contrast to classical pieces by composers like Mozart, Beethoven, and Bach, who never had the opportunity to record their works. Our understanding of these compositions is shaped by interpretations that are decades or centuries removed from their original creation. Yet, Gershwin’s personal interpretation of his composition offers a unique connection to the moment of its creation, allowing us to hear the piano played with the intensity Gershwin intended. It invokes a feeling of closeness to a time long removed from the current moment.
The accessibility of Gershwin’s 1924 recording is enhanced by its passage into the public domain. Such accessibility enriches our cultural heritage and allows for a deeper understanding of the moment in which it was produced. It is not some far-off German or French musical masterpiece, but a living document in which we can hear the direct influence of the composer. This direct access to Gershwin’s performance is an invaluable resource, providing a rare auditory bridge to the past. So, the next time you listen to “Rhapsody in Blue,” consider choosing the 1924 version performed by Gershwin. Imagine the uniqueness of that experience and the profound connection to history it offers, replicating the original sound and transporting us to the moment of a bygone era.
Lights, camera, preservation! On a star-studded evening at the Internet Archive, we rolled out the red carpet to honor the creative works from 1929 and the sound recordings from 1924 that entered the public domain in 2025. And what better way to celebrate than with a glamorous, Oscar-inspired soirée?
Guests arrived in true 1920s fashion, riding in a vintage convertible before stepping onto the red carpet, where they were met by the spirited Raining Chainsaws street theater troupe, who transformed into a fleet of eager, old-time paparazzi—flashing cameras, barking questions, and adding a touch of whimsy and Hollywood magic to the night.
📸 Check out photos from the red carpet!
Inside the Internet Archive, attendees sipped on French 75s and Old-Fashioneds, classic cocktails that transported us back to the final, glittering moments of the Roaring Twenties. The theme of the night? 1929—the year of the very first Academy Awards—and we honored this cinematic milestone with an evening of film, history, and remixing of the past.
🎞 Lecture by George Evelyn on Disney’s The Skeleton Dance Animation historian George Evelyn enlightened the audience with a viewing of The Skeleton Dance, the first of Disney’s Silly Symphonies. With its pioneering use of synchronized sound and animation, the 1929 short was a perfect reminder of how creativity from the past continues to shape the present.
🎬 Public Domain Film Remix Contest Screening What happens when today’s creators remix yesterday’s masterpieces? Our Public Domain Film Remix Contest showcased the most inventive reinterpretations of public domain classics, where old Hollywood met modern storytelling in unexpected and thrilling ways. View all the winners, honorable mentions and submissions from this year’s contest.
👀 Watch the livestream of the night’s festivities
As the evening came to a close, guests toasted to the future of open culture, celebrating the power of preservation, creativity, and the public domain. Thank you to everyone who joined us for this dazzling night of history, cinema, and community!
We’re thrilled to unveil the creativity of our top three winners and three honorable mentions in this year’s Public Domain Day Film Remix Contest. These remarkable films not only reimagined and transformed public domain works but also demonstrated the boundless potential of remixing creative works to create something new.
Watch the winning entries & honorable mentions below. Renowned film archivist Rick Prelinger returned to lead the jury, comprised of film professionals and enthusiasts including Simone Elias, Lara Gabrielle, BZ Petroff, and Theo Unkrich, offering insightful commentary on each selection and its standout qualities.
From Rick: The jury was deeply impressed by Queline Meadows’s inspired mix of movies, images, music and text woven into a subtle and emotionally affecting video expressing a strong sense of nostalgia and the irretrievable passage of time.
Second Place: “The Archive Boogie” by Samantha Close
1929 was a great year for the movies! Filmmaker Samantha Close expresses both the breadth of 1929’s production and the eternal bounty of the public domain, using images from 1929’s films and public domain images from elsewhere and elsewhen.
Meyer’s crowdpleasing film features the daring, dazzling “It Girl,” Clara Bow, who lights up the screen in more ways than one in this Sapphic love story.
Honorable Mention – History: “Moving Pictures Aren’t What They Used to Be” by Jeremy Floyd
Jeremy Floyd’s enjoyable piece pays tribute to an uninhibited period of filmmaking — Hollywood before the passage of the restrictive Production Code, when movies were filled with roguish suggestion and undisguised violence.
Honorable Mention – Home Movies: “Hoffman’s Honeymoon” by William Webb
Of all film genres, home movies are the most numerous yet the least seen and known. Webb’s engaging video brings them into the foreground, adding voices from dramatic films in the public domain, to build a goofy but endearing narrative.
Honorable Mention – Live Action: “The Wayback Machine” by DIEGO DIAZ & CAN SARK
Diaz and Sark’s film is an audacious and yes, dopey exploration of the essential greatness of Internet Archive and the dread near-infinity of copyright.
On January 22, hundreds of people from all over the world gathered together for Singin’ in the Public Domain, a virtual celebration of the works that moved into the public domain in 2025. The event was co-hosted by Internet Archive and Library Futures.
Watch:
Speakers include (in order of appearance):
Natalia Paruz (The Saw Lady), musician
Lila Bailey, Internet Archive
Jennie Rose Halperin, Internet Archive
Sean Dudley, Internet Archive
Jennifer Jenkins, Center for the Study of the Public Domain
Vivian Li, Innovator in Residence, Library of Congress
Tim Findlen (Roochie Toochie and the Ragtime Shepherd Kings), musician
Kathleen DeLaurenti, Peabody Institute of the Johns Hopkins University’s Arthur Friedheim Music Library
Colin Hancock (The Joymakers), musician
Ayun Halliday, Necromancers of the Public Domain
Simon Close, WYNC & Public Song Project
Dorothy Berry, Smithsonian National Museum of African American History and Culture
One of the most enduring pieces of music from the 1920s has just now entered the public domain (Duke Law). Watch as Internet Archive’s Sean Dudley, a researcher specializing in the public domain, highlights the song’s iconic origins. Access the original sheet music from 1929 on Archive!
Transcript
Hi, my name is Sean.
I’m a researcher at the Internet Archive.
One of my favorite pieces of music is Singin’ in the Rain.
Of course, I know it best from the 1952 film, but it’s actually from a 1929 film that just entered public domain called The Hollywood Review.
The songs featured a couple of times, being sung by Cliff Edwards, who would later go on to be Jiminy Cricket, and then later on by this giant chorus of stars who are from the silent era and the early talky era, all singing in raincoats in two-strip Technicolor, so some really early color in film.
Now when we think about Singing of the Rain, we think about how many half-lives it’s already had under copyright.
The 1952 film, it’s reuse later on in A Clockwork Orange, and so many countless other moments.
So now that it’s in the public domain and it belongs to all of us, we can remix Singing in the Rain however we want.
Lights, camera, action! It’s time to roll out the red carpet and celebrate Public Domain Day, Oscar-style!
On Wednesday, we’re honoring all the legendary works that have entered the public domain in 2025. And what better way to do it than with a glamorous, Hollywood-inspired twist?
Public Domain Day Celebration at the Internet Archive ⏰ 6pm – 10pm 📍 Internet Archive, 300 Funston Avenue, San Francisco 🎟️ $15 – REGISTER NOW. No one will be turned away for lack of funds.
This year, we’re honoring 1929 — the year of the very first Academy Awards, held at the historic Roosevelt Hotel in Hollywood, CA. So put on your finest attire and get ready for an Oscar Award winning evening.
Sip on a classic French 75 or an Old-Fashioned as we savor the final moments of the Roaring Twenties.
Lecture by George Evelyn on Disney’s Silly Symphonies – “The Skeleton Dance” Join us for an insightful lecture by Animation Director George Evelyn as he explores Disney’s groundbreaking 1929 short, The Skeleton Dance, the first installment of the iconic Silly Symphonies series. Discover how this eerie, yet charming animation set the stage for the whimsical, music-driven cartoons we know and love today!
Screening of Our Film Mash-Up Winners Stick around for the Film Mash-Up competition winners, showcasing creative, mind-blowing reinterpretations of classic public domain works. From quirky edits to unique remixes, you won’t want to miss these inventive new takes on timeless films!
Don’t miss this dazzling night of history, cinema, and celebration!
If you’re unable to attend in person, we will also be hosting a virtual celebration on January 22nd at 10am PT.
Public Domain Day Celebration at the Internet Archive ⏰ 6pm – 10pm 📍 Internet Archive, 300 Funston Avenue, San Francisco 🎟️ $15 – REGISTER NOW. No one will be turned away for lack of funds.
Over the last few years we have seen many new characters enter the public domain including Winnie-the-Pooh in 2022, Mickey Mouse in 2024, and now, Popeye in 2025! The character emerged from a comic strip called Thimble Theater, which was started in 1919 and originally centered around the characters Ham Gravy and Olive Oyl. Popeye made his first appearance in the series as a minor player in early 1929, and as his popularity grew, he later became the central focus of the comic.
Let’s take a look at who Popeye was as a character in 1929:
In his very first appearance, Popeye shows off his thorny side by retorting Castor Oyl’s question with a sly remark about being a cowboy. The strip also shows him in a traditional all white sailor get-up that does not reflect his later appearance.
Popeye throws his first ever punch. This time against Ham Gravy, one of the main characters of the strip at this point. The title, “That Sailor’s No Gentleman”, is indicative of Popeye’s rough and tough demeanor that would come to define the character.
After being shot repeatedly nearly a month earlier, in May 1929, Popeye reemerges full of bullet holes to knock down a foe. His displays of super strength do not originate from spinach, but possibly from rubbing the head of the Whiffle Hen (as seen on May 16, 1929).
Olive Oyl displays her first inclinations of romantic interest toward Popeye stating she would like to give him a kiss. The two do not become romantically involved in 1929, but the seeds were planted early.
This strip sees Popeye leave until August. However, his departure is not even the main appeal of the strip as it instead focuses on Olive Oyl’s purchase of new clothing. This focus and Popeye’s long absence, he is gone for all of July, thus implies that he was not meant to be a long lasting character, but only around temporarily.
Following over a month-long absence, Popeye returns to help Castor Oyl determine if Olive’s new boyfriend is only there for her money. His return indicates his overwhelming popularity with the public that was soon to transpire into his status as unchallenged main character of the strip. The title of this strip too foreshadows this shift being titled: Popeye’s The Man.
Olive Oyl displays her first show of affection to Popeye with a kiss. Though this was a mistake as she believed Popeye to be someone else. Despite this, it is yet another early indicator of their soon to be romance.
Popeye and Castor Oyl set off to locate Castor’s newly purchased brass mine. Their duo pairing indicates Popeye’s increased status and stature within the strip as Castor was the undeniable main character of the strip up to this point. Popeye’s appearance here again followed a brief absence from the strip dating back to September 30, 1929.
Popeye and Castor discover that where the brass mine ought to be is instead a farmer. Popeye implores Castor to allow the farmer to stay on the land, thus showing off his tender heart. Notably this strip takes place just two days before Black Thursday, the start of the Wall Street crash of 1929.
This strip shows off a bit more of Popeye’s peculiar dialect and his penchant for curving authority. In the strip he asserts that he is only going to jail because Castor has implored him to.
The title of the panel, “That Jailer’s No Postage Stamp”, also appears to be a humorous play on odd dialects installing postage stamp in lieu of “sap”. In 1920s slang, sap referred to a foolish or gullible person. The title’s swapping of the two terms is reflective of Popeye’s own tendency to swap out words with similar meaning as a postage stamp and sap are both sticky.
Another display of Popeye’s superhuman strength as he rips the bars off the jail cell.
Throughout 1929, Popeye not only showcased his superhuman strength and distinctive wardrobe but also his unique dialect and a characteristic phrase, “blow me down.” These foundational elements of his character, present from his very inception, have now entered the public domain. As we continue to engage with and reinterpret Popeye in modern contexts, there are some complexities.
Jennifer Jenkins, director of Duke Law’s Center for the Study of the Public Domain, explains the following in regards to character copyrights in a post from 2025:
“First, under US copyright law, anyone is free to use characters as they appeared in public domain works. If those characters recur in later works that are still under copyright, the rights only extend to the newly added material in those works, not the underlying material from the public domain works—that content remains freely available.
Second, with newer versions of characters, copyright only extends to their features that qualify for protection. It is not enough for the new material to be different. The features must be “original, creative expression,” meaning that they were independently created (as opposed to copied from somewhere else) and possess at least a modicum of creativity. Mere “ideas” such as generic character traits are not copyrightable. Nor are “merely trivial” or “minuscule” variations added to the original characters. In addition, using commonplace elements that have become standard or indispensable (copyright law calls these “scènes à faire”) is not infringement.”
As beloved characters enter the public domain, modern creators can give them a new gloss, recontextualizing them for a new audience. One memorable example is a 2023 horror movie starring a much darker vision of Winnie the Pooh: “Blood and Honey.” We look forward to seeing what modern reinterpretations of Popeye arise, now that his fundamental character traits belong to everyone as part of the public domain.
Disney’s classic animated short, “The Skeleton Dance,” is now in the public domain (Duke Law). Why is that such a big deal? Watch as Internet Archive’s Sean Dudley, a researcher specializing in the public domain, takes viewers on a tour of what makes “The Skeleton Dance” special, and why the film being open to remix and reuse is important for creators.
Hi, my name is Sean, and I’m a researcher with the Internet Archive. One of the most iconic pieces to become public domain this year was 1929’s “The Skeleton Dance.”
This Disney short is revolutionary.
Its synchronization of music and animation still holds up. Primarily animated by Ub Iwerks, the short feature skeletons turning into Lovecraftian monsters and getting down to some really cool beats.
This was in no small part thanks to Carl Stalling, who would later become famous for doing a lot of Looney Tunes music. And really being accented by the “Mickey Mouseing” effect of timing the animation to the music.
The beauty of this short is that it’s already building on the public domain with the music that it’s utilizing and taking inspiration from previous artists like Thomas Rowlandson for the skeleton designs.
And now because it’s public domain, you are able to remix, reuse, or do whatever you want with it. Because it’s ours. It belongs to all of us.
Image credit: Montage of materials moving into the public domain in 2025. Duke Law Center for the Study of the Public Domain.
Celebrate the public domain with the Internet Archive in the following ways:
Register for our Public Domain Day celebrations on January 22 – both virtual and in-person.
Submit a short film to our Public Domain Film Remix contest.
Explore the works that have entered the public domain in 2025, below.
On January 1, 2025, we celebrate published works from 1929 and published sound recordings from 1924 entering the public domain! The passage of these works into the public domain celebrates our shared cultural heritage. The ability to breathe new life into long forgotten works, remix the most popular and enduring works of the time, and to better circulate the oddities we find in thrift stores, attics, and on random pockets of the internet are now freely available for us all.
While not at the same blockbuster level as 2024 with Steamboat Willie’s passage into the public domain, works from 1929 still inhabit strong cultural significance today. The works of 1929 continue to capture the Lost Generation’s voice, the rise of sound film, and the emerging modern moment of the 1920s.
Musical Compositions
Show tunes and Jazz dominated the year with many standards that we remember today first being published. While best known for the 1952 film of the same name, Singin’ in the Rain was first published in 1929 and serves as the inspiration for our remix contest this year. George Gershwin also officially published (and copyrighted) his suite An American in Paris following a premiere in late 1928.
Below is sheet music for some popular compositions of the time.
While not a towering work of literature, the first set of comic strips featuring Popeye also are joining the public domain. Popeye first made an appearance in Thimble Theatre on January 17, 1929. Initially just a side character for an adventure arc featuring gambling and sailing, Popeye rose quickly to fame. By February 4, 1931 the Thimble Theatre would feature a subtitle, Starring Popeye, before being renamed just Popeye later on.
Below is a further selection of works from the year:
Dive into Archive’s literary collection to unearth more classics from 1929.
Films
Last year Mickey Mouse made a splash with Steamboat Willie cruising into the public domain. This year TWELVEmore Mickey shorts join to flesh out the notable events of Mickey’s young career. He speaks his first words in The Karnival Kid, he wears gloves for the first time in The Opry House, and Ub Iwerks leaves the studio at year’s end with Wild Waves. Disney animation also kickstarted their Silly Symphonies series with the haunting tales The Skeleton Dance and Hell’s Bells.
In 1929, if your film wanted to have any attention it needed sound. Musical films were everywhere with The Broadway Melodywinning the second ever Best Picture award at the Oscars, The Hollywood Revue introducing the world to “Singin’ in the Rain”, and the Marx Brothers making their big screen debut with The Cocoanuts.
Below is a list of more significant films from the year:
Our film remix contest is ongoing until January 17, 2025, so please upload your submissions! Read more here.
Additional resources
Learn more about what’s moving into the public domain in 2025 from Jennifer Jenkins and James Boyle of Duke Law’s Center for the Study of the Public Domain.
On January 1, 2025, creative works from 1929 and sound recordings from 1924 will enter the public domain in the US.
1929 marked the last gasp of the roaring 20s and ushered in the Great Depression, a major economic crisis that would span the next 12 years. One thing we can see nearly a century later is that, in good times and bad, human creativity, knowledge, and culture persist. That year, Virginia Woolfe published her groundbreaking essay, “A Room of One’s Own,” advocating for female freedom of expression. The Museum of Modern Art (MoMA) opened in New York City, featuring the works of Van Gough, Cezanne, and Gauguin. Major movie studios put out not one, but two musicals starring all Black casts: “Halleluja” and “Hearts of Dixie.” Disney continued the Mickey Mouse trend with a dozen new animated shorts. And of course famous songs like “Puttin’ on the Ritz” and “Singin’ in the Rain” topped the charts.
Celebrate the public domain with us:
1. Creators: Enter the Public Domain Film Remix Contest
We invite filmmakers and artists of all skill levels to celebrate the public domain by creating and uploading 2–3 minute short films to the Internet Archive! Top entries will be awarded prizes up to $1,500. Contest details.
2. Virtual Celebration: January 22nd @ 10am PT
Join us on January 22 to get “that glorious feeling” of singin’ in the public domain! We’ll have an amazing virtual lineup of academics, librarians, musicians, artists and advocates coming together to celebrate this new class of works being free for everyone to enjoy. Register now!
3. In-Person Celebration: January 22nd @ 6pm PT
Please join us at our headquarters in San Francisco for a Celebration of the Public Domain! This year, we’re honoring 1929 — the year of the very first Academy Awards, held at the historic Roosevelt Hotel in Hollywood, CA. Put on your finest attire and get ready for an award-worthy evening. Register now!
4. Explore the public domain
Check out our recent post for links to the newly opened public domain resources at the Internet Archive.
Additional resources
Learn more about what’s moving into the public domain in 2025 from Jennifer Jenkins and James Boyle of Duke Law’s Center for the Study of the Public Domain.
