The Golden Age of Radio , also known as the old-time radio ( OTR ) era, was an era of radio in the United States where it was the dominant electronic home entertainment medium . It began with the birth of commercial radio broadcasting in the early 1920s and lasted through the 1950s, when television gradually superseded radio as the medium of choice for scripted programming, variety and dramatic shows.
143-396: The Kraft Music Hall was a popular old-time radio variety program , featuring top show business entertainers, which aired first on NBC radio from 1933 to 1949. The Kraft Program debuted June 26, 1933, as a musical-variety program featuring orchestra leader Paul Whiteman and served to supplement print advertising and in-store displays promoting Kraft products. During its first year
286-402: A Newsweek interview. "I remember 'The Jazz Singer,' when Al Jolson just burst into song, and there was a little bit of dialogue. And when he came out with 'Mammy,' and went down on his knees to his Mammy, it was just dynamite." This opinion is shared by Mast and Kawin: this moment of informal patter at the piano is the most exciting and vital part of the entire movie ... when Jolson acquires
429-548: A mass hysteria from the (entirely fictional) radio presentation of The War of the Worlds , which had been presented as a faux newscast. The sponsored musical feature soon became one of the most popular program formats. Most early radio sponsorship came in the form of selling the naming rights to the program, as evidenced by such programs as The A&P Gypsies , Champion Spark Plug Hour , The Clicquot Club Eskimos , and King Biscuit Time ; commercials, as they are known in
572-483: A radio network 's studios, or at the facilities of a network-owned or affiliated station, which might have four or more lathes. A small local station often had none. Two lathes were required to capture a program longer than 15 minutes without losing parts of it while discs were flipped over or changed, along with a trained technician to operate them and monitor the recording while it was being made. However, some surviving recordings were produced by local stations. When
715-400: A "hill and dale" vertically modulated groove, rather than the "lateral" side-to-side modulation found on the records being made for home use at that time. The large slow-speed discs could easily contain fifteen minutes on each side, allowing an hour-long program to be recorded on only two discs. The lacquer was softer than shellac or vinyl and wore more rapidly, allowing only a few playbacks with
858-579: A 1942 interview in The New York Times : "When the war started ... [I] felt that it was up to me to do something, and the only thing I know is show business. I went around during the last war and I saw that the boys needed something besides chow and drills. I knew the same was true today, so I told the people in Washington that I would go anywhere and do an act for the Army." Shortly after the war began, he wrote
1001-405: A 39-second spot extolling the virtues of Kraft Dinner – “Well, I can tell you of macaroni and cheese that helps you three ways. Saves cooking time, saves shopping time, saves ration points.” Crosby was the longest-running Kraft Music Hall host, from 1936 through 1946. His casual style and humorous easy-going banter made the show tops with the young "country club" set. The average listener
1144-435: A Brooklyn theater in 1904, Jolson began performing in blackface , which boosted his career. He began wearing blackface in all of his shows. In late 1905, Harry left the trio after an argument with Jolson. Harry had refused his request to take care of Joe Palmer, who was in a wheelchair. After Harry's departure, Jolson and Palmer worked as a duo but were not particularly successful. By 1906 they agreed to separate, and Jolson
1287-500: A New Orleans hotel to an audience of 35 million via 47 radio stations. His own 1930s shows included Presenting Al Jolson (1932) and Shell Chateau (1935), and he was the host of the Kraft Music Hall from 1947 to 1949, with Oscar Levant as a sardonic, piano-playing sidekick. Jolson's 1940s career revival was nothing short of a success despite the competition of younger performers such as Bing Crosby and Frank Sinatra , and he
1430-487: A comedy sequence with Jolson doggedly trying to sing "Mammy" while The Yacht Club Boys keep telling him such songs are outdated. According to jazz historian Michael Alexander, Jolson had once griped that "People have been making fun of Mammy songs, and I don't really think that it's right that they should, for after all, Mammy songs are the fundamental songs of our country." (He said this, in character, in his 1926 short A Plantation Act .) In this film, he notes, "Jolson had
1573-410: A daytime serial drama by scholars of the genre is Painted Dreams , which premiered on WGN on October 20, 1930. The first networked daytime serial is Clara, Lu, 'n Em , which started in a daytime time slot on February 15, 1932. As daytime serials became popular in the early 1930s, they became known as soap operas because many were sponsored by soap products and detergents. On November 25, 1960,
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#17328443059511716-402: A good wire recording was comparable to acetate discs and by comparison the wire was practically indestructible, but it was soon rendered obsolete by the more manageable and easily edited medium of magnetic tape. Al Jolson Al Jolson (born Asa Yoelson , Yiddish : אַסאַ יואלסאָן ; May 26, 1886 – October 23, 1950) was a Lithuanian-born American singer, actor, and vaudevillian . He
1859-485: A group headed by RCA , which used the assets to form the National Broadcasting Company . Four radio networks had formed by 1934. These were: In the period before and after the advent of the broadcast network, new forms of entertainment needed to be created to fill the time of a station's broadcast day. Many of the formats born in this era continued into the television and digital eras. In the beginning of
2002-455: A guest, had his own program in 1934.) The New York Philharmonic also had weekly concerts on radio. There was no dedicated classical music radio station like NPR at that time, so classical music programs had to share the network they were broadcast on with more popular ones, much as in the days of television before the creation of NET and PBS . Country music also enjoyed popularity. National Barn Dance , begun on Chicago's WLS in 1924,
2145-416: A high-quality radio's audio output was recorded directly, rather than by holding a microphone up to its speaker, the recorded sound quality was very good. However, because the wire cost money and, like magnetic tape , could be repeatedly re-used to make new recordings, only a few complete broadcasts appear to have survived on this medium. In fact, there was little home recording of complete radio programs until
2288-468: A letter to Steven Early, press secretary to President Franklin D. Roosevelt , volunteering "to head a committee for the entertainment of soldiers and said that he "would work without pay ... [and] would gladly assist in the organization to be set up for this purpose". A few weeks later, he received his first tour schedule from the newly formed United Services Organization (USO), "the group his letter to Early had helped create". He did as many as four shows
2431-460: A major assault when NBC carried The Goon Show in the mid-1950s. Some shows originated as stage productions: Clifford Goldsmith's play What a Life was reworked into NBC's popular, long-running The Aldrich Family (1939–1953) with the familiar catchphrases "Henry! Henry Aldrich!," followed by Henry's answer, "Coming, Mother!" Moss Hart and George S. Kaufman's Pulitzer Prize-winning Broadway hit, You Can't Take It with You (1936), became
2574-491: A matter of endless study, observation, energetic concentration to obtain, perfectly if possible, a simulation of the kind of man he was. It is not surprising, therefore, that while making The Jolson Story , I spent 107 days before the cameras and lost eighteen pounds in weight." From a review in Variety : But the real star of the production is that Jolson voice and that Jolson medley (curiously, even astoundingly uncredited) . It
2717-447: A medium as intimate as television. He finally relented in 1950, when it was announced that Jolson had signed an agreement to appear on the CBS television network, presumably in a series of specials. However, he died suddenly before production began. Japanese bombs on Pearl Harbor shook Jolson out of continuing moods of lethargy due to years of little activity and "... he dedicated himself to
2860-475: A new mission in life.... Even before the U.S.O. began to set up a formal program overseas, Jolson was deluging War and Navy Department brass with phone calls and wires. He requested permission to go anywhere in the world where there was an American serviceman who wouldn't mind listening to 'Sonny Boy' or 'Mammy'.... [and] early in 1942, Jolson became the first star to perform at a GI base in World War II". From
3003-521: A new young comedian named Richard Pryor , and singer Jimmy Boyd . In 1969, Sandler and Young hosted the Summer Season for 13 weeks with a who’s who of guest entertainers, including Ella Fitzgerald , Sid Caesar , Vincent Price , Lena Horne , Judy Carne , Victor Borge , Carol Lawrence , Cyd Charisse , Barbara Feldon , Norman Wisdom , Terry Thomas , Frank Gorshin , Nancy Sinatra , Kaye Ballard , Dave King , and others Please find info about
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#17328443059513146-498: A pipe and a funnel), coining the term which was later used by soldiers referring to the 2.75-inch recoilless rifle anti-tank weapon, the bazooka . Crosby left Kraft Music Hall in 1946 and began hosting his own series, Philco Radio Time ; Crosby would continue hosting his own network radio programs until 1962. Kraft Music Hall went through a handful of short-lived hosts. Edward Everett Horton , Eddie Foy and Frank Morgan all hosted from 1945 through 1947. Nelson Eddy took over
3289-476: A radio. The triode and regenerative circuit made amplified, vacuum tube radios widely available to consumers by the second half of the 1920s. The advantage was obvious: several people at once in a home could now easily listen to their radio at the same time. In 1930, 40% of the nation's households owned a radio, a figure that was much higher in suburban and large metropolitan areas. The superheterodyne receiver and other inventions refined radios even further in
3432-514: A sense that something remarkable was happening. Jolson's "Wait a minute" line provoked shouts of pleasure and applause from the audience, who were dumbfounded by seeing and hearing someone speak on a film for the first time, so much so that the double-entendre was missed at first. After each Jolson song, the audience applauded. Excitement mounted as the film progressed, and when Jolson began his scene with Eugenie Besserer , "the audience became hysterical". According to film historian Scott Eyman , "by
3575-875: A series of one-hour adaptations of Shakespeare plays, many of which Barrymore never appeared in either on stage or in films, such as Twelfth Night (in which he played both Malvolio and Sir Toby Belch ), and Macbeth . Lux Radio Theatre and The Screen Guild Theater presented adaptations of Hollywood movies, performed before a live audience, usually with cast members from the original films. Suspense , Escape , The Mysterious Traveler and Inner Sanctum Mystery were popular thriller anthology series. Leading writers who created original material for radio included Norman Corwin , Carlton E. Morse , David Goodis , Archibald MacLeish , Arthur Miller , Arch Oboler , Wyllis Cooper , Rod Serling , Jay Bennett , and Irwin Shaw . Game shows saw their beginnings in radio. One of
3718-447: A service designed to sell radio receivers. In early 1922, American Telephone & Telegraph Company (AT&T) announced the beginning of advertisement-supported broadcasting on its owned stations, and plans for the development of the first radio network using its telephone lines to transmit the content. In July 1926, AT&T abruptly decided to exit the broadcasting field, and signed an agreement to sell its entire network operations to
3861-486: A sponsor's product. These items were offered on adventure shows. Young listeners had to mail in a boxtop from a breakfast cereal or other proof of purchase . Radio plays were presented on such programs as 26 by Corwin , NBC Short Story , Arch Oboler's Plays , Quiet, Please , and CBS Radio Workshop . Orson Welles 's The Mercury Theatre on the Air and The Campbell Playhouse were considered by many critics to be
4004-459: A substantial number of copies of an electrical transcription were required, as for the distribution of a syndicated program, they were produced by the same process used to make ordinary records. A master recording was cut, then electroplated to produce a stamper from which pressings in vinyl (or, in the case of transcription discs pressed before about 1935, shellac) were molded in a record press. The Armed Forces Radio Service (AFRS) had its origins in
4147-479: A vaudeville performer known as Harry Yoelson. The brothers worked for the William Morris Agency . Jolson and Harry formed a team with Joe Palmer. During their time with Palmer, they were able to gain bookings in a nationwide tour. However, live performances were falling in popularity as nickelodeons attracted audiences; by 1908, nickelodeon theaters were dominant throughout New York City. While performing in
4290-412: A voice, the warmth, the excitement, the vibrations of it, the way its rambling spontaneity lays bare the imagination of the mind that is making up the sounds ... [and] the addition of a Vitaphone voice revealed the particular qualities of Al Jolson that made him a star. Not only the eyes are a window on the soul. With Warner Bros. Al Jolson made his first "all-talking" picture, The Singing Fool (1928),
4433-419: A weekly series that fall), and continued until the series finally ended in 1971. N. During its final years, Friar's Club "Roasts" were occasionally broadcast on this series in place of the usual musically themed episodes. Later, these Roasts appeared as a separate series hosted by Dean Martin . In 1966, NBC aired a summer replacement show, Kraft Summer Music Hall . It featured John Davidson as host, with
Kraft Music Hall - Misplaced Pages Continue
4576-595: A weekly situation comedy heard on Mutual (1944) with Everett Sloane and later on NBC (1951) with Walter Brennan . Other shows were adapted from comic strips, such as Blondie , Dick Tracy , Gasoline Alley , The Gumps , Li'l Abner , Little Orphan Annie , Popeye the Sailor , Red Ryder , Reg'lar Fellers , Terry and the Pirates and Tillie the Toiler . Bob Montana's redheaded teen of comic strips and comic books
4719-944: Is Al Jolson", showcasing Jolson's complex legacy in American society. Asa Yoelson was Jewish. He was born in the village of Srednike ( Yiddish : סרעדניק ), now known as Seredžius , near Kaunas in Lithuania, then part of the Russian Empire . He was the fifth and youngest child of Nechama "Naomi" (née Cantor, c. 1858 –1895) and Moses Rubin Yoelson ( c. 1858 –1945); his four siblings were Rose ( c. 1879 –1939), Etta ( c. 1880 –1948), another sister who died in infancy, and Hirsch (Harry) ( c. 1882 –1953). Jolson did not know his date of birth, as birth records were not kept at that time in that region, and he gave his birth year as 1885. In 1891, his father, who
4862-490: Is Mr. Jolson's best film and well it might be, for that clever director, Lewis Milestone , guided its destiny ... a combination of fun, melody and romance, with a dash of satire...." Another review added, "A film to welcome back, especially for what it tries to do for the progress of the American musical...." In 1934, he starred in a movie version of his earlier stage play Wonder Bar , co-starring Kay Francis , Dolores del Río , Ricardo Cortez , and Dick Powell . The movie
5005-530: Is a "musical Grand Hotel , set in the Parisian nightclub owned by Al Wonder (Jolson). Wonder entertains and banters with his international clientele." Reviews were generally positive: " Wonder Bar has got about everything. Romance, flash, dash, class, color, songs, star-studded talent and almost every known requisite to assure sturdy attention and attendance.... It's Jolson's comeback picture in every respect."; and, "Those who like Jolson should see Wonder Bar for it
5148-530: Is a tribute to Bing Crosby, program's highlight, that the Music Hall seems to survive all talent change -- these changes simply pointing up the fact that the show is completely dependent on Crosby." For the advertising managers at Kraft Foods, it was imperative that advertising and entertainment be kept separate. For this reason, Kraft insisted that an announcer, not cast members, read its commercials. Additionally, Kraft commercials were single-product focused during
5291-504: Is central to other white jazz biopics such as The Glenn Miller Story (1954) and The Benny Goodman Story (1955)". "Once we accept a semantic change from singing to playing the clarinet, The Benny Goodman Story becomes an almost transparent reworking of The Jazz Singer ... and The Jolson Story ." A sequel, Jolson Sings Again (1949), opened at Loew 's State Theatre in New York and received positive reviews: "Mr. Jolson's name
5434-463: Is mainly Jolson; singing the old reliables; cracking jokes which would have impressed Noah as depressingly ancient; and moving about with characteristic energy." Jolson's last Warner vehicle was The Singing Kid (1936), a parody of Jolson's stage persona (he plays a character named Al Jackson) in which he mocks his stage histrionics and taste for "mammy" songs — the latter via a number by E. Y. Harburg and Harold Arlen titled "I Love to Singa", and
5577-505: Is said to have broadcast the first radio program, consisting of some violin playing and passages from the Bible. While Fessenden's role as an inventor and early radio experimenter is not in dispute, several contemporary radio researchers have questioned whether the Christmas Eve broadcast took place, or whether the date was, in fact, several weeks earlier. The first apparent published reference to
5720-509: Is the old-time minstrel man turned to modern account. With a song, a word, or even a suggestion he calls forth spontaneous laughter. And here you have the definition of a born comedian." Before The Jazz Singer , Jolson starred in the talking film A Plantation Act . This simulation of a stage performance by Jolson was presented in a program of musical shorts, demonstrating the Vitaphone sound-film process. The soundtrack for A Plantation Act
5863-484: Is the only surviving recording of a program. There was some home recording of radio broadcasts in the 1930s and 1940s. Examples from as early as 1930 have been documented. During these years, home recordings were made with disc recorders, most of which were only capable of storing about four minutes of a radio program on each side of a twelve-inch 78 rpm record. Most home recordings were made on even shorter-playing ten-inch or smaller discs. Some home disc recorders offered
Kraft Music Hall - Misplaced Pages Continue
6006-504: Is up in lights again and Broadway is wreathed in smiles", wrote Thomas Pryor in The New York Times . "That's as it should be, for Jolson Sings Again is an occasion which warrants some lusty cheering...." Jolson did a tour of New York film theaters to plug the movie, traveling with a police convoy to make timetables for all showings, often ad libbing jokes and performing songs for the audience. Extra police were on duty as crowds jammed
6149-594: The Columbia Broadcasting System in support of America's cultural diplomacy initiatives and President Franklin Roosevelt's Good Neighbor policy . Included among the popular shows was Viva America which showcased leading musical artists from both North and South America for the entertainment of America's troops. Included among the regular performers were: Alfredo Antonini , Juan Arvizu , Nestor Mesta Chayres , Kate Smith , and John Serry Sr. After
6292-624: The Théâtrophone , commercially introduced in Paris in 1890 and available as late as 1932. It allowed subscribers to eavesdrop on live stage performances and hear news reports by means of a network of telephone lines. The development of radio eliminated the wires and subscription charges from this concept. Between 1900 and 1920 the first technology for transmitting sound by radio was developed, AM ( amplitude modulation ), and AM broadcasting sprang up around 1920. On Christmas Eve 1906, Reginald Fessenden
6435-670: The 1906 Fessenden broadcast actually happened is discussed in Donna Halper's article "In Search of the Truth About Fessenden" and also in James O'Neal's essays. An annotated argument supporting Fessenden as the world's first radio broadcaster was offered in 2006 by Dr. John S. Belrose, Radioscientist Emeritus at the Communications Research Centre Canada, in his essay "Fessenden's 1906 Christmas Eve broadcast." It
6578-450: The 1940s, Basil Rathbone and Nigel Bruce , famous for playing Sherlock Holmes and Dr. Watson in films, repeated their characterizations on radio on The New Adventures of Sherlock Holmes , which featured both original stories and episodes directly adapted from Arthur Conan Doyle 's stories. None of the episodes in which Rathbone and Bruce starred on the radio program were filmed with the two actors as Holmes and Watson, so radio became
6721-505: The 1958 season. Beginning with the fall 1959 season, singer Perry Como became the host, and continued until 1967 (as a monthly series from 1963 through '67). During the summer seasons, the show continued with new episodes, with a variety of guest hosts replacing Berle/Como. This rotation of guest hosts became a permanent feature when Como left the series in May 1967 (with the Music Hall returning as
6864-556: The AFRS during the Golden Age were recorded as electrical transcription discs, vinyl copies of which were shipped to stations overseas to be broadcast to the troops. People in the United States rarely ever heard programming from the AFRS, though AFRS recordings of Golden Age network shows were occasionally broadcast on some domestic stations beginning in the 1950s. In some cases, the AFRS disc
7007-537: The Alice Faye- Don Ameche film Hollywood Cavalcade . Guest appearances in two more Fox films followed that same year, but Jolson never starred in a full-length feature film again. After the George M. Cohan film biography, Yankee Doodle Dandy (1942), Hollywood columnist Sidney Skolsky believed that a similar film could be made about Al Jolson. Skolsky pitched the idea of an Al Jolson biopic and Harry Cohn ,
7150-488: The Coast, and since Duke Ellington and his band had done a film, wasn't it possible for me and the band to do this one with Jolson. Frenchy got on the phone to California, spoke to someone connected with the film and the next thing I knew the band and I were booked into Chicago on our way to California for the film, The Singing Kid . We had a hell of a time, although I had some pretty rough arguments with Harold Arlen, who had written
7293-467: The Golden Age, network programs were almost exclusively broadcast live, as the national networks prohibited the airing of recorded programs until the late 1940s because of the inferior sound quality of phonograph discs, the only practical recording medium at that time. As a result, network prime-time shows would be performed twice, once for each coast. Coverage of live events included musical concerts and play-by-play sports broadcasts. The capability of
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#17328443059517436-463: The U.S. War Department 's quest to improve troop morale. This quest began with short-wave broadcasts of educational and information programs to troops in 1940. In 1941, the War Department began issuing "Buddy Kits" (B-Kits) to departing troops, which consisted of radios, 78 rpm records and electrical transcription discs of radio shows. However, with the entrance of the United States into World War II,
7579-776: The U.S. Department of Commerce, until a legal challenge rendered the agency powerless to do so. Congress responded by enacting the Radio Act of 1927 , which included the formation of the Federal Radio Commission (FRC). One of the FRC's most important early actions was the adoption of General Order 40 , which divided stations on the AM band into three power level categories, which became known as Local, Regional, and Clear Channel, and reorganized station assignments. Based on this plan, effective 3:00 a.m. Eastern time on November 11, 1928, most of
7722-523: The United States underwent a period of rapid change through the decade of the 1920s. Technology advances, better regulation, rapid consumer adoption, and the creation of broadcast networks transformed radio from a consumer curiosity into the mass media powerhouse that defined the Golden Age of Radio. Through the decade of the 1920s, the purchase of radios by United States homes continued, and accelerated. The Radio Corporation of America (RCA) released figures in 1925 stating that 19% of United States homes owned
7865-468: The War Department decided that it needed to improve the quality and quantity of its offerings. This began with the broadcasting of its own original variety programs. Command Performance was the first of these, produced for the first time on March 1, 1942. On May 26, 1942, the Armed Forces Radio Service was formally established. Originally, its programming comprised network radio shows with
8008-480: The Winter Garden, Jolson told the audience, "You ain't heard nothing yet" before performing additional songs. In the play, he debuted his signature blackface character "Gus". Winter Garden owner Lee Shubert signed Jolson to a seven-year contract with a salary of $ 1,000 a week. Jolson reprised his role as "Gus" in future plays and by 1914 achieved so much popularity with theater audiences that his $ 1,000-a-week salary
8151-420: The age of 35, Jolson was the youngest man in American history to have a theatre named after him. But on the opening night of Bombo , the first performance at the new theatre, he suffered from stage fright, walking up and down the streets for hours before showtime. Out of fear, he lost his voice backstage and begged the stagehands not to raise the curtains. But when the curtains went up, he "was [still] standing in
8294-415: The air.' After Dockstader refuses to accommodate Jolson's revolutionary concept, the narrative chronicles his climb to stardom as he allegedly injects jazz into his blackface performances.... Jolson's success is built on anticipating what Americans really want. Dockstader performs the inevitable function of the guardian of the status quo, whose hidebound commitment to what is about to become obsolete reinforces
8437-400: The audience's sympathy with the forward-looking hero. This has been a theme which was traditionally "dear to the hearts of the men who made the movies". Film historian George Custen describes this "common scenario, in which the hero is vindicated for innovations that are initially greeted with resistance.... [T]he struggle of the heroic protagonist who anticipates changes in cultural attitudes
8580-444: The audience, "I'm a happy man tonight." In March 1922, he moved the production to the larger Century Theater for a benefit performance to aid injured Jewish veterans of World War I. After taking the show on the road for a season, he returned in May 1923, to perform Bombo at the Winter Garden. The reviewer for The New York Times wrote, "He returned like the circus, bigger and brighter and newer than ever.... Last night's audience
8723-562: The band and I got out to Hollywood, we were treated like pure royalty. Here were Jolson and I living in adjacent penthouses in a very plush hotel. We were costars in the film so we received equal treatment, no question about it. The Singing Kid was not one of the studio's major attractions (it was released by the First National subsidiary), and Jolson did not even rate star billing. " I Love to Singa " later appeared in Tex Avery 's cartoon of
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#17328443059518866-491: The best jazz musicians was a powerful boost for jazz, swing and blues. Though he was prohibited from hiring black performers, he hired arrangers and composers. Bing Crosby took over as master of ceremonies January 2, 1936. Crosby was host until May 9, 1946. Other entertainers who appeared regularly during Crosby's tenure included Connie Boswell , Victor Borge , and Mary Martin . A review in Billboard magazine commented, "It
9009-409: The blanks varied in both size and composition, but most often they were simply bare aluminum and the groove was indented rather than cut. Typically, these very early recordings were not made by the network or radio station, but by a private recording service contracted by the broadcast sponsor or one of the performers. The bare aluminum discs were typically 10 or 12 inches in diameter and recorded at
9152-422: The burgeoning television industry: "I call it smell-evision." Writer Hal Kanter recalled that Jolson's own idea of his television debut would be a corporate-sponsored, extra-length spectacular that would feature him as the only performer, and would be telecast without interruption. Even though he had several TV offers at the time, Jolson was apprehensive about how his larger than life performances would come across in
9295-408: The carpeted floor after use. Despite a general ban on use of recordings on broadcasts by radio networks through the late 1940s, "reference recordings" on phonograph disc were made of many programs as they were being broadcast, for review by the sponsor and for the network's own archival purposes. With the development of high-fidelity magnetic wire and tape recording in the years following World War II,
9438-555: The commercials removed. However, it soon began producing original programming, such as Mail Call , G.I. Journal , Jubilee and GI Jive . At its peak in 1945, the Service produced around 20 hours of original programming each week. From 1943 until 1949 the AFRS also broadcast programs developed through the collaborative efforts of the Office of the Coordinator of Inter-American Affairs and
9581-452: The company. According to film historian Krin Gabbard, The Jolson Story goes further than any of the earlier films in exploring the significance of blackface and the relationships that whites have developed with blacks in the area of music. To him, the film seems to imply an inclination of white performers, like Jolson, who are possessed with "the joy of life and enough sensitivity to appreciate
9724-468: The confidence to rhyme 'Mammy' with 'Uncle Sammy'", adding "Mammy songs, along with the vocation 'Mammy singer', were inventions of the Jewish Jazz Age." The film also gave a boost to the career of black singer and bandleader Cab Calloway , who performed a number of songs alongside Jolson. In his autobiography, Calloway writes about this episode: {{blockquote|I'd heard Al Jolson was doing a new film on
9867-417: The country's stations were assigned to new transmitting frequencies. The final element needed to make the Golden Age of Radio possible focused on the question of distribution: the ability for multiple radio stations to simultaneously broadcast the same content, and this would be solved with the concept of a radio network . The earliest radio programs of the 1920s were largely unsponsored; radio stations were
10010-399: The disc change-over points would match and result in a more seamless playback. An inside start also had the advantage that the thread of material cut from the disc's surface, which had to be kept out of the path of the cutting stylus, was naturally thrown toward the center of the disc so was automatically out of the way. When cutting an outside start disc, a brush could be used to keep it out of
10153-425: The duration of the war. In the late 1940s, wire recorders became a readily obtainable means of recording radio programs. On a per-minute basis, it was less expensive to record a broadcast on wire than on discs. The one-hour program that required the four sides of two 16-inch discs could be recorded intact on a single spool of wire less than three inches in diameter and about half an inch thick. The audio fidelity of
10296-410: The early 1950s, when increasingly affordable reel-to-reel tape recorders for home use were introduced to the market. Before the early 1950s, when radio networks and local stations wanted to preserve a live broadcast, they did so by means of special phonograph records known as " electrical transcriptions " (ETs), made by cutting a sound-modulated groove into a blank disc. At first, in the early 1930s,
10439-414: The end of the year, the circus had folded and Jolson was again out of work. In May 1903, the head producer of the burlesque show Dainty Duchess Burlesquers agreed to give Jolson a part in one show. He performed "Be My Baby Bumble Bee", and the producer agreed to keep him, but the show closed by the end of the year. He avoided financial troubles by forming a vaudeville partnership with his brother Hirsch,
10582-410: The event was made in 1928 by H. P. Davis, Vice President of Westinghouse , in a lecture given at Harvard University . In 1932 Fessenden cited the Christmas Eve 1906 broadcast event in a letter he wrote to Vice President S. M. Kinter of Westinghouse. Fessenden's wife Helen recounts the broadcast in her book Fessenden: Builder of Tomorrows (1940), eight years after Fessenden's death. The issue of whether
10725-419: The expense of recorders and the limitations of the recording media, home recording of broadcasts was not common during this period and it was usually limited to brief excerpts. The lack of suitable home recording equipment was somewhat relieved in 1947 with the availability of magnetic wire recorders for domestic use. These were capable of recording an hour-long broadcast on a single small spool of wire, and if
10868-620: The family was reunited. Jolson's mother, Naomi, died at 37 in early 1895, and he was in a state of withdrawal for seven months. He spent time at the St. Mary's Industrial School for Boys , a progressive reformatory/home for orphans run by the Xaverian Brothers in Baltimore. After being introduced to show business in 1895 by Al Reeves , Asa and Hirsch became fascinated by it, and by 1897 the brothers were singing for coins on local street corners, using
11011-596: The few examples of live classical music still broadcast on radio. One of the most notable of all classical music radio programs of the Golden Age of Radio featured the celebrated Italian conductor Arturo Toscanini conducting the NBC Symphony Orchestra , which had been created especially for him. At that time, nearly all classical musicians and critics considered Toscanini the greatest living maestro. Popular songwriters such as George Gershwin were also featured on radio. (Gershwin, in addition to frequent appearances as
11154-430: The film was being run. "She pinned herself against a wall in the dark and watched the faces in the crowd. In that moment just before 'Toot, Toot, Tootsie,' she remembered, 'A miracle occurred. Moving pictures really came alive. To see the expressions on their faces, when Joley spoke to them ... you'd have thought they were listening to the voice of God.'" "Everybody was mad for the talkies," said movie star Gregory Peck in
11297-551: The film's end, the Warner brothers had shown an audience something they had never known, moved them in a way they hadn't expected. The tumultuous ovation at curtain proved that Jolson was not merely the right man for the part of Jackie Rabinowitz, alias Jack Robin; he was the right man for the entire transition from silent fantasy to talking realism. The audience, transformed into what one critic called, 'a milling, battling mob' stood, stamped, and cheered 'Jolson, Jolson, Jolson!'" Vitaphone
11440-403: The finest radio drama anthologies ever presented. They usually starred Welles in the leading role, along with celebrity guest stars such as Margaret Sullavan or Helen Hayes , in adaptations from literature, Broadway, and/or films. They included such titles as Liliom , Oliver Twist (a title now feared lost), A Tale of Two Cities , Lost Horizon , and The Murder of Roger Ackroyd . It
11583-519: The first three decades of radio , from 1887 to about 1920, the technology of transmitting sound was undeveloped; the information-carrying ability of radio waves was the same as a telegraph ; the radio signal could be either on or off. Radio communication was by wireless telegraphy ; at the sending end, an operator tapped on a switch which caused the radio transmitter to produce a series of pulses of radio waves which spelled out text messages in Morse code . At
11726-467: The first was Information Please in 1938, and one of the first major successes was Dr. I.Q. in 1939. Winner Take All , which premiered in 1946, was the first to use lockout devices and feature returning champions. A relative of the game show, which would be called the giveaway show in contemporary media, typically involved giving sponsored products to studio audience members, people randomly called by telephone, or both. An early example of this show
11869-570: The gamut from the small town humor of Lum and Abner , Herb Shriner and Minnie Pearl to the dialect characterizations of Mel Blanc and the caustic sarcasm of Henry Morgan . Gags galore were delivered weekly on Stop Me If You've Heard This One and Can You Top This? , panel programs devoted to the art of telling jokes. Quiz shows were lampooned on It Pays to Be Ignorant , and other memorable parodies were presented by such satirists as Spike Jones , Stoopnagle and Budd , Stan Freberg and Bob and Ray . British comedy reached American shores in
12012-453: The head of Columbia Pictures agreed. It was directed by Alfred E. Green , best remembered for the pre-Code Baby Face (1933), with musical numbers staged by Joseph H. Lewis . With Jolson providing almost all the vocals, and Columbia contract player Larry Parks playing Jolson, The Jolson Story (1946) became one of the biggest box-office hits of the year. In a tribute to Jolson, Larry Parks wrote, "Stepping into his shoes was, for me,
12155-542: The heavy pickups and steel needles then in use before deterioration became audible. During World War II, aluminum became a necessary material for the war effort and was in short supply. This caused an alternative to be sought for the base on which to coat the lacquer. Glass, despite its obvious disadvantage of fragility, had occasionally been used in earlier years because it could provide a perfectly smooth and even supporting surface for mastering and other critical applications. Glass base recording blanks came into general use for
12298-618: The history that ties the CMA's to Kraft as well... via Chester R. Green; his first corporate meeting for Kraft in Time Magazine. Old-time radio Radio was the first broadcast medium , and during this period people regularly tuned in to their favorite radio programs, and families gathered to listen to the home radio in the evening. According to a 1947 C. E. Hooper survey, 82 out of 100 Americans were found to be radio listeners. A variety of new entertainment formats and genres were created for
12441-724: The last four daytime radio dramas— Young Dr. Malone , Right to Happiness , The Second Mrs. Burton and Ma Perkins , all broadcast on the CBS Radio Network —were brought to an end. The line-up of late afternoon adventure serials included Bobby Benson and the B-Bar-B Riders , The Cisco Kid , Jack Armstrong, the All-American Boy , Captain Midnight , and The Tom Mix Ralston Straight Shooters . Badges, rings, decoding devices and other radio premiums were often linked to
12584-514: The late 1920s and early 1930s. Local stations often had staff organists such as Jesse Crawford playing popular tunes. Classical music programs on the air included The Voice of Firestone and The Bell Telephone Hour . Texaco sponsored the Metropolitan Opera radio broadcasts ; the broadcasts, now sponsored by the Toll Brothers , continue to this day around the world, and are one of
12727-411: The modern era, were still relatively uncommon and considered intrusive. During the 1930s and 1940s, the leading orchestras were heard often through big band remotes , and NBC's Monitor continued such remotes well into the 1950s by broadcasting live music from New York City jazz clubs to rural America. Singers such as Harriet Lee and Wendell Hall became popular fixtures on network radio beginning in
12870-473: The movie's length, including " April Showers " and " Avalon ". Reviewers wrote, "Mr Jolson's singing of Mammy , California, Here I Come and others is something for the memory book" and "Of the three co-stars this is Jolson's picture ... because it's a pretty good catalog in anybody's hit parade." The movie was released on DVD in October 2008. 20th Century Fox hired him to recreate a scene from The Jazz Singer in
13013-463: The movie, he persuaded the studio to let him appear in one musical sequence, " Swanee ", shot entirely in long shot, with Jolson in blackface singing and dancing onto the runway leading into the middle of the theater. In the wake of the film's success and his World War II tours, Jolson became a top singer among the American public once more. Decca signed Jolson and he recorded for Decca from 1945 until his death, making his last commercial recordings for
13156-409: The music. Arlen was the songwriter for many of the finest Cotton Club revues, but he had done some interpretations for The Singing Kid that I just couldn't go along with. He was trying to change my style and I was fighting it. Finally, Jolson stepped in and said to Arlen, 'Look, Cab knows what he wants to do; let him do it his way.' After that, Arlen left me alone. And talk about integration: Hell, when
13299-491: The musical Vera Violetta which opened on November 20, 1911, and like La Belle Paree it was a success. In the show, he again sang in blackface and became so popular that his weekly salary of $ 500 (based on his success in La Belle Paree ) was increased to $ 750. After Vera Violetta closed, Jolson starred in another musical, The Whirl of Society , propelling his career on Broadway to new heights. During his time at
13442-599: The musical accomplishments of blacks". To support his view he describes a significant part of the movie: While wandering around New Orleans before a show with Dockstader's Minstrels, he enters a small club where a group of black jazz musicians are performing. Jolson has a revelation, that the staid repertoire of the minstrel troupe can be transformed by actually playing black music in blackface. He tells Dockstader that he wants to sing what he has just experienced: 'I heard some music tonight, something they call jazz. Some fellows just make it up as they go along. They pick it up out of
13585-477: The names "Al" and "Harry". They often used the money to buy tickets to the National Theater . They spent most of their days working different jobs as a team. In the spring of 1902, Jolson accepted a job with Walter L. Main's circus. Although Main had hired him as an usher, Main was impressed by Jolson's singing voice and gave him a position as a singer during the circus's Indian Medicine Side Show segment. By
13728-472: The networks became more open to airing recorded programs and the prerecording of shows became more common. Local stations, however, had always been free to use recordings and sometimes made substantial use of prerecorded syndicated programs distributed on pressed (as opposed to individually recorded) transcription discs . Recording was done using a cutting lathe and acetate discs . Programs were normally recorded at 33 1 ⁄ 3 rpm on 16-inch discs,
13871-414: The new medium to get information to people created the format of modern radio news : headlines, remote reporting , sidewalk interviews (such as Vox Pop ), panel discussions , weather reports , and farm reports. The entry of radio into the realm of news triggered a feud between the radio and newspaper industries in the mid-1930s , eventually culminating in newspapers trumping up exaggerated reports of
14014-568: The new medium, many of which later migrated to television: radio plays , mystery serials, soap operas , quiz shows , talent shows , daytime and evening variety hours , situation comedies , play-by-play sports, children's shows , cooking shows , and more. In the 1950s, television surpassed radio as the most popular broadcast medium, and commercial radio programming shifted to narrower formats of news, talk, sports and music. Religious broadcasters, listener-supported public radio and college stations provide their own distinctive formats. During
14157-457: The next decade; even as the Great Depression ravaged the country in the 1930s, radio would stay at the center of American life. 83% of American homes would own a radio by 1940. Although radio was well established with United States consumers by the mid-1920s, regulation of the broadcast medium presented its own challenges. Until 1926, broadcast radio power and frequency use was regulated by
14300-412: The only medium in which audiences were able to experience Rathbone and Bruce appearing in some of the more famous Holmes stories, such as " The Speckled Band ". There were also many dramatizations of Sherlock Holmes stories on radio without Rathbone and Bruce. During the latter part of his career, celebrated actor John Barrymore starred in a radio program, Streamlined Shakespeare , which featured him in
14443-436: The option of the 33 1 ⁄ 3 rpm speed used for electrical transcriptions, allowing a recording more than twice as long to be made, although with reduced audio quality. Office dictation equipment was sometimes pressed into service for making recordings of radio broadcasts, but the audio quality of these devices was poor and the resulting recordings were in odd formats that had to be played back on similar equipment. Due to
14586-454: The producer and star of Dockstader's Minstrels. Jolson accepted Dockstader's offer and became a blackface performer. According to Esquire magazine, " J.J. Shubert , impressed by Jolson's overpowering display of energy, booked him for La Belle Paree , a musical comedy that opened at the Winter Garden in 1911. Within a month Jolson was a star. From then until 1926, when he retired from
14729-542: The radio days, short and to the point in order to keep with Kraft's philosophy that quality entertainment led listeners up to the commercials, dropped them into the commercials, and took them back to the show, as evidenced by the broadcast of June 15, 1944: When Crosby and Marilyn Maxwell finish singing “Take It Easy”, Crosby segues to the ad with, “Check it friends, The Charioteers (the studio chorus) will further demonstrate immediately after my colleague glibly hustles prospective purchasers.” Announcer Ken Carpenter commences
14872-402: The receiver these sounded like beeps, requiring an operator who knew Morse code to translate them back to text. This type of radio was used exclusively for person-to-person text communication for commercial, diplomatic and military purposes and hobbyists; broadcasting did not exist. The broadcasts of live drama, comedy, music and news that characterize the Golden Age of Radio had a precedent in
15015-406: The role to Jolson because he agreed to help finance the film. Harry Warner 's daughter, Doris, remembered the opening night, and said that when the picture started she was still crying over the loss of her beloved uncle Sam. He had been planning to be at the performance but died suddenly, at the age of 40, on the previous day. However, halfway through the 89-minute film, she began to be overtaken by
15158-456: The same name. The movie also became the first important role for future child star Sybil Jason in a scene directed by Busby Berkeley . Jason remembers that Berkeley worked on the film although he is not credited. His next movie—his first with Twentieth Century-Fox —was Rose of Washington Square (1939). It stars Jolson, Alice Faye and Tyrone Power , and included many of Jolson's best known songs, although several songs were cut to shorten
15301-454: The show went through a series of name changes, including Kraft Musical Revue , until it finally settled on Kraft Music Hall in 1934. Whiteman remained the host until December 6, 1935. Ford Bond was the announcer. Billed as "The King of Jazz", Whiteman was arguably America's first popular music superstar. Whiteman's foresight regarding the coming of the Jazz Age and his decisions to hire
15444-473: The show's recurring jokes and funny remarks were about Jolson's education, his age and his relationships to women. When Jolson returned in October 1947, Variety printed a rave review. When Decca Records released a Best of Al Jolson double LP, it included several tracks from Kraft Music Hall broadcasts. Kraft Music Hall made the move to television in 1958, replacing the dramatic anthology series Kraft Television Theatre . Milton Berle hosted during
15587-571: The stage, he could boast an unbroken series of smash hits." On March 20, 1911, Jolson starred in his first musical revue at the Winter Garden Theater in New York City. La Belle Paree helped start his career as a singer. Opening night drew a large crowd, and he became popular with the audience by performing Stephen Foster songs in blackface. The show closed after 104 performances. After La Belle Paree , he accepted an offer to perform in
15730-403: The standard format used for such " electrical transcriptions " from the early 1930s through the 1950s. Sometimes, the groove was cut starting at the inside of the disc and running to the outside. This was useful when the program to be recorded was longer than 15 minutes so required more than one disc side. By recording the first side outside in, the second inside out, and so on, the sound quality at
15873-507: The star of the first talking picture, The Jazz Singer (1927), he starred in a series of successful musical films during the 1930s. After the attack on Pearl Harbor in December 1941, he was the first star to entertain troops overseas during World War II . After a period of inactivity, his stardom returned with The Jolson Story (1946), in which Larry Parks played the younger Jolson, but with sung vocals dubbed by Jolson himself. The formula
16016-556: The story of an ambitious entertainer who insisted on going on with the show even as his small son lay dying. The film was even more popular than The Jazz Singer . " Sonny Boy ", from the film, was the first American record to sell one million copies. Jolson continued to make features for Warner Bros. similar in style to The Singing Fool . These included Say It with Songs (1929), Mammy (1930), and Big Boy (1930). A restored version of Mammy , with Jolson in Technicolor sequences,
16159-467: The streets and sidewalks at each theater Jolson visited. In Chicago, a few weeks later, he sang to 100,000 people at Soldier Field, and later that night appeared at the Oriental Theatre with George Jessel where 10,000 people had to be turned away. Jolson had been a popular guest star on radio since its earliest days, including on NBC's The Dodge Victory Hour (January 1928), singing from
16302-637: The summer spots in 1947 and with costar Dorothy Kirsten in 1948 and 1949. The show had a strong supporting cast: pianist-vocalist Ramona, soprano Helen Jepson , tenor Jack Fulton, pianist Roy Bargy and music critic Deems Taylor . Al Jolson dotted the Kraft Music Hall landscape, first as an occasional guest from 1933 to 1935, then later as the star and host from 1947 to 1949, while his sarcastic pianist and sidekick Oscar Levant piped in with his dry wit. Jolson kept working until shortly before his death in 1950, with these shows as some of his last. Many of
16445-513: The then-standard speed of 78 rpm , which meant that several disc sides were required to accommodate even a 15-minute program. By about 1936, 16-inch aluminum-based discs coated with cellulose nitrate lacquer, commonly known as acetates and recorded at a speed of 33 1 ⁄ 3 rpm, had been adopted by the networks and individual radio stations as the standard medium for recording broadcasts. The making of such recordings, at least for some purposes, then became routine. Some discs were recorded using
16588-552: The time was the studio's highest-grossing movie. The award is rarely given to performers in musicals. Ironically, Cagney, who became known for his tough guy movie roles, also made a contribution to movie musicals, like the man who had discovered him. While Jolson is credited for appearing in the first movie musical, Cagney's Academy Award-winning movie was the first movie Ted Turner chose to colorize . When Jolson appeared on Steve Allen 's KNX Los Angeles radio show in 1949 to promote Jolson Sings Again , he offered his curt opinion of
16731-437: The top ten on the charts). Jolson joked about how his voice had deepened with age, saying "I got the clippetys all right, but I can't clop like I used to." In addition to his contribution to motion pictures as a performer, he is responsible for the discovery of two major stars of the golden age of Hollywood. He purchased the rights to a play he saw on Broadway and then sold the movie rights to Jack Warner (Warner Brothers which
16874-556: The unsuccessful Wonder Bar . Warner Bros. allowed him to make Hallelujah, I'm a Bum with United Artists in 1933. It was directed by Lewis Milestone and written by Ben Hecht . Hecht was also active in the promotion of civil rights : "Hecht film stories featuring black characters included Hallelujah, I'm a Bum , co-starring Edgar Connor as Jolson's sidekick, in a politically savvy rhymed dialogue over Richard Rodgers music." The New York Times reviewer wrote, "The picture, some persons may be glad to hear, has no Mammy song. It
17017-590: The war, the AFRS continued providing programming to troops in Europe. During the 1950s and early 1960s it presented performances by the Army's only symphonic orchestra ensemble—the Seventh Army Symphony Orchestra . It also provided programming for future wars that the United States was involved in. It survives today as a component of the American Forces Network (AFN). All of the shows aired by
17160-417: The way by sweeping it toward the middle of the disc. Well-equipped recording lathes used the vacuum from a water aspirator to pick it up as it was cut and deposit it in a water-filled bottle. In addition to convenience, this served a safety purpose, as the cellulose nitrate thread was highly flammable and a loose accumulation of it combusted violently if ignited. Most recordings of radio broadcasts were made at
17303-430: The wings trembling and sweating". After being shoved onto the stage by his brother Harry, he performed, then received an ovation he would never forget: "For several minutes, the applause continued while Al stood and bowed after the first act." He refused to go back on stage for the second act, but the audience "stamped its feet and chanted 'Jolson, Jolson', until he came back out". He took 37 curtain calls that night and told
17446-461: The wireless telephone, through advancements in vacuum tube technology and the introduction of the transceiver . After the war, numerous radio stations were born in the United States and set the standard for later radio programs. The first radio news program was broadcast on August 31, 1920, on the station 8MK in Detroit ; owned by The Detroit News , the station covered local election results. This
17589-642: Was "arguably the single most important factor in defining the modern musical." With his dynamic style of singing, he became widely successful by extracting traditionally African-American music and popularizing it for white American audiences who would be unwilling to listen to it when performed by black artists. Despite his promotion and perpetuation of black stereotypes, his work was often well-regarded by black publications and has been credited for fighting against black discrimination on Broadway as early as 1911. In an essay written in 2000, music critic Ted Gioia remarked, "If blackface has its shameful poster boy, it
17732-426: Was 21 during this period, compared to the average age of 11 at the movie houses. Intelligent humor and delightful guests made these years some of the greatest. On the show, Crosby rubbed elbows with the likes of Spike Jones , Lucille Ball , The Andrews Sisters , Nat “King” Cole and Peggy Lee . It was during these years on the Kraft Music Hall that Bob Burns popularized his famous “bazooka” instrument (made from
17875-592: Was considered lost in 1933, but was found in 1995 and restored by The Vitaphone Project . Warner Bros. picked George Jessel for the role, as he had starred in the Broadway play. When Sam Warner decided to make The Jazz Singer a musical with the Vitaphone, he knew that Jolson was the star he needed. He told Jessel that he would have to sing in the movie, and Jessel balked, allowing Warner to replace him with Jolson. Jessel never got over it, and often said that Warner gave
18018-612: Was doubled. In 1916, Robinson Crusoe, Jr. was the first musical in which he was the star. In 1918, his acting career was pushed further after he starred in the hit musical Sinbad . It became the most successful Broadway musical of 1918 and 1919. " Swanee " was added to the show and became composer George Gershwin 's first hit recording. Jolson added " My Mammy ". By 1920, he had become the biggest star on Broadway. His next play, Bombo , became so successful that it went beyond Broadway to performances nationwide. It led Lee Shubert to rename his theater Jolson's 59th Street Theatre . At
18161-539: Was even made by the FCC to ban them (as an illegal lottery) in August 1949. The RCA Type 44-BX microphone had two live faces and two dead ones. Thus actors could face each other and react. An actor could give the effect of leaving the room by simply moving their head toward the dead face of the microphone. The scripts were paper-clipped together. It has been disputed whether or not actors and actresses would drop finished pages to
18304-501: Was first screened in 2002. Jolson's first Technicolor appearance was a cameo in the musical Showgirl in Hollywood (1930) from First National Pictures , a Warner Bros. subsidiary. However, these films gradually proved a cycle of diminishing returns due to their comparative sameness, the regal salary that Jolson demanded, and a shift in public taste away from vaudeville musicals as the 1930s began. Jolson returned to Broadway and starred in
18447-474: Was flatteringly unwilling to go home, and when the show proper was over, Jolson reappeared before the curtain and sang more songs, old and new." "I don't mind going on record as saying that he is one of the few instinctively funny men on our stage," wrote reviewer Charles Darnton in the New York Evening World . "Everything he touches turns to fun. To watch him is to marvel at his humorous vitality. He
18590-596: Was followed in 1920 with the first commercial radio station in the United States, KDKA , being established in Pittsburgh . The first regular entertainment programs were broadcast in 1922, and on March 10, Variety carried the front-page headline: "Radio Sweeping Country: 1,000,000 Sets in Use." A highlight of this time was the first Rose Bowl being broadcast on January 1, 1923, on the Los Angeles station KHJ . Broadcast radio in
18733-402: Was good showmanship to cast this film with lesser people, particularly Larry Parks as the mammy kid.... As for Jolson's voice, it has never been better. Thus the magic of science has produced a composite whole to eclipse the original at his most youthful best. Parks received an Oscar nomination for Best Actor . Although the 60-year-old Jolson was too old to play a younger version of himself in
18876-455: Was heard on radio's Archie Andrews from 1943 to 1953. The Timid Soul was a 1941–1942 comedy based on cartoonist H. T. Webster 's famed Caspar Milquetoast character, and Robert L. Ripley's Believe It or Not! was adapted to several different radio formats during the 1930s and 1940s. Conversely, some radio shows gave rise to spinoff comic strips, such as My Friend Irma starring Marie Wilson . The first program generally considered to be
19019-476: Was intended for musical renditions, and The Jazz Singer follows this principle, with only the musical sequences using live sound recording. The moviegoers were electrified when the silent actions were interrupted periodically for a song sequence with real singing and sound. Jolson's dynamic voice, physical mannerisms, and charisma held the audience spellbound. Costar May McAvoy , according to author A. Scott Berg, could not help sneaking into theaters day after day as
19162-457: Was not until after the Titanic catastrophe in 1912 that radio for mass communication came into vogue, inspired first by the work of amateur ("ham") radio operators. Radio was especially important during World War I as it was vital for air and naval operations. World War I brought about major developments in radio, superseding the Morse code of the wireless telegraph with the vocal communication of
19305-492: Was on Mercury Theatre that Welles presented his celebrated-but-infamous 1938 adaptation of H. G. Wells 's The War of the Worlds , formatted to sound like a breaking news program. Theatre Guild on the Air presented adaptations of classical and Broadway plays. Their Shakespeare adaptations included a one-hour Macbeth starring Maurice Evans and Judith Anderson , and a 90-minute Hamlet , starring John Gielgud . Recordings of many of these programs survive. During
19448-515: Was on his own. He became a regular at the Globe and Wigwam Theater in San Francisco and was successful nationwide as a vaudeville singer. He took up residence in San Francisco, saying the earthquake -devastated people needed someone to cheer them up. In 1908, Jolson, needing money for himself and his new wife, Henrietta, returned to New York. In 1909, his singing caught the attention of Lew Dockstader ,
19591-414: Was one of the United States' most famous and highest-paid stars of the 1920s, and was self-billed as "The World's Greatest Entertainer". Jolson was known for his "shamelessly sentimental, melodramatic approach" towards performing, as well as for popularizing many of the songs he sang. Jolson has been referred to by modern critics as "the king of blackface performers". Although best remembered today as
19734-1113: Was picked up by NBC Radio in 1933. In 1925, WSM Barn Dance went on the air from Nashville . It was renamed the Grand Ole Opry in 1927 and NBC carried portions from 1944 to 1956. NBC also aired The Red Foley Show from 1951 to 1961, and ABC Radio carried Ozark Jubilee from 1953 to 1961. Radio attracted top comedy talents from vaudeville and Hollywood for many years: Bing Crosby , Abbott and Costello , Fred Allen , Jack Benny , Victor Borge , Fanny Brice , Billie Burke , Bob Burns , Judy Canova , Eddie Cantor , Jimmy Durante , Burns and Allen , Phil Harris , Edgar Bergen , Bob Hope , Groucho Marx , Jean Shepherd , Red Skelton and Ed Wynn . Situational comedies also gained popularity, such as Amos 'n' Andy , Easy Aces , Ethel and Albert , Fibber McGee and Molly , The Goldbergs , The Great Gildersleeve , The Halls of Ivy (which featured screen star Ronald Colman and his wife Benita Hume ), Meet Corliss Archer , Meet Millie , and Our Miss Brooks . Radio comedy ran
19877-619: Was qualified as a rabbi and cantor , moved to New York City to secure a better future for his family. By 1894, Moses Yoelson could afford to pay the fare to bring Nechama and their four children to the U.S. By the time they arrived—as steerage passengers on the SS Umbria arriving at the Port of New York on April 9, 1894—he had found work as a cantor at Talmud Torah Congregation in the Southwest Waterfront neighborhood of Washington, D.C., where
20020-691: Was repeated in a sequel, Jolson Sings Again (1949). In 1950, he again became the first star to entertain GIs on active service in the Korean War , performing 42 shows in 16 days. He died weeks after returning to the U.S., partly owing to the physical exhaustion from the performance schedule. Defense Secretary George Marshall posthumously awarded him the Medal for Merit . According to music historian Larry Stempel, "No one had heard anything quite like it before on Broadway." Stephen Banfield wrote that Jolson's style
20163-455: Was the 1939 show Pot o' Gold , but the breakout hit of this type was ABC's Stop the Music in 1948. Winning a prize generally required knowledge of what was being aired on the show at that moment, which led to criticism of the giveaway show as a form of "buying an audience". Giveaway shows were extremely popular through 1948 and 1949. They were often panned as low-brow, and an unsuccessful attempt
20306-544: Was the studio that had made The Jazz Singer ) with the stipulation that two of the original cast members reprise their roles in the movie. The play became the movie Penny Arcade , and the actors were Joan Blondell and James Cagney , who both went on to become contract players for the studio. The two were major ingredients in gangster movies, which were lucrative for the studio. Cagney won his Academy Award for his role in Warner Brothers' Yankee Doodle Dandy , which at
20449-553: Was voted the "Most Popular Male Vocalist" in 1948 by a poll in Variety . The next year, Jolson was named "Personality of the Year" by the Variety Clubs of America. When Jolson appeared on Bing Crosby's radio show, he attributed his receiving the award to his being the only singer of any importance not to make a record of " Mule Train ", which had been a widely covered hit of that year (four different versions, one of them by Crosby, had made
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