POPULARITY
9 episodes with George Jessel
7 episodes with George Jessel
8 episodes with George Jessel
3 episodes with George Jessel
3 episodes with George Jessel
2 episodes with George Jessel
3 episodes with George Jessel
3 episodes with George Jessel
3 episodes with George Jessel
GGACP salutes National Humor Month AND celebrates the birthday of voice actor Billy West (b. April 16) by revisiting this fan favorite interview with Billy and comedian -- and former "Howard Stern Show" colleague -- Jackie Martling. In this episode, the boys discuss the cinema of George Pal, the versatility of Paul Frees, the uniqueness of Peter Sellers and the enduring legend of Joe Franklin. Also, Jonathan Winters disses Don Adams, Jack Carter guests on “Ren & Stimpy,” Billy meets The Man from Uncle and Jackie weighs in on the Gilbert-Shecky Greene clash. PLUS: “Shock Theater”! “7 Faces of Dr. Lao”! The return of the Jackie puppet! Curly Howard takes a bullet! And George Jessel duets with…George Jessel? Learn more about your ad choices. Visit megaphone.fm/adchoices
Excerpt of the 24 Mar 1949 Kraft Music Hall, starring Al Jolson with George Jessel. George Jessel joined Al Jolson and Oscar Levant in a series of jokes and personal recollections, capped by a recreation of an old time minstrel show. The complete broadcast circulates with other Jolson radio shows on the Official Al Jolson Website at www.jolson.org.
On this, the 69th anniversary of the passing of a great radio humorist, we present the NBC program Biography in Sound, This episode was broadcast two days prior to what would have been his 62nd birthday, May 29, 1956. Ironically that was just 10 days following my birth. And yes, I chose this picture because of another irony. Until I graduated college, I played the tuba. Here's a partial list of those apart of Fred that you will hear in this 55 minute program.Kenny Delmar, Tallulah Bankhead, Doc Rockwell, Jack Benny, Herman Wouk, Jim Harkins, Francis Spellman, Donald Voorhees, Peter Donald, Bill Mullen, James Mason, Jimmy Durante, Goodman Ace, Henry Tugan, Joe DeGray, Mike Jakes, Minerva Pious, Jack Haley, Ed Herlihy, Edgar Bergen, Herb Shriner, Benny Droan, Clifton Webb, George Jessel, John Royal, Roger White, Pat Weaver, Harry Von Zell, John Crosby, Stanley Trablinsky, Morton Green, George Foster, Su Chan, Max Asgur, Alan Reed, and Parker Fennelly. Each paying tribute with remembrances of Fred Allen.And yes, writer Earl Hamner wrote much of the continuity of this program. The same Earl Hamner who created The Waltons and Falcon Crest. One more amazing talent who influenced so many more. May he rest in peace and know that even today, he is remembered for all the laughs he gave all of us.
Excerpt of the 10 Feb 1949 Kraft Music Hall, starring Al Jolson, who sang two songs along with a little story about George Jessel. The complete broadcast circulates with other Jolson radio shows on the Official Al Jolson Website at www.jolson.org.
A Funny MondayFirst a look at the events of the dayThen My Friend Irma starring Marie Wilson, originally broadcast January 20, 1952, 73 years ago, The Burglar. A burglar has taken Jane's new brooch.Followed by The Fred Allen Show, originally broadcast January 20, 1946, 78 years ago, with guest George Jessel. The Allen's Alley question is, "How have you been coping with the meat shortage?" Fred and guest George Jessel do the story of Fred's life. Then Fibber McGee and Molly, originally broadcast January 20, 1936, 88 years ago, Running the Drug Store. Fibber becomes the manager of the Wistful Vista drug store. Followed by Abbott and Costello, originally broadcast January 20, 1949, 76 years ago, She Was On Her Last Lap. Sam Shovel solves, "The Case Of The Secretary Who Was Shot While Sitting On Her Boss' Knee," or "She Was On Her Last Lap." Finally, Claudia, originally broadcast January 20, 1949, 76 years ago, Catalogue Shopping. . It's a wonderful night for sitting home by the fire. Thanks to Honeywell for supporting our podcast by using the Buy Me a Coffee function at http://classicradio.streamIf you like what we do here, visit our friend Jay at http://radio.macinmind.com for great old time radio shows 24 hours a day
A Funny Thanksgiving ThursdayFirst a look at this day in History.Then The Fred Allen Show, originally broadcast November 28, 1948, 76 years ago, George Jessel Tries to Get in the Roxy Theater, Free. Fred and guest George Jessel try to go to the movies to see Jessel's new film. Followed by Lum and Abner, originally broadcast November 28, 1948, 76 years ago, Birthday Present Problem. Lum is coming into a fortune and is trying to find a present for Miss Rowena. But the fortune isn't what Lum's expecting...Then Jack Benny, originally broadcast November 28, 1937, 87 years ago, Jack Cooks the Turkey. The cast is supposed to do "The Private Life Of A Bumble Bee," but never gets around to doing it. Shlepperman tries to convince his brother-in-law to buy the Maxwell.Followed by The Halls of Ivy starring Ronald and Benita Coleman, originally broadcast November 28, 1951, 73 years ago, Professor Warren's Romantic Folly. Professor Warren, instructor and romance novelist, has a crush! But the crush is pushing back on the professor. Finally Superman, originally broadcast November 28, 1941, 83 years ago, The Pan-American Highway. The staff of The Daily Planet are all captives of the Inca Indians.Thanks to Sean for supporting our podcast by using the Buy Me a Coffee function at http://classicradio.streamFind the Family Fallout Shelter Booklet Here: https://www.survivorlibrary.com/library/the_family_fallout_shelter_1959.pdfhttps://wardomatic.blogspot.com/2006/11/fallout-shelter-handbook-1962.htmlAnd more about the Survive-all Fallout Sheltershttps://conelrad.blogspot.com/2010/09/mad-men-meet-mad-survive-all-shelter.html
"Zip-a-Dee-Doo-Dah" - Bing Crosby; "If You Were the Only Girl in the World" - Bing Crosby & Skitch Henderson; "Open the Door Richard" - Jack McVea & His All-Stars; "Brazil" - Lina Romay; "Les Guitaras" -Lina Romay & Bing Crosby; "(I Love You) For Sentimental Reasons" - Bing Crosby; --- Support this podcast: https://podcasters.spotify.com/pod/show/iloveoldtimeradio/support
Excerpt of the 11 Nov 1948 Kraft Music Hall starring Al Jolson. George Jessel was the guest star on this program, but this segment is from the middle section of the broadcast, and features Al Jolson and Oscar Levant, in comedy and song. Jolson's songs include "Mandy, "I'll Get By," and "I Only Have Eyes For You." There is much more in the complete show, including a skit with George Jessel. The complete broadcast, along with other Jolson radio shows, is available at the Official Al Jolson Website at www.jolson.org.
GGACP celebrates April's National Humor Month by featuring this ENCORE of a memorable 2020 interview with comedian, actor and master impressionist John Byner. In this episode, John shares anecdotes about James Cagney, Jerry Lewis, Groucho Marx, Ed Sullivan and Jackie Vernon (to name a few) and talks about his engrossing memoir “Five Minutes Mr Byner: Lifetime of Laughter.”Also, Jack Carter lashes out, George Jessel lawyers up, Joey Bishop promotes a boxing match and Billy Barty sits on Bob Hope's lap. PLUS: Annette Funicello! “Angels with Dirty Faces”! Dueling Rod Steigers! “Merv Griffin's Talent Scouts”! And John and the boys remember the late, great Bob Einstein! Learn more about your ad choices. Visit megaphone.fm/adchoices
Jack Benny TV Videocasthttps://open.spotify.com/show/6BDar4CsgVEyUloEQ8sWpw?si=89123269fe144a10Jack Benny Show OTR Podcast!https://open.spotify.com/show/3UZ6NSEL7RPxOXUoQ4NiDP?si=987ab6e776a7468cJudy Garland and Friends OTR Podcasthttps://open.spotify.com/show/5ZKJYkgHOIjQzZWCt1a1NN?si=538b47b50852483dStrange New Worlds Of Dimension X-1 Podcasthttps://open.spotify.com/show/6hFMGUvEdaYqPBoxy00sOk?si=a37cc300a8e247a1Buck Benny YouTube Channelhttps://r.search.yahoo.com/_ylt=AwrOoc1Q5bllBgQA469XNyoA;_ylu=Y29sbwNncTEEcG9zAzEEdnRpZAMEc2VjA3Ny/RV=2/RE=1707891281/RO=10/RU=https%3a%2f%2fwww.youtube.com%2f%40BuckBenny/RK=2/RS=nVp4LDJhOmL70bh7eeCi6DPNdW4-Support us on Patreonhttps://r.search.yahoo.com/_ylt=Awr92rDP5bllDAQAM_ZXNyoA;_ylu=Y29sbwNncTEEcG9zAzEEdnRpZAMEc2VjA3Ny/RV=2/RE=1707891407/RO=10/RU=https%3a%2f%2fwww.patreon.com%2fuser%3fu%3d4279967/RK=2/RS=9LbiSxziFkcdPQCvqIxPtxIgZ7A-ReplyForwardAdd reaction
De la vodka, du jus de tomate, du Tabasco et de la sauce imprononçable mais je tente ma chance, la sauce Worcestershire. Qui a eu cette drôle d'idée de créer le Bloody Mary ? Hemingway l'a dit : « Paris est une fête », surtout quand on a la descente de l'écrivain. Gros buveur d'alcool cet Ernest. Lorsque l'Américain s'installe dans la capitale française au tout début des années 20, il a plusieurs bonnes adresses. Le café de Flore, le Harry's New York Bar ou encore le bar du Ritz, hôtel de la place Vendôme (le bar porte désormais son nom d'ailleurs). Et Ernest Hemingway, l'habitué, aime boire un petit Bloody Mary. Première légende autour de la création de ce cocktail : c'est l'écrivain lui-même qui demande au barman de l'hôtel parisien de créer un cocktail qui permet de masquer l'odeur de l'alcool pour ne pas se faire remonter les bretelles par sa compagne Mary. L'Américain épousera bien un Mary mais après la Seconde Guerre Mondiale. Anachronique. On dit aussi qu'Ernest Hemingway, toujours lui, boit ce cocktail au moment où son docteur lui a interdit de boire de l'alcool ! Il sait pourtant que le Bloody Mary est fait avec de la vodka. On attribue aussi la création de ce cocktail à George Jessel, comédien de Broadway des années folles. Mais où se situe la vérité ? Mais qui est Mary, Bloody Mary ? Retour en France. La recette de ce cocktail serait bien née à Paris dans les années 20 mais au Harry's New York bar grâce à Fernand Petiot. C'est le barman de l'établissement. Il imagine ce cocktail pour relever le goût d'un nouvel alcool rapporté par les immigrés russes, la vodka. On raconte qu'un jour de 1920 ou de 1921, oui, il y a toujours un moment où l'idée de génie apparaît mais à force de boire, on ne sait plus trop quel jour on est ! Un jour donc, au Harry's bar, Fernand Petiot décide de verser une boîte de conserve de jus de tomate et de le mélanger avec de la vodka, il fait un moit-moit. Assez costaud et ça plait. On est encore loin de la recette telle qu'on la connaît aujourd'hui mais ça je vous le raconte dans le prochain épisode ! Learn more about your ad choices. Visit megaphone.fm/adchoices
Jack Benny TV Videocasthttps://open.spotify.com/show/6BDar4CsgVEyUloEQ8sWpw?si=89123269fe144a10Jack Benny Show OTR Podcast!https://open.spotify.com/show/3UZ6NSEL7RPxOXUoQ4NiDP?si=987ab6e776a7468cJudy Garland and Friends OTR Podcasthttps://open.spotify.com/show/5ZKJYkgHOIjQzZWCt1a1NN?si=538b47b50852483dStrange New Worlds Of Dimension X-1 Podcasthttps://open.spotify.com/show/6hFMGUvEdaYqPBoxy00sOk?si=a37cc300a8e247a1Buck Benny YouTube Channelhttps://r.search.yahoo.com/_ylt=AwrOoc1Q5bllBgQA469XNyoA;_ylu=Y29sbwNncTEEcG9zAzEEdnRpZAMEc2VjA3Ny/RV=2/RE=1707891281/RO=10/RU=https%3a%2f%2fwww.youtube.com%2f%40BuckBenny/RK=2/RS=nVp4LDJhOmL70bh7eeCi6DPNdW4-Support us on Patreonhttps://r.search.yahoo.com/_ylt=Awr92rDP5bllDAQAM_ZXNyoA;_ylu=Y29sbwNncTEEcG9zAzEEdnRpZAMEc2VjA3Ny/RV=2/RE=1707891407/RO=10/RU=https%3a%2f%2fwww.patreon.com%2fuser%3fu%3d4279967/RK=2/RS=9LbiSxziFkcdPQCvqIxPtxIgZ7A-
On Saturday, May 30, 1964, Bob Crane hosted a four-hour 8th anniversary special of his KNX-CBS radio program. For this special broadcast, he aired clips from many of the interviews he had conducted over the years at KNX. Part 1 of his 8th anniversary special is presented here. Celebrity guests include Jack Lemmon, George Jessel, Gypsy Rose Lee, Soupy Sales, Bob Hope, Dick Van Dyke, Fred Astaire, Joe Louis (American professional boxer), and Terry-Thomas (English comedian). Also included in this segment are commercials for General Motors, Budweiser, Buick, National Airlines, Plymouth, and Delta Airlines, among others.© Carol M Ford Productions, LLCAll rights reserved.Selected music is licensed through Epidemic Sound and used with permission.Bob Crane's 8th anniversary KNX special was provided to Bob Crane's official biographers by a former KNX employee who worked with Bob at the station and is used here with permission of Scott Crane.For more information about Bob Crane, visit https://vote4bobcrane.org/
GGACP celebrates the birthday (b. February 14) of friend, comedian and former “Howard Stern Show” writer Jackie “The Joke Man” Martling with this ENCORE of a sprawling, no-holds-barred conversation about Hollywood urban myths, Joe E. Ross' hooker habit, the eccentricities of Tiny Tim and the vindictiveness of Ed Sullivan and Arthur Godfrey. Also, Jackie tells a joke to Sir Paul, Gilbert riffs on Jackie Mason, George Jessel turns down “The Jazz Singer” and Johnny Roselli scams the Friars Club. PLUS: Otto & George! Gilbert “Dice” Gottfried! The legend of Joe Ancis! And the origin of the “Jackie puppet”! Learn more about your ad choices. Visit megaphone.fm/adchoices
February 7, 1943 - Jack is late and guest George Jessel subs for Jack. References include Fred Allen (with a clip of Oscar levant talking about playing with Jack Benny at Carnegie Hall), Abbot and Costello, Benny Rubin and Joe Lewis.
GGACP celebrates the 40th anniversary of a movie that inspired the podcast, Woody Allen's "Broadway Danny Rose" (released January 27, 1984) by revisiting this funny and fascinating conversation with one of the film's performers, comedian and director Howard Storm. In this episode, Howard (accompanied by writer Steve Stoliar) talks about the glory days of burlesque, the heyday of Jewish gangsters, the challenges of directing Redd Foxx, Don Rickles and Robin Williams and Howard's entertaining memoir (co-authored by Steve), "The Imperfect Storm." Also, Desi Arnaz saves the day, Raquel Welch acts the diva, Harry Belafonte breaks Jack Rollins' heart and Howard crosses swords with Don Adams, Lucille Ball and George Jessel. PLUS: Wayland Flowers and Madame! Praising Valerie Harper! The genius of Bud Abbott! And the return of "Dueling Grouchos"! Learn more about your ad choices. Visit megaphone.fm/adchoices
Nearly three hours of wonderful variety showsFirst a look at this day in History.Then The New Edgar Bergen Hour with Charlie Mccarthy, originally broadcast January 22, 1956, 68 years ago. Prof. Kirkwood's Do-It-Yourself Snore Cure Kit, Mortimer the wrestler, guest is safety expert Cecil Zon, McCarthy's "Cavalcade Of Flops."Followed by Town Hall Tonight starring Fred Allen, originally broadcast January 22, 1936, 88 years ago. The program starts with, "The Town Hall News." Miss Shrill sings, "Hark, The Gentle Lark." The Town Hall Quartet sings, "Slip Horn Sam." "The Mighty Allen Art Players" perform "Mumbo," or "Who Stole The Elephant From Billy Nose's Finale." "One Long Pan" solves the mystery of the missing elephants. Town Hall Amateurs: The ABC Quartet (from Waterbury, Connecticut) sings, "Tiger Rag." Dorothy Edmonds and Eleanor Bendeau sing a waltz from, "The Vagabond King." Tommy Dunne (an eighteen year old harmonica player from Broad Channel, New York) plays, "Darktown Strutter's Ball," while standing on his hands! No wonder he wins the contest! Charles Chancer (a pianist from Brooklyn) plays and sing his own composition, "After Dark." Eleanor Freeze plays, "Glow Worm" on the musical chimes. Lillian Frizer (from the Bronx), plays the piano and sings, "Eeny, Meeny, Miney Mo."Then Philco Radio Time starring Bing Crosby, originally broadcast January 22, 1947, 77 years ago with special guest George Jessel. Finally Lum and Abner, originally broadcast January 22, 1942, 82 years ago, is Lum in jail? Lum is in jail, and Uncle Henry is a tough jailer!Thanks to Sean for supporting our podcast by using the Buy Me a Coffee function at http://classicradio.streamCivil defense info mention on the show can be found here: http://www.civildefensemuseum.com/docs.html
Two hours of ComedyFirst a look at this day in History.Then You Bet Your Life starring Groucho Marx, originally broadcast January 20, 1950, 74 years ago, The Secret Word is Hair. Followed by The Fred Allen Show, originally broadcast January 20, 1946, 78 years ago, The Story of Fred's Life. The Allen's Alley question is, "How have you been coping with the meat shortage?" Fred and guest George Jessel do the story of Fred's life. Then Abbott and Costello, originally broadcast January 20, 1949, 75 years ago. Sam Shovel solves, "The Case Of The Secretary Who Was Shot While Sitting On Her Boss' Knee," or "She Was On Her Last Lap." This somehow turns into a western story about cattle rustlers. Followed by Fibber McGee and Molly, originally broadcast January 20, 1936, 88 years ago, running the Drug Store. The orchestra starts the show with, "Sitting High On A Hilltop." Fibber becomes the manager of the Wistful Vista drug store. Finally Lum and Abner, originally broadcast January 20, 1942, 82 years ago, Lum to break into the store. Squire Skimp suggests that Lum steal the bill of sale at midnight, then tells Abner about Lum's plans!Thanks to Eric for supporting our podcast by using the Buy Me a Coffee function at http://classicradio.stream
GGACP celebrates the 92nd birthday of innovative film director -- and long-sought podcast guest -- Richard Lester (b. January 19, 1932), by revisiting this double topic mini-ep from 2016. In this episode, the boys look back on the American-born expatriate's impressive list of collaborators (Peter Sellers, Sean Connery, the Beatles, Peter Cook & Dudley Moore, et al.) as well as his influence on everyone from Martin Scorsese to Steven Soderbergh. Also: "A Funny Thing Happened on the Way to the Forum"! John Lennon wins the war! Ted Bessell does George Jessel! The enduring appeal of "A Hard Day's Night"! And Gilbert weighs in on the Spice Girls movie! PLUS: The very first discussion of Bob Hope's "Jack Frost"! Learn more about your ad choices. Visit megaphone.fm/adchoices
The Beatles Almond Album on Spotify! https://open.spotify.com/playlist/5CW9ue6FasCzlEyCFJwbXK?si=SDSTvr7DRdOO7vtVVJzeNw
William Dennis Gargan was born to an irish-american Catholic family in Brooklyn, New York on July 17th, 1905. His parents—Bill and Irene—had seven children, but only Bill and his brother Ed survived infancy. Ed was four years older than Bill. The pair were close. Bill's mother had been a teacher, but his father was a book maker and a gambler, which didn't sit well with Irene's parents. Gargan's dad made book in the copy room at the New York World and in Room 9 of City Hall. The four-story brownstone they lived in at 427 Henry Street in Brooklyn Heights was won in a poker game. Today P.S. 29 stands on the site. Bill got his first silent movie job at seven for Vitagraph Studios. He was paid Three dollars and eighty-five cents. That's roughly one-hundred twenty dollars today. It portended things to come. By ten, Bill was hanging out at his father's bar in Sunset Park, Brooklyn. Gargan later said that his mother was more straight-laced, a bit of a prude on the surface, but in reality, she ran with dad all her life and his.” Both parents had good senses of humor. He grew up going to Sea Gate in the summer and fighting for the Irish kids from Bay Ridge against the Italian kids in empty lots. He played baseball and basketball for St. Francis Xavier grade school and St. James High. He ditched school in the spring to scale the Ebbets Field wall to watch the Dodgers and their stars of the 1910s. When he was fourteen and working as an ice brusher at the Prospect Park skating rink, Gargan met a girl named Mary Elizabeth Kenny. He was so taken that he used his broom to knock her down! Gargan recalled that “She got up, her eyes spitting fire and her mouth not doing badly either. I knew I was in love.” Gargan loved the theater. By high school he was playing in school productions of Hamlet, Macbeth, and Romeo and Juliet. However, a teacher who'd been out to get Bill for his comedic behavior made life so miserable during Bill's senior year that he dropped out. Gargan became a message runner for a Broad Street brokerage firm, then a cop for a clothing store, then one for a Wall Street agency until he was fired for losing a tail. He sold Wesson Oil to grocers, sneaking away to watch plays. One day the lights went up and Gargan noticed his boss was sitting next to him. “Good show,” Gargan said, “you're fired,” said his boss. Bill's brother Ed was an actor. While having lunch with Ed one day at the Lamb's Club a man named Le Roy Clemens mentioned to Bill that a play he'd written was having tryouts. Bill read a line and was hired, beginning his career in Aloma of the South Seas. They opened in Baltimore in 1924. Gargan was a quick study, learning everyone's parts as well as the stage manager's. Within a year he was directing the Philadelphia production of the play. Aloma of the South Seas ran for forty weeks. Gargan spent the next years playing all over the country with people like George Jessel and Richard Bennett. Jessel would be godfather to Bill's first son Bill Jr, affectionately known as Barrie. Barrie was born on February 25th, 1929. After the stock market crashed, Bill got a short-term job on stage in New York where he met William Bendix. Soon a casting director at Paramount called and after that Leslie Howard cast Bill in a play. Bill later said that Leslie helped make him a star. That same year, on January 12, 1932 Gargan opened at the Broadhurst theater in New York with Leslie Howard in Philip Barry's The Animal Kingdom. It was a smash hit. His success led MGM to call. They offered him the part of Sergeant O'Hara in the 1932 feature Rain, starring Joan Crawford and Walter Huston. He'd be paid fifteen-hundred dollars per week. That's over thirty-three grand today. Bill bought out his contract with The Animal Kingdom, playing on May 2nd for the last time. The next morning, Bill, Mary, and young Barrie left for Hollywood. Rain was shot on Catalina Island.
OTRnow Radio Program The 4th Of July2 1/4 hours of classic old time radio celebrating the 4th of July!COLUMBIA WORKSHOP (Columbia Presents Corwin) July 04,1944 CBS net. "Home For The Fourth". Sustaining. A story typical of America and the things it stands for. Norman Corwin (writer, producer, director), Dane Clark, Bernard Herrmann (music), Dick Cutting (announcer). RIPLEY'S BELIEVE IT OR NOT July 5,1938. Red net. Sponsored by: Post 40% Bran Flakes. The first tune is, "Chansonette." Ripley's features are about "The Foreign Queen Who Became A U. S. Citizen," "The Naming Of Canada," "Mortgaging The U. S. Capitol and the White House," "Backwoods Genius," "The Youngest Preacher" and the most valuable letter. Robert Ripley, B. A. Rolfe and His Orchestra, Linda Lee (vocal), Ford Bond (announcer), Bennett Kilpack.CALLING ALL CARS July 4,1934 CBS Pacific net (Don Lee net). "July Fourth In A Radio Car". Sponsored by: Rio Grande Oil ("Calling All Cars Radio Log"). Fireworks are being exploded within the city limits. The announcer twice mentions that this is "broadcast #35." A holiday spent by radio in a police car. "A slice of actual life." The above date is accurate (the program is about the fourth of July holiday). The program number is possibly #32, despite what the announcer says, unless there is a three week error in the relationship of the program numbers and dates. After the drama, Mr. Lindsley announces that "there were thirty-four characters (in the radio drama)...played by twelve people," and unlike other programs, names them all. Mary Tuthill, Jeanette Nolan, Martha Wentworth, Ralph Scott, Joe Franz, Hanley Stafford, Sam Pierce, Charlie Lung, Richard LeGrand, Robert Frazer, Fred Harrington, Lindsay MacHarrie, William N. Robson (writer, producer), Charles Frederick Lindsley (narrator The Bill Stern Colgate Sports Newsreel. July 4, 1947. Program #399. NBC net. Sponsored by: Colgate Shave Cream. Bill Stern, George Jessel, Joe Howard, June Haver. ESCAPE- July 04,1948. CBS net. "A Tooth For Paul Revere". Sustaining. How the American Revolution really started, a humorous look at a Yankee farmer's point of view. The script was previously used n "The Cavalcade Of America" on May 11, 1942 (see cat. #22924) and on "Adventure Ahead" on September 9, 1944 (see cat. #5132). Stephen Vincent Benet (author), Harry Bartell, Parley Baer, Berry Kroeger, Norman Macdonnell (producer, director), John Dunkel (adaptor), Ivan Ditmars (special music).
Mindi brings us the last Big Show of the season from 1951-05-06 episode (027) with Tallulah Bankhead, Fred Allen, George Jessel, Groucho Marx, Ginger Rogers, Margaret Truman, etc.
Mindi Brings us the last Big Show of the season from 1951-05-06 episode (027) with Tallulah Bankhead, Fred Allen, George Jessel, Groucho Marx, Ginger Rogers, Margaret Truman, etc.
Duffy's Tavern with guest star "Louella Parsons" November 6, 1946 NBC Duffy's Tavern "George Jessel and Rudy Vallee" November 5, 1947 NBC
GGACP's celebration of National Humor Month rolls on with this ENCORE of an unforgettable 2019 interview with actor-voice artist Billy West and comedian Jackie Martling. In this episode, the boys discuss the cinema of George Pal, the versatility of Paul Frees, the uniqueness of Peter Sellers and the enduring legend of Joe Franklin. Also, Jonathan Winters disses Don Adams, Jack Carter guests on "Ren & Stimpy," Billy meets The Man from Uncle and Jackie weighs in on the Gilbert-Shecky Greene clash. PLUS: "Shock Theater"! "7 Faces of Dr. Lao"! The return of the Jackie puppet! Curly Howard takes a bullet! And George Jessel duets with...George Jessel? Learn more about your ad choices. Visit megaphone.fm/adchoices
One of the most famous story arcs ever!
In Breaking Walls episode 137 we celebrate the Irish by focusing on St. Patrick's Day on the air. —————————— Highlights: • Fred Allen — The End and the Beginning • Beat the Band • Burns and Allen at the NYC Parade • Bill Stern's Sports Newsreel • Dennis Day Returns from the Navy • Fred Allen is King For a Day • Elliott Lewis and Broadway Is My Beat • The Death of Fred Allen • Ending with Jean Shepherd • Looking Ahead to Opening Day —————————— The WallBreakers: http://thewallbreakers.com Subscribe to Breaking Walls everywhere you get your podcasts. To support the show: http://patreon.com/TheWallBreakers —————————— The reading material for today's episode was: • Treadmill to Oblivion and Much Ado About Me — By Fred Allen • On The Air — By John Dunning • Network Radio Ratings — By Jim Ramsburg • The Museum of Broadcast Communications Encyclopedia of Radio — By Christopher H. Sterling As well as articles from • The New York Daily News • The New York Times —————————— On the interview front: • Fred Allen was interviewed by Tex and Jinx on NBC Radio — November 24th, 1954 • Goodman Ace, Tallulah Bankhead, Jack Benny, Mort Greene, Jim Harkins, George Jessel, Doc Rockwell, Donald Vorhees, Pat Weaver, Roger White, and Herman Wouk spoke for Biography In Sound — May 29th, 1956 • Dennis Day and Phil Harris spoke to Chuck Schaden. Hear these full chats at SpeakingOfRadio.com • Dennis Day and Elliott Lewis spoke to John Dunning for his 71KNUS program from Denver. • Morton Fine was with Dan Haefele • Jack Kruschen with Jim Bohannan in 1987. • Orson Welles on The Tonight Show with Johnny Carson • George Burns spoke to Barbara Walters —————————— Selected music featured in today's episode was: • The Sails of Galway — By W.B. Snuffy Walden • Overture on Hebrew Themes, Opus 34 — By Andre Moisan • Someone To Watch Over Me — By Blossom Dearie • The Minstrel Boy — By Jacqueline Schwab • Swing into Spring — By Benny Goodman —————————— A special thank you to Ted Davenport, Jerry Haendiges, and Gordon Skene. For Ted go to RadioMemories.com, for Jerry, visit OTRSite.com, and for Gordon, please go to PastDaily.com. —————————— Thank you to: Tony Adams Steven Allmon Orson Orsen Chandler Phil Erickson Jessica Hanna Perri Harper Briana Isaac Thomas M. Joyce Ryan Kramer Earl Millard Gary Mollica Barry Nadler Christian Neuhaus Aimee Pavy Ray Shaw Filipe A Silva John Williams —————————— WallBreakers Links: Patreon - patreon.com/thewallbreakers Social Media - @TheWallBreakers
In 1922 a twenty-eight-year-old Fred Allen, already a vaudeville veteran, was hired by J.J. Shubert for his broadway production of The Passing Show of 1922. Allen was gaining fame as a monologist. He was in charge of writing his own material. One popular gag was the "Old Joke Cemetery." Allen had a curtain painted as a graveyard, on the tombstones were the punch lines to forty-six old jokes. When Allen moved with the show to Chicago, he met a dancer named Portland Hoffa. There the producers told Allen to drop the cemetery gag. The show was moving to Hollywood. Allen quit. Back in New York he demanded royalties from the Shuberts when the gag turned up in their other acts. They re-hired him, to emcee Artists and Models. In the revue, the chorus women were topless. Allen came on after the women were finished. The Shuberts and Allen soon came to a mutual release. Fred and Portland were married in 1927 and Allen starred in similar revues until Portland joined him on stage. Together they were a hit. Four years later Allen was contemplating radio. By 1932 big names like Ed Sullivan, Ed Wynn, and George Jessel were on radio. Jessel convinced Allen to audition. Allen felt that writing a sketch show centered around characters in different business backgrounds would appeal. The Corn Products Company hired him. Their Linit Beauty Powder would be the featured product. Allen was paid one-thousand dollars per week, but he had to produce the show out of his own pocket. He co-wrote it with Harry Tugent. Producer Roger White remembered that time. The Linit Bath Club Review premiered on Sunday, October 23rd, 1932 over CBS. Right from the beginning Allen had trouble with his sponsors. The season rating was 11.9, thirty-ninth overall. Roughly five million people tuned in and the show bested the Manhattan Merry-Go-Round opposite on NBC. But, the program was canceled after six months. Fred returned to radio on Friday August 4th, 1933 over NBC. His new show was The Salad Bowl Review for Hellmann's Mayonnaise. It would mark the beginning of a six-year relationship with the National Broadcasting Company. Allen was paid four-thousand dollars per week. Minerva Pious joined the cast. She'd later be known for her ethnic character portrayals. Allen introduced the Etiquette Department and the Question box. People could write in to have questions answered on-air, with instructions to try to slip things by the censors. He started a newsreel. It was the forerunner to the satirical comedy that would become a program staple. The ad agency who held the Helmann's account liked the program so much that they aired it through autumn, long-passed mayonnaise's shelf-life in a time when it was a seasonal condiment for salads. However, by December 1st, 1933 the show had to exit the air. Now Sal Hepatica laxatives from Bristol Myers wanted in. Beginning on January 4th, 1934, Fred Allen debuted as emcee for The Sal Hepatica Review. On March 21st, 1934 the broadcast was expanded to an hour. It now included Ipana Toothpaste and was called The Hour of Smiles. Allen was given no additional budget and each show had to be performed twice—once for each coast. Allen hired a couple of script-writers to help. One of them was Herman Wouk, who'd later win a Pulitzer Prize for his 1951 novel, The Caine Mutiny. By then, the program had become a local review with news. On July 11th the show was retitled Town Hall Tonight. The tight budget left no room for big guest stars. Allen had to develop plot lines. Things were running smoothly until Allen was called into the agency offices. They objected to some of his jokes and didn't like the concept of a running gag—something Allen had begun to develop. Allen later explained that running gags were very important because they stimulated a listener's memory and interest. The ad agency disagreed. Allen paid them no mind.
Join Al Hirschfeld Foundation Creative Director David Leopold and Archives Manager Katherine Eastman as they recall Hirschfeld's pivotal trip to Bali that changed his career forever! _________________________ Sydney Chaplin, Man on the Box (1925) On Ze Boulevard (1927) Fred Allen George Kaufman Marx Brothers Tahiti Miquel Covarrubias Bali Charlie Chaplin Sydney Chaplin Al & Flo's Letter to the Chaplins Sunnyside Poster (1927) Art Students League - Study Fanny Brice and George Jessel, 1932 S.J. Perelman The Great Dictator (1940) Charlie Chaplin - Smiling, Man With Both Feet (1942) Charlie Chapin "A Balinese Girl Dances Like This" (1942) Swiss Family Perelman Balinese Pastiche (1950) Rhythm Series - Le Gong Bali (1970) Show Business is No Business Charlie Chaplin "Back View" (1981) Silent Screen Stars Stamps (1994) _________________________ Visit our website Visit our shop Like us on Facebook Subscribe to our Youtube Channel Follow us on Twitter Follow us on Instagram
Another great Triple Stack of Jack and Phil!
The famous English Horse episode.
Mail Call was an American radio program that entertained American soldiers from 1942 until 1945, during World War II. Lt. Col. Thomas A.H. Lewis (commander of the Armed Forces Radio Service) wrote in 1944, "The initial production of the Armed Forces Radio Service was 'Mail Call,' a morale-building half hour which brought famed performers to the microphone to sing and gag in the best American manner." The program featured popular entertainers of that day, such as Bob Hope, Bing Crosby, Judy Garland, and Dinah Shore, performing musical numbers and comedy skits to boost the morale of soldiers stationed far from their homes. Lewis added, "To a fellow who has spent months guarding an outpost in the South Seas, Iceland or Africa a cheery greeting from a favorite comedian, a song hit direct from Broadway, or the beating rhythm of a hot band, mean a tie with the home to which he hopes soon to return Listen to our radio station Old Time Radio https://link.radioking.com/otradio Listen to other Shows at My Classic Radio https://www.myclassicradio.net/ Remember that times have changed, and some shows might not reflect the standards of today's politically correct society. The shows do not necessarily reflect the views, standards, or beliefs of Entertainment Radio
Mail Call was an American radio program that entertained American soldiers from 1942 until 1945, during World War II. Lt. Col. Thomas A.H. Lewis (commander of the Armed Forces Radio Service) wrote in 1944, "The initial production of the Armed Forces Radio Service was 'Mail Call,' a morale-building half hour which brought famed performers to the microphone to sing and gag in the best American manner." The program featured popular entertainers of that day, such as Bob Hope, Bing Crosby, Judy Garland, and Dinah Shore, performing musical numbers and comedy skits to boost the morale of soldiers stationed far from their homes. Lewis added, "To a fellow who has spent months guarding an outpost in the South Seas, Iceland or Africa a cheery greeting from a favorite comedian, a song hit direct from Broadway, or the beating rhythm of a hot band, mean a tie with the home to which he hopes soon to return Listen to our radio station Old Time Radio https://link.radioking.com/otradio Listen to other Shows at My Classic Radio https://www.myclassicradio.net/ Remember that times have changed, and some shows might not reflect the standards of today's politically correct society. The shows do not necessarily reflect the views, standards, or beliefs of Entertainment Radio
Welcome to our first episode of the new year, which is also our first episode of Season 5. Thank you for continuing to join us on this amazing journey. On today's episode, we head back to Christmas of 1980, when pop music superstar Neil Diamond would be making his feature acting debut in a new version of The Jazz Singer. ----more---- EPISODE TRANSCRIPT From Los Angeles, California, the entertainment capital of the world, this is The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today. It's 2023, which means we are starting our fifth season. And for our first episode of this new season, we're going back to the end of 1980, to take a look back at what was supposed to be the launch of a new phase in the career of one of music's biggest stars. That musical star was Neil Diamond, and this would end up becoming his one and only attempt to act in a motion picture. We're talking about The Jazz Singer. As I have said time and time again, I don't really have a plan for this show. I talk about the movies and subjects I talk about often on a whim. I'll hear about something and I'll be reminded of something, and a few days later, I've got an episode researched, written, recorded, edited and out there in the world. As I was working on the previous episode, about The War of the Roses just before my trip to Thailand, I saw a video of Neil Diamond singing Sweet Caroline on opening night of A Beautiful Noise, a new Broadway musical about the life and music of Mr. Diamond. I hadn't noticed Diamond had stopped performing live five years earlier due to a diagnosis of Parkinson's, and it was very touching to watch a thousand people joyously singing along with the man. But as I was watching that video, I was reminded of The Jazz Singer, a movie we previously covered very lightly three years ago as part of our episode on the distribution company Associated Film Distribution. I was reminded that I haven't seen the movie in over forty years, even though I remember rather enjoying it when it opened in theatres in December 1980. I think I saw it four or five times over the course of a month, and I even went out and bought the soundtrack album, which I easily listened to a hundred times before the start of summer. But we're getting ahead of ourselves yet again. The Jazz Singer began its life in 1917, when Samson Raphaelson, a twenty-three year old undergraduate at the University of Illinois, attended a performance of Robinson Crusoe, Jr., in Champaign, IL. The star of that show was thirty-year-old Al Jolson, a Russian-born Jew who had been a popular performer on Broadway stages for fifteen years by this point, regularly performing in blackface. After graduation, Raphaelson would become an advertising executive in New York City, but on the side, he would write stories. One short story, called “The Day of Atonement,” would be a thinly fictionalized account of Al Jolson's life. It would be published in Everybody's Magazine in January 1922. At the encouragement of his secretary at the advertising firm, Raphaelson would adapted his story into a play, which would be produced on Broadway in September 1925 with a new title… The Jazz Singer. Ironically, for a Broadway show based on the early life of Al Jolson, Jolson was not a part of the production. The part of Jake Rabinowitz, the son of a cantor who finds success on Broadway with the Anglicized named Jack Robin, would be played by George Jessel. The play would be a minor hit, running for 303 performances on Broadway before closing in June 1926, and Warner Brothers would buy the movie rights the same week the show closed. George Jessel would be signed to play his stage role in the movie version. The film was scheduled to go into production in May 1927. There are a number of reasons why Jessel would not end up making the movie. After the success of two Warner movies in 1926 using Vitaphone, a sound-on-disc system that could play music synchronized to a motion picture, Warner Brothers reconcieved The Jazz Singer as a sound movie, but not just a movie with music synchronized to the images on screen, but a “talkie,” where, for the first time for a motion picture, actual dialogue and vocal songs would be synchronized to the pictures on screen. When he learned about this development, Jessel demanded more money. The Warner Brothers refused. Then Jessel had some concerns about the solvency of the studio. These would be valid concerns, as Harry Warner, the eldest of the four eponymous brothers who ran the studio, had sold nearly $4m worth of his personal stock to keep the company afloat just a few months earlier. But what ended up driving Jessel away was a major change screenwriter Alfred A. Cohen made when adapting the original story and the play into the screenplay. Instead of leaving the theatre and becoming a cantor like his father, as it was written for the stage, the movie would end with Jack Robin performing on Broadway in blackface while his mom cheers him on from one of the box seats. With Jessel off the project, Warner would naturally turn to… Eddie Cantor. Like Al Jolson, Eddie Cantor was a Jew of Russian descent, although, unlike Jolson, he had been born in New York City. Like Jolson, he had been a star on Broadway for years, regularly performing in and writing songs for Florenz Ziegfeld' annual Follies shows. And like Jolson, Cantor would regularly appear on stage in blackface. But Cantor, a friend of Jessel's, instead offered to help the studio get Jessel back on the movie. The studio instead went to their third choice… Al Jolson. You know. The guy whose life inspired the darn story to begin with. Many years later, film historian Robert Carringer would note that, in 1927, George Jessel was a vaudeville comedian with one successful play and one modestly successful movie to his credit, while Jolson was one of the biggest stars in America. In fact, when The Vitaphone Company was trying to convince American studios to try their sound-on-disc system for movies, they would hire Jolson in the fall of 1926 for a ten minute test film. It would be the success of the short film, titled A Plantation Act and featuring Jolson in blackface singing three songs, that would convince Warners to take a chance with The Jazz Singer as the first quote unquote talkie film. I'll have a link to A Plantation Act on our website, The80sMoviePodcast.com, if you're interested in seeing it. Al Jolson signed on to play the character inspired by himself for $75,000 in May 1927, the equivalent to $1.28m today. Filming would be pushed back to June 1927, in part due to Jolson still being on tour with another show until the end of the month. Warners would begin production on the film in New York City in late June, starting with second unit shots of the Lower East Side and The Winter Garden Theatre on Broadway, shooting as much as they could until Jolson arrived on set on July 11th. Now, while the film has been regularly touted for nearly a century now as the first talking motion picture, the truth is, there's very little verbal dialogue in the film. The vast majority of dialogue in the movie was still handled with the traditional silent movie use of caption cards, and the very few scenes featuring what would be synchronized dialogue were saved for the end of production, due to the complexity of how those scenes would be captured. But the film would finish shooting in mid-September. The $422k movie would have its world premiere at the Warner Brothers theatre in New York City not three weeks later, on October 6th, 1927, where the film would become a sensation. Sadly, none of the Warner Brothers would attend the premiere, as Sam Warner, the strongest advocate for Vitaphone at the studio, had died of pneumonia the night before the premiere, and his remaining brothers stayed in Los Angeles for the funeral. The reviews were outstanding, and the film would bring more than $2.5m in rental fees back to the studio. At the first Academy Awards, held in May 1929 to honor the films released between August 1927 and July 1928, The Jazz Singer was deemed ineligible for the two highest awards, Outstanding Production, now known as Best Picture, and Unique and Artistic Production, which would only be awarded this one time, on the grounds that it would have been unfair to a sound picture compete against all the other silent films. Ironically, by the time the second Academy Awards were handed out, in April 1930, silent films would practically be a thing of the past. The success of The Jazz Singer had been that much a tectonic shift in the industry. The film would receive one Oscar nomination, for Alfred Cohn's screenplay adaptation, while the Warner Brothers would be given a special award for producing The Jazz Singer, the “pioneer outstanding talking picture which has revolutionized the industry,” as the inscription on the award read. There would be a remake of The Jazz Singer produced in 1952, starring Danny Thomas as Korean War veteran who, thankfully, leaves the blackface in the past, and a one-hour television adaptation of the story in 1959, starring Jerry Lewis. And if that sounds strange to you, Jerry Lewis, at the height of his post-Lewis and Martin success, playing a man torn between his desire to be a successful performer and his shattered relationship with his cantor father… well, you can see it for yourself, if you desire, on the page for this episode on our website. It is as strange as it sounds. At this point, we're going to fast forward a number of years in our story. In the 1970s, Neil Diamond became one of the biggest musical stars in America. While he wanted to be a singer, Diamond would get his first big success in music in the 1960s as a songwriter, including writing two songs that would become big hits for The Monkees: I'm a Believer and A Little Bit Me, A Little Bit You. And really quickly, let me throw out a weird coincidence here… Bob Rafelson, the creator of The Monkees who would go on to produce and/or direct such films as Easy Rider and Five Easy Pieces, was the nephew of Samson Raphaelson, the man who wrote the original story on which The Jazz Singer is based. Anyway, after finding success as a songwriter, Diamond would become a major singing star with hits like Girl, You'll Be a Woman Soon, Sweet Caroline, and Song Sung Blue. And in another weird coincidence, by 1972, Neil Diamond would become the first performer since Al Jolson to stage a one-man show at the Winter Garden Theatre on Broadway. By 1976, Neil Diamond is hosting specials on television, and one person who would see one of Diamond's television specials was a guy named Jerry Leider, an executive at Warner Brothers in charge of foreign feature production. Leider sees something in Diamond that just night be suited for the movies, not unlike Elvis Presley or Barbra Streisand, who in 1976 just happens to be the star of a remake of A Star Is Born for Warner Brothers that is cleaning up at the box office and at records stores nationwide. Leider is so convinced Neil Diamond has that X Factor, that unquantifiable thing that turns mere mortals into superstars, that Leider quits his job at Warners to start his own movie production company, wrestling the story rights to The Jazz Singer from Warner Brothers and United Artists, both of whom claimed ownership of the story, so he can make his own version with Diamond as the star. So, naturally, a former Warners Brothers executive wanting to remake one of the most iconic movies in the Warner Brothers library is going to set it up at Warner Brothers, right? Nope! In the fall of 1977, Leider makes a deal with MGM to make the movie. Diamond signs on to play the lead, even before a script is written, and screenwriter Stephen H. Foreman is brought in to update the vaudeville-based original story into the modern day while incorporating Diamond's strengths as a songwriter to inform the story. But just before the film was set to shoot in September 1978, MGM would drop the movie, as some executives were worried the film would be perceived as being, and I am quoting Mr. Foreman here, “too Jewish.” American Film Distribution, the American distribution arm of British production companies ITC and EMI, would pick the film up in turnaround, and set a May 1979 production start date. Sidney J. Furie, the Canadian filmmaker who had directed Diana Ross in Lady Sings the Blues, would be hired to direct, and Jacqueline Bisset was pursued to play the lead female role, but her agent priced their client out of the running. Deborah Raffin would be cast instead. And to help bring the kids in, the producers would sign Sir Laurence Olivier to play Diamond's father, Cantor Rabinovitch. Sir Larry would get a cool million dollars for ten weeks of work. There would, as always is with the case of making movies, be setbacks that would further delay the start of production. First, Diamond would hurt his back at the end of 1978, and needed to go in for surgery in early January 1979. Although Diamond had already written and recorded all the music that was going to be used in the movie, AFD considered replacing Diamond with Barry Manilow, who had also never starred in a movie before, but they would stick with their original star. After nearly a year of rest, Diamond was ready to begin, and cameras would roll on the $10m production on January 7th, 1980. And, as always is with the case of making movies, there would be more setbacks as soon as production began. Diamond, uniquely aware of just how little training he had as an actor, struggled to find his place on set, especially when working with an actor of Sir Laurence Olivier's stature. Director Furie, who was never satisfied with the screenplay, ordered writer Foreman to come up with new scenes that would help lessen the burden Diamond was placing on himself and the production. The writer would balk at almost every single suggestion, and eventually walked off the film. Herbert Baker, an old school screenwriter who had worked on several of the Dean Martin and Jerry Lewis movies, was brought in to punch up the script, but he would end up completely rewriting the film, even though the movie had been in production for a few weeks. Baker and Furie would spend every moment the director wasn't actively working on set reworking the story, changing the Deborah Raffin character so much she would leave the production. Her friend Lucie Arnaz, the daughter of Desi Arnaz and Lucille Ball, would take over the role, after Cher, Liza Minnelli and Donna Summer were considered. Sensing an out of control production, Sir Lew Grade, the British media titan owner of AFD, decided a change was needed. He would shut the production down on March 3rd, 1980, and fire director Furie. While Baker continued to work on the script, Sir Grade would find a new director in Richard Fleischer, the journeyman filmmaker whose credits in the 1950s and 1960s included such films as 20,000 Leagues Under the Sea, Compulsion, Fantastic Voyage and Doctor Doolittle, but had fallen out of favor with most studios after a string of flops. In fact, this would be the second film in a year where Fleischer was hired to replace another director during the middle of production, having replaced Richard C. Sarafian on the action-adventure film Ashanti in 1979. With Fleischer aboard, production on The Jazz Singer would resume in late March, and there was an immediate noticeable difference on set. Where Furie and many members of the crew would regularly defer to Diamond due to his stature as an entertainer, letting the singer spiral out of control if things weren't working right, Fleischer would calm the actor down and help work him back into the scene. Except for one scene, set in a recording studio, where Diamond's character needed to explode into anger. After a few takes that didn't go as well as he hoped, Diamond went into the recording booth where his movie band was stationed while Fleischer was resetting the shot, when the director noticed Diamond working himself into a rage. The director called “action,” and Diamond nailed the take as needed. When the director asked Diamond how he got to that moment, the singer said he was frustrated with himself that he wasn't hitting the scene right, and asked the band to play something that would make him angry. The band obliged. What did they play? A Barry Manilow song. Despite the recasting of the leading female role, a change of director and a number of rewrites by two different writers during the production, the film was able to finish shooting at the end of April with only $3m added to the budget. Associated Film would set a December 19th, 1980 release date for the film, while Capitol Records, owned at the time by EMI, would release the first single from the soundtrack, a soft-rock ballad called Love on the Rocks, in October, with the full soundtrack album arriving in stores a month later. As expected for a new Neil Diamond song, Love on the Rocks was an immediate hit, climbing the charts all the way to #2 on the Billboard Hot 100. Several days before the film opened in 241 theatres on December 19th, there was a huge, star-studded premiere at the Plitt Century Plaza Cinemas in Los Angeles. Peter Falk, Harvey Korman, Ed McMahon, Gregory Peck, Cesar Romero and Jon Voight were just a handful of the Hollywood community who came out to attend what was one of the biggest Hollywood premieres in years. That would seem to project a confidence in the movie from the distributor's standpoint. Or so you'd think. But as it turned out, The Jazz Singer was one of three movies Associated Film would release that day. Along with The Jazz Singer, they would release the British mystery film The Mirror Crack'd starring Angela Lansbury and Elizabeth Taylor, and the Richard Donner drama Inside Moves. Of the three movies, The Jazz Singer would gross the most that weekend, pulling in a modest $1.167m, versus The Mirror Crack'd's $608k from 340 screens, and Inside Moves's $201k from 67 screens. But compared to Clint Eastwood's Any Which Way You Can, the Richard Pryor/Gene Wilder comedy Stir Crazy, and Dolly Parton/Lily Tomlin/Jane Fonda comedy 9 to 5, it wasn't the best opening they could hope for. But the film would continue to play… well, if not exceptional, at least it would hold on to its intended audience for a while. Sensing the film needed some help, Capitol Records released a second single from the soundtrack, another power ballad called Hello Again, in January 1981, which would become yet another top ten hit for Diamond. A third single, the pro-immigration power-pop song America, would arrive in April 1981 and go to number eight on the charts, but by then, the film was out of theatres with a respectable $27.12m in tickets sold. Contemporary reviews of the film were rather negative, especially towards Diamond as an actor. Roger Ebert noted in his review that there were so many things wrong in the film that the review was threatening to become a list of cinematic atrocities. His review buddy Gene Siskel did praise Lucie Arnaz's performance, while pointing out how out of touch the new story was with the immigrant story told by the original film. Many critics would also point out the cringe-worthy homage to the original film, where Diamond unnecessarily performs in blackface, as well as Olivier's overacting. I recently watched the film for the first time since 1981, and it's not a great movie by any measurable metric. Diamond isn't as bad an actor as the reviews make him out to be, especially considering he's essentially playing an altered version of himself, a successful pop singer, and Lucie Arnaz is fairly good. The single best performance in the film comes from Caitlin Adams, playing Jess's wife Rivka, who, for me, is the emotional center of the film. And yes, Olivier really goes all-in on the scenery chewing. At times, it's truly painful to watch this great actor spin out of control. There would be a few awards nominations for the film, including acting nominations for Diamond and Arnaz at the 1981 Golden Globes, and a Grammy nomination for Best Soundtrack Album, but most of its quote unquote awards would come from the atrocious Golden Raspberry organization, which would name Diamond the Worst Actor of the year and Olivier the Worst Supporting Actor during its first quote unquote ceremony, which was held in some guy's living room. Ironically but not so surprisingly, while the film would be vaguely profitable for its producers, it would be the soundtrack to the movie that would bring in the lion's share of the profits. On top of three hit singles, the soundtrack album would sell more than five million copies just in the United States in 1980 and 1981, and would also go platinum in Canada, South Africa, and the United Kingdom. While he would earn less than half a million dollars from the film, Diamond's cut of the soundtrack would net him a dollar per unit sold, earning him more than ten times his salary as an actor. And although I fancied myself a punk and new wave kid at the end of 1980, I bought the soundtrack to The Jazz Singer, ostensibly as a gift for my mom, who loved Neil Diamond, but I easily wore out the grooves of the album listening to it over and over again. Of the ten new songs he wrote for the soundtrack, there's a good two or three additional tracks that weren't released as singles, including a short little ragtime-inspired ditty called On the Robert E. Lee, but America is the one song from the soundtrack I am still drawn to today. It's a weirdly uplifting song with its rhythmic “today” chants that end the song that just makes me feel good despite its inherent cheesiness. After The Jazz Singer, Neil Diamond would only appear as himself in a film. Lucie Arnaz would never quite have much of a career after the film, although she would work quote regularly in television during the 80s and 90s, including a short stint as the star of The Lucie Arnaz Show, which lasted six episodes in 1985 before being cancelled. Laurence Olivier would continue to play supporting roles in a series of not so great motion pictures and television movies and miniseries for several more years, until his passing in 1989. And director Richard Fleischer would make several bad movies, including Red Sonja and Million Dollar Mystery, until he retired from filmmaking in 1987. As we noted in our February 2020 episode about AFD, the act of releasing three movies on the same day was a last, desperate move in order to pump some much needed capital into the company. And while The Jazz Singer would bring some money in, that wasn't enough to cover the losses from the other two movies released the same day, or several other underperforming films released earlier in the year such as the infamous Village People movie Can't Stop the Music and Raise the Titanic. Sir Lew Grade would close AFD down in early 1981, and sell several movies that were completed, in production or in pre-production to Universal Studios. Ironically, those movies might have saved the company had they been able to hang on a little longer, as they included such films as The Dark Crystal, Frances, On Golden Pond, Sophie's Choice and Tender Mercies. Thank you for joining us. We'll talk again soon, when Episode 99 is released. Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Neil Diamond and The Jazz Singer. The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment. Thank you again. Good night.
Welcome to our first episode of the new year, which is also our first episode of Season 5. Thank you for continuing to join us on this amazing journey. On today's episode, we head back to Christmas of 1980, when pop music superstar Neil Diamond would be making his feature acting debut in a new version of The Jazz Singer. ----more---- EPISODE TRANSCRIPT From Los Angeles, California, the entertainment capital of the world, this is The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today. It's 2023, which means we are starting our fifth season. And for our first episode of this new season, we're going back to the end of 1980, to take a look back at what was supposed to be the launch of a new phase in the career of one of music's biggest stars. That musical star was Neil Diamond, and this would end up becoming his one and only attempt to act in a motion picture. We're talking about The Jazz Singer. As I have said time and time again, I don't really have a plan for this show. I talk about the movies and subjects I talk about often on a whim. I'll hear about something and I'll be reminded of something, and a few days later, I've got an episode researched, written, recorded, edited and out there in the world. As I was working on the previous episode, about The War of the Roses just before my trip to Thailand, I saw a video of Neil Diamond singing Sweet Caroline on opening night of A Beautiful Noise, a new Broadway musical about the life and music of Mr. Diamond. I hadn't noticed Diamond had stopped performing live five years earlier due to a diagnosis of Parkinson's, and it was very touching to watch a thousand people joyously singing along with the man. But as I was watching that video, I was reminded of The Jazz Singer, a movie we previously covered very lightly three years ago as part of our episode on the distribution company Associated Film Distribution. I was reminded that I haven't seen the movie in over forty years, even though I remember rather enjoying it when it opened in theatres in December 1980. I think I saw it four or five times over the course of a month, and I even went out and bought the soundtrack album, which I easily listened to a hundred times before the start of summer. But we're getting ahead of ourselves yet again. The Jazz Singer began its life in 1917, when Samson Raphaelson, a twenty-three year old undergraduate at the University of Illinois, attended a performance of Robinson Crusoe, Jr., in Champaign, IL. The star of that show was thirty-year-old Al Jolson, a Russian-born Jew who had been a popular performer on Broadway stages for fifteen years by this point, regularly performing in blackface. After graduation, Raphaelson would become an advertising executive in New York City, but on the side, he would write stories. One short story, called “The Day of Atonement,” would be a thinly fictionalized account of Al Jolson's life. It would be published in Everybody's Magazine in January 1922. At the encouragement of his secretary at the advertising firm, Raphaelson would adapted his story into a play, which would be produced on Broadway in September 1925 with a new title… The Jazz Singer. Ironically, for a Broadway show based on the early life of Al Jolson, Jolson was not a part of the production. The part of Jake Rabinowitz, the son of a cantor who finds success on Broadway with the Anglicized named Jack Robin, would be played by George Jessel. The play would be a minor hit, running for 303 performances on Broadway before closing in June 1926, and Warner Brothers would buy the movie rights the same week the show closed. George Jessel would be signed to play his stage role in the movie version. The film was scheduled to go into production in May 1927. There are a number of reasons why Jessel would not end up making the movie. After the success of two Warner movies in 1926 using Vitaphone, a sound-on-disc system that could play music synchronized to a motion picture, Warner Brothers reconcieved The Jazz Singer as a sound movie, but not just a movie with music synchronized to the images on screen, but a “talkie,” where, for the first time for a motion picture, actual dialogue and vocal songs would be synchronized to the pictures on screen. When he learned about this development, Jessel demanded more money. The Warner Brothers refused. Then Jessel had some concerns about the solvency of the studio. These would be valid concerns, as Harry Warner, the eldest of the four eponymous brothers who ran the studio, had sold nearly $4m worth of his personal stock to keep the company afloat just a few months earlier. But what ended up driving Jessel away was a major change screenwriter Alfred A. Cohen made when adapting the original story and the play into the screenplay. Instead of leaving the theatre and becoming a cantor like his father, as it was written for the stage, the movie would end with Jack Robin performing on Broadway in blackface while his mom cheers him on from one of the box seats. With Jessel off the project, Warner would naturally turn to… Eddie Cantor. Like Al Jolson, Eddie Cantor was a Jew of Russian descent, although, unlike Jolson, he had been born in New York City. Like Jolson, he had been a star on Broadway for years, regularly performing in and writing songs for Florenz Ziegfeld' annual Follies shows. And like Jolson, Cantor would regularly appear on stage in blackface. But Cantor, a friend of Jessel's, instead offered to help the studio get Jessel back on the movie. The studio instead went to their third choice… Al Jolson. You know. The guy whose life inspired the darn story to begin with. Many years later, film historian Robert Carringer would note that, in 1927, George Jessel was a vaudeville comedian with one successful play and one modestly successful movie to his credit, while Jolson was one of the biggest stars in America. In fact, when The Vitaphone Company was trying to convince American studios to try their sound-on-disc system for movies, they would hire Jolson in the fall of 1926 for a ten minute test film. It would be the success of the short film, titled A Plantation Act and featuring Jolson in blackface singing three songs, that would convince Warners to take a chance with The Jazz Singer as the first quote unquote talkie film. I'll have a link to A Plantation Act on our website, The80sMoviePodcast.com, if you're interested in seeing it. Al Jolson signed on to play the character inspired by himself for $75,000 in May 1927, the equivalent to $1.28m today. Filming would be pushed back to June 1927, in part due to Jolson still being on tour with another show until the end of the month. Warners would begin production on the film in New York City in late June, starting with second unit shots of the Lower East Side and The Winter Garden Theatre on Broadway, shooting as much as they could until Jolson arrived on set on July 11th. Now, while the film has been regularly touted for nearly a century now as the first talking motion picture, the truth is, there's very little verbal dialogue in the film. The vast majority of dialogue in the movie was still handled with the traditional silent movie use of caption cards, and the very few scenes featuring what would be synchronized dialogue were saved for the end of production, due to the complexity of how those scenes would be captured. But the film would finish shooting in mid-September. The $422k movie would have its world premiere at the Warner Brothers theatre in New York City not three weeks later, on October 6th, 1927, where the film would become a sensation. Sadly, none of the Warner Brothers would attend the premiere, as Sam Warner, the strongest advocate for Vitaphone at the studio, had died of pneumonia the night before the premiere, and his remaining brothers stayed in Los Angeles for the funeral. The reviews were outstanding, and the film would bring more than $2.5m in rental fees back to the studio. At the first Academy Awards, held in May 1929 to honor the films released between August 1927 and July 1928, The Jazz Singer was deemed ineligible for the two highest awards, Outstanding Production, now known as Best Picture, and Unique and Artistic Production, which would only be awarded this one time, on the grounds that it would have been unfair to a sound picture compete against all the other silent films. Ironically, by the time the second Academy Awards were handed out, in April 1930, silent films would practically be a thing of the past. The success of The Jazz Singer had been that much a tectonic shift in the industry. The film would receive one Oscar nomination, for Alfred Cohn's screenplay adaptation, while the Warner Brothers would be given a special award for producing The Jazz Singer, the “pioneer outstanding talking picture which has revolutionized the industry,” as the inscription on the award read. There would be a remake of The Jazz Singer produced in 1952, starring Danny Thomas as Korean War veteran who, thankfully, leaves the blackface in the past, and a one-hour television adaptation of the story in 1959, starring Jerry Lewis. And if that sounds strange to you, Jerry Lewis, at the height of his post-Lewis and Martin success, playing a man torn between his desire to be a successful performer and his shattered relationship with his cantor father… well, you can see it for yourself, if you desire, on the page for this episode on our website. It is as strange as it sounds. At this point, we're going to fast forward a number of years in our story. In the 1970s, Neil Diamond became one of the biggest musical stars in America. While he wanted to be a singer, Diamond would get his first big success in music in the 1960s as a songwriter, including writing two songs that would become big hits for The Monkees: I'm a Believer and A Little Bit Me, A Little Bit You. And really quickly, let me throw out a weird coincidence here… Bob Rafelson, the creator of The Monkees who would go on to produce and/or direct such films as Easy Rider and Five Easy Pieces, was the nephew of Samson Raphaelson, the man who wrote the original story on which The Jazz Singer is based. Anyway, after finding success as a songwriter, Diamond would become a major singing star with hits like Girl, You'll Be a Woman Soon, Sweet Caroline, and Song Sung Blue. And in another weird coincidence, by 1972, Neil Diamond would become the first performer since Al Jolson to stage a one-man show at the Winter Garden Theatre on Broadway. By 1976, Neil Diamond is hosting specials on television, and one person who would see one of Diamond's television specials was a guy named Jerry Leider, an executive at Warner Brothers in charge of foreign feature production. Leider sees something in Diamond that just night be suited for the movies, not unlike Elvis Presley or Barbra Streisand, who in 1976 just happens to be the star of a remake of A Star Is Born for Warner Brothers that is cleaning up at the box office and at records stores nationwide. Leider is so convinced Neil Diamond has that X Factor, that unquantifiable thing that turns mere mortals into superstars, that Leider quits his job at Warners to start his own movie production company, wrestling the story rights to The Jazz Singer from Warner Brothers and United Artists, both of whom claimed ownership of the story, so he can make his own version with Diamond as the star. So, naturally, a former Warners Brothers executive wanting to remake one of the most iconic movies in the Warner Brothers library is going to set it up at Warner Brothers, right? Nope! In the fall of 1977, Leider makes a deal with MGM to make the movie. Diamond signs on to play the lead, even before a script is written, and screenwriter Stephen H. Foreman is brought in to update the vaudeville-based original story into the modern day while incorporating Diamond's strengths as a songwriter to inform the story. But just before the film was set to shoot in September 1978, MGM would drop the movie, as some executives were worried the film would be perceived as being, and I am quoting Mr. Foreman here, “too Jewish.” American Film Distribution, the American distribution arm of British production companies ITC and EMI, would pick the film up in turnaround, and set a May 1979 production start date. Sidney J. Furie, the Canadian filmmaker who had directed Diana Ross in Lady Sings the Blues, would be hired to direct, and Jacqueline Bisset was pursued to play the lead female role, but her agent priced their client out of the running. Deborah Raffin would be cast instead. And to help bring the kids in, the producers would sign Sir Laurence Olivier to play Diamond's father, Cantor Rabinovitch. Sir Larry would get a cool million dollars for ten weeks of work. There would, as always is with the case of making movies, be setbacks that would further delay the start of production. First, Diamond would hurt his back at the end of 1978, and needed to go in for surgery in early January 1979. Although Diamond had already written and recorded all the music that was going to be used in the movie, AFD considered replacing Diamond with Barry Manilow, who had also never starred in a movie before, but they would stick with their original star. After nearly a year of rest, Diamond was ready to begin, and cameras would roll on the $10m production on January 7th, 1980. And, as always is with the case of making movies, there would be more setbacks as soon as production began. Diamond, uniquely aware of just how little training he had as an actor, struggled to find his place on set, especially when working with an actor of Sir Laurence Olivier's stature. Director Furie, who was never satisfied with the screenplay, ordered writer Foreman to come up with new scenes that would help lessen the burden Diamond was placing on himself and the production. The writer would balk at almost every single suggestion, and eventually walked off the film. Herbert Baker, an old school screenwriter who had worked on several of the Dean Martin and Jerry Lewis movies, was brought in to punch up the script, but he would end up completely rewriting the film, even though the movie had been in production for a few weeks. Baker and Furie would spend every moment the director wasn't actively working on set reworking the story, changing the Deborah Raffin character so much she would leave the production. Her friend Lucie Arnaz, the daughter of Desi Arnaz and Lucille Ball, would take over the role, after Cher, Liza Minnelli and Donna Summer were considered. Sensing an out of control production, Sir Lew Grade, the British media titan owner of AFD, decided a change was needed. He would shut the production down on March 3rd, 1980, and fire director Furie. While Baker continued to work on the script, Sir Grade would find a new director in Richard Fleischer, the journeyman filmmaker whose credits in the 1950s and 1960s included such films as 20,000 Leagues Under the Sea, Compulsion, Fantastic Voyage and Doctor Doolittle, but had fallen out of favor with most studios after a string of flops. In fact, this would be the second film in a year where Fleischer was hired to replace another director during the middle of production, having replaced Richard C. Sarafian on the action-adventure film Ashanti in 1979. With Fleischer aboard, production on The Jazz Singer would resume in late March, and there was an immediate noticeable difference on set. Where Furie and many members of the crew would regularly defer to Diamond due to his stature as an entertainer, letting the singer spiral out of control if things weren't working right, Fleischer would calm the actor down and help work him back into the scene. Except for one scene, set in a recording studio, where Diamond's character needed to explode into anger. After a few takes that didn't go as well as he hoped, Diamond went into the recording booth where his movie band was stationed while Fleischer was resetting the shot, when the director noticed Diamond working himself into a rage. The director called “action,” and Diamond nailed the take as needed. When the director asked Diamond how he got to that moment, the singer said he was frustrated with himself that he wasn't hitting the scene right, and asked the band to play something that would make him angry. The band obliged. What did they play? A Barry Manilow song. Despite the recasting of the leading female role, a change of director and a number of rewrites by two different writers during the production, the film was able to finish shooting at the end of April with only $3m added to the budget. Associated Film would set a December 19th, 1980 release date for the film, while Capitol Records, owned at the time by EMI, would release the first single from the soundtrack, a soft-rock ballad called Love on the Rocks, in October, with the full soundtrack album arriving in stores a month later. As expected for a new Neil Diamond song, Love on the Rocks was an immediate hit, climbing the charts all the way to #2 on the Billboard Hot 100. Several days before the film opened in 241 theatres on December 19th, there was a huge, star-studded premiere at the Plitt Century Plaza Cinemas in Los Angeles. Peter Falk, Harvey Korman, Ed McMahon, Gregory Peck, Cesar Romero and Jon Voight were just a handful of the Hollywood community who came out to attend what was one of the biggest Hollywood premieres in years. That would seem to project a confidence in the movie from the distributor's standpoint. Or so you'd think. But as it turned out, The Jazz Singer was one of three movies Associated Film would release that day. Along with The Jazz Singer, they would release the British mystery film The Mirror Crack'd starring Angela Lansbury and Elizabeth Taylor, and the Richard Donner drama Inside Moves. Of the three movies, The Jazz Singer would gross the most that weekend, pulling in a modest $1.167m, versus The Mirror Crack'd's $608k from 340 screens, and Inside Moves's $201k from 67 screens. But compared to Clint Eastwood's Any Which Way You Can, the Richard Pryor/Gene Wilder comedy Stir Crazy, and Dolly Parton/Lily Tomlin/Jane Fonda comedy 9 to 5, it wasn't the best opening they could hope for. But the film would continue to play… well, if not exceptional, at least it would hold on to its intended audience for a while. Sensing the film needed some help, Capitol Records released a second single from the soundtrack, another power ballad called Hello Again, in January 1981, which would become yet another top ten hit for Diamond. A third single, the pro-immigration power-pop song America, would arrive in April 1981 and go to number eight on the charts, but by then, the film was out of theatres with a respectable $27.12m in tickets sold. Contemporary reviews of the film were rather negative, especially towards Diamond as an actor. Roger Ebert noted in his review that there were so many things wrong in the film that the review was threatening to become a list of cinematic atrocities. His review buddy Gene Siskel did praise Lucie Arnaz's performance, while pointing out how out of touch the new story was with the immigrant story told by the original film. Many critics would also point out the cringe-worthy homage to the original film, where Diamond unnecessarily performs in blackface, as well as Olivier's overacting. I recently watched the film for the first time since 1981, and it's not a great movie by any measurable metric. Diamond isn't as bad an actor as the reviews make him out to be, especially considering he's essentially playing an altered version of himself, a successful pop singer, and Lucie Arnaz is fairly good. The single best performance in the film comes from Caitlin Adams, playing Jess's wife Rivka, who, for me, is the emotional center of the film. And yes, Olivier really goes all-in on the scenery chewing. At times, it's truly painful to watch this great actor spin out of control. There would be a few awards nominations for the film, including acting nominations for Diamond and Arnaz at the 1981 Golden Globes, and a Grammy nomination for Best Soundtrack Album, but most of its quote unquote awards would come from the atrocious Golden Raspberry organization, which would name Diamond the Worst Actor of the year and Olivier the Worst Supporting Actor during its first quote unquote ceremony, which was held in some guy's living room. Ironically but not so surprisingly, while the film would be vaguely profitable for its producers, it would be the soundtrack to the movie that would bring in the lion's share of the profits. On top of three hit singles, the soundtrack album would sell more than five million copies just in the United States in 1980 and 1981, and would also go platinum in Canada, South Africa, and the United Kingdom. While he would earn less than half a million dollars from the film, Diamond's cut of the soundtrack would net him a dollar per unit sold, earning him more than ten times his salary as an actor. And although I fancied myself a punk and new wave kid at the end of 1980, I bought the soundtrack to The Jazz Singer, ostensibly as a gift for my mom, who loved Neil Diamond, but I easily wore out the grooves of the album listening to it over and over again. Of the ten new songs he wrote for the soundtrack, there's a good two or three additional tracks that weren't released as singles, including a short little ragtime-inspired ditty called On the Robert E. Lee, but America is the one song from the soundtrack I am still drawn to today. It's a weirdly uplifting song with its rhythmic “today” chants that end the song that just makes me feel good despite its inherent cheesiness. After The Jazz Singer, Neil Diamond would only appear as himself in a film. Lucie Arnaz would never quite have much of a career after the film, although she would work quote regularly in television during the 80s and 90s, including a short stint as the star of The Lucie Arnaz Show, which lasted six episodes in 1985 before being cancelled. Laurence Olivier would continue to play supporting roles in a series of not so great motion pictures and television movies and miniseries for several more years, until his passing in 1989. And director Richard Fleischer would make several bad movies, including Red Sonja and Million Dollar Mystery, until he retired from filmmaking in 1987. As we noted in our February 2020 episode about AFD, the act of releasing three movies on the same day was a last, desperate move in order to pump some much needed capital into the company. And while The Jazz Singer would bring some money in, that wasn't enough to cover the losses from the other two movies released the same day, or several other underperforming films released earlier in the year such as the infamous Village People movie Can't Stop the Music and Raise the Titanic. Sir Lew Grade would close AFD down in early 1981, and sell several movies that were completed, in production or in pre-production to Universal Studios. Ironically, those movies might have saved the company had they been able to hang on a little longer, as they included such films as The Dark Crystal, Frances, On Golden Pond, Sophie's Choice and Tender Mercies. Thank you for joining us. We'll talk again soon, when Episode 99 is released. Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Neil Diamond and The Jazz Singer. The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment. Thank you again. Good night.
Welcome to the Instant Trivia podcast episode 692, where we ask the best trivia on the Internet. Round 1. Category: Tv Title Pairs 1: Best friends Eric McCormack and Debra Messing. Will and Grace. 2: 2 adolescents, both voiced by Mike Judge. Beavis and Butthead. 3: Cop Billy Gardell and teacher Melissa McCarthy. Mike and Molly. 4: Streetwise cops Paul Michael Glaser and David Soul. Starsky and Hutch. 5: Lawyers Breckin Meyer and Mark-Paul Gosselaar. Franklin and Bash. Round 2. Category: Tv Violence 1: Titus Welliver's finger being detached was featured on this show, the CW's most "super". Supernatural. 2: "Random Acts of Violence", a 2003 episode of this William Petersen show, could have been the title of several. CSI. 3: On "NYPD Blue" Detective Andy Sipowicz, played by this actor, was not above getting physical to get a confession. Dennis Franz. 4: Tara is drowned and forked to death by her mother-in-law on the Season 6 finale of this motorcycle club drama. Sons of Anarchy. 5: This P.I. show was violent for its time--1967-1975--with Mike Connors, by one count, being knocked cold 55 times. Mannix. Round 3. Category: Chief Justices Of The U.s. 1: This Chief Justice once wrote, "I don't remember that I ever was President". (William Howard) Taft. 2: In 2005 he became Chief Justice without ever being an associate justice. (John) Roberts. 3: Before becoming Chief Justice in 1953, he was the only California governor elected to 3 consecutive terms. (Earl) Warren. 4: In 1986 he replaced Warren Burger as Chief Justice. Rehnquist. 5: Portland was the middle name of this Chief Justice who sought the presidency in 1868 and 1872 while serving on the court. (Salmon P.) Chase. Round 4. Category: Fairly Recent News 1: After this leader's death in 2013, Citgo facilities across the U.S. flew their flags at half-staff. Hugo Chávez. 2: Here's the official portrait of the christening of this little fella. (Prince) George. 3: In 2014 he returned for a second stint heading the NYPD; he headed the LAPD in between. William Bratton. 4: When not saving constituents from burning buildings (literally!), this ex-Newark mayor found time to win a Senate seat. Cory Booker. 5: In offstage drama, a member of this Russian cultural institution was convicted for an acid attack on the artistic director. Bolshoi. Round 5. Category: "Toasts" 1: Sauteed egg-dipped bread. French toast. 2: Campfire confection. toasted marshmallows. 3: Original name of "The Ed Sullivan Show". Toast of the Town. 4: "Rank" of George Jessel. Toastmaster General. 5: Named for an Australian soprano, it's thin, crisp bread. Melba toast. Thanks for listening! Come back tomorrow for more exciting trivia! Special thanks to https://blog.feedspot.com/trivia_podcasts/
Welcome to the Instant Trivia podcast episode 690, where we ask the best trivia on the Internet. Round 1. Category: Speaking In Code 1: It's what is asked for here in Morse code. help. 2: In 1942 the Marines recruited 29 men from this Native American tribe to develop a code, one the Japanese never broke. Navajo. 3: urbandictionary.com on this 3-letter code: "Never drink the last beer, unless you have... specific permission that it is OK", guys. the bro code. 4: If your wife got sick, it was cool to re-wed, but you had to take care of your sick wife until she passed, said his 1700s B.C. code. Hammurabi. 5: Military code name for the plant-killing Vietnam War chemical that was linked to 3 kinds of cancer in 1993. Agent Orange. Round 2. Category: From The British Monarchy's Website 1: A ceremony dating from the 12th century, Swan Upping is an annual census of the swans on parts of this river. the Thames. 2: Its second verse begins, "Thy choicest gifts in store on her be pleased to pour, long may she reign". "God Save The Queen". 3: The second son born to Queen Elizabeth II, he was the first child born to a reigning monarch in 103 years. Andrew. 4: These islands are grouped into the 2 main bailiwicks of Jersey and Guernsey. the Channel Islands. 5: Elizabeth I was the last of the 5 sovereigns from this royal house. the Tudors. Round 3. Category: "Toasts" 1: Sauteed egg-dipped bread. French toast. 2: Campfire confection. toasted marshmallows. 3: Original name of "The Ed Sullivan Show". Toast of the Town. 4: "Rank" of George Jessel. Toastmaster General. 5: Named for an Australian soprano, it's thin, crisp bread. Melba toast. Round 4. Category: Books Of The Latin Vulgate Bible 1: A New Testament guy:"Jacobi". James. 2: "Judicum". Judges. 3: "Canticum Canticorum". Song of Songs. 4: An old testament guy:"Abdias". Obadiah. 5: There's "I Regum", First Kings, "I Samuelis", First Samuel, and "I Paralipomenon", this. Chronicles. Round 5. Category: Fatherly Tv 1: Tywin Lannister's 3 scheming offspring on "Games of Thrones" are Jaime, Cersei and this one. Tyrion. 2: Lamont was the responsible son to his wild and wacky father played by Redd Foxx on this sitcom. Sanford and Son. 3: On this '90s show Manhattanite Maxwell Sheffield had help with his kids from Fran Fine of Queens. The Nanny. 4: Ward was the first name of the father portrayed by Hugh Beaumont on this TV show. Leave It to Beaver. 5: Corey Stoll plays Dr. Ephraim Goodweather, raising his son and fighting a vampire plague on this FX show. The Strain. Thanks for listening! Come back tomorrow for more exciting trivia! Special thanks to https://blog.feedspot.com/trivia_podcasts/
April 25, 1948 - Jack Dresses as Charley's Aunt and Don brings opera singer Dorothy Kirsten to join the Sportsmen quartet. References include the Marylin Monroe movie "Scudda Hoo! Scudda Hay!", songs "I'm Looking Over a Four Leaf Clover" and "A Pretty Girl is Like a Melody", and producer George Jessel.
The biggest names in Hollywood and Broadway recorded for AFRS during the war years, The American Forces Network can trace its origins back to May 26, 1942, when the War Department established the Armed Forces Radio Service (AFRS). The U.S. Army began broadcasting from London during World War II, using equipment and studio facilities borrowed from the British Broadcasting Corporation (BBC). The first transmission to U.S. troops began at 5:45 p.m. on July 4, 1943, and included less than five hours of recorded shows, a BBC news and sports broadcast. That day, Corporal Syl Binkin became the first U.S. Military broadcasters heard over the air. The signal was sent from London via telephone lines to five regional transmitters to reach U.S. troops in the United Kingdom as they prepared for the inevitable invasion of Nazi-occupied Europe. Fearing competition for civilian audiences the BBC initially tried to impose restrictions on AFN broadcasts within Britain (transmissions were only allowed from American Bases outside London and were limited to 50 watts of transmission power) and a minimum quota of British produced programming had to be carried. Nevertheless AFN programmes were widely enjoyed by the British civilian listeners who could receive them and once AFN operations transferred to continental Europe (shortly after D-Day) AFN were able to broadcast with little restriction with programmes available to civilian audiences across most of Europe (including Britain) after dark. As D-Day approached, the network joined with the BBC and the Canadian Broadcasting Corporation to develop programs especially for the Allied Expeditionary Forces. Mobile stations, complete with personnel, broadcasting equipment, and a record library were deployed to broadcast music and news to troops in the field. The mobile stations reported on front line activities and fed the news reports back to studio locations in London. --------------------------------------------------------------------------- Entertainment Radio Stations Live 24/7 Sherlock Holmes/CBS Radio Mystery Theater https://live365.com/station/Sherlock-Holmes-Classic-Radio--a91441 https://live365.com/station/CBS-Radio-Mystery-Theater-a57491 ----------------------------------------------------------------------------
Excerpt of the 24 Mar 1949 Kraft Music Hall, starring Al Jolson with George Jessel. George Jessel joined Al Jolson and Oscar Levant in a series of jokes and personal recollections, capped by a recreation of an old time minstrel show. The complete broadcast, along with other Jolson radio shows, is available at the Official Al Jolson Website at www.jolson.org.
Grammy-winning singer and recording artist Jack Jones joins Gilbert and Frank for a captivating conversation about headlining in the heyday of Vegas, touring Vietnam with Bob Hope, recording the theme from "The Love Boat" and working alongside his dad, matinee idol (and Marx Brothers co-star) Allan Jones. Also: Frank Sinatra plays Charades, Cesar Romero plays matchmaker, Gilbert shares his admiration for Fritz Feld and Jack shares the screen with Judy Garland, George Jessel, Jack Benny and Phil Silvers. PLUS: "Wives and Lovers"! "Playboy After Dark"! The comedy of Joe E. Lewis! The "charisma" of Ed Sullivan! And Jack reflects on his friendships with Tony Bennett, Steve Lawrence and Don Rickles! Learn more about your ad choices. Visit megaphone.fm/adchoices
Gilbert and Frank celebrate the 50th anniversary of Bob Fosse's 1972 masterwork "Cabaret" with this encore presentation from 2019 featuring Oscar and Tony-winning actor-singer Joel Grey. In this episode, Joel has a little fun at the co-hosts' expense while reminiscing about James Garner, Jack Gilford, Buck Henry and Lana Turner and promoting his Yiddish language version of "Fiddler on the Roof." Also: Rita Hayworth lights up the screen, Pat McCormick plays Grover Cleveland (!), Gilbert pulls out his George Jessel impression and Joel shares a stage with the great Eddie Cantor. PLUS: "Man on a Swing"! Hal Prince saves the day! The genius of Will Jordan! And Joel remembers his dad, the legendary Mickey Katz! Ship more in less time with ShipStation. Just go to ShipStation.com, click on the microphone at the top of the page, and type in GILBERT to get a 60-day free trial. That's 2 months FREE of no-hassle, stress-free shipping. Visit athleticgreens.com/GILBERT for a FREE 1 year supply of immune-supporting Vitamin D AND 5 FREE travel packs with your first purchase. Take ownership over your health and pick up the ultimate daily nutritional insurance! Learn more about your ad choices. Visit megaphone.fm/adchoices
Bing and Mel!
Excerpt of the 11 Nov 1948 Kraft Music Hall starring Al Jolson. George Jessel was the guest star on this program, but this segment is from the middle section of the broadcast, and features Al Jolson and Oscar Levant, in comedy and song. Jolson's songs include "Mandy, "I'll Get By," and "I Only Have Eyes For You." There is much more in the complete show, including a skit with Burns and Allen. The complete broadcast, along with other Jolson radio shows, is available at the Official Al Jolson Website at www.jolson.org.
Excerpt of the 31 Aug 1935 Shell Chateau starring Al Jolson with guest star George Jessel. Enjoy these segments of the program, featuring Al Jolson in an encore performance of "Coney Island" and introducing "Plain Old Me," along with part of George Jessel's routine, including his rendition of "Life Is A Song." More of both Jolson and Jessel are included in the complete, one hour, radio show. The complete broadcast, along with other Jolson radio shows, is available at the Official Al Jolson Website at www.jolson.org.
Excerpt of the 03 Aug 1935 Shell Chateau starring Al Jolson with guest star George Jessel. The segment begins with Al Jolson's promo for George Jessel, followed by his singing "The Rose In Her Hair." Jessel then takes center stage with a routine capped by "It's Easy To Remember." Not to be outdone, Al Jolson completes the excerpt with the song, "Mighty Lak A Rose." The complete broadcast, along with other Jolson radio shows, is available at the Official Al Jolson Website at www.jolson.org.
Bing Crosby, George Jessel, Martha Tilton, Gordon MacRae and Howard McNear! How can it get any better on a beautiful summer's day!
The final technique is all about dissecting misdirection and how it can lead to big laughs. First, we start with sarcasm and irony. Sarcasm is when you say something you don't mean in an attempt to make fun or ridicule something. Irony, on the other hand, refers to situations where something happens that is the opposite of what you'd expect. This is more observational humor on your part, because you would be pointing out a contrast rather than creating one. Irony has a surprising amount of versatility because of the many places it can be applied. You can be on the lookout for ironic contrast between words and body language and tone, ironic hyperbole, and even use an ironic simile for yourself (lightweight as a brick). The Art of Witty Banter: Be Clever, Quick, & Magnetic By Patrick King Read the show notes and/or transcript at https://bit.ly/social-skills-home Get the audiobook on Audible at https://bit.ly/WittyBanterKing For a free minibook on conversation tactics, visit Patrick King Consulting at https://bit.ly/pkconsulting For narration information visit Russell Newton at https://bit.ly/VoW-home For production information visit Newton Media Group LLC at https://bit.ly/newtonmg #DouglasAdams #GeorgeJessel #Sarcasm #sarcastic #MisdirectionAplenty #TheArtofWittyBanter #RussellNewton #NewtonMG #PatrickKing #PatrickKingConsulting #SocialSkillsCoaching Douglas Adams,George Jessel,Sarcasm,sarcastic,Misdirection Aplenty,The Art of Witty Banter,Russell Newton,NewtonMG,Patrick King,Patrick King Consulting,Social Skills Coaching
2 1/4 hours of classic old time radio celebrating the 4th of July! COLUMBIA WORKSHOP (Columbia Presents Corwin) July 04,1944 CBS net. "Home For The Fourth". Sustaining. A story typical of America and the things it stands for. Norman Corwin (writer, producer, director), Dane Clark, Bernard Herrmann (music), Dick Cutting (announcer). RIPLEY'S BELIEVE IT OR NOT July 5,1938. Red net. Sponsored by: Post 40% Bran Flakes. The first tune is, "Chansonette." Ripley's features are about "The Foreign Queen Who Became A U. S. Citizen," "The Naming Of Canada," "Mortgaging The U. S. Capitol and the White House," "Backwoods Genius," "The Youngest Preacher" and the most valuable letter. Robert Ripley, B. A. Rolfe and His Orchestra, Linda Lee (vocal), Ford Bond (announcer), Bennett Kilpack. CALLING ALL CARS July 4,1934 CBS Pacific net (Don Lee net). "July Fourth In A Radio Car". Sponsored by: Rio Grande Oil ("Calling All Cars Radio Log"). Fireworks are being exploded within the city limits. The announcer twice mentions that this is "broadcast #35." A holiday spent by radio in a police car. "A slice of actual life." The above date is accurate (the program is about the fourth of July holiday). The program number is possibly #32, despite what the announcer says, unless there is a three week error in the relationship of the program numbers and dates. After the drama, Mr. Lindsley announces that "there were thirty-four characters (in the radio drama)...played by twelve people," and unlike other programs, names them all. Mary Tuthill, Jeanette Nolan, Martha Wentworth, Ralph Scott, Joe Franz, Hanley Stafford, Sam Pierce, Charlie Lung, Richard LeGrand, Robert Frazer, Fred Harrington, Lindsay MacHarrie, William N. Robson (writer, producer), Charles Frederick Lindsley (narrator The Bill Stern Colgate Sports Newsreel. July 4, 1947. Program #399. NBC net. Sponsored by: Colgate Shave Cream. Bill Stern, George Jessel, Joe Howard, June Haver. ESCAPE- July 04,1948. CBS net. "A Tooth For Paul Revere". Sustaining. How the American Revolution really started, a humorous look at a Yankee farmer's point of view. The script was previously used n "The Cavalcade Of America" on May 11, 1942 (see cat. #22924) and on "Adventure Ahead" on September 9, 1944 (see cat. #5132). Stephen Vincent Benet (author), Harry Bartell, Parley Baer, Berry Kroeger, Norman Macdonnell (producer, director), John Dunkel (adaptor), Ivan Ditmars (special music).
Thirty Minutes in Hollywood starring George Jessel, originally broadcast June 19, 1938 with guest Norma Talmadge. A visit to an art museum and a night club in Chicago. Also part 2 of the 5 part Yours Truly Johnny Dollar story, The Pearling Matter, originally broadcast June 19, 1956. A story in the paper, caused by a missing daughter.
In this episode we discuss the ninth Best Picture Winner, The Great Ziegfeld, the first and one of the best Hollywood biopic musicals, the career of Florenz Ziegfeld, and the death and funeral of legendary Hollywood producer Irving Thalberg! Other topics include: George Jessel, musician and songwriter Spike Jones, Walt Disney, William Powell, Billie Burke, William Wyler, Irving Thalberg, costumes by Adrian, A Pretty Girl is Like a Melody, Mr. Deeds Goes to Town, film history Instagram: https://www.instagram.com/thanktheacademypodcast Twitter: https://www.twitter.com/thankacademypod Email us your thoughts: thanktheacademypod@gmail.com --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/thank-the-academy/support
Jack Benny is one of the great American comedians. His work spans the 20th century, from vaudeville to radio and movies to TV. In vaudeville, he delivered the snappy comebacks and one liners with intelligence and wit, but it was only with the continuing development of his personal trait comedy that he really became the Jack Benny we all know so well. "Who else could play for four decades the part of a vain, miserly, argumentative skinflint, and emerge a national treasure? The secret of his success was deceptively simple: he was a man of great heart." That's John Dunning's assessment from "On the Air, The Encyclopedia of Old Time Radio," which gives a great history of the man and his show. "Where would I be today without my writers, without Rochester, Dennis Day, Mary Livingstone, Phil Harris, and Don Wilson?" Benny asked in Newsweek in 1947.
Tonight it’s the big testimonial dinner and Archie is telling Duffy over the phone that Georgie Jessel is coming down to Duffy’s Tavern and other people beside. Who’s the testimonial dinner for? Why Archie of course. Join in the fun along with Archie and his gang Finnegan, Miss Duffy and Eddie and also appearing Rudy Vallee. Duration: 30:24 Starring: Ed Gardner Broadcast Date: 5th November 1947
Excerpt of the 01 Oct 1946 tribute broadcast to Al Jolson. This star-studded program originated from both New York and California, and included George Jessel, Eddie Cantor, Dinah Shore, Frank Sinatra, Bob Hope, Perry Como, and others, in an hour long tribute to the World's Greatest Entertainer upon the release of The Jolson Story. This podcast includes songs by Eddie Cantor, Dinah Shore, and Frank Sinatra, along with the ending of the program by Mr. Jolson. If there is any doubt about how those in the business felt about Al Jolson, this should get rid of them for all time. The complete broadcast, along with other Jolson radio shows, is available at the Official Al Jolson Website at www.jolson.org.
In this bloody interesting conversation with author, bartender, and bar owner Brian Bartels, some of the topics we discuss include: A little briefing on the state of the industry from Brian’s viewpoint, having launched his bar and eatery, Settle Down Madison in the midst of the COVID-19 pandemic. The history of the Bloody Mary Cocktail - including a lengthy discussion of the two key players in its origin story: bartender Ferdinand “Pete” Petiot and vaudevillian George Jessel. How the Bloody Mary spawned various riffs and spinoffs, including the Red Snapper, the Michelada, the Bloody Caesar, and of course, the Red Eye. Why Brian considers the Bloody Mary as a bit of a “moving target” in terms of its formulation - in essence, why it’s such a slippery, variable drink, and yet nobody seems to have any problems with the inconsistency of recipes out there. Some thoughts on brunch, and why Brian falls out of step with many professional bartenders by defending it as a bastion of conviviality in today’s world. Some pointed and surprisingly optimistic projections on the future of the Bloody Mary, A preview of Brian’s newest book project, The United States of Cocktails, And much, much more.
Barbara Carole Sickmen is a lyricist/composer and recording artist who has performed onstage with Eddie Fisher, Jerry Vale, Alan King, Buddy Hackett, George Jessel, and Jackie Mason. She was a resident playwright at Kids For Kids Theater, where she developed musicals including Alice in Appleland and The Prince of Poland (Guthrie Theater, Minneapolis). She taught Theater Arts at Stony Brook University with John Houseman and Martin Gottfried and is a member of the Dramatists Guild, ASCAP and Women in Theater. Ben, Virginia, and Me (The Liberace Musical) Before Liberace entered the world of glitz and glamour, the legendary showman crossed paths with history's most notorious gangster and his girlfriend, forming a unique bond. Featuring a lavish original score, this world premiere musical explores the phantasmagorical life of the iconic performer and his nearly career-shattering struggle to maintain privacy with respect to his sexual orientation. Friendship, love, and the quest for redemption play out for one of showbiz's most unique trios in the telling of this remarkable story. https://newyorklifestylesmagazine.com/articles/2017/06/96.html https://www.broadwayworld.com/people/Barbara+-Carole-Sickmen/ https://www.linkedin.com/in/barbara-carole-sickmen-6483a175/
July 19-25, 1969 This week Ken welcomes film fan, Rifftrax-er, and voice of Tom Servo, the great Kevin Murphy to the show. Ken and Kevin discuss fishing, Elvis, the Apollo 11, Boy Scout Camp, the space race, the political unrest of 1968, Vietnam, Iowa, Nebraska, jock itch, hemorrhoids, corn, being too old for diaper rash, smoking, Jackie Gleason, Hardcore Corn-ography, the greatest music on television, The T.A.M.I. Show, WHA PBS, Kevin's history in television production, Mason Williams, the FCC, befriending the tape librarian, The Outer Limits "The Invisible Enemy", The Day the Earth Froze, Miss Universe, Mission Impossible, The Shock Theater package, WGN's movie library, seeing Hammer Films on TV, Creature Features, being a cool 60s cat, Tarus Bolba, "blood and thunder", Gogolos, Ken Barry, Mayberry R.F.D., profiling Paul Lynde, when Arnold directed William Hickey, The Johnny Cash Show, Green Acres, the skillsets lost in time, The Munsters, The Prisoner, The Finale Programme, Dean Martin's Golddiggers, going "full on bachelor", The Avengers, the sci-fi convention circuit, the art of panel moderation, the other Rashoman, 90 minute time slots, how amazing Bob and Ray are, Don Rickles, George Jessel, planning a TV schedule, and having outdoor movie nights.
Excerpt of the September 8, 1937, Memorial Concert to George Gershwin with George Jessel and Al Jolson. This brief excerpt of the two hour program includes Jessel's eulogy of Gershwin, and Jolson's performance of Gershwin's first, and greatest, hit, "Swanee," which he sang without whistling. An edited version of this long show is currently online, along with other Jolson radio shows, at the Official Al Jolson Website at www.jolson.org.
Excerpt of the September 7, 1937, Lifebuoy Program starring Al Jolson with guest George Jessel. This clip from the existing 16 minute transcription of the broadcast features Al Jolson and George Jessel having fun with "Toot, Toot, Tootsie." There's more, of course, in the existing segment, which is currently on the Jolson website. The broadcast, along with other Jolson radio shows, is available at the Official Al Jolson Website at www.jolson.org.
Thirty Minutes in Hollywood starring George Jessel, originally broadcast June 19, 1938 with guest Norma Talmadge. A visit to an art museum and a night club in Chicago. Also part 2 of the 5 part Yours Truly Johnny Dollar story, The Pearling Matter, originally broadcast June 19, 1956. A story in the paper, caused by a missing daughter.
Excerpt of the 11 Jun 1937 Hollywood Hotel, featuring Al Jolson and George Jessel. This segment features Jolson singing an earlier version of "Ma Blushin' Rosie," and Jolson and Jessel doing a duet of "Give My Regards To Broadway." The complete broadcast, along with other Jolson radio shows, is available at the Official Al Jolson Website at www.jolson.org.
OTRNOW OLD TIME RADIO PODCAST #28 2 1/4 hours of classic old time radio. COLUMBIA WORKSHOP (Columbia Presents Corwin) July 04,1944 CBS net. "Home For The Fourth". Sustaining. A story typical of America and the things it stands for. Norman Corwin (writer, producer, director), Dane Clark, Bernard Herrmann (music), Dick Cutting (announcer). RIPLEY'S BELIEVE IT OR NOT July 5,1938. Red net. Sponsored by: Post 40% Bran Flakes. The first tune is, "Chansonette." Ripley's features are about "The Foreign Queen Who Became A U. S. Citizen," "The Naming Of Canada," "Mortgaging The U. S. Capitol and the White House," "Backwoods Genius," "The Youngest Preacher" and the most valuable letter. Robert Ripley, B. A. Rolfe and His Orchestra, Linda Lee (vocal), Ford Bond (announcer), Bennett Kilpack. CALLING ALL CARS July 4,1934 CBS Pacific net (Don Lee net). "July Fourth In A Radio Car". Sponsored by: Rio Grande Oil ("Calling All Cars Radio Log"). Fireworks are being exploded within the city limits. The announcer twice mentions that this is "broadcast #35." A holiday spent by radio in a police car. "A slice of actual life." The above date is accurate (the program is about the fourth of July holiday). The program number is possibly #32, despite what the announcer says, unless there is a three week error in the relationship of the program numbers and dates. After the drama, Mr. Lindsley announces that "there were thirty-four characters (in the radio drama)...played by twelve people," and unlike other programs, names them all. Mary Tuthill, Jeanette Nolan, Martha Wentworth, Ralph Scott, Joe Franz, Hanley Stafford, Sam Pierce, Charlie Lung, Richard LeGrand, Robert Frazer, Fred Harrington, Lindsay MacHarrie, William N. Robson (writer, producer), Charles Frederick Lindsley (narrator The Bill Stern Colgate Sports Newsreel. July 4, 1947. Program #399. NBC net. Sponsored by: Colgate Shave Cream. Bill Stern, George Jessel, Joe Howard, June Haver. ESCAPE- July 04,1948. CBS net. "A Tooth For Paul Revere". Sustaining. How the American Revolution really started, a humorous look at a Yankee farmer's point of view. The script was previously used n "The Cavalcade Of America" on May 11, 1942 (see cat. #22924) and on "Adventure Ahead" on September 9, 1944 (see cat. #5132). Stephen Vincent Benet (author), Harry Bartell, Parley Baer, Berry Kroeger, Norman Macdonnell (producer, director), John Dunkel (adaptor), Ivan Ditmars (special music). America, Why I Love Her By John Wayne Some show descriptions Copyright 2011 J. David Goldin http://www.radiogoldindex.com
In this episode of quote analysis, we go over, "The human brain starts working the moment you are born and never stops until you stand up to speak in public." – George Jessel
If you like this episode, check out https://otrpodcasts.com for even more classic radio shows! Learn more about your ad choices. Visit megaphone.fm/adchoices
Oscar and Tony-winning actor Joel Grey drops by the studio to have a bit of fun at the co-hosts' expense, to share amusing anecdotes about Bob Fosse, Buck Henry, Larry Hagman and Lana Turner and to discuss his new Yiddish language version of "Fiddler on the Roof." Also, Rita Hayworth breaks hearts, Pat McCormick plays Grover Cleveland, Gilbert pulls out his George Jessel impression and Joel shares the stage with the late, great Eddie Cantor. PLUS: "Man on a Swing"! Loving Jack Gilford! (and James Garner)! Hal Prince saves the day! The genius of Will Jordan! And Joel remembers his dad, the legendary Mickey Katz! Learn more about your ad choices. Visit megaphone.fm/adchoices
7 Antidotes To Glossophobia Do you suffer from the fear of public speaking or doing live videos? Actor/comedian George Jessel once said: "The human brain starts working the moment you are born and never stops until the moment you stand up to speak in public." Does this describe you? If so, know you are not alone. Studies show that 74% of Americans suffer from glossophobia, a.k.a. the fear of public speaking. But that doesn't mean you have to like it. In fact, we hope that, like us, you hate it so much that you're willing to do something about it! So, in order to help you, In this week's episode of The Thriving on Purpose Podcast, we'll give you 7 sure steps to conquer your glossophobia. This will enable you to speak up with boldness, confidence, and clarity, because we know that Christian Entrepreneurs must get their voices heard in today's world. In This Episode You Will: Learn the seven key antidotes to glossophobia. Learn the meaning of the word glossophobia... lol! Hear about stats that demonstrate just how important developing your public speaking skill is. Learn a great tip from leadership expert Simon Sinek, author of Leaders Eat Last: Why Some Teams Pull Together and Others Don't. (https://amzn.to/2y8VUNc) Learn about the importance of humility from Pastor and author John Piper. Memorable Quotes: “According to most studies, people's number one fear is public speaking. Number two is death. Death is number two. Does that sound right? This means to the average person, if you go to a funeral, you’re better off in the casket than doing the eulogy.” - Jerry Seinfeld "What we fear in public speaking is not the act per-se, but the rejection that could come from it." “There are two types of speakers: those that are nervous and those that are liars.” - Mark Twain “A good speech should be like a woman's skirt; long enough to cover the subject and short enough to create interest.” - Winston Churchill "In order to be convincing, you need to be convinced." "Your speeches will impact your reputation, your branding, and ultimately, your business." "Always keep this in mind: There will always be someone more knowledgeable than you in the audience. And some of them can call you out on inaccurate information… sometimes even publicly." “I’m good enough, I’m smart enough, and dog gone it, people like me.” - Stuart Smalley "You cannot make it interesting if you are not interested." “A story is remembered long after the sermon is forgotten.” - Charles Spurgeon "Preparation eliminates agitation." "You don’t want to be shaking when you go on stage… you want to shake them. Figuratively speaking." "The reason we have performance anxiety when speaking is that we focus more on our performance than our audience." "You are to act as a servant, a waiter, serving your audience. And your message is the dish you are serving." "Our biggest problem when speaking – mine and yours, is that we seek the praise of men rather than the glory of God." "When we are called upon to speak in public, we are there to add value to others, but we anguish over how our own value may be affected in the process." "Ultimately, our fear of public speaking is because we have “I” troubles. And ‘I’ trouble means our vision needs to be corrected." "Humility is your best friend as a public speaker." “The worse speech you’ll ever give, will be far better than the one you never give.” - Fred Miller "There are always three speeches, for every one you actually gave. The one you practiced, the one you gave, and the one you wish you gave." - Dale Carnegie Recommended... Support this podcast
Highlights of old-time radio shows. Golden Days of radio began in 1949 and is still being broadcast today. Hosted on Acast. See acast.com/privacy for more information.
Highlights of old-time radio shows. Golden Days of radio began in 1949 and is still being broadcast today. Hosted on Acast. See acast.com/privacy for more information.
"Thirty Minutes in Hollywood," starring George Jessel. Originally broadcast December 5, 1937, 80 years ago. Guest star George Raft. George and guest George Raft do a satire of "Gangbusters" called, "Gagbusters."
Meet Drew Friedman: cartoonist, caricaturist, illustrator and pop culture connoisseur. Jessie tries to referee as Drew and Leonard trade stories about oddball movies and actors they admire (from the cast of Ed Wood movies to George Jessel) in this lively conversation. If you’re already a Friedman fan you may want to contribute to a Kickstarter campaign to fund a documentary about him at www.vermeeroftheborschtbelt.com
Who ya gonna call? Movie Addict Headquarters calls on film critic A.J. Hakari to talk about the original Ghostbusters and the negative reaction about remaking this movie with an all-female main cast. Also, though the magic of imagination and technology, the late great Joe Franklin drops by to talk about his appearance in the first Ghostbusters film, and comedian George Bettinger calls in along with his friends Humphrey Bogart, Jackie Mason, and George Jessel. Plus, host Betty Jo Tucker shares her candid opinion about the 2016 comedy starring Melissa McCarthy, Kristen Wiig, Kate McKinnon and Leslie Jones. A.J. Hakari, the Mad Movie Man, writes film reviews for a number of sites including ReelTalk Movie Reviews, Review Express, Classic Movie Guide and his own popular film blog CineSlice. George Bettinger hosts The Mom & Pop Shop Radio Show, which airs on tune in radio from Miramar, Florida, every Monday, Wednesday, and Friday at 4 p.m. Eastern Time.
Comedian, radio personality and former "Howard Stern Show" writer Jackie "The Joke Man" Martling joins Gilbert and Frank for a sprawling, no-holds-barred conversation about Hollywood urban myths, Joe E. Ross' hooker habit, the eccentricities of Tiny Tim and the vindictiveness of Ed Sullivan and Arthur Godfrey. Also, Jackie tells a joke to Sir Paul, Gilbert riffs on Jackie Mason, George Jessel turns down "The Jazz Singer" and Johnny Roselli scams the Friars Club. PLUS: Otto & George! Gilbert "Dice" Gottfried! The legend of Joe Ancis! And the origin of the "Jackie puppet"! This week's sponsor is http://Audible.com, who has more than 180,000 audiobooks and spoken-word audio products. Get a free 30 day trial and free audiobook at http://www.audible.com/Gilbert Learn more about your ad choices. Visit megaphone.fm/adchoices
The George Burns and Gracie Allen Show. November 8, 1945. With GEORGE AND GRACIE, BILL GOODWIN, DICK JOY, MEREDITH WILLSON ORCHESTRA, LOUELLA P ARSONS (cameo role), and GEORGE JESSEL. Also MEL BLANC. Plot summary: George has landed a movie part as a leading man and has "gone Hollywood." Running time: 24:25. TGRC 09 Burns & Allen.mp3
Fred Allen's show was not very typical of his time. He tended to avoid the standard variety format in favor of topical humor approached from several directions within the half-hour. Over the years, it became more or less a trademark that Allen would tell one of the scripted jokes and that would fall flat...only to have Fred ad lib some crack about how bad the joke was, getting a much bigger laugh in the process.
The Bloody Mary is another one of those cocktails that people have been fighting over for nearly a century. Because of its age and popularity it surely is a classic, but I think part of its popularity has been earned by its shock value. I think it's the kind of drink people suggest to elicit "ewws" but because it's actually good, it has stuck around as more than just a joke. Capping it off with a name deserving of a horror show, you have a classic with some staying power. The drink has two origin stories. One comes from the ever popular Harry's New York Bar in Paris as yet another Lost Generation cocktail, but not from Harry, but one of the bartenders there, Fernando Petiot, made it at the suggestion of one of the regulars, Roy Barton. The other story is much more detailed involving a vaudevillian, a Mr. George Jessel. After an evening of binge champagne drinking in 1927 he requested a pick me up from the bartender at the bar he landed at in the morning. The bartender whipped this up for him as a friend, Mary, still dressed in her evening gown from the previous night joined him. She proceeded to spill it down her front, and so the drink was christened. These two tales are understood as the best contenders for the origin of the Bloody Mary. What many don't realize is that Mr. Petiot admitted long ago that Jessel was the first to put vodka and tomato juice together...Petiot dressed it up, added salt, pepper, and spice and made it the drink that people love to hang over at brunch around the world today. 2 ozs Vodka 6 ozs Tomato juice 2 dashes Worcestershire 1 dash Tabasco At the Brixton, Michael made us a couple of Bloody Marys to demonstrate a little of what they do there to change it up a bit. In one he added a little Guinness and in another he added a little red wine. Both were hits with most of us, though each had his or her favorite. Jeremy and myself stood out as the ones who just don't do Bloody Marys...It's the tomato juice. Neither of us like to drink tomatoes, so we're just not going to like Bloody Marys...really ever. Kevin and Eric are avowed Bloody Mary fans and they appreciated the drinks though it was noted that having the celery salt mixed right in was preferable to just rimming the glass (though I have to admit I liked the less salty one more). Nicole enjoyed them as well, liking how the red wine in the one version smoothed it out a little. As much as I dislike these drinks, I truly appreciate what they are, the tradition and the history, and the stories are interesting and fun...a real slice of life in that time period.
The Jell-O Program Starring Jack Benny. April 3, 1938. Red net. Sponsored by: Jell-O. Jack has returned home from New York to find that no one listened to his show while he was gone. Andy Devine, Don Wilson, George Jessel, Jack Benny, Kenny Baker, Mary Livingstone, Phil Harris and His Orchestra, Eddie Anderson, Sam Hearn, Harry Baldwin, Ed Beloin (writer, performer), Bill Morrow (performer), Blanche Stewart.Click Here to Listen Today's Old Time Radio Station NOW ON AIR!!SUPPORT US BY SUPPORTING OUR SPONSORS HempUSA Store
Allen began his network radio career in 1932 after working vaudeville and Broadway with such comedy icons as Al Jolson, Ed Wynn, George Jessel, and Jack Benny. This was a time when the United States was in a deep economic depression, and radio in its infancy. In his autobiography Treadmill To Oblivion, Allen wrote that he thought radio should provide complete stories, series of episodes, and comedy situations instead of monotonous unrelated jokes then popular on vaudeville. With this idea in hand, he began his first radio program on NBC called The Linit Bath Club Review (named after the sponsor
© 2020-2025 Ivy Podcast Discovery LLC
