Al Jolson | Cladrite Radio

Times Square Tintypes: Fannie Brice

In this chapter from his 1932 book, Times Square Tintypes, Broadway columnist Sidney Skolsky profiles Fannie Brice, comedienne, singer, and theatre and film actress.

SAY IT WITH SONGS

FANNIE BRICE. She was born at the stroke of midnight on October 29, 1892. Her square moniker is Fannie Borach.

She enjoys a good cry.

Hasn’t a long list of friends. But those she has she can tap for anything.

She took the tag of Brice from John Brice, a next-door neighbor. He is now a watchman on the Ninth Avenue elevated. She told him that some day he’d see his name in lights.

Is a good judge of diamonds, furs and the value of real estate.

There is one thing in the world she can’t stand. That is cream in her coffee. It makes her sick.

She is the proud mother of two children. A girl of nine and a boy of seven. Has one brother, Lew, in the theatrical business. Also has one sister, Caroline, who believes that she would be a great actress if she didn’t suffer from asthma.

Her hobby is taking photographs of bedrooms. She has a picture of every bedroom she ever lived in.

Made her stage début at Keeney’s Theater in Brooklyn on amateur night. She won first prize singing, “When You’re Not Forgotten by the Girl You Can’t Forget.”

The only instrument she can play is the piano. That is, if hunting for notes with two fingers can be called playing.

Her father owned a string of saloons. He was known as “French Charlie.” Her mother really ran the saloons, for “French Charlie” was always playing pinochle.

When traveling she takes an electric stove with her. She’ll cook for anybody who wants to eat.

She once worked in a movie house on Eighty-third Street and Third Avenue. Here she sang songs, sold tickets and painted signs. Her salary was $8 a week.

The biggest surprises she ever got, good or bad, were from herself.

Is one of the best dressed women in the theater. Has her dresses designed especially for her by Kiviette. While in Hollywood she made dresses for Dolores Costello and Norma Talmadge. She has thirty dresses she hasn’t gotten to yet.

The moon makes her serious.

When watching Fannie perform her mother always says to the people sitting about her: “That’s my daughter. She’s good, isn’t she?”

She dislikes people who are perfect and have everything. Believes that such people miss something in life.

After she sang “My Man” for the first time her salary was raised from $1,000 to $3,000 weekly.

Her present husband is Billy Rose, who also writes her songs for her. Her nickname for him is “Putsy.”

She’d walk ten miles if she could window shop on the way. Otherwise she wouldn’t walk two blocks.

Her first comedy song was “Sadie Salome.” She sang it merely to help Irving Berlin, then a newcomer, along. It started her on the road to fame and fortune.

She is a card shark.

Fridays with Rudy: Vagabond Dreams Come True, Ch. 18

In Chapter 18 of his 1930 memoir, Vagabond Dreams Come True, Rudy Vallée offers tales of his encounters with an arm of the music publishing industry that was a dying breed even then: The song plugger.

Chapter XVIII

THE SONG PLUGGER

DUE to the influx of theme songs and sound pictures a most interesting species of human being is fast disappearing from the musical world. I refer to the song plugger.

He is an individual with perhaps one of the most thankless jobs that anyone could have and a task that requires more cajolery, diplomacy and salesmanship combined with the ability to take more rebuffs than the proverbial insurance and book agent. From early morning until late at night his hours are spent among artists who might be the means of presenting one or more of his songs to the public.

The history of the success of a song is more complicated than that of a best seller in fiction. A successful song writer must be a keener psychologist, possibly, than any other artist.

In the first place there is the period to be considered. There are Mammy periods, Oriental song periods with subdivisions when Chinese, Japanese and Hindu songs are especially popular; Hawaiian periods; Dixie periods, closely allied to the Mammy periods; periods when the public seems ready for “nut” songs with the lyrics about Fords, bananas, ice cream, and so forth. But the public is always ready for a love song, especially a love song in waltz tempo.

Assuming that the song writer has written the correct song for the period, the next problem is to introduce it to a public spread not only over forty-eight states but over the entire world.

In the old days this tremendous task was accomplished first by vaudeville acts and traveling singers. Later, phonograph records became, with vaudeville, a successful medium. Today the radio as a means of introducing songs to the public is a thousand times more effective than either of those other two, considering that at some radio broadcasts the listening audience may number five or even ten million people. Nowadays a good song can almost be “made” by one or two broadcasts over the giant networks from coast to coast.

Once the song has become successful in America, it is purchased by foreign agents or individual publishers who in turn exploit it by radio and records. The triple hook-up of radio, records and vaudeville is responsible for the tremendous royalties paid to song writers today.

An outstanding example of this is “Sonny Boy” which in a period of a month and a half reached a sale, thanks to Al Jolson’s motion picture, of over one million sheet copies and several millions of records, which nets both the composers and the publishers a pretty penny indeed.

Thus it will be seen that the vaudeville song plugger, or publisher’s representative, who tries to persuade the acts to use his particular tunes in their routine, is practically unnecessary, as is the man whose business it was to take the recording heads out to luncheon and plead with these experts to record his tunes. Today if the orchestra leader can be persuaded to broadcast the tune to his audience of millions, it will, on its own merit go over in the various music stores, whereas the record companies are only two anxious to record the tunes for which there is a great sheet music demand.

Again, most of the vaudevillians have radios and hear for themselves just how wonderful a tune is, or get the effect of a broadcasting of this particular tune.

Then again, the motion sound picture with a reiteration of its theme song reaches almost as many as the radio, since there may be simultaneous showings of the same picture in almost every good sized city throughout the country for weeks.

The song plugger formerly included in his routine visits to the vaudeville artists’ dressing-rooms and the dance hall, where he attempted to persuade the orchestra leader to feature his tune. Often he himself would sing while he stayed there. When you heard a strange singer at a dance you could be pretty sure that he was probably a song plugger.

04 Mar 11 | Tags: Al Jolson, Connecticut Yankees, Rudy Vallee, song pluggers
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Snapshot in Prose: Al Jolson

We’re of the opinion that no performer’s appeal has dropped as much over time as Al Jolson‘s.

By that we mean, given what a huge star he once was, it’s intriguing how dated and, well, odd he sounds to many people today.

Not that any other performers who became stars in the first three decades of the 20th century are moving many records (or mp3s) these days, but Jolson, to our ears, stands nearly alone among the stars of that era as a not terribly easily acquired taste for 21st century listeners.

This profile, first published in 1934, reviews Jolson’s rise from a hardscrabble childhood to unparalleled stardom. Give it a read, and see if you’re won over. And when you reach the end, we’ve included a pair of Jolson recordings for your consideration. “Sonny Boy,” especially, is Al at his most … emotive.

“MAM-MY! Mam-my!” boomed the great, heart-to-heart voice of Al Jolson, and the whole world shouted, “Here I is!”

With storms of wild applause, vast audiences filled the pockets with their idol, who had grown up from hungry, little Asa Yoelson, to overflowing with millions of dollars.

Born in St. Petersburg, Russia, on May 26th, 1886, Asa soon was taught the chants and songs of the Hebrew religion that he might become the seventh in a direct line of Yoelson cantors.

While he was still a small child, the family came to America. They settled in Washington, D. C., where the father became cantor in a synagogue.

Now that the little fellow’s tummy was gratefully full, he suffered the pangs of another hunger. It was for high adventure, a restless craving for romance.

He no longer wanted to be a cantor, but the grandeur and throbbing sorrow in the music of his people had already left their indelible beauty in his voice.

To escape the boredom of his childhood, Asa ran away. He rode to New York in a freight train to join his brother. Falling asleep on a park bench, the little youngster awoke to find that someone had stolen his shoes. His brother sent him home.

Next, eager for excitement, Asa ran away with a circus. Discovered, the manager said he was too young. He sent him right back to Washington.

Undaunted, the exuberant runaway wandered off to the army camp of a regiment in the Spanish-American War. The attractive, brown-eyed lad instantly won the friendship of the soliders. They enjoyed his rare ability as an entertainer, and adopted him as their mascot. However, they urged him to return to his parents.

His last runaway was with a burlesque show, when again he was promptly sent home.

Asa had become resigned to wait in Washington until he owned his first pair of long pants. With the long pants, he put on a new name, Al Jolson. The combination seems to have brought him good luck. He found work as a super in “Children of the Ghetto,” at the Herald Square Theatre, New York.

A little later Al joined his brother, and a friend named Palmer, in a vaudeville act. There followed years of one-night stands, traveling from coast to coast. He knew nights of near-despair, and days of hunger.

Al had to hunt for cheap rooms, and often he found them miserably cold or stiflingly hot. Loneliness and dreadful food were his frequent lot.

Following the San Francisco earthquake and fire in 1906, he got a job in a Barbary Coast café. Here, Jolson created his own informal style of entertaining. Later, as the greatest box-office attraction on the American stage, he developed it into a real art. In this achievement, he stands supreme among the entertainers of our time.

To make himself heard over the din of the city’s reconstuction, the gay troubadour stood on the piano near the audience, he got down on his knees for “sob” songs, and carried his listeners into a “colored” heaven.

He was wearing black-face. To an unnamed, old negro dresser in a New York theatore goes the credit for Al’s make-up.

“Mister Jolson, why don’t yo’ try singin’ yo’ songs blacked up?” the wise old fellow had said to Al.

The suggestion turned the tide in Jolson’s career. The Barbary Coast crowds raved over him. The next year, he became a member of the Dockstader’s Minstrels. It amazed him to discover that he could make his audiences cry or laugh with his singing.

Al Jolson became King of Broadway’s royal entertainers. The Shuberts signed him, in 1911, for musical shows at the Winter Garden Theatre. Gone were the one-night stands. The singing waiter of the Embarcadero became the biggest star on the Great White Way.

Jolson had sung to popularity more great songs than any other of the lionized singers. The list of “hits” he has made is staggering.

Al’s favorite stage role was in “Robinson Crusoe, Jr.” He proved the most successful and biggest drawing card the Winter Garden ever had.

In Your Hat, pt. 12

In Chapter 12 of In Your Hat, the 1933 tell-all memoir by Hat Check Girl to the Stars Renee Carroll, she reveals what various celebrities wrote in her collection of autograph books, and she follows that with tales of what the stars of the day liked to eat when they patronized Sardi’s.

If you took a rabbit out of those suckers’ hats
They would squawk just the same:
They all have two strikes on them
When they are born.

TEXAS GUINAN

THAT’S an autograph left in my book by Tex. I’m not quite clear as to its meaning, and I don’t think she is either. But vaguely, it’s Broadway’s philosophy. If somebody pats you on the back, he’s only locating a spot for the knife thrust. If you give a sucker a break, he’s liable to shove his hand in and rip it apart.

Of course, all this is only sentimental hooey, and the boys and girls on Broadway are just as maudlin about one another as boys in an English boarding school. They all want to appear like awful, terrible “bad mans” with no hearts at all. The visage is stern, but the head and heart are made of mush, and it oozes through your fingers when you squeeze it.

I’ve got three books full of autographs. Perhaps a glance at some of them might throw an interesting light on the writers. I particularly like that of Frances Williams, whose cheeriness and glibness is not limited to her appeareances on the stage.

“May every hat check bring you a fat check—and may no meanie neglect my Renee—who never wrecks hats each time she checks hats—Frances Williams.”

Most of the celebrities pore over the book, seeking inspiration in the lines already written. Very few show any originality at all. Al Jolson, in one of his brighter moments, scribbled:

“Oh, look, I am in your book—thanks for letting me.”

And Louis Sobol, the Journal‘s columnist, wrote:

“To Renee, who expects something clever from me but won’t get it.”

Russell Patterson, the artist, who very rarely wears a hat, said as much, regretfully, with:

“To Renee, from her worst customer.”

Tony Canzoneri, the prize fighter, dragged his trade in by the teeth when he inscribed:

“To a real and sweet girl, with loads of knockouts.
Tony Canzoneri,
Lightweight Champion of the World.”

The professional gate crasher, Tammany Young, waxed philosophical and wrote:

“To Renee—
”Who takes what you give graciously. All life is a game of give and take. For what she takes she gives in a return a smile, a cheerful greeting and your belongings. May you go a long ways and prosper. Keep smiling Renee, it’s what we all go for.”

I think George Jessel‘s autograph amusing:

“To Renee—
            Duchess of Sardi,
               from
               Baron George Jessel,
               Colonel of the Bronx Grenadiers
               And Vis-count of Brownsville.”

Sidney Skolsky, the paragrapher, gave me away with:

“You’ll always be Miss Shapiro to me—one of my best yarns. Sidney Skolsky
P.S. She sleeps in the raw!”

If you can remember Herbert Rawlinson, you’ll remember his signature, too:

“My hat’s off to you. (Get it?) Je parle français aussi. (I hope that’s right).”

And Jesse Crawford noted:

“My autograph I here inscribe,
A member of the organ tribe
Jesse Crawford,
Poet (?) of the Organ.”

The little movie star, Marian Marsh, gave me a a straight tip with:

“Keep your face towards the sun and the shadows will fall behind you.”

And Reri who starred in F.W. Murnau‘s Tabu and was brought to American by Ziegfeld, wrote in the only language she knew:

“A mon amie Renee en souvenir des Ziegfeld Follies 1931.”

I offer the inscription of Sam Shipman, the playwright, because it is more or less typical of Broadway sentiment and ways of thinking:

“A hat girl who has more in her head than all the brains those hats cover. A little princess on a door mat—An oriental pearl in a suffocating shell—a ruby in a musty purse, but watch her.”

And Everett Marshall, the lusty-voiced baritone, dropped this:

“To Renee. In memory of my first daughter of four kilos.”

While Faith Baldwin, the author of Self Made Woman, wrote simply:

“Because I like red-heads.”

I’ve got lots of drawings, too, by famous artists, all of them too risqué for reproduction, and in some cases too combustible for safekeeping. Some of our best known illustrators have garnished the pages of my little books with drawings that would make those paintings on the bathroom walls of old Pompeii quiver with shame.

But not all the good things happen in autograph books or at penthouse parties. I have a lot of laughs right in the restaurant.

07 Sep 10 | Tags: Al Jolson, Bing Crosby, Carl Laemmle, Claudette Colber, Eddie Cantor, Everett Marshall, F.W. Murnau, Faith Baldwin, Florence Reed, Florenz Ziegfeld, Fran Webb, Frances Williams, George Gershwin, George Jessel, George Kaufman, George Metaxa, George White, Gus Edwards, Harry Hershfeld, Harry Rosenthal, Helen Morgan, Herbert Rawlinson, Jed Harris, Jesse Crawford, Jimmy Walker, John Henry Mears, Junior Laemmle, Kate Smith, Lee Shubert, Lewis Milestone, Louis Sobol, Marian Marsh, Mark Hellinger, Marlene Dietrich, Max Lief, Morris Gest, Morton Downey, Paul Whiteman, Pepy De Albrew, Reri, Rian James, Ring Lardner, Robert Ripley, Rudolph Valentino, Rudy Vallee, Russell Patterson, Sam Shipman, Sidney Skolsky, Tabu, Tallulah Bankhead, Tammany Young, Ted Healy, Tex Guinan, Tony Canzoneri, Walter Winchell, William "Stage" Boyd
| Cladrite Culture, In Your Hat | Read on | Comments (0)

Big news!

We have some big news for you, straight from Cladrite Industries’ central office in the heart of New York City:

It’s with great pleasure that we announce that Cladrite Radio will now be featuring performances taken from rare Vitaphone shorts, via recordings generously provided by one of the driving forces behind the Vitaphone Project, Ron Hutchinson, corresponding secretary and editor of the organization’s newsletter, The Vitaphone News.

That’s right, listeners of Cladrite Radio will be able to enjoy recordings that date back eighty years and more and are not commercially available anywhere, including performances by such Cladrite favorites as Rudy Vallée, Ben Bernie and His Orchestra, Horace Heidt and His Calfornians, and Abe Lyman and His Band, just to name a few.

What are Vitaphone shorts and The Vitaphone Project?

Well, here’s a snippet from a 1926 short featuring an act called Witt & Berg (note: the restored shorts are much clearer than this online sample):

And here are a couple of the songs we’ll be featuring in our first batch Vitaphone recordings:

Grace Johnston and The Indiana Five — “Bashful Baby”

Tal Henry and His North Carolinians — “Milenberg Joys”

Anyone with a casual interest in classic movies knows that The Jazz Singer (1927), starring Al Jolson, is considered the first “talkie” feature motion picture (even though that picture is arguably a silent movie with sound segments). (Incidentally, the recent three-disc DVD reissue of The Jazz Singer includes a disc that features several Vitaphone shorts.)

The same process used to create the sound for that ground-breaking picture was also used in literally hundreds of short subjects, dating back a year earlier to 1926.

The Vitaphone process depended on the use of a separate 16-inch record that was synchronized with the film, as opposed to the later practice of imprinting the sound on the edge of the film itself.
Read more

30 Jul 10 | Tags: Abe Lyman, Al Jolson, Ben Bernie, Film Forum, Grace Johnston, Horace Heidt, Rudy Vallee, Tal Henry, The Jazz Singer, The Vitaphone Project, Turner Classic Movies, Vitaphone shorts, Witt & Berg
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Are You Having Any Fun?
Hey fellow with a million smackers
And nervous indigestion
Rich fellow, eats milk and crackers,
I'll ask you one question,
You silly so and so,
With all your dough...

Are you having any fun?
What you getting out of livin'?
What good is what you've got
If you're not having any fun?

Are you having any laughs?
Are you getting any lovin'?
If other people do,
So can you, have a little fun.

After the honey's in the cone,
Little bees go out and play.
Even the old grey mare down home
Has got to have hay. Hey!

You better have some fun.
You ain't gonna live forever.
Before you're old and gray, feel okay.
Have your little fun, son!
Have your little fun!

Why do you work and slave and save?
Life is full of ifs and buts.
You know the squirrels save and save,
And what have they got? Nuts!

Better have a little fun.
You ain't gonna live forever.
Before you're old and grey, still okay,
Have your little fun, son!
Have your little fun!
Are you havin' any fun?

---Sammy Fain (music) and Jack Yellen (lyrics), 1939