Corey's Ramblings: February 2017

Sunday, February 12, 2017

African Americans on Old Time Radio: AFRS Jubilee on Valentine's Day with Cab Calloway (1944)

For my sixth entry African Americans on Old Time Radio, I am showcasing a program that originated from the War Department during World War II. It is a program that had crossed my field if vision from time to time, but I never really trying to learn more about it until this series. But once I did....how to put it...wow! Actually, that would be WOW! This great series came from the Armed Forces Radio Services of the War Department to provide entertainment for African American troops during the war.

This year to celebrate National African American History Month in February, I am going highlight a new series on my blog. This year, I will feature African Americans during the Golden Age of Radio - or Old Time Radio - during the 1930s through the 1950s. I wanted to start this blog last year, but alas...better late than never. I hope to have a great assortment of programs that showcase the great contributions of African Americans in mainstream radio when Jim Crow laws, segregation and discrimination were regular obstacles facing artists of color.

National Seabee Memorial at Arlington National Cemetery (Arlington, Virginia) - August 1, 2015

Jubilee is a tremendous series that was produced by the Armed Forces Radio Services (AFRS) to entertain African American troops serving in the military, especially overseas. Fans of Old Time Radio owe a great deal to the AFRS. Many of the recordings that we can listen to and share are from transcription albums purchased by the AFRS for entertaining the troops. In the process, these all became government documents, which essentially, can be shared freely to everyone. In addition to the series that they selected from the major networks, there were a few series that they produced and recorded. One was called Command Performance (which I featured here to celebrate Bing Crosby's Christmas shows) and was a variety show featuring the leading radio and entertainment stars of the day. The other is Jubilee, that we are showcasing today. It ran from 1942 to 1949, and again from 1952 to 1953 during the Korean War. Many of the early episodes were hosted by Ernest “Bubbles” Whitman and were mostly recorded before a live audience in Hollywood. Whitman loved saying words backwards, which is why the history below is called Eelibuj. Most of the guests on each show were African Americans and included Lena Horne, Louis Armstrong, Duke Ellington, among others.

For the Valentine's Day episode in 1944, Jubilee featured an amazing program (and one of a few I am hoping to showcase over the next few weeks). The cast (in addition to Whitman) is simply amazing. Cab Calloway and his Orchestra play the great song "We, The Cats, Shall Hep You." Nat King Cole performs as a trio with Oscar Moore and Johnny Miller. George Burns and Gracie Allen did a skit at the end of the half hour program. And one other group performed, and they are tied to the picture above. A group called the Four Seabees performed. The Seabees are members of the United States Naval Construction Forces (NCF). Their name comes from the initials of "Construction Battalion" - CB (or See Bee). The four Seabees turned musicians were: Seaman First Class Ernie Henderson, Percy Heal, Paul C. Richards, and Will Dakota. Their motto "Can Do!" definitely applies to this group and comes into play during the show. This amazing program features some outstanding musicians and actors and does a fantastic job of preserving these wonderful performances.

I hope you enjoy these episodes.

Jubilee (February 14, 1944)

Here are some links to programs relating to Old Time Radio and Jubilee:

African Americans on Old Time Radio:

Wednesday, February 8, 2017

African Americans on Old Time Radio: Singer Meredith Howard on Pete Kelly's Blues (1951)

For my fifth entry African Americans on Old Time Radio, I am showcasing a program that was a summer replacement series in 1951. The star was Jack Webb, who two years earlier introduced the gritty reality of Dragnet to people all over the country. In this series, Jack Webb introduced America to another passion of his, Jazz. Playing a key role in this series was a young African American singer named Meredith Howard. Unlike the roles played by Eddie Anderson and Lillian Randolph, Meredith Howard played a singer in 1920s Kansas City who had a solo with each show.

Visit to Old U.S. Mint (New Orleans, Louisisana)

Visit to Old U.S. Mint (New Orleans, Louisiana) - 2013 - There is a record in this story...honest!

Pete Kelly's Blues was a brief summer replacement series on NBC that was produced and starred Dragnet actor Jack Webb. It only ran during the summer of 1951 and was not picked up for a permanent show. However, it did become a television show and movie of the same name later in the 1950s. Webb played Pete Kelly, a clarinet player who often finds himself in trouble in the rough and tumble world of musicians and speakeasies during the Prohibition Era. Meredith Howard played Maggie Jackson, a local singer who not only is written into the stories, but also gets to perform in each episode. The role of Pete Kelly was much like the role Jack Webb played in the great series Pat Novak, For Hire, which shared Webb and writer Richard Breen who worked on the new series. He was a musician who played from late at night to early in the morning. Furthermore, like Pat Novak, trouble found him! And while this series was the confluence of great radio producers, actors and musicians, the star we want to focus on is Meredith Howard. Towards the end of this short run, the Los Angeles Sentinel, a newspaper for the African American community, published this profile of the young singer and how she got the part on this program.

How A Lass Tagged Meredith Becomes A Chirper - Maggie
Los Angeles Sentinel, September 20, 1951, page B3

Twenty-one year old Meredith Howard, who plays the role of blues singer Maggie Jackson on NBC's "Pete Kelly's Blues," is still walking in a daze. In just a few short weeks she jumped from being a student in a Los Angeles trade school to feature billing on the NBC radio shows and star st status on Capital records - and all because Jack Webb once heard her sing two years ago.

It was back in 1949 during Alumni Week at Belmont High School, Meredith, a senior student, sang a few numbers in the school's "Hi-Jinks" production. Emceeing the show was Jack Webb, Belmont alumni and rising young radio star. The two met very briefly and that was it, or so it seemed. When two years later, in 1951, Webb was searching for a genuinely different voice to play the speakeasy blue singer on his "Pete Kelly's Blues," series, he recalled the young girl he'd heard at Belmont high, Webb tracked her down, offered her the radio job and arranged for her to cut some sides for Capital with the "Pete Kelly and his Big Seven" combo and now there seems to be no telling just how high the girl with rocket.

Her brother, Paul White, is also in show business. He's a dancer in the Ted Lewis aggregation and does the famous "Me and My Shadow," dance with the veteran showman. In fact it was because of Paul, that the Jackson family left New York for California in 1937. Paul, then a very young boy, was signed to a Universal Pictures contract and worked in films for three years.

Meredith a big girl of 5' 5" and 163 lbs., says she may finally have the secret of losing weight. "Just get a sudden phone call from Jack Webb, jump into a whirl of rehearsing, singing, acting, recording, then stay up all night, wondering how it all came about."

Jack Webb's love for jazz was clear in this short-lived series. Each episode had a few songs that makes listening to the episode a real joy if you love the music of the twenties. The opening was really great as well:

This one's about Pete Kelly.

It's about the world he goes around in. It's about the big music, and the big trouble, and the big twenties. So when they ask you, tell 'em this one's about the blues. Pete Kelly's blues.

When Pete Kelly and his band start recording a few songs, they found themselves at a recording study where people record music or personal messages for 'family back home.' That is where Pete Kelly finds himself mixed up in a crime...again. Turns out that the cylinders can be used multiple times, which means that some incriminating evidence might be out there. When a woman named Zelda shows up and stops him from going into the studio, the adventure begins. Zelda is asking Pete to get back a recording from the studio. Starting at 16 minutes into this episode, Meredith Howard sings a great song about Fat Annie's, the bar across the river on the Kansas side. If you like the combination of jazz and crime stories, this is a good series for you! I hope you enjoy.

Zelda (Pete Kelly's Blues - September 5, 1951)

Here are some links to programs relating to Old Time Radio and Pete Kelly's Blues:

African Americans on Old Time Radio:

Monday, February 6, 2017

African Americans on Old Time Radio: New World A Coming on Life Behind Newspaper Headlines (1944)

In my fourth entry in my African Americans on Old Time Radio, I want to share a program that was broadcast over WMCA in New York City in the 1940s to showcase the contributions of that community in broader society. Over the last few episodes, we have heard representations of African American actors in service roles like valets and house-keepers. But thanks to this great series from Roi Ottley, we hear a different story over the radio in the 1940s to showcase the contributions of African Americans in all areas of society. As a personal reference, I remember always looking at the WMCA radio transmitter building near the New Jersey Turnpike on the Belleville Turnpike in the wetlands of Northern Jersey.

This year to celebrate National African American History Month in February, I am going highlight a new series on my blog. This year, I will feature African Americans during the Golden Age of Radio - or Old Time Radio - during the 1930s through the 1950s. I wanted to start this blog last year, but alas...better late than never. I hope to have a great assortment of programs that showcase the great contributions of African Americans in mainstream radio when Jim Crow laws, segregation and discrimination were regular obstacles facing artists of color.

Newspapers in the library - November 2008 (University of Michigan)

New World A Coming was a a ground breaking book by Roi Ottley in 1943. Ottley was a journalist who wrote for the Amsterdam News in the 1930s, where he gained a great understanding of the African American Community in New York, especially Harlem. He went to St. Bonaventure University before transferring to the University of Michigan where he studied journalism (Go Blue!) In 1943, Ottley wrote New World A-Coming, and provided an overview of life in Harlem from the 1920s and 30s. The book became a best seller and won the Peabody Award. The year after the book came out, WMCA in New York City produced a series with Ottley as the writer to share these stories to an even broader audience. The Amsterdam News would report the following story after the first episode aired:

"A New World" Holds Premier
S.W. Garlington, New York Amsterdam News (March 11, 1944), page 1

"With the sweeping fury of a resurrection - a new world is coming!" With this announcement last Sunday over WMCA the premier of the radio program "New World A-Coming" was introduced to the audience of the world's leading independent radio station. As the music started, one was reminded of "Mood Indigo," but instead it was "New World A-Coming," written by Duke Ellington for the series.

The program was both entertaining and informative. Even more, it did not pull punches in dramatizing injustices to the Negro and suggested a square deal on all fronts.
Canada Lee, famous actor, served as narrator, the student orchestra furnished the music and a host of actors relayed the various stories - bits of Americana one never seen in the daily press.

The City-Wide Citizens Community on Harlem sponsored the program - to run for 26 weeks - in hope of making democracy less of a dream and more of a reality. Columnist Dorothy Norman spoke for the committee. Roi Ottley, former Amsterdam-News staff writer and author of the best-selling NEW WORLD A-COMING, from which the series is based, also spoke.

Each Sunday, at 3:03 p. m., for the next 25 weeks. WMCA and the City-Wide Citizens Committee on Harlem and accompanying artists will present to the radio world a 27-minute program of entertainment and information, designed to reassure the fact that A NEW WORLD IS COMING.

On April 23, 1944, the episode that I am featuring was first aired. Called "The Story Behind The Headline In The Negro Press", it showcased the need and function of the 200 or so African American newspapers across the country. As pointed out in this episode, while many members of the African American community read the main daily newspapers for their cities, they also read the "Negro Press" to get stories not covered by mainstream papers. This great episode features numerous vignettes that reveal what might have taken place as the editorial boards discussed what to public in the African American papers. It also showcased the issues of blatant discrimination that was prevalent in the country in the 1940s, especially for African American soldiers and employees in the war effort. The show was written by Roi Ottley (who wrote over 20 of the episodes) and featured actors Canada Lee, Maxine Sullivan, Leigh Whipper, Clarence Foster, David Kerman, Paula Bowersmith, Randolph Eckles among others. The theme music was from the great musician Duke Ellington. I hope you enjoy this great item from New World A Coming.

The Story Behind the Headline in the Negro Press (New World A Coming - April 23, 1944)

Here are some links to programs relating to Old Time Radio and New World A Coming:

African Americans on Old Time Radio:

Saturday, February 4, 2017

African Americans on Old Time Radio: Lillian Randolph on The Great Gildersleeve (1945)

In my third entry in my African Americans on Old Time Radio, I would like to celebrate Lillian Randolph, a great actress of both radio and the silver screen. She is fondly remembered by many as Annie, the family maid in Frank Capra's It's a Wonderful Life (1946). Around the same time, she was also working as Birdie on The Great Gildersleeve, program over the NBC Network (starring Harold Peary). All told, she was an actress in over 650 radio programs according to the RadioGOLDINdex. Lillian was the sister of actress Amanda Randolph.

This year to celebrate National African American History Month in February, I am going highlight a new series on my blog. This year, I will feature African Americans during the Golden Age of Radio - or Old Time Radio - during the 1930s through the 1950s. I wanted to start this blog last year, but alas...better late than never. I hope to have a great assortment of programs that showcase the great contributions of African Americans in mainstream radio when Jim Crow laws, segregation and discrimination were regular obstacles facing artists of color.

Visit to Old U.S. Mint (New Orleans, Louisiana) - 2013 - There is a drummer in this story...honest!

The Great Gildersleeve is not only a great radio comedy, it has two aspects that really makes it a series way ahead of their time. First, it was a spin-off program, having had its main character originally on a different series. In this instance, the main character of Throckmorton P. Gildersleeve was originally on the Fibber McGee and Molly show. According to the Wikipedia entry (please see the link below), the character was introduced on October 3, 1939 (my birthday - not year!). The Great Gildersleeve debuted on the NBC Network on August 31, 1941. Second, the actor to play Gildersleeve (or Gildy) was replaced after a contract dispute. Harold Peary originated the role and played Gildy until a contract dispute moved him off the show. He was replaced by Willard Waterman in September 1950. Harold Peary would star in the The Harold Peary Show, often known as Honest Harold.

The Great Gildersleeve is the story of Throckmorton P. Gildersleeve - played by Harold Peary. Gildy is the self-important Water Commissioner in their town of Summerfield. A bachelor who was constantly on the look for that someone special, he lived in a house with his niece, Marjorie (played by radio great Lurene Tuttle) and nephew, Leroy (played by child voice star Walter Tetley). They are joined by Birdie (played by Lillian Randolph) as housekeeper and cook at the home. One of Gildy's great nemeses is Judge Hooker, who plays a nearly constant foil for whatever they are trying to do. I have gone hot and cold on Gildersleeve over the years, but the more I listen to these episodes, the more I like them. I love hearing the Kraft ads (from the early years) and I am trying to listen to more of them.

Lillian Randolph was one of the more prominent African-American voice actors from these days of radio programming. One of the big issues that many writers in the African American Media were concerned about was when actresses needed to learn a special dialect to play these roles. Lillian Randolph was written up in a small article in the Chicago Defender in 1950.

Lillian Had To Learn Dialect For Radio JobChicago Defender, December 2, 1950 - page 21

In order to get her first radio job, Lillian Randolph, who this year begins her 10th year as "Birdie," the cook for "The Great Gildersleeve," had to be taught dialect.

Lillian was born in Cleveland where she attended school and sang in St. John's Church choir. Daughter of a minister and a school teacher, she left school at 17 for the stage and joined "Lucky Sambo's Show" in New York.

In 1930, Lillian went to Detroit where she worked for George Trendle, originator of "The Lone Ranger." It was here she learned dialect.

In 1935 she came to Hollywood for her first picture, "Singing Kid," starring Al Jolson. Among her many motion picture credits since are "Little Men," "It's a Wonderful Life," "Bachelor and the Bobby Soxer," "Once More My Darling," and "Dear Brat."

When not working in motion pictures and rehearsing for "The Great Gildersleeve," Lillian makes night club appearances as a singer of novelties, blues, ballads, and classical selections. She is president of "Les Dames," Los Angeles business and professional women's club which does philanthropic work for delinquent children and needy families.

In this episode, Judge Hooker is over for a family dinner - and Birdie is being complemented by her excellent cooking (along with her great housekeeping skills). Leroy wants to the theater next week to see Famous Jones. He is a "famous colored drummer". Lillian shared with Leroy that she went to school with Famous Jones, who had that name long before anyone thought that name was appropriate. Meanwhile, Marjorie wants to head off to study dance, but Gildy thinks she needs a more practical education. She needs to learn about house-keeping to attract a husband. So he arranges for Birdie to teach Marjorie how to cook. In the end, and for everyone's benefit, Birdie takes over the meal prep and once again saves the day. This show was written by John Whedon, who is the grandfather of director and writer Joss Whedon and his screenwriter brothers Jed Whedon and Zack Whedon.

Teaching Marjorie Homemaking (The Great Gildersleeve - November 11, 1945)

Here are some links to programs relating to Old Time Radio and The Great Gildersleve:

African Americans on Old Time Radio:

Thursday, February 2, 2017

African Americans on Old Time Radio: Eddie Anderson's First Appearance on the Jack Benny Program (1937)

In my second entry in my African Americans on Old Time Radio, I am featuring Eddie Anderson, the great comic actor who was one of the key members of Jack Benny's show from 1937 until the end of its run. He was known as Rochester, Jack Benny's valet. However, he did not start that way. This episode features his first appearance on the show in 1937 when there were almost no African Americans in national programs over the radio.

This year to celebrate National African American History Month in February, I am going highlight a new series on my blog. This year, I will feature African Americans during the Golden Age of Radio - or Old Time Radio - during the 1930s through the 1950s. I wanted to start this blog last year, but alas...better late than never. I hope to have a great assortment of programs that showcase the great contributions of African Americans in mainstream radio when Jim Crow laws, segregation and discrimination were regular obstacles facing artists of color.

National Museum of American History (Washington DC) - July 29, 2015

The Jack Benny Program was a national treasure and it is great that we have so many recordings. Staring in the show was Jack Benny, a vaudeville performer who seemed to hit it big over the airways. Mary Livingstone played second fiddle (no pun intended) to her real life husband. She apparently had horrible stage fright, but hardly shows it as the straight person to many of Jack Benny's jokes. Eddie Anderson played Rochester, Jack's valet and chauffeur. He was one of the earliest African-Americans on mainstream radio and was one of the most loved characters on the show. Don Wilson was the show announcer and did the commercials. He was the constant butt of jokes, primarily about his weight. Irish Tenor Dennis Day (who was on the 1948 show) also had a show of his own. Besides being a 'dim bulb' in all the skits, he also sang a song on every episode. Phil Harris (who also had a show of his own) was the bandleader and the joker on the show. His real wife, Alice Faye would join him on the show as well. The last big name was Mel Blanc (of Bugs Bunny fame). Blanc (who ALSO had his own show) was one of the most famous character actors to play on the Jack Benny Show. He is very commonly the floorwalkers for the Christmas episodes. The shows are chock full of laughs, funny stories, corny jokes and great music.

Eddie Anderson (1905-1977) was a vaudeville actor, turned movie actor in the 1930s. It was believed that his raspy voice was caused by yelling as a newspaper boy in San Francisco. He was able to turn it a great characteristic that made him memorable on the silver screen and over the radio. While he started on the Jack Benny Program on this episode in a non-recurring role, his popularity got Jack Benny to think about another role. Just a few months later on June 20, 1937, Eddie Anderson played his now famous role of Rochester the valet.

On March 28, 1937, Anderson played a train porter on his first appearance on the Jack Benny Show. While his part was not that big, it was historic given the role that he would play in years to come. Joining Anderson on the program were Jack Benny (of course), Mary Livingstone, Phil Harris, Don Wilson, Kenny Baker and Andy Devine. Anderson's first line is "Yes, Mr. Bunny." which makes sense, because it was broadcast on Easter Sunday.

One year later, the Associated Negro Press story about Eddie Anderson was published in the Pittsburgh Courier (excerpts below):

Radio's Famous "Rochester"

Eddie Anderson owes his present position as Jack Benny's "air valet" to his ability to leave the dinner table. The bewildering Rochester, who exasperates his boss with his laziness and larceny each Sunday night over the NBC-Red network, might have been a jockey rather than a radio and screen comedian with a string of his own thoroughbreds if he'd practiced a little more restraint at mealtimes as a boy. Because Eddie decided that he preferred second helpings to spurs and saddle, he deserted the paddocks for the footlights at the age of 13.

It was during his vaudeville days in the East that Eddie firsts met Jack Benny. They just shook hands - nothing more. But Jack remembered Eddie's name as well as his act, a fact which was to pave the way to Anderson's eventual selection as "Rochester."

A born complement to the Benny type of comedy, Rochester never has to rehearse a line twice. He is one actor on whom Jack can depend for sure-fire laughs, and is never caught off balance by any of the boss' "ad lib" cracke. Possessed of a remarkable memory, Eddie usually knows his lines by heart at broadcast time and seldom refers to his script.

A rehearsals and script sessions, Eddie is usually very quiet, pays rapt attention to Benny, whom he idolizes. If Jack smokes a cigar, Eddie lights one, too. If jack tooks perturbed, Eddie's brow wrinkles also. During the rest periods, he can usually be found in the vicinity of Phil Harris' orchestra "truckin" on down.

Radio's Famous "Rochester" - The Pittsburgh Courier (1911-1950), City Edition; Pittsburgh, Pa. (From the Associated Negro Press) - November 12, 1938, page 6

And about that first role on the show - here is an account from a few years later.

Rochester Van Jones Rides High
Radio and Television Mirror (January 1940, p49)

He wasn't "Rochester" on that show, - just an unnamed porter. But Eddie Anderson got laughs. And like all people who get laughs the first time in radio, he came back. Once as an elevator boy; once as "Pierre," the western waiter in Jack's "Buck Benny" series. Then Jack decided to build a house in Beverly Hills. If you know the Benny show, you know right away that every halfway important act in Jack Benny's personal life is gagged to the limit for the air. The house was too good for [writers] Bill Morrow and Ed Beloin to pass up. "What would certainly make you look funny as a householder," mused Bill, "is a butler."

I hope you enjoy this great episode from Jack Benny .

The Train Porter (The Jell-O Program Starring Jack Benny - March 28, 1937)

Here are some links to programs relating to Old Time Radio and Jack Benny:

African Americans on Old Time Radio: