Benny was known for his comic timing and his ability to get laughs with either a pregnant pause or a single expression, such as his signature exasperated “Well!” His radio and television programs, tremendously popular in the 1930s, 1940s, 1950s, and 1960s were a foundational influence on the situation comedy. Dean Martin, on the celebrity roast for Johnny Carson in November 1973, introduced Benny as “the Satchel Paige of the world of comedy.”

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The show is often regarded as an example of the conservative and paternalistic nature of American family life in the 1950s and it is also cited as an overly rosy portrayal of American family life.^[1]

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Dragnet debuted inauspiciously. The first several months were bumpy, as Webb and company worked out the program’s format and eventually became comfortable with their characters (Friday was originally portrayed as more brash and forceful than his later usually relaxed demeanor). Gradually, Friday’s deadpan, fast-talking persona emerged,

The George Burns and Gracie Allen Show, which premiered on 12 October 1950, was one of the first comedy series to make the successful transition from radio to television. Similar to the format of the radio program in which George Burns and Gracie Allen played themselves, the CBS domestic comedy was set in their home, the first television series to depict the home life of a working show business couple.

The half-hour series was broadcast live for the first two seasons. The first six episodes were broadcast from New York, but the show soon moved to Hollywood, making it only the third CBS series to emanate from the West Coast (after The Ed Wynn Show and The Alan Young Show). On Burns’ insistence, the show was broadcast on alternate weeks in order to provide sufficient time for rehearsals and alleviate some of the pressures of live broadcasts. During its bi-weekly period, the series alternated with the anthology series Starlight Theater and, later, with Star of the Family. After two seasons of live performances, the series switched to a weekly filmed broadcast. Although not filmed before a studio audience, the final filmed product was previewed to an audience and their reactions recorded. At a time when many series relied on mechanically reproduced (“canned”) laughter, Burns claimed that his series only “’sweetened’ the laughter when a joke went flat and there was no way of eliminating it from the film. Even then we never added more than a gentle chuckle.”

 
]]> http://radioamerica.biz/2009/11/27/burns_and_allen_411223_012_santa-free-otr/feed/ 0 30:36 Remember the good old Days, when we could just sit down and listen to a good ole story, the days of glory and honor, come ... Remember the good old Days, when we could just sit down and listen to a good ole story, the days of glory and honor, come join us at the living room http://www.trythemagic.com The George Burns and Gracie Allen Show, which premiered on 12 October 1950, was one of the first comedy series to make the successful transition from radio to television. Similar to the format of the radio program in which George Burns and Gracie Allen played themselves, the CBS domestic comedy was set in their home, the first television series to depict the home life of a working show business couple. The half-hour series was broadcast live for the first two seasons. The first six episodes were broadcast from New York, but the show soon moved to Hollywood, making it only the third CBS series to emanate from the West Coast (after The Ed Wynn Show and The Alan Young Show). On Burns' insistence, the show was broadcast on alternate weeks in order to provide sufficient time for rehearsals and alleviate some of the pressures of live broadcasts. During its bi-weekly period, the series alternated with the anthology series Starlight Theater and, later, with Star of the Family. After two seasons of live performances, the series switched to a weekly filmed broadcast. Although not filmed before a studio audience, the final filmed product was previewed to an audience and their reactions recorded. At a time when many series relied on mechanically reproduced ("canned") laughter, Burns claimed that his series only "'sweetened' the laughter when a joke went flat and there was no way of eliminating it from the film. Even then we never added more than a gentle chuckle." nbsp; Uncategorized radioamerica@box.com no No http://radioamerica.biz/2009/11/21/old-time-radio-burns_and_allen_400228_governmen/ http://radioamerica.biz/2009/11/21/old-time-radio-burns_and_allen_400228_governmen/#comments Sun, 22 Nov 2009 01:55:27 +0000 admin http://radioamerica.biz/?p=66 Burns and Allen met in 1922 and first performed together at the Hill Street Theatre in Newark, New Jersey, continued in small town vaudeville theaters, married January 27, 1926 and moved up a notch when they signed with the Keith-Albee-Orpheum circuit in 1927. Burns wrote most of the material and played the straight man. Allen played a silly, addle-headed woman, a role often attributed to the “Dumb Dora” stereotype common in early 20th-century vaudeville comedy. Early on, the team had played the opposite roles until they noticed that the audience was laughing at Gracie’s straight lines, so they made the change. In later years, each attributed their success to the other.

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Before the series, Sam Spade had been played in radio adaptations of The Maltese Falcon by both Edward G. Robinson (in a 1943 Lux Radio Theater production) and by Bogart himself (in a 1946 Academy Award Theater production), both on CBS.

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Benny Kubelsky was born in Chicago, Illinois, on February 14, 1894. He grew up in Waukegan, Illinois, and would later become Jack Benny. As a young boy, he was encouraged by his Jewish immigrant parents from Poland to achieve respectability as a violinist. He showed enough talent to hit the vaudeville stage, where he played popular songs, adopted a suave-but-fragile personality, and told self-deprecating jokes

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Lum and Abner, an American radio comedy which aired as a network program from 1932 to 1954, became an American institution in its low-keyed, arch rural wit. One of a series of 15-minute serial comedies that dotted American radio at its height as America’s number one home entertainment—others included Amos ‘n’ Andy, Easy Aces, The Goldbergs, and Vic and Sade—Lum and Abner included various elements of each but yielded something as singular as the others and became somewhat more of an institution

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