The Jazz Singer is a 1927 American musical. As the first long film with not only synchronized musical scores, but also synchronous singing and speeches in several separate sequences, its release marks the commercial decline of sound films and an end to the silent film era. Directed by Alan Crosland and produced by Warner Bros. with the Vitaphone sound-on-disc system, the movie, which features six songs performed by Al Jolson, is based on a game of the same name by Samson Raphaelson, adapted from one of the brief. story, "The Day of Redemption".
The film depicts the fictional story of Jakie Rabinowitz, a young man who opposes a devout Jewish family tradition. After singing popular songs in a beer garden he was punished by his father, a hazzan (singer), prompting Jakie to escape from home. A few years later, now calling himself Jack Robin, he has become a talented jazz singer. He tried to build a career as an entertainer but his professional ambitions ended up conflicting with the demands of his home and his ancestral heritage.
Darryl F. Zanuck won the Honorary Academy Award for producing films; Alfred A. Cohn was nominated for Best Writing (Adaptation) at the 1st Academy Award. In 1996, The Jazz Singer was selected for preservation in Cultural, Historical or Aesthetic National Film Registry "films." In 1998, the film was selected in a vote by the American Film Institute as one of America's finest films of all time, ranked ninety.
Video The Jazz Singer
Plot
Cantor Rabinowitz wants his son to continue a family tradition that has been several generations and a singer in the synagogue in Manhattan Lower East Side Jewish ghetto. But in the beer garden, thirteen-year-old Jakie Rabinowitz does what jazz songs call it. Moisha Yudelson looked at the boy and told Jakie's father, who dragged him home. Jakie clung to her mother, Sara, as his father had said, "I will teach him better than lower the voice God gave him!" Jakie threatens: "If you whip me again, I'll run away - and never come back! " After the lash, Jakie kisses her mother goodbye and, faithful to her words, runs away. At the Yom Kippur service, Rabinowitz sadly told a celebrant, "My son must stand by my side and sing tonight - but now I have no son." When the sacred Col Nidre is sung, Jakie returns home to take a photo of her beloved mother.
About 10 years later, Jakie has changed her name to a more assimilated Jack Robin. Jack was called from his desk in a cabaret to perform onstage.
Jack flooded the crowd with his energy rendition. After that, he was introduced to the beautiful Mary Dale, a musical theater dancer. "There are many jazz singers, but you have tears in your voice," he said, offering to help with his growing career. With his help, Jack finally got a great pause: the main part in the new musical April Follies .
Back at Jack's family home went long, the old Rabinowitz instructed a young student in traditional cantorial art. Jack appears and tries to explain his point of view, and his passion for modern music, but the cheerful singer throws him out: "I never want to see you again - you're a jazz singer!" As he leaves, Jack makes a prophecy: "I go home with a heart full of love, but you do not want to understand.One day you will understand, just as you do. "
Two weeks after Jack's expulsion from the family home and 24 hours before the opening night of April Follies on Broadway, Jack's father fell seriously ill. Jack is asked to choose between the show and the task for his family and his faith: to sing Colonel Nidre to Yom Kippur in his father's place, he must miss the big premiere.
That night, Yom Kippur night, Yudleson told the Jewish elders, "For the first time, we do not have Cantor on the Day of Atonement." Lying on his bed, weak and thin, Cantor Rabinowitz tells Sara that she can not perform on the most sacred holy days: "My son came to me in my dreams - she sang Col Nidre very beautifully. like that tonight - surely he'll be forgiven. "
When Jack prepares for rehearsal by applying blackface makeup, he and Mary discuss their career aspirations and the family pressure they agree on should he reject. Sara and Yudleson come into Jack's locker room to ask him to come to his father and sing as his successor. Jack ripped. He gave his black performance ("Mother of Mine, I Still Have You"), and Sara sees his son onstage for the first time. He has a tearful revelation: "Here it is.If God wants it in His house, He will hold it there He is not my son anymore - he belongs to the whole world now."
After that, Jack returns to Rabinowitz's house. He knelt beside his father's bed and the two men chatted: "My son - I love you." Sara suggests that it can help heal her father if Jack takes his place in Yom Kippur's service. Mary arrives with the producer, who warns Jack that she will never work on Broadway again if she fails to perform on the opening night. Jack can not decide. Mary challenges him: "Are you lying when you say your career came before everything?" Jack is not sure if he can even replace his father: "I have not sung Kol Nidre since I was a child." His mother told him, "Do what is in your heart, Jakie - if you sing and God is not in your voice - your father will know. " Producer of cajoles Jack: "You're a jazz singer heart!"
In the theater, the opening night audience was told that there would be no performance. Jack sings Col Nidre in his father's place. His father listened from his deathbed to the nearest ceremony and uttered his last forgiving words: "Mama, we have our son again." Jack's father's spirit was shown at his side in the synagogue. Mary came to listen. He sees how Jack has reconciled the split in his soul: "a jazz singer - singing for his Lord."
"The season passes - and time heals - the event continues." Jack, as "The Jazz Singer," now appears at the Winter Garden theater, apparently as the main player opener for the event called Maps The Jazz Singer
Cast
Songs
Production
Concepts and development
On April 25, 1917, Samson Raphaelson, a native of New York City's Lower East Side and a University of Illinois graduate, attended Robinson Crusoe's musical, Jr. in Champaign, Illinois. The star of the show is a thirty-year-old singer, Al Jolson, a Russian-born Jew who appears with a black face. In an interview in 1927, Raphaelson described the experience: "I will never forget the first five minutes of Jolson - his speed, the incredible fluidity with which he shifts from his extraordinary absorption in his audience to the incredible absorption in his song." He explains that he has seen emotional intensity like Jolson just between the channels of the synagogue.
A few years later, pursuing a professional literary career, Raphaelson wrote "The Day of Atonement", a short story about a young Jew named Jakie Rabinowitz, based on Jolson's real life. The story was published in January 1922 at Everybody's Magazine . Raphaelson then adapted the story into a stage play, The Jazz Singer . Direct drama, all the songs in the Raphaelson version take place outside the stage. With George Jessel in the lead role, the show premiered at Warner Theater in Times Square in September 1925 and became a hit. Warner Bros. acquired the film rights to play on June 4, 1926, and signed a contract with Jessel. Moving Picture World published a story in February 1927 announcing that production on the film will begin with Jessel on May 1st.
But plans to make a movie with Jessel will fail, for various reasons. Jessel's contract with Warner Bros. did not anticipate that the movie they signed specifically for him would be made with a vote (he made a silent comedy on a limited budget, while for a while). When Warners had hits with two Vitaphone, though without a dialogue, the feature at the end of 1926, The Production Jazz Singer had been rearranged. Jessel asked for a new bonus or contract, but was refused. According to Jessel's description in his autobiography, Harry Warner "is having difficulty with corporate finance.... He's talking about taking care of me if the picture is a success, I do not think that's enough." In fact, around the beginning of 1927, Harry Warner - the eldest of the brothers who run the eponymous studio - has sold $ 4 million ($ 56,352,490 in 2017 dollars) from his private stock to keep the studio solvent. Then another big problem arises. According to Jessel, the first reading of adaptation of screenwriter Alfred A. Cohn "threw me into the fit." Instead of the boy leaving the theater and following his father's tradition by singing in the synagogue, as in the drama, the picture scenario has returned to Winter Garden as a comedian blackface, with his mother wildly clapping in a box.I raised the hell.On money or no money, I will not do this. "
According to player Eddie Cantor, when negotiations between Warner Bros. and Jessel floundered, Jack L. Warner and head of studio production, Darryl Zanuck, called to see if he was interested in that section. The singer, Jessel's friend, replies that she believes there is a difference with a workable actor and offers her help. Singers are not invited to participate in Jessel talks; instead, the role was then offered to Jolson, who had inspired in the first place. Describing Jolson as the best choice of production for his star, film historian Donald Crafton writes, "The entertainer, who sings the singers songs in black letters, is at the peak of his phenomenal popularity, anticipating the mercenary and rock star, Jolson thrills the audience with vitality and the sex appeal of his songs and gestures, which is heavily indebted to African-American sources. "As historian Robert L. Carringer notes," Jessel is a vaudeville comedian and host with one successful game and one simple film who is successful for his praise Jolson is a superstar. " Jolson took part, signing a $ 75,000 ($ 1,056,609 in 2017) contract on May 26, 1927, for eight weeks of service beginning in July. There are several claims but there is no evidence that Jolson invested some of his own money in the film. Jessel and Jolson, as well as friends, did not speak for some time afterwards - on the one hand, Jessel had told her about Warner to Jolson; on the other hand, Jolson has signed a contract with them without telling Jessel about her plans. In his autobiography, Jessel writes that, in the end, Jolson "is not to blame, because Warner has decided I'm out."
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While many sound films previously dialogue, everything is a short subject. D. W. Griffith's Dream Street feature (1921) is featured in New York in single singing and crowded order, using a Photokinema sound-on-disc system. The film was preceded by a sound shorts program, including a sequence with Griffith speaking directly to the audience, but the feature itself lacked a talking scene. On April 15, 1923, Lee De Forest introduced the Phonofilm sound-on-film system, which had synchronized sound and dialogue, but the sound quality was poor, and the films produced in this process were only short films.
Warner Bros. Features The first Vitaphone, Don Juan (prime August 1926) and The Better 'Ole (inaugural October 1926), like the three more that followed in early 1927 (
Jolson's first vocal performance, about fifteen minutes in the picture, was "Dirty Hands, Dirty Face," with music by James V. Monaco and lyrics by Edgar Leslie and Grant Clarke. The first synchronized speech, spoken by Jack to the cabaret audience and the accompanying piano player in the band, took place immediately after the show, beginning at the 17:25 mark of the film. The first words Jack said - "Wait a minute, wait a minute, you have not heard a thing" - is an established set of Jolson stage. He even spoke very similar lines in a brief 1926, Al Jolson in "A Plantation Act." Lines have been developed as a joke. In November 1918, during a gala concert celebrating the end of World War I, Jolson ran onstage amid applause for the previous player, the big opera tenor Enrico Caruso, and exclaimed, "People, you have not heard anything yet." The following year, he recorded the song "You Is not Heard Nothin 'Yet". In the later scene, Jack talks to his mother, played by Eugenie Besserer, in the living room; his father came in and uttered a very conclusive word.
Altogether, the film only contains a two-minute synchronized conversation, most or all of it improvised. The rest of the dialogue is presented via a text card, or intertitles, standard in silent films of the era; as always, the titles were composed not by movie scenarist, Alfred Cohn, but by other authors - in this case, Jack Jarmuth.
While Jolson was touring with stage performances during June 1927, production at The Jazz Singer began with the shooting of the exterior scene by the second unit. At the end of June, Alan Crosland headed to New York City to shoot the Lower East Side and Winter Garden exterior on the scene. Jolson joins production in mid-July (his contract is set for July 11). Shooting with Jolson begins with his silent scene; the more complex Vitaphone sequence is primarily done at the end of August. Both Jolson and Zanuck would be commended for thinking about the sequence of ad-libbed dialogue between Jack and his mother; Another story says that Sam Warner was impressed by Jolson's short advertisement in the cabaret scene and made Cohn appear with a few lines in place. On September 23rd, Motion Picture News reports that the production on the film has been completed.
Production cost for The Jazz Singer is $ 422,000 (about US $ 5.76 million in 2015 dollars) - a large amount, especially for Warner Bros, which rarely spends more than $ 250,000. That does not mean recording for the studio, however; two features starring John Barrymore have become more expensive: The Sea Beast (1926), a loose and completely silent adaptation of Moby-Dick , at $ 503,000 and > Don Juan $ 546,000. Nevertheless, spending was a major gamble in the light of studio finances: while The Jazz Singer was in production, Harry Warner stopped taking salary, mortgaged his wife's jewelry, and moved his family into smaller apartments.
Premiere and acceptance
Initial broadcasting was set on October 6, 1927, at Warner Bros.. 'theatrical theaters in New York City; it was chosen to coincide with Yom Kippur, a Jewish holiday in which many of the movie plots revolve. Stacking to tense premiere. Apart from Warner Bros. 'the difficult financial position, the physical presentation of the film itself is very complex:
Each Jolson music number is mounted on a separate reel with a separate accompanying sound disc. Though the movie was only eighty-nine minutes long... there were fifteen scrolls and fifteen discs to manage, and the proxy maker should be able to link the movie and speed up the Vitaphone recording very quickly. Mistakes, doubts, or human error will result in public and financial humiliation for the company.
None of the four Warner sisters could attend: Sam Warner - among them, the strongest advocate for Vitaphone - had died the previous day of pneumonia, and the surviving brothers had returned to California for his funeral.
According to Doris Warner, who was present, about half of the film he began to feel something extraordinary is happening. Suddenly, Jolson's face appeared at close range, and said, "Wait a minute, wait a minute, you have not heard anything yet!" The line "Wait a minute" Jolson encourages a loud and positive response from the audience, who is stunned to see, hear, someone talking in the movie for the first time. In such a way that a double player is missed at first. Applause followed each song. Excitement is built, and when Jolson and Eugenie Besserer start their dialogue scenes, "the audience becomes hysterical." After the show, the audience turned into "milling, battling, mob", in a journalist's description, shouting "Jolson, Jolson, Jolson!" Among those who review movies, critics who predict clearly what is predicted for the future of cinema is Robert E. Sherwood from Life magazine. He described the oral dialogue scene between Jolson and Besserer as "full of immense significance.... I for one suddenly realized that the end of a mute drama was in sight".
Critical reactions in general, though far from universal, are positive. New York Times critic Mordaunt Hall, reviewing the movie's premiere, stated it
not since the first presentation of the Vitaphone feature, over a year ago [ie, Don Juan ], has something like applause once heard in a motion picture theater.... Vitaphoned Songs and some Dialogues has been introduced with the most agile. This in itself is an ambitious movement, because in Vitaphone singing expression is vital in production. The dialogue is not very effective, because it does not always capture the nuances of speech or sound inflection so people are not aware of its mechanical features.
Variety calls it "[u] no doubt, the best thing Vitaphone has done on screen... [with] abundant strength and fascination." Richard Watts, Jr. of the New York Herald Tribune calls it "a pleasant sentimental party dealing with the struggle between religion and art.... [T] is basically not a film, but an opportunity to capture the comparative immortality of the scene and the sound of great players. "The Herald's Exhibitor is almost identical:" hardly a film It should be more accurately labeled Vitaphone's enlarged record of Al Jolson in half a dozen songs. " The film received favorable reviews both in the Jewish press and in African American newspapers such as Baltimore Afro-American , New York's Amsterdam News , and Pittsburgh Courier The title of the Los Angeles Times story tells a rather different story: "'Jazz Singer' Prints Hit - Vitaphone and Al Jolson Responsible, The Image Is Your Second Level." Photoplay dismissed Jolson as "no movie actor." Without his Broadway reputation he will not rate as a minor player. "
Commercial influence and industry influence
The film grew into a big hit, showing the potential benefits of the "talkie" feature, but Donald Crafton has shown that the movie's reputation was later acquired to become one of Hollywood's greatest successes to date. The film went well, but not surprisingly, in the big cities where it was first released, it garnered impressive profits with long and steady runs in large and small population centers across the country. Since the movie theater conversion to sound is still in its early stages, the film actually arrives in many secondary places in the silent version. On the other hand, Crafton's statement that The Jazz Singer "is at a different level of second or third attraction compared to the most popular films of the day and even other Vitaphone talkies" is also incorrect. In fact, the film is easily the biggest producer in Warner Bros. history, and will remain so until it is exceeded a year later by The Singing Fool, another Jolson feature. In the wider scope of Hollywood, among the films that were originally released in 1927, the evidence shows that The Jazz Singer is one of the three biggest box office hits, just following the Wings and, possibly, King of Kings . Industrial scholars Alex Ben Block and Lucy Autrey Wilson, for example, estimate that The Jazz Singer earned $ 3.9 million ($ 126 million in 2005 dollars) at the domestic box office, while Wings , which was made to five times the cost, earned $ 4.3 million (US $ 138 million in 2005 dollars). The Jazz Singer finally returned the world's dirty theater rental of about $ 2.6 million (studio part of the gross box office), earning a profit of $ 1,196,750.
One of the keys to the film's success is the innovative marketing scheme composed by Sam Morris, Warner Bros. 'Sales Manager. In Crafton's description:
[A] a special clause in the Vitaphone Warners exhibition contract is virtually guaranteed to run for long. The theater should order The Jazz Singer to be satisfied rather than a separate week. Instead of the usual flat rental fee, Warners takes a percentage of the gates. The shear scale means that exhibitors increase the longer the film is held. The signing of this contract by the larger New York Fox Theaters circuit is considered a major precedent.
Similar arrangements, based on a percentage of gross and non-flat rental costs, will soon become the standard for high-end US film industry.
Although in retrospect it is understood that the success of The Jazz Singer hints at the end of the silent film era, this is not immediately apparent. Mordaunt Hall, for example, praised Warner Bros. because "consciously realizes that the film conception of The Jazz Singer is one of the few subjects that will lend themselves to the use of Vitaphone." In the words of historian Richard Koszarski, "Silent films do not disappear overnight, neither films flood theaters immediately... Nevertheless, 1927 remains the year when Warner Bros. moved to close the book on the history of still images , although their initial goals are somewhat simpler. "
This film has another faster effect. George Jessel, who is on the third season tour with the stage production of The Jazz Singer, then explains what happened to his show - perhaps anticipating how the voice will soon reinforce Hollywood's dominance of the American entertainment industry: "One or two weeks after Washington's voice-and-image involvement from The Jazz Singer with Al Jolson was sweeping the country, and I was swept out of business I could not compete with the picture theater across the street showing the first sound image great in the world... for fifty cents, while the price in my theater is $ 3.00. "
As a truly important event, Crafton pointed to the national release of the sound version of the film in early 1928 - he dated it to January, Block, and Wilson until February 4. In March, Warners announced that the Jazz Singer was playing in a cinema recording (although many still showed it only in secret). In May, a consortium including leading Hollywood studios signed up with Western Electric's license division, ERPI, for voice conversion. In July, Warner Bros. released the first talk feature, Lights of New York , a melodrama of musical evil. On September 27th, The Jazz Singer became the first long talk show to be shown in Europe when premiered at the Piccadilly Theater in London. The film "creates a sensation", according to the British film historian Rachael Low. " The Jazz Singer is the turning point [for speech recognition]. The Bioscope greeted him with, 'We tend to wonder why we call them Living Pictures.'" Paris premieres premiere in January 1929.
Prior to the 1st Academy Award ceremony held in May 1929, honoring the film released between August 1927 and July 1928, The Jazz Singer was decided not to qualify for two major prizes - Extraordinary Image, Production and Unique and Artistic Production - on the grounds that it will be an unfair competition for the still image being considered. In mid-1929, Hollywood produced almost all the sound films exclusively; at the end of the following year, the same applies in much of Western Europe. Jolson went on to create a series of movies for Warners, including The Singing Fool, part-talkie, and talk-talking features Say It with Songs (1929), Mammy (1930), and Big Boy (1930).
Critical analysis
The use of blackfoot by Jack Robin in Broadway stage shows - a common practice at the time, which is now widely considered racist - is the main focus of many Jazz Singer studies. This crucial and unusual role is explained by the Corin Willis scholar:
In contrast to racial jokes and innuendo brought out in subsequent persistence in early sound films, the shadow of a black face on The Jazz Singer is the core of the film's central theme, the expressive and artistic exploration of the idea of ​​duplicity and ethnic hybridity within American identity. Of the more than seventy instances of blackface in the early 1927-53 sound films I have seen (including nine Jolson blackface displays subsequently made), The Jazz Singer is unique as this is the only film in which Blackface is central to the development of narratives and thematic expressions.
The function and meaning of blackface in the film is closely related to Jack's own Jewish heritage and his desire to make a mark in American culture - just as Jolson's Jew and brother Warner brothers do themselves. Jack Robin "combines tradition and lies The Warner Brothers thesis is that, to be truly successful, one must first acknowledge his ethnic self," argued W. T. Lhamon. "[T] he entire movie builds to the black scene in rehearsal." Jack Robin requires a blackface mask as a composite identity body Blackface will hold all the identities together without freezing them in a single relationship or replacing those parts. "
Seymour Stark's view is less optimistic. In describing Jolson's wide-ranging experience in black on the music scene, he asserted, "Jewish immigrants as Broadway stars... work in a black singing tradition that obscures his Jewish genealogy, but proclaims his white identity.Yiddish little Jolson accents are concealed by veneer of the South. "Given that the Jazz Singer actually avoids honest dealing with the tension between American assimilation and Jewish identity, he claims that" the veiled message... is that the blackface symbol gives immigrants Jews with equal rights and privileges granted to the previous generation of European immigrants who were initiated into the singer's performance ritual. "
Lisa Silberman Brenner opposes this view. He returned to the intentions expressed by Samson Raphaelson, who to whom the script of the film was written based on: "For Raphaelson, jazz is a prayer, American style, and blackface minstrel new Jewish singer.Based on the author's own words, the game is about blackface as a means for the Jews to express a new kind of Jew, a modern American Jew. "He observed that during the same period, the Jewish Press noted proudly that Jewish performers adopted aspects of African American music.
According to Scott Eyman, the film "marks one of the few times that Hollywood Jews allow themselves to reflect on the myth of their own central culture, and the accompanying puzzle. Jazz Singer implicitly celebrates the ambition and drive required to escape from Europeans and the New York ghetto, and hunger for recognition. Jack, Sam, and Harry [Warner] let Jack Robin have it all: the satisfaction of taking his father where and conquer the Winter Garden They may, perhaps unwittingly, dramatize some of their own ambivalence about the debt of the first generation of Americans owed to their parents. "
Legacy
The next three screen versions of The Jazz Singer have been produced: a 1952 remake, starring Danny Thomas and Peggy Lee; a 1959 television remake, starring Jerry Lewis; and a 1980 remake starring Neil Diamond, Lucie Arnaz, and Laurence Olivier. The Jazz Singer was adapted as an hour of radio play on two broadcasts of Lux Radio Theater, both starring Al Jolson, repeating the role of the screen. The first aired August 10, 1936; the second on June 2, 1947.
The Jazz Singer is parodied as early as 1936, in the Warner Bros. I Love to the Lion cartoon, directed by Tex Avery. Her hero is "Owl Jolson", a young owl who makes popular songs, like the title song, against his father's wishes, a classical music teacher. Among the many references to the The Jazz Singer in popular culture, perhaps the most prominent is the classical music of MGM Singin 'in the Rain (1952). The story, made in 1927, revolves around attempting to transform the production of the silent film, The Dueling Cavalier, into a talking picture in response to The Jazz Singer 's success. The episode plot of "Like Father, Like Clown" (1991) is parallel to the story of Jakie Rabinowitz/Jack Robin. Rabbi's father Krusty the Clown did not approve of his son's choice to be a comedian, telling him, "You have embarrassed our family! Oh, if you are a musician or jazz singer, this I can forgive." The Jazz Singer ' s story keeps appearing in pictures like Warner Bros.' animated Happy Feet (2006).
According to film historian Krin Gabbard, The Jazz Singer provides a basic narrative for the life of jazz and popular musicians in movies If this argument means that sometime after 1959 the narrative should belong to the pop rockers, it merely proves the power original 1927 film to determine how Hollywood is telling the stories of popular musicians. "More broadly, he also pointed out that this" unique-looking "movie" becomes a paradigm for American success stories. " More specifically, he examined the biopic cycle of white jazz musicians extending from Birth of the Blues (1941) to The Five Pennies (1959) that traces their roots to The Jazz Singer .
In 1996, The Jazz Singer was selected for preservation in Cultural, Historical or Aesthetic National Film Registry "films." In 1998, the film was selected in a vote by the American Film Institute as one of the best American films of all time, ranked ninety.In 2007, a three-disc deluxe DVD edition of the film was released.Additional materials include Jolson's 1926 Vitaphone Short, A Plantation Act .
Awards and nominations
Awards
- Honorary Academy Award for head of Warner Bros. production. Darryl F. Zanuck "to produce The Jazz Singer , an outstanding pioneer of talking pictures, which has revolutionized the industry"
Nominated
- Academy Award for Best Writing (Adaptation) Ã, - Alfred A. Cohn
See also
- List of Early Warner Bros features.
References
Explanation notes
Quote
Bibliography
External links
- Jazz Singer at the American Film Films Catalog
- Jazz Singer on IMDb
- Jazz Singer at Rotten Tomatoes
- Jazz Singer in the TCM Movie Database
- Jazz Singer at AllMovie
- The Jazz Singer promo on YouTube Vitaphone short
- The Al Jolson Society's Official Web Site includes clips from The Jazz Singer from Jolson's first screen speech and performance "Toot, Toot, Tootsie" (the following links: Film-Works-The Jazz Singer-Toot , Toot, Tootsie)
- Let's Go to Movies (1948) movie clips, with the quote "My Mammy" at 2:30; on the Internet Archive
- The Radio Luxer Theater/ The Jazz Singer was originally aired on August 10, 1936; on the Internet Archive
Source of the article : Wikipedia
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