Goodbye 1938 show

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Goodbye 1938 show

Postby grittys457 » Thu Oct 28, 2010 5:31 pm

With the addition of Jack Benny back on the Old Time radio app for my phone, I started back with earlier shows and am working my way back up. I wanted to really find the spot where the show became the show we know it as and I swear the light just goes on during this episode.

The ribbing on Jack finally hits stride and you see the formula that will be used for the next decade and a half. I've also said how ackward and creepy Phil is in his earlier episodes but his character really comes to form in this one and I think it might be the first time he calls him Jackson.

The phone call home to Rochester is dead on and sounds like they've been doing it for years.

I hate the final segment with the goodbye 1938 skit but the rest of the episode is funny as hell.

Have you guys even tried to figure out when the show became "the show"?
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Postby Brad from Georgia » Fri Oct 29, 2010 5:03 am

I agree that this is a turning-point show. Another one comes in fall, 1936, when Ed Beloin and Bill Morrow became the writing team--the characters all began to take on their familiar personas at that point. I think another one is 11/22/42, a very uneven show with a funny blooper from Rochester ("Here's the boss, Jack," instead of "Here's the jack, Boss" whilst repairing a wheel on a buggy). For some reason the shows immediately after that have a tighter, more polished feel to them, and my favorite shows then come from about the beginning of 1943 to about 1949 (and of course in the fall of '45, the great writing team that Laura calls the Fabulous Four came on board). Your mileage is going to vary, I'm sure!
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Postby grittys457 » Sun Oct 31, 2010 7:18 am

I didn't get the ending to mary's Goodbye 1938 poem in this episode. It's something like "and if all goes well, goodbye Hollywood, hello France"

I don't get the hollywood to france thing.
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Postby Maxwell » Sun Oct 31, 2010 7:52 am

I think it's just a takeoff on the WWI song "Goodbye Broadway, Hello France."
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Postby grittys457 » Thu Nov 11, 2010 7:03 pm

During the jello promo Don says 1902 as nineteen two where I always assumed they all called it nineteen o two
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Postby Yhtapmys » Thu Nov 11, 2010 7:58 pm

grittys457 wrote:During the jello promo Don says 1902 as nineteen two where I always assumed they all called it nineteen o two


Why? Five years ago, you heard "Two-thousand-five."

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Postby Hank the All-Nite DJ » Fri Nov 12, 2010 1:52 pm

Yhtapmys wrote:Why? Five years ago, you heard "Two-thousand-five."

If 2005 is 'two-thousand-five', why wouldn't 1902 be something more like 'nineteen-hundred-two'?

I agree with grittys, it's an unusual way to phrase it but I have heard it used on other OTR recordings
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Postby grittys457 » Fri Nov 12, 2010 6:12 pm

On a random note that has nothing to do with Jack benny or this thread, I just started checking out episodes of the mystery series Suspense. Damn those were some creepy shows for the 1940's.
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Postby Maxwell » Fri Nov 12, 2010 7:05 pm

grittys457 wrote:On a random note that has nothing to do with Jack benny or this thread, I just started checking out episodes of the mystery series Suspense. Damn those were some creepy shows for the 1940's.


If you think "Suspense" is creepy, try "Lights Out" or "Inner Sanctum."
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Re: Goodbye 1938 show

Postby LLeff » Sat Nov 13, 2010 11:26 pm

grittys457 wrote:Have you guys even tried to figure out when the show became "the show"?


Without going into a long-winded analysis and just off the top of my head, I'd have to point at the four-episode Yosemite series.

What defines "the show" will be different for each person, and depending on what you're really looking to find, there are certainly earlier shows. But I remember when I was writing Volume 1 of 39 Forever that the Yosemite series felt like a real turning point in the interactive character dynamic that feels more like the late 40s shows that most people think of with the series.

And it's almost impossible to nail it down to one show when they introduce so many classic elements one at a time over the years (e.g., Eddie Anderson's debut as Rochester, the first appearance of the Maxwell, etc.). If you're looking for a "big whomp" of simultaneous classic bit debuts, 1/7/45 (leaving for New York City) is the ultimate example (introduced: vault, tout, and Anaheim-Azusa-Cucamonga). But that's more like comedy writing nirvana than a turning point of the show.
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Re: Goodbye 1938 show

Postby Jack Benny » Mon Nov 15, 2010 12:54 pm

LLeff wrote:
grittys457 wrote:Have you guys even tried to figure out when the show became "the show"?


Without going into a long-winded analysis and just off the top of my head, I'd have to point at the four-episode Yosemite series.

What defines "the show" will be different for each person, and depending on what you're really looking to find, there are certainly earlier shows. But I remember when I was writing Volume 1 of 39 Forever that the Yosemite series felt like a real turning point in the interactive character dynamic that feels more like the late 40s shows that most people think of with the series.

And it's almost impossible to nail it down to one show when they introduce so many classic elements one at a time over the years (e.g., Eddie Anderson's debut as Rochester, the first appearance of the Maxwell, etc.). If you're looking for a "big whomp" of simultaneous classic bit debuts, 1/7/45 (leaving for New York City) is the ultimate example (introduced: vault, tout, and Anaheim-Azusa-Cucamonga). But that's more like comedy writing nirvana than a turning point of the show.


I have to respectfuly disagree with Laura here, she is obviously wrong when she says... no, she is right there... then she makes a classic mistake when she states... no, she's right on that too... well she makes a true blunder when she says... nope right again... never mind...
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Postby scottp » Sat Nov 20, 2010 2:04 am

LLeff wrote:
1/7/45 (leaving for New York City) is the ultimate example (introduced: vault, tout, and Anaheim-Azusa-Cucamonga).

Since I read this the other day, I heard a Kraft show from early '46 where Jack is mentioned and Crosby refers to him as The Anaheim Azusa and Cucamonga Kid with the Mustard on Top
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I saw "Ziegfeld Follies," released in April of 1946, where Keenan Wynn mentions the cities in the "Number Please" sketch.
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