VICTOR 78 RPM Record 22150 Happiness Boys “I Can’t Sleep In The Movies Any More"

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VICTOR 78 RPM Record 22150 The Happiness Boys “I Can’t Sleep In The Movies Any More” / ‘Sergeant Flagg And Sergeant Quirt” E Visible Condition, beauty – one long light scratch drops it from E+. Great talk and sing side “I Can’t Sleep…” about how the films of old one could sleep through as they were silent – but now you can’t sleep for the noises you hear. They mimic some actor voices, etc. GREAT Vaudevillian performances. One of their most pointed satires, recorded with a full orchestra, was "We Can't Sleep in the Movies Anymore". Jones and Hare demonstrate how talking pictures have changed a restful evening in a theater into a noisy onslaught of "sneezes, squawks, and squeals". The lyrics also note that the actors' voices seldom matched their silent screen images:

HARE: The sheik is from the ghetto. I thought he came from Spain.

JONES: His voice is high falsetto! And he sounds like he's in pain!

Jones and Hare kidded the "talkies", but were featured in A Movietone Divertissement (MGM, 1928) and Rambling 'Round Radio Row #4 (Warner Brothers/Vitaphone, 1932), both sound short subjects. The Happiness Boys was a popular radio program of the early 1920s. It featured the vocal duo of tenor Billy Jones and bass/baritone Ernie Hare, who sang novelty songs. Jones and Hare were already established as soloists on phonograph records. One of Jones's better solos was "Mary Lou", while Hare scored with the Yuletide novelty "Santa Claus Hides in the Phonograph". In 1920 recording executive Gus Haenschen had them sing an accompaniment on a Brunswick recording. They went on to do numerous recordings for Brunswick Records, Edison, and other companies. Similarities between the two singers were often noted: same height, same weight, and birthdays a few days apart. Fred Rabinstein, who worked with Edison, recalled:

 They had amused themselves by singing opera in a burlesque fashion, as they [later] did in their 1922 record of "Operatic Syncopation"...They seemed to have everything in common except that Jones was a bachelor (he took a wife after his mother's death) and Hare was married, with a little girl named Marilyn, who was to serve for a short time as Jones's singing partner after her father's death in 1939... both had mothers whose maiden names were Roberts; both were five feet and seven inches tall; both had voices of operatic caliber that perfectly complemented each other, and both had had operatic experience.

They began on radio October 18, 1921 on WJZ (Newark, New Jersey), where they were sponsored by the chain of Happiness Candy stores. Listeners mailed in their comments about the singers on cards supplied to retailers by Happiness Candy. Beginning August 22, 1923, the Happiness Boys broadcast on New York's WEAF, moving to NBC from a run from 1926 to 1929. The duo sang popular tunes, mostly light fare and comic songs, and they engaged in humorous repartee between numbers. Their theme song was "How Do You Do" (1924). However, only the words to this song were new at that time. The melody had been used for a variety of other songs in the past and is still used in the camp favorite "If You're Happy and You Know It (Clap Your Hands)". Edison Records "Diamond Disc" label, early 1920s, featuring the Happiness Boys.

Dave Kaplan was usually the team's pianist on records. Fannie Heinline, regarded as the best American female banjoist at the turn of the century, made guest appearances on The Happiness Boys as banjoist and vocalist. By 1928, Jones and Hare were the highest paid singers in radio, earning $1,250 a week. They also made highly successful personal appearances in the United States and Europe. (They mention the European tour fondly in their recording of "We Don't Like It, Not Much".)

Jones and Hare specialized in comic songs that commented on trends and popular culture. When the song "Collegiate" swept the country and prompted a host of similar tunes, Jones and Hare countered with "We Ain't Never Been to College". Gracious living and social propriety were skewered in Jones and Hare's "Etiquette Blues". America's fascination with radio triggered the pungent parody "Twisting the Dials", probably the very first comedy sketch of its kind: Billy and Ernie simulate tuning a radio and getting snatches of random radio programs (Ernie's stentorian recitation of "Gunga Din" interrupted by Billy singing a fast Hawaiian song, Billy saccharinely introducing children's storyteller "Daddy Scarem" [Ernie] who turns out to be pretty grim, an incomprehensible boxing match, etc., punctuated by frequent time-outs for station identifications and time signals).

Radio's "Happiness Boys" changed their identities and allegiance whenever they changed sponsors. For Taystee Bread, for example, Jones and Hare became "The Taystee Loafers", and for Interwoven Socks they became "The Interwoven Pair". Regardless of their affiliation, they continued with their songs and jokes through the 1930s.

The partnership ended with Ernie Hare's death on March 9, 1939. Hare's 16-year-old daughter, Marilyn Hare, joined Jones at the microphone, allowing the act to continue as "Jones and Hare" for about a year, until she left to pursue a movie career in Hollywood.

The scratches on the left of every photo are my broken glass on scanner – not on item. Images of artists etc. are for information only and not included in auction, record & sleeve only.

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E++, Visibly nearly new with no visible signs of wear or damage.

E+, Looks and plays like new with only few signs of handling and play.

E Still very shiny, near new looking, with slight visible signs of wear and a few nearly inaudible scuffs and scratches

E- Still shiny but without the luster of a new record, few scuffs that have little or no effect on play, some light scratches.

E- - Mostly shiny but with even less of the luster of an E- record, more scuffs than E-that have little or no effect on play, light scratches with some light noise.

VG+, Slightly above average condition 78 in which scuffs and general use has dulled the finish somewhat. Wear is moderate but playing is generally free from distortion. Surface noise not overly pronounced.

VG, An average condition 78 - moderate wear throughout, but still very playable and enjoyable. Surface somewhat dull with noise and scratches audible but not intrusive.

VG-, Quite playable still, but with some distortion and may have some graying in loud passages. Music remains loud in most passages. Surface noise and scratches well below music level.

VG- - Quite playable still, but with distortion and most have some graying in loud passages. Music remains loud in most passages. Surface noise and scratches noticeable and may be loud at times.

G+ Quite worn and scratched, but music level is still higher than surface noise. Grey may be throughout but still serviceable. Music begins to sound muffled.

G Not so good. Wear and scratch damage extensive. Listening can become uncomfortable as music and surface noise probably blending. Lowest level music can be understood.

G-, Music barely audible over surface noise & listening is uncomfortable. Record is borderline unplayable.

P Used only for high dollar space fillers like Black Patti, Okeh blues, etc. Music covered by surface noise, scratches, and needle digs, label may be trashed, & listening is almost if not definitely impossible. Record is basically unplayable. What you keep because you can’t bear to toss – while you look for that E+ copy of Robert Johnson on Vocalion at the local flea markets for $1 (Good Luck!)

See Description, A wildcard grade that can be used when standard grading does not apply or when a record (or item) has special attributes (or defects) that can affect how the item is assigned a grade.