e-book How Fibber McGee and Molly Won World War II

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Fibber Mcgee & Molly Christmas 1942

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Back to home page Return to top. New ,. Buy it now - Add to Watch list Added to your Watch list. After Jim Jr. Marian and the children joined him on the road for a short time, but the couple had to admit defeat when they found themselves in Lincoln, Illinois in with 2 small children and no funds. The couple's parents had to wire them money for their return to Peoria. Jim went to work at a local department store, but still felt an attraction of being in show business. He and Marian went back into vaudeville.

While staying with Jim's brother in Chicago in , the family was listening to the radio; Jim said he and Marian could do better than the musical act currently on the air. The show's sponsor was Oh Henry! Twins program, switching to radio station WENR by When it seemed to the couple they were financially succeeding, they built a home in Chicago, which was a replica of their rented home, complete to building it on the lot next door. For their move to the West Coast, the Jordans selected an inconspicuous home in Encino.

Fibber McGee and Molly originated when the small-time husband-and-wife vaudevillians began their third year as Chicago -area radio performers. Two of the shows they did for station WENR beginning in , both written by Harry Lawrence, bore traces of what was to come and rank as one of the earliest forms of situation comedy. In their Luke and Mirandy farm-report program, Jim played a farmer who was given to tall tales and face-saving lies for comic effect. They regarded Quinn's contribution as important and included him as a full partner; the salary for Smackout and Fibber McGee and Molly was split between the Jordans and Quinn.

While working on the WENR farm report, Jim Jordan heard a true story about a shopkeeper from Missouri whose store was brimming with stock, yet he claimed to be "smack out" of whatever a customer would ask him for. The story reached the halls of nearby Columbia College , and the students began visiting the store, which they called "Smackout", to hear the owner's incredible stories. For station WMAQ in Chicago, beginning in April , the trio created Smackout , a minute daily program that centered on a general store and its proprietor, Luke Grey Jim Jordan , a storekeeper with a penchant for tall tales and a perpetual dearth of whatever his customers wanted: He always seemed "smack out of it".

During the show's run, Marian Jordan voiced a total of 69 different characters. One of the S. Johnson company's owners, Henrietta Johnson Lewis, recommended that her husband, John, Johnson Wax's advertising manager, try the show out on a national network. The terms of the agreement between S. If Smackout proved the Jordan-Quinn union's viability, their next creation proved their most enduring.

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Amplifying Luke Grey's tall talesmanship to Midwestern braggadocio, Quinn developed Fibber McGee and Molly with Jim as the foible-prone Fibber and Marian playing his patient, common sense, honey-natured wife. In its earliest incarnation, Fibber McGee and Molly put focus on Fibber's tall tales and extended monologues. During these earliest episodes of the series, Molly had a pronounced Irish dialect. The show premiered on NBC April 16, , and though it took three seasons to become an irrevocable hit, it became the country's top-rated radio series.

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Existing in a kind of Neverland where money never came in, schemes never stayed out for very long, yet no one living or visiting went wanting, 79 Wistful Vista the McGees' address from show No. The McGees won their house in a raffle from Mr.

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Hagglemeyer's Wistful Vista Development Company, with lottery ticket ,, happened upon by chance while on a pleasure drive in their car. With blowhard McGee wavering between mundane tasks and hare-brained schemes like digging an oil well in the back yard , antagonizing as many people as possible, and patient Molly indulging his foibles and providing loving support, not to mention a tireless parade of neighbors and friends in and out of the quiet home, Fibber McGee and Molly built its audience steadily, but once it found the full volume of that audience in , they rarely let go of it.

Marian Jordan took a protracted absence from the show from November to April to deal with a lifelong battle with alcoholism , although this was attributed to "fatigue" in public statements at the time.

While his wife was ill, Jim Jordan had been closing his radio shows by saying "Goodnight, Molly. After a few weeks' deliberation, the Commission found that no regulations had been broken, because Molly was a fictional character. Jordan then resumed using the "Goodnight, Molly" signoff. Fibber McGee and Molly was one of the earliest radio comedies to use an ensemble cast of regular characters played by actors other than the leads, nearly all of whom had recurring phrases and running gags, in addition to numerous other peripheral characters unheard from over the course of the series.

The radio show was run on a tight schedule, considered to be one of the best organized broadcasts on the networks. Jim Jordan insisted upon everyone affiliated with the program must take a two-day rest, following the Tuesday broadcast. Nothing was done about the following Tuesday's show until Friday morning, when Jim and Marian Jordan got together with writer Don Quinn and agency producer Cecil Underwood to talk through the following weeks' script.

They worked in a business office because they were convinced a businesslike and efficient atmosphere helped them get the work done in 2 hours. By Saturday morning, Quinn had the first draft of the script ready, which "Fibber" read, and then Quinn revised into the final, working script.

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He did this Sunday night, working all night and finishing Monday morning, when the cast would gather at NBC's Hollywood studios, and rehearsed for 2 hours. After this, Quinn made any final changes. At p. Pacific time , the show went on the air. This pattern of preparation never varied by much more than an hour from week-to-week.