Melvin Jerome Blanc was an American voice actor and radio personality. After beginning his over-60-year career performing in radio, he became known for his work in animation as the voices of Bugs Bunny, Daffy Duck, Porky Pig, Tweety Bird, Sylvester the Cat, Yosemite Sam, Foghorn Leghorn, Marvin the Martian, Pepé Le Pew, Speedy Gonzales, Wile E. Coyote, Road Runner, the Tasmanian Devil, many of the other characters from the Looney Tunes and Merrie Melodies theatrical cartoons during the golden age of American animation, he voiced all of the major male Warner Bros. cartoon characters except for Elmer Fudd, whose voice was provided by fellow radio personality Arthur Q. Bryan, although Blanc voiced Fudd, as well, after Bryan's death, he voiced characters for Hanna-Barbera's television cartoons, including Barney Rubble on The Flintstones and Mr. Spacely on The Jetsons. Blanc was the original voice of Woody Woodpecker for Universal Pictures and provided vocal effects for the Tom and Jerry cartoons directed by Chuck Jones for Metro-Goldwyn-Mayer, replacing William Hanna.
During the golden age of radio, Blanc frequently performed on the programs of famous comedians from the era, including Jack Benny and Costello, Burns and Allen and Judy Canova. Having earned the nickname The Man of a Thousand Voices, Blanc is regarded as one of the most influential people in the voice acting industry. Blanc was born in San Francisco, California, to Russian-Jewish parents Frederick and Eva Blank, the younger of two children, he grew up in the Western Addition neighborhood in San Francisco, in Portland, where he attended Lincoln High School. Growing up, he had a fondness for voices and dialect, which he began voicing at the age of 10, he claimed that he changed the spelling of his name when he was 16, from "Blank" to "Blanc", because a teacher told him that he would amount to nothing and be like his name, a "blank". Blanc joined the Order of DeMolay as a young man, was inducted into its Hall of Fame. After graduating from high school in 1927, he split his time between leading an orchestra, becoming the youngest conductor in the country at the age of 19, performing shtick in vaudeville shows around Washington and northern California.
Blanc began his radio career at the age of 19 in 1927, when he made his acting debut on the KGW program The Hoot Owls, where his ability to provide voices for multiple characters first attracted attention. He moved to Los Angeles in 1932, where he met Estelle Rosenbaum, whom he married a year before returning to Portland, he moved to KEX in 1933 to produce and co-host his Cobweb and Nuts show with his wife Estelle, which debuted on June 15. The program played Monday through Saturday from 11:00 pm to midnight, by the time the show ended two years it appeared from 10:30 pm to 11:00 pm. With his wife's encouragement, Blanc returned to Los Angeles and joined Warner Bros.–owned KFWB in Hollywood in 1935. He joined The Johnny Murray Show, but the following year switched to CBS Radio and The Joe Penner Show. Blanc was a regular on the NBC Red Network show The Jack Benny Program in various roles, including voicing Benny's Maxwell automobile, violin teacher Professor LeBlanc, Polly the Parrot, Benny's pet polar bear Carmichael, the train announcer.
The first role came from a mishap when the recording of the automobile's sounds failed to play on cue, prompting Blanc to take the microphone and improvise the sounds himself. The audience reacted so positively that Benny decided to dispense with the recording altogether and have Blanc continue in that role. One of Blanc's most memorable characters from Benny's radio programs was "Sy, the Little Mexican", who spoke one word at a time; the famous "Sí... Sy... Sue... sew" routine was so effective that no matter how many times it was performed, the laughter was always there, thanks to the comedic timing of Blanc and Benny. Blanc continued to work with him on radio until the series ended in 1955 and followed the program into television from Benny's 1950 debut episode through guest spots on NBC specials in the 1970s, they last appeared together on a Johnny Carson Tonight Show in January 1974. A few months Blanc spoke of Benny on a Tom Snyder Tomorrow show special aired the night of the comedian's death.
By 1946, Blanc appeared on over 15 radio programs in supporting roles. His success on The Jack Benny Program led to his own radio show on the CBS Radio Network, The Mel Blanc Show, which ran from September 3, 1946, to June 24, 1947. Blanc played himself as the hapless owner of a fix-it shop, as well as his young cousin Zookie. Blanc appeared on such other national radio programs as The Abbott and Costello Show, the Happy Postman on Burns and Allen, as August Moon on Point Sublime. During World War II, he appeared as Private Sad Sack on various radio shows, including G. I. Journal. Blanc recorded a song titled "Big Bear Lake". In December 1936, Mel Blanc joined Leon Schlesinger Productions, producing theatrical cartoon shorts for Warner Bros. After sound man Treg Brown was put in charge of cartoon voices, Carl Stalling became music director, Brown introduced Blanc to animation directors Tex Avery, Bob Clampett, Friz Freleng, Frank Tashlin, who loved his voices; the first cartoon Blanc worked on was Picador Porky as the voice of a drunken bull.
He soon after received his first starring role when he replaced Joe Dougherty as Porky Pig's voice in Porky's Duck Hunt, which marked the debut of Daffy Duck voiced by Blanc. Following this, Blanc became a prominent vocal artist for Warner Bros. voicing a wide variety of the "Looney Tunes" characters. Bugs Bunny, whom Blanc made his debut as in A Wild Hare, was
Exposition Universelle (1900)
The Exposition Universelle of 1900, better known in English as the 1900 Paris Exposition, was a world's fair held in Paris, from 14 April to 12 November 1900, to celebrate the achievements of the past century and to accelerate development into the next. The style, universally present in the Exposition was Art Nouveau; the fair, visited by nearly 50 million, displayed many machines and architecture that are now nearly universally known, including the Grande Roue de Paris Ferris wheel, Russian nesting dolls, diesel engines, talking films and the telegraphone. The staging of the first Exposition Universelle was motivated by a desire to re-establish pride and faith in the nation after a period of war; the succession of expositions followed the same theme: the regeneration of nationality after war. Eight years before the launch of the 1900 Paris Exposition Universelle, the Republic of France announced the exhibition to be one that welcomed and celebrated the coming of a new century. Countries from around the world were invited by France to showcase their achievements and lifestyles.
It presented the opportunity for foreigners to realize the similarities between nations as well as their unique differences. New cultures were experienced and an overall better understanding of the values each country had to offer was gained; the learning atmosphere aided in attempts to increase cultural tolerance, deemed necessary after a period of war. The early announcement and the massively positive response disenchanted the interest, circling around the first German International Exposition. Support for the exhibition was widespread, it is suspected that the Exposition Universelle did not do as well financially as expected because the general public did not have the funds to participate in the fair. The 1900 Paris Exposition was so expensive to organize and run that the cost per visitor ended up being about six hundred francs more than the price of admission; the exhibition lost a grand total of 82,000 francs after six months in operation. Many Parisians had invested money in shares sold to raise money for the event and therefore lost their investment.
With a much larger expected turnout the exhibit sites had gone up in value. Continuing to pay rent for the sites became hard for concessionaires as they were receiving fewer customers than anticipated; the concessionaires went on strike, which resulted in the closure of a large part of the exposition. To resolve the matter, the concessionaires were given a fractional refund of the rent; the financial consequences of the 1900 Exposition Universelle were devastating for many Parisians and led to the decision to end the streak of international fairs with the 1900 loss. The 1900 Paris Exposition was where talking films and escalators were first publicized, where Campbell's Soup was awarded a gold medal. At the exposition Rudolf Diesel exhibited his diesel engine. Brief films of excerpts from opera and ballet were the first films exhibited publicly with projection of both image and recorded sound; the exposition featured many panoramic paintings and extensions of the panorama technique, such as the Cinéorama and Trans-Siberian Railway Panorama.
The centrepiece of the Palais de l'Optique was the 1.25-metre-diameter "Great Exposition Refractor". This telescope was the largest refracting telescope at that time; the optical tube assembly was 60 meters long and 1.5 meters in diameter, was fixed in place due to its mass. Light from the sky was sent into the tube by a movable 2-meter mirror; the Exposition included "The Exhibit of American Negroes", during which photos by Frances Benjamin Johnston, a friend of Booker T. Washington, of his black students of the Hampton Institute were presented. Organized by Booker Washington and W. E. B. Du Bois, this exhibition aimed at showing African Americans' positive contributions to American society. Many of the buildings constructed for the Exposition Universelle were demolished after the conclusion of the exposition. Many of the buildings were built on a framework of wood, covered with staff, formed into columns, walls, etc. After the fair was over, the buildings were demolished and all items and materials that could be salvaged and sold were "recycled".
The Finnish Pavilion at the Exposition was designed by the architectural firm of Gesellius and Saarinen. A special committee, led by Gustave Eiffel, awarded a gold medal to Lavr Proskuryakov's project for the Yenisei Bridge in Krasnoyarsk. Russian sparkling wine defeated all the French entries to claim the internationally coveted "Grand Prix de Champagne"; the exposition was the showcasing of another Russian entry, the famous matryoshka doll. The Art Nouveau style began to develop in the 1880s and became fashionable in Europe and the United States during the 1890s; the art form takes inspiration from the natural world, drawing references from botanical studies and deep sea organisms. Fluid twisting, curving lines and a "whiplash" effect are the trademarks of the natural art form; the art form took shape in works ranging from painting to sculpture and most notably architecture, appearing throughout the 1900 Paris Exposition Universelle. Structures such as the Porte Monumentale entrance, the Pavillon Bleu and the Grand and Petit Palais were lar
Ghost Wanted is Merrie Melodies animated short released in 1940. It features a little ghost, inexperienced at haunting houses & whose "suit/sheets" resemble the typical footy pajamas with the "trap door" that were popular in the era; the little ghost is silent. The short starts out in the little ghost's house as he's reading a book titled How To Haunt Houses showing various recommended haunting positions that are successful for ghosts, he tries out a few of the positions by posing and reads the Haunt Ads in the Saturday Evening Ghost. He comes across a haunting job that doesn't require experience at the address of 1313 Dracula Drive that he likes, he changes from his white "suit/sheets" into a new light blue colored "suit" & is invisible for the interim between changing "suits". Though he can pass through closed doors like an ordinary ghost, he prefers opening them while passing through, he arrives at the house at 1313 Dracula Drive, on a mountain, tries out for the house-haunting job, but winds up getting terrorized by a bigger ghost interviewing him for the position.
The ghost terrorizes him by yelling Boo!", scaring him, sending him a Ghostal Telegraph that says "Boo!", dropping a lit firecracker that resembles an M-80 that the little ghost just runs away from. The bigger ghost's plans backfire on him when the fuses of the fireworks he put in his "back pocket" get lit by the lit match he dropped & send him flying throughout the house after the little ghost & into a well somewhere outside the haunted house; the animated short was shown on TBS from 1987 to 1992 as a segment of the Tom & Jerry Halloween Special. The young ghost has made appearances as an enemy in numerous video games, his appearances include The Bugs Bunny Crazy Castle series for NES and Game Boy as well as the NES game Bugs Bunny's Birthday Blowout. This film was included on The Golden Age of Looney Tunes LaserDisc release. Country:USA Language:English Aspect Ratio:1.37: 1 more Sound Mix:Mono Company:Leon Schlesinger Studios more See Ghost Wanted on Youtube
For Scent-imental Reasons
For Scent-imental Reasons is a Warner Bros. Looney Tunes short released in 1949, it was directed by Chuck Jones, written by Michael Maltese, featured the characters Pepé Le Pew and Penelope Pussycat. It won the Oscar for Best Animated Short Film and was the first Chuck Jones-directed cartoon to win this award; the owner of a perfume shop in Paris is horrified to find a skunk, Pepé Le Pew, testing the wares inside his store. A strong and powerful gendarme repelled by the odor, is of no help; the perfumer notices a black female cat, flings her into the store, with the demand to "Remove that skunk, that polecat pole from the premises. Avec!". The cat slides into the shop, hitting a bureau and causing a bottle of white dye to spill and run down her back and tail. Pepé Le Pew sees her and mistakes her for another skunk; the cat smells Pepé's odor and tries to run away, chased by Pepé. As she attempts to wiggle free from Pepé's embrace, he makes comments like, "It is love at sight first, no?" and "We will make beautiful music together."
She breaks free and attempts to wash the stripe and the smell off but is unsuccessful. She runs to a window and tries to open it, she takes refuge inside a locked glass cabinet, much to Pepé's chagrin. Pepé first tries to lure her out sweetly demands that she come out of the cabinet, she refuses. Pepé Le Pew becomes saddened, pulls out a gun, walks out of sight and fires the weapon killing himself. Panicked, the cat rushes out only to run directly into Pepé's arms, he tells her, "I missed for you." The chase continues. He believes she is trying to prove her love for him by committing suicide, declares that he will save her. Pepé grabs for her. Pepé calls out: "Vive l'amour, we die together" and steps off the window ledge; the cat falls into a barrel of water under a rain-spout off-screen, while Pepé lands in a can of blue paint. The water washes the white stripe off the cat, gives her a cold; when Pepé climbs out, he is blue. He does not recognize her, he wanders off to find the "beautiful young lady skunk."
The soaked black cat watches his blue form walking away and she falls for him. When Pepé goes back into the perfume shop to look for the female skunk, he hears the door shut and the lock click behind him; when he turns, he sees the drenched female cat leering at him and begins to panic, realizing that he is now the victim of love. She drops the key to the lock down her neckline as the startled Pepé says, "Oh, no!" and runs away. As Pepé runs as fast as he can, the cat follows using Pepé's familiar hopping pace; the short ends with Pepé telling the audience: "You know? It is possible to be too attractive,". In 1957, this cartoon was reissued as a Blue Ribbon Merrie Melodies. However, like all cartoons reissued between 1956–59, the opening title music still plays and the original ending title was kept; this cartoon can be seen with the Blue Ribbon reissue on the first volume of the Looney Tunes Golden Collection: Volume 1 DVD set and Warner Bros. Home Entertainment Academy Awards Animation Collection.
In 2011 it appeared in Looney Tunes Super Stars' Pepe Le Pew: Zee Best of Zee Best. The oft-censored glass case/suicide sequence was used in both the Chuck Jones compilation movie The Bugs Bunny/Road Runner Movie and Chuck Amuck: The Movie, though in the former, the scene with Penelope attempting to wash the stripe off her back is left out. " For Sentimental Reasons", the song for which the cartoon is named. Full cartoonFor Scent-imental Reasons on IMDb For Scent-imental Reasons at The Big Cartoon DataBase
Charles Martin Jones was an American animator, cartoonist, author and screenwriter, best known for his work with Warner Bros. Cartoons on the Looney Tunes and Merrie Melodies shorts, he wrote, and/or directed many classic animated cartoon shorts starring Bugs Bunny, Daffy Duck, Wile E. Coyote and the Road Runner, Pepé Le Pew, Porky Pig, Michigan J. Frog, the Three Bears, a slew of other Warner characters. After his career at Warner Bros. ended in 1962, Jones started Sib Tower 12 Productions, began producing cartoons for Metro-Goldwyn-Mayer, including a new series of Tom and Jerry shorts and the television adaptation of Dr. Seuss' How the Grinch Stole Christmas!. He started his own studio, Chuck Jones Enterprises, which created several one-shot specials, periodically worked on Looney Tunes related works. Jones was nominated for an Oscar eight times and won three times, receiving awards for the cartoons For Scent-imental Reasons, So Much for So Little, The Dot and the Line, he received an Honorary Academy Award in 1996 for his work in the animation industry.
Film historian Leonard Maltin has praised Jones' work at Warner Bros. MGM and Chuck Jones Enterprises, he said that the "feud" that there may have been between Jones and colleague Bob Clampett was because they were so different from each other. In Jerry Beck's The 50 Greatest Cartoons, ten of the entries were directed by Jones, with four out of the five top cartoons being Jones shorts. Jones was born on September 21, 1912, in Spokane, the son of Mabel McQuiddy and Charles Adams Jones, he moved with his parents and three siblings to the Los Angeles, California area. In his autobiography, Chuck Amuck, Jones credits his artistic bent to circumstances surrounding his father, an unsuccessful businessman in California in the 1920s, his father, Jones recounts, would start every new business venture by purchasing new stationery and new pencils with the company name on them. When the business failed, his father would turn the huge stacks of useless stationery and pencils over to his children, requiring them to use up all the material as fast as possible.
Armed with an endless supply of high-quality paper and pencils, the children drew constantly. In one art school class, the professor gravely informed the students that they each had 100,000 bad drawings in them that they must first get past before they could draw anything worthwhile. Jones recounted years that this pronouncement came as a great relief to him, as he was well past the 200,000 mark, having used up all that stationery. Jones and several of his siblings went on to artistic careers. During his artistic education, he worked part-time as a janitor. After graduating from Chouinard Art Institute, Jones got a phone call from a friend named Fred Kopietz, hired by the Ub Iwerks studio and offered him a job, he worked his way up starting as a cel washer. I went on to take animator's drawings and traced them onto the celluloid. I became what they call an in-betweener, the guy that does the drawing between the drawings the animator makes". While at Iwerks, he met a cel painter named Dorothy Webster, who became his first wife.
Jones joined Leon Schlesinger Productions, the independent studio that produced Looney Tunes and Merrie Melodies for Warner Bros. in 1933 as an assistant animator. In 1935, he was promoted to animator, assigned to work with new Schlesinger director Tex Avery. There was no room for the new Avery unit in Schlesinger's small studio, so Avery and fellow animators Bob Clampett, Virgil Ross, Sid Sutherland were moved into a small adjacent building they dubbed "Termite Terrace"; when Clampett was promoted to director in 1937, Jones was assigned to his unit. Jones became a director himself in 1938; the following year Jones created his first major character, Sniffles, a cute Disney-style mouse, who went on to star in twelve Warner Bros. cartoons. He was involved in efforts to unionize the staff of Leon Schlesinger Studios, he was responsible for recruiting animators, layout men, background people. All animators joined, in reaction to salary cuts imposed by Leon Schlesinger; the Metro-Goldwyn-Mayer cartoon studio had signed a union contract, encouraging their counterparts under Schlesinger.
In a meeting with his staff, Schlesinger talked for a few minutes turned over the meeting to his attorney. His insulting manner had a unifying effect on the staff. Jones gave a pep talk at the union headquarters; as negotiations broke down, the staff decided to go on strike. Schlesinger locked them out before agreeing to sign the contract. A Labor Management Committee was formed and Jones served as a moderator; because of his role as a supervisor in the studio, he could not himself join the union. Jones created many of his lesser-known characters during this period, including Charlie Dog and Bertie, The Three Bears. During World War II, Jones worked with Theodor Geisel, better known as Dr. Seuss, to create the Private Snafu series of Army educational cartoons. Jones collaborated with Seuss on animated adaptations of Seuss' books, including How the Grinch Stole Christmas! in 1966. Jones directed such shorts as The Weakly Reporter, a 1944 short that related to shortag
Franglais is a French portmanteau word referring to the pretentious overuse of English words by Francophones, subsequently to refer to the phenomenon of diglossia or the macaronic mixture of the French and English languages. The term "franglais" is first attested in France in 1959, but was popularised by the academic and critic René Étiemble in his denunciation of the overuse of English terms in French, "Parlez-vous franglais?", published in 1964. In English, Franglais means a combination of French; the term evokes the linguistic concepts of mixed Barbarism. Reasons for this blend could be caused by lexical gaps, native bilingualism, populations trying to imitate a language where they have no fluency, or humorous intent. Franglais consists of either filling in gaps in one's knowledge of French with English words, using false friends with their incorrect meaning, or speaking French in such a manner that would be incomprehensible to a French speaker who does not have a knowledge of English; some examples of Franglais are: Longtemps, pas voir.
– Long time, no see. Je vais driver downtown. – I'm going to drive downtown. Je suis tired. – I am tired. Je care pas. – I don't care. J'agree. – I agree. M'en va gazer mon char. – I'm going to go fill up my car. Franglais may mean a diplomatic compromise, such as the abbreviation UTC for Coordinated Universal Time. Chaucer's Prioress knew nothing of the French of Paris, but only that of Stratford-atte-Bow. Similar mixtures occur in the stages of Law French, such as the famous defendant who "ject un brickbat a le dit Justice, que narrowly mist". Another example in English literature is found in Henry V by William Shakespeare. In Act 3, Scene 4, a French princess is trying to learn English, but "foot" as pronounced by her maid sounds too much like foutre and "gown" like con, she decides. A literary example of the delight in mélange occurs in Robert Surtees' Jorrocks' Jaunts and Jollities: "You shall manger cinq fois every day," said she. "Oui, cinq fois," repeated the Countess, telling the number off on her fingers—"Café at nine of the matin, déjeuner à la fourchette at onze o'clock, dîner at cinq heure, café at six hour, souper at neuf hour."The 19th-century American writer Mark Twain, in Innocents Abroad, included the following letter to a Parisian landlord: According to Chapman Pincher, one of Winston Churchill's family recounted how the latter, in response to obstinacy from General de Gaulle in a meeting during de Gaulle's wartime exile in London, told him, "Si vous m’opposerez je vous get riderai!"The humourist Miles Kington wrote a regular column "Let's Parler Franglais" which, for a number of years starting in the late 1970s, appeared in the British magazine Punch.
These columns were collected into a series of books: Let's Parler Franglais, Let's Parler Franglais Again!, Parlez-vous Franglais?, Let's Parler Franglais One More Temps, The Franglais Lieutenant's Woman and Other Literary Masterpieces. A somewhat different tack was taken in Luis van Rooten's Mots d'Heures: Gousses, Rames: The D'Antin Manuscript. Here, English nursery rhymes are written with nonsensical French phrases meant to recall the sounds of the English words, the resulting French texts are presented as a historical manuscript and given a pseudo-learned commentary. Another classic is Jean Loup Chiflet's Sky My Husband! Ciel Mon Mari!, a literal translation of French into English. However, in this context, the correct translation of ciel...! is'heavens...!' In Monty Python's 1975 movie Monty Python and the Holy Grail, the French castle guard orders, when King Arthur doesn't want to go away, his fellow guards to "Fetchez la vache.". The other French guards respond with "Quoi?" and he repeats "Fetchez la vache!".
The guards get it: fetch la vache, which they catapult at the Britons. In French, franglais refers to the use of English words sometimes regarded as unwelcome imports or as bad slang. An example would be le week-end, used in many French dialects and has no available synonym in those dialects. Franglais refers to nouns created from Anglo-Saxon roots or from recent English loanwords by adding -ing at the end of a popular word—e.g. Un parking. A few words that have entered use in French are derived from English roots but are not found at all in English, such as un relooking, un rugbyman. O
Warner Bros. Entertainment Inc. referred to as Warner Bros. and abbreviated as WB, is an American entertainment company headquartered in Burbank, California and a subsidiary of AT&T's WarnerMedia. Founded in 1923, it has operations in film and video games and is one of the "Big Five" major American film studios, as well as a member of the Motion Picture Association of America; the company's name originated from the four founding Warner brothers: Harry, Albert and Jack Warner. Harry and Sam emigrated as young children with their parents to Canada from Krasnosielc, Poland. Jack, the youngest brother, was born in Ontario; the three elder brothers began in the movie theater business, having acquired a movie projector with which they showed films in the mining towns of Pennsylvania and Ohio. In the beginning and Albert Warner invested $150 to present Life of an American Fireman and The Great Train Robbery, they opened their first theater, the Cascade, in New Castle, Pennsylvania, in 1903. When the original building was in danger of being demolished, the modern Warner Bros. called the current building owners, arranged to save it.
The owners noted people across the country had asked them to protect it for its historical significance. In 1904, the Warners founded the Pittsburgh-based Duquesne Amusement & Supply Company, to distribute films. In 1912, Harry Warner hired. By the time of World War I they had begun producing films. In 1918 they opened the first Warner Brothers Studio on Sunset Boulevard in Hollywood. Sam and Jack produced the pictures, while Harry and Albert, along with their auditor and now controller Chase, handled finance and distribution in New York City. During World War I their first nationally syndicated film, My Four Years in Germany, based on a popular book by former ambassador James W. Gerard, was released. On April 4, 1923, with help from money loaned to Harry by his banker Motley Flint, they formally incorporated as Warner Bros. Pictures, Incorporated; the first important deal was the acquisition of the rights to Avery Hopwood's 1919 Broadway play, The Gold Diggers, from theatrical impresario David Belasco.
However, Rin Tin Tin, a dog brought from France after World War I by an American soldier, established their reputation. Rin Tin Tin debuted in the feature; the movie was so successful. Rin Tin Tin became the studio's top star. Jack nicknamed him "The Mortgage Lifter" and the success boosted Darryl F. Zanuck's career. Zanuck became a top producer and between 1928 and 1933 served as Jack's right-hand man and executive producer, with responsibilities including day-to-day film production. More success came. Lubitsch's film The Marriage Circle was the studio's most successful film of 1924, was on The New York Times best list for that year. Despite the success of Rin Tin Tin and Lubitsch, Warner's remained a lesser studio. Sam and Jack decided to offer Broadway actor John Barrymore the lead role in Beau Brummel; the film was so successful. By the end of 1924, Warner Bros. was arguably Hollywood's most successful independent studio, where it competed with "The Big Three" Studios. As a result, Harry Warner—while speaking at a convention of 1,500 independent exhibitors in Milwaukee, Wisconsin—was able to convince the filmmakers to spend $500,000 in newspaper advertising, Harry saw this as an opportunity to establish theaters in cities such as New York and Los Angeles.
As the studio prospered, it gained backing from Wall Street, in 1924 Goldman Sachs arranged a major loan. With this new money, the Warners bought the pioneer Vitagraph Company which had a nationwide distribution system. In 1925, Warners' experimented in radio, establishing a successful radio station, KFWB, in Los Angeles. Warner Bros. was a pioneer of films with synchronized sound. In 1925, at Sam's urging, Warner's agreed to add this feature to their productions. By February 1926, the studio reported a net loss of $333,413. After a long period denying Sam's request for sound, Harry agreed to change, as long as the studio's use of synchronized sound was for background music purposes only; the Warners signed a contract with the sound engineer company Western Electric and established Vitaphone. In 1926, Vitaphone began making films with music and effects tracks, most notably, in the feature Don Juan starring John Barrymore; the film was silent. To hype Don Juan's release, Harry acquired the large Piccadilly Theater in Manhattan, New York City, renamed it Warners' Theatre.
Don Juan premiered at the Warners' Theatre in New York on August 6, 1926. Throughout the early history of film distribution, theater owners hired orchestras to attend film showings, where they provided soundtracks. Through Vitaphone, Warner Bros. produced eight shorts in 1926. Many film production companies questioned the necessity. Don Juan did not recoup its production cost and Lubitsch left for MGM. By April 1927, the Big Five studios had ruined Warner's, Western Electric renewed Warner's Vit