Helen Kane: Sure i think that's wonderful, i'm so happy to be a part of all this era of wonderful nonsense. It was too and i think we enjoyed every minute of it, Well alot of us lived through it but i dont know how. Everyone was happy and there was money to be spent of course with this probition, I mean that was fun and sneaking around and the jazz age.
Helen Kane: Well i don't know i think you kids have all the fun these days, You don't think to seem so but i do. You have more problems today that confront you, This upset in the world but when i listen to this Rock and Roll and i look at you kids i don't think it's a whole lot different to the Charleston and the Vasity Drag, and then there was our favourites, there was Cliff Edwards and Everybody Happy the Jazz was around. I don't know that there's so much difference.
Helen Kane: I know when i was a kid, I used to look at these pictures and the songs of the gay 90's and i used to say to my mother "Oh, i wished i had lived that, It was so gay so wonderful" and i think every generation looks back, Now this all seems very mysterious and wonderful to you kids. When you have kids they will say "Gee dad all those 50's they were somthin you know" and they will try to imitate the same thing. I really think it goes in cycles, When your kids come in and say "Gee dad i wish we had done that" and so far, It's the same thing, I don't think it's changed a great deal.
Helen Kane: I made my first record for victor in 1928, I was at the Paramount theatre on Broadway with Paul Ash, The late Paul Ash. He gave me my start and it was the first time i had injected this faze of "Boop-Oop-a-Doop" into any song. It was a song called That's My Weakness Now, and the victor people had me make a test record of it, and they liked it. They were very stiff up there that time about what things meant and very paticular about there artists that nothing would be risque.
Helen Kane: So they wanted to know what "Boop-Oop-a-Doop" meant cause people laughed at it and i said "Well i didn't know, it's just a form of rythme that i had". So they made this record and it was a bomb, it really was. It was a sneaker and it sold over a million copys for that paticular record and of course i got a contract and kept on recording for them.
Helen Kane: I made an awful lot of records, Oh i should say 40-50 millions i guess, and they sold and as i say there weren't many people recording in those days.
Helen Kane: The people brought the artists that they liked, In fact i never heard about the recent seller until recently when they started to give the gold records. We didn't have that presentation then. But i think you could tell by your royalty's just about when-ever you had a hit or not, And of course the company's knew and they didn't have any way of exsploiting the record, Except the people that brought your records really loved you and i think they brought the difference sence and they kept the record and they didn't buy as many at a time like the kids today, They go out and they buy.
Helen Kane: They kept their records and a hit would last a whole lot longer than it does today. Today if you don't get it in the first couple of month's you havn't got it. But i mean it took longer to establish a hit.
Helen Kane: People recording today, as i say most everybody records. I mean with a voice of without a voice. I mean years ago, they determined an artist, I mean you were individual and there were comedy records that i think they should do again, I always missed them. They had laughting records. You never could have a dull party all you had to do, If people were not laughting is put on a laughting record.
Reporter: What was a laughting record?
Helen Kane: Not anything a man started to laught and it grew louder and funnier, and he laughed and laughed and then everybody laughed,It was the most silly thing more fun. They had people like cone on the telephone and Italian comedy records, Monolouge you know that men would do,That was so entertaining. I mean it was done just as he would do it in stage and they were very populer. I think people listen differently than they do today in theatre's too, Or to sound becuse you see they are so tuned to certian mechanical sound, That the voice itself when they hear it, It has to have a certian volume becuse the ear is tuned to that particular sound.
Helen Kane: Cause you know when i started out in the theatre's in Paramount in the capitol and the loxie they didn't have microphones. I had a very tiny voice but a powerful voice. I was trained and everybody in the theatre had to be heard and if you weren't heard you just weren't there. They had nothing to make your voice sound louder and then of course people came in to listen to you. They listened more than they do today, They had to listen and of course you had to be trained and if you couldn't be heard you just wasn't in it.
Helen Kane: There are alot of people who would have never been heard of today, That are very big stars today and they are wonderful. They put them in a house like the Paramount.
Reporter: When did the microphone come in?
Helen Kane: I think late 1929 around 1930, but i played them without.
Reporter: It must have been a novelty having a microphone in your hand.
Helen Kane: I hated it, I used to like to use the stage more of it, But when this thing was planted in front of me i didn't like it at all. But i had to use it even though they could hear me, There was a different sound if an act came on before me and used the mic and you didn't they would say "I can't hear you".
Helen Kane: I happened to come in just at a time when radio was just beggining to come in. People had the crystal sets and they were making the radio. I'll never forget the first time i was in a radio studio, We were in a act with five girls and they said come over we want you to go on the radio. When i said radio? What's that? so we went into this room and i said to the man how dumb can you be can i hear it later? He said that's gone over the air. It was a very small station and one of the first, and this was about 1925-1926 i guess. When radio came into it's own people stopped buying records and the record buisness went plunk.
Helen Kane: Around 1931 or 1932 it started to get very bad and i mean becuse radio became so populer and people didn't buy records. It's only in the recent last ten years, People got tired of the radio then of course they had television and that was new. Then the kids wanted to dance becuse there wasn't enough dance music on telivison, So they started to get the records again, They really did.
Helen Kane: The younger generation seem to like me very much, I'm very flattered. We went to a festival and i would say that seventy percent of the audience were teenagers and really i was quite a hit. I noticed when i was out on the road that this sound of "Boop-Oop-a-Doop" is a new sound to them and they like it.