Hip and irreverent, Stan Freberg was the last network radio comic, a trailblazing satirist whose work greatly expanded the vocabulary of the comedy form. While most postwar comedians used radio and records merely as a springboard for more lucrative film and television gigs, Freberg pushed the envelope in both mediums, creating high-concept musical comedies and sound collages that revolutionized the audio format while setting the stage for the hallucinatory sonic visions of the Firesign Theatre and the National Lampoon troupes.
Born in Pasadena, CA, in 1926, Freberg broke into performing with work in children's puppet shows; while still in his teens, he hopped a bus to Los Angeles and won an audition at the famed [RoviLink="VN"]Warner Bros. cartoon studios. In short time he was working (albeit uncredited) alongside voice-over genius [RoviLink="VN"]Mel Blanc on characters like [RoviLink="VN"]the Goofy Gophers and [RoviLink="VN"]Pete Puma. Additionally, he contributed to [RoviLink="VN"]Bob Clampett's puppet series [RoviLink="VW"]Time for Beany, the precursor to the animated favorite [RoviLink="VW"]Beany and Cecil.
By the age of 16, Freberg graduated to regular work as a radio, a path he continued for the remainder of the decade. In 1951 he signed to Capitol and released his first novelty single, "John and Marsha," a scathing satire of romantic treacle. After a handful of other releases, in 1953 he issued "St. George and the Dragonet," a painstakingly accurate and lavishly produced parody of the [RoviLink="VN"]Jack Webb series [RoviLink="VW"]Dragnet; far more advanced than any similar other record to date, "St. George" became the era's fastest-selling single, eventually topping the charts.
In 1957, Freberg was tapped to take over Jack Benny's CBS radio program while Benny took the summer months off. Although radio comedy was in its death throes, Freberg made every conceivable attempt to resuscitate the form; his show was visionary, taking full advantage of the broadcast medium's capabilities to create elaborate comic pastiches that pushed the boundaries of vocal and sound effects use. The series, which ran for 13 weeks, won critical raves and immediate legendary status; due to the ascendancy of television, it was also the final original network radio comedy show ever broadcast.
After the 1958 single "Green Chri$tma$," a highly controversial swipe at holiday commercialization, Freberg moved to the LP format for 1961's Presents the United States of America, a full-length vaudeville-style musical comedy written especially for the recorded medium. A wildly ambitious satiric history of American life, the album won widespread acclaim, and remains a pivotal landmark in the evolution of recorded comedy. However, after the follow-up, Pay Radio, Freberg flirted with Broadway before shifting the majority of his energies to the lucrative advertising industry, a longtime sideline that became his primary focus as the 1960s wore on. Largely credited with introducing the concept of the "funny" commercial, he continued working in advertising for several decades; perhaps his most famous campaign -- and, sadly, his most abysmal -- was a series of cloying late-'80s TV spots hawking Encyclopaedia Britannica that featured his rather obnoxious son.
In 1988, Freberg published his autobiography, [RoviLink="BW"]It Only Hurts When I Laugh. Two years later, he returned to broadcasting with Freberg Here, a long-running series of two-minute daily commentaries produced for National Public Radio. On Thanksgiving 1991, NPR aired The New Stan Freberg Show, a one-hour special that marked his first return to long-form comedy in decades; finally, in 1996 he released Presents the United States of America, Vol. 2: The Middle Years, the long-awaited sequel to his most popular work. A four-disc box set, Tip of the Freberg: Collection 1951-1998, followed three years later. ~ Jason Ankeny
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