Vitaphone was a sound film system used for feature films and nearly 1,000 short subjects made by Warner Brothers and its sister studio First National from 1926 to 1931. Vitaphone was the last major sound-on-disc system and the only one which was widely used and commercially successful. The soundtrack was not printed on the film itself, but issued separately on phonograph records. The discs, recorded at 33 1/3 rpm (a speed first used for this system) and typically 16 inches in diameter, would be played on a turntable physically coupled to the projector motor while the film was being projected. Many early talkies, such as The Jazz Singer (1927), used the Vitaphone system. The name "Vitaphone" was created from the Latin and Greek words, respectively, for "living" and "sound".

The "Vitaphone" trademark was later associated with cartoons and other short subjects that had optical soundtracks and did not use discs.

In the early 1920s, Western Electric was developing both sound-on-film and sound-on-disc systems, aided by the purchase of Lee De Forest's Audion amplifier tube in 1913, consequent advances in public address systems, and the first practical condenser microphone, which Western Electric engineer A.C. Wente had created in 1916 and greatly improved in 1922. De Forest debuted his own Phonofilm sound-on-film system in New York City on April 15, 1923, but due to the relatively poor sound quality of Phonofilm and the impressive state-of-the-art sound heard in Western Electric's private demonstrations, the Warner Brothers decided to go forward with the industrial giant and the more familiar disc technology.

Richard Himber (20 February 1900 - 11 December 1966) was an American bandleader, composer, violinist, magician and practical joker.

He was born as Herbert Richard Imber in Newark, New Jersey to the owner of a chain of meat stores. His parents gave him violin lessons, but when they found him performing in a seedy Newark dive, they took the instrument away from him and sent him to military school. In 1915, he stole away into New York City, where Sophie Tucker heard him play and hired him as a novelty act to play with her and the Five Kings of Syncopation where Himber was the highlight of the cabaret act.

He worked his way through Vaudeville and down Tin Pan Alley. He managed Rudy Vallee's orchestra service, which sent out bands for private parties and society functions. A suave salesman and irrepressible idea man, he soon had his own band booking agency. In 1932, he acquired the first known "vanity" telephone number, R-HIMBER, answered 24 hours a day. Later that year, Himber finally formed an orchestra of his own, parlaying a gig at New York's Essex House Hotel into national NBC radio exposure. Among the top notch professionals in its ranks were Benny Goodman, Tommy Dorsey, Artie Shaw and many other future stars of the music world.

Trixie Friganza (November 29, 1870 – February 27, 1955), born Delia O’Callaghan, began her career as an operetta soubrette, working her way from the chorus to starring in musical comedies to having her own feature act on the vaudeville circuit.

She transitioned to film in the early 1920s mostly playing small characters that were quirky and comedic and retired from the stage in 1940 due to health concerns. She spent her last years teaching drama to young women in a convent school and when she died she left everything to the convent. She became a highly sought after comic actress after the success of The Chaperons (played "Aramanthe Dedincourt") and is best known for her stage roles of Caroline Vokes (or Vokins?) in The Orchid, Mrs. Radcliffe in The Sweetest Girl in Paris, for multiple roles in The Passing Show of 1912, and of course her unforgettable run as a vaudeville headliner. During the height of her career, she used her fame to promote social, civic, and political issues of importance, such as self-love and the Suffragist movement.

Shemp Howard (March 11, 1895 – November 22, 1955) was an American actor and comedian best known as a part of The Three Stooges comedy team. Born Samuel Horwitz, he was called "Shemp" because "Sam" came out that way in his mother's thick Litvak accent. He was an older brother of both Moe Howard and Curly Howard as well as the "third stooge" in the early years of the act. He would rejoin the trio in May 1946 after Curly suffered a stroke.

Shemp was born in Manhattan, New York. He was the third of the five Horwitz brothers and of Lithuanian Jewish ancestry.

Moe Howard entered show business as a youngster, on stage and in films. Eventually, he and older brother Shemp tried their hands as minstrel-show-style "blackface" comedians with an act they called "Howard and Howard—A Study In Black", and even worked for a rival vaudeville circuit at the same time by appearing without makeup. By the 1920s Moe had teamed in a roughhouse act with boyhood friend-turned-vaudeville star Ted Healy. One day Moe spotted his brother Shemp in the audience, and yelled at him from the stage. Quick-witted Shemp yelled right back, and walked onto the stage. From then on, Shemp was part of the act, usually known as "Ted Healy and His Stooges". On stage, Healy would sing and tell jokes while his three noisy stooges would get in his way. Healy would retaliate with physical and verbal abuse. Healy's original stooges were the Howard brothers and Larry Fine. Shemp played a bumbling fireman in the Stooges' first film, Soup to Nuts, the only film in which he plays one of Healy's gang.

Frederic Efrem "Fred" Rich (January 31, 1898 – September 8, 1956) was a Polish-born American bandleader and composer who was active from the 1920s to the 1950s. Among the famous musicians in his band included the Dorsey Brothers, Joe Venuti, Bunny Berigan and Benny Goodman. In the early 1930s, Elmer Feldkamp was one of his vocalists.

Fred Rich was born in Warsaw, Poland. Rich was a pianist and he formed his own band in the 1920s. His theme songs were “I’m Always Chasing Rainbows” and “So Beats My Heart For You.” Between 1925-1928, he toured Europe. Rich enjoyed a long stay at the famous Waldorf-Astoria in New York City. After this, he began leading studio band that featured many famous musicians. He recorded for Okeh, Columbia, Paramount, Camden and Vocalion and several others, often recording under the names Fred Richards, the Astorites, the Hotel Astor Band (Rich and his band served as their house band for a time in the 1920s) and many others. In the late 1930s, he would become a musical director for various radio stations and in 1942, he moved onto a staff position with United Artists Studios in Hollywood, where he was to remain for most of his career.