BING CROSBY—Day By Day

NEWlogo copy.jpgThe International Club Crosby is pleased to be able to place this continually updated version of the ground-breaking book by Malcolm Macfarlane on to the Internet for all to see. Originally published by Scarecrow Press in 2001, all copies of the book have now been sold although it is still possible to obtain second-hand copies. The book looks at Bing’s activities virtually on a day-to-day basis and is an incredible record of an incredible life.

 

Click on the links below.

 

102058237[1]Contents

Preface                                                                           

Acknowledgments                                              

1   Background and Genealogy                                              

2   The Early Years, 1903–1925                                 

3   The Apprentice, 1926–1930

     1926 – 1927 – 1928 – 1929 – 1930                                                                   

4   “Overnight Success,” 1931–1935                 

     1931 – 1932 – 1933 – 1934 – 1935         

5   The Making of the Legend, 1936–1939

     1936 – 1937 – 1938 – 1939         

6   The Most Famous Man in the World, 1940–1945

     1940 – 1941 – 1942 – 1943 – 1944 – 1945                  

7   Transcription and Transformation, 1946–1949

     1946 – 1947 – 1948 – 1949                              

8  Midlife Challenges, 1950–1959 

     1950 – 1951 – 1952 – 1953 – 1954 – 1955 – 1956 – 1957 – 1958 – 1959                              

9   The Elder Statesman, 1960–1974                

     1960 – 1961 – 1962 – 1963 – 1964 – 1965 – 1966 – 1967 – 1968 – 1969

     1970 – 1971 – 1972 – 1973 – 1974         

10  The Final Years, 1975–1977    

     1975 – 1976 – 1977                                          

11 Epilogue                                                                              

     Index

          Bibliography                                                                           

     About the Author        

_____________________________

 

Preface

 

Bing Crosby is almost the forgotten man of show business—a situation that could not be contemplated in the mid-1940s when he was probably the most famous man in the world. To put his impact into modern terms, just imagine that, say, Tom Hanks (an award winning actor and cinema box office star) was also the top popular singer of today and in addition had a top rated weekly television show. You would then have some idea of Bing’s fame and ubiquity during his peak years.

     However nowadays, to those persons under the age of twenty-five, Bing is simply the old man who sings with David Bowie in a Christmas video shown on MTV each year. To those a little older, Bing is the person who sang “White Christmas” and the one who appears in that film White Christmas which is shown annually around December 25. If they are a little more aware of the past, they may remember the film High Society. It is not hard to understand this situation; Bing died in 1977 and another generation has been born and come to maturity with fresh influences on them from the changing face of show business.

     To those over sixty-five however, the name Bing Crosby has quite a different connotation, because his impact on them was considerable and he was the singer whose songs still bring back memories of precious occasions in their lives. But as this older generation passes on, the influence Bing had on the show business scene will gradually be forgotten. Also, since Bing’s death, and almost inevitably as is the custom of the times, there has been negative publicity about him arising from two books written in the mid-1980s which distorted and exaggerated certain facts.

     For fame to be “legendary” nowadays, it helps to have died young, perhaps from a drug overdose or AIDS or even a car or plane crash. The more vulnerable the individual, the greater the fame and Bing simply does not qualify under any of the aforementioned headings. He had many problems to contend with but they were all hidden underneath his bland, easygoing Bing Crosby persona. The qualities he sought to display, particularly in his later years, of religious faith, the setting of a good example for youth, and the observance of high moral standards are not “commercial” in the media today. Also, in the last fifteen years of his life, Bing was only appreciated by the parents and grandparents of the emerging generation which naturally wanted their own cult figures instead of the smooth relaxed veteran who, seemingly, was constantly appearing in Minute Maid advertisements and who popped up every Christmas in what was hardly an avant-garde show.

Time moves on and new icons emerge to replace those of the past. This is how it should be, but we should never forget our history and the book you are now holding, Bing Crosby: Day by Day, is a detailed account of Bing’s existence and is an attempt to put the record of his life straight once and for all. It is intended to be objective and factual without putting a fan’s gloss on it, and the numerous reviews used are both critical and complimentary. Memories are notoriously unreliable and contemporary accounts have been used where possible. The book will also document Bing’s achievements for the generations to come and to put Bing’s own life into context, dates of important and relevant other events are included and quoted in italics.

     During his lifetime, Bing Crosby was one of the best-loved entertainers of the twentieth century. He made his name as a singer with a distinctive and innovative style, which he developed into an easy and deep-voiced delivery that convinced the average man in the street that he could sing like Bing. He helped to transform the musical scene of the early thirties, and many singers modeled themselves on him. Stars such as Frank Sinatra, Tony Bennett, Perry Como and Dean Martin always acknowledged the debt they owed to Bing. Radio and films brought Bing national prominence, and then as his film career developed, he achieved worldwide renown through his portrayal of Father O’Malley and from the Road films. His fame was unsurpassed during his peak years, but he seemed to be able to keep it all in perspective. Bing was the top film box office star in the USA for a record five consecutive years in the 1940s. He had over 300 chart hits in the United States, including thirty-six number one record hits. Bing received a plaque for sales of over 300 million records in 1970 and even now his achievements as a recording artist are still to be found in the Guinness Book of World Records with his version of “White Christmas” remaining as the most successful record ever.

     Bing, the man, came from an ordinary background with strong religious overtones. An interesting mixture of a basically shy man who liked to sing, he was constantly aware of what he considered to be his good fortune and in a quiet way he was involved in many philanthropic undertakings. A complex person who despite many difficulties, particularly those involving his health and his family, successfully maintained a public image of an easygoing likable man throughout his life. Bing was widely read and enjoyed many different interests ranging from sports to wild life to objets d’art. His second wife described him as “a golfing priest,” which was undoubtedly an understatement, but which perhaps reflected the most important things in Bing’s life at that time. His religious faith, always a meaningful part of his day-to-day existence, became deeper as he aged. He had tired of the false glitter of show business as he got older, but nevertheless he was clever enough to perpetuate his image sufficiently to keep him as active in the entertainment industry as he wanted to be in his later years. Severe difficulties in his home life during the 1940s resulted in Bing spending much time away from his family and he probably remained guilty about this throughout his life. He tried very hard with the children of his second marriage, and certainly the results would appear to confirm that he was successful.

     Something which is perhaps unusual for top stars is that Bing was a prolific letter writer. In his peak years, his secretaries churned out standard responses to the many basic fan letters while more detailed letters were dealt with by Bing himself. If a gift was sent to Bing, he would always reply personally and he kept up correspondence with many people over a considerable period of years. Some of these letters appear in this book.

     What follows is a detailed chronology of Bing’s life, which I can confidently say is the most detailed and accurate account ever of his existence in terms of day-to-day activities. The picture created of Bing by this publication is of a hardworking man from a commonplace home who throughout his life was involved in charitable work. His passion for sports stands out and you may be surprised to read of his poor health in his later years. The various key dates in his family life are highlighted and it is not hard to imagine the pressures on Bing at certain times. I hope that you will find it as fascinating as I did as you trace Bing’s existence from his childhood, through his early show business career to the peak years when he was, arguably, the most well-known man on the planet. The change in his life in the 1950s and his reduced involvement in show business activities is documented, with the final years providing a glorious finish to an incredible story.            

     Bing’s career went through three distinct stages—singer—movie star—personality—and it was the last named which sustained his appeal for so long. This is not just a diary of a lifetime, but it is a record of one of the most important figures in the show business world during the twentieth century.                                                       

                                                               

_______________________________________________

 

Acknowledgments

 

The basic idea for this project came from veteran Crosby author, Fred Reynolds, during a meeting at his house in Birmingham, England, in March 1992. Fred was explaining to Crosby biographer Gary Giddins how he had drawn up a detailed chronology of Bing’s life, which in fact had been shown to Bing in 1961. I said then that it would make interesting reading for Bing followers everywhere, but we did not take it any further because Fred was in the middle of putting together his marvelous series of books The Crosby Collection. It was Roger Osterholm who was the catalyst for me to sit down in 1995 and start to draw together information from every possible source about Bing’s life. Roger’s book Bing Crosby: A Bio-Bibliography contained a brief chronology and I decided to build on this and put together a more detailed diary which would also be virtually a history of the show business world of the time. Many years of research have followed, culminating in the book you now hold.

     The bibliography gives details of the vast number of books, magazines, and newspapers I consulted, but I should like to pay particular tribute to the bible of the showbiz industry—Variety magazine. The many quotes I have used, both favorable and unfavorable, from the pages of this wonderful reference source have added immeasurably to this book and I can scarcely find words to express my thanks. Bing was of course an international star and to reflect this, I have drawn heavily on the prestigious British publication The Gramophone for the reviews of Bing’s records over the years. In turn, I am delighted to recognize the contribution of Trevor Wagstaff who spent many hours obtaining The Gramophone information.

     Although their names are listed separately below, I must pay especial tribute to fellow researchers and kindred spirits, Lionel Pairpoint, Ron Bosley, and Gary Hamann who shared my enthusiasm for some of the minutiae I have unearthed in my studies. Lionel has produced an incredible book called . . . And Here’s Bing! covering Bing’s radio appearances and he and his long suffering wife, Joyce, have given great assistance to me throughout this project. Ron Bosley, who like me, was fascinated by the details of Bing’s life, was the conduit for the photographs used, not only from his own collection but also from those of Greg Van Beek, Carol Sherland, and Jim Cassidy, and again my thanks are due to him for this and also for access to his voluminous scrapbooks. Also I must not overlook Vera Bosley who fed and watered me on numerous occasions as I continued my investigations at their home. What can one say about Gary Hamann? The author Gary Giddins calls him “a one-man clipping factory” and not only have Gary Hamann’s several books proved invaluable but he has always been willing to drop everything to investigate one of many queries about the contents of the Los Angeles newspapers.

     My researches involved me in visiting many libraries to look at microfilms of old newspapers and I should like to recognize in particular the help given by the staff at the British Library, Newspaper Library, Colindale Avenue, London, and the staff at Manchester Library, England. Also my grateful thanks to the BBC Written Archives Centre, Caversham, England, the National Archives and Records Administration in Washington, DC, the Eisenhower Presidential Library in Abilene, Kansas and to libraries in various parts of the United States, namely Aiken, Boise, Chattanooga, Cheyenne, Chicago, Coeur d’Alene, Dallas, Denver, Fort Myers–Lee County (Florida), Houston, Kansas City, Ketchum (Idaho), Las Vegas, Madison, Memphis, Miami (Florida), Milwaukee, Nashville, New Orleans, New York, Palm Springs, Phoenix, Salt Lake City, San Diego, San Francisco, Spokane, Springfield (Illinois), St. Louis and West Palm Beach, plus Calgary (Alberta, Canada), Vancouver (British Columbia, Canada), Whyte Museum of the Canadian Rockies (Banff Springs, Alberta, Canada), Glasgow (Scotland), and Dublin (Ireland), which I attended in person.

     I was also helped tremendously by various libraries via e-mail as they answered my queries about Bing’s movements and sincere appreciation is expressed to the library establishments at Binghamton (New York), Birmingham (Alabama), Boise (Idaho), Bonner County Historical Society Museum (Idaho), Buffalo and Erie County (New York), Clark Fork (Idaho), Columbus (Ohio), Dayton and Montgomery County (Ohio), Detroit (Michigan), Edmonton (Alberta, Canada), El Centro (California), Elko County (Nevada—where Susan Roberts excelled in producing long lost clippings and booklets), Erie (Pennsylvania), Georgia State University (where Chris Paton delved into their Johnny Mercer collection), Grand Rapids (Michigan), Harrisburg (State Library of Pennsylvania—Emily Geschwindt, the reference librarian went far beyond anything I had expected), Indianapolis–Marion County (Indiana), Jasper–Yellowhead Museum and Archives (Alberta, Canada), Louisville (Kentucky), Madison (Wisconsin), Miami (Oklahoma), Minneapolis (Minnesota), Montreal (Canada), New Haven (Connecticut), Oakland (California), Oklahoma City, Omaha (Nebraska), St. Louis (Missouri), Merriam Park Branch Library, St. Paul (Minnesota—whose Cheryl Anderson was most persistent and diligent in obtaining the desired extracts from the local papers), San Jose (California), Santa Barbara (California), Sioux City (Iowa), Spokane (Washington—Nancy Gale Compau exceeded my expectations with a mass of photocopies), Toledo–Lucas County (Ohio), Tulsa City-County (Oklahoma), Youngstown and Mahoning County (Ohio) and the Bermuda National Library.

     A special mention is due to Stephanie Plowman, Special Collections Librarian, Gonzaga University, for her invaluable help, and I would also like to thank Sylvia Kennick Brown (Archivist, The Whiteman Collection) at Williams College, Massachusetts, Jan Morrill, (Archivist for Bob Hope), and Jacqueline Reid, Reference Archivist, Duke University, Durham, North Carolina, (for her help with the J. Walter Thompson collection). I have had the opportunity to read Bing’s FBI files thanks to APB News who placed them on the Internet where they could be accessed by anyone interested in them.

     My thanks are also given to the following, all of whom made significant contributions to the preparation of this book:

     Gord Atkinson, Charlie Baillie, Ken Barnes, Greg Van Beek, John Bercsi (current owner of Bing’s yacht True Love), Bert Bishop, Alix Bonnette (Bonnette Hunting and Fishing Club), Ron and Vera Bosley, Ted Burnell, Ruth Carr, Jim Cassidy, Robert Conte (Archivist, The Greenbrier Hotel, White Sulphur Springs, West Virginia), Kathryn Crosby, Phillip Crosby, Ken Crossland, Bailey G. Dick, the late Philip R. Evans, Alan Fisher, Sam Fleshman, the late Jean-Paul Frereault, Gary Giddins, Gary Hamann, Richard G. Hanley, Gwen Harvey, Ted Jeal (Advertising Manager, Calgary Stampede), Frans van der Kolff, Steven Lewis, Pat Macfarlane, Patti Maghamfar (Bellarmine College Preparatory), Wayne Martin, Geoffrey A. Milne, Ray Mitchell, Barbara Openchain, George O’Reilly, Michael O’Toole, Lionel and Joyce Pairpoint, Keith Parkinson, Fred Reynolds, Eddie Rice, Lars Roth, Mark Scrimger, Mozelle Seger, Carol Sherland, Vernon Wesley Taylor, Trevor Wagstaff, Chris B. Way, E. Scott Whalen, Stan White, F. B. “Wig” Wiggins, and Norman Wolfe.

     This project has been under way for many years and was undertaken in a very casual and disorganized way in the first year or so as a hobby. It is quite possible that I have overlooked people who gave me vital information along the way in those early days and my sincere apologies are extended to them if this is the case.

    

Chapter 1

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Background and Genealogy

 

The Crosbys

The name “Crosby” is Danish in origin and means “Town of the Cross.” Cros is a transposition of the Danish kors and by is a diminutive of the Danish burg. It is possible that the earliest ancestors of Bing Crosby were Vikings who migrated to Ireland, Scotland, and Northern England, although this cannot be verified.

     The line appears to trace through:

1. John Crosby (1440–1502). Born, lived and died at Holme-on-Spalding-Moor, near York in England.

2. Miles Crosby (born in 1483) in Holme-on-Spalding-Moor.

3. Thomas Crosby (1501–1558). Born, lived and died at Holme-on-Spalding-Moor.

4. Anthony Crosby (1545–1598). Again, a resident of Holme-on-Spalding-Moor.

5. Thomas Crosby (1575–1661). Born at Holme-on-Spalding-Moor and died in Rowley, Essex, Massachusetts.

6. Simon Crosby (1608–1639), born at Holme-on-Spalding-Moor. He was a Puritan who fled England with his family to escape religious persecution and who arrived in Boston cradling his five-month-old son, Thomas, in his arms.

7. Thomas Crosby (1635–1702) became a minister in Eastham, on Cape Cod, Massachusetts, and had twelve children including a son named Simon.

8. The said Simon (1665–1718) became a merchant and he had fourteen children, including a son named Nathaniel.

9. Nathaniel Crosby (born 1695 in Harwich, Barnstable, Massachusetts) went on to have seven children of his own including another Nathaniel.

10. This Nathaniel (1733–1827) also had a son called Nathaniel (1782–1867) and in turn his son, yet again a Nathaniel, who was born in Brewster, on Cape Cod, Massachusetts, became a swashbuckling sea captain.

11. Captain Nathaniel Crosby, Jr., (1810–1859) married Mary Lincoln and influenced his family to move to Portland, Oregon, in 1850 where he set up a lumber shipping business. The family moved to Tumwater, near what is now Olympia, Washington, where they bought a general store and purchased the grist mill.

12. The Captain’s son, inevitably another Nathaniel (born in Maine - 1837–1885), lost money in a steamship business and finished up as the postmaster in Olympia. He and his wife, Cordelia Jane Smith (born in Indiana), had two children, one called Frank Lawrence (born 1862), and another named Harry Lowe (sometimes Harry Lincoln, after his grandmother) Crosby who was born on November 28, 1870, and went on to marry a certain Catherine Helen Harrigan.

 

The Harrigans

Catherine Helen Harrigan was born at Stillwater, Minnesota, on February 7, 1873, to Dennis and Kate Harrigan (nee Ahearne). Dennis had been born on September 6th, 1832, a year after his family arrived in Williamstown, Miramichi, New Brunswick, Canada, from Schull, County Cork in Ireland. He and his bride emigrated to the United States about 1867 and settled in Stillwater. Catherine had a sister (Annie) and five brothers, William John, Alexander Ambrose, Edward, Francis Albert, and George Leo. Her father was a building contractor and brought up four of his sons to be respectively lather, plumber, plasterer, and electrician. Apparently, it was said that they could build a house or win a fight, without any outside help. Her mother was a very good cook who also possessed a lovely singing voice.

     Young Catherine and her family moved around in Minnesota, first to Cloquet, then to St. Paul where she and her brother Ed became famous at the Ice Palace; he as a maker of ice skates, and she as his demonstrator. It was noted that she could write her name on the ice while skating. The Harrigans moved to Tacoma, Washington, in 1889 and Catherine joined the church choir.

 

The Union

Harry L. Crosby was a member of the “Peep-O-Day” boys, a singing group in nearby Olympia. Both Harry and Catherine Harrigan had another hobby—he was in Olympia’s “Silver Cornet Band” and she frequently took part in amateur theatricals staged by employees of the Stone-Fisher Department Store, where she was a hat designer. After dropping out of college, Harry moved to Tacoma where his older brother lived. Harry and Catherine met for the first time when she was appearing in a department store theatrical and eventually marriage ensued on January 4, 1894 at the Church of the Holy Rosary, Tacoma. At the time, Harry was a clerk in the Northern Pacific Land office. He converted to Catholicism on their marriage and children quickly followed. Laurence Earl (Larry) was born on January 3, 1895, Everett Nathaniel, born in Roslyn on April 5, 1896, and Edward John on July 30, 1900.

     In 1902, President Theodore Roosevelt was in the White House following the assassination of President William McKinley. The previous year Guglielmo Marconi had demonstrated the feasibility of global communication by wireless, a new safety replaceable razor had been developed by a businessman named King Camp Gillette, and Thomas Alva Edison had invented a new electrical storage battery to follow his earlier inventions of the phonograph and the electric light bulb. Meanwhile in Tacoma, Harry Crosby, a bookkeeper in the Pierce County Treasurer’s office, had learned that he and his wife were expecting their fourth child and he decided that they needed a larger home. In December 1902, he purchased two plots of land on the upper side of J Street, Tacoma, for $850, and according to the local paper, he commenced the erection of a $2,500 residence there. The house was completed in January 1903 and placed in the name of his wife on January 6. In due course, on May 3, 1903, a son named Harry Lillis Crosby was born.

     It may be helpful to appreciate the real value of the money amounts quoted and a dollar in 1903 was equivalent to $19.07 in the year 2000 (Source: U.S. Department of Labor).

 

 

Chapter 2

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The Early Years, 1903–1925

 

Precise dates relating to the early life of Harry Lillis Crosby (soon known as “Bing”) are hard to come by and we have to rely on his autobiography plus other biographies for much of the outline. Certain facts were gleaned from the archives at Gonzaga University and overall we gain an impression of a man brought up in a large family in which the Roman Catholic Church played a major part. Bing’s father was said to have been a happy-go-lucky character who was somewhat imprudent with money, while his mother was the strict disciplinarian who undoubtedly influenced Bing considerably. Bing was introduced to activities such as fishing by his father, but it was his mother who ensured that religious faith played a large part in Bing’s daily life.

     From the age of three until he was twenty-two, Bing lived in a pleasant, mainly Catholic, area in Spokane, Washington. He would probably have had the same friends through grade school, high school, and then university. For pocket money, he had a variety of jobs and as a thirteen-year-old he became an altar boy. The important part played in his formative years by the Jesuit priests at Gonzaga was always acknowledged by Bing. As we examine the key dates of his time there, we can observe how first he was heavily involved in sporting activities and then worked his way through elocution and debating to drama, where the drug of applause would have well and truly entered his system. His early forays into singing and comedy can be seen and then in the fourth year of the six he was planning to spend at Gonzaga University, he had a starring role in a play and also started to earn good money as one of the Musicaladers. One can imagine his feelings that year as he fell behind with his studies and perhaps realized that his chances of eventually graduating were receding. The lure of show business finally convinced him to drop out of university and then he struggled for a while after the Musicaladers disbanded, before picking up work in the Clemmer Theater with the seventeen-year-old Al Rinker as his accompanist. They appreciated that the Spokane area was limited as regards a show business career and eventually they plucked up the courage to travel almost 1,500 miles to Los Angeles in an open Model-T Ford. There they sought employment and Bing’s real show business career began.

     A dollar in 1925 was equivalent to $9.80 in the year 2000.

       

 

1903

 

May 3, Sunday. Harry Lillis Crosby is born at home, 1112 North J Street, Tacoma, Washington, fourth child of Harry Lowe (sometimes Lincoln) Crosby and Catherine Helen “Kate” (nee Harrigan) Crosby. “Lillis” was after a neighbor friend. Young Harry’s date of birth was usually incorrectly given as May 2, 1904 (sometimes 1901), from 1933 onward. May 2 was used from childhood so that a younger sister, Mary Rose, would have a birthday to herself.

 

Mr and Mrs. H.L. Crosby are receiving congratulations on the arrival of a son at their household May 3.

(The Tacoma Daily News, May 6th. 1903)

 

A little son arrived May 3 in the home of Mr. and Mrs. H. L. Crosby.

(The Daily Ledger, May 7th.1903)

 

May 29, Friday. Leslie Townes Hope is born in Eltham, London, England. He later changes his name to Bob Hope.

May 31, Sunday. The new arrival is baptized Henrieum Lillis Crosby at St. Patrick’s Roman Catholic Church at 1123 North J Street in Tacoma. His sponsors are Francis Harrigan and Edith Carley.

June 16, Tuesday. The Ford Motor Company is formed in Detroit.

 

1904

 

January 12, Tuesday. Bing's father is appointed as a trustee of Tacoma Knights of Columbus No. 809 at a meeting at Elks' Hall. The Knights of Columbus are a global Catholic fraternal service organisation founded in 1882. No. 809 is based a St. Patrick Catholic Church.

February 1, Monday. Enrico Caruso stars in “L’Elisir d’Amore” at the New York Metropolitan Opera. He has recently made his first American recording, a ten-inch disk of “La Donna e Mobile.”

October 3, Monday. Catherine Cordelia Crosby, a sister, is born.

November 12, Saturday. Bing’s father is confirmed as continuing in his role as cashier to the new Pierce County Treasurer.

 

 

1905

               

March 24, Friday. Mr. H. L. Crosby (Bing's father) is elected in the Republican primaries to represent the First Ward (Third precinct) in the forthcoming municipal convention.

Winter (undated). Bing’s father, who had advanced to deputy in the Pierce County treasurer’s office, loses his job due to a change in administration. He decides to move 300 miles inland to Spokane to be a book-keeper for the Inland Brewing & Malting Co. which had just been founded in Second Avenue. He leaves the family behind temporarily while Kate awaits the birth of her next child.

 

1906

 

        March 9, Friday. Bing's father is elected in the Republican primaries to represent the First Ward (Third precinct) at a municipal convention.     

     April 6, Friday. The Crosbys sell their house to Kate’s younger sister Annie and brother-in-law (Edward J. Walsh) for a dollar and rent a property at 1214 South I Street, Tacoma.

     April 19, Thursday. The San Francisco earthquake. Over 1,000 die.

     May 3, Thursday. Mary Rose Crosby, a sister, is born at 1214 South I Street, Tacoma.

     July (undated). The family is reunited in Spokane and live in a rented house at 303 East Sinto Avenue.

 

My mother tells that when we moved to Spokane we arrived on very short funds, rented a house, and ran up a sizable grocery bill as well as a large tab for fuel and other household necessities. But when Mother plagued Dad about the bills he was never seriously concerned. He merely opened his newspaper, put his feet up, lit his pipe and said, “Don’t bother, Kate. It’ll work out all right.” It always did.

(Bing Crosby, Call Me Lucky, page 56)

 

     Fall (undated). Father buys the family’s first phonograph.

 

Jim Day: “So there was a musical environment in your home when you were quite young?”

Bing: “Oh, there certainly was. We had a piano. Both my sisters played piano, my mother too. And we had a Victrola, one of the first in the area, I guess.”

Jim: “You tell the story, as I recall, of how your father bought this Victrola and your mother wasn’t too happy with it.”

Bing: “Yes, we were seriously in arrears with the grocer, the meat market and a few other folk and he took his check and bought a Victrola and some records, brought it home, happy as a clam. My mother was furious. He said, ‘well you have to have music and entertainment in the home, and the grocer, he’ll wait…he knows that I’m good for it.’”

(Bing, interviewed by Jim Day on Channel 9, Station KQED, San Francisco in the Kaleidoscope program, June 6, 1966)

 

1908bing_3[1].jpg

 

May 16, Saturday. The Crosby family can now be found at E211 Sinto Avenue, Spokane.

Fall (undated). Young Harry enrolls at Webster Grade School in East Sharp Avenue, Spokane.

 

1909

November 4, Thursday. Wilma Winifred Wyatt is born in Harriman, Tennessee to Evan Evans Wyatt (1881-1973) and Nora Matilda Scarbrough Wyatt (1882-1946). Nora Scarbrough had married Evan Wyatt on January 21, 1905, in Roane County, Tennessee.Wilma later changes her name to Dixie Lee and marries Bing on September 29, 1930. She uses a birth date of November 4, 1911 when she enters show business.


1910

       

        Undated. Harry’s friend, Valentine Hobart (age fifteen, who lives two doors away on East Sinto Avenue) dubs him “Bingo from Bingville” after a comic feature called “The Bingville Bugle” in the Spokesman-Review newspaper. The “o” is soon dropped and Harry becomes “Bing” for the rest of his life, although his mother continues to call him Harry until her death in 1964.  (The Bingville Bugle was a weekly satire column that poked fun at an imaginary town - Bingville - and its imaginary residents. It was written by Newton Newkirk of The Boston Post and syndicated nationally.)

 

1911

 

        June 1, Thursday. Bing’s mother purchases a lot on East Sharp Avenue and, with help from the family and a mortgage, construction of a new house begins.

    August 6, Sunday. The Crosby family now lives in East Garland Avenue, Spokane,

    September 11, Monday. Bing enters the fourth grade at Webster and his teacher is Miss Gertrude Kroetch.

 
 1912

       

        April 15, Monday. R.M.S. Titanic sinks in the North Atlantic and over 1500 die.

     April/May (undated). Bing plays on the Webster School baseball team.

     September 5, Thursday. Bing enters the fifth grade at Webster and his teacher is Miss Agnes Finnegan.

     Undated. Bing’s theatrical debut at North Central High School auditorium. One of twelve children bouncing up and down on pogo sticks as part of a story called “Beebee.”   

 

1913

 

           January 4, Saturday. Young Harry Crosby attends the 11th birthday party of Bessie McGowan at E511 Boone Avenue, Spokane.

     February 6, Thursday. Al Jolson stars in the Broadway run of “The Honeymoon Express” at the Winter Garden commencing today. His performances in the show and in Sunday concerts at the same venue represent Jolson at his peak and he later becomes known as “The World’s Greatest Entertainer.”

     July (undated). The Crosbys move into the nine-room house at 508 East Sharp Avenue, Spokane, which they have had built.

     August 25, Monday. George Robert “Bob” Crosby is born, the youngest of the seven children.

September 4, Thursday. The start of the school year and Bing moves into the sixth grade.

September 7, Sunday. George Robert Crosby is christened at St. Aloysius Church.

 

1914

       

     March 7, Saturday. Attends Rachel Davis's party at E714 Baldwin Avenue, Spokane.

     March 20–21, Friday–Saturday. Al Jolson appears in the show “The Honeymoon Express” at the Auditorium, Spokane.

     May 22, Friday. Bing appears in black face in a benefit to raise money for the Webster School.

     August 4, Tuesday. Britain declares war against Germany and the First World War begins.

     September 7, Monday. Bing goes into the seventh grade at Webster and this time his teacher is Miss Helen (Nell) Finnegan.

     Undated. Bing fights Jim Turner after he has insulted Mary Rose Crosby and bloodies Turner’s nose.

     November 4, Wednesday. Bing attends the birthday party of his friend Gladys Lemmon.

     December (undated). Bing’s class presents a Christmas play taken from the Ladies Home Journal and Bing plays the part of a girl, much to his embarrassment.

 

1915

 

        Undated. Has a summer job as a locker boy in the municipal swimming pool in Mission Park.

     July 23, Friday. The Elks hold their annual picnic at Liberty Lake and Bing wins the pie eating contest for boys.

     August 27–29, Friday–Sunday. Al Jolson appears in the show “Dancing Around” at the Auditorium, Spokane.

     September 18, Saturday. Bing’s grandfather, Dennis Harrigan, dies in Tacoma at the age of eighty-three.


Dennis Harrigan, aged 83, a prominent contractor here since 1888, died yesterday at his home, 3114 South 8th. Street. He had been ill two weeks and death was expected. Before coming to Tacoma, Mr. Harrigan lived at St. Paul, Minn.

The erection of the Hull Building, 1st Avenue and Battery streets, Seattle, was one of Mr. Harrigan’s important contracts. In Tacoma he built many residences, the Scandinavian church, South 8th and 1 streets, and the annex of Acquinas academy. He also did much contracting in Everett.  

Six years ago Mr. Harrigan was injured at Olympia and the effects of the accident remained with him a long time. He was struck on the head by a falling timber while inspecting the construction of the governor’s mansion...

(The Tacoma Daily Ledger, September 19, 1915.)

 

1916

 

        January 1, Saturday. Prohibition is introduced in the state of Washington. Bing’s father becomes unemployed until early 1917 as his employer, Inland Brewery, is virtually put out of business.    

     Undated. Bing is believed to have given his first public performance at the Parish Hall singing “Alice Ben Bolt,” “One Fleeting Hour,” and “What D’ye Mean You Lost Yer Dog?” (aka “My Dog Rover”).

 

My mother encouraged me to sing, so there’s no doubt that she’s the person who influenced me the most.

There were others who had strong influence on my life, of course. The great Al Jolson was one of them. He was my idol. I saw him perform many times when I was a youngster in Spokane, Wash., and if there’s anyone I’ve tried to emulate, it’s Jolson.

But it was my mother, Kate Harrigan, who pushed, prodded and guided me into singing. There were seven of us children in the family, but mother used to say that I had a special gift - a talent - that should be developed and shared with the world.

When I was 10 she took me to a local voice teacher. I had exactly two lessons and quit. The teacher had me practicing nothing but scales. “Not for me,” I said. Then Mother took over. She taught me two soggy, sentimental songs - “One Fleeting Hour” and “At the End of a Perfect Day”. Mother made me practice until I knew the songs perfectly, then arranged for me to entertain at a local church affair. It was the first of many, many unpaid performances I gave around Spokane for the next few years.

It was rough, but after a while I started to enjoy the applause. I’d get upset if the audience didn’t appreciate my singing.

Mother kept influencing me through my high school years. She insisted that I enter elocution contests and join the school debating society. In later years I realized that this had given me experience in projecting and talking on my feet that proved invaluable.

Mother was a strict disciplinarian always. But that helped all of us children become productive adults. And along with the discipline, we received a lot of love and attention, and a feeling of the importance of family and religion.

(Bing, as quoted in a feature in the National Enquirer, April 22, 1973)

 

Bing had never been hesitant about singing for friends, but performing for church groups was another story, inclining him to play harder with the gang. “My mother dressed me up in some fantastic attire, the knickerbockers and the flowing ties,” Bing said. “That embarrassed me more than the singing, I believe. And of course the fellas I ran around with all thought singing was for girls or for sissies, certainly not for anyone who was going to be an athlete. Because we were mostly, as a group, concerned with rock fights and going down to the millpond and running logs and hooking rides on railroad trains and robbing the bakery wagon and things of that caliber, which were considered a little more adventurous and colorful than standing up in front of a ladies’ sodality and singing ‘One Fleeting Hour.’ He was reprieved for a while when his voice changed, after which he was less shy about asserting himself in style and repertoire.

(A Pocketful of Dreams, page 52)

 

He is said to have had singing lessons around this time and years later, his mother recalled the Sunday nights the family gathered around the piano.

 

“We had all the musical instruments and the whole family sang,” she said. “Harry studied with a very good teacher for two years and sang in several concerts. That was when he was still in knee-pants and even then he had an outstanding voice. But we decided it was time to stop right then, if he was going to have a good voice later on.”

(Lucie Neville, interviewing Bing’s mother as reported in the San Francisco Chronicle, February 6, 1938)
 

    September 6, Wednesday. Enters Gonzaga High School as a “commuter.” The subjects studied are:


    1st Year - 1916-1917, 'Division A
    Latin (6 hours a week) - Ancient History - Religious Instruction - English - Elementary Algebra - Elocution


     Undated. Elected as “Sergeant-At-Arms” in First Year High School, Division One. (The title “Sergeant-at-Arms” in a First Year High School, Division One context—especially in early 20th-century American schools like those in Spokane—typically referred to a student leadership or disciplinary role within a classroom or student body.)
     Undated. Becomes an altar boy at St. Aloysius. He has to attend the service at 6:30 a.m. each day during every third week. This continues throughout his time in Gonzaga High School.

     November 3, Friday. Reads his own original composition at First Year High Class Specimen of Work.
     November 7, Tuesday. Woodrow Wilson is re-elected President of the United States, defeating Republican candidate Charles Evans Hughes in a closely contested race.

     

1917

 

        January 15, Monday. Bing’s father returns to work as Inland Brewery changes its name to Inland Products. At first, they manufacture apple cider, near beer and vinegar and soon they add pickles and other products as well. Father becomes secretary of the company.
     March 7, Wednesday. The Spokane Daily Chronicle carries a photo of ‘The Oregon Five’ basketball team that has won the Interstate League at Gonzaga.  Bing is pictured holding what appears to be a scorer’s book and it is assumed that this was his role rather than being a player.
     March 15, Thursday. The Annual Elocution Contest at Gonzaga High School. Bing recites “Old Watermelon Time” in the Junior Division.

     April 3, Tuesday. Sings at the weekly luncheon of the Spokane Chamber of Commerce.


Harry Crosby, boy soprano, stood on a chair and sang “Columbia, the Gem of the Ocean,” while the crowd stood and everybody joined in the chorus.

(The Semi-Weekly Spokesman-Review, April 4, 1917)


     April 6, Friday. The United States enters the First World War. Larry Crosby applies for the officers’ training camp at the Presidio, San Francisco, and leaves within the week.

     April 27, Friday. Takes part in the Grand Finale of the "Dance Extravaganza" at the Auditorium. This is a benefit for the Women's Auxiliary of the National Guards of Spokane.


Harry Crosby sang “Columbia, the Gem of the Ocean” as the children, their arms full of posies and waving American flags, massed in front of the stage for the last scene.

(The Semi-Weekly Spokesman-Review, April 28, 1917)

   

     May 26, Saturday. Larry Crosby, then a student cadet at the Presidio, completes his WW1 Draft Registration Card. He goes on to Camp Funston, Kansas, where he becomes an acting colonel in command of a battalion of Negro recruits.    

     June 11, Monday. Everett Crosby, by then a book keeper at the Montana Power Company in Lewiston, Montana, enlists in the Cavalry and is eventually posted to France where he becomes a sergeant in the 11th Field Artillery.

     June 14, Thursday. Commencement day (i.e. the beginning of the summer vacation). Bing has achieved distinctions in History, English, and Christian Doctrine in First Year High, Division One.

     June 19/20, Tuesday/Wednesday. Al Jolson appears at the Auditorium, Spokane, in Robinson Crusoe Jr. Bing has a job backstage.

 

Jolson Takes House By Storm

Not since McIntyre and Heath came in “The Ham Tree” has blackface comedy been so embellished and exalted as in “Robinson Crusoe Jr.”, Al Jolson’s new show from the Winter Garden, which began a two night’s engagement at the Auditorium last night… Mr. Jolson is, of course, the majority of the show, and he has never appeared to better advantage than in the role of Gus and “Good Friday.” His spontaneous and inimitable methods and his dynamic style of singing captured this house from the moment of his appearance…

(Spokane Daily Chronicle, June 20, 1917)

 

An event that occurred when he was a teenager of fourteen made it clear that Bing was probably not destined for the clergy. He had taken a summer job as a property boy at Spokane’s prize theater, the Auditorium, and saw some of the finest acts and revues of the day. On the evenings of June 19 and 20, Bing watched backstage as Al Jolson played his standard character, Gus, in Robinson Crusoe Jr. It was a role he had created a few years earlier: the canny black servant - in this farce, a chauffeur doubling as Friday - who always saves the day. A whirlwind comedian, Jolson raced around the stage ad-libbing lines and business, even song lyrics. During the show’s fifteen-month tour, he was billed for the first time as “the World’s Greatest Entertainer.”

Bing was spellbound by the electrifying blackface performer. Jolson brought the house down with his spoof of Hawaiian songs “Yaaka Hula Hickey Dula” and the lunatic “Where Did Robinson Crusoe Go with Friday on Saturday Night?” (cowritten by the same team that wrote Bing’s early signature song ten years later, “In a Little Spanish Town”). Bing and his friends knew and admired Jolson’s recordings, but neither records nor all the live vaudeville he soaked up on week-end evenings prepared him for the man’s galvanizing energy. “I hung on every word and watched every move he made,” he recalled. “To me, he was the greatest entertainer who ever lived.” At fourteen, Bing began to imagine himself before the footlights; he kept those dreams to himself.

 (A Pocketful of Dreams, page 59)

 

July 4, Wednesday. Takes part in the City Playgrounds Championship swimming meet at the Sinto plunge and in the Junior (class 3) section, he wins the 25-yard breast, 25-yard back, the diving, and comes second in the 25-yard dash, the 50-yard dash and the high point. He is promoted to be a lifeguard at the municipal swimming pool in Mission Park as well as having other jobs such as selling eggs, mowing lawns, and delivering newspapers in order to get pocket money.

     August 20, Monday.  Bing, by taking three first places and two second places, wins the open amateur swimming meet at the Sinto pool.  He scores 21 points.

     September 12, Wednesday. Opening of classes at Gonzaga High School. The syllabus this year was:

  

2nd Year - 1917-1918, Division B
    Religious Instruction - English - Latin (6 hours a week) - Greek (4 hours a week) - Algebra II - Medieval to Modern History - Military Drill - Elocution and Debate


    September (undated). Bing is elected as Consultor in Second Year High School, Second Division. (Not a common title today, but in early 20th-century American schools—especially those with classical or civic-inspired student governments—“Consultor” was used to denote someone who acted as a counselor or advisor to the class leadership and provided input on class decisions, event planning, or disciplinary matters.)

     October (undated). Appointed captain of the “Dreadnaughts” football team in the Junior Yard Association Midget League.

     October (undated). Joins the High School Junior Debating Society.

     November 2, Friday. Takes part in Second Year High School, Division Two Specimen Public Speaking Competition. He is one of four reciting Poe’s poem “Bells.”

     November/December. Takes part in the last debate of the semester.

     December 23, Sunday. Sings a solo at both masses at St. Aloysius Church.  

            

1918

 

       March 5, Tuesday. Takes part in the Annual Elocution Contest at St. Aloysius Hall and recites “Romancin’” in front of a packed house. “Romancin’” was written by James Whitcomb Riley who had died in 1916 and it had no less than thirteen verses. Bing recites it in the dialect of the old farmer who goes back to his old days of courtship.

     April 29, Monday. Delivers a humorous recitation at St. Aloysius Hall in the annual public debate of the Junior Debating Society of Gonzaga University.

     May (undated). Bing makes the Junior Yard Association baseball team.

     June 12, Wednesday. Commencement day. Achieves “First Honors” in English in Second Year High School, Division Two and “Next in Merit” behind the gold medal winner in Elocution.

     Undated. Obtains a part-time job as a caddy at the Downriver Municipal golf course.

     September 11, Wednesday. Opening of classes at Gonzaga High School. The syllabus included:

   

3rd Year - 1918-1919
    Religious Instruction - English - Latin (6 hours a week) - Geometry - English History - French - Elocution and Debate


     October 13, Sunday. The influenza epidemic reaches Gonzaga and a member of staff dies. Classes are suspended on October 24 because of the continuing influenza outbreak.

     October 25, Friday. Bing’s grandmother, Catherine Harrigan (nee Ahearne) dies in Tacoma at the age of eighty-one.

     October 28, Monday. Classes restart at Gonzaga.

     November (undated). Bing plays on the Junior Yard Association football team.

     November 11, Monday. Germany admits defeat and signs the armistice to end the First World War.

 

It was a time for rejoicing in the Crosby household, for Ev and Larry had come through safely. Larry was disgusted because he hadn’t gone overseas, and Ev kept writing home about his big plans for the future.

But Kate Crosby’s hopes for a rapid betterment of the family’s economic situation after the war were not realized. Larry was a long time finding work, finally obtaining a high school teaching position in Tacoma, with a night newspaper reporting job on the side to supplement his income. Everett returned a few months later, bronzed, carefree and full of French phrases which delighted his younger brothers and sisters. He could not be reinstated in the position he had held in Montana, so he began looking around Spokane for a job. When nothing materialized, he finally headed for the Coast, already disillusioned.

(Ted Crosby, writing in The Story of Bing Crosby, page 65)

 

1919

 

        January/February (undated). Member of Junior Yard Association basketball team.

     February (undated). Elected as Sergeant-At-Arms in Third Year High School.

     February 24, Monday. Bing has a small part as “second citizen” as the Third Year High School class present Julius Caesar at St. Aloysius Hall.

     April 14, Monday. Bing recites “In Freedom’s Cause” in the Annual Elocution Contest held in the Parish Hall.

     May 31, Saturday. On the Junior Yard Association baseball team. 
     June 19, Thursday. Commencement day. Bing is awarded second place for elocution in the high school contest, junior section, and a merit in the Senior Academics Debating Society.

     September 10, Wednesday. Opening of classes at Gonzaga High School. The subjects studied were:

   

4th Year - 1919-1920
    Religious Instruction - English - Latin (5 hours a week) - Physics - U.S. History and Civics - French -Elocution and Debate


     September 12, Friday. President Woodrow Wilson visits Spokane.

    December 19, Friday. Gonzaga Night (described as an annual “fun fest”) takes place in the Parish Hall. Bing takes part, with other members of the fourth year high school class, in a black-face burlesque on Shakespeare’s Julius Caesar.

     December (undated). Works at the local post office.

 

1920

 

1920.jpgJanuary 5/6, Monday / Tuesday. The Fourteenth Census of the United States is completed and indicates that all of the children of Harry and Catherine Crosby are still living at home on this date.

     January 16, Friday. The Eighteenth Amendment to the US Constitution, prohibiting the manufacture and sale of alcohol, comes into force. Prohibition had already been introduced into Washington State in 1916.      

     January 23, Friday. Everett Crosby arrives home from France after his army service.


Crosby...enlisted in the 11th field artillery in June 1917. He went overseas with the organization in July 1918 and saw three weeks’ action near Lille and Douai, while attached to the French army as a member of the artillery liaison troops. He was later transferred to A. E. F. general headquarters.

(Spokane Daily Chronicle, January 23, 1920)


     Undated. Bing is the janitor at the Everyman’s Club (for loggers and miners), working between 5:00 a.m. and 7:00 a.m. until summer. (The Everyman’s Club in Spokane was a social outreach initiative launched by the National Catholic War Council around 1919, designed to offer hospitality, community, and support to men from all walks of life—especially those marginalized or in need of companionship.)

 

I was raised in a family in comfortable but moderate circumstances. Although the necessities of life were always provided, spending money was never forthcoming. Being a young fellow who liked to get around, see all the new shows and, on Saturday nights, whisk over the waxed floors with the chickadee of the moment, it became incumbent on me at an early age to rustle around each week and snag a few bucks. I sold newspapers and magazines, mowed lawns, cut wood, picked apples, sold magazine subscriptions, worked in a law office, janitored in a man’s club and pursued a variety of occupations. . . . The only explanation I can offer for my industry is that I hated being broke worse than I hated labor.

(Bing Crosby, writing in an article called “Me!” which was published in Picture Play in November, 1934)

   

March 20, Saturday. The Spokane Chronicle records that Gonzaga’s Senior Academic Debating Society has held its weekly meeting. The question was: “Resolved, that President Wilson was justified in asking Secretary Lansing’s resignation from the Cabinet?” Arguing the affirmative side were “Messrs. Harry Crosby and M. Cannon.”

March 29, Monday. The Senior Academic Debating Society at Gonzaga argue that "the league of nations, with reservations, should be referred to a vote of the people." The vote in favor is 16-4. Bing acts as critic.

April 2, Friday. A photograph of the Gonzaga J.Y.A Basketball team (which includes Bing) appears in the Spokane Chronicle. The team has won 12 of its 14 games.

April 14, Wednesday. Awarded Premium Place for Elocution in the High School Contest, Senior Section. (This is the second place).

April 28, Wednesday. Bing gives a reading at St. Aloysius Hall in the annual public debate of the Senior Academic Debating Society of Gonzaga University.

June 5, Saturday. Takes part in the Grand Concert held in St. Aloysius Hall which is presented by the new Glee Club and Orchestra. Bing delivers an elocution selection called “As You Like It” with two others during the intermission.

     Undated. Is a member of the “Bolsheviks,” a group that takes part in elocution contests and debates against “The Dirty Six.”

    June 9, Wednesday. Graduation Day ceremonies at Gonzaga High School begin at 2:30 p.m. in the gymnasium and Bing is the first speaker with a graduation exercise called “The Purpose of Education.” Other speakers are Joseph Lynch, Theodore Schott and Francis Corkery. Bing graduates in the Classical Course. As part of the Fourth Year High School, Section A, Bing achieves distinctions in Christian Doctrine, English, Latin, History, and Civics.  A photo of those graduating is included in the Gonzaga magazine for June 1920 as is a poem by Bing titled "A King".

     July 5, Monday. Bing is entered in the Coeur d'Alene regatta to compete in the 50 and 100 yards freestyle swimming and in the diving from the low board and the high platform. It is not known whether he actually took part.

    July (undated). Works on an alfalfa farm at Cheney (17 miles from Spokane) with his friend Paul Teters but after a week or two they stow away on a train to Portland, Oregon, to try to see Bing’s brother, Everett. They cannot trace him so they stow away on a train again, this time the “Shasta Limited” to Roseburg in south Oregon, where they are spotted and put into a cattle car returning to Portland. They do eventually find Everett in Portland working as a bootlegger but they later spend a night in jail after failing to pay for a Chinese meal.

     Undated. Bing badly cuts his knee with an axe while working as topographer with the Weyerhaeuser Timber Company, near Westdale.

     September 15, Wednesday. Enters Gonzaga University as a day student and the fees are $80.50 per semester. He soon becomes Assistant Yell Leader on the Advisory Board on Athletics.

     September/October (undated). Sings as a member of the “Young Men's Republican Club Quartet.”

     October 8, Friday. The first football parade of the season through the town takes place and Bing helps in the parade management in his role as Assistant Yell Leader.

     October 27, Wednesday. The Gonzaga Dramatic Club presents the comedy The Dean of Ballarat in St. Aloysius Hall. Bing plays a colored aristocrat.

     November 2, Tuesday. Warren Harding, the Republican candidate, is elected President of the United States.

    November 23, Tuesday. A major "pep rally" takes place on the Gonzaga campus and Bing is one of those leading a serpentine of students around a large bonfire giving college yells.

    November 29, Monday. Gonzaga Glee Club presents A Study in Tone and Color at St. Aloysius Hall. Bing plays one of the colored “end” men and also sings a solo “When the Moon Shines.”    

    December 19, Sunday. Bing sings as part of an entertainment organised by the Knights of Columbus for the patients at the Edgecliff sanatorium. 


      

1921

       

        January 26, Wednesday. Bing is one of the swimmers selected to be part of a proposed Gonzaga team.

     March 15, Tuesday. The Gonzaga Dramatic Club presents a three-act Irish playlet entitled The Curate of Kilronan at St. Aloysius Hall. Bing has a supporting role.

 

. . . Doug. Dyckman and Harry Crosby used well their experience on the stage and acquitted themselves in fine style as true friends of the unfortunate curate.

(Gonzaga, March 1921)

 

     March 30, Wednesday. Selected to try out as an infielder for the Gonzaga University baseball squad.

    April 19, Tuesday. Sings “vocal selections” at the annual “Gonzaga Night” held at the Knights of Columbus Hall. Music is provided by the Dizzy Seven (aka the Juicy Seven). (During this period, Bing occasionally joins this group as drummer.)

     April/May (undated). Plays varsity baseball at Gonzaga.

     May (undated). Takes part in the Junior Philhistorian Debating Society annual banquet.

     May 4, Wednesday. The Dramatic Club of Gonzaga presents Gonzaga’s Chief at the Auditorium Theater.

     June 5/6, Sunday/Monday. Al Jolson is in Spokane appearing in Sinbad at the Auditorium. Bing has a part-time job in the props department and is heavily influenced by Jolson’s performance.

 

Jolson Spills Wads Of Comedy

Spokane Audience Kept in Uproar by Famous Blackface King.

Al Jolson in “Sinbad,” the famous New York Winter Garden production made a large audience at the Auditorium “hold its sides” with laughter. The house was packed and gave the king of blackface comedy an ovation seldom recorded a stage favorite in Spokane.

Jolson was supreme with that famous hesitating “bunched up” jazz ragtime style of singing which has found thousands of imitators over the country.

The famous blackface does not depend entirely upon his catchy manner of singing, but uses his eyes to great advantage. The angle at which he holds them after he “spills” a joke, seemed to get the audience every time.

The star has an usually strong supporting company. The scenery is beautiful, costumes of the chorus and the leads gorgeous and the general theme of the light plot is interesting.

His biggest song hits were “My Mammy” and “Avalon.”

(Spokane Daily Chronicle, June 6, 1921)

 

Bing received another shot of inspiration the summer after his freshman year, when he worked as prop boy at the Auditorium and Jolson made his second visit to Spokane. Bing had been fourteen the first time Jolson passed through; he was eighteen when Sinbad played two nights in town. “[Jolson] was amazing,” Bing said. “He could go way up high and take a soft note, or belt it, and he could go way down. He really had a fabulous set of pipes, this fella.” He spoke of unconsciously imitating Al and of the lessons he learned: “I got an awful lot of mannerisms and I guess you could say idiosyncrasies [from Jolson] — singing traits and characteristics and delivery.” Bing marveled at how he seemed to personally reach each member of the audience, a feat for which Bing would be credited as a radio crooner. But the difference between working live and electronically was not lost on him. If Bing was inspired by Jolson, he was also humbled. He nursed the lifelong conviction that he could not really hold a stage, not like Jolie. “I’m not an electrifying performer at all,” he cautioned one admirer. “I just sing a few little songs. But this man could really galvanize an audience into a frenzy. He could really tear them apart.”

(A Pocketful of Dreams, page 85)

     June 9, Thursday. Commencement day.

     June/July. Bing plays for the Ideal Laundry baseball team in the Business House League.

     August 3, Wednesday. Enrico Caruso dies of peritonitis in Naples, Italy at the age of 48.

     September 15, Thursday. Opening of classes at Gonzaga. Bing acts as librarian for the House of Philhistorians in the first semester.

     October 4, Tuesday. Bing is selected be in the cast for the Gonzaga Dramatic Club fall presentation "The Tragedy of a Professor".

     December 8, Wednesday. Bing attends the Gonzaga football banquet in the east room of the Davenport Hotel, which is followed by a dance in the Hall of the Doges at the hotel.

    December 16/17, Friday / Saturday. Has a speaking role as "Skeets Warren" in the musical comedy "Cheer Up" presented by Spokane Lodge No. 683, Knights of Columbus for charity at the Auditorium. His sister Catherine also takes part as part of the mixed chorus. Extracts from the review in The Spokesman-Review on December 17 include:


Harry Crosby climbed into female apparel in the wings with a lot of extended and not entirely relevant horseplay...Crosby was supported and almost entirely surrounded by feminine bare knees and short skirts in his “Eyes That Talk” number.

 

1922

     January 3, Tuesday. Bing sings at the regular meeting of the Spokane council of the Knights of Columbus.

     January 8, Sunday. (8:15 p.m.) Sunday night vaudeville shows begin at Gonzaga University and continue until May. Bing appears in the first show and sings "Old Timers" and comedy songs as well as taking part in a comedy skit. The Dizzy Seven orchestra play. The audience of 600 helps raise $150 for the university’s athletic board.

      Mid-January. Bing is the recording secretary for the House of Philhistorians in the second semester.

     February 7, Tuesday. The sophomore class play It Pays to Advertise is presented at St. Aloysius Hall before a large crowd of students and members of the Faculty. Bing receives a favorable review in the Gonzaga magazine.

 

Making the most of a play replete with comical situations, the cast time and time again caused gales of laughter to sweep through the house. Harry Crosby as the genial press agent ‘Ambrose Peale’ kept the audience in constant uproar.

    

     February 20, Monday. At a meeting of the Gonzaga "House of Representatives", Bing is elected as secretary.

     March 8, Wednesday. Bing sings at a meeting of the Disabled Veterans of the World War in the old Odd Fellows Hall.

     March 13, Monday. Bing is one of 35 candidates trying out for a place in the 1922 Gonzaga baseball team.

     March 30, Thursday. Plays at third base in a baseball game which is a trial for the Gonzaga team.

     May 5, Friday. Acts in "The Bells" for the Henry Irving Dramatic Society of Gonzaga University at the Woodward Theater. Bing plays the part of a villager called Hans. The play was said to be “of a caliber that might well benefit a professional performance” and a review stated that Crosby handled the part of Hans “competently”.
     May 6, Saturday. Sings several songs at the East Side Improvement Club meeting at the Stevens school. He is accompanied on the piano by his sister Catherine.

     June 9, Friday. The commencement exercises take place at night in the Gonzaga gymnasium. Bing has come second in the annual Sophomore debate and receives a “Distinguished” in English.

     Undated. Works in the pickle factory at Inland Products where his father is company secretary.

     July (undated). Joins a weekend party at Honeymoon Bay on Newman Lake.

     July 27, Thursday. Thought to have attended a 4-week military training camp at Camp Lewis.

     September 18, Monday. Begins his junior year at university and declares a prelaw major, which requires him to undertake a four-year course. His classes are in the morning and evening and he works afternoons for Colonel Charles S. Albert, local attorney for the Great Northern Railway for $30 per month.

     November (undated). Bing and John Byrne assert that Armistice Day should be a national holiday in a debate at the Gonzaga Senior Debating Society and finish as winners.

    November 24, Friday. Together with Doug Dykeman and Jim McDonald, Bing makes up the trio "The Variety Troubadours" who entertain at the Gonzaga alumni home-coming celebrations held at the Gonzaga gym.

      December 8, Friday. Bing sings a solo of “Oh Lord, I Am Not Worthy” in the Gonzaga chapel as part of the observance of the Immaculate Conception Holy Day of Obligation.

     December 25, Monday. The Gonzaga football team play West Virginia in San Diego and a commentary is relayed to the American theater. There is community singing and then Bing leads the crowd in Gonzaga yells. West Virginia win 21-13.

 

1923

     Undated. Bing’s father is demoted to shipping clerk at Inland Products as he is replaced by the company president's son as secretary.

     February 12, Monday. Bing acts in Seven Keys to Baldpate presented by the Gonzaga Dramatic Club at the American Theater. He plays “Lou Max”, the humorous feature of the cast. The play, originally adapted for the stage  by George M. Cohan, was a mystical farce, centering on the attempt by a novelist to write a 10,000 story in 24 hours for a bet.

     May 3, Thursday. Bing takes part in “Letter Night” at Gonzaga and performs in a comedy skit. Also sings as a member of the Gonzaga Harmony Trio at the event. Doug Dykeman and Ben Harkins make up the trio.

     June 13, Wednesday. College and law commencement day at Gonzaga.

     September 19, Wednesday. Bing enrolls for the fall semester and attends classes at Gonzaga.

     November 7, Wednesday. The Gonzaga Dramatic Club presents the three-act comedy It Pays to Advertise at the American Theater and Bing again receives a favorable mention as he reprises his performance as “Ambrose Peale.”


Michael Pecarovich and Harry Crosby took the leading roles in the play and both were tremendously successful. Pecarovich as the blustering would-be soap king and Crosby as the suave, comedy-type travelling salesman. They added extemporaneous comedy bits to their lines and their situations, which they kept from burlesquing, were carried forward with a nicety and discrimination, resulting in one uproar of laughter after another.

(Spokane Chronicle, November 8, 1923)


     Fall (undated). Buys a set of drums. The Charleston becomes the biggest dance craze of the decade.

     December 12, Wednesday. Bing takes part in a musical sketch in the Holy Names Academy auditorium.


Mr. Crosby was a gallant person in his numbers and his voice was well handled, also.

(The Semi-Weekly Spokesman-Review, December 13, 1923)


 

1924

 

Musicaladers copy.jpg       

January (undated). Bing joins the Musicaladers as drummer and singer. Al Rinker is the band’s pianist and the other members of the band are James Heaton, Miles Rinker, Robert Pritchard and Clare Pritchard. They make their debut together at the Manito Park Social Club, appearing on Sunday nights. Also they are used as part of the “Frank Finney and his Laughlanders” presentation at the Auditorium Theater.

 

The Musicaladers, as the new band was called, was a six-piece outfit of almost conventional 1920 jazz instrumentation. Miles Rinker played alto sax and clarinet; Bob Pritchard played C melody; Jimmy Heaton played cornet; Fats Pritchard clunked the banjo; Bing was the drummer and Al the pianist and general manager. The voicings followed the simple three-part harmony that had come out of New Orleans with the Original Dixieland Jazz Band, the New Orleans Rhythm Kings, and the other early emigres. The library ranged from the genuine jazz patterns of Prince of Wails and Jimtown Blues and Beale Street Blues to the merely romantic phrases of My Wonderful One and Whispering. As the Musicaladers’ experience broadened and their jobs increased, their repertory did, too; soon most of the pop tunes of the day were included, Alice Blue Gown, I’m Forever Blowing Bubbles, Love Sends a Little Gift of Roses, A Pretty Girl Is Like a Melody, Avalon, Margie, My Man, Three O’clock in the Morning; soon, each of the precious jazz records that made their way into Spokane was being scanned for a good variation on the blues chords, for a new solo idea, a new way of using the two saxes together or the cornet and clarinet. The band found inspiration in the records of the Memphis Five and the Tennessee Ten, in new jazz novelties, such as Duck’s Quack and Louisville Lou, and they were not at all sure that they would ever hear anything again as exquisitely constructed and as touching as Ted Lewis’s record of Fate.

(The Incredible Crosby, pages 39-40)

 

“MUSICALADERS” GAIN POPULARITY

The “Musicaladers,” one of Spokane’s new orchestras, is fast gaining popularity among the dance enthusiasts of the city and are playing for many dances given by the younger set. Composed entirely of high school and college men, the orchestra has gained a great following, particularly among the high school set. The orchestra is composed of Alton Rinker, pianist and leader: Miles Rinker, saxophone and clarinet: James Heaton, trumpet: Harry Crosby, traps: Claire Pritchard, banjo, and Robert Pritchard, saxophone and clarinet.

(Spokane Chronicle, January 30, 1924)

   
    February 12, Tuesday. Paul Whiteman and his band play “Rhapsody in Blue” by George Gershwin for the first time at Aeolian Hall, New York.

    February 29, Friday. The Musicaladers furnish the music at a dance given by the young ladies sodality of St. Xavier's Church at the church hall.

    March 17, Monday. Starting at 8:15 p.m., a St. Patrick's Day celebration takes place at the Cathedral of Our Lady of Lourdes. Bing takes part in two song sketches "The Little Irish Girl" and "You'd Better Ask Me" with Winifred Conerty, accompanied by his sister Catherine on the piano. He later sings "When Irish Eyes Are Smiling" with Winifred Conerty and Ruth Nixon.

    March 21/22, Friday/Saturday. The Musicaladers entertain at the Delta Hi-Jinx at North Central High School.

   March 28, Friday. The Musicaladers commence a week’s engagement at the Casino Theater where they are described in the billing as “Masters of Jazz”.

 

A dual attraction of the Musicaladers and Colleen Moore in ‘Painted People’ is being featured by the Casino Theater in the presentation of a well-rounded program this week. . .  The Musicaladers prove a real winner and dispense a program worth listening to.

(Spokane Daily Chronicle, March 29, 1924)

 

The boys’ biggest thrill came when they were offered a week’s engagement at the Casino Theater. “The reason they put us on,” Al Rinker says, “is because it was kind of a novelty to have neighborhood boys with a band. You didn’t find six-piece bands like that in Spokane. And it was a lot of fun. We even had all the professional musicians from the Davenport Hotel—the top hotel in Spokane—coming down to hear us. So we were all kind of puffed up a little bit; we thought that was great—and I guess it was, at the time, considering that we were just kids.”

(Bing Crosby, The Hollow Man, page 44)

 

     Undated. The Musicaladers go on to obtain an engagement on Friday and Saturday nights at the Peking Cafe, a second-story Chinese restaurant in the Fidelity Mutual Building, W518 Riverside Avenue.

 

For three or four months the Musicaladers had a job playing twice a week in a Chinese restaurant on Riverside Avenue. It had a dubious reputation, but The Pekin was a favorite Friday and Saturday night hangout for high-school kids. There were rumors that alcohol was available to teenagers there, and my mother was purse-lipped about it. But the pay was more than I’d ever taken home before, and I was able to allay some of my mother’s doubts about the restaurant’s respectability by pointing to its most respectable financial rewards.

(Bing Crosby, Call Me Lucky, page 75)

 

     April (probably) Bing decides to drop out of university on realizing he earns more money singing than he would as an assistant lawyer. He takes a temporary job as a clerk with the Great Northern Railway.

 

The student of Cicero, Ovid, and Augustine; the declaimer of Horatio at the Bridge; the incipient minstrel; the energetic athlete and yell leader: the devout altar boy; the promising mirror of a rigorous education was slipping out of Gonzaga’s grasp. The law had not suited him. Had Bing continued in the arts and sciences college, he would most likely have graduated, for he had only two or three months remaining of his fourth year when he dropped out. But in the law school, he faced an additional two years. Kate was on his back, complaining about his slipping grades and lapsed attention, and he bridled, telling her he would rather sing than eat. By spring, Bing was earning more money with the Musicaladers than in Colonel Albert’s office and let everyone know it. He saw no contest between following in the footsteps of his uncle George and executing wage-garnishment forms. For weeks he sat in class, whistling under his breath and practicing a paradiddle with pencils on his desktop. He finally told his parents of his decision to withdraw from Gonzaga.

(A Pocketful of Dreams, page 99)

 

     May 10, Saturday. The Musicaladers play at the North Central High School prom held at the Masonic Temple.

     July–August (undated). The Musicaladers play at Lareida’s Dance Pavilion at E4902 Sprague receiving $25 for three nights a week. They play under the name of the Lareida Orchestra.

     August 12, Tuesday. 150 employees of the Great Northern Railway attend a picnic at Coeur d'Alene and take part in an athletic program in the hot sun.


Harry Crosby of the legal department, was high point winner for men. He took first place in the hat race and 50-yard swim.

(Spokane Chronicle, August 13, 1924)


    September 6, Saturday. Ted Crosby marries Hazel Burke at St. Anthony's Catholic Church. Ted's sister, Catherine, is maid of honor. Larry Crosby acts as best man, Bing and Ralph Foley are ushers.

    November 4, Tuesday. President Calvin Coolidge is reelected.


1925

    February 25, Wednesday. The Columbia Company becomes the first to make electrically recorded discs, the condenser microphone having replaced the acoustic horn

   April 21, Tuesday. The Musicaladers commence another run at Lareida’s Dance Pavilion entertaining each Tuesday, Wednesday, Thursday, Friday and Saturday night. Jimmy Heaton and Miles Rinker appear to have left the group, which is advertised as Al Rinker's Lareida Orchestra. 

     May 30, Saturday. The Musicaladers entertain at North Central High School at the annual High Jinx show.

June 5/6, Friday / Saturday. "Al Rinker's Lareida Orchestra" entertains at Lareida’s Dance Pavilion.

June 11, Thursday. Al Rinker graduates from North Central High School.

Summer. The Musicaladers disband. Bing and Al Rinker learn to play golf at Downriver Park. 

    

…When Bing was still in knee pants he and his father, Larry and Everett had a quartet.

“I was always kind of musical myself,” said Crosby. Sr. “I remember I used to like ‘My Wild Irish Rose,’ ‘Mother Machree’ and those old Irish songs. And there was ‘Ten Baby Fingers and Ten Baby Toes,’ which I used to sing to Bing when he was a little bit of a shaver no bigger that that.”

He measured about a foot in his hands.

“We sang all those songs in our quartet and Bing used to sing a kind of soprano. That was before his voice changed, of course. He always had the best voice in the house. Used to sing around the place all the time – in the bathtub and everywhere.

“When he got a little older I had him down to the Elks one night and he sang a few songs for the lodge. Got a big hand, too. He was about 16 then.

“What did I want him to be?  Well, I always sort of wanted him to be in show business.

“Thought he had a natural talent for it…”

“What did my wife want Bing to be? She wanted him to be a lawyer. Thought show business was too risky. And—well, Bing finally went to law school at Gonzaga University.

“But,” and here he smiled a sly smile, “you notice he’s in the show business now, all right! He was just naturally cut out for it, that’s all.

“When he was in college he and some other lads had an orchestra they took around to night clubs and spaghetti joints during vacations. They did so well Bing decided to quit college after his junior year.

“His mother made him go into a law office, though – office of the attorney for the Great Northern in Spokane, but he used to play and sing with his band in the evenings. Finally he was doing so well at it he just up and decided the law could go hang. And that’s how he got into show business, like I wanted all the time.”

(Bing’s father, interviewed by Eleanor Barnes, as seen in the Illustrated Daily News, January 23, 1936)


     August 9, Sunday. Bing (handicap 15) plays in the Ware Brothers annual golf tournament at the Downriver course and has a net 147 for the 36 holes.

    August 15-21, Saturday-Friday. Bing performs at the Clemmer Theater as part of The Clemmer Trio (Frank McBride, Lloyd Grinnell and Harry Crosby) and they are shown as being presented with special stage effects. McBride, described as "California's golden tenor," had been appearing on a solo basis at the theater for the previous two weeks and Grinnell had been a member of a trio that had entertained at the Clemmer in May. The film is The Unholy Three starring Lon Chaney.


Regardless of our lack of experience, whatever else we were, we were different, and when Roy Boomer, manager of the Clemmer Theater in Spokane, decided to put stage shows ahead of the pictures, he thought of us. Boomer was a progressive type, for stage shows were pioneer stuff then. We tried to do songs which would fit the pictures he’d booked. If the film featured the great outdoors or the Northwest, we sang “By the Waters of Minnetonka,” or Indian Summer,” or “Pale Moon.” If it was laid in New Orleans, we sang blues songs. In short, we tried to give a prologue.

(Bing Crosby, Call Me Lucky, page 74)


One of the most novel attractions that has been presented in conjunction with a picture program is the offering of Grinnell, Crosby and McBride as the Clemmer Trio. They appear in a group of selected harmony numbers in an original setting, depicting the Brooklyn Bridge and Greater New York, which is most appropriate with the picture showing. Week-end audiences were most appreciative of the musical presentation.

(Spokane Daily Chronicle, August 17, 1925)


The Clemmer Trio, three Spokane lads who sing well, start their speciality by bobbing up serenely in different parts of the darkened audience, and doing jazz and barber shop harmonies with a real flair for showmanship. “The Side Walks of New York” has an awfully busy transparency for its setting and the trio foregather around a lamp post to sing of Rosey O’Grady and other ladies of green memory.

(The Spokesman-Review, August 18, 1925)


August 21, Friday. Qualifies with a score of 89 on the Downriver course to play in the City Golf Championship.

August 22-28, Saturday-Friday. The Clemmer advert again shows the Clemmer Entertainers to be McBride, Grinnell and Crosby “in something new”. The film is Drusilla With A Million.

 

As an added attraction on the current bill, two local vocalists, Harry Crosby and Lloyd Grinnell, and Frank McBride are offering a group of selected song numbers. A special stage setting and lighting effects make it one of the most novel arrangements to be used here this season.

      (Spokane Daily Chronicle, August 25, 1925)

The Clemmer trio will appear on the picture program in a new cycle of songs and harmony numbers. Harry Crosby, Lloyd Grinnell and Frank McBride compose the group. Special stage scenery has been made for the novel presentation.

(Spokesman-Review, August 22, 1925)

 

August 23, Sunday. Plays in the first round of the City Golf Championship at Downriver and beats H. Danielson 2 and 1.

August 29-September 4, Saturday-Friday. The film advertised at the Clemmer is Reginald Denny in California Straight Ahead.  The Clemmer Trio remains on the bill.

 

Included on the program will be a musical sketch by the Clemmer trio composed of Crosby, McBride and Grinnell, and George Crittenden, Spokane’s boy soprano, and Al Rinker. “California, Here I Come” will be the feature song presented by the group, who will use a “wayward” Ford in their comedy act. Several trio, quartet and quintet numbers will be included on their program.

(Spokane Daily Chronicle, August 29, 1925)


An appreciated comedy presentation in the form of musical selections was made by Harry Crosby, Frank McBride, Lloyd Grinnell and George Crittenden. With the assistance of an old Ford, the quartet gave one of the best special feature attractions offered at the house this season.

(Spokane Daily Chronicle, August 31, 1925.)


 August 30, Sunday. Loses 5 and 4 to A. Gleason in the second round of the City Golf Championship at Downriver.

 September 5, Saturday. Starting at 7:30 a.m., Bing plays in the qualifying round of the Inland Empire golf competition at Spokane Country Club. The Clemmer Theater advertises the film Romola plus The Clemmer Entertainers (Crosby, McBride, Grinnell, Rinker with Gwendolyn Hayden and George Crittenden) in "In Little Italy - a melange of harmony".


The prologue this week is most pretentious, with moving clouds, a gondola that “gondolas” and the Clemmer Entertainers in a song concert that greatly delighted the audience. There is also a little dancer who dances and also serves as inspiration for the songs of the gondoliers.

(The Spokesman-Review, September 6, 1925)


September 12-18, Saturday-Friday. The film at the Clemmer this week is A Slave of Fashion starring Norma Shearer. The Clemmer Entertainers offer a presentation called "On the Links".


The Clemmer Entertainers continue to draw the unstinted applause of the audience with their musical prologue. This week they are offering a pretty outdoor scene, laid on the golf links. An exceptional lighting arrangement adds materially to their presentation. The comic capers of Harry Crosy (sic) in his “blue” song proved a favorite with last night’s patrons.

(Spokane Daily Chronicle, September 14, 1925)


September 16, Wednesday. Sings as part of The Country Club Four (Bing, Johnnie Bulmer, Lloyd Grinnell and Jim McKevitt) at a banquet at the Davenport hotel for the Hoo Hoo delegates.

September 19-25, Saturday-Friday. Lorraine of the Lions is the film this week at the Clemmer with the Clemmer Entertainers providing the prologue titled "Jingling Jungling Jambories".


Clemmer Gives Fine Prologue

By far the best prologue performance of the Clemmer entertainers this fall is being presented this week at the Clemmer Theater. Crosby, McBride and Chittendon (sic), composing the group, are singing their way into the hearts of the daily audiences. A South Sea Island setting furnishes the locale for the group of entertainers and their repertoire is based upon the plaintive melodies of the palm-fringed islands. An effective lighting arrangement adds greatly to the presentation. “Lorraine of the Lions” is the picture showing. Patsy Ruth Miller is the featured star of the production.

     (Spokane Daily Chronicle, September 23, 1925)

The Clemmer entertainers have become an important part of Clemmer programs. Their musical prologues are nicely put on and the four young men sing well. Their new offering was well received by audiences yesterday.

(The Spokesman-Review, September 20, 1925)


September 22, Tuesday. The Clemmer Entertainers are part of the show at the Davenport Hotel for the visiting Carl Laemmle party.   
    September 26-October 2, Saturday-Friday. The Clemmer advert indicates that the Clemmer Entertainers will be featured in “A Carolina Morning” this week. The film is Sun-Up starring Conrad Nagel and Pauline Starke.


The Clemmer entertainers are again the center of attraction in an atmospheric prologue.

(The Spokesman-Review, September 27, 1925)


October 3-9, Saturday-Friday. The Lon Chaney and Norma Shearer film The Tower of Lies is at the Clemmer. The Clemmer Entertainers are featured in ‘Harmony Farming’.


The Clemmer entertainers continue to draw heavy applause at each show in their song prologue.

(Spokane Daily Chronicle, October 5, 1925)


Music that is a good act in itself is being presented this week by the Clemmer Enteratiners. While Georgie Crittenden, the 13-year-old, always gets the most applause, yet Harry Crosby and Lloyd Grinell don’t have to take a back seat, and anyone who knows Pacific coast theaters knows that Frank McBride is anything but an amateur and has a voice that one could listen to forever.

(The Spokane Press, October 5, 1925)


October 10-16, Saturday-Friday. The billing at the Clemmer Theater reads “The Clemmer Entertainers in ‘Autumn Time’". The film is The Goose Woman,


The Clemmer Entertainers are in fine form this week and sing their numbers surrounded by an extra amount of fancy scenery and with good lighting effects.

(The Spokesman-Review, October 11, 1925)


October 17-23, Saturday-Friday. The Clemmer advert includes Hoot Gibson in the comedy film The Calgary Stampede. The Clemmer Entertainers enter into the theme with a presentation called “Rodeo Days”.

 

Just where the Clemmer entertainers got their live stock for “effect” in the current prologue presentation was the question of the audience Saturday night. Bing Crosby evidently has the animal under his personal protection and keeping, judging by the “cowboy’s” manner and affection showed him by his charge.

(Spokane Daily Chronicle, October 19, 1925)

 

     October 17, Saturday. The Clemmer Theater Universal Five, comprising Bing, Al Rinker, L.C. Grinnell, Frank McBride and George Crittenden, entertain at the annual Rathbone initiation of the Knights of Pythias at the Knights of Pythias castle.

     October 24-30, Saturday-Friday. The Clemmer advert promotes the film The Storm Breaker starring House Peters and it shows the Clemmer Entertainers in “Shipmates Ashore”. It is said that this is “their farewell week”.     

     October 30, Friday. The final appearance at the Clemmer Theater. Later, Spokane's radio station KHQ makes its first formal appearance on the air and The Clemmer Entertainers make an appearance in the musical program.

      October 31, Saturday (possibly). Bing and Al leave Spokane for Seattle in a 1916 Model-T Ford and are said to play a weekend with Jackie Souders’ band at the Chantecler club there before deciding to go on to Los Angeles. They are said to entertain at a movie theater in Tacoma and sing in several speakeasies at Portland and San Francisco en route.

     November 7, Saturday. They arrive in Los Angeles and make contact with Al’s sister, Mildred Bailey (born 1907), who lives at 1307 Coronado, and with Bing’s brother, Everett, who is acting as a truck salesman as a front for selling liquor.

 

It may seem curious, but Mildred Bailey gave me my start. Curious, because I believe Mildred was younger than I—well, anyhow, it was pretty close.

You know, when I was going to college in Spokane, Mildred was singing in a local night spot, Charlie Dale’s Cabaret. Her brother Alton Rinker and I had a six-piece band around school, named, with what we thought remarkable inventiveness, The Musicaladers. I wince at the recollection.

Now Mildred used to get some great records from the East from time to time—stuff by the Memphis Five, Gene Rodemick, Jack Chapman, the Wolverines—groups like this, and Alton and I and our band would copy them, Believe me, with such a library in those days in Spokane, we were pretty “avant.” All of this was in 1925.

About that time Mildred took off for Hollywood for newer and broader fields, and a year or so later, Alton and I followed her there, arriving “tap city” and seeking bed, board and an entree into some of the booking offices. In her great goodness of heart, Mildred took in these two strolling players.

She was singing in a very plush speakeasy called The Swede’s, and I’ll never forget on my first visit there how my eyes bugged when I saw Gene Pallette, eminent actor of the period lay a “Benjy” on her for two choruses of Oh Daddy Blues. Ace in the Hole was good for a brace of “Benjies,” and Sweet Mama Where Did You Stay Last Night might get pretty near anything.

There it was that she introduced us to Marco, at that time a very big theatrical producer, and we were on our way—with a lot of her material, I might add. Ah. She was mucha mujer. A genuine artist, with a heart as big as the Yankee Stadium, and a gal who really loved to laugh it up. She had a beautiful sense of humor, and a way of talking that was unique, Even then, I can recall her describing a town that was nowhere as “tiredsville” or a singer who was a little zingy as “twenty dash eight dash and four.”

And Mildred’s singing. How timeless it is! Just as appealing now as it was then. Certainly seems to me Columbia has put between the covers of this album things of Mildred’s that prove this over and over again. Things that prove there’s just nothing like style—and this lady had it in great abundance. All of it good. I surely hope this album meets with the great success it deserves.

(Bing Crosby, writing the sleeve notes for the Columbia album “Mildred Bailey—Her Greatest Performances”)

 

     November 9, Monday. Bing and Al are driven down to Tijuana, Mexico, by their friend Jimmy Heaton. On the way back, Bing and Al take a short ride in the rear cockpit of a plane from Ryan Airfield, San Diego. They are both terrified!

     November 12, Thursday. Harry Owens and his Orchestra open at Miller’s Cafe Lafayette at 2312. W. Seventh Street, Los Angeles.

     Undated. Bing and Al have a tryout at Miller's Cafe Lafayette where Harry Owens recommends they audition for Rube Wolf at the Boulevard Theater.

 

This one was arranged by Ev at the Cafe Lafayette. Harry Owens, who would play an important role in Bing’s career (as the composer of “Sweet Leilani”), led the band at the Lafayette, and Ev was a frequent customer. Having fared poorly with a “big, brassy and rhythmic” orchestra, Owens fired his expensive star soloists and switched to the “sweet ‘corn’ of ballads and violins.” Success followed, and Everett pressed Owens to audition the boys. Owens tried to dissuade Ev from encouraging his kid brother in a career as unstable as show business, but Ev insisted that the kid had his mind set.

Owens agreed to the tryout, and Bing and Al showed up in time to sit through an hourlong rehearsal. Then they took the stand, Al at the piano, Bing with a small cymbal in his hand. Before they completed their first number, the orchestra musicians, who had been filing out for their break, stopped and came back to applaud the finish. “Bing had a terrific beat,” Owens recalled, “but the voice was the thing.” He scheduled them for the show on the following Tuesday; their opening went over well, but afterward Owens told them that he lacked the budget to offer a regular job. By his own subsequent reckoning, Owens “missed the boat” and allowed the duo to sail away into Whiteman’s orchestra. Yet he recalled the young Bing with affection: “What a sweet guy he was and so sincerely grateful.” In the last days of 1925, Bing told a reporter that he and Al got their start in Los Angeles at the Lafayette.

(A Pocketful of Dreams, page 125)

 

     December 7, Monday. The Fanchon and Marco Time Agency hire them for thirteen weeks to take part in a revue called The Syncopation Idea, starting with a try out at the Boulevard Theater in Los Angeles and then on the Loew’s circuit. They each earn $75 a week. The revue includes a troupe of dancing girls called “The 16 California Flashes.”

     December 26-January 1, Saturday-Friday. The Syncopation Idea opens at Loew’s State Theatre in Los Angeles.


Syncopation (24)

Singing and Dancing

20mins: Full and One (Special)

Loew’s State, Los Angeles

Take a chorus of 16 “easy to look at” types, and Crosby and Rinker, a piano and singing duo of males, Bobbie Thompson and Doreen Wilde, a neat singing and dancing sister team, the Chinese Trio, handling pop numbers and ballads, throw in “Little Jimmy Clark,” a colored Charleston dancer, turn the aggregation over the Fanchon and Marco and if the combination isn’t a natural as a positive house presentation “there ain’t no such animal.”

Under the title of “Syncopation,” Fanchon and Marco dish up a corking conception of just what the title signifies. The vaudeville acts blended into the well trained Fanchon and Marcus chorus number and gave Loew’s State a presentation which is the answer to why the Fanchon and Marco name means the same for West Coast Picture Presentations as Sterling signifies the purity of silver.

(Variety, January 6, 1926)


     December 30, Wednesday. The silent film Ben Hur has its New York premiere at the Cohan Theater, New York.

     December 31, Thursday. The Syncopation Idea is part of the New Year's Eve entertainment at Loew’s State Theatre in Los Angeles.


Fanchon and Marco will present early in the evening their jazziest act of 1925, "Syncopation Idea"…

      (Los Angeles Times, December 31, 1925)
 

Chapter 3

                                                                  

The Apprentice, 1926–1930

 

Bing and Al Rinker began as a minor part of The Syncopation Idea, a short revue put out by the Fanchon and Marco agency, and it was there that they started to develop as entertainers. They had a lively and individual style and they were particularly popular with college students. After The Syncopation Idea closed, Bing and Al obtained work in the Will Morrissey Music Hall Revue, which must have been fascinating if insecure. However, their skills were further honed during their time with Morrissey and when they subsequently had the chance to present their own independent act, they blossomed and were quickly spotted by the Paul Whiteman organization. At that time, it was felt that Whiteman needed something different and entertaining to break up the musical selections he was presenting and Crosby and Rinker filled this requirement admirably. After less than a year in full-time show business, they had become part of one of the biggest names in the entertainment world. We can imagine their pride when they returned to Spokane to entertain for a week at the Liberty Theater before going off to join Whiteman in Chicago.

     Initial successes with Whiteman were followed by disaster when they reached New York and for a while, Whiteman must have thought of letting them go. Possibly Bing might have been retained as Whiteman was already using him as a solo performer on record, but the prospects for Rinker must have been bleak. However, the addition of Harry Barris made all the difference to the act and the Rhythm Boys were born. The additional voice meant that the boys could be heard more easily in the large New York theaters and they quickly became a real success. A year touring with Whiteman provided valuable experience and then they were sent out on tour alone. Much has been written about the escapades of the three men during this period and clearly they were living life to the full. Despite all of this, Bing was continuing to develop and when the Rhythm Boys rejoined the Whiteman troupe in 1929, he had matured considerably as a performer. He was constantly in demand as a solo artist on record and radio. An offer to go out on his own was, however, refused by Bing and he stayed faithful to the Rhythm Boys. Perhaps he simply felt more secure as a member of a group and a similar trait was exhibited some years later when he refused to accept single star billing in films.                

     The famous trip to Hollywood in mid-1929 aboard the Whiteman Old Gold Special followed and Bing started to become noticed in Hollywood. Early screen tests were unsuccessful but the Rhythm Boys carved out a reputation as they starred at the Montmartre Cafe for several weeks. The delays in filming King of Jazz led Whiteman and the Rhythm Boys to return to the east coast for a while, but then they all returned to California at the end of October 1929 to finally begin filming. Around this time, Bing was jailed following a car crash as he had been drinking and he lost a solo spot in King of Jazz to John Boles. The Rhythm Boys did however have a couple of featured spots in the film and Bing also sang over the opening titles. After completing filming, Whiteman took his troupe up the West Coast to Seattle prior to returning east for the New York premiere of King of Jazz. However, the lure of his girlfriend, Dixie, and of the sunshine in California proved too strong for Bing, so he and the Rhythm Boys left Whiteman in Portland, Oregon, and returned to Los Angeles.

     Although some books indicate that the act then went into the Montmartre, there may be confusion with their earlier appearance there in 1929. They did appear on local radio and sing for film sound tracks, but it was not until they went into the Cocoanut Grove at the Ambassador Hotel in July 1930 “that the action picked up a little,” to quote Bing. Singing with the Gus Arnheim Orchestra, Bing’s solos began to steal the show, while the Rhythm Boys act gradually became redundant. His apprenticeship was well and truly over. Marriage was to change him too.

     Details of Bing’s earnings are quoted in several places and it should be noted that $100 in 1929 was equivalent to $1003 in the year 2000.

 

1926

 

        January 1, Friday. (8:00-9:00 p.m.) Bing and Al Rinker appear on the regular radio program of West Coast Theaters, Inc., on station KNX.

 

Crosby & Reeker (sic), syncopated jazz songsters, also appearing at Loew’s State this week in the “Syncopation Idea,” will sing popular numbers.

(Los Angeles Evening Express, January 1, 1926)

 

The Spokane Daily Chronicle carries an article about Bing and Al Rinker under a heading “Los Angeles captured by Spokane pair; Rinker, Crosby make theatrical hit.” The text continues:

 

An old Ford, a song and an open road, and incidentally a little gas, and Harry (Bing) Crosby and Alton Rinker were happy for all the world was theirs.

      So it was that a couple of months ago the two chums embarked for the sunny south, there to seek their fortunes, provided the limited gas supply held out. After a series of various adventures they arrived in San Francisco. Here they tarried a few days before making their way to Los Angeles. Once there, the dilapidated ‘flivver’ was discarded and the two surveyed the new-found land.

      A little bit of this and that, including a few song numbers, was gathered together and the pair sought an audience with Fanchon & Marco, international dancing stars and entertainers. This famous team approved their offering and sought to book them over the west coast theater circuit and secure them an Orpheum contract. The latter offer is now being tentatively arranged for the coming season.

      During the last month, the boys have made successful appearances at four of the leading theaters in Los Angeles, Crosby singing and the two doing a humorous comedy sketch. They started singing at the Lafayette cafe and then were engaged at the Boulevard and Alexandria theaters. At present the versatile pair are appearing on the program at Loew’s State, the largest theater in the southern city.

     Crosby and Rinker were first brought to the attention of the theater-going public by Manager Roy R. Boomer of the Clemmer Theater, when he presented them as the Clemmer Entertainers last summer. Crosby is the son of Mr. and Mrs. H. L. Crosby, E508 Sharp Avenue, and Rinker of Mr. and Mrs. C. D. Rinker, formerly of this city. Both young men attended Spokane schools, Crosby at Gonzaga and Rinker, at North Central.

 

A copy of the Chronicle is sent to Bing.

     January 4-8, Monday-Friday. The Syncopation Idea is at the Raymond Theater, Pasadena.

   

The West Coast presentation of the Fanchon & Marco production, “Syncopation”, is drawing enthusiastic applause from Raymond audiences this week. The title “Syncopation,” tells the story of the act. With the famous 16 California flashes, Crosby and Rinker, Bobbie Thompson and the Chinese Trio, West Coast theaters have an array of artists that cannot be surpassed in their respective lines.

(The Pasadena Post, January 7, 1926)


    January 9–15, Saturday–Friday. The Syncopation Idea revue appears at the Balboa Theater, San Diego. While in San Diego, Bing and Al visit Tijuana, Mexico, and attend the Foreign Club, the largest gambling casino, where Bing has a nice win.

     January 16–22, Saturday–Friday. The Syncopation Idea moves on to the West Coast Theatre in Long Beach. On January 23, Bing and Al travel to Santa Ana and stay at the Hotel Santa Ana.

     January 24, Sunday. Bing writes to his friend Dirk Crabbe in Spokane on Hotel Santa Ana notepaper.

 

How’s everything and have you watered any showcases of late? Received a letter from Walter the other day and he tells me that you and the little Anderson girl are quite thick. I expect you will be pulling off that marrying business before long. Good groceries at their hut anyhow so you’re not so dumb at that.

We came in here from Long Beach yesterday and this is a pretty little town of about 75,000 souls. Long Beach is the niftiest town I was ever in. Swell golf course, good bathing and beauteous gals. I was indeed sorry to leave. We play San Bernardino and then go into L.A. for a week before going to Frisco, Oakland, etc. which territory will consume about 10 weeks.

      Received a copy of the Chronicle containing a clipping relating to our work. I expect a number of the cornfeds up there thought it was applesauce, but it is all quite true. We have been very fortunate and are situated now in an envious position which should make us some real dough. At any rate I am sufficiently satisfied with this locality to stay here as long as I’m getting groceries and a flop and if I ever return to Spokane it will be merely for a visit. People up there have no conception of the opportunities present down here, both commercial and recreational. Long Beach has only 100,000 people but it makes Spokane look like Tekoa. Of course the larger towns are even more wonderful.

I have seen Hazlett Smith several times at the Ambassador. The next time I’m in L. A. we’re going to get together and do things. He certainly plays classy looking twists.

While in San Diego I ran into Pete and Ed Smith (Kappa Sig from W.S.C.) and of course we must go to Tia Juana and get stiff. Am enclosing a portrait taken in the Holy City. We had just come from the Foreign Club where I won some dough. Hence the happy grin. While down there (San Diego) we stayed with Jay at the Beach and we didn’t miss a thing.

Was quite surprised to learn that Wink and Alice are still clubby and that Betty and Ray Johnson are likewise afflicted. Understand that the Band might go to Frisco in which count I shall probably see them there. I hope so.

There are certainly plenty of filthy bands around L.A. Tone don’t mean a thing. Rythm (sic) and heat are the only requisites together with novel arrangements. There are so damn many hot sax-men down here that it isn’t even peculiar. All the good men make plenty dough. Anywhere from 85 to 150 per week and the cafe jobs are a snap.

Well Dirk I fear this letter is getting a bit lengthy and tiresome so will cease. Drop me a line soon and give me all the dirt on the boys and girls. Say hello to the gang.

Your friend,

Bing

 (As reproduced in BINGANG magazine, July 1988)

 

     January 24–26, Sunday–Tuesday. The Syncopation Idea show is at the West Coast-Walker Theatre, Santa Ana. The show is billed as "Syncopation" with Crosby & Rinker prominently featured. The film is The Merry Widow and shows are at 2.00, 6.30 and 9pm.


...On the stage is “Syncopation” the latest West Coast presentation, produced by Fanchon and Marco. Settings, costumes, drapes, singing and dancing numbers have all been created and selected with the view of presenting every phase of syncopation of the present day. Among the headliners which appear in this sensational presentation are the famous sixteen California Flashes, Crosby and Rinker, “Pep” Payne and the Chinese Trio.

(Santa Ana Daily Register, January 25, 1926)


     January 27-30, Wednesday-Saturday. The Syncopation Idea is at the West Coast Theatre, San Bernardino.


Crosby and Ricker (sic), two boys and a piano, know syncopation and blues singing. Their numbers went over big.

(The San Bernardino County Sun, January 28, 1926)


Other stars of the “Syncopated Idea” are Crosby and Ricker (sic), two boys and a piano, who delight their hearers with their singing of “Blues” and other syncopated numbers.

(Colton Daily Courier, January 28, 1926)

 

     January 31-February 2. Sunday-Tuesday. The Syncopation Idea is at the California Theater, Pomona.

     February 4–7, Thursday–Sunday. Appearing at the Boulevard Theater in Los Angeles, Crosby and Rinker are listed in Variety magazine separately from The Syncopation Idea.  The film shown is Old Clothes starring Jackie Coogan and Joan Crawford.

     February 13–19, Saturday–Friday. The show is at Loew’s Warfield, San Francisco, where the cast of The Syncopation Idea is given as “Crosby and Rinker, Bobby Thompson and Doreen Wilde, Dan Payne, Mac Curry, Mabel Hollis, and the 16 Lightning Flashes—Fanchon’s own steppers.” The feature film is The Torrent starring Ricardo Cortez and Greta Garbo.

     February 20–26, Saturday–Friday. The Syncopation Idea moves on to the Oakland T & D Theater for another cine-variety show.

 

“Syncopation Ideas,” staged by Fanchon & Marco, a prologue to the picture, is according to Marco, who is here this week, a combination of scintillating melodies and beautiful stage settings.

(Oakland Tribune, February 18, 1926)


February 28-March 6, Sunday-Saturday. The Syncopation Idea (advertised as "Ideas of Syncopation") is at the Senator Theater in Sacramento.

     March 11-13, Thursday-Saturday. The Syncopation Idea (with Crosby & Rinker heading the bill) closes at the California Theater, Santa Rosa having also been seen at Glendale. The film being shown is Hands Up starring Raymond Griffith. Bing and Al are invited to a party at San Simeon by William Hearst Jr., and they eventually return to Los Angeles where they rent an apartment.


The West Coast presentation of Fanchon and Marco’s “Syncopation Idea” will also close their highly successful engagement. With Crosby and Rinker pianologue, Bobby Thompson and Doreen Wilde in some fast dancing, Mac Curry, who is greeted with a roar over his eccentric dancing and Mabel Hollis, with her wonderful voice, who is popularly known as 100 pounds of blues and with that wonderfully trained Fanchon and Marco 16 streaks of lightning.

“We believe that this is the fastest dancing act that was ever staged in Santa Rosa, bar none, and with the closing number on the slanting stage creates a good impression and makes the public look forward to the next Idea with relish,” says the management.

(Santa Rosa Republican, March 13, 1926)


    April (undated). Bing and Al are hired for Will Morrissey’s Music Hall Revue at the Orange Grove Theater in Los Angeles at $150 weekly for the act. Rehearsals take place in readiness for the planned opening on April 29.

     April 26, Monday. Ted and Hazel Crosby have a daughter, Patricia Antonia.

     April 30–June 19, Friday–Saturday. Will Morrissey’s Music Hall Revue at the Orange Grove Theater. The show opens a day late, having been postponed one hour before it was due to open on April 29 because of a lack of costumes.


Ralph Spence, playwright, is financing Will Morrissey Music Hall Revue to the extent of $10,000 for a one-third interest in it. Arthur Freed and Morrissey have the other two-thirds between them.

(Variety, May 5, 1926)


Bing and Al worked on an elevated stand in the pit for four months until the revue hit San Diego. The show's chief attractions were Midge Miller, Morrissey's wife; Eddie Borden, a sketch comedian who parodied Aimee Semple McPherson and others; singer Lee Kent; comedian Eddie Lambert; an adagio team; and a chorus line. Those were the acts expected to entice customers. Bing and Al were gravy. Yet night after night, the audiences - rich with important Hollywood movers and shakers - responded mostly to Two Boys and a Piano, demanding encores that stopped the show.

(Gary Giddins, A Pocketful of Dreams, page 133)


     May 4, Tuesday. Larry Crosby, then an editor at the Wallace-Press Times, Idaho, weds Elaine Couper of Spokane.

    May 22, Saturday (possibly). Bing and Al perform at a Hollywood party for the cast of Charlot’s Revue (including Bea Lillie, Jack Buchanan, and Gertrude Lawrence). The show had opened at the El Capitan theater on May 3rd. Bing makes an impact singing “Montmartre Rose.”


Morrissey, by this time feeling no pain, rose and asked if everyone would like to hear a few songs by the young men in his show. “We were full of champagne and ready,” Al (Rinker) recalled. He went to the piano as Bing pulled out his pocket cymbal, and they dashed through “When the Red, Red, Robin Comes Bob, Bob, Bobbin' Along.” Asked for a second number, Al suggested the Tommy Lyman number Mildred always played, “Montmartre Rose.” Bing agreed and ladled his best syrup on the plight of that sorrowful fille de joie, his high notes receiving full attention and much applause, notably from the three English stars, who rushed to him with compliments. It was a heady moment: the beginning of his ascendancy as Hollywood's own crooner. Lillie and Buchanan later worked with him, but Bing never recorded “Montmartre Rose.”

(Gary Giddins, A Pocketful of Dreams, pages 133-134)


     June 20–August 7, Sunday–Saturday. Will Morrissey’s Music Hall Revue moves to the Majestic Theater, Los Angeles. During this period there is publicity about Morrissey being arrested for drunken driving and also about checks payable to the cast being dishonored. Partway through a show on July 27, Morrissey tells the audience that the performance cannot continue as he has not been paid by his partner. The agent Edward Small is in the audience and he puts up $1,000 to allow the show to be completed.

     June 22, Tuesday. Morrissey provides the entertainment at the Hollywood Shrine Club breakfast meeting, Crosby and Rinker are included.

     June 28, Monday. Morrissey arranges for several of his troupe, including Crosby and Rinker, to entertain at a dinner party given by Eddie Cantor for Frank Newman (of Publix Theaters) at the Biltmore Hotel.

     July 27, Tuesday. Bing and Al take part in a huge entertainment evening for the American Legion at the Olympic Auditorium in Los Angeles. Stars such as Eddie Cantor, Fanny Brice, Bebe Daniels, George Jessel, and Charles Chaplin perform.

     August 9–12, Monday–Thursday. Will Morrissey’s Music Hall Revue at Spreckels Theater in San Diego. A matinee performance is given on August 11.

 

“Just Two Boys and a Piano” as Crosby and Rinker are known, are appearing tonight, Tuesday, Wednesday and Thursday with the Will Morrissey Music Hall Revue, at the Spreckels theatre. Although strangers to the theatre going public of the Pacific coast, wherever this “different revue” has played the boys have won instantaneous recognition for their splendid work. Previous to Will Morrissey engaging this team of entertainers their days behind the footlights had been spent in the large eastern cities where they had played all the large eastern vaudeville circuits, as well as with some of the best known musical successes. They will do their stuff on a specially constructed stage down among the audience. This is said to be only one of the usual stunts that will be offered the Bohemian San Diegans tonight.

(San Diego newspaper, August 9, 1926)

 

“If they like that, give ‘em some more. There’s a few things about our show they don’t like.” So Will Morrissey instructed Crosby and Rinker, two young men whom the audience at Morrissey’s revue at the Spreckels Theater last night wanted to take home and use for permanent amusement. Crosby and Rinker, who, by the way, sang all of the “red hot mamma” songs that have been written in months, did “give ‘em some more,” stealing the show from those billed as stars.

(The San Diego Sun, August 10, 1926.)


…In addition to the principals, Eddie Borden and Midgie Miller, are Crosby and Rinker who have stopped the show at every performance here with their singing…

(The San Diego Sun, August 12, 1926)

 

    August 13/14, Friday/Saturday. Will Morrissey’s Music Hall Revue at the Lobero Theater, Santa Barbara.  Bing and Al are advertised in the local newspaper as “Corsey and Rinker.”

   

…Crosby and Rinker, the two who sang the vulgar “Paddlin’ Madeline Home,” as Morrissey announced it.

(Santa Barbara News-Press, August 14, 1926)


    August 16–September 11, Monday–Saturday. The Revue moves to the Capitol Theater in San Francisco where it finishes with the midnight performance on September 11, having struggled throughout its run. During this period, William Hearst Jr. invites the entire cast to the campus at Berkeley where he is a student. The entertainment put on by the troupe outrages the campus officials and they issue a prohibition order banning the students from attending the Morrissey show.


…Crosby and Rinker, who specialize vocal harmony at the piano, are unique and receive many encores.

(San Francisco Bulletin, August 17, 1926)


…Crosby and Rinker have several very fine singing numbers, which lose their glamous (sic) when Morrissey asks them to sing something “ruffined.”

(Tom W. Bailey, San Francisco Chronicle, August 17, 1926)


Crosby and Rinker are prominent in the musical portion of the revue. Their songs are of the unusual type and are well done.

(A. F. Gillaspey, San Francisco Bulletin, August 18, 1926)


Crosby and Rinker, harmonists, fairly stop the show and demand repeated encores.

(San Francisco Bulletin, August 21, 1926)


Crosby and Rinker are immensely popular with their super-syncopated jazz.

(San Francisco Bulletin, August 25, 1926)


“If they like that, give them some more. There’s a few things about our show that they don’t like.” So Will Morrissey, who is offering  his successful Music Hall Revue at the Capitol Theater nightly, instructs Crosby and
Rinker, whom audiences do not seen to get enough of. Crosby and Rinker sing all the “red hot mama” songs that have been written of late, and seem to steal the show from others billed as stars. But it can hardly be said that there is anything that Crosby and Rinker do that the audiences does not go wild over,

(San Francisco Bulletin, August 27, 1926)


      August 23, Monday. Rudolph Valentino dies in New York at the age of 31.

     August 28, Saturday. In San Francisco, Bing’s sister, Catherine, obtains a licence to marry Edward J. Mullin (age 23) of Spokane. The marriage eventually takes place at St. Ignatius Catholic Church, San Francisco.

     September 14, Tuesday. Bing and Al go to Union Station in Los Angeles to see the Paul Whiteman Orchestra’s arrival at 2:00 p.m. The Whiteman troupe are transported in twenty cars in a parade to City Hall where Mayor Cryer crowns Whiteman the ‘King of Jazz’.

      September 18–October 14, Saturday–Thursday. Paul Whiteman and his orchestra are at the Million Dollar Theater in Los Angeles.

     September 18–24, Saturday–Friday. Under contract to Paramount-Publix for eight weeks, the duo appears at the Granada in San Francisco in Jack Partington’s Purple and Gold Revue. They are billed as “Crosby and Rinker—Two Boys and a Piano—Singing Songs Their Own Way.” The act is paid $300 per week.

 

…Crosby and Rinker, the two boys who sing their own songs and play their own music, proved as popular as last week. The crowds make them sing everything they know and then cry for more.

(San Francisco Bulletin, September 20, 1926)


The team worked sans orchestra—in fact, we didn’t even know what the duo was going to do until the first show. After the M.C.’s announcement, we played the boys on with a short intro, during which they emerged from the wings pushing a small upright piano which had a small sock cymbal at one end. What followed was (for 1926) some of the farthest-out jazz we had ever heard. Even at that time our Mr. Crosby had that wonderfully loose-jointed, totally relaxed vocal style which later made him a world figure. At that time, most of the audience didn’t know what the hell was going on, but we in the band were completely gassed. Oh, yes—Bing, without ever being a belter, somehow managed to project without benefit of microphone in a theater seating 1,750, which ain’t bad at all.

(Hugo Friedhofer, arranger for the orchestra at the Granada, as quoted in The Great American Popular Singers by Henry Pleasants, page 138)

 

     September 25–October 1, Saturday–Friday. The boys continue at the Granada in another Partington revue called Bits of Broadway and their repertoire of songs includes “Mary Lou.” They receive favorable comment from the local press and from Variety.

 

…and Crosby and Rinker delight with their repertoire of songs, beginning with “Mary Lou.”

(George C. Warren, San Francisco Chronicle, September 27, 1926)


…Crosby and Rinker with their songs and original ways of singing them are a decided hit of the performance.

(San Francisco Bulletin, September 27, 1926)


Two boys from Spokane and not new to show business but new to picture house work. They appeared with Will Morrissey’s Music Hall Revue and were a success in a show that was a flop. Bringing their methods to the Granada, they registered solidly and on the crowded Sunday performances practically stopped the show. The duo works with a piano and minus orchestral accompaniment. Blues of the feverish variety are their speciality. They are well equipped with material, presumably their own. Young and clean cut, the boys found a quick welcome. When they have completed their weeks locally, they will unquestionably find a market for their wares in other presentation houses. Wherever the public goes for “hot” numbers served hot, Crosby and Rinker ought to have an easy time.

(Variety, October 6, 1926)

 

     October 8–14, Friday–Thursday. Bing and Al sing at the Metropolitan Theater in Los Angeles in a cine-variety show, which is also called Bits of Broadway and stars Eddie Peabody. They do four shows a day and five at weekends. Having seen the recent favorable review in Variety, Paul Whiteman’s manager, Jimmy Gillespie, goes to see the act and the boys are called to meet Whiteman at the Million Dollar Theater. To their amazement, Whiteman hires them for $150 weekly each. They are to join Whiteman in Chicago in December when the duo will have completed their existing commitments.

 

…Crosby and Rinker offered a treat with their song and piano melody

(Los Angeles Evening Post-Record, October 9, 1926)


Novelty musical numbers, which hit the popular fancy immediately, were offered by Crosby and Rinker, who sing and play the piano and treat old and new popular songs with their own personal fantasy to the delight of their hearers.

(Los Angeles Examiner, October 9, 1926)

 

…Two newcomers are Crosby and Rinker, youthful singers, who were last seen here with Will Morrisey’s revue. These young men have personality as well as good voices, also an original and amusing way of interpreting the latest songs.

(Daily News, October 11, 1926)


…the Metropolitan framed a presentation that got over because of two teams, Crosby and Rinker, harmony boys, last seen in Will Morrissey’s Revue, got most of the cream, and Barnett and Clark, boy and girl tap dancers, were next in popularity.

(Variety, October 13, 1926)

 

Los Angeles, a tougher town, Bits of Broadway expanded to include a fourteen-piece pit orchestra, additional acts, and the banjo-playing emcee, Eddie Peabody, who was entrusted with much of the responsibility for keeping the show running on time (a necessity as the four and five daily performances were programmed around an unwavering movie schedule). For their spot, Crosby and Rinker commenced with the surefire “Five Foot Two” and then debuted their version of the new song appropriated from Whiteman, “In a Little Spanish Town.” The stage was dimmed except for small blue spots trained on each of them. Microphones were not yet in use, but as Al recounted, the team had the complete attention of a capacity audience of 2,500 when they did the tune. It instantly became one of their biggest successes, a signature song like “Mary Lou,” and the first in a long string of modern standards associated with Bing – if only during his season in vaudeville.

(A Pocketful of Dreams, pages 137-138)

 

     October 15–21, Friday–Thursday. Bing and Al continue at the Metropolitan and the show this week is called Russian Revels. During their spare time they golf at Griffith Park.

 

Eddie Peabody and his band are seen in “Russian Revels” this week. Settings and costumings are among the best seen there recently, but some chorus numbers could stand some more rehearsing. Crosby and Rinker, two lively, personable lads, seen here recently with the Morrissey revue, got a big reception with their songs.

(Marquis Busby, Los Angeles Times, October 16, 1926)

 

     October 16–29, Saturday–Friday. Paul Whiteman is at the California Theater in San Francisco.

    October 18, Monday. Bing and Al make their first record, “I’ve Got the Girl,” singing the chorus without label credit with Don Clark’s Los Angeles Biltmore Hotel Orchestra in a converted warehouse at Sixth and Bixel in Los Angeles for Columbia Records. Peggy Bernier also makes recordings at the same session.

 

Eddie King, the entrepreneur and recording chief of the Victor Phonograph Company (Note: King had just left Victor to go back to Columbia), brought his sound crew to Los Angeles to make some platters of our Biltmore outfit. I had known them all in New York, and had always admired Eddie’s unfailing ability to pick talent for discs that would prove to be commercially profitable for both the artists and the company. Sound stages with their cunningly contrived acoustics were unheard of at that time; electronic recording hadn’t been invented. Eddie rented a loft somewhere in the commercial district, and we arrived to find the customary array of megaphones sticking their blunt snouts out of something resembling a voting booth. Stools were provided for us to sit on when we weren’t doing our “juggling act” before the inquisitive microphone. The recorders took the wraps off their highly secret device within the booth.

Eddie had hired a pair of teen-age singers who were doing a bit at the near-by Paramount Theatre – novices both – and who, he thought, might add a fresh fillip to our rendition of “I’ve Got The Girl.” The youngsters arrived, disheveled but comfortable in sweaters or slacks, one carrying a small cymbal. Eddie introduced us. One was named Al Rinker and the other Bing Crosby. The latter, friends tell me, is now singing solos and quite well …

(Excerpt from “If It Isn’t Fun, It’s No Damn Good!” -the unpublished autobiography of Donald E. Clark, 1962)


The record was cut on 18 October 1926, in a converted warehouse in Los Angeles. The song: a vocal duet called ‘I’ve Got the Girl’. It was the first disc Bing ever made ...

The studio was primitive. Against one wall stood an ancient, battered upright piano. Opposite, a megaphone-type contraption—which Bing had to sing into—protruded from a pine-planked recording booth.

The recording machine was a great hulk of a thing and a steel needle carved the sound of Crosby and Rinker into the thick wax that was used in those days. But there was no stopping and starting, as there is with the tape of today, when various ‘takes’ can be edited and joined. Once you began to record you kept right on to the end. After a couple of takes, Crosby and Rinker had a master disc and recording history had been made. For Bing it was the first of thousands ...

But ‘I’ve Got the Girl’, issued on the Columbia label, didn’t set the world alight. It didn’t sell a million. Nor did it bring anyone running with a recording contract. It was a start and that was the nicest thing that could be said about it.

(The Complete Crosby, pages 22-23)

 

Clark gave them lead sheets for two tunes, asking them to work up a harmonized chorus on each. The material was undistinguished: “I’ve Got the Girl!,” a weak tune by Walter Donaldson, who later wrote some of their most important Whiteman records, and “Don’t Somebody Need Somebody,” a throwaway by Abe Lyman, the cowriter of “Mary Lou.” No major recording career got off to a more dismal start than Bing’s.

The session took place in a hastily converted warehouse at Six and Bixel, and was engineered electrically. Bing and Al had to sing into a megaphone-like mike built into the planks of the recording booth. The Lyman tune was abandoned when Bing and Al could make nothing of it, and Peggy Bernier, a vaudeville trouper with pretty eyes and long bangs, fared no better. For all the good it did the boys or Clark, “I’ve Got the Girl!” ought to have been junked, too. Singing into a horn for the first time, Bing and Al could not sustain the blend of their voices. As a result, their recorded chorus is dominated by Al’s higher voice, though it is moored by Bing’s weighty, more controlled timbre. They sing Rinker’s treatment of the nattering tune energetically, inserting a measure of scat at the first turnback and attempting a unison portamento that got away from them. The performance did not do justice to their act - but then again, it wasn’t meant to. Their names did not appear on the label, and their complicity was further disguised by an accident: the record—backed with another Clark performance, “Idolizing,” vocal by one Betty Patrick—was inadvertently released at a fast speed. Bing and Al sound like chipmunks.

(Gary Giddins, Bing Crosby, A Pocketful of Dreams, The Early Years, 1903-1940, page 146.)

 

     October 22–28, Friday–Thursday. The show at the Metropolitan is called Joy Week and although Eddie Peabody is still the star, Crosby and Rinker are billed second.

 

Crosby and Rinker, clever harmony hounds, scored quite a success with their own melodies.

(Los Angeles Evening Post-Record, October 23, 1926)


…Two California boys will be placed under contract by Whiteman before he leaves San Francisco. They are “Bing” Crosby and “Chuck” Rinker, original singers who play the piano in a unique manner and use a small cymbal in their act. Crosby and Rinker made an impression here in a recent musical revue, and also on the stage of local motion picture theaters.

(San Francisco Bulletin, October 23, 1926)


Aside from the band and Eddie Peabody, but five people were used on the stage, and of the five, three got over. Crosby and Rinker, a future Van and Schenck, stopped the show.

(Variety, October 27, 1926)

 

     October 30–November 5, Saturday–Friday. Crosby and Rinker back at the Granada in San Francisco in another Partington show called Dancing Around. Peggy Bernier is also in the show.

    

Peggy Berneir (sic), with her original manner of singing her songs is just as popular as ever, which says everything for this little entertainer. Crosby and Rinker, with their songs and tiny cymbal, are on a farewell engagement before they join the Paul Whiteman organization.

(San Francisco Bulletin, November 1, 1926)


    November 3, Wednesday. Variety carries an article about an agent named Mort Harris (who worked with Paramount-Publix) attempting to sign Crosby and Rinker for a 3-year period taking 10% on all the duo's earnings by implying that the contract was with Paramount-Publix. The advent of the engagement with Paul Whiteman fortunately stopped the Harris contract proceeding.


There is an interesting postscript to this story, however. Just before Whiteman approached Crosby and Rinker, the duo were offered a three-year contract by Mort Harris, Paramount-Publix assistant to Jack Partington. This was in addition to the contract the two had already signed with Partington. At first, the contract sounded great to the boys, but when the time came to sign it, they balked, for the contract was not with Paramount-Publix, but solely with Mort Harris. Furthermore, it stated that Harris would receive 10 percent of their earnings and royalties from stage engagements, recordings, or other sources of income. Suspicious, Al and Bing sent the contracts back home for their parents to scrutinize.

    While Mort Harris’s unfavorable contract was still in limbo, Whiteman made his offer. After Whiteman talked with Crosby and Rinker, booking agent Leonard Goldstein brought Rinker’s father, Charles, in to talk with Whiteman. They had a good conversation, during which Mr. Rinker pointed out that he could not see any tangible benefits for the boys under the Harris contract, and that if Whiteman had a definite salary to discuss he would be interested in talking. Whiteman repeated the offer he had made to Bing and Al personally. Mr. Rinker thought it very promising and signed the contract for Al. By this time, Bing had signed on his own. When word got back to Harris that Whiteman had the duo under contract, he was furious. He sent threatening wires to Goldstein and Whiteman and put through an official request that Crosby and Rinker be banned from appearing at any Paramount-Publix theatres. Whiteman stood his ground firmly, however, and soon a detailed report appeared in Variety, exonerating Whiteman as well as Crosby and Rinker.

    (Paul Whiteman, Pioneer in American Music, page 144)

     November 6–12, Saturday–Friday. Bing and Al continue at the Granada in a show called Jazz a La Carte. Peggy Bernier is again in the show.

    

…Crosby and Rinker are also bright spots in the show. The boys and Peggy (Bernier) do a number together which is very effective.

(San Francisco Bulletin, November 8, 1926)


     November 13–19, Saturday–Friday. Crosby and Rinker continue at the Granada, San Francisco, and this time the revue is called Way Down South.


…The orchestra plays “Mary Lou,” building it up into a big number, and the favorites, Crosby and Rinker, sing three or four songs at their little piano.

(George C. Warren, San Francisco Chronicle, November 15, 1926.


     November 15, Monday. NBC Radio goes on the air using 3600 miles of telephone wire to carry its signal from New York to ten million listeners through nineteen stations as far west as Kansas City.

     November 22, Monday. Bing and Al arrive back in Spokane. His mother says that Bing has put on weight.

    November 24–28, Wednesday–Sunday. Starting at 11:00 p.m. on November 24 for the “midnight” performance, Bing and Al perform at the Libe1926.jpgrty Theater in Spokane (alternating with the film We’re in the Navy Now) giving four performances each day and earning $175 each. During their stay, a thief steals their money from the dressing room while they are on stage.

 

CROSBY, RINKER WIN HOME TOWN

Spokane Boys Who Are Catapulting Into Fame “Get Over” at Liberty.

      “Bing” Crosby and “Al” Rinker, two Spokane Boys with an unquenchable desire to burst into music and song, last night “arrived” in their home town with presentation of their act at the Liberty midnight matinee.

      The two Spokane entertainers left the city a year ago to seek their fortune on the Coast. Gradually reports drifted back to old friends of their marked success before audiences of California.  After the manner of friends the reports were discounted, but last night every one in the audience who knew the pair even by sight at once joined the "I knew him when” club.

      Rinker plays the piano and adds his bit of vocal acrobatics to the singing of Crosby. About the only innovation from the usual piano and song numbers of vaudeville, is that the piano is only an abridged edition in size and Crosby spices the jazz selections with timely crashes on a diminutive cymbal. It isn’t what the boys do, but the way they do it.

      The pair has been signed by Paul Whiteman and his band to appear on Broadway this winter. After their remarkable reception last night by a “hard-boiled” hometown audience there is little doubt that they will succeed in the East.

(Spokane Daily Chronicle, November 25, 1926)


…then, in addition to “We’re in the Navy Now,” there is “Bing” Crosby and “Al” Rinker. What an ovation the boys received as they appeared behind the lights. Time after time they were called back for more songs. If they doubted they would not make a hit in their home town it was dispelled last night. After the show both boys admitted that it was the most trying and nerve racking time they ever went through.

Bing Crosby said: “It’s easy to appear before people you don’t know, but when you know your brothers, sisters and parents besides most of the old gang you went to school with are in the audience it makes one a little shaky.”

     (The Spokane Press, November 25, 1926)


      November 27, Saturday. (10:00-12:00 p.m.) Bing and Al perform at the after-theatre dance in the Italian Gardens at the Davenport Hotel in Spokane. They are billed as “Two Boys with a Piano and a Voice.”

     November 28, Sunday. After their performance at the Liberty Theatre, the boys catch a train for Chicago where they stay at the Eastgate Hotel on Michigan Avenue.

     November 29–December 4, Monday–Saturday. Paul Whiteman is at the Chicago Theater, Chicago.

     December 6–12, Monday–Sunday. Bing and Al open with Whiteman at the Tivoli Theater in Chicago and are a hit. They give four shows a day.

 

The first evening show was about to start and we were all made-up and ready. There was a full house out front. Whiteman told us that we would go on about the middle of the show and that he would introduce us as Crosby and Rinker, who were making their first appearance with his band. Well, our turn finally came and Paul walked out and started our introduction. What he said was far different than what we had expected. He told the audience that he had heard two young boys singing in an ice cream parlor in a little town out west, called Walla Walla. “They sang some songs and I wondered what they were doing in Walla Walla. These kids were good, too good for Walla Walla, so I asked them to join my band. This is their first appearance with the band and here they are. I want you to meet Crosby and Rinker. Come on out boys.” The little piano was moved on stage and Bing and I came out from the wings. All I know is that we got a big hand after our first song and even more applause on our second number. To top it all, we were called back for an encore. That was our first appearance on the big time. You can bet we were two happy guys. Whiteman came over to us after the show and said, “Well, how do you feel? I knew they’d like you. Welcome to the band!”

(Al Rinker, writing in his unpublished memoir, as reproduced on page 149 of Bing Crosby, A Pocketful of Dreams, The Early Years, 1903-1940 by Gary Giddins)

 

“Music’s the same all over,” Pops said. “They liked you in Los Angeles and they’ll like you here. You’ve nothing to worry about. Just do your stuff the way you’ve already done it.”

We listened, and when we walked out there to face our first matinee audience, we were cocky on the outside, but inside the butterflies were fluttering restlessly.

Pops introduced us by telling the crowd, “I want you to meet a couple of boys I found in an ice-cream parlor in Walla Walla.” Afterward he told us he’d picked Walla Walla because its name sounded funny to him. Funny or not, it struck exactly the right note. We went out there, did our stuff, and if I do say it, we were very big. I’m confident that oldsters who attended the Tivoli Theater on Chicago’s South Side in those days will bear me out in this.

(Call Me Lucky, page 44)

 

     December (undated). Bing sees Louis Armstrong perform at the Sunset Cafe, Chicago.

     December 13–19, Monday–Sunday. The Whiteman show moves to the Uptown Theater in Chicago.

     December 16, Thursday. Paul Whiteman and his band appear in an all-star program for the 15th. Annual Chicago Herald and Examiner Christmas Basket at the Erlanger Theatre. Also appearing are George Jessel, the Marx Brothers, Ethel Waters and the Brox Sisters.

     December 22, Wednesday. (2:00–5:20 p.m.) In the Orchestra Hall, Chicago, Bing and Al record “Wistful and Blue” with Paul Whiteman and his Orchestra for the Victor Talking Machine Company. Another song “Pretty Lips” is rejected after four takes.

 

The first record by Crosby and Rinker, Spokane boys now with Paul Whiteman, the “king of jazz,” in collaboration with Whiteman’s orchestra was released recently by Victor and is being sold in local music houses. “Wistful and Blue” is the name of the selection, and is said to be an excellent reproduction of their unusual method of putting over their numbers. Spokane people who heard this team at the Liberty theatre and at the Davenport hotel during their stay here in December will recognise their style of syncopation.

(Spokane Daily Chronicle, February 22, 1927)


The session’s only acceptable number was a rendition of Ruth Etting’s “Wistful and Blue.” Coupled with an instrumental from the day before, it was the first of nearly one hundred titles Bing and Al recorded under Whiteman’s aegis. Dated as it is today, their record debut was novel in 1926. Max Farley, a Whiteman saxophonist, arranged “Wistful and Blue”’s odd eighteen-bar theme for the orchestra, but the vocal chorus was treated separately; the singers were backed by viola, guitar, and bass. Matty Malneck, waiting for this kind of opportunity, arranged the vocal passage, using his viola as a third voice in unison with Bing and Al. With Wilbur Hall strumming guitar and John Sperzel keeping a yeoman beat on bass, they sing a straight chorus with a two-bar break, followed by a stop-time scat chorus that evolves into a chase between voices and viola. Rinker’s voice dominates the duet, but it was the general jazziness of the vocal interlude—not the individual talents of the singers—that made the record a turning point for Whiteman; this zesty brand of singing was unknown to most of his public. Bing credited Malneck’s arrangement with helping him and Al forge “a new style ... a vocal without words.” 

(Gary Giddins, Bing Crosby, A Pocketful of Dreams, The Early Years, 1903-1940, pages 150-151)


      December 24, Friday. The Whiteman troupe travel to St. Louis.

     December 25–January 8, Saturday–Saturday. The Whiteman ensemble is at the Ambassador Theater, St. Louis, where they break all house records as a total of 113,223 people pay $57,761 to see them in the first week. They give five shows each day at 1, 3, 5, 7 & 9 p.m. as part of a cine-variety show. They had only been booked for one week but they are held over because of the demand to see them.

 

Paul Whiteman and his band, making their first appearance in a local movie house, is the main attraction, and he gives the audience just what it wants and almost as long as it wants it from Gershwin’s ‘Rhapsody in Blue’ to ‘Pop Goes the Weasel.’

(St. Louis Post-Dispatch, December 27, 1926)

 

There are other features on the Ambassador program this week, but they pale before the stage presentation of Paul Whiteman in person and his orchestra of thirty. ‘The Girl Friend’ serves to get the audiences acquainted with the band as a whole and ‘Meet the Boys’, the bandsmen as individuals. Whiteman says: “I am so proud of them, I want you to meet them personally.”

      Gershwin’s ‘Rhapsody in Blue’ is on the list, as are several other selections, offered as harmony numbers, solos, duets and otherwise by singers, and in various ways by the musicians. ‘Mary Lou’ and ‘Pop Goes the Weasel’ form the backbone of two other stunts. The band is excellent, but it is on Whiteman himself, that the interest centers at all times.

      Whiteman’s cherubic grin, roly poly wiggles of syncopation and jazz squeal that seems to say: “Well, how do you like us?” had the Christmas crowds at the Ambassador literally crying for more…

(St. Louis Daily Globe-Democrat, December 27, 1926)

 

 …Crosby and Rinker, the two who were discovered by Paul in Seattle, are next heard from, one playing the piano while they both sing. Their stuff clicks and they were forced to take three encores when reviewed. (December 28).

(Billboard, January 8, 1927)


...  Then there is Paul Whiteman on the stage for a second week. It is well worth anyone’s while to spend another half-hour or so listening to him again. He has changed the color scheme of his stage to blacks and dull golds, carried out in the suits, the instruments and the really gorgeous beaded curtain that serves as a background. His music is the same so far as excellence goes. It is jazz at its pinnacle. What more need be said? The program has been changed, of course, to ‘In a Spanish Town’ and other numbers Whiteman has made popular on the air, on records, in theaters, at dances, and such.

      His musicians, individually, are given opportunities again to score with specialties of their own—particularly the two-man jazz band, whose ‘Baby’ and ‘Red-Hot Mamma’ lyrics have made harmony history.

      Last, but by no means, least, his cherubic-faced majesty, Paul himself, is even more willing to please and more genial than he was last week —if that is at all possible!

(St. Louis Daily Globe-Democrat, January 3, 1927)


1927

 

January 7, Friday. Whiteman plays at The Palm Room of the Hotel Chase in St. Louis.

January 9–15, Sunday–Saturday. Whiteman show at the Allen Theater, Cleveland, Ohio.

 

Program is a diversified, expertly staged affair, offering first rate entertainment. There is some ingratiating clowning between Henry Busse, a clever cornetist, and Whiteman, whom he resembles. Wilbur Hall cuts up on a violin a la Joe Termini’s style, and provides some melody with a bicycle pump. Rinker and Crosby put across several familiar songs in a rousing fashion, while ‘Snowball’ Harris is especially good in his dancing and banjo specialties.

(Cleveland Plain-Dealer, January 11, 1927)

 

By the third day, word had spread that there would be no Whiteman broadcast. The crowds then began to flock to the Allen, breaking attendance records. And the music soon made believers out of even the most hardened critics like Eleanor Clarage of the Cleveland Plain-Dealer. . . . To Clarage, accustomed to symphonic offerings, Al Rinker and Bing Crosby were indeed an enigma. She couldn’t fathom “why the band allowed itself to be interrupted for the none-too-clever pair of young men who did the occasional harmony stunt at the piano in scarcely audible voices. It seemed a crime to let anything hold up the gorgeous orchestral music, yet the audience stamped and howled and drowned out Whiteman’s next orchestral section with its insistent applause after these mediocre entertainers signified that their last encore had been given.” This gives one some idea of how well Rinker and Crosby were faring with Midwestern audiences. Their act represented something new and fresh that greatly appealed to Whiteman’s followers. The lack of volume in their singing without the aid of microphones, would soon catch up with them, however.

(Paul Whiteman, Pioneer in American Music, page 152)

 

 

January 16–22, Sunday–Saturday. The Whiteman troupe moves on to the Hippodrome, Youngstown, Ohio, where they give four shows daily at 2:00 p.m., 4:30 p.m., 7:00 p.m., and 9:30 p.m.

 

Paul Whiteman has taken the word jazz and made it signify joy, art, zip, and zest…Two of the boys in the band [Crosby & Rinker] sing a la Van and Schenk, and are artists of real ability.

(The Youngstown Vindicator, January 17, 1927)

 

January 21, Friday. The Orchestra plays for the Youngstown Kiwanis at the YMCA, beginning at 12:15 p.m.

January 23–29, Sunday–Saturday. Whiteman and his group are at the Circle Theatre, Indianapolis. The show is put on four times daily.

 

He has a positive sensation in Rinker and Crosley [sic], two harmony singers, one playing the piano. Here is an intimate singing duo that uses a new way of putting over their numbers. Stopped the show cold, and Whiteman was so grand that he allowed them to be a sensation. The man knows how to please an organization.

(Indianapolis Times, January 24, 1927)

 

January 29, Saturday. The Whiteman band plays a dance date at the Columbia Club in Indianapolis at 10:00 p.m.

January 30–February 5, Sunday–Saturday. Whiteman at the newly remodeled Castle Farm, Cincinnati.

February 7, Monday. The Whiteman troupe arrives at Grand Central Station, New York, in the morning and Whiteman is taken by motor parade down Broadway to City Hall where the acting mayor greets him. The parade goes on to the Paramount for a “grand ballyhoo” and then to the Hotel Astor for a “welcome home” lunch.

February 10, Thursday (1:30–5:20 p.m.). Bing and Al are part of a vocal group which records with Paul Whiteman in New York for Victor.

February 12–18, Saturday–Friday. Whiteman is at the Paramount Theater in New York in a cine-variety show. He is paid a salary of $9500 for the week. The 48-minute show opens on February 12 and Bing and Al receive favorable comment in Variety magazine of February 16.

 

From the coast, he has brought in Rinker and Crosby, a smart two man piano act who sing pop ditties differently and are of the Van and Schenck class. After Whiteman gets through grooming the boys, they’ll be plenty in the money. At the Whiteman restaurant, they will be even more impressive. . . . Rinker and Crosby vocalized two numbers and accepted as many encores.

 

Unfortunately, the Crosby and Rinker act cannot be heard in certain parts of the theater and, at the request of the theater management, is withdrawn after only three performances. Thereafter Bing and Al sing in the lobby to the overflow crowd waiting to enter the theater.

February 18, Friday. Paul Whiteman’s “Broadway at 48th” Club opens on the site of the former Trianon at 11:00 p.m. in front of a host of celebrities, including the brother of the King of Spain and Charlie Chaplin. The orchestra is advertised as playing during dinner and supper. Crosby and Rinker are hardly noticed when they perform during the intermission and they are eventually relegated to fill in as stagehands pulling back the curtains.

 

Whiteman’s orchestra of 33 is guaranteed $6,000 a week, which is included in the running expenses of the room. This about covers the Whiteman salary “nut.” Of the profits, Whiteman receives 50 per cent, which is estimated should run over $10,000 a week for Whiteman personally at that gait.

(Variety, March 2, 1927)

 

February 25, Friday. (1:45–4:15 p.m.) More group work for Bing and Al on “That Saxophone Waltz” at a recording session in New York with Whiteman for Victor.

February 28, Monday. (1:45–4:30 p.m.) Bing and Al record “Pretty Lips” with Whiteman, this time successfully.

March 3, Thursday. Bing and Al record “I’m Coming Virginia” but all four takes are rejected. Elsewhere, a son, John Dennis, is born to Larry and Elaine Crosby.

March 7, Monday. (1:45–4:00 p.m.) Bing records “Muddy Water” with Whiteman in New York for Victor. His first solo, albeit only a chorus, and without label credit.

 

Victor No. 20513 and No. 20508. Three-quarters Paul Whiteman on these two records. The first is all Whiteman. “It All Depends on You” and “That Saxophone Waltz” are an excellent coupling and “Muddy Water” with “Ain’t She Sweet” (Nat Shilkret) are equally fetching.

(Variety, April 20, 1927)

 

Three days after that, on March 7, at New York’s Liederkranz Hall, Whiteman’s faith was rewarded as the band essayed another Malneck arrangement, “Muddy Water,” a song recently introduced by Harry Richman, the egocentric headliner who graduated from burnt cork to top-hat-and-cane elegance. It was the work of white composer Peter De Rose, at the outset of a career that produced “Deep Purple” and “Wagon Wheels,” and black lyricist Jo Trent, whose “Georgia Bo-Bo” Louis Armstrong had recorded the previous year. This time Al was left out altogether.

“Muddy Water” did not electrify the music world. It was no “Heebie Jeebies” or “Heartbreak Hotel,” though sales were respectable.  Yet Crosby’s first recorded chorus—thirty-two measures—was every bit as radical. Nothing remotely like it had been heard before. The song, with its bucolic theme of an idyllic life “down Dixie way,” was cannily appropriate for a Dixiephile like Bing. Yet his delivery is never patronizing or sentimental. He bets everything on his rhythmic phrasing and gives each word its due. The introductory trombone, answered by strings, and a bold unison ensemble chorus promise a jazz record; but only the vocal, backed by viola and rhythm, make good on the promise. Though stilted and even formal, Bing’s time and articulation are assured, especially on the bridge, where he emphasizes there and care with trilling vibrato that displays his growing affinity for swing.

No singer had ever come close to swinging on a Whiteman record or with any other white ballroom band…Crosby’s very presence was singular. He was the first ever full-time band singer, not an instrumentalist who doubled vocals.

(Gary Giddins, Bing Crosby, A Pocketful of Dreams, The Early Years, 1903-1940, pages 156-157)

 

March 9, Wednesday. Variety quotes the cabaret bill at the Paul Whiteman Club as being the Paul Whiteman Orchestra and the “Whiteman Boys.” The latter act presumably includes Bing and Al Rinker.

March 22–May 21, Tuesday–Saturday. The Whiteman troupe is featured in the musical comedy Lucky starring Mary Eaton at the New Amsterdam Theater. Ruby Keeler and Skeets Gallagher are also in the cast. The Whiteman band appears each night for twenty-five minutes at about 11:00 p.m. in a New York cabaret sequence late in Act Two and plays five numbers. Bing and Al sing “Sam, the Old Accordion Man.” High prices have to be charged to cover the cost of including the Whiteman orchestra. The show, which has matinees on Wednesdays and Saturdays, lasts for only seventy-one performances. The orchestra also continues to perform at the Whiteman night club during this period.

 

…The big smash in the second act is Whiteman and regardless of Whiteman’s ultra syncopation, it is a far better second half than the first act. The dramatic action is excellently built up, and where the initial stanza relied too much on impressive scenic gorgeousness for general effect, there is more genuine entertainment and comedy in the first two scenes of the last act when, of course, the Whiteman smash cinches everything. Discounting a favorable position for the ultra type of Whiteman’s symphonic syncopation, there is no question but that Whiteman is the biggest individual click of the evening. His concert alone makes the show very worthwhile.

Coming on at close to 11— about five minutes of— he held them until 20 after, and that is no small assignment, considering the hour. The tardiness of the getaway is probably the only criticism of the entertainment. It should be speeded up for an earlier curtain, and there is room for elision in that first half.

Whiteman was impressively set in a maize and blue setting, opening with “When Day Is Done,” followed by an unabridged version of “Rhapsody in Blue.” Wilbur Hall was but mild with his fiddling, and might concentrate only on the bicycle pump “music.” The colored midget clicked heavily with his banjo and hoofing contributions, and Whiteman showed how “Sunday,” “Sam, the Old Accordion Man” and “In a Little Spanish Town” should be glorified musically.

Whiteman’s score at the Amsterdam determines beyond a doubt that Whiteman belongs primarily on the stage. It is only in the confines of a theatre or concert hall auditorium, with an attentive audience, not confused by booze or babble, that the charm of Whiteman’s blah-grade syncopation is best appreciated. His 28 men are the last word in ultra syncopation.

(Variety, March 30, 1927)

 

With book and lyrics by Otto Harbach, Bert Kalmar, and Harry Ruby and score by Jerome Kern, and with supporting performances by Walter Catlett, Skeets Gallagher, and Ruby Keeler, it seemed to have everything going for it. Paul Whiteman’s orchestra also played in the second act of Lucky, including a version of Gershwin’s “Rhapsody in Blue.” And even though that was a very popular attraction, it was not enough to keep the show going very long. (It seems clear, looking back, that any musical comedy that pauses for “Rhapsody in Blue” in its second act is bound to have problems.) Each evening, the show ran until a quarter to midnight, and even those who liked the show thought that it was simply too long. And there was not a compelling story to hold it all together or memorable songs (“Dancing the Devil Away,” “When the Bo-Tree Blossoms Again,” and “The Same Old Moon”). That same year, Kern was doubtless pouring his genius into Show Boat, not into Lucky. While it had a lot going for it, the show’s tragic flaw was its extravagance, Dillingham tried to outdo Ziegfeld in extravagance and splendor and it proved very costly. The reports were that Dillingham ended up losing $133,000.

During the run, Charlie (Eaton) got acquainted with Bing Crosby, who was one of the three Rhythm Boys with the Whiteman orchestra, and they would visit each other in Hollywood in the years to come. It was Charlie who introduced Dixie Lee to Bing on a movie set in Hollywood in 1929, when Charlie was filming Harmony at Home.

(Doris Eaton Travis, The Days We Danced, page 111)


In order to appear in a Broadway show, Paul won a release from his Publix contract two weeks before the new production opened on March 22. Producer Charles Dillingham had offered the Whiteman orchestra $9,500 a week, a record high in 1927. Lucky proved to be misnamed. Though it had songs by Jerome Kern, Bert Kalmer [sic], Harry Ruby, and Otto Harbach, and a cast led by Mary Eaton, Ruby Keeler, and Walter Catlett, the production generated little enthusiasm when it came into the New Amsterdam Theatre. There was not much Paul and his men could do with the lackluster score. In every direction, theater marquees beckoned with competing offerings: The Desert Song, Oh, Kay!, Honeymoon Lane, Rio Rita, and Peggy Ann. Lucky remained among them for only nine weeks.

…One of the few bright moments in Lucky came about because Paul insisted on giving Crosby and Rinker a feature spot. Because no number in the score seemed suitable for the duo, he picked up a Tin Pan Alley tune, “Sam, the Old Accordion Man,” and added his band’s Mario Perry on the accordion. The number went over big at a time when Paul was wondering what to do with the two musicians from Spokane.

(Thomas A. De Long, Pops – Paul Whiteman, King of Jazz)

 

April 13, Wednesday. The new floorshow at the Paul Whiteman Club opening today is said to include “the following entertainers from Whiteman’s Orchestra: Henry Busse, Jack Sperzel, Wilbur Hall and Big Crosby [sic].”


During the spring of 1927 Whiteman endeavoured to break into the night-club business with his ill-fated “Whiteman Club”, but though the venture as a whole was doomed to failure, it was responsible for the recognition one afternoon of the talents of a young rhythmic vocalist-composer, Harry Barris, then appearing with the orchestra of George Olsen. Whiteman gave him an immediate contract and thus, with Rinker and Crosby, completed the unique vocal trio who were to achieve world fame as “Paul Whiteman's Rhythm Boys”.

Then came the most significant move of all. In April, 1927, Whiteman approached Red Nichols and his Five Pennies to join his orchestra en masse. Red Nichols and Jimmy Dorsey signed on with the maestro at once and were in time for an important session on the 29th April, at which “Side by Side” and “I’m Coming, Virginia” were recorded. Of the remaining Pennies, Joe Venuti, Eddie Lang and Vic Berton all joined Whiteman within the next few weeks, though in each instance their stay was of short duration. Venuti, who preferred playing one-nighters, and his partner Eddie Lang, soon returned to Atlantic City; and Vic Berton, who did not find the Whiteman style greatly to his liking, left at the end of May, having, nevertheless,” contributed his distinctive cymbal-beating to the various recordings made during that month.

(Charles H. Wareing and George Garlick, Bugles for Beiderbecke, page 136)


April (undated). The duo becomes a trio when Harry Barris joins them on Matty Malneck’s suggestion and the new group becomes Paul Whiteman’s Rhythm Boys one month later.

 

By an odd quirk of fate, it was Paul’s father who rescued Bing and Al. The Professor had urged one of his popular vocal students to go to New York for an audition with his son. The young man had demonstrated his talent in many musical productions in Denver. Wilberforce wrote Paul, “He can write songs. He is a quick and a very bright boy.” Harry Barris arrived at Paul’s office in March 1927, brim-full of ideas and suggestions.

“Tell me what you think I can do with Crosby and Rinker” asked Paul. “They’ve bombed nearly every place since we came back to Manhattan.”

“I know one thing, I’d like to be on stage with you.”

“I’m loaded with singers. I’ve a half-dozen in the band now. I’ve got more singers than a sewing machine factory.”

“I can do more than just sing. I write songs.”

“Let’s hear a few. Maybe you could bring some new life into those Walla Walla Indians. How would you warm up their hambone stew?”

“First,” Harry replied, “I’d add myself and another piano to the act. Then I’d put in some slapdash humor. That would wake up the folks. I’m sure I can fix up the act.”

Paul agreed to hire the confident newcomer from Denver. “You’ll start at 75 bucks. If this trio flies, you get 150—the same as Al and Bing.”

A new team was born. Harry wrote a jazzy tune called “Mississippi Mud” to launch the act. He rehearsed it thoroughly. As they worked together, his enthusiasm spread to Al and Bing, and they pushed harder than ever. Their verve and polish attracted everyone’s attention. Bing and Al were back in the spotlight with a new partner. Calling themselves the Rhythm Boys, they used three-part harmony on the numbers that Bing and Al had been doing, added new songs, and brought in two pianos.

(Thomas A. De Long, Pops – Paul Whiteman, King of Jazz)


We fooled around with some ideas and we tried out some three-part harmony. . . . One of Harry’s tricks in his solo act was to slam the top of the piano for an effect and make the sound of a cymbal with his mouth. This sounded great and all three of us were getting our kicks at the way we sounded. We all came up with ideas. Bing took most of the solo parts and Barris and I would fill in with answers or a rhythmic scat background. Although we weren’t conscious of it, we were creating an entirely new style of singing pop songs. We were far more jazz oriented than any other singing group of that time. . . . We were greatly influenced by the great jazz musicians we had heard and were working with. We were very free and uninhibited. We had a solid beat in our rhythm numbers, but we could also give a pretty ballad an individual and personal feeling. In two more days we had put together two complete songs, “Mississippi Mud” and “Ain’t She Sweet.” We sang the songs for Matty Malneck and he was bowled over.

(Al Rinker, as quoted in Bing Crosby, A Pocketful of Dreams, pages 161–162)

 

April 19, Tuesday. Everett Crosby marries Naomi Marcellus in Los Angeles. Everett is described as being with the Federal Motor Trucks company in Los Angeles.

April 29, Friday. (1:30–4:00 p.m.) Bing and Al again record “I’m Coming Virginia” with Paul Whiteman and his Orchestra. This time it is a success. Harry Barris joins Bing and Al to record “Side by Side” with Whiteman.

 

Bing was more himself on Malneck’s adaptation of “I’m Coming, Virginia,” the song he and Rinker had flubbed at a previous session, with Barris adding only a hot-cha-cha coda. Here Bing captures the originality of “Muddy Water,” combining his deft time with a full, relaxed articulation of the words. Contrary to Al’s suggestion of a diligent jazz influence, two surviving takes show that their scat routines were worked out to the last detail. Yet Bing’s imperturbable vocal, Matty’s writing, Nichols’s solo, and the band’s skill combined to make “I’m Coming, Virginia” the best and most authentic jazz record Whiteman had ever made.

(Gary Giddins, Bing Crosby, A Pocketful of Dreams, The Early Years, 1903-1940, pages 162-163)

 

May 6, Friday. Further recording session with Whiteman at Liederkranz Hall in New York as part of a vocal group.

May 9, Monday. Another recording session at Liederkranz Hall. Bing is part of a vocal group singing, "I'm in Love Again".

May (undated). Writes to Bobbe Brox who is on tour with the Brox Sisters in Philadelphia.


I'm sick of this town, the inhabitants thereof, and the appurtenances thereto. Work day and nite, with no opportunity for any healthy recreation and only able to find amusement in the solace of rum with its subsequent discomforts. I got a strong yen on to get from here, preferably coast work and unless things take an unlooked turn for the better shall gratify said yen.

Business at the club is a bit sad and the same is true of the show. It appears as tho the 1st of June will find both jobs terminated, praise God! And then I believe we go into the Paramount for 10 weeks. Imagine the unalloyed pleasure of 5aday in Midsummer in New York. No golf, no ball games. Odzooks! Tis most disconcerting.

I might run down there next week if I can make it. If you come to town don't neglect to call me. Hope the surroundings in staid Phillie have quieted down your urge for companionship and revelry.

Lotsa Love

Bing



May 22, Sunday. Whiteman gives a one-hour concert at the Century Theater in New York city as a benefit for Saranac Lake Day Nursery. (The Saranac Lake Day Nursery was founded in the early 1920s by theatrical agent William Morris and members of the Friars Club to care for children of tuberculosis patients in Saranac Lake, New York.)
     May 24, Tuesday. (1:00–4:40 p.m.) Bing, Al Rinker and Harry Barris record “Magnolia” with Whiteman. They are not yet billed as “The Rhythm Boys.” That night, the Paul Whiteman Club closes for the summer and in fact it is sold during August and the name is changed. Variety on May 18 had discussed the impending closure stating, “Only caterer made money.”

May 25, Wednesday. Variety states that Charles B. Dillingham has suffered a net loss of $270,000 on his production of Lucky which closed on May 21.

June 4–10, Saturday–Friday. The Whiteman troupe returns to the Paramount in New York at $9,500 for the first two weeks and $10,500 per week thereafter. The show starting on June 4 is called Rhapsodyland and it alternates with the film. A favorable review is seen in Variety on June 8.

 

…so a word instead for that new vocal trio, “Bing” Crosby, Al Renker (sic), and Harry Barris who made their spot a stellar opportunity in itself.


...The trio scored when Paul and the band returned to the Paramount in June 1927 for six weeks—an unprecedentedly long run, to the tune of $10,500 a week. The movie being shown was a first-class comedy, Running Wild with W. C. Fields, but the stage attraction outlasted several Hollywood features. Ruth Etting, rejoining Paul, pleased New Yorkers with her modulated, almost crooning voice. Monologist Charles Irwin provided comic relief, and organist Jesse Crawford opened all the stops on his mighty instrument. Paul and the gang entertained a capacity house intent on enjoying the biggest and most highly acclaimed band in the country. Whiteman gave his audiences the best musical variety show in town, with such production numbers and musical finales as “Rushia,” which put the Whiteman group in Russian dress, and “U.S.S. Syncopation,” which had everyone wearing sailor suits. The costly presentations also included an “Ali Baba” segment featuring Vanda Hoff Whiteman in her dancing comeback. Working with Paul and the band on stage gave Vanda a chance to see more of her frequently absent husband. His never-ending public appearances meant that she could enjoy little or no home life. The marriage suffered as his million-dollar organization demanded more and more of Paul’s time. And no doubt about it, Paul preferred the excitement of Broadway and the road to an easy chair in front of the fire.

(Thomas A. De Long, Pops – Paul Whiteman, King of Jazz)

 

     June 11–17, Saturday–Friday. Whiteman continues at the New York Paramount and this time the show is called Rushia!

 

It’s tremendous in volume and magnificent in effect. It’s the ‘1812 overture,’ with Whiteman’s band on the stage, the pit orchestra, and Jesse Crawford at the organ, all under Whiteman’s leadership.

(Variety, June 15, 1927)

 

June 18, Saturday. Bing’s sister, Catherine, who has married Edward Mullin, gives birth to a daughter, Marilyn.

June 18–24, Saturday–Friday. Whiteman still at the Paramount and the show is now called S. S. Syncopation.

 

…the highmark of which was Ruth Etting and a “hot” singing threesome from the band personnel.

(Variety, June 22, 1927)

 

June 20, Monday. The Rhythm Boys make their first “official” records, including “Mississippi Mud” in New York.

 

Paul Whiteman’s Rhythm Boys make their debut with a nonsense medley of ditties that include four different copyrights: “Sweet Li’l” and “Ain’t She Sweet?” on one side; “Mississippi Mud” and “I Left My Sugar Standing in the Rain” on the other.

(Variety, August 3, 1927)

 

The variety of jazz put into these pieces is distinctive and unique and includes rapid fire patter, bits of solo work, minor chords and close harmonies with deft business on the piano and with the cymbals.

(Spokane Daily Chronicle, August 23, 1927)

 

Paul Whiteman’s Rhythm Boys, three members of his famous band, give us a really entertaining record and one that I advise everyone to buy with “Sweet Li’l—Ain’t She Sweet” and “Mississippi Mud—I Left My Sugar Standing in the Rain” (HMV B2562). (The Gramophone, December, 1927)

 

Midway through the Paramount run, the Rhythm Boys formally debuted on records, singing the first two numbers they had rehearsed, now tricked up as medleys and accompanied only by Harry’s piano and Bing’s cymbal whacks. “Mississippi Mud” is oddly structured: a twenty-two-bar chorus with a sixteen-bar middle section. The lyric is catchy (though marred by the term darkies, which was eventually changed to people), and the melody is propelled by accents on the first beat of almost every measure. Bing recorded it three times over the next seven months. Though the Rhythm Boys’ version is not as effective as those that followed, it confirmed the trio’s style as part music and part wisecracking comedy. A scat passage introduces them one at a time: Bing, then Al, then Harry, who finishes with a hahh. After a unison chorus in which Bing takes the lead in the middle section, the patter leads to an interpolation of “I Left My Sugar Standing in the Rain,” where Bing displays for the first time on record his sustained balladic tones as well as his humor and wordplay - in the spin he puts on the spoken phrase “I don’t know” and the spoonerism “irregardless and respective.” The second number employs “Ain’t She Sweet” as a rapid windup to Barris’s “Sweet Li’l.” Bing instructs the others at the outset, “If it’s gonna be good it must be fast,” and when they close with an exchange of scat breaks, he mimics a tuba (bub-bub-bub bub-a-bub-bub-bub), the modest beginning of a trait for future mimics.

Those recordings are not especially good, and darkies aside, have not aged well. Barris is too jumpy, though Rinker proves fairly adept at scat, and the humor is intrusive. Still, “Mississippi Mud” became hugely popular, and they performed it nightly at the Paramount and at the Whiteman club, establishing it as their signature song. Everyone who saw them remembered the number as a Jazz Age anthem. It secured Barris’s role as the new brains of the outfit, supplanting Al, who was both grateful and annoyed.

(Gary Giddins, Bing Crosby, A Pocketful of Dreams, The Early Years, 1903-1940, pages 164-165)

 

June 25–July 1, Saturday–Friday. Whiteman continues at the Paramount in a show entitled Jazz A La Carte. Ruth Etting continues in the show.

July 2–8, Saturday–Friday. Whiteman remains at the Paramount with a show called Fireworks. Tommy Dorsey joins the band.

 

It’s in patriotic tempo with electric pinwheels and effects for the final curtain…Three boys, two of them Crosby and Rinker, the blues yodelling plebes from Spokane, had a cute number in front of the band, using pop guns. The presentation was zippy colorful entertainment all the way.

(Variety, July 6, 1927)

 

July 6, Wednesday. (10:00 a.m.–12:15 p.m.) Bing and Al are again part of a humming vocal group that records ‘My Blue Heaven’ with Whiteman in New York. ‘My Blue Heaven’ goes on to top the various charts of the day.

 

Victor No. 20828 — “My Blue Heaven” and “All by My Ownsome,” by Roger Wolfe Kahn and orchestra (the number composed by the conductor) are a pair of fine fox-trot contributions by two “name” maestros. “Blue Heaven” introduces that unique Whiteman quintet (Fulton, Gaylord, Young, Rinker and Crosby) in a novelty vocal chorus arrangement. It is one of the best records made by Whiteman.

(Variety, September 7, 1927)

 

July 9–15, Saturday–Friday. Whiteman’s “grand farewell party” at the New York Paramount in a show dubbed Ali Baba.

 

Curtain arose with the fakir and his crew doing their garbed chant in front of scrim and Whiteman making his entrance in tropical garb. Scrim goes up and reveals the Whiteman crowd all in oriental dress, doing their stuff under the direction of Henry Busse.

(Variety, July 13, 1927)

 



July 31–August 7, Sunday–Sunday. The Whiteman band appears at the Eastman Theatre in Rochester, New York, giving four 30-minute performances daily and receiving $11,000 for the week’s engagement. The performance on August 1st is dislocated by a power failure but Whiteman and his musicians, using flashlights and cigarette lighters, continue to entertain the crowd.

 

Paul Whiteman adverts panic in theatre

Rochester and scores of western New York cities and bridges were plunged into darkness for nearly an hour last night when all electric power was cut off following a severe electrical storm.

Three thousand persons in the Eastman theatre were thrown into a panic by the failure of the powerlines and started a mad rush for the exits. Paul Whiteman, orchestra leader, struck up music and saved most of the audience from possible injury. Those who did get to the streets arrived in time to see five manholes in the main street blown into the air by some disturbance beneath the surface. Fire was burning in the cables under the street…

Whiteman, the “King” of American jazz artists, crooned the audience into calmness with his forty-piece orchestra. Plunged suddenly into darkness in the midst of a lively number, nearly two score frightened men and women climbed up in their seats and begin to rush for the door. Whiteman, hearing the commotion took instant command of the situation. Seizing two flashlights used in a feature number, he flashed them off his face.

“I'm still here,” he shouted to the audience.

Passing from one side of the stage he flashed the lights on the faces of the players.

“We’re all here,” he cried. “We’ll stick if you will.”

The frightened patrons sat down.

(The Evening Sun, August 2, 1927)

 

August 2, Tuesday. The Rhythm Boys present a short program at 7pm. on station WHEC in Rochester.


Paul Whiteman’s trio will broadcast here.

The three “hot singers,” prominent members of Paul Whiteman’s band, that heads the Eastman Theater bill for this week will feature the broadcast over Station WHEC at 7 o’clock tonight. The trio, composed of Bing Crosby, Harry Barris and Al Rinker will present some of the two-piano numbers and jazz songs which they give as part of the regular Whiteman program. Their selections on the current Eastman Theater program have proved very popular, according to the management. In order to allow the musicians time to get back to the theatre for their 7:30 o’clock performance, the program over station WHEC will commence promptly at 7 o’clock.

(Democrat and Chronicle, August 2, 1927)


August 8–21, Monday–Sunday. Paul Whiteman and his troupe appear at the Stanley Theatre in Philadelphia.


…There was an uproarious bit of broadly burlesqued female impersonation and a “nut” interpretation of “Mississippi Mud” by a singer and two topsy-turvy pianists...

(The Philadelphia Inquirer, August 9, 1927)


August 14, Sunday. The Rhythm Boys plus Paul Whiteman, Jimmy Dorsey, Matty Malneck and others go to Young’s Million Dollar Pier in Atlantic City where Jean Goldkette’s Graystone Band is playing. Whiteman offers jobs to Bix Beiderbecke, Frankie Trumbauer and Bill Challis. Bix and Frankie decline the offer although Challis accepts.

August 16, Tuesday. The Rhythm Boys are used in a morning recording session with Whiteman starting at 9:00 a.m. in Camden, New Jersey and record “The Five Step”.

August 19, Friday. Bing is one of several vocalists on a recording of “The Calinda” with the Whiteman orchestra. Another morning session starting at 9:00 a.m. in Camden, New Jersey.

August 20, Saturday. Commencing at 9 a.m., The Rhythm Boys record “It Won’t Be Long Now” with Whiteman in Camden, New Jersey.

 

Victor No. 20883 — Paul Whiteman with some more “Manhattan Mary” music, “It Won’t Be Long Now” and “Five-Step”. They are in an unusual Whiteman vein, futuristic, fast and funny in their instrumentation. Barris, Rinker and Crosby of the Whiteman item contribute vocally.

(Variety, October 5, 1927)

 

August 22, Monday. The Whiteman ensemble travel to York, Pennsylvania for a 2-week dance tour through Pennsylvania and New England. They entertain at the Crystal Ballroom, White Rose Park, York that night,


5,000 Hear Whiteman Orchestra at Park

An estimate made by Manager G. A. Ehlicker places the attendance last night in the Crystal ball room, at White Rose park, at 5,000. The attraction was Paul Whiteman and his 32-piece orchestra.

The floor was filled to capacity. Aside from the large numbers that were dancing, hundreds were congregated in front of the orchestra stage.

Hundreds of people were lined up outside the ball room, some trying to peer over the sides of the wall enclosing the ball room, and some standing on the fence along the boardwalk leading to and from the park. During the concert-dance, Mr. Whiteman and his orchestra presented many features not ordinarily seen at dances in this section. Comedy skits and jokes were well presented. One of the many features of the evening was the presentation of several singing numbers by the Paul Whiteman Harmony Three. The concert-dance was opened at 9 p.m. and continued until 12:30 a.m.

(The York Dispatch, August 23, 1927)


August 23, Tuesday. (8:30 pm.-12:30 a.m.) Next, they are at the Lakewood Ballroom, Pennsylvania. It is estimated that 7000 people are inside the pavilion with a similar number outside.

August 24, Wednesday. (8:30 pm.-12:30 a.m.) Maple Grove Park, Lancaster, Pennsylvania is the next stop for the Whiteman group.

August 25, Thursday. (Starting at 10:15 pm) Whiteman and his band entertain at the Crystal Palace, Rocky Glen, Pennsylvania.

August 26, Friday. (9pm-1.30am.) Whiteman leads his band as they perform at the Cambria County Fair Pavilion, Ebensburg, Pennsylvania.

August 27, Saturday. (7:30 p.m. - 12 midnight) The Whiteman aggregate entertain at Island Park, Sunbury, Pennsylvania.

August 28, Sunday. The band plays at Willow Grove Park near Philadelphia. Rain keeps the crowds away.

August 31, Wednesday. Whiteman concert at Cook's Crystal Ballroom, Willow Park, Connecticut.

September 1, Thursday. En route from Springfield, Massachusetts to a concert at Rhodes Dance Hall on Providence, Rhode Island, the bus carrying most of the orchestra breaks down twice. A crowd of 5500 people are entertained by Whiteman and seven of his musicians for over an hour until the rest of the band arrives at 10:20 p.m. Whiteman arranges for the orchestra to continue playing until 2:00 a.m., an hour past the scheduled closing time.

 

Paul Whiteman’s record for punctuality on road engagements was broken Thursday night, when a bus load of his music makers kept a crowd of 5500 waiting an hour and a half at Rhodes dance hall. According to Paul he and the troupe had played 600 towns in the past two years, and had never been late.

For the entertainment of one of the largest crowds to ever attend the Pawtuzet Hall, Paul and seven of his men joined with the Rhodes orchestra to furnish music for the dancers until the lost musicians arrived. At 10:20 the remainder of the troupe arrived in a private bus which had broken down twice on its trip from Springfield, Mass.

In contrast with the ultra stylishly dressed units which have appeared at Rhodes throughout the summer, Paul’s outfit tumbled out of the bus in sweaters, turndown collars, knickers, etc. To atone for lateness Whiteman held his orchestra until two o’clock, an hour over the scheduled closing time.

The highly successful one-night dance tour by Paul Whiteman and orchestra has swamped the William Morris office with offers for other “name” bands impressed with the $12.000 weekly average that Whiteman grossed in the ballrooms.

(Variety, September 7, 1927)

 

September 2, Friday. The Whiteman band entertain at the New Casino Ballroom, Hampton Beach, New Hampshire. Whiteman himself is absent.

September 3, Saturday. The orchestra plays at the Lyonhurst ballroom, Marlborough, Massachusetts.

September 10–23, Saturday–Friday. Whiteman and his troupe appear at the New York Paramount as the first part of a tour on the Publix circuit.

 

…Whiteman’s band is not trading on its reputation. As presented this week the band numbers top everything, including a male show-stopping acrobatic dancer. Proving that if Whiteman and the boys had to play in front of a plain drop they would still be worth the full price of admission on sheer entertainment value, if applause following “When Day Is Done,” may be considered any indication.

(Variety, September 14, 1927)

 


September 21, Wednesday. (2:00–4:10 p.m.) Bing records ‘Missouri Waltz’ with Whiteman at Liederkranz Hall in New York as part of a vocal group.

September 25–October 1, Sunday–Saturday. Whiteman at the Metropolitan, Boston.

 

Boston. Oct. 4.

Even though it was a week when indoor entertainment would naturally suffer through the abnormal weather conditions, three days of the week being exceptionally hot, three of the picture houses hung up grosses which read more like those that are entered in the books during the height of the season.

      Whiteman and his orchestra at the Metropolitan took Boston by storm at the opening and kept filling the house and the lobbies with standees until when he had finished the gross had run to $49,800. Even though Whiteman was not actually in need of it, those in charge of the publicity for the house did not overlook any chances to get him into the dailies.

      This gross of Whiteman’s, for it can all be laid to Whiteman with the picture furnishing but little in the way of an attraction, ranks well with the record breaking grosses of this house in this and other seasons.

(Variety, October 5, 1927)

 

October 2–October 8, Sunday–Saturday. Whiteman and his orchestra at the Shea's Buffalo Theatre in Buffalo, New York.


…The man that plays the bicycle pump is again appearing with the orchestra and three who are called the Whiteman Rhythm Boys do some comedy songs among which is one “I Left My Sugar Standing in the Rain.”

(The Buffalo News, October 3, 1927)


Newcomers in Buffalo are the Whiteman Rhythm Boys, whose real name is spelled PEP, and when put over Mississippi Mud and Broken Hearted, they win generous applause.

(Buffalo Courier-Express, October 3, 1927)


October 4, Tuesday. Several members of the Whiteman group present a program from Shea's Buffalo theatre over radio station WMAK.


Two (sic) bangup entertainers known as Whiteman’s Rhythm Boys sang Mississippi Mud, I Left My Sugar Standing in the Rain, and a screamingly funny song called That’s Grandma.

(Buffalo Courier-Express, October 5, 1927)


October 6, Thursday. The film The Jazz Singer starring Al Jolson premieres at the Warner Theater, New York. This is often regarded as the first “talkie.”

October 9–15, Sunday–Saturday. The Whiteman troupe appears at the Michigan Theater in Detroit. The Rhythm Boys make a considerable impact.


The Rhythm Boys with the aid of a couple of under-developed pianos, put additional pep into the evening with “Mississippi Mud” and “Broken Hearted”.

(The Windsor Star, October 12, 1927)

October 14, Friday. Staying at the Book-Cadillac Hotel in Detroit, Bing sends a typewritten letter on hotel notepaper to the Misses Rice and Shaefer.


The Misses Rice and Shaefer:

My dear Ladies –

I must confess that I was considerably nonplussed disconcerted or something by your rather novel request of recent date. Always wary of a hoax emanating from the more playful spirits of the band, I was at first blush, a little suspicious.  But a more careful examination of your epistle convinced me, for the once, of its sincerity and I am accordingly hastening to comply with the desire contained therein.

Unhappily the present instant finds me utterly bereft of any suitable likenesses other than newspaper cuts, which I am enclosing.

However, we are planning on sitting for portraits in Cincinnati next week while playing at the spacious Castle Farms, and, if your avidity for a daguerreotype remains unassuaged, I shall dispatch one by the earliest post.

With kindest regards, I beg to remain the wolf of the 49th Street Flying field.

Bing Crosby


October 16–21, Sunday–Friday. Whiteman at Castle Farm, Cincinnati.


Paul Whiteman played one long encore at Castle Farm last night. Dance bands come and go, but Paul Whiteman’s popularity seems to go on forever. After the first number last night, it was a continuous carnival of enthusiasm for the uncrowned king of symphonic syncopation, and when the lights were dimmed and the band played “Home Sweet Home,” the dancers still were pleading for “just one more.”

(The Cincinnati Enquirer, October 17, 1927)


…Harry Barris is the little chap who throws a fit singing “Mississippi Mud” at Castle Farm, where the Whitemen are concluding Friday night. Harry wrote that ode to loam as well as “Sweet L’il,” which he sometimes sings to vary the program. He is one of the three Rhythm Boys with the band. If you imagine they are not important, consider that they are making phonograph records. That ought to hold you gaping…

(The Cincinnati Post, October 21, 1927)


October 22–28, Saturday–Friday. Whiteman is at the Indiana Theater, Indianapolis. Bix Beiderbecke and Frankie Trumbauer join him there on October 27 as the Jean Goldkette band has dissolved.

 

As rotund and pleasantly ebullient as ever, this leader directs an amazing dexterous band through the rhythmical intricacies of popular melodies, melodies that are so interlarded with counter-themes, so embellished with capricious cadenzas and so besprinkled with the newest harmonies, that the simplest tune becomes a fantasia.

(Indianapolis News, October 24, 1927)


…He has as special and pleasing entertainers the Whiteman Rhythm Boys and Wilbur Hall, who contribute liberally to the entertainment…

(The Indianapolis Star, October 24, 1927)


When Paul Whiteman brought his band to the Indiana Theatre in Indianapolis, Harry Hostetter and I hurried down to hear them. Bix was in the band along with Trumbauer, the Dorsey boys, Bill Rank, Eddie Lang, and Joe Venuti. Whiteman now had an orchestra that nearly made true the title “King of Jazz” (as he billed himself). That he never really understood it—and deviated from it a lot—well, that was show business. Loafing at the stage entrance, Bix introduced us to the Rhythm Boys—-Bing Crosby, Al Rinker, and Harry Barris. Bing was lean, blond, balding——and full of personality. He held out a warm hand. “Howdy.”

Bix was fatter than when I had last seen him, but looked well. He jumped with jovial success and even a neat prosperity, from his crisp bow tie to his shiny shoes. He had grown into a handsome man. We kidded and I felt out of it. But the feeling of remoteness vanished, almost immediately. Bix took us over to Jimmy Dorsey, who introduced us to Whiteman himself. “Pops, this is Hoagy Carmichael and this is Harry.”

“Riverboat Shuffle—sure.” ’

“So somebody heard it.”

Whiteman was huge in those days, a mountain of suet, but cheerful, and wise to showmanship. “What are you working on now?”

“Things,” Harry said, for I went speechless when it came to talking of my creative side.

(Hoagy Carmichael with Stephen Longstreet, Sometimes I Wonder)

 

October 29–November 4, Saturday–Friday. Whiteman is in St. Louis at the Ambassador Theater sharing the cine-variety bill with the film Lonesome Ladies. He is paid $12,000 for his week’s work. Bing is introduced to Estelle Shaffner and they go with Bix Beiderbecke and Ruth Shaffner on a tour of the night spots ending up at “The Wedge” where Bing sings with the band.

 

Whiteman and his ensemble in red coats on the stage feature ‘Under the Moon,’ Shanghai Dream Man,’ and ‘When Day Is Done.’ The biggest single hit is Whiteman’s comic violinist, and the next hit is his singing trio with their two miniature pianos. Whiteman’s personality, this visit, is submerged in the music and clowning.

(St. Louis Daily Globe-Democrat, October 31, 1927)

 

November 5, Saturday, The band travels to Chicago and stays at the Commonwealth Hotel. In the evening, Jimmy Dorsey marries Jane Porter at the Hotel Sherman,

November 7–13, Monday–Sunday. Whiteman performing in Chicago at the Chicago Theater. During the week, Bing, Bix Beiderbecke, and the Dorseys go to the Three Deuces Cafe at 222 North State Street for a jam session, which goes on until the early hours of the morning.

 

Nightclubs were the center of Capone’s business and, also, his source of relaxation. Kutner recalled that he went along with Capone time after time to hear Isham Jones at the College Inn, “a big hangout for the boys.” And he remembered when Bing Crosby, then an unknown from Spokane, Washington, was in town with Paul Whiteman’s Rhythm Boys, and showed up at the Three Deuces (a Capone cabaret). “He came into the Three Deuces with Bix Beiderbecke, who said that some dude had invited them to play in Cicero. They had been told that they would be picked up at the Deuces. . . . Crosby sat there biting his nails and drinking Coke. Chicago made him nervous, he said. . . . Finally one of Al’s limousines called for them. I went out with them and introduced myself to the driver: ‘You know me, I play piano for Mr. Brown (Capone’s pseudonym).’ Capone had set up the Greyhound Club for them to play in, with his boys patrolling the streets armed to the teeth like a small army. Bing stepped out of the door of the limousine, looked around at all the mugs toting submachine guns in the open, and asked me, ‘Is this a jazz joint or World War II?’ He had never before seen men carrying arms like this in the heart of an American city.”

(When Hollywood Had a King, page 22)

 

November 8, Wednesday. Bing sees comedian Joe E. Lewis work at The New Rendezvous in Chicago. Lewis had refused the request of Jack “Machine Gun” McGurn (an Al Capone lieutenant) to renew a contract that would have bound him to sing and perform at the Green Mill Cocktail Lounge, which was partly owned by McGurn.

November 9, Thursday. In the early hours, Joe E. Lewis answers a knock at his door on the tenth floor of the upscale Commonwealth Hotel and finds himself eye-to-eye with three gangsters employed by McGurn.  They viciously pistol-whip him, slash his throat from ear to ear, slice off a piece of his tongue, and leave him for dead.  Miraculously, however, he survives. 

November 11, Friday. The Rhythm Boys record “That’s Grandma” in Chicago.

November 12, Saturday. (9:15 p.m.) The Rhythm Boys and other Whiteman troupe members appear on radio station WMAQ in a radio stage revue.

November 14–20, Monday–Sunday. Whiteman moves to the Uptown Theater, Chicago.

November 17, Thursday. Another session in Chicago for the Rhythm Boys when “Miss Annabelle Lee” is recorded for Victor. Staying at the Hotel Rienzi in Chicago, Bing sends a hand-written letter on hotel notepaper to Mary Rice.


Dear Mary –

Am hastening to enclose the daguerreotype as promised. Not very fetching but serviceable and at least a likeness, however imperfect.

Expect to be in your county soon, Dayton, Toledo, Columbus etc and certainly hope I am accorded the privilege of seeing you again. See if you can arrange it.

Working plenty hard here in Chicago. Five shows a day until unconscious and it looks as tho the dance tour with the days free is going to prove most welcome.

We play the Tivoli next week and probably see you in the middle of the week following.

Sincerely yours

Bing Crosby


November 18, Friday. (9:00 a.m.–12:15 p.m.) Bing is again in the Victor recording studios as Hoagy Carmichael records “Washboard Blues” with the Whiteman orchestra. Bing is the stand-in vocalist just in case problems emerge.

 

Challis would have preferred another vocalist for the recording of “Washboard Blues.” “I wanted Bing to sing it—but I was wrong about that. Bing told me, ‘It’s Hoagy’s tune—he should do it.’ I had heard Bing, and I thought, you can’t come up to him. I remember, in front of the Whiteman band—the guys anyway—I suggested that Bing ought to do this. To tell you the truth, I was just learning about those kinds of things. But Hoagy did a good job on it. He had the right kind of twang in his voice.”

      Carmichael recalled an interesting sidelight to this incident. Before the day of the recording session, the composer found a piano backstage at the Uptown Theatre and practiced the song over and over. “Bing came around while I was rehearsing once and stood there, hands in pockets, smoking a pipe,” Hoagy remembered.

      “Mind if I glom on to the words, Hoagy?” he asked.

      “No—but why?” Carmichael replied, puzzled.

       “I’d just like to learn it,” said Bing, with a deadpan expression.

      “What for?”

      “It’s such a swell number, chum, I’d like to learn it,” Bing answered.

      “Well, sure,” Hoagy said, pleased at the compliment.

      “I didn’t realize until later that Whiteman wanted some voice insurance in case I bombed. He wanted somebody there who could do it if I didn’t. Bing was being kind to me. He didn’t hint to me I might flop. They wanted to make a good record whether I was on it or not.”

(Paul Whiteman, Pioneer in American Music, page 176)

 

 

November 19, Saturday. (Starting at 10 p.m.) The Whiteman orchestra plays the supper dance session at the Drake Hotel for one night only for a fee of $6000.

November 21–27, Monday–Sunday. Whiteman at the Tivoli Theater, Chicago. Tommy Dorsey gives two weeks' notice to leave the band at the conclusion of the engagement.

November 23, Wednesday. (9:30–11:45 a.m.) Bing records with Bix Beiderbecke for the first time as they both contribute to “Changes” with the Whiteman orchestra at the Victor studios in Chicago.

 

I think “Changes” was a tune made famous by the Williams Sisters, and Challis did an arrangement for us. . . . Bix’s style just blew us away. He could find notes that no one else could find. I think Challis left a lot of solo parts open for him, that is, just put down the number of bars, gave Bix the tempo, and let him improvise.

      Bix was a jazz musician with this fabulous ear, and he surprised us when he had us listening to recordings by Stravinsky, Debussy, and those serious composers. His style was a blend of jazz and the music of these serious musicians and it showed in solos that he did such as “Sweet Sue” and “Oh, Miss Hannah” and several others.

(Bing Crosby, speaking on November 26, 1969, as reproduced in Bix—The Leon Bix Beiderbecke Story, page 306)

 

A song-plugger representing Donaldson’s publisher gave “Changes” to Whiteman, who handed it to Challis, who reversed the usual roles of the two vocal trios. The sweet trio sings the first theme in strong midrange unison; the Rhythm Boys follow with a high-voiced harmony, singing four bars and scatting four more. The third theme is all Bing, followed instantly by a glorious cornet improvisation from the astonishing Bix. Though Donaldson’s lyric concerns the changing of musical keys (with a gratuitous reference to “many babies that he can squeeze”), the melody employs few notes; Bing’s episode consists almost entirely of repeated Gs, which he caps with a trombonelike melisma. “What I liked about Bing,” Challis marveled, “was there were fast words in there and they came out beautifully - excellent enunciation.” Challis underscores the energy of the soloists with exchanges between the winds and strings and a deep bottom bolstered by three baritone saxophones. “Paul said use whatever I wanted and I did.”

(Gary Giddins, Bing Crosby, A Pocketful of Dreams, The Early Years, 1903-1940, pages 1674-168)

 

November 25, Friday. (9:30 a.m.–12 noon) Bing records “Mary” with Paul Whiteman and his Orchestra in the Victor studios in Chicago.

 

Two days after “Changes,” another Donaldson tune defined the band’s stylistic divisions. In Malneck’s mischievous arrangement, “Mary” entangles Busse and Bix much as “Changes” connected the sweet and hot singers. After an ensemble introduction, Busse’s muted trumpet states the theme in damp staccato over a starchy bum-cha bum-cha rhythm. Then Bix takes over the brasses for the verse, delivering them and the entire ensemble into the sunshine of swing. Toward the end of the performance, Bix begins his flaming eight-bar improvisation with an impatient rip and, leading the brasses in contrapuntal figures, all but drowns out Busse’s reprise of the theme.

Yet Bix isn’t the key soloist. Bing is. Voice restored, he sings his chorus with exemplary finesse, articulating details at a cantering tempo and balancing rhythmic heat with vocal cool. He reshapes the melody, improving Donaldson’s cadences, displaying a jazz license all his own. The kind of liberties he took, however subtle, were not often appreciated by songwriters and publishers, who were known to threaten legal action over an altered note or word. Bing shows no trace of the Jolson influence, but he avails himself of an influence that had lain dormant: the upper mordent, also known as a pralltriller, that wavering catch in the voice preserved in the folk singing of Ireland, Scotland, and northern Africa. In his final phrases (“You wouldn’t let my castles come turn-turn-tumbling down .... What are you waiting for, Mary?”), Bing employs mordents on dawn and Mary.

Unlike “Changes,” “Mary” was not a hit with the public but was a triumph with the new guard in Whiteman’s band. Challis and other members lobbied for more Crosby features. To insiders, Bing was becoming something of a Bixian hero. Just as Bix proved that a white musician could be an expressively nonconformist jazz player, Bing showed that a white male vocalist did not have to sound like a Floradora girl. Bing thought like a musician; he had his own sound; he improvised; he had time.

(Gary Giddins, Bing Crosby, A Pocketful of Dreams, The Early Years, 1903-1940, pages 168-169)

 

November 28, Monday. (9:30 p.m. - 1:00 a.m.) The Whiteman orchestra plays for dancing at Forest Gables, Dayton before a crowd of about 3000.


Without doubt the largest and most brilliantly jubilant gathering that has ever attended a dancing event in Dayton went out to Forest Gables Monday evening to hear Paul Whiteman and his 35-piece orchestra, so world-renowned. Every table in the vast Russian room had been reserved several days before the appearance, and many extra tables were arranged, and even then, it was reported that many were unable to gain admission…

(The Dayton Herald, November 29, 1927)


November 29, Tuesday. (8:30 p.m.–1:00 a.m.) The Whiteman troupe gives a performance at the Memorial Hall, Columbus, Ohio.

November 30, Wednesday. (8:30 p.m.–1:00 a.m.) Performance by the Whiteman orchestra at Land O’ Dance, Canton, Ohio to the largest crowd ever assembled in that hall.

December 1, Thursday. The band arrives at Toledo, Ohio at about noon. That night Whiteman presents a four-hour program at Madison Gardens, Toledo from 8:30 p.m. until 12:30 a.m.

December 2, Friday. (Starting at 8:15 p.m.) Similar program at the Prudden Auditorium, Lansing, Michigan. Rhythm Boys featured.  Later the orchestra play at a dance at the 119th F. A. Armory.

 

Rhythm Boys are new to Lansing. Two baby pianos whose lids go wham—"and can you hear me out there" politely inquires one of the boys—assist in the act, and there is jazz dancing, singing, talking—much fun.

(State Journal of Lansing, December 3, 1927)

 

December 4–10, Sunday–Saturday. Whiteman at Allen Theater, Cleveland and presents a show called Rhapsodyland. Some 15,000 attend the four shows on opening day. The Rhythm Boys sing ‘Mississippi Mud’ and ‘I Left My Sugar Standing in the Rain’.


…There is therefore, a comic violinist who, among other things, wheedles music out of an automobile pump. And a breezy trio of harmony singers who pound pianos and clown. Then a comical number in which the band musicians quit their jobs. Whiteman, however, has staged all these things with fine showmanship; and, like everything that Whiteman does, they are highly entertaining.

(The Plain Dealer, December 6, 1927)


December 12–17, Monday–Saturday. Whiteman at Loew’s Penn Theater, Pittsburgh. The Rhythm Boys sing ‘Broken-Hearted’. The film showing is "Tea for Three" starring Lew Cody.


…And three of the orchestra members harmonizing on two baby pianos won great applause.

(The Pittsburgh Press, December 13, 1927)


…Then there are three boys from the orchestra who pull out two baby pianos and harmonize in unique style. “Broken Hearted” was their best.

(Pittsburgh Post-Gazette, December 13, 1927)


December 19–24, Monday–Saturday. The Century Theater, Baltimore, is the next venue for the Whiteman entourage. The film shown on the screen is "In Old  Kentucky".

 

Whiteman’s band is so far ahead of the rest that there’s no comparison. You’ll hear no better playing of that sort. His men are artists, and that’s just why we were annoyed to bits at the program he elected to present. After playing a few numbers, he let a clever member of his band [Wilbur Hall] do tricks with a fiddle and a tire pump, and later, let his group of artists sit idle while three other funny fellows in the organization [The Rhythm Boys] consumed at least twenty or twenty-five minutes with nonsense. Such specialties as these are all right, stuck in on any program, but when it means taking time out from Whiteman’s band, we think it is a darn shame.

(Baltimore Evening Sun, December 23, 1927)

 

During the course of the evening in came the Paul Whiteman’s Rhythm Boys. It was evident that Whiteman was in town playing one of the Loew’s Theaters, and evidently they had been engaged to play at the coming out party. The Rhythm Boys were Harry Barris, Al Rinker, and Bing Crosby. Barris played the piano, which was a small upright, positioned smack against the wall underneath the running track. As the Rhythm Boys performed, Crosby and Rinker faced the crowd of diners, also under the running track.

      In those days there was no sound amplification. Above the chatter of the diners, the Rhythm Boys might just as well have stayed in bed; no one was paying the slightest attention to them. But suddenly a hush fell upon this crowd of Baltimore elite. One of the Rhythm Boys was singing a song called “Montmartre Rose” and even though he lacked any amplification or means of channeling the sound waves to us, his voice commanded instant silence. Whether he sang one, or two choruses I don’t recall, but when he finished the crowd applauded wildly and cried for more. As though he was oblivious to their shouts and applause, almost as though he were hard of hearing, he threaded his way through the tables and passed by our sax section, not more than a foot and a half from me. I was struck by the lack of expression on his face, which was a mask of complete indifference. Bing Crosby was a hit and he didn’t even know it.

(Rudy Vallee, Let the Chips Fall)

 

December 26, Monday. (8:30 p.m. to 12:30 a.m.) Whiteman entertains at the Coliseum Ballroom, York, Pennsylvania, in front of 2,500 people.


They came early and they stayed late at the Coliseum dance hall last night when Paul Whiteman’s nationally known orchestra played an entertaining program of music from 8:30 to 12:30 o’clock. It was the best attraction of the season at this dance hall and 2500 persons were there. Most of them danced but there were many who sat throughout the evening and enjoyed the music, some of the concert variety.

(The York Dispatch, December 27, 1927)


December 27, Tuesday. The musical “Show Boat” opens at the Ziegfeld Theater in New York.

December 28, Wednesday. (8:30 p.m.–1:00 a.m.). Whiteman plays dance music and gives an hour-long concert at the Town Hall, Scranton, Pennsylvania.

December 29, Thursday. (8:30 p.m. - 1:00 a.m.)  Another concert at the Armory, Wilkes Barre, Pennsylvania. 2000 attend.


…Soon after 10 o’clock dancing ceased, and a concert replete with gems of classic and jazz “hits”, delighted. Several orchestral numbers were easily recognised, among then Blue Skies, Nola, Stars and Stripes Forever and Blue Moon…Upon conclusion of the brilliant concert renditions, Whiteman again resumed the dance music, which continued until an early hour this morning.

(Wilkes-Barre Times Leader, December 30, 1927)


December 30, Friday. (8:30 p.m.–1:00 a.m.) The orchestra performs at the Kalurah Temple, Binghamton, New York.

 

After a short concert program which included several vaudeville acts, Whiteman turned to the audience and said, ‘Now, let’s dance.’ The dance program included a large number of the more popular song hits of the past four or five years, and it was here that Whiteman demonstrated his superiority as a leader.

(Binghamton Sun, December 31, 1927)

 

December 31, Saturday. Starting just before midnight, the Whiteman ensemble provides the stage show for a New Year’s Eve party given by Dr. John Dorrance, president of Campbell’s Soups, for his daughter, at the Bellevue-Stratford Hotel in Philadelphia. The fee is $8000. Sam Lanin’s orchestra supplies the dance music.

 

Taking the stage name of Ginger Meehan, Elizabeth roomed with Dolores Reade, who would later marry Bob Hope and remain a lifelong friend. While they were performing in Philadelphia, Paul Whiteman’s band came to town. It featured Bing Crosby and the Rhythm Boys, a trio of white men who sang songs like “Mississippi Mud” in a laid-back but rhythmic black style that enthralled Jazz Age audiences. Crosby roomed with Bix Beiderbecke and imitated his mellifluous cornet style as well as his habit of drinking himself into a stupor. “Bing could be cantankerous and was becoming unreliable. Some nights he was so green from drink that he had to be held up at the mike; on other nights he didn’t show at all.. . . The women they dated were chorus girls, of which there was a limitless supply.” In Philadelphia, Crosby started dating Ginger, and it quickly became serious.

(Skylark: The Life And Times Of Johnny Mercer, p48)

 

During the year, Bing has participated in four Paul Whiteman records that became hits: “Muddy Water,” “I’m Coming Virginia,” “My Blue Heaven,” and “The Calinda.”

 

1928

 

January 1, Sunday. The Whiteman band travels from Philadelphia to New York via the Pennsylvania Railroad.

January 4, Wednesday. (12:49 a.m.) Bing sends a telegram to Ginger Meehan at the Emerson Hotel in Philadelphia.

 

According to US statistics there are 7 million people here but withal Im a stranger and miserably alone because youre not along love undying best regards to Delores and stuff

Bing

 

(10:30–11:30 p.m.) Whiteman and his troupe star in a new nationwide NBC radio broadcast sponsored by Dodge Brothers Automobile Co. and known as the “Victory” hour. (The program introduces the new Dodge “Victory Six” automobile.) It was the most widespread hookup ever attempted at that time. Bing takes part but is not mentioned, much to the chagrin of his family listening in Spokane. Will Rogers acts as MC and joins the program from the West Coast with Al Jolson coming in from New Orleans.

 

As with practically all of the important and high-priced commercial broadcasting programs under N. B. C. auspices in the past, the Dodge Brothers’ Victory Hour at a reputed cost of $67,000 was disappointing and not commensurate in impression with the financial outlay. The lack of satisfying radio showmanship is the least of the commercial radio advertiser’s worries, however, as the prime purpose of such staggering monetary investment for 60 minutes of such entertainment is not at all for purposes of showmanship as ballyhooing.

…The reaction to Paul Whiteman’s grand radio plug for “Among My Souvenirs,” the DeSylva, Brown & Henderson song hit, was a flock of orders by wire from dealers the day following the Dodge Brothers Victory Hour broadcast.

(Variety, January 11, 1928)


…The radio hookup was one of the most unusual ever effected, with Rogers broadcasting in Hollywood, Fred Stone in Chicago, Jolson in New Orleans and Whiteman here. Rogers, acting as master of ceremonies, opened the program with characteristic humor and an imitation of President Coolidge delivering a speech. Whiteman was introduced and played the Rhapsody in Blue. Then Rogers spoke some more and besides introducing Fred Stone and daughter, Dorothy, in Chicago, held a brief conversation with the former. Jolson was introduced last and offered several new songs. Whiteman played an additional number, a pop tune, in winding up the show. The program ran about an hour, as scheduled, and proved intensely interesting.

(Billboard, January 14, 1928)


A Wonderful Advance in Radio

Last night the people had the opportunity to listen to the voice of Will Rogers in California, Al Jolson at New Orleans, Fred Stone in Chicago and Paul Whiteman and his orchestra in New York. Instantly and without interruption came each voice as though they were in one’s living room, Thus was displayed the tremendous growth and advance in radio. This entertainment was made possible by Dodge Brothers in their announcement of the new Victory Six. It was a wonderful exhibition.

(The Portsmouth Herald, N. H., January 5, 1928)

 

January 10, Tuesday. Bing rehearses “Ol’ Man River” with Bill Challis and Matty Malneck in the basement of the Clarion Hotel, New York.

January 11, Wednesday. (9:30 a.m.–1:45 p.m.) Whiteman records “Ol’ Man River” for Victor at Liederkranz Hall in New York. Bing sings the vocal chorus, still without label credit. The record is very successful indeed and tops the various charts of the day.

 

“I liked Bing’s voice in its natural register,” Challis later commented. “He had something in his throat that put him in the low register, to me, the best. To set the key for him, I set it by his lowest note. “Ol’ Man River” has a range of an octave and six notes. The average range is an octave plus two notes. If you look at the piano copies, most tunes are written in that range. But with a Jerome Kern song, they leave their feet! The melody is the thing. If he wanted to go six notes over the octave, he’s going to do it. Well anyway, with Bing, he could sing a nice low note of A-flat. So he started down there.” Near the end of the vocal, Bing tops a high F. “I asked Bing to put that in,” explained Challis. “He wanted to come down to a lower note, which is the way most of the singers used to sing it. I said, ‘Oh come on, sing it like it is.’ He said, ‘Do you think I should take that? Oh boy, that’s high. I can’t make that!’ So he tried it a couple of times. I said, ‘You can make it—just squeeze it out somehow or other. It’s good to get it up there.’ And he did.” It was a real tour de force—no other male vocalist recording in that era matched it.

      “I just barely made it,” Bing later remembered. “I think I busted my shoelaces or something trying to hit those notes.” “Where could you get a singer like that?” Challis said, glowingly. “Especially with him—he was limited, range-wise. And yet, he’d try anything, go along with you on anything. Why? He liked it—he liked what he was doing. So Ferde, me, everybody liked to give Bing something to do. And then he would put in his own twists, most of which I think he got from Al Jolson, but he had a better way of putting them in—they didn’t sound as corny.”

(Paul Whiteman, Pioneer in American Music, page 184)

 

January 12, Thursday. The Rhythm Boys record “From Monday On” in New York.

January 14–20, Saturday–Friday. Whiteman at the Mosque Theater, Newark, New Jersey giving five shows a day. The Rhythm Boys take part. Bing is still earning $150 per week. The film shown is "Good Time Charley".

January 20, Friday. Bing records a solo of “From Monday On” in New York with Frank Trumbauer and his Orchestra for Okeh Records but it is not issued. At the same session, Bing records another version of “Mississippi Mud.”

 

Bix and the guys hung around a bistro on 48th or 49th Street. Its main attraction was a piano on the balcony and the guys were always working out arrangements. How they could hear anything over all the noise always baffled me. Tram may have worked out “Mississippi Mud” there. How he ever talked me into singing with him, I’ll never know. I had a lot of guts in those days. But I should have been arrested for singing with Tram.

(Bing Crosby, speaking on November 26, 1969, as reproduced in Bix—The Leon Bix Beiderbecke Story, page 306)

 

January 22–28, Sunday–Saturday. The Whiteman band performs at the Stanley Theater, Philadelphia. The film is "The Gorilla".

 

Philadelphia, January 31.

Paul Whiteman again wowed the town last week when he brought his Orchestra back to the Stanley after their two highly successful weeks last fall. With weather decidedly against them and the accompanying picture one of only moderate drawing power, the Whiteman bunch pulled the Stanley’s gross last week up to $36,000, and perhaps a little over. It might have hit the $40,000 mark without the heavy rain and the Saturday afternoon and evening blizzard.

      (Variety, February 1, 1928)


…The trio of Paul Whiteman “Rhythm Boys” sang and banged two pianos in an obvious imitation of “Magnolia” entitled “Annabel Lee.”

(The Philadelphia Enquirer, January 24, 1928)

 

January 27, Friday. (9:30–11:40 a.m.) Bing records “Make Believe” with Whiteman in Victor’s Church Studio in Camden, New Jersey.       

January 29, Sunday. Party at Frank Victor’s home. The band travels to Allentown.

January 30, Monday. (8:30 p.m.–12:30 a.m.) Whiteman troupe does a one-nighter at Mealey’s Auditorium, Allentown, Pennsylvania, after an afternoon rehearsal. 5000 attend.

 

Mr. Whiteman’s four pianists, including two men who play on the smallest upright Chickering piano, are also on the program. Program includes musical adaptation of Kipling’s “On the Road to Mandalay”. The Whiteman orchestra has perfected this number for both concert and dance work and include it in their repertory whenever possible.

(Allentown Chronicle and News and Evening Item, January 30, 1928)


The last week in January 1928 was the coldest anyone in the Lehigh Valley could remember. Sub-zero temperatures had the region in an icy grip. But for some lovers of jazz, Monday, January 30, 1928 was red hot. For that one night only Paul Whiteman, hailed in the press as the King of Jazz, and his orchestra would be appearing at Mealey’s Auditorium on Hamilton Street in Allentown, located roughly where Allentown City Hall is today.

…Whiteman and his band returned to Allentown in 1928 during a tour of midsized Pennsylvania cities. And with musicians in his band like Bix Beiderbecke and Jimmy and Tommy Dorsey, they were sure to keep the music going. Whiteman was known to pay top dollar for talent.

“Large Crowd Dances to Whiteman’s Music,” was the headline in the next day’s Morning Call. “A crowd upwards of 5,000…swayed to the music of the internationally famed orchestra leader and his thirty-two piece band…Four hours of harmony was given by the musicians, every minute of which was a treat to the large crowd.”

The reporter noted that five vocalists sang with the band that night. Among them was a group of three newcomers called the Rhythm Boys: Al Rinker, Harry Barris and a young fellow named Bing Crosby who was just making a name for himself.  In 1954, in response to a letter from Morning Call critic John Y. Kohl, Crosby recalled singing in Allentown with the Rhythm Boys. There were also “quite a number of instrumental soloists who responded to the call from the leader and played solos.” Perhaps the crowd heard the Dorsey brothers and Beiderbecke who had just joined Whiteman’s orchestra that year.

 Summing up the scene before him the reporter had this to say:

“From the first notes of the band until the final number was played, as the dancers moved about the floor under the vari-colored lights, reflected from a crystal suspended above the dancers, it was a night that set a precedent to Allentown dancers and one that will be long remembered.”

As far as is known Whiteman and his band never returned to Allentown or the Lehigh Valley. The arrival of the 1930s brought a change in musical taste, interestingly one that Whiteman with his large band pioneered. As the country got “in the mood” with Glenn Miller, Whiteman, now quite wealthy, retired to his estate, Walking Horse Farm in rural New Jersey near Lambertville.

(Frank Whelan, http://www.wfmz.com, January 27, 2018)

 

January 31, Tuesday. The Whiteman orchestra performs at the Y. M. C. A. in Coatesville, Pennsylvania.


Paul Whiteman, conducting his famous jazz orchestra of 35 pieces, gave three concerts at the Y. M. C. A. auditorium yesterday, a matinee and two evenings performances.   The orchestra is, perhaps, the best ever to appear here and audiences that denoted that the house would have been sold to capacity had the snow storm not made travel from outlying districts and adjacent towns bad for night travel.

(Daily Local News, February 1, 1928)


February 1, Wednesday. Starting at 8:30 pm., Whiteman is at Coliseum Ballroom, Harrisburg, for one performance before an audience of 1500.


Paul Whiteman, master craftsman, played his way into the hearts of 1500 dance lovers last evening, appearing personally with his thirty artists—the first time he has ever come to Harrisburg for a dance engagement…During the dance a number of specialities were presented. “Skin” Martin (sic), the popular soloist who sings hardly above a whisper; the Rythm (sic) Boys, who slam-bang the pianos in riotous fashion; “Steve” Brown, bass viola player, and Whiteman’s trick violinist, were given a great reception. There was one number that took particularly well, that of playing a tune on an automobile tire pump.  

(Harrisburg Telegraph, February 2, 1928)


February 2,Thursday. Starting at 2:30 p.m., the Whiteman group gives three shows at the Cathaum Theater, Penn State College. The film is "Baby Mine".

February 3, Friday. Whiteman gives a performance at the Auditorium Dance Hall, Johnstown, Pennsylvania.

February 4, Saturday. The Whiteman ensemble returns to New York.

February 7, Tuesday. (9:30 a.m.–3:50 p.m.) Recording date at Liederkranz Hall in New York with Whiteman. Bing is part of a vocal group singing “Poor Butterfly.”

February 8, Wednesday. (10:00 a.m.–12:05 p.m.) Bing takes part in the recording of “There Ain’t No Sweet Man” with Whiteman at Liederkranz Hall.

February 13, Monday. (1:15–4:00 p.m.) Bing is again part of a vocal group which records “Sunshine” and “From Monday On” with Whiteman. “Sunshine” sells 88,866 copies.

February 18, Saturday. (11:30 a.m.–12:40 p.m.) Another recording date with Whiteman for Victor at Liederkranz Hall. “Mississippi Mud” is recorded with Irene Taylor.


…Paul had already come to a decision: he would leave Victor that spring. His eight-year association produced scores of best-sellers. Four or five discs had sold in the millions, in an era when 100,000 copies meant a tremendous hit. Everyone connected with the band had made real money from studio work. Paul had recorded numbers in a wide variety of styles, ranging from snappy foxtrots and popular ballads to semiclassical suites and jazz-flavored nonsense songs. Many stayed in Victor’s catalog for years.

Nat Shilkret’s invasion of Whiteman’s bailiwick bruised Paul’s ego. And when Victor studio manager Eddie King left Victor for Columbia, Paul looked in that direction.

The Columbia Phonograph Company developed during the earliest days of record-making, before the turn of the century. Older than Victor, it had pioneered in lateral, or flat, discs—in contrast to cylinders— and in electrically made recordings. In 1927-1928 its line-up of dance-band maestros included Paul Ash, Cass Hagen, Fred Rich, Harry Reser, Don Voorhees, Jan Garber, and Ted Lewis. Columbia struggled to compete with high-powered Victor, which had built Irving Aaronson, Coon-Sanders, George Olsen, Jelly Roll Morton, Ben Pollack, and Whiteman into top-flight recording personalities.

Columbia eagerly accepted Paul. The firm guaranteed a yearly minimum of $50,000 against a two-year exclusive contract, to take effect immediately at the conclusion of Paul’s Victor agreement in April. Paul signed and waited.

Victor faced the loss of its star ensemble by reacting in the only possible way: it practically barricaded Paul and his men in its studios for the remaining three or four months of his contract. The band worked long and hard. In January the musicians spent eight days there; in February, an unprecedented twelve days. From February 7 through 18, they broke away only three days. The output eventually totaled nearly sixty sides.

The results were impressive. Bing Crosby, Al Rinker, and Harry Barris - as Paul Whiteman’s Rhythm Boys - had skyrocketed into the hottest trio in show business. Paul gave them solos on “From Monday On” and “Mississippi Mud.” Bing soloed on “Make Believe” and “High Water.” The jazz contingent blazed through “San,” “Sugar,” and “There Ain’t No Sweet Man That’s Worth the Salt of My Tears.” The Rhythm Boys and the “sweet trio” – Fulton, Young and Gaylord – harmonized on “Sunshine” and “When.” The full orchestra immortalized Victor Herbert’s Suite of Serenades and Grofe’s Metropolis. The old-timers and newcomers together rewaxed the original chestnuts “Whispering,” “Japanese Sandman,” and “Avalon.”

(Thomas A. De Long, Pops – Paul Whiteman, King of Jazz)


February 20, Monday. (8:30 pm. - 1:00 a.m.) Whiteman gives a performance at Steiffer's Roxie Ballroom, Altoona, Pennsylvania.

February 21, Tuesday. Starting at 8 p.m. the orchestra performs at Stambaugh Auditorium, Youngstown, Ohio giving a concert, then playing for dancing until the early hours.

February 23, Thursday. The Whiteman troupe moves on to Fairmont, West Virginia, where they give a concert.

February 24, Friday. The band has a day off.

February 25, Saturday. Pittsburgh, Pennsylvania, is the next stop for the band and they play for dancing at Sanders ballroom on the Freeport highway at Aspinwall

February 26, Sunday. Another day off for the band.

February 28, Tuesday. (11:00 a.m.–3:45 p.m.) Bing records “From Monday On” and “High Water” with Whiteman in New York. The latter recording is a twelve inch 78 disc and sells only 4,904 copies.

 

The 1927 and 1928 Whiteman band was no ordinary “symphonic jazz” aggregation. It was able to play a little of every kind of popular music, and some that was not so popular. It was also able to break up into small jazz groups of real distinction. For a couple of years it featured soloists and arrangements which began to justify the tag under which Whiteman had ridden to fame, The King of Jazz.

The trumpet section was sparked by the legendary Leon “Bix” Beiderbecke. Frankie Trumbauer played C-melody sax, and in 1928 Jimmy Dorsey joined, to give the reeds two impressive soloists. Bill Rank was a ranking trombonist, and Tommy Dorsey came in on trombone, with brother Jimmy, to complement his blowing. Izzy Friedman on clarinet, Min Leibrook on bass saxophone, Matty Malneck on fiddle, and Lennie Hayton at the piano were all more than ordinarily able musicians. When these men combined, as soloists or as section leaders, with the Rhythm Boys, the effect was startling by 1927 or later standards. On the records of From Monday On, Because My Baby Don’t Mean Maybe Now, Louisiana, Tain’t So, Honey, Tain’t So, and Coquette, you can hear the Rhythm Boys, alone or with other singers from the Whiteman organization, backed by Bix or by Trumbauer or by Rank or some section work that presents these musicians at their early best. The trumpet trio, with Bix leading, on Coquette was a beautiful buffer for Bing’s voice.

Bing was beginning to take solos. By 1928, one could hear a good deal of him with the Whiteman band. Oh Miss Hannah, High Water, Muddy Water, My Heart Stood Still, with vocal quartet backing, were some of his assignments. With singers of the commercial appeal of Jack Fulton and Charlie Gaylord and Skin Young to compete with, it was more than unexpected, to Bing himself at least, to find that he was getting lots of attention. When he hit an E on the nose in Ol’ Man River, he was in with Whiteman audiences; and then when the F’s came along and he clipped those with similar ease, there was no question of his solo talents. Using Bing as a soloist, the Rhythm Boys (alone, or with Gaylord and Young and Fulton) set up humming backgrounds that antedated by almost ten years the vocal-group sounds that found such success with Tommy Dorsey and Glenn Miller, the Pied Pipers and the Modernaires, The organ-point harmonies used by the Whiteman vocal groups introduced a kind of musicianship hitherto unknown in dance bands. It was typical of Bing’s luck that he should have been singled out to sing against this fetching sound.

(The Incredible Crosby, pages 59-61)

 

March 1, Thursday. Recording date with the Rhythm Boys in New York. They sing “What Price Lyrics.”

 

I am sorry to have to say that Paul Whiteman’s Rhythm Boys are exceedingly disappointing in “From Monday On” and “What Price Lyrics” (B2779, 3s).

(The Gramophone, October, 1928)

 

March 3, Saturday. Paul Whiteman gives the band a week’s vacation.

March 12, Monday. (9:30 a.m.–12 noon. 2:00–3:00 p.m.) Recording session with Paul Whiteman and his Orchestra at Liederkranz Hall in New York.

March 14, Wednesday. (9:30 a.m.–12:00 noon) Further recording session with Whiteman.

March 15, Thursday. (9:30 a.m.–12:00 noon) Another recording date with Whiteman. Bing sings “Lovable.”

March 16, Friday. (1:15–4:00 p.m.) Again, Bing is in the recording studio with the Whiteman ensemble and takes part in “March of the Musketeers.”

March 19, Monday. The Whiteman band starts rehearsals for an engagement at the Paramount Theater beginning on March 31.

March 25, Sunday. The Jewish Theatrical Guild of America hold a benefit at the Century Hotel and the Whiteman troupe entertain.

March 26, Monday.  Whiteman and the orchestra entertain at an Elks function at the Astor hotel.

March 27, Tuesday. (1:00 p.m.) The orchestra performs a lunchtime “jazz symphony” for the Woman Pays Club at the Hotel Ansonia in New York.

March 29, Thursday. (9:00 –10:00 p.m.) From the studios of WJZ, Whiteman takes part in the second Dodge Brothers radio show over the NBC network which is entitled Film Star Radio Hour. Charles Chaplin, Douglas Fairbanks, John Barrymore, and several other Hollywood stars are featured. United Artists Pictures arrange for additional loudspeakers to be installed in their theaters so that audiences can hear the stars they had only seen in silent pictures previously.

 

Spokane friends who listened for the voice of Harry (Bing) Crosby, bass, son of Mrs. H. L. Crosby of this city, member of Paul Whiteman’s orchestra, which played in New York, had their wish gratified. His voice was recognised in “Changes.”

(The Semi-Weekly Spokesman-Review, March 30, 1928)


Nothing sensational about the hour on entertainment, but little doubt that the picture stars made many go to their sets and stay there. And that’s the main idea with the Dodge firm. Neither may the dignified broadcast have done the industry any harm, inasmuch as a lot of picture publicity has a habit of breaking into the tabloids...Whiteman opened in New York with “Together,” a great, plug for the DeSylva, Brown & Henderson waltz and brilliantly scored. Followed Wilmer’s address from Detroit. Then Whiteman again with Walter Donaldson’s “Changes.” 

(Variety,  April 4, 1928)
 

Of Mr. Paul Whiteman’s share in the pretentious program, only the best can be said. Mr. Whiteman’s orchestra is seldom heard on the radio, and its infrequent broadcasts are the subject of major jubilations, despite the presence of tenors and vocal harmonists in most of the Whiteman renditions.

(New York Herald Tribune, March 30, 1928)

 

March 30, Friday. Afternoon rehearsal for the band.

March 31–April 6, Saturday–Friday. Whiteman at the Paramount, New York, in a cine-variety bill and his show is entitled Rainbow Rhapsody. Lennie Hayton joins the band as second pianist.

 

As the czar of jazz, Whiteman and his super-syncopators evidence anew their claim to distinction. Their unique and truly extraordinary motivations of modern themes are a brilliant tribute to the Whiteman technique and that it is popularly recognized and appreciated is best answered by the holiday-ish audience on Monday night of a week that is holy to both of the faiths that predominate in the metropolis.

"Changes" opened with a distinctive vocal trio and sextet interlude. The announcement of “Ramona” precipitated an expectant audience gasp that is a tribute either to Whiteman’s extraordinary Victor recording or to his performance Thursday night on the Dodge hour.

Looking summery in white Florida outfits, with a patio background the waltz theme was perfectly set. “Shades of Blues” announced by Whiteman as a musical reminiscence was a pot pourri of indigo titled themes including the “Danube Waltz,” “Birth of the Blues,” a snatch of the “Rhapsody in Blue,” the “Waltz Bluette” (with violin quintet interlude), “Wabash Blues,” “Alice Blue Gown” (saxophone septet arrangement) and finishing with “St. Louis Blues” climaxed by Mike Pingitore at the banjo. In itself, a unique indigo themed revue, it is worthy of becoming a Whiteman trademark. 

(Variety,  April 4, 1928)
 

March 31, Saturday. Whiteman’s “Ol’ Man River” (with Bing’s vocal) is the most popular record of the week and it eventually reaches the top of the various charts of the day.

April 7–13, Saturday–Friday. Whiteman continues at the Paramount in New York and this week his show is called Say It with Music. The accompanying film is  "Skyscraper".

April 8, Sunday. Paul Whiteman rehearses the band and changes are made to their program.

April 14–20, Saturday–Friday. In their final week at the Paramount, the Whiteman troupe is featured in a show called Broadway Blues. The accompanying film is "A Night of Mystery."

 

Whiteman’s instrumental talent was evenly banked in four or five rows to do about five numbers, inclusive of his three Rhythm Boys specializing for a number or two. These particular youngsters remain unique in dispensing tunes which are vocally broiled to a crisp. There seems to be a lot of people in a picture house audience who don’t know what they’re trying to do or what it’s all about, but it’s funny, hot and good.

(Variety, April 18, 1928)

 

April 21, Saturday. (10:00 a.m.–1:25 p.m. & 2:25–4:00 p.m.) Starting today, Bing is involved in a series of recording dates with Whiteman for Victor at Liederkranz Hall in New York.

April 22, Sunday. (10:00 a.m.–12:05 p.m. & 1:05–3:00 p.m.) A similar recording session. The recording of “It Was the Dawn of Love” sells 31,119 copies whilst “Dancing Shadows” achieves sales of 36,491.

April 23, Monday. (10:00 a.m.–12:05 p.m. rehearsal. 1:05–4:00 p.m. recording) Another recording date and the recording of “Louisiana” sells 33,462 copies.

April 24, Tuesday. (10:00–11:45 a.m. & 1:00–2:30 p.m.) A further session with Whiteman. The record of “You Took Advantage of Me” and “Do I Hear You Saying” sells 46,282 copies. “Grieving” achieves sales of 35,370 discs. 

 

      The “Present Arms” hits by Whiteman are interestingly done, as befits the interesting Rodgers and Hart songs, “You Took Advantage of Me” and “Do I Hear You Say?” Of distinctive caliber, these smart dance tunes are smartly interpreted by the Whitemanites.

(Variety, June 27, 1928)

 

April 25, Wednesday. (1:00-2:00 a.m.) The orchestra presents a one-hour broadcast over forty stations of the NBC network and the Rhythm Boys are featured.  (10:00–11:30 a.m.) The final session in the current series with Whiteman at Liederkranz Hall.


Paul Whiteman and his orchestra will be heard from WEAF, WJZ and WTIC in a special program feature from 1 to 2 o’clock in the morning. Listeners who wish to remain up tonight will hear Whiteman’s Orchestra play “Blue Fantasy,” a new symphonic jazz composition by Ferde Grofe, which will have its world premiere at that time.

(The Boston Globe, April 24, 1928)


…The remainder of the hour was devoted to standard Whiteman dance orchestrations, with a couple of interludes by the Rhythm boys, and a piano solo of “In a Mist” by Bix Beiderbeck (sic), which was familiar thru his recording of the piece, but still the most interesting part on the concert for this listener…

(Billie Thomas, The Cleveland Press, April 25, 1928)


April 26, Thursday. The band travels to Boston and rehearses during the morning at the Metropolitan Theater.

April 27–May 3, Friday–Thursday. Whiteman show at Loew’s Metropolitan Theater, Boston. The show is entitled “Say It with Music”. The film is "The Shepherd of the Hills."

 

The first view of the orchestra is through a peculiar foggy curtain, but gradually the sounds creep up and out, and when the curtain lifts one sees the leader, a bit slimmer than he was formerly, and his excellent jazz musicians with the background of a non-slumbering Broadway. All is as it should be.

(Boston Herald, April 28, 1928)

 

May 1, Tuesday. (8:00–9:20 p.m.) The Whiteman performance at the Metropolitan is broadcast over station WBET. The Rhythm Boys sing three songs.

May 4–10, Friday–Thursday. Whiteman is again at Loew’s Metropolitan Theater, Boston and the show is entitled “Broadway Blues”. The picture ofthe week is  WStand and Deliver."


Paul Whiteman, King of Jazz, is at the Metropolitan Theatre for the second week and yesterday he gave a wholly new program even more pretentious than last week. Several old favorites were played and the crowd went mad with delight when Whiteman, a little less heavy than he was last year, stepped to the front of the stage and asked the audience if it wanted to hear Rhapsody in Blue. The electricians turned on the blue lights in the house and Whiteman’s band played the composition which has been played all over the United States by this same aggregation…It was a long time before the audience wanted to relinquish Whiteman, or the Harmony Boys (sic) and other acts which were included in the Whiteman Revue.

(The Boston Globe, May 5, 1928)


May 8, Tuesday (starting at 8:15 p.m.). Again, the Whiteman performance is broadcast over WBET and The Rhythm Boys have two songs.

May 12, Saturday. Whiteman begins recording on the Columbia Records label at Union Square in New York. Fox Movietone News films the recording session on May 15.


Upon the conclusion of his Victor responsibilities, Whiteman transferred his allegiance to the Columbia label, signing a five-year contract and thereby committing himself to an association which ultimately cost him some $60,000 to break.

The first records under the Columbia contract were made on the 12th May, 1928, the event being heralded with much publicity: a Fox Movietone news-reel device showed a clock turning one minute past midnight, thus officially closing the previous contract with the Victor Company, while to advertise the public release of the new records, Whiteman and the orchestra were featured in a special radio broadcast—Whiteman's second appearance on the air.

The contract secured to Whiteman an almost fabulous fee for his services, but while the Columbia Company may well have been regarded as paying' the piper, and, withal, paying him handsomely, they certainly exercised the privilege of calling the tune, for, in addition to fulfilling sessions under his own name, Whiteman was called upon to make his musicians available for the provision of accompaniments to such Columbia artists as Ruth Etting and Annette Hanshaw, as well as the Deep River Orchestra in support of Willard Robison.

To compete with the number of unissued records the Victor Company still had in hand, and to cover the period of his forthcoming tour when he would be away from the studios for some months, the Columbia Company set Whiteman to make an impressive series of recordings.

(Charles H. Wareing and George Garlick, Bugles for Beiderbecke, page 147)


May 13, Sunday. Another session for Columbia when Bing is part of the chorus as “Evening Star” is recorded but the take is not issued.

May 14–19, Monday–Saturday. The Whiteman band is at Loew’s Metropolitan Theater in Brooklyn. Paul Whiteman himself is ill during the run. The film accompanying the show is "The Crowd".

May 17, Thursday. Bing takes part of the recording of C-O-N-S-T-A-N-T-I-N-O-P-L-E with Whiteman for Columbia in New York.

 

We must have made 13 tries on “Constantinople” before we got a good one. This was due to the fast tempo and our having to spell out the word. We started laughing and it became contagious on each take. Finally we got it down right!

(Jack Fulton, speaking on March 27, 1966 as quoted in Bix—The Leon Bix Beiderbecke Story, page 370)

 

May 21, Monday. Further recording date with Whiteman for Columbia in New York. Many of the takes are rejected.

May 22, Tuesday. Another recording session for Columbia in New York ends with mixed results as all three takes attempted of “I’d Rather Cry Over You” are rejected. However the song “Get Out and Get under the Moon” is successfully recorded with Bing forming part of a vocal group. The record has sales of 30,000 copies.

 

The Whiteman addicts, and they are legion, will go strong for the jazz king’s first catalog on the Columbia schedule. Whiteman recently shifted from Victor to Columbia as the ace recording artist and has produced three 12” concert numbers, popularly priced at $1 as against the usual $1.25 tariff for the 12-inchers. The dance numbers on the 10-inch sizes are still 75 cents. “La Paloma” and “La Golondrina” is one standard concert couplet; “The Merry Widow” and “My Hero” (“Chocolate Soldier”) waltzes another; and a salon couplet comprises Gershwin’s “The Man I Love” and “My Melancholy Baby.” The latter three numbers all have vocal refrains and are in the brilliant Whiteman manner. In the dance series, “Last Night I Dreamed You Kissed Me”, and “Evening Star” are one couplet, and “Constantinople” and “Get Out and Get under the Moon” another. All are tremendous sellers. Issued by Columbia with a special Whiteman-head label and jacket.

(Variety, July 18, 1928)

 

May 23, Wednesday. An attempt to record “Tain’t So, Honey, ’Tain’t So” with Whiteman is unsuccessful.

May 25, Friday. The Rhythm Boys record “Wa-Da-Da” and “That’s Grandma” for Columbia in New York but the takes are rejected.

May 26–June 1, Saturday–Friday. The Whiteman company, including The Rhythm Boys, is at the Capitol Theater, Detroit. While staying at the Hotel Gotham, Bing writes to his friend Edgie Hogle in Spokane.


Dear Edgie-

I know that I am away behind in my correspondence with you and must owe you plenty of letters. We have been pretty busy during the last few months and have been jumping in and out of New York with little chance of getting set anywhere so my duties in this respect have fallen into a sad state. However I have received all of your cheery epistles and was indeed glad to hear from you.

This Detroit is probably the boss town of them all with every facility for having a good riotous time at first hand. Right across the river from Canada, but no need to go over there as the spots on this side give plenty of good satisfaction.

I have been setting comfortably on the wagon for some two weeks, but I fear the congenial surroundings here are going to necessitate a temporary descent. I hope it is only temporary. My drinking hitherto has been spasmodic, but when occasion demands, it is usually for a protracted spell. Don't crack around home tho ....

The Band and ourselves have switched to Columbia Records exclusively, leaving Victor because of a better proposition. The talk in the East and the trend of the stock market seems to indicate that Columbia in a couple years will pass Victor in popularity and sales.

Their new machine has the Victor orthophonic stopped and they are turning out some great recording. As a result of the sudden switch, our last two weeks in New York was plenty feverish grinding out enough records for Columbia to fill up the catalogue ....

From here we play Buffalo, then into New York for some more records and jumping to Minneapolis then Chicago, Kansas City etc. There is a possibility I may get home around August if we get a vacation after Chicago. I hope so even if it's only for a week.

Best wishes to Maudine and your Mother and Sisters. And hello to the gang.

Your friend, Bing.

 

When the curtain went up at the Capitol Saturday afternoon revealing Paul and his orchestra, the audience attested his popularity in Detroit, and his first number brought a thrill to every lover of the music. Many have condemned jazz but few who have had the good fortune to hear Whiteman’s interpretation of it could honestly look askance. He lends a symphonic touch which thrills and ignores the blantancy which sours. Just to hear his orchestra play “Ramona” is enough to bring ecstasies. Paul’s Rhythm Boys, those funny chaps who bang the piano tops and turn noise into music, repeat their “Mississippi Mud” number which brought down the house on his first appearance at the “Michigan.”

(Detroit Free Press, May 28, 1928 - as reproduced in Bix—The Leon Bix Beiderbecke Story, page 375)


Paul’s band is not merely and solely an orchestral entity. Among its players are several whose aptness at comedy, singing, and dancing would earn for them a place on any big time vaudeville circuit. The principal comedy effect is carried out by the Whiteman Rhythm Boys, a trio of youths whose musical antics were received by the audience with loudly manifest appreciation.

(Detroit News, May 28, 1928)

 

June 2–8, Saturday–Friday. The show moves on to Shea’s Buffalo Theater, Buffalo, New York. Their presentation is titled "Swanee Moon".


…Whiteman’s Rhythm Boys also score a hit with their peppy and side-splitting singing of “Mississippi Mud”.

(Buffalo Courier Express, June 4, 1928)


June 9, Saturday. The band has a day off in New York.

June 10, Sunday. Recording date in New York with Whiteman. Bing sings “Tain’t So, Honey, ’Tain’t So” and takes part in “I’d Rather Cry Over You” with a vocal group. At last, after several unsuccessful sessions, two takes are selected for issue. The former song has sales of 29,650 whilst the latter achieves a figure of 21,125 records sold.

June 11–16, Monday–Saturday. Whiteman at the Lincoln Theater, Trenton, New Jersey, giving four shows a day at 3, 6, 8, and 10 p.m. The content of the show is changed on the Thursday to include "Rhapsody in Blue".

…Popularity of Whiteman’s offerings the last of the week have even surpassed his opening numbers. The ever popular, “Rhapsody in Blue” brings down deafening applause at every performance and then there are the other favorites. Beside wild jazz offerings and artful renditions of semi-classics. Paul and his boys have a program jammed with specialities. There are a wealth of comedians, not to mention talented song and dance men.

(Trenton Evening Times, June 16, 1928)  


June 17–19, Sunday–Tuesday. More recording dates with Whiteman in New York, including “That’s My Weakness Now” and “Wa-Da-Da”.

 

With the jazz king transplanting himself to Columbia, his Rhythm Boys are dittoing on the same label. They do their distinct vocal syncopation on No. 1455 with a couple of original ditties titled “Wa-Da-Da (Ev’rybody’s Doin’ It Now) and “That’s Grandma”.

(Variety, September 12, 1928)

 

...Incidentally this latter record has the song of the moment ‘That’s My Weakness Now’ on the reverse side. This number is also given us by Paul Whiteman, his orchestra and Rhythm Boys. The latter also sing ‘Wa-da-da’ (5006). Needless to say, both sides are first class.

(The Gramophone, October 1928)

 

June 19, Tuesday. (10:00–11:00 p.m.) The Rhythm Boys take part with Whiteman in a coast-to-coast radio broadcast over NBC titled “Sixty Magic Minutes with Paul Whiteman.” They sing, “That’s Grandma.” After the program, which originates from station WEAF in New York, the orchestra travels to Hastings-on-Hudson to play for Mayor Jimmy Walker’s birthday party at Longuevue Restaurant, which starts at 12:01 a.m. on June 20.

 

The Columbia Phonograph Hour, featuring Paul Whiteman and his orchestra, to be broadcast through a coast-to-coast chain of stations associated with the National Broadcasting Company on Tuesday evening, from 10:00 to 11:00 o’clock, will be heard around the world according to plans now being formulated by officials of the Columbia Phonograph Company.

      Arrangements are now in progress, according to information supplied NBC officials by H. C. Cox, president of the Columbia Phonograph Company, whereby powerful foreign broadcasters will endeavor to “pick-up” and re-broadcast the shortwave signals of 2XAF on 31.4 meters, 2XAF will be connected with WGY, the General Electric Company’s transmitter, which will be associated with the NBC system for the ‘Sixty Magic Minutes with Paul Whiteman’ as the broadcast has been termed.

      The Paul Whiteman Rhythm Boys, said to be the ‘hottest’ combination of vocalists on radio or records will participate in vocal refrains, and Vaughn de Leath, contralto crooner, will be heard during the orchestra’s playing of a salon arrangement of George Gershwin’s ‘The Man I Love’. ‘Chiquita,’ the latest composition by the authors of ‘Ramona,’ and ‘Tschaikowskiana,’ two symphonic jazz selections never before heard in public, will be featured by Paul Whiteman and his orchestra during this period. The broadcast will mark the jazz king’s debut with the Columbia Phonograph Company with whom he recently signed an exclusive recording contract at a figure regarded to be without precedent in the orchestral world.

      It is believed by those familiar with radio atmospheres that there is every possibility of the short-wave transmitters being ‘picked up’ and re-broadcast in England, France, Germany, South Africa, Australia and South America and it is with this point in mind, according to Columbia Phonograph officials, that foreign broadcasters have designated their willingness to co-operate in making the Whiteman program a world-wide affair.

(Syracuse Herald, June 17, 1928)


…Real “hot” numbers were sung by the Rhythm Boys. They took high honors last night.

(The Buffalo News, June 20, 1928)


…The Rhythm Boys scored heavily and prompted the tapping of millions of feet. The “Mother Goose Parade” was a rare novelty number, and “Constantinople” sends one searching for adjectives. “My Melancholy Baby” was included to please the thousands who like the present day and popular vocal “smearing” probably.

(J. E. Doyle, The Oakland Post Enquirer, June 20, 1928)

 

June 21, Thursday. Whiteman and his troupe take the train to Minneapolis, Minnesota arriving on June 22.

June 23–29, Saturday–Friday. Whiteman (including The Rhythm Boys) is at the Minnesota Theater, Minneapolis, giving four performances daily. The show entitled “Say It with Music” does the greatest business in the history of the city. Whiteman is paid $12,500 and out of this, he pays $7400 to his men and his manager.

 

Paul Whiteman is at the Minnesota this week. That in itself is sufficient to direct the public there for Mr. Whiteman is not only a splendid artist himself but he has brought his famous Rhythm Boys who can do everything from the most intellectual of the classics to the extreme of the modern jazz with numerous eccentric novelties added for good measure.

(Agnes Taaffe, The Minneapolis Star, May 5, 1928)


Excepting the dance marathon which has been drawing from $9,000 to $12,000 daily for the past eight days at the Armory, Paul Whiteman and his orchestra at the Minnesota last week ran away from the field. No one in these parts ever imagined it was possible for a local showhouse to draw so many people. Overflow crowds not only jammed the lobby every evening, but extended four deep for an entire block, waiting as long as an hour to gain entrance. Gross easily set a record for the town and marks the third week in succession this theatre has been over $30,000. Whiteman’s band is credited with $40,000 on the week.

(Variety, July 4, 1928)

     

June 30, Saturday. Whiteman and the band arrive in Chicago.

July 2–8, Monday–Sunday. The band is at the Chicago Theater, Chicago in the Publix stage show “Rio Romance”. Joe Penner joins the supporting cast.

 

I recall going to see a show called Calico Days in 1928 in Chicago. It had an all-Negro cast. A tall, handsome Negress walked out in “one.” Her face was wreathed in a warm ingratiating smile. Her eyes sparkled as she sang, “Dinah.” Her name: Ethel Waters.

(Bing Crosby, writing in Call Me Lucky, page 331)

 

July 4, Wednesday. (5:07 p.m.) Bing wires Ginger Meehan who is appearing in Good News at the Selwyn Theater, Chicago.

 

Would like to say hello this eve after your performance say at eleven fifteen

Bing

 

July 9–15, Monday–Sunday. Whiteman at the Uptown Theater in Chicago. The show is again titled "Rio Romance" and the film presentation is Happiness Ahead. Joe Penner joins the supporting cast.

July 10, Tuesday. (8:07 p.m.) Bing again sends a telegram to Ginger Meehan.

 

Would like to call you tonight if busy sue me

Bing

 

July 16–22, Monday–Sunday. The Tivoli Theater is the next venue in Chicago for the Whiteman ensemble and then the musicians have a 3-week break.

Rhythm Boys copy.jpgAugust 1, Wednesday. It is announced that the Rhythm Boys, without Whiteman, will soon be going on the Keith-Albee, Orpheum and Proctor vaudeville circuit (subsequently known as Radio–Keith–Orpheum from October) throughout Pennsylvania, Illinois, Michigan, Minnesota, Wisconsin, and Ohio. Whiteman is to be allowed to recall the trio at will. On tour, they are introduced by a cardboard cut-out of Whiteman and a recording of his voice. Bing earns $300 a week.

August 6–8, Monday–Wednesday. Rhythm Boys at Proctor Theater at Yonkers, New York.


Three of Paul Whiteman’s musical funsters head the current vaudeville bill at Proctor’s Theatre. Known as the Rhythm Boys, they do their stuff at a double piano, with the third man out front carrying the melodies, while the other two “do, do, do, do, o, do.” In snappy Whiteman rhythm, banging piano covers, tapping feet, and otherwise gesticulating in syncopated time. The little chap who slams the piano top loudest is an efficient laugh-getter, the other pianist is handsome, and the third man talks his songs fairly well. The bluecoat, brass buttons and white trousers of the Whiteman guild is effective for a summer show, and the introduction of the boys through a huge card-board figure of Paul Whiteman, pleasing and plump, is a good stunt.

(Yonkers Statesman, August 7, 1928)


August 9–12, Thursday–Sunday. Rhythm Boys at Keith’s 81st Street, New York.

 

Act consists of Crosby and Rinker, former Pacific coast picture house harmony duo plus Harry Barris, nut pianist who achieved prominence a couple of years ago in Paul Ash presentations in Chicago. The 3 were united by Paul Whiteman upon Crosby and Rinker joining Whiteman’s ensemble over a year ago and now step out with Whiteman’s label and blessing as a vaude combo. The boys have achieved some fame via their Columbia recordings. They are still quite young as to years, Crosby and Rinker are about 21 having stepped out of High School in Spokane, Washington about 3 years ago. Barris is also a fledgling. All make neat appearances in blue blazers and white flannels and are the type to hit with the younger generation particularly the flaps. They are of the vo–de–odo school and sizzling hot. As routined at the 81st. Street there was ample area for improvement in numbers and little too much of sameness about the horseplay. More rhythm and melody and less slamming of the music rack suggested. There is however little question that the boys will and can click even as presently outfitted and with the eliminations and improvements ought to be a consistent zowie.

(Variety, August 15, 1928)

 

Harry Barris, Bing Crosby and Al Rinker, billed as the Paul Whiteman Rhythm Boys, have personality, good voices and a way of putting their song numbers over effectively. Enough comedy is introduced to keep things moving rapidly while they are on the stage. They have the art of rhythm perfected to a stellar degree and add a brilliant touch to the song numbers constituting their repertoire. An act worthy of big-time booking and a distinctive asset to any bill.

(Billboard, August 18, 1928)

 

August 20–26, Monday–Sunday. The act is at the Palace in Cleveland.

 

Three of Paul Whiteman’s do-do-ee-o boys sizzle rhythms up to 212 degrees on the Palace’s current bill.   With a couple of pianos and a half cymbal (or is that circular piece of bell-toned brass a couple of other fellows?), they heat up the atmosphere of a refrigerated theater with several kinds of melodies, products of the newest school of bu-loos. Their comedy is rather gorgeous and quite in keeping with their distinctive styles of pah-pah-te-ah anthems to ‘Mississippi Mud’ and ‘That’s My Weakness Now.’

(Plain Dealer, August 21, 1928)

 

August 27–September 1, Monday–Saturday. The St. Louis Grand at Delmar in St. Louis is the next stop for the Rhythm Boys. The film being shown as part of the cine-variety presentation is Home James.

 

Jazz, comedy and red hair predominate on the vaudeville bill at the St. Louis this week, where Paul Whiteman’s Rhythm Boys and the Fourteen Brick Tops, an orchestra composed entirely of titian-haired girls are being featured. Harmony singing and comedy are mingled by the three Rhythm Boys who join the Brick Tops for a crashing, syncopated finale.

(St. Louis Daily Globe-Democrat, August 27, 1928)

 

September (undated). During the month he turns 27-years-old, William S. Paley acquires United Independent Broadcasters Inc., a network of sixteen independent radio stations, and changes the name to Columbia Broadcast System and becomes President of the Company.

September 2–8, Sunday–Saturday. The Rhythm Boys appear at the Palace in Chicago.

 

Paul Whiteman’s Rhythm Boys utilizing a unique opening have a huge effigy of Whiteman at center stage to do the announcing and introductions. One chap a veritable Barrymore for looks the standout. Story songs to rhythmical music and vocal improvisations are their best bet. They have no weakness.

(Variety, September 12, 1928)

 

September 9-12, Sunday-Wednesday. The Keith-Albee Palace at Akron, Ohio is the next stop for the Rhythm Boys.


Jazz to the nth degree is what Paul Whiteman’s Rhythm Boys are giving vaudeville fans at Keith-Albee Palace the first four days of this week. And they like it. These boys undeniably top the bill of five unusually good acts. They present jazz in its most digestible form, that is, with a lot of pep.

Bing Crosby’s sweet, mellow voice makes the most blatant jazz melody sound harmonious and the erratic accompaniments of his pals, Harry Barris and Al Binker (sic), are what the jazz boys would call “keen.” They know their keys. The trio’s presentation of their own number, “Mississippi Mud,” is jazz de luxe.

Harry adds to their act with a bit of clowning at his piano and a tune on his banjo. The boys are worthy of their reputation as a feature of Whiteman’s band. If Whiteman’s boys are all as good as Harry and Al and Bing, let’s hear them.

(The Akron Beacon Journal, September 10, 1928)


September 13–16, Thursday–Sunday. The Rhythm Boys move on to the Keith-Albee Palace at Youngstown, Ohio, where they top the bill as part of a continuous cine-variety show running from 1:00 p.m. to 11:30 p.m.

September 17–19, Monday–Wednesday. The trio’s next venue is Keith’s at Toledo, Ohio, where it is said that the theater manager rings the curtain down in their faces following an off-color joke.

 

At the end of the show, for a closing joke, Harry said “do you know how to cure a horse from frothing at the mouth?” I said “no” and he said “teach him to spit!” And the curtain came down with a wham!—right in front of us and that was it.

(Bing Crosby talking in 1972, as reproduced in The Complete Crosby, page 33)

 

September 20–22, Thursday–Saturday. The Rhythm Boys top the bill in a cine-variety show at B. F. Keith’s in Grand Rapids. The film is Beyond the Sierras.

 

Another good show at Keith’s. Paul Whiteman’s Rhythm Boys, Harry Barris, Bing Crosby, and Al Rinker, featured as headliners are given pretty stiff competition by Gaby Leslye and company of dancers. The Rhythm Boys are speedy jazz singers, their two piano playing and other instrumental trimmings give style, but they waste too much time in comedy talk which is not particularly hilarious. More music and less chatter would strengthen the act.

(Grand Rapids Press, September 20, 1928)

 

Paul Whiteman’s Rhythm Boys, protégés of the great wizard of music, Broadway favorites and recording stars, swept everything before them at Keith’s yesterday. How they can burn up the melody! Every move’s a picture and every picture is labeled syncopation. This trio will thrill you clear to your toes.

(Grand Rapids Herald, September 21, 1928)

 

From Cincinnati he (Bing) wrote his mother, ‘We are still doing quite well knocking around the country and getting a real taste of vaudeville which, after all, is the real thing as far as show business is concerned.”

And from Grand Rapids, “The act is progressing nicely as we inject new ideas into it. We find ourselves more or less on our own, aware of whatever ability we may have and not afraid to try anything by which we may be benefited, Since scoring so well we have had numerous offers for New York productions, but unfortunately we are routed until December 31, when we open at the Palace in New York. Being out of town, however, makes it impossible to do recordings so we’ll get pretty badly in arrears in that connection. We are trying to get routed out over that Coast Orpheum time (Seattle, L.A., etc.) and should hear from our agent any day. I’m very anxious to get home for a short time to see you and Dad and those nephews and nieces.”

(The Story of Bing Crosby, page 141)

 

September 24–26, Monday–Wednesday. They go on to the Uptown Theater at Detroit, Michigan and top the bill as part of a cine-variety show alongside the film Gang War.


The stage show is headlined by Paul Whiteman’s Rhythm Boys, Harry Barris, Bing Crosby and Al Rinker, formerly with Paul Whiteman’s orchestra. It was this trio who originated “Mississippi Mud”. All three boys sing, two of them play the piano and on strums a banjo.

(The Detroit Free Press, September 23, 1928)


September 27–29, Thursday–Saturday. The Rhythm Boys are at the Hollywood Theater in Detroit in a cine-variety show. They are second billed behind Rae Samuels, "The Blue Streak of Vaudeville". The film is Man Made Women with Leatrice Joy, H. B. Warner and John  Boles.


…Other acts are Paul Whiteman’s Rhythm Boys, a clever trio of singers and musicians who became famous for their origination of “Mississippi Mud.”

(The Detroit Free Press, September 27, 1928)


September 30–October 3, Sunday–Wednesday. Appearing at Keith’s in Dayton, Ohio.

 

For sheer entertainment, Paul Whiteman’s Rhythm Boys, at the Keith theater this part of the week, are in a class by themselves. Coming to vaudeville direct from a three years’ association with Paul Whiteman’s renowned orchestra in which they were featured, Harry Barris, Bing Crosby, and Al Rinker, who constitute the offering, have met with extraordinary success in the two and three-a-day. They are about the peppiest, jazziest, and most refreshing eccentric songsters and instrumentalists that it has been vaudeville’s good fortune to present in some time.

      Though none of the boys are more than 23 years old, each has been before the footlights for several years and their accomplishments are many and varied. Some of their best known compositions are “Brown Sugar,” “Mississippi Mud,” “Hong Kong Dream Girl,” and “Wa-Da-Da.”

(Dayton Journal, October 2, 1928)

 

…These Paul Whiteman proteges at Keith’s are full of pep and vigor, especially the likeable Harry Barris, who doesn’t like ballads but who is hot on the jazz music any old day. His piano playing and his piano capers are the life of the party. When it comes to the sentimental compositions he obligingly leaves, because “Harry doesn't like ballads.” Harry, together with Bing Crosby and Al Rinker, presents a cycle of songs with piano accompaniment that pretty thoroughly covers the field of modern musical tastes.

This happy trio composed the popular “Mississippi Mud” number and they have not forgotten to include it on their program, along with other lively numbers, including “That’s My Weakness Now” and others that are equally spirited or raucous, according to your own way of thinking. The trio works well together and they all have pleasant- enough voices, either in solo work or group chorus singing. The comedy ingredients include a new “boloney” joke that goes over well and other riddle nonsense. Altogether, the act is most enjoyable and their pleasant personalities quite infectious.

(The Dayton Herald, October 1, 1928)


October 4–6, Thursday–Saturday. The trio goes on to perform at Keith’s Rialto in Louisville, Kentucky where they top the bill. At 5pm on October 6, they entertain at the Kingman-Kelsall "Beautiful Music" Store.

October 7–13, Sunday–Saturday. Rhythm Boys at Albee Theater, Cincinnati.


Three of Paul Whiteman’s playmates, billed as the Rhythm Boys perform some merry vocal and instrumental nonsense. Their renditions of current song successes may not be especially melodious or harmonious, but they certainly are amusing and “different.”

(Carl B. Adams, The Cincinnati Enquirer, October 8, 1928)


October 16–17, Tuesday–Wednesday. The act is at the Keith-Albee Palace in Columbus, Ohio. Jack Benny is the master of ceremonies. The boys miss their advertised performance on October 15 as they had gone to Nashville by mistake.

 

Rhythm Boys arrive and in two senses

Both in body and in artistry, the Paul Whiteman Rhythm Boys arrived at Keith-Albee Palace, Tuesday afternoon, when they were the show stoppers of the already splendid bill. This trio of zippy young men: Harry Barris, piano and song, Bing Crosby, songs, and Al Rinker, guitar and piano, work fast and furiously. They gave their own big record success “Mississippi Mud” and “Wa-Da-Da” and “Sweet Sue.” Their own numbers were followed by such favorites as “That’s My Weakness Now” and “Nothing But Love.” This act shares headline honors with Jack Benny, the monologist . . . .

(The Columbus Citizen, October 17, 1928)

 

October 18–21, Thursday–Sunday. The Rhythm Boys are at the Palace in Canton, Ohio, and again Jack Benny is on the same bill.

 

Because the name ‘Paul Whiteman’s Rhythm Boys’ was billed in conspicuous letters, patrons of the Palace where the boys are entertaining for the last half of the week, expected the vocalists to headline the Appreciation week program. First-day audiences were not disappointed, although it was pretty generally agreed that the Six Daunton-Shaws gave the vocal artists a good run for their honors. There is no doubt about it, these Rhythm Boys can sing - when they want to.   But for many in the audience last night, there was too much attempted clowning and too little harmonizing. There is no doubt either, but that the boys have a unique and interesting manner of presenting their song hits, if only there were more of them. It’s a good act as it stands, but to this reviewer’s way of thinking, could be made much better. However, be sure and hear the boys sing.

(The Evening Repository, October 19, 1928)

 

October 22–28, Monday–Sunday. The trio is at the Princess Theater in Nashville, Tennessee.


…In the headline position are Paul Whiteman’s Rhythm Boys, a trio formerly with the jazz king’s orchestra, but now in vaudeville on their own.  All three sing and two are rather clever novelty pianists in their offering of rhythmical jazz hits.

 (Nashville Banner, October 23, 1928)


October 29–31, Monday–Wednesday. Erie, Pennsylvania, is the next location for the trio’s performance when they appear at the Perry Theater.

 

There are so many interesting items on the current bill at the Perry that it is rather difficult to know where to begin to tell you about them, but, if a popular vote were taken I presume the first place would go to Paul Whiteman’s Rhythm Boys, for they threaten to hold up the show and will probably continue to do so.  These three young lads are the very apotheosis of present-day jazz singing, and with agreeable personalities and plenty of pep they “get” you whether or not you care for their “wah-wha-do-deedle-o-do” style of vocal expressions or not. You’ll have to admit they are a tonic—and a pleasant one at that.
(Erie Daily Times, October 30, 1928)

 

November 4–10, Sunday–Saturday. Back in Chicago, the Rhythm Boys appear at the State-Lake Theater. Bing dates Peggy Bernier whom he first met at the Granada in San Francisco in October 1926.

 

Paul Whiteman’s Rhythm Boys would have been showstoppers with a more lively audience. Corking performers who know how, when, and where. For the picture houses a cinch.

(Variety, November 7, 1928)

 

November 6, Tuesday. Herbert Hoover is elected president of the United States.

November 10, Saturday. The Rhythm Boys record “My Suppressed Desire” and “Rhythm King” in Chicago for Columbia Records.

 

Prominent in the Columbia list is a new disc by Paul Whiteman’s Rhythm Boys containing “Rhythm King” and “My Suppressed Desire” rendered as only these incomparable people can (5240).

(The Gramophone, March 1929)

 

November 11–17, Sunday–Saturday. The act moves on to the Palace Orpheum, Milwaukee. The cine-variety bill includes the movie Take Me Home starring Bebe Daniels.

 

Many will remember Paul Whiteman’s Rhythm Boys as featured artists with Whiteman’s world famous orchestra and for their numerous records. Bing Crosby, Harry Barris and Al Rinker, who constitute the trio, have all had a fling at song writing and have a dozen or more hits to their credit. Some of the more popular are “Brown Sugar,” “Hong Kong Dream Girl,” “Play It Red,” “Wa-da-da” and “Mississippi Mud.” The boys have been called the noisiest outfit on the stage and they are proud of the distinction. They make merry with a zip and zest that becomes their youth.
(Milwaukee Sentinel, November 11, 1928)


        Paul Whiteman’s Rhythm Boys turn out harmony that is ‘sizzling’ and original. One of the best things on the bill.

    (Wisconsin News, November 12, 1928)

 

November 18–20, Sunday–Tuesday. The Rhythm Boys perform at the Palace Theater in Rockford, Illinois, where Bing is supposed to have spent a day in jail on arrival as he was drunk and he misses the first day’s shows.

 

One of the Rhythm Boys failed to appear for Sunday’s performance at the Palace theater and in consequence the headline set wasn’t much. The other two worked valiantly enough to make their own stuff suffice, but the act was more or less flooey.

(The Rockford Register-Gazette, November 19, 1928)

 

Paul Whiteman’s Rhythm Boys, with the line-up intact, after a makeshift performance on the first day, were liked by last night’s audience. The boys combine a little nonsense with some soft melodies and contrive an act commendable for its cheerfulness.

(Rockford Morning Star, November 20, 1928)

 

November 21–24, Wednesday–Saturday. The trio is on the bill at the New Orpheum in Madison, Wisconsin alongside the film Sal of Singapore. They give shows at 3, 6:45 and 9:10 p.m.

 

A first show audience at the New Orpheum theater Wednesday night failed to get greatly steamed up over the program being shown there this half of the week, although Paul Whiteman’s Rhythm Boys hold only third position on the vaudeville bill. . . Even with the name of Whiteman behind them, the Rhythm Boys fail to get across, and had we arranged the bill, we should have given them the lowest possible position. Their rhythm, to use a trite phrase, was conspicuous by its absence. Since the Rhythm Boys claim to be the originators of ‘Mississippi Mud,’ we surmise that the mud has boomerang-like qualities, for it’s being slung right back at them wherever they appear.

(The Capital Times, November 22, 1928)


Paul Whiteman’s Rhythm Boys, a trio of youthful jazzticians, Harry Barris, Bing Crosby and Al Rinker, former students in and now exponents and disciples of the Whiteman school of musical hysteria, tickled the student portion of last night’s Orpheum audiences while the rest of us muttered Tch! Tch! Tch! under our breath and tried to upholster our faces with that we “understood youth” expression. We understood, however, that they really were good. How else could they have been the originators of “Mississippi Mud” that immensely popular radio number? We didn’t understand why, though. Maybe a psychology savant could have explained it all satisfactorily.

(Harry Moore, Wisconsin State Journal, November 22, 1928)

 
November 26–28, Monday–Wednesday. At the Orpheum Theater, St. Paul, Minnesota.
November 29–December 1, Thursday–Saturday. The boys move on to the New Orpheum, Sioux City, Iowa, where they are part of a cine-variety bill. There are four vaudeville shows each day at 2:30, 4:45, 7:00, and 9:15 p.m.—all seats are fifty cents. On the Friday and Saturday, the trio goes to the fourth floor of Davidson’s Department Store at 4:00 p.m. to sign their own records for purchasers.
December 2–8, Sunday–Saturday. The Rhythm Boys at the Orpheum in Omaha, Nebraska.


Paul Whiteman’s Rhythm Boys, Harry Barris, Bing Crosby and Al Rinker, make merry in “whoopie” style with songs, piano and banjo numbers.

(Council Bluffs Nonpareil, December 2, 1928)


Paul Whiteman’s Rhythm Boys, as they are billed, do not need the magic of Whiteman’s name. They have a clever act, one with catchy melodies.

(The Omaha Evening Bee-News, December 3, 1928)


Jests and jazz are combined in the musical and vocal offering of the trio billed as Paul Whiteman’s Rhythm Boys. Hilarious liveliness characterizes their performance. Their songs numbers include “Mississippi Mud,” “Sweet Sue” and “My Weakness.”

(Omaha World Herald, December 3, 1928)


        December 9–15, Sunday–Saturday. The act tops the bill for a week at the Mainstreet Theater in Kansas City with shows starting at 3 p.m., 7 p.m. and 9:20 p.m. as part of a cine-variety presentation.


The headline act is Paul Whiteman’s Rhythm Boys a trio that can sing, and does plenty of it to a 2-piano accompaniment. The boys are the originators of “Mississippi Mud,” which song was their opening number yesterday.

(The Kansas City Times, December 10, 1928)


December 17–19, Monday–Wednesday. The Rhythm Boys at the State Theater, Jersey City. Their baggage arrives late and they have to perform without costumes at the first show.

December 20–22, Thursday–Saturday. The act performs at the Fordham Theater in New York City.

December 22, Saturday. Bing records “Makin’ Whoopee” with Whiteman in New York.

December 23–29, Sunday–Saturday. The Rhythm Boys at the Palace, New York.

 

Whiteman’s Rhythm Boys (Harry Barris, Bing Crosby, and Al Rinker) twiced nicely. They will accelerate with the aging of the week. They will find themselves, and this is evidenced already to a great extent with modulation of the vo-do-de-o stuff, they’re plenty torrid of the ultra modern vogue of ho-cha-cha rhythmic vocalization. They open with “Mississippi Mud” on which they are billed as the originators, this being their own composition. The ballad idea by Bing Crosby is great for a change of pace, his “When Summer Is Gone” going well. The youngsters, they look as though they have barely attained their majority, work smoothly and politely for all their freak modulations and with a nice presence and address, particularly Crosby who is the balance to Barris’s torrid inhibitions.

(Variety, December 26, 1928)

 

December 28, Friday. Bing records “I’ll Get By” and “Rose of Mandalay” with Sam Lanin’s Ipana Troubadours in New York for Columbia Records. Tommy and Jimmy Dorsey are in the orchestra.

December 31–January 2, Monday–Wednesday. The Rhythm Boys perform at the Ritz, Elizabeth, New Jersey.

During the year, Bing has participated in thirteen Whiteman records that became hits: “Changes,” “Ol’ Man River,” “Sunshine,” “Mississippi Mud,” “From Monday On,” “Constantinople,” “Get Out and Get Under the Moon,” “Evening Star,” “You Took Advantage of Me,” “Louisiana,” “It Was the Dawn of Love,” “I’m on the Crest of a Wave,” and “Out of Town Gal.” In addition, he also had a hit with “Mississippi Mud” recorded with Frankie Trumbauer and his Orchestra.

 

1929

 

January 3–6, Thursday–Sunday. The trio tops the bill at the Regent Theater in Paterson, New Jersey.


An exceedingly entertaining program of variety entertainment opens today at the Regent theater. Heading the big proceedings are the popular Paul Whiteman Rhythm Boys, a trio directed and sponsored by the famous bandsman. These three lads, Harry Barris, Bing Crosby and Al Rinker were at one time a feature of the Paul Whiteman orchestra. Their work deserves recognition and so Mr. Whiteman always eager to reward merit, promptly put them in their own offering. They were an instantaneous success. Their method of singing songs won immediate approval. This trio who originated and composed the famous song “Mississippi Mud”. This is only one of a group of songs they sing differently.

(The Paterson Morning Call, January 3, 1929)


January 7–9, Monday–Wednesday. The Rhythm Boys move on to the Majestic Theater, Easton, Pennsylvania.

January 8, Tuesday. Bill Paley appears on the air for the first time to announce that CBS now has the largest regular chain of broadcasting stations in radio history. In the three-and-one-half months since Paley took the helm, CBS has tripled its broadcasting coverage, and now serves 49 stations in 42 cities throughout the country.

January 10–13, Thursday–Sunday. The act tops the bill at the Colonial Theater in Allentown, Pennsylvania alongside the film The Power of Silence.

 

Paul Whiteman’s rhythm boys who are Harry Barris, Bing Crosby and Al Rinker are at the Colonial only by special arrangement. They are the very popular and very busy radio and record artists. Comedy, song and music makes up the very interesting offering they bring.

(The Morning Call, January 11, 1929)


In the first week of the New Year he (Bing) wrote from Allentown, Pa., “Had a nice time in New York and did well at the Palace. Our act and style of work has been so widely imitated and copied that it is really a problem to give them anything different. Our future plans are a little indefinite right now, but as it’s okay with Whiteman, we’ll continue touring. We are also dickering for a series of picture shorts. It really is essential to keep a number of irons in the fire, so that one disappointment won’t leave us unplaced.”

(The Story of Bing Crosby, page 141)

 

January 14-16, Monday-Wednesday. The Rhythm Boys entertain at the State, Harrisburg, Pennsylvania.


…The Rhythm Boys we confess were disappointing. They were not bad, but slightly over-played in advance notices. They took full advantage of the name “Whiteman” to put over an otherwise fair act. The Rhythm Boys as originators of “Mississippi Mud,” displayed a rather unusual type of jazz, and Harry Barris did his part well. Harry was pretty much the whole act.

(Harrisburg Telegraph, January 15, 1929)


January 25, Friday. In New York, the Rhythm Boys record “So the Bluebirds and the Blackbirds” for Columbia but this version is never issued. Then Bing makes three tracks with Sam Lanin and his Orchestra, “I’m Crazy Over You,” “Susianna,” and “If I Had You” for Okeh Records.

January 26, Saturday. Still in New York, Bing records for Okeh Records and sings “The Spell of the Blues,” “Let’s Do It,” and “My Kinda Love” with the Dorsey Brothers Orchestra who use Glenn Miller’s arrangements. Whiteman finds out about Bing’s unauthorized recording activities and fires him. Bill Challis persuades Whiteman to rehire Bing.

January 27-February 2, Sunday-Saturday. The Rhythm Boys are on the bill at the Fox Theatre in Philadelphia. They are billed second behind Johnny Marvin.


Paul Whiteman’s Three Rhythm Boys offered so entertaining a number that they almost stopped the show, for the audience applauded and applauded and got no results whatever.

(The Philadelphia Inquirer, January 29, 1929)



February 5, Tuesday. (9:00–10:00 p.m.) Paul Whiteman makes his first radio broadcast for Old Gold Cigarettes over CBS from station WABC in New York. He is paid $5,000 per broadcast. Old Gold use the slogan "Not a cough in a carload" in their advertising. Eddie Cantor guests. The Old Gold people especially request the presence of Bing and the Rhythm Boys on the show and Whiteman reemploys them at $900 per week. The Rhythm Boys sing “Makin’ Whoopee” and Bing has a solo on “Let’s Do It.”

 

When Paul Whiteman put his pen to a contract for at least nine, and possibly fifteen weeks of broadcasting, on the nation-wide network of the Columbia Broadcasting system, a few days ago, he made a bit of history that is of interest both in radio and in musical circles. Whiteman has rarely been heard on the air, and hitherto has declined any proposition to become a radio entertainer in any continuous sense.

      He has a last yielded to the urgings of radio fans all over the country, and has accepted the opportunity that came when Old Gold cigarettes decided to go on the air and determined that the entertainment it offered should be the very best of its kind to be had.

      The hour on the Columbia system Tuesday nights from 9 to 10 o’clock starting Feb. 5, is to be known as The Old Gold-Paul Whiteman Hour, and the jazz king and his peerless orchestra are to be heard throughout the United States on the 43 stations of the Columbia Broadcasting system. Whiteman is devoting a great deal of time to building up grams which should be a delight to all who hear them. He is opening an Old Gold hour that is expected to run for two years.

(Publicity Release)

 

The outstanding radio event last night was the debut of the Old Gold cigarette hour. This brought the world famous Paul Whiteman to the air listeners as a steady feature. His music was as delightful as ever, but lacked the sight of Whiteman to really make it a big hit. Not that the melody, the overtones and all of the Whiteman music mannerisms were not employed, but it needed a sight of Whiteman to really help it.

There are so many orchestras that are good on the air today that while the name of Whiteman is an outstanding one, it was needed to put the Lorrilard program across. It was offered over WABC and the Columbia net. At the dinner preceding the program. Whiteman made a very nice little speech for such a big man and hoped that he would please. Major Andrew White and other CBS officials were all on hand to help launch the million dollar program.

Oh yes, Eddie Cantor had a few moments from his dressing room at the Ziegfeld review he is starring in. He did the advertising for the period. To our mind this part of the program could just as well have been omitted. Still and all, Paul Whiteman and his Old Gold program will undoubtedly prove a great success.

(David Bratton, Brooklyn Times Union, February 6, 1929)


My admiration of Paul Whiteman and his orchestra was based mostly on information I gleaned from newspaper and magazine articles. He was head and shoulders above other orchestras in popularity in the 1920s. I had heard some of his records over a local radio station, but have absolutely no memory of reading of or hearing Bing Crosby and The Rhythm Boys. Imagine my delight when I read that Paul Whiteman and his orchestra would be featured in an hour-long coast-to-coast radio broadcast for Old Gold cigarettes in February 1929. I can recall how excited I was on the day of the broadcast that was scheduled for 6:00 p.m. Pacific Coast time, and wanted to be home from school and finish with dinner and be ready for the program.

      I wish I could say that I remember the songs that Bing sang on that first Old Gold program, but I do clearly recall how taken I was with the quality and timbre of his voice, having never heard anyone sing like that before. I can truly say that I became an instant Crosby fan. Vocalists with the dance bands of the 1920s usually played an instrument and generally were not very good singers, but Bing was different.

      The Old Gold programs continued weekly for many months from various cities and venues. The best I can remember is that Bing would sing two or three solos and the Rhythm Boys would sing about the same number of songs on each broadcast. The song titles I can recall that Bing sang most often were “I’ll Get By”, “Oh, Miss Hannah” and “Louise”. They became favorites of mine and remain so today.

(Virgil Edwards, writing in BING magazine, summer 1999)

 

February 6–April 25, Wednesday–Tuesday. Whiteman reopens atop the New Amsterdam Theater in the Ziegfeld Midnight Frolic with Helen Morgan as the main guest star. Many celebrities attend the opening night. The show starts at 11:30 p.m. each night after the theater shows have finished. The Whiteman band also doubles in the stage show of Whoopee in the New Amsterdam Theater. It is probable that the Rhythm Boys sometimes formed part of one or both of the shows when they returned full time to Whiteman’s employ in March. Maurice Chevalier makes his New York debut in the Frolic on February 18. Ruth Etting is the guest star at the Frolic in the week beginning April 7.

 

On the evening of February 6, the orchestra returned to the New Amsterdam Theater, where they accompanied the young talents who Florenz Ziegfeld was trying out in his Midnight Frolics. The singer who joined the band on February 18 was no longer a young hopeful: at forty-one, Maurice Chevalier made his true debut on a Broadway stage, after a failed attempt during his first visit to the U.S. in 1922. “Three young men were featured in an act as the Rhythm Boys,” wrote Maurice Chevalier in his memoirs. “The third one, quietly leaning on the piano, looking melancholic. A pleasant voice, but slightly veiled, and yet strongly captivating. I asked for his name: Bing Crosby. The truth is that the audience at the Ziegfeld Roof paid little attention to the Rhythm Boys. Their act was short—six minutes only—and it went on to marked indifference.”

(Jean Pierre Lion, Bix: The Definitive Biography of a Jazz Legend, page 209)

 

Whiteman has brought his Rhythm Boys (Crosby, Rinker, Barris) into the nite club.

(Variety, March 6, 1929)

 

February 10-13, Sunday-Wednesday. The Rhythm Boys appear at B. F. Keith's in Syracuse, New York. The headline act is "the famous screen star" Cullen Landis.

February 12, Tuesday. (9:00–10:00 p.m.) Another Whiteman Old Gold radio show is broadcast but Bing does not appear on the show.

 

The second of the Old Gold-Paul Whiteman dance programs on the Columbia network last Tuesday night was replete with musical nuance. While subject to a little re-routining, as to number sequence, the instrumental skill of the Whitemanites is as superb as ever before. Good contrast was the switch from the sympathetic saxophone solo, ‘Valse Inspiration’ to ‘The B-Natural Blues’ - an extremely torrid rendition. The revival of ‘Limehouse Blues’ was a peach of an orchestration and the distinctive ‘New Moon’ numbers, ‘Marianne’ and ‘Lover, Come Back to Me’, etherised by special permission of the copyright owners, were among the most unusual musical entries. Regardless of Old Gold winning all these contests, this time it was at both Yale and Princeton, Whiteman is giving them radio ballyhoo of extraordinary character.

(Variety, February 20, 1929)

 

February 14, Thursday. The Valentine’s Day massacre occurs in Chicago when members of an Al Capone led mob shoot seven men from a rival gang in a Chicago beerhouse.

February 14–17, Thursday–Sunday. The Rhythm Boys are featured at the Palace, Rochester, New York. Cullen Landis again tops the bill.


…Paul Whiteman’s Rhythm Boys, a male trio, gave the sort of clever jazz offering that even we, jazz wearing as we are, liked. They played two pianos and sang and did nonsense, all in a smart, expert manner.

(Rochester Democrat and Chronicle, February 15, 1929)


February 15, Friday. While staying at the Seneca Hotel in Rochester, Bing writes to his mother.


Dear Mother-:

I received your letter today, it having been forwarded here from Syracuse, and am enclosing money order for a C, which you can split with Dad.

... The [Rhythm Boys] are verily the "stormy petrels" of show business, particularly myself. At present we are in a frightful imbroglio with the Columbia Company. Victor Company, Keith Albee and Whiteman claiming us contractually obligated to each of them.... Pending a satisfactory arrangement we have been working but sporadically and jumping all over the East Coast. Shortly after our return we landed a show which augured very well for us with good parts and a nice salary. But while up in Pennsylvania the agent neglected to close the deal and we returned to find the chance lost. This is but one instance of a dozen similar incidents ... the Savoy Hotel in London made overtures for our services and finally made us a highly attractive offer. I found a loophole in our Whiteman contract and being dissatisfied with the way things were breaking over here, partially accepted. We were getting quite fed up with this part of the country, and our material and manner of working had been so extensively pirated that the novelty had begun to pall. I figured a change of locale, new surroundings, new audiences, etc. coupled with the reputed avidity of the English for anything jazz and American would afford just the break to put us into something worthwhile.... We were convinced that over the proposed six months period, we could net ourselves about $350 a week with excellent prospects of an even greater return if the angles were worked properly. Now Whiteman has proved the fly in the ointment. He has become convinced of the impracticability of touring anymore and has arranged to stay definitely in New York with the Ziegfeld Roof, "Whoopie Show" [sic], radio and recording supplying the necessary angles. This, of course, is precisely the type of work for which he needs us the most, and he is fuming plenty about injunctions, suits of law and any other means of preventing our early departure. Further, I personally have been offered a nice contract for exclusive recording and radio work. This, of course, would necessitate disbanding the trio which I am reluctant to do. I guess the thrill of the footlights and the glamor of the greasepaint has got into my blood, for unquestionably an arrangement such as has been tendered to me, would provide a definite and lucrative future far in excess of present prospects, but without the attendant glory, and association peculiar to show business. Then too, Rinker would be left without anything, and having started with him, breaking away now, hardly seems the right thing to do.

So you can understand things are in a turmoil. Truthfully, I don’t know which way to turn. We are going into New York Sunday and, as we are expected to sail Friday next, some conclusion will have to be reached quickly although not too sure of myself I am reasonably convinced that my talents, if any, are above average, and there is a niche somewhere for me in this field. The difficulty lies in finding out where and connecting at once. I want you and Dad to believe that my chief desire is making out in a big way quick and doing something for you that will really matter. I realize fully that what measure of success I have attained is directly attributable to your guidance and upbringing and I know too, that your prayers and those of the sisters must have played no small part.

I have thought a great deal about Bob and now believe if you can wait until the present difficulties are definitely settled, (say until early spring) I can do something definite.... I know I owe you and Dad a great deal more than I can ever repay, and I hate to see him growing up doing himself irreparable harm just through his own willfulness. (As I did)....

I will be at the Belvedere hotel next week in the event you should write.

Love to all

Harry

P.S. Regarding your query concerning our vitaphone. Whiteman doesn’t wish his name used in a talking picture, short or otherwise, until he has made his first. Hence we are holding off. There is plenty of time and we’ll probably get more dough when we do.



February 19, Tuesday. (9:00–10:00 p.m.) Whiteman’s Old Gold radio show. The Rhythm Boys perform “Where the Shy Little Violets Grow” and Bing sings “When Summer Is Gone.” The orchestra performs “Rhapsody in Blue”.

 

Gershwin’s famous ‘Rhapsody in Blue’, strains of which have been identified with the Old Gold-Paul Whiteman hour since its inception over the Columbia Broadcasting system two weeks ago, will be played in its complete form by Whiteman in the nationwide broadcast over a 42 station hook-up, at 9 o’clock. Thousands of requests have been received by the P. Lorillard Company, makers of Old Gold Cigarettes. Written for the Carnegie Hall concert of the Whiteman Orchestra and dedicated to the Whiteman group, the rhapsody is closely identified with the king of jazz.

(The Brooklyn Citizen, February 17, 1929)


Whiteman, Old Gold, WABC, hard to beat this combination. The orchestra was exceptionally good last night. Ted Husing was in good voice also. The “St. Louis Blues” could readily drive anyone’s blues away. The undercurrent of the “Rhapsody in Blue” and many others and even as Old Gold is called first among the cigarettes, so must Paul Whiteman and his Old Gold orchestra come very close to first place if the feature does not actually occupy that position.

(David Bratton, Brooklyn Times Union, February 20, 1929)

 

February 26, Tuesday. (9:00–10:00 p.m.) Another Old Gold show is broadcast with Bing having three solos this time in addition to two songs by the Rhythm Boys.


The mighty Wagner was not the kind of fellow to turn over in his grave. Nothing less than a back-somersault and a couple of handsprings would give him any emotional relief. Therefore, if earthquakes are recorded tonight, 6 o’clock, when Paul Whiteman’s orchestra presents “Wagneriana” to a coast-to-coast radio audience, you will understand that Richard, wherever he is buried, is putting in a conscientious protest. “Wagneriana” is what happens when Mr. Whiteman toys with the great German’s more familiar tunes–sort of worrying them a bit in the modern manner. Mr. Whiteman’s symphonic syncopated arrangements of the classics might be called antiseptic jazz. Tune in KPLA-KMTR, 6pm.

(Dick Creedon, Los Angeles Examiner, February 26, 1929)

 

February 28, Thursday. Bing records “My Angeline” and “Coquette” with Whiteman. The first song is not released.

March 1–7, Friday–Thursday. The Rhythm Boys top the bill in a cine-variety show at the Fox, Brooklyn.


Paul Whiteman’s Rhythm Boys who made the song “Mississippi Mud” famous, are at the Fox, where an intriguing stage show and the picture “True Heaven” are swelling the box office receipts.

(The Standard Union, (Brooklyn), March 4, 1929)


March 5, Tuesday. (9:00–10:00 p.m.) Whiteman’s Old Gold radio show. Bing and the Rhythm Boys are prominent.

March 7, Thursday. Bing records “My Angeline” again with Whiteman, this time successfully.

March 8, Friday. The Rhythm Boys complete their vaudeville tour and rejoin the Whiteman band.

March 12, Tuesday. (9:00–10:00 p.m.) Old Gold broadcast. Bing sings “Louise” amongst other songs.


KGA begins the evening broadcast with an hour of Paul Whiteman’s band between 6 and 7. The Spokane members of his orchestra, ‘Bing Crosby’ and Al Rinker. ‘Rhythm Boys’ are scheduled for two songs during this hour.

(Spokane Chronicle, March 12, 1929)


March 14, Thursday. For Columbia Records, Bing sings “My Kinda Love” and “Till We Meet” for his first record where his name appears on the label as a solo artist with “orchestral accompaniment.” In fact, Bing is accompanied by a trio consisting of Matty Malneck, Roy Bargy, and Edward “Snoozer” Quinn.

 

Some pip releases on Columbia. Bing Crosby, one of the Paul Whiteman Rhythm Boys, solos ‘My Kinda Love’ and ‘Till We Meet’ in effective style.

(Variety, May 1, 1929)

 

On March 14, encouraged by the Vallee phenomenon, Columbia offered Bing his first date under his own name. He was backed by three Whiteman musicians (violinist Matty Malneck, pianist Roy Bargy, guitarist Snoozer Quinn). All his experience during the four years since the Musicaladers should have been consolidated in this hour, yet the records are unaccountably lifeless. Spurred by the vitality he achieved on “My Kinda Love” with the Dorseys, Bing chose to rerecord it, but this time he overloaded the song with self-conscious vocal techniques; for the first time, he was thrown off-kilter by a doubled-up tempo change. On the wholly undistinguished song “Till We Meet,” he sounds not unlike singers he was in the process of demolishing.

(Gary Giddins, Bing Crosby, A Pocketful of Dreams, The Early Years, 1903-1940, page 190)

 

March 15, Friday. Bing records “Louise” with Paul Whiteman and his Orchestra in New York.

March 19, Tuesday. (9:00–10:00 p.m.) Old Gold broadcast. Bing sings “I Kiss Your Hand, Madame.”

 

Paul Whiteman and his orchestra will play several medleys for the 6 o’clock Columbia Chain program which may be heard over KMTR. One will consist of three tangos, “Roseroom,” “Irresistible” and “La Seduction,” another of waltzes, “One Two Three Four,” “Honolulu Eyes,” “Aloha Oh,” and “Where the Shy Little Violets Grow” while a third medley will be made up of “In the Shadows,” “California in the Morning,” “Babalina” and “California Here I Come.”

(Zuma Palmer, Hollywood Daily Citizen, March 19, 1929)

 

March (undated). Bing rejects an offer by an agent, Lou Squires, to go solo.

March 26, Tuesday. (9:00–10:00 p.m.) Old Gold broadcast. Bing prominent.


There are some selections which we do not mind hearing in jazz arrangements, but we are not sure how we feel about doing this with Negro spirituals. However, on the 6 o’clock program over the Columbia chain, released by KMTR-KPLA, Paul Whiteman and his orchestra will play a medley of the following spirituals: “Swing Low Sweet Chariot,” “Nobody Knows,” “All God’s Children Got Wings” and “Deep River.” There will be two other medleys, one of waltz tunes, the other of foxtrots.

(Zuma Palmer, Hollywood Daily Citizen, March 26, 1929)

 

April 2, Tuesday. (9:00–10:00 p.m.) Old Gold broadcast. Bing and the Rhythm Boys again active in the show.


Paul Whiteman playing over WABC for the Old Gold program, rendered a fine group of old and new waltzes. Some of them were rather old, and others were hardly published as yet, but all of them had a Whiteman swing to them that was delightful to listen to.

(David Bratton, Brooklyn Times Union, April 3, 1929)


April 5, Friday. Bing takes part in a recording session with Paul Whiteman in New York and sings, “I’m in Seventh Heaven” which goes on to sell 12,000 copies. None of the four takes of “Little Pal” are issued.

April 9, Tuesday. (9:00–10:00 p.m.) Old Gold broadcast. Bing again prominent.


Paul Whiteman and his famous orchestra will entertain from New York, beginning at 6 o’clock. Radio fans will be glad to learn that Whiteman’s contract over the network has been extended to last seven weeks longer, and will be broadcast every Tuesday night as usual by KMTR. The new and the old in the field of popular music will rub elbows when he lifts his baton to start tonight’s hour. Playing in groups of several selections each. Whiteman will dig into his portfolio of old time favorites for such songs as “Tea for Two,” “Allah’s Holiday,” “I’m Always Chasing Rainbows” and “Dardenella.” (sic) In opposition to these, he will present some of the latest number, among them, “Let’s Do It,” and others.

(Los Angeles Evening Herald, April 9. 1929)

 

April 10, Wednesday. The Rhythm Boys record “Louise” and “So the Bluebirds and the Blackbirds Got Together” in New York for Columbia Records.

 

Finally there is Maurice Chevalier in “Louise” who puts up a very creditable performance in a vastly different style to Paul Whiteman’s Rhythm Boys, who sing the same number for Columbia. They couple this with “So the Blackbirds and the Bluebirds Got Together.” Both sides of this record are little masterpieces of their own kind.

(The Gramophone, August, 1929)

 

Louise

It is really obvious that the phrasing of the trio is not dated, and they achieve a swing and lilt which should be the envy of present-day small vocal ensembles. One of the most popular recordings by The Rhythm Boys was LOUISE, also on CO-1819, a 1929 song written by Leo Robin and Richard A. Whiting and featured in “Innocents of Paris.” This version is much superior to the “original” Maurice Chevalier version. This recording presents Bing in splendid voice as does it demonstrate the skits in which the trio frequently indulged:

In a pensive mood the boys open with Bing “noodling” against sustained hummed background  and supporting noodling by his two cohorts ... The ‘phone rings, a call for Bing from Louise, which makes it all right even tho they are “making a record” ... Bing proceeds to serenade the Louise, dramatically, on the verse ... The boys volunteer to help him out on the chorus, which they do in their best style, part of which is Rinker and Crosby’s harmonizing with Barris doing a hummed obbligato, and part of which is harmonized three ways ... Then the boys begin scatting at a faster tempo and brighter mood, prompting Bing to request Louise to “hold the ‘phone” while he keeps the boys from “singin’ too snappy”- and Bing goes dramatic in a concert-like version of the verse ... This is followed by a superb interlude, a variation on the opening measures of the chorus which is integrated into the second phrase, that prettily harmonized by the trio ... Again Barris and Rinker break off into scatting, Louise hangs up, Bing sings a dramatic phrase, the boys console him, and with tongues-in-check they use a repeated corny ending which includes a Colonna-like statement of There’s nobody like Louise, I hope she buys this record.

 

So the Bluebirds and the Blackbirds Got Together

Rhythm Boy Harry Barris wrote the music and Billy Moll the words to the 1929 song SO THE BLUEBIRDS AND THE BLACKBIRDS GOT TOGETHER.
The Rhythm Boys, Bing Crosby, Harry Barris, and Al Rinker, sang this song in the 1930 movie “King of Jazz,” hence it serves as a very good representative of their singing style, as heard on CO-1819, a disc which dates back to 25 January 1929 (sic):

The record opens with Bing chopping on the little cymbal and pianist Harry Barris playing a simple four-measure piano vamp . . . Barris begins the vocalizing on the verse, with Bing and Rinker scatting soft harmonized accompaniment, this at rapid tempo ... At a slower tempo and in a rubato manner, Bing sings the first chorus as a solo in dramatic style and very similar to his present style of delivery ... For four measures the trio simulates instruments, with Bing’s tinny-sounding cymbal being tapped somewhat indiscriminately ... Then, using the words, the trio sings an eight-measure period of the verse . . . At a faster clip the boys swing in very good style, with effective harmonies and with the clement of swing aurally obvious ... After half a chorus of this, Al Rinker sings the bridge, with the other two scatting in the background ... For four measures the trio harmonizes beautifully ... But then they get raucous again to close the recording with scat singing, cymbal-tapping, solo by Barris, swing harmonizing, an exaggerated crescendo-diminuendo, and, typically, a final “ah!”

(Dr. J. T. H. Mize, Bing Crosby and the Bing Crosby Style, page 132)

 

April 16, Tuesday. (9:00–10:00 p.m.) Another Old Gold broadcast. Bing has two solos as well as joining in the Rhythm Boys’ numbers.


Paul Whiteman–king of jazz–will be with us tonight! Six o’clock's the hour! KMTR is the station. Don’t fail to tune in. A group of tangos and waltzes will distinguish the program, broadcast over ABC network, direct from New York. The program will, as usual, be opened with strains of the “Rhapsody in Blue,” There will be 23 numbers in all, so it looks as if we were going to have some real entertainment from Paul and his famous band. Here’s part of the program: “Humoresque,” medley from “Spring is Here,” tango medley:” An Old Love Affair,” “Softly As in a Morning Sunrise,” etc., etc.

(Zuma Palmer, Hollywood Daily Citizen, 16th April, 1929)


April 17, Wednesday. The Whiteman band plays at the Globe Theatre for the New York premiere of the Universal film Show Boat.

April 23, Tuesday. (9:00–10:00 p.m.) Old Gold broadcast. Bing sings “Ol’ Man River.”

 

Four of the outstanding numbers from Ziegfeld’s musical success, “Show Boat,” will be played by Paul Whiteman and his orchestra as a feature of his broadcast from 6 to 7 tonight over KMTR and the ABC chain. The medley will be opened and closed with “Ole Man River,” and is to include “Let’s Make Believe,” “Can’t Help Lovin’ That Man,” and “Why Do I Love You?” As usual, Gershwin’s famous “Rhapsody in Blue” is to provide the signature for this program, which will have as its first selection, Massenet’s “Elegy,” an example of one of Whiteman’s inimitable arrangements of the classics. This will be followed by “Give Your Little Baby Lots of Lovin’,” as a contrast. Another medley represented at this time will contain excerpts from the most popular waltzes of all times as “My Hero,” “Blue Danube,” “Pink Lady,” and “The Merry Widow.” The musical show, “The Three Musketeers,” will contribute two of its tunes to the program with “Ma Belle” and the stirring “March of the Musketeers.” Among the recent hits of today which will be given original interpretations by the king of jazz are “Precious Little Thing Called Love,” “I Kiss Your Hand, Madam,” and “Sweethearts on Parade.”

(Zuma Palmer, Hollywood Daily Citizen, April 23, 1929)

 

April 25, Thursday. Recording session with Whiteman in New York when a successful take of “Little Pal” is achieved. The record achieves sales of 12,000. Later the Whiteman band plays at the home of cartoonist Rube Goldberg as film star Phyllis Haver and wholesale grocer William Seeman are married by New York Mayor Jimmy Walker.

April 26, Friday. The Whiteman orchestra appears at the newly renovated New Star Casino, New York.

April 27, Saturday. Rudy Vallee and his Orchestra open at the Paramount, New York for a 10-week run at $4000 per week. The Whiteman troupe makes its final appearance in the Ziegfeld Midnight Frolic.

 

ZIEGFELD’S ROOF ENDS TO $75,000 IN RED

Ziegfeld’s Midnite Frolic called it a season Saturday night with Paul Whiteman and his orchestra retiring as the prime attraction. The Roof, during its four months’ existence, has cost Ziggy an estimated loss of $75,000 for talent alone, not mentioning the investment for decorations, etc. Ziggy charged that OH to the Dillingham - Erlanger - Ziegfeld combination, lessee of the New Amsterdam theatre

      ….Maurice Chevalier, Helen Morgan, Eddie Cantor, and later a Seymour Felix revue were some of the features attempted, with the latter as an economic attempt to reduce the nut. Whiteman was the ace dance attraction.

(Variety, May 1, 1929)

 

April 30, Tuesday. (8:00–9:00 p.m.) Weekly Old Gold broadcast. Bing continues to be featured.


…Of course, regardless of how well the gobs played, our favorite was Paul Whiteman. We found ourselves still intrigued with his opening “Rhapsody in Blue.” Other pieces that sounded well were “Showboat,” with a good vocal chorus; “Steamboat,” with some rather weak boat whistles; “Alsace Lorraine," with a very pleasing vocal bit, and “Little Thing Called Love.” My goodness how that Whiteman man and his boys can play. Even though we don’t smoke cigarettes, we are almost tempted to do so each time we hear Whiteman in order to add our penny toward keeping him on the air with his Whiteman-Old Gold Hour.

(David Bratton, Brooklyn Times Union, May 1, 1929)


May 3/4, Friday/Saturday. Bing records with Whiteman in New York and has several solos, including “Oh, Miss Hannah” and “Reaching for Someone.”

 

“Oh, Miss Hannah” was a plaintive thing. It was written by a lady whom Paul knew (Jessie L. Deppen), and he helped get it exploited by recording it. Sort of a spiritual tune. Paul saw something of Bix in this tune—some spiritual quality. Bix was a very sensitive fellow. Bix had a lot of taste, very discriminating guy.

(Bing Crosby, speaking on November 26, 1969 – as reproduced in Bix—The Leon Bix Beiderbecke story, page 450)

 

Whiteman has produced another fine record in “Reaching for Someone”. There is a marvellous hot saxophone chorus by Frankie Trumbauer and an equally marvellous vocal by Byng (sic) Crosby. The whole performance has that quality which always characterises Whiteman; the orchestration is excellent, and the balance marvelous. Trumbauer excels himself, but I am going to criticize the second half of the chorus – I don’t like the first phase of it a little bit, and I refuse to be blinded to its unmusicalness by the fact that it is played by the one and only Frankie. Nevertheless, a great chorus and a terrific record.

(The Melody Maker, September, 1929)

 

May 4–18, Saturday–Saturday. The Whiteman ensemble appears at Pavillon Royal, a well-known restaurant on Merrick Road, Valley Stream, Long Island. Whiteman takes all of the $2 cover charge and the opening night alone gives him more than $2000.

 

John and Cristo have brought back Paul Whiteman and his Old Gold Orchestra to the scene of his early triumphs in New York at the beauteous Pavillon Royal, on the Merrick road at Valley Stream, Long Island. The inn was originally built for Whiteman some eleven years ago, when Harry Fitzgerald imported this melodic purveyor of beautiful dance strains out of the West into Atlantic City and thence to Broadway.

(Variety, May 8, 1929)

 

Whiteman is back for a very limited engagement of about two and one-half weeks, prior to the Whitemanites taking off on the Old Gold special to make a talker for Universal. He is guaranteed by John and Christo against an arrangement calling for Whiteman to take all of the 12 couverts. Opening night saw Whiteman over $2,000 to the good, with Sunday’s intake likely to take him off the nut for the rest of the week, giving him the Ave weekdays for “gravy,” granting that the weather breaks are right.

Those 32 men on the stand make a great flash, and the Whitemans lend the roadhouse an ultra stamp which should reimburse John and Christo in more than one way. The Whiteman draw won’t hurt their kitchen and water gross any and the necessity to throw open the doors of that side room lent a New Year ’s Eve touch to the roadhouse on a Saturday opening night which was none too auspicious for motoring, decidedly cool and threatening in the late afternoon.

Primarily, of course, Whiteman figures it’ll be a great break for those Whiteman golfing vultures to kick that pellet around on the fancy Long Island greens.

(Variety, May 8, 1929)

     

May (undated). Bing and Bix Beiderbecke go to the Music Box Theater to see “The Little Show” starring Fred Allen, Clifton Webb, and Libby Holman.

May 7, Tuesday. (8:00–9:00 p.m.) Old Gold broadcast over CBS network. Bing has three solos.


Paul Whiteman led the Old Gold orchestra to some new laurels last night over WABC. The opening of the feature was peppy with “Jericho,” a new one and “Canadian Capers,” old but snappy, sharing the honors. In the latter selection, the xylophonist had a chance to display his wares. In fact, he almost stole the whole piece with his fine playing. “Ramona” and “Chiquita,” acted as the basis for a series of waltzes. There was a good vocal chorus in the latter. The feature revived such old timers as “Alexander’s Ragtime Band” and others of that vintage.

(David Bratton, Brooklyn Times Union, May 8, 1929)


May 11, Saturday. Bing and many members of the Whiteman band attend the wedding of Ferde Grofe and Ruth MacGloan in Jersey City.

May 12, Sunday. Bing, Harry, and Al are sailing on Long Island Sound when Bing is thrown overboard when the boat hits a wave. The wind drives the boat some 300 yards before it can come about to rescue Bing.

May 13, Monday. Bing, Harry, and Al oversleep and fail to catch the bus to the Pavillon Royal. They miss the show much to Paul Whiteman’s annoyance.

May 14, Tuesday. (8:00–9:00 p.m.) Old Gold broadcast. Bing and Rhythm Boys again prominent.


How well we liked numbers that Paul Whiteman played over WABC last night. He opened with “Futuristic Rhythm” and put more real pep and melody into it than we have heard any other band leader get out of his musicians. “Running Wild,” a trifle old, was very pleasing also. We like the manner in which Whiteman groups his numbers. Sort of a series of interlocking melodies. We are glad to know that even though Paul and the boys are going to California to make talkies that they will keep up their Old Gold programs on the way out there and also after they arrive. We also feel certain that the Whiteman music on the talkie screen will be as much of a success as his radio performances.

A series of negro spirituals were delightfully played and sung. “Swing Low, Sweet Chariot” was outstanding. The banjo work was outstanding in these numbers. The Hawaiian group were also very pleasing in their rendition. Sung by Whiteman‘s soloist, who, we think, is a personal triumph to Whiteman's selection, the pieces were truly fine to listen to.

The tangos were remarkably good, giving the swing to the music that only Whiteman can produce. “Violetters” had good cadence, but we regret that we did not catch that old favorite of ours, “My Pavo Real Girl.” Quite an old timer that pleased out in the West some years ago.

(David Bratton, Brooklyn Times Union, May 15, 1929)


May 16, Thursday. Recording session with Paul Whiteman and his Orchestra in New York including an unbilled solo by Bing on “S’posin’”.

May 19, Sunday. The orchestra appears in “Friar’s Frolic” at the Metropolitan Opera House, New York. Joe Venuti and Eddie Lang join the band.

May 21, Tuesday. (8:00–9:00 p.m.) The last Old Gold broadcast from New York for several months. Bing has two solos. The Whiteman troupe holds a farewell party at Billy La Hiff's Tavern in West 48th Street.


Paul Whiteman and his orchestra will broadcast their Old Gold Hour program at 9:00 o’clock tonight, before leaving for the Pacific coast on the Old Gold-Paul Whiteman Special. As usual, the concert will come from WABC. The program would not be complete without, “California. Here I Come,” and every native son will join in on “I Love You California.” A highlight of this last broadcast will be Jessie L. Deppen’s new song, “Red Hair and Freckles.” The Old Gold Hours will be broadcast from Chicago and Denver on the westward trip and will continue at the usual time each Tuesday from the Pacific coast after the arrival of the Old Gold-Paul Whiteman Special.

(David Bratton, Brooklyn Times Union, May 21, 1929)


May 24, Friday. Bing records two solos in New York “I Kiss Your Hand, Madame” and “Baby, Oh Where Can You Be” accompanied by Eddie Lang and two other musicians, Matty Malneck and Roy Bargy. Old Gold leases a special eight-coach train for Whiteman to take him and his entourage to Hollywood to film King of Jazz. The train is to stop at sixteen cities across the nation and leaves New York with the Rhythm Boys on board with the other members of the Whiteman orchestra. Abel Green from Variety magazine is also on the train. The performance that night is at 8:00 p.m. at the Metropolitan Opera House, Philadelphia.

 

On May 24, a week before the Whiteman caravan headed west, (sic) Bing made his second date as a leader. Backed by three musicians, this time including Lang on guitar, he covered Vallee’s adaptation of a German song, “I Kiss Your Hand, Madame,” humming, whistling, and finishing with jazzy adornments. But then he lost his moorings on “Baby, Oh Where Can You Be?,” missing a note and veering out of tune on a scat break. Even his usually flawless time failed him. Bing needed a break from New York.

(Gary Giddins, Bing Crosby, A Pocketful of Dreams, The Early Years, 1903-1940, page 192)

 

The Old Gold Special left Pennsylvania Station in New York on May 24 with a grand send-off. The first stop on the tour was Philadelphia, where the band gave an 8:00 p.m. performance at the massive Metropolitan Opera House, where, according to Green, “the house attaches were heartbroken because they had to turn down box-office sales, with nothing available, and the house capable of being filled twice over at least.” On the program were many numbers that would be played at most of the concerts on the journey west: “Honey,” with a Jack Fulton vocal; “Nola” with Wilbur Hall displaying his trombone virtuosity; “Diga Diga Doo,” featuring the Rhythm Boys; “I Kiss Your Hand, Madame,” sung by Bing Crosby; a medley of Showboat tunes, with vocals by Crosby and the Rhythm Boys; and Gershwin’s Rhapsody in Blue. “Bodies started swaying and feet tapping,” wrote a reviewer from the Philadelphia Record, “as the orchestra played a rhythmical waltz melody of ‘Down by the Old Mill Stream,’ ‘Sweet Adeline,’ ‘In the Shade of the Old Apple Tree,’ and ‘After the Ball Is Over,’” in an ingratiating arrangement written by William Grant Still.

(Paul Whiteman, Pioneer in American Music, page 226)

 

 

May 25, Saturday. (8:30-9:30 p.m.) The orchestra gives an evening concert at the Syria Mosque, Pittsburgh, which is broadcast over station WJAS. Bing prominent.

May 26, Sunday. Whiteman in Cleveland at station WHK (10:00 a.m.) before going on to Toledo for an appearance at the Armory (2:00 p.m.). Goes on to Detroit for a concert at the Olympia in front of fourteen thousand people starting at 9:00 p.m. The proceedings are carried by radio station WGHP and Bing is prominently featured in a Showboat medley and with a solo of "Mean to Me".

 

Whiteman in Toledo

Toledo, May 28.

More than 1,000 persons attended the Paul Whiteman band concert at the Armory Sunday afternoon. Attendance was against fine afternoon, baseball and other outdoor attractions.

(Variety, May 29, 1929)


      Whiteman Is Heard By 14,000 at Olympia

Paul Whiteman, inimitable king of jazz, with his famous Old Gold band entertained an estimated 14,000 persons in Olympia, Sunday evening with a program which aroused unstinted applause. The concert was a complimentary affair, arranged by The Detroit Free Press in co-operation with the radio station WGHP, and the appearance of the nationally famous band leader with his noble organization drew city-wide attention.

The event was the fourth concert in the transcontinental tour of this outstanding organization, which specializes in symphonic syncopation. Whiteman, incidentally, being headed for the west coast where he is to begin his first motion picture, “King of Jazz,” first shots of which are scheduled to be made June 15.

This rotund and popular band leader has brought a new status to popular music, not only in this country but abroad. He has glorified and exalted the insidious syncopation of the music of the day and the lilt, the rhythmic variety, the color and vivacity, which a band under master leadership can display, he amply demonstrated in the concert program given last evening.  It was music which set the nerves a tingle, which made the huge audience beat time and sway with the rhythmic beat and glorious color of the music, music in which Whiteman quivered and shook with every syncopation as he led his organization of adept musicians.

Long before the hour set for the opening of the concert, the enormous crowd began pouring into Olympia and the keen attention of the throng and the spontaneous applause demonstrated the immense pleasure derived from the program. Whiteman gave a varied list of numbers ranging from the classical transcriptions in which he has shown himself so adept, to popular selections of the day.

Of special interest to the audience were his renditions of the well-known selection “Nola” and the numbers chosen from “Show Boat”, “Old Man River” and “Why Must I Love You.” But a selection which set hands clapping was the interpretation given “When Dreams Come True,” while the lilt and the punch of the reading accorded “Hallelujah,” featuring the Rhythm Boys brought acclaim to the organization. Whiteman has specialized in a performance which emphasis melodious, rhythmic, softened sound, in place of the blaring blatancy of former jazz players and these numbers showed his audience the appeal and lilt of popular music as he presents it…

Saxophones sing with appealing charm as Whiteman emphasizes his music: oboe, piano and voice are called upon for special features, as his picked artists interpret his arrangements. The applause which greeted his waltz medley, featuring “Sweet Adeline” and “In the Shade of the Old Apple Tree” indicated the pleasure his particular transcription afforded.

The program was brought to a close with a brilliant performance of Gershwin’s “Rhapsody in Blue.” Roy Bargy being presented as soloist.

(The Detroit Free Press, May 27, 1929)

 

May 27, Monday. Arrives at Fort Wayne, Indiana, and plays a short concert at Pennsylvania Station in driving rain where Bing sings “I Kiss Your Hand, Madame.” The train continues to Chicago. Bing writes to his mother:

 

Well, we are wending our way westward and having a truly marvelous time of it. Our train is an all-compartment special of six Pullmans and baggage cars, with a special diner, attendants and so forth, and officials of Old Gold, Columbia, and Universal on board, together with newspaper representatives and “yes” men. The retinue is, of course, strictly stag, and so informality prevails.

      Since leaving New York everything has been fine. In Philadelphia, Pittsburgh, and Detroit we broadcast concerts to large and enthusiastic audiences. In each of these towns we were royally feted and nothing conducive to our comfort and enjoyment was left undone. Tonight we are in Chicago for two days . . . .

      If nothing else, our return to Whiteman’s employ has been fruitful because of this trip. Not only are we having a great time but my name is being prominently featured in the newspapers and in the broadcasts and I am getting a lot of invaluable publicity. What awaits us on the Coast is as yet problematical and whether we get much of a break in the picture or not I can’t tell now. However, I intend to bear down heavily and really try to accomplish something worthwhile.

      Love, Harry.

(Taken from The Story of Bing Crosby, page 150)

 

May 28, Tuesday. (8:00–9:00 p.m.) The weekly Old Gold broadcast is put out from radio station WBBM. Later the Whiteman orchestra gives a benefit concert for disabled war veterans at the Auditorium Theater, Chicago, which is attended by a capacity audience.

 

The Old Gold-Paul Whiteman hour will be heard from Chicago at 7 o'clock this evening, and it is from the Windy City that the first concert on Whiteman's Western tour will be broadcast over the Columbia system and WFBM. The maestro and his musicians will be the guests of WFBM and he will offer a large and varied program of dance music for the first “touring” broadcast. A waltz medley will include "'A Smile, A Kiss," “When You Come to the End of the Day" and “My Dear." Among the old time successes will be "The Parade of the Wooden Soldiers” and a more recent medley from "Lady Fingers.”

(The Indianapolis Star, May 28, 1929)


Chicago, May 28.

Extreme discourtesy was manifested at today’s (Tuesday) broadcast from WBBM by the station’s studio manager, Walter Preston, on the occasion of the regular Tuesday night Old Gold-Paul Whiteman national concert. Despite WBBM being a link in the Columbia Broadcasting System and having had its facilities engaged by the P. Lorillard Co. on a commercial basis, the studio manager, a peculiarly affected individual, denied Whiteman ordinary courtesies. It culminated in the radio attaché expressing himself in street language to the maestro, who had all he could do to keep his boys from reacting strenuously.

WBBM makes a feature of its observation gallery in the basement-broadcast central of the Wrigley Building. It’s a small auditorium accommodating perhaps two score of specially invited onlookers who, through the glass encasement, can see the broadcasting artists and likewise pick up the reception through a loud speaker.

With the Whitemanites’ advent, Chicago was struck by a heat spell which the local press averred had not been exceeded since 1886.

Whiteman and his orchestra, formally attired for an ensuing charity concert at the auditorium, had previously requested that the observation galleries, comprising a mixed attendance, be asked to listen in elsewhere and forego viewing the artists in person, in order to afford them an opportunity to strip to their undershirts and perform for the solid hour in the thoroughly sound-proof and virtually air-tight broadcasting studio.

Preston took this in ill spirit; persisted that the comfort of the Whiteman orchestra and Whiteman’s own physical suffering were secondary to that of not disappointing the specially invited sightseers.

In addition, inexplicable control room difficulties cropped up to mar the calibre of the program, which was relayed by land wire from Chi to New York and rebroadcast nationally. (Whiteman’s current week’s program on Tuesday (last) night was similarly relayed by land wire from Denver and then etherized nationally.)

Directly from the broadcasting studio the Whitemanites dashed over to the Auditorium, Chicago, where, under the auspices of the Advertising Men’s Post No. 38 of the American Legion, to a $3 top, the orchestra was the feature of the concert for the benefit of the ‘Veterans’ Relief.

The house, with its 6,000 capacity, was virtually capacity, an extraordinary turnout considering that only the night before the reported advance sale was 33 and one third per cent, and the concert had come into being but four days preceding tonight.

(Abel Green, Variety, June 5, 1929)

 

May 29, Wednesday. (12 noon–2:00 p.m.) The orchestra performs at the State Arsenal, Springfield, Illinois.

 

Paul Whiteman with his band came to Springfield yesterday morning, captured an audience of five thousand person at the state arsenal, delighted additional thousands of radio listeners, paid tribute to Abraham Lincoln and in addition was greeted by ‘Miss Illinois,’ all in the space of about three hours.

      The King of Jazz, on his third visit to Springfield, presented a novelty radio broadcasting program to the audience of 5000 which gathered for the free concert at the state arsenal, sponsored by Springfield Chamber of Commerce.

      At noon, when the rotund Whiteman waved his baton over his talented gang for the opening number, the heat in the arsenal was almost sweltering. It didn’t matter, as far as the audience and the band were concerned, but the heat formed the basis for considerable comedy on the part of Whiteman and some of his musicians.

      . . . The concert was described by Ted Husing, chief announcer of the Columbia Broadcasting system, as a typical radio hour recital. The musicians appeared in a variety of costumes, some in knickers, and the genial Whiteman removed his coat before the first number and thereafter sweltered in great discomfort.

      As to the program, it was started off with a bang with ‘Stars and Stripes Forever,’ and the interest never died down. Roy Bargy performed wonders on the piano in ‘Nola’ and Wilbur Hall went him one better by a trombone imitation of the well-known ivory tickler. This fellow Hall proved to be the chief entertainer in the bunch, with a ludicrous rendition of ‘Pop Goes the Weasel,’ on a violin and a side splitting performance with a bicycle pump which he manipulated so that it played ‘Stars and Stripes Forever.’

      Other features included Chester Hazlett, saxophone, ‘Goldie,’ a trumpet player who did a heartbreaking buck and wing, Bing Crosby, vocalist, assisted by the Rhythm Boys, and others unannounced and apparently worked up on the spur of the moment.

      At 2 o’clock the nine-car special train in which the Whiteman band is traveling, pulled out for Indianapolis, by way of the Illinois Central.

(Illinois State Journal, May 30, 1929)

 

May 30, Thursday. The Whiteman ensemble is at Indianapolis where they give a short concert at the Memorial Day races.  A longer dance program was scheduled but had to be canceled when a truck containing the musicians' instruments went astray.


Paul Whiteman and his band were late in arriving at the speedway. They were delayed at the main gate because of the crowd, but the |A. A. A. officials refused to hold back the race until they could get in. The band was scheduled to play with the big band preceding the race.

(The Indianapolis News, May 30, 1929)


Paul Whiteman, king of symphonic jazz, who visited the Speedway yesterday with his Old Gold orchestra, spoke briefly to listeners of WFBM during The Star’s broadcast of the race. Mr. Whiteman later directed his orchestra in s short concert for WFBM listeners. The orchestra was scheduled to play in the afternoon but was forced to cancel when a truck containing the musicians’ instruments went astray.

(The Indianapolis Star, May 31, 1929)


    May 31, Friday. Whiteman gives a concert at St. Louis in the Washington University Field House that is broadcast by station KMOX.

 

The Radio Review, sponsored by KMOX and the Columbia Broadcasting System at the Washington University Field House last night featuring Paul Whiteman and his Old Gold Orchestra, attracted approximately 4500 persons. In addition to Whiteman a large number of KMOX entertainers participated in the review, but it was the portly figure of the famous jazz exponent, with his tiny mustache, and his orchestra that attracted the most attention.

      Going on the air at 9 o’clock the Old Gold Orchestra played for about one hour and a half, the first hour of the program being broadcast over KMOX, the St. Louis station of the Columbia Broadcasting System which is sponsoring the first tour of a radio chain by a feature attraction of that chain.

      Sixteen popular numbers were played before the program was ended, including such tunes as ‘Rhapsody in Blue,’ Stars and Stripes,’ Diggy, Diggy, Do,’ ‘A Tango Medley,’ ‘Honey,’ ‘Nola,’ ‘Kiss Your Hand Madame,’ ‘No. 3 Old Gold Song,’ sung by the Rhythm Boys: a medley from Show Boat, ‘When Dreams Come True,’ ‘Hallelujah,’ ‘Mean to Me,’ with a piano refrain by Roy Bargy, a group of special numbers and ‘China Boy.’

(St. Louis Daily Globe-Democrat, June 1, 1929)

 

June 1, Saturday. The band arrives in Kansas City, Missouri and is given a police escort to the Muehlebach Hotel, where a luncheon is held in their honor. Various band members (including Bing) participate in a golf tournament whilst some go on airplane rides given by the Bennett Flying School. (7:00–10:00 p.m.) The Whiteman troupe gives a show at Convention Hall, Kansas City, which is broadcast by radio station KMBC.


 

Whiteman will lead his 33-piece band in a free concert tonight at Convention Hall. His musicians will play toward the close of a 3-hour program, which will begin at 7 o’clock. The program is a radio hook-up between Old Gold cigarettes and KMBC, the Midland broadcast central.

(The Kansas City Star, June 1, 1929)

 

The dark night and Paul Whiteman loosed a double barrage inside and out of Convention hall, to an audience of 7,000 persons last night. Static also contributed its spurts to radio listeners to the Whiteman broadcast by station KMBC. But Whiteman and his thirty odd players bent to their task and overpowered nature’s interruptions with cloudbursts of melody.

The first hour’s playing was before before the microphones and on typical studio behavior. The last broadcast number was Gershwin’s “Rhapsody in Blue.” After this the microphones were disconnected and Whiteman and his “boys” cavorted.

The crashes of thunder outside seemed to add to the enthusiasm of the audience rather than distract it.

(The Kansas City Star, June 2, 1929)


It’s a great vacation for the gang. Their avocations are diversified. The Whiteman Golfing Vultures, and all on about the same par, comprise Bing Crosby, Roy Bargy, Chester Hazlett and Al Rinker. Izzy Friedman, Harry Barris and the others also play after a fashion, as does Jimmie Gillespie…

(Abel Green, Variety, June 5, 1929)

 

June 2, Sunday. (10:30 a.m.) The Old Gold train arrives at Omaha, Nebraska. (2:00 p.m.) The Whiteman troupe performs a free concert at the City Auditorium in front of 4,500, which is carried by radio station KOIL. (4:00 p.m.) The Old Gold train goes on to Lincoln, Nebraska, through flooding which covers the tracks in places. At Lincoln, the orchestra gives a thirty-minute indoor concert at Burlington railway station at 6:30 p.m. where a crowd of 5,000 has gathered. Loudspeakers carry the music to the crowd outside.

 

Nearly 6,000 persons left the comfort of the fireside Sunday afternoon, and braving the rain, assembled at the City auditorium for the concert of Paul Whiteman with his 29-piece orchestra, and soloists, under the auspices of Mona Motor Oil Co. of Council Bluffs. In appreciation of the great crowd that turned out in the rain Mr. Whiteman and his featured artists presented an extra 45 minutes of speciality numbers. The concert was broadcast by stations KOL and W9XC.

(The Omaha Evening Bee-News, June 3, 1929)


Unruly Crowd of 5,000 nearly disrupts Whiteman’s concert

A crowd of more than 5,000 persons battled with police and guards for a glimpse of the jazz king, nearly disrupting the thirty-minute concert of Paul Whiteman’s orchestra at the Burlington Station Sunday evening.

      Whiteman lost several buttons of his coat and was cut off inside the station from members of his band who had taken places on the platform outside of the building. After several attempts to force through the crowd had failed, the musicians were called back into the station. The crowd surged after the musicians. Several women fainted in the jam. Attempts of every member of the police department except the desk sergeant and driver failed to control the crowd in its frantic effort to see Whiteman. A line of milling, pushing spectators thronged past doors of the building throughout the concert in an effort to see Whiteman. Inside the building every inch of standing space was taken. Some had climbed to the sill in front of the ticket windows, onto benches, and other places of vantage. Very few could see Whiteman because of the jam. The Jazz King directed the first piece and only a portion of the second selection, “Stars and Stripes,” then turned over the direction of the orchestra to an assistant. A chance to hear some of the “softer” Whiteman pieces was prevented by the shouts and noise of the crowd.

(Lincoln Star, June 3, 1929—as reproduced in Bix—Man and Legend)

 

June 3, Monday. (8:30 a.m.) The Old Gold train arrives in Denver, the home of the Whiteman family and there are major festivities including a trip to the mountains in a specially furnished fleet of cars and lunch at Placer Inn in Idaho Springs. In the evening, the Whiteman family entertains the band members at its farm.

June 4, Tuesday. (11:00 a.m.–2:00 p.m.) Rehearsal at the Shirley-Savoy Hotel, Denver. Free concert at the Municipal Auditorium (3:00–4:30 p.m.) and then the weekly Old Gold broadcast from Denver station KLZ. (6:00–7:00 p.m.) Departure for Salt Lake City at 8:30 p.m.

 

The home folks will have an opportunity to see one of their favorite sons, now famous, when Paul Whiteman and his Orchestra arrive at Denver on the Old Gold-Paul Whiteman Special for the Old Gold Hour weekly broadcast. The jazz king and his men will be heard from 8 to 9 p.m. as guest artists of station KLZ. The arrival of the Special on Monday gave Whiteman time to inspect his extensive ranch not far from the city, where his prize-winning cattle and dogs are bred. A re-union of old friends suggests such songs as ‘Down by the Old Mill Stream’, ‘In the Shade of the Old Apple Tree’ and ‘Sweet Adeline’. All three of these are on the program along with an up to date selection of dance music.

(Detroit Free Press, June 2, 1929)

 

Paul Whiteman’s free concert drew 4,600, as many as both paid concerts got. Despite driving rain, Muny auditorium was packed.

(Variety, June 12, 1929)

 

June 5, Wednesday. (1:30 p.m.) Whiteman arrives at Salt Lake City. (2:30 p.m.) The Whiteman troupe performs at the Granada Theater in Salt Lake City before leaving on the Old Gold train at 5:30 p.m.


Paul Whiteman and his band stopped off in Salt Lake City Wednesday long enough to give an hour’s concert at the Granada theatre to an audience which filled the theatre, as guests of KDYL and the L. Marcus enterprises.

The jazz entrepreneur and his musicians left immediately following the concert for California, where they will be featured in a special picture, “The King of Jazz.”

The band played such numbers as “Stars and Stripes Forever,” a tango medley, “Old Man River,” “China Boy” and a number of other selections, using “Hallelujah,” from “Hit the Deck” as a finale.

Aside from the regular program, which was broadcast, there were a number of specialties and novelties with the “rhythm boy” singing “No. 3” and others.

(The Salt Lake Tribune, June 6, 1929)


June 6, Thursday. The train arrives at the Santa Fe Station, Los Angeles, at 3:00 p.m. and the Whiteman party is greeted by Carl Laemmle of Universal Studios. After a short stop, the train departs for San Francisco.

 

Los Angeles, June 9.

Voted the most interesting itinerary ever essayed by them, the Paul Whiteman orchestra, all veteran troupers. The trip, lasting 13 days of actual travel, was deemed by all to be less tedious, for all of its fortnight’s length, than if they had made the hop straight through in four days.

The stop-offs and stop-overs, with an opportunity to take in each of the key cities’ highlights, were ever-diverting. Starting May 26 (sic) from New York, covered Philadelphia, Pittsburgh, Toledo, Detroit, Chicago, Springfield, Ill., Indianapolis, Omaha, Kansas City, St Louis, Denver, Salt Lake City and Los Angeles.

It was in Denver, Whiteman’s home town, that possibly the highlight of an extraordinarily eventful trip occurred. Whiteman took the entire party of 41 on a 126-mile motor trip through the Rocky Mountains to Whiteman’s 180-acre farm. This is the residence of his parents, Wilberforce J. Whiteman, former superintendent of music of the 3 Denver public schools, and Mrs. Whiteman. Paul has a 1,700-acre preserve for big game hunting further up in the mountains.

The Denver concert at the Auditorium was a turnaway. Scheduled for 3 p. m., the lower floor was filled fully an hour before that.

(Abel Green, Variety, June 12, 1929)

 

June 7–13, Friday–Thursday. Whiteman performs at the Pantages Theater, San Francisco.


Paul Whiteman, humpty-dumpty of the jazz world, came to the Pantages yesterday with his thirty-piece band. And suggested these thoughts:

That he still stands pre-eminent among the symphonic-jazz band directors because he has surrounded himself – and it takes a lot of surrounding to surround Paul Whiteman – with an aggregation of real musicians, and because of his inventive flair for arrangements and rhythms.

That so long as his organization contains entertainers, like Wilbur Hall of Sebastopol (an old favorite here); the Three Rhythm Boys, the string-twanging Joe Venuti and Eddie Lang, and the young man who yesterday crooned “Lover, Come Back to Me,” so long as all that, Whiteman will know what it is to get a dozen or so curtain calls.

(The San Francisco Examiner, June 8, 1929)


June 11, Tuesday. (5:00–6:00 p.m.) The weekly Old Gold broadcast from station KYA in San Francisco. Bing sings “There’s a Rainbow ‘Round My Shoulder” amongst other songs.


Paul Whiteman’s Old Gold Hour signed on at 9 o’clock over WABC and a few minutes later 10 o’clock hit in and weren’t we sore? That’s one of the fleetest hours Old Man Chronometer ever ground out.

(David Bratton, Brooklyn Times Union, June 12, 1929)


June 12, Wednesday. The orchestra plays for the Optimist Club Luncheon at the Bellevue Hotel, San Francisco.

June 14, Friday. The orchestra members have a day off.

June 15, Saturday. (9:30 a.m.) Whiteman and his party arrive at Central Station, Los Angeles, where they are greeted by a crowd of 500. They parade in cars to the Pantages Theater where Mayor Cryer presents Whiteman with the keys to the city.

June 15–22, Saturday–Saturday. Whiteman appearing at Pantages Theater, Los Angeles.

 

With Paul Whiteman on the bill nothing else mattered. Three other acts and not bad. But the mob took them as they came, waiting for the main event. First time the Pan crowd has had a chance to hear Whiteman’s mob in person and have just one week to sit in. Opening day the boys did 50 minutes and could have lingered.

Whiteman opened with a medley followed by a succession of ensemble and solo numbers, all of which wowed. Goldie directed a burlesque of “Poet and Peasant,” Venuti and Lang did a couple of numbers on violin and guitar, the Rhythm Boys clicked, and the personality sock was Wilbur Hall. “Rhapsody in Blue” closed.

(Variety, June 19, 1929)

 

Paul Whiteman is a big man in more ways than one. He is an orchestra leader who is big enough to give way to the individual cleverness in his band. He is off the stage as much as he is on. And yet you are always conscious of Paul Whiteman.

He is at Pantages this week and no one should miss seeing him. His direction is a casual subtlety that has nothing to do with gymnastic obviousness. He is a musical wizard, jovially sincere.

There is comedy in music, as proved by the boys in Whiteman’s band. There is the one who shows Whiteman how to direct to everyone’s amusement; there are the three very clever boys who sing, play two minute pianos, and throw in a vaudeville act for good measure.

And then there is the violinist who plays “Pop Goes the Weasel” in about a hundred different ways, each time more intricate and funny than the last; who manipulates two horns at the same time, and finally gets music out of a tire pump. He has to pump very hard to reach the high notes–I should say, from experience, about 55 pounds pressure.

      They are musical demons, these boys, and all roads lead to Pantages this week.

(Los Angeles Record, June 17, 1929)

 

Paul Whiteman, in the length, breadth and thickness of a substantial personal appearance, leads his band at the Pantages Theater this week. He has been greeted by crowded and fervent houses, with no seat unoccupied and no palm unblistered.

Whiteman is, as he has always been, blessed with a good arranger. Other bands have come forward to surpass his organization in tonal quality and versatility. But the Whiteman arrangements have kept a color and quality of their own. A favorite offering this week is “Lover, Come Back to Me.” Gershwin’s “Rhapsody in Blue,” naturally, finds a place on the program. A trio of young gentlemen in blue flannel coats and tan flannel trousers sing warm and gibberish songs to the flapping of the lids of miniature pianos. A trombonist, who likewise plays the violin, provides some comedy moments. Whiteman himself seems a bit weary, and not free from boredom.

(Patterson Greene, Los Angeles Examiner, June 17, 1929)

 

…No jazz orchestra can come within hearing distance of them. Paul Whiteman, his 30 musicians and 3 Rhythm Boys hold the stage to the oblivion of the rest of the bill….The Three Rhythm Boys offer uniquely “I Left My Sugar Standing in the Rain”, “Mississippi Mud” and other ballads.

(Los Angeles Evening Herald, June 17, 1929)

 

June 17, Monday. The orchestra plays for the Chamber of Commerce benefit dinner at the Majestic Theater.

June 18, Tuesday. (5:00–6:00 p.m.) The weekly Old Gold broadcast from station KMTR, Los Angeles, continues each Tuesday until August 27. Bing and Rhythm Boys always involved.

 

Los Angeles will become the source of a regular nationwide weekly feature broadcast for the first time tonight when the Paul Whiteman hour is presented over KMTR. Special arrangements were being made to rush Whiteman from Pantages theater to the studio of KMTR in time to come before the mike at 5 o’clock. It is planned to have Whiteman give his Tuesday broadcast hour from a special remote control at the Universal lot, wired up to KMTR and hence eastward on the chain. This plan is being devised so Whiteman will have very little interruption during the filming of his first talking picture, King of Jazz.

(Los Angeles Record, June 18, 1929)

 

. . . This first Whiteman program to leak from Los Angeles goes out over the Columbia system. Features will be a tango group, including “El Chocio,” an old-timer that tantalized before the war when America, young and fearless, decided for the first time that it, too, could tango; and two selections from the “Student Prince.” Jack Fulton, tenor, Bing Crosby, baritone, and the Rhythm Boys also will be put in motion. KMTR, 5 to 6pm.

(Dick Creedon, Los Angeles Examiner, June 18, 1929)

 

June 20, Thursday. (12:15 p.m.) Paul Whiteman and the Rhythm Boys appear at the Platt Music Co. shop, 832 South Broadway, Los Angeles to promote their records.

June 24, Monday. Whiteman reports to Universal to film King of Jazz but incredibly, the script is not ready. The troupe are under salary to Universal but have nothing to do except enjoy themselves and take part in the weekly Old Gold broadcast. Each man is provided with a new Ford car with the cost being taken from his pay check. Bing writes to his mother:

 

We are finally getting pretty well settled down here and from all appearances should be here for about four months. Unfortunately, they are not quite ready for us at Universal yet, so in the interim we are occupying ourselves with the weekly broadcast and much golf. Present indications are that we will start making the picture in about three weeks.

California and Los Angeles seem quite good to me after my absence and we have, of course, been greeted and entertained profusely by our friends of other days.

We are trying to line up some extra work while here but the rehearsals and radio just about make it impossible. However, we plan an opening at the Montmartre cafe in Hollywood for a short time to see how it works out. This will help to tide us over during our enforced idleness. Picture work is, of course, possible for the trio, but we are prevented from doing any of this until the Universal picture is completed, and even in that it is quite probable that we’ll be left on the cutting room floor.

In the meantime, I am going to make some screen tests for MGM, as has been suggested to me quite often since my arrival here, and who knows, something may come of them. It is also probable that we may play some vaudeville, if we can adjust the hours to our other work. At any rate, I think something will work out of it all in a few weeks, and in the meantime, we’re just marking time.

Have seen a good deal of Ev since arrival. I will write more when something newsy happens.

Love to all,       Harry

(Taken from The Story of Bing Crosby, page 156)

 

Los Angeles, June 22.

      Ford is doing a great biz out here. Paul Whiteman’s gang went for 24 of the new Fords and Jimmie Gillespie invested in one for Marie and Pat after the latter had driven the family Stutz 3,000 miles across the continent. Eddie Buzzel is another Forder, tearing up Sunset Boulevard.

Whiteman doesn’t start production on “The King of Jazz” at Universal for another three weeks. Paul was out of the Pantages through heat-suffering for the last two matinees.

Everybody here’s squawking about the weather and wondering how much tougher New York’s heat spell must be. The hooey about being “unusual,” of course, from the natives. The Broadwayites, hungry for something to do and places to go of nights, are giving the Apex nite club on Central avenue in southeast Los Angeles a break. One of the hottest bands extant holds forth as the prime attraction, labeled Moseby’s Blue Blowers, with Moseby also the Boniface of the joint. The torrid trumpet player is a bear. He has the wise boys nuts with his sizzling tooting. The show isn’t much but the tariff is low and what can one expect for a 99c. couvert payable in advance at the gate as a sort of admission fee. There is one good strut stepper in the troupe, a youngster, who’s a Juvenile Bill Robinson.

(Abel Green, Variety, June 26, 1929)

 

June 25, Tuesday. (5:00–6:00 p.m.) The weekly Old Gold broadcast. The announcer is Harry Von Zell and Bing has a solo as well as two songs with the Rhythm Boys.

 

PAUL WHITEMAN TO PLAY OVER RADIO KMTR

Darky melodies and Negro spirituals will feature on the Paul Whiteman program tonight at 5 o’clock over KMTR, official broadcasting station of The Evening Herald. By direct wire from the Universal lot, where Whiteman is engaged in making a sound picture, the music will be transmitted to the powerful tower of KMTR, where the nationwide broadcast will be released to the Columbia network of radio stations. Spirituals included in one of the medleys to be offered are, “Every Time I Feel the Spirit, “Get On Board,” “Joshua Fit the Battle of Jericho” and “Gotta Have Dat Man.” Another medley from the musical success, “Spring Is Here,” will include, “Why Can’t I?” “Yours Sincerely,” and “There’s a Soul in My Heart.”

(Los Angeles Evening Herald, 25th June, 1929)


Clubhouse for Whiteman and Auto Deal

Los Angeles, June 26.

Universal has erected a club house on the back lot for the exclusive use of Whiteman’s boys. Abode contains individual dressing rooms, showers, billiard parlor, gym and lounge. Lakeside golf course is just across the way and gang has made a deal with the Ford agency whereby each gets a car with a turn-in price guarantee when they leave for home. No guarantee on how they’ll tell the cars apart.

(Variety, June 26, 1929)

 

June 28, Friday. (7:30-8:00 p.m.) The Rhythm Boys appear on a minstrel type show on KHJ.

July 2, Tuesday. (5:00–6:00 p.m.) Another Old Gold broadcast with Bing having three solos.


Paul Whiteman and the Old Gold Orchestra came East to us last night from Universal City, California. The Coast air seemed to have had rather a bad effect on Whiteman. Several of his symphonic arrangements had notes in them that we feel sure should not have been there. Still and all, the greater part of the program was enjoyable. There was a set of George M. Cohan numbers stood out quite well. “Lady of the Morning” was pleasing and the revival of “Dardanella” still showed that number to be a hit. There was one bad transmission break during the playing of this number.

(David Bratton, Brooklyn Times Union, July 3, 1929)


July 3, Wednesday. The Rhythm Boys open at Eddie Brandstatter’s Montmartre Club, on the second floor of 6757 Hollywood Boulevard, as a separate act. The Master of Ceremonies is Danny O’Shea. Bing first meets a film starlet named Dixie Lee at the Montmartre Club when she is dating Frankie Albertson.

 

PAUL WHITEMAN MUSICIANS WILL COME TO MONTMARTRE

The Montmartre Café will celebrate one of the most colorful events in its history Wednesday night when Paul Whiteman's Rhythm Boys will open the summer season of special events planned by Eddie Brandstatter, owner of the well known dining and dancing emporium.

Secured by Brandstatter at great expense, the group of entertainers will make its first appearance in Hollywood, the film capital being the only place they have played outside of New York.

Jetta Goudal, regarded as one of the most talented and beautiful screen stars, will be honored by Paul Whiteman. As guests of honor, the two stars will judge and award the prize for the dancing contest.

Danny O’Shea, popular Irish actor, has been secured by Brandstatter to officiate as master of ceremonies for the event.

(Hollywood Daily Citizen, June 29, 1929)

 

Having scored one of the most impressive triumphs in cafe annals, Paul Whiteman’s Rhythm Boys will continue their summer engagement at the Montmartre.

(Los Angeles Times, July 5, 1929)

 

A trio of young gentlemen, in blue flannel coats and tan flannel trousers, sing warm and gibberish songs to the flapping of the lids of miniature pianos.

(Los Angeles Examiner)

 

July (undated). Bing, Kurt Dieterle, and Mischa Russell rent a house on Fairfax Avenue in Los Angeles. They also join Lakeside Country Club and golf daily with other members of the band.

 

Paul Whiteman had quite a few golfers in his band while he was making King of Jazz at Universal Studios in 1929. A number of them played golf at Lakeside: Roy Bargy, piano; Chuck Hazlett, saxophone; Kurt Dieterle, violin; and the Rhythm Boys, Al Rinker, Harry Barris, and Bing. Bing and Al Rinker were the best, about 8 handicaps. They wanted to improve so they played a great deal and I often played with them. Bing brought his handicap down to four before I left Lakeside.

(Willie Low, top teaching professional at Lakeside Golf Club 1926 to 1931, as quoted in Lakeside Golf Club of Hollywood)

 

July 9, Tuesday. (5:00–6:00 p.m.) The weekly Old Gold broadcast.

 

One of those haunting melodies that have been written about the barren wastes of Russia - ‘Song of Siberia’ - will be featured by Paul Whiteman and his Old Gold Orchestra during the Old Gold Hour to be broadcast from station KMTR, Universal City, from 8 to 9 p.m. It will be vocalised by Bing Crosby, baritone. Forty stations of the Columbia System will re-broadcast the entire Old Gold Program, nationally. “Drigo’s Serenade", an unusual waltz number, is another selection in this group

(Richmond Times-Dispatch, July 9, 1929)


As delightful a waltz as was ever written, the “Drigo Serenade” was rendered by Paul Whiteman and his band on the Old Gold program last night over WABC. When it comes to knowing how to present music with proper effects, Whiteman is pre-eminent. We have been familiar with this number for many years, but seldom is it so pleasingly played as Whiteman rendered it. “Song of Siberia” was rather dramatic in its moments, but the vocal effects by Bing Crosby were very well handled. Whiteman and the band sounded much better than they did a week ago. We also liked the playing of “Ma Belle” from the “Three Musketeers”.

(David Bratton, Brooklyn Times Union, July 10, 1929)

 

July 16, Tuesday. (5:00–6:00 p.m.) Old Gold broadcast. Bing sings, "I'm Just a Vagabond Lover".


Once again, Paul Whiteman and his orchestra will entertain at 5 over the Columbia system of which KMTR is a link. One of the medleys listed consist of “Habit of You,” “Moaning Low,” “What Have You” and “A Little Hut” all from “Little Show.” The last of eight combinations will consist of “Finding the Long Way Home,” “I'm Just a Vagabond Lover,” “Things That Were Made For Love,” and “Down Among the Sugar Cane.”

(Zuma Palmer, Hollywood Daily Citizen, 16th July, 1929)


Paul Whiteman provided the best of the lighter vein music on the air last night. “Vagabond Lover” was a real delight to listen to and this is praise indeed, especially when one considers the number of times that this number has been heard on the radio recently. The opening was bit old but peppy. This was “It Goes Like This, etc.” The Whiteman boys sang in good unison and although several of their numbers could have been just a bit more harmonious they were good when compared with the general run of radio singers.

Whiteman’s Old Gold program emanated from KMTR, out in California. Sort of gave it a romantic California tinge, but the leader did not cloy up his period with the numerous selections that are called typical of that State. Therefore, in addition to good music, this lack of Californian numbers was to be appreciated.

(David Bratton, Brooklyn Times Union, July 17, 1929)


July 23, Tuesday. (5:00–6:00 p.m.) Old Gold broadcast. Bing prominent. This broadcast marks the debut of the Old Gold Trio—a “sweet” trio comprising Bing, Al Rinker, and Jack Fulton.

 

The Old Gold Paul Whiteman Hour on a nationwide hook-up will continue the light popular music characteristic of summer dance programs. Broadway songwriters, at the present time, in Hollywood, will contribute a group of new selections, heretofore not broadcast on the air. The male quartet, the Old Gold Cheerleaders, will be heard in several arrangements. Paul Whiteman leads his Old Gold Orchestra in another characteristic Waltz medley and in addition, Bing Crosby, baritone will offer several vocal interpolations in the program.

(The San Bernardino County Sun, July 23, 1929)


No matter how many times we hear Paul Whiteman play, either over the radio or on the stage, we always enjoy the little interlude of the “Rhapsody in Blue.” Last night Whiteman again played from the Pacific Coast. His opening dance numbers contained both pep and melody. I did not care for either the singing or playing of “I’ll Always Be in Love with You” as interpreted by Whiteman last night, although the balance of the program pleased us immensely.

(David Bratton, Brooklyn Times Union, July 24, 1929)

 

July 24, Wednesday. The Hollywood Daily Citizen carries the following article:

 

MONTMARTRE WILL HAVE DORIS HILL AS GUEST

Doris Hill, 1929 Wampus Baby Star and Paramount featured player, will be the guest of honor tonight at the Montmartre Café when screen players and stage stars will gather to celebrate a gay mid-summer Fiesta. Proff Moore and his orchestra whose return a week ago to the Montmartre was the signal for a tremendous welcome, has arranged one of his unique and ‘peppy’ programs of dance music, while also featured on the evening’s entertainment will be Paul Whiteman’s Rhythm Boys. These three performers with their tiny piano, are repeating in Hollywood the great success they enjoyed in New York.


     July 27–August 2, Saturday–Friday. The Rhythm Boys appear at the Orpheum Theater for one week in addition to their Montmartre Club engagement.

      LITA CHAPLIN IS HEADLINE ARTIST ON ORPHEUM BILL

If you like a lot of foolishness and fun then you’ll like the Orpheum this week. Saturday night an enthusiastic audience shrieked with laughter and yelled back at Joe Keno and Rosie Green, when they stood up on the stage and did nothing but let shouts of exuberance out over the crowded theater. They whispered excitedly upon the spectacular entrance of Lita Grey Chaplin, who with exotic, tight fitting gowns spread her personality, which is entirely pleasing, over the audience with crooning “blues” and a cycle of ballads. They applauded uproariously when Little Mitzi, eight years old, held them spellbound with her clever and vivacious impersonations, and her recital of Moran and Mack’s famous dialogue which was one of the high lights of the entire program. Paul Whiteman’s Rhythm Boys, Harry Barris, Bing Crosby and Al Rinker brought down the house with their jazzy, personality harmonies accompanying a lot of delightful nonsense. Here are three of the most vivid personalities of Whiteman’s entire band and they entertain with a capital “E” at the Orpheum this week.

(Doris Denbo, Hollywood Daily Citizen, July 29, 1929)

 

No account of the program favorites should be lacking in mention of the applause and pleasure evoked by Paul Whiteman’s Rhythm Boys. They are three distinctive members of the orchestra which their jocose leader has made known all over the world.

(Muriel Babcock, Los Angeles Times, July 30, 1929)


Rhythm Boys Play Two Engagements

Although Paul Whiteman’s Rhythm Boys are headline attractions at the Orpheum this week, they are still continuing their engagement at the Montmartre Cafe, where they made an exceptionally successful debut several weeks ago. The boys, who are otherwise known as Harry Barris, Bing Crosby and Al Rinker, make a flying trip from the Orpheum after each performance to the Montmartre, where they are presenting a new bill of musical novelties. Proff Moore and his orchestra are providing an exceptionally fine program of dance music this week at the Hollywood café.

(Hollywood Daily Citizen, August 2, 1929)

 

July 30, Tuesday. The weekly Old Gold broadcast.

 

Paul Whiteman and his Old Gold Orchestra will broadcast their Tuesday program from Universal City. The program will be made up of summer dance hits. Bing Crosby and the Old Gold Trio will round out the program with interpolations.

(Unidentified Columbus, Ohio, newspaper - July 30, 1929)

 

PAULINE STARKE WILL BE GUEST OF MONTMARTRE

Honoring Pauline Starke, popular screen player, a film festival will be given at the Montmartre tomorrow night, with many of the prominent players in Hollywood attending. Paul Whiteman’s Rhythm Boys will offer a unique program of songs, parodying moving picture favorites, while Proff Moore and his orchestra will stage the dancing contest to be judged by Miss Starke. The contest offers a prize of a round trip passage to Agua Caliente. Danny O’Shea continues popular in the role of master of ceremonies.

(Hollywood Daily Citizen, July 30, 1929)

 

July (undated). James Ryan, the casting director at Fox, tells Bing to forget movies because of his protruding ears. Bing also makes unsuccessful screen tests for MGM.

July 31, Wednesday. The Whiteman band travels to Santa Barbara for a private concert in a caravan of automobiles. A car accident involving two of the Whiteman troupe occurs. Mario Perry is seriously injured while Joe Venuti, who was driving, sustains a broken arm.

August 2, Friday. Mario Perry dies from his injuries.

August 3, Saturday. Al Rinker’s sister, Mildred Bailey, throws a “home–brew” party for the Whiteman band to cheer them up after the tragedy of Mario Perry’s death. She sings and Whiteman decides to sign her as the first regular female vocalist with a nationally known orchestra.

 

Stalemate—until Rinker hit on a foolproof strategy to lure Pops into a situation where it would be impossible not to hear Mildred sing. A party was the answer. Mildred and Stafford invited almost the entire Whiteman band—except its leader. “Don’t worry,” Bing Crosby confided to her on the telephone Saturday afternoon. “He’ll be here. He can’t stand being left out. His curiosity’ll get the better of him, wait and see.”

      He was right. Whiteman showed up midway through the evening. Mildred greeting him with a motherly hug—Whiteman, at nearly 300 pounds, was more than a match for her—and ushered him into the kitchen for a taste of her own home-distilled brew.

      As he stood there, chatting idly with Stafford, Bix and Izzy Friedman, Lennie Hayton sat down calmly at the living room piano. “Sing, Millie,” said brother Al. “Now’s your chance.” Hayton chorded in “What Can I Say, Dear, After I Say I’m Sorry?” with Eddie Lang joining in on guitar. Mildred sang—and out in the kitchen the King of Jazz stopped drinking to listen . . . .

(Bix—Man and Legend, page 285)

 

August 6, Tuesday. (5:00–6:00 p.m.) The regular Old Gold broadcast over KMTR. Mary Nolan is the guest star and Mildred Bailey makes her debut.

 

Another in the series of Old Gold-Paul Whiteman Tuesday evening programs will be broadcast tonight from station KMTR in Universal City from 7 to 8 o’clock, Central Standard time, over Columbia Broadcasting System and the national hookup of forty stations. A group of songs—’Girls Named Mary’ including such hits as "Mary Make-Believe," "Mary Lou," and "Building a Nest for Mary" is dedicated to Mary Nolan, the film star, who will be Paul Whiteman’s guest in the Old Gold studio on this occasion. The program will be made up of a number of light summer dance tunes, and Bing Crosby, baritone, and the Old Gold Trio will offer a number of vocal interpolations throughout the hour.

(Press release)


WABC made a poor contact immediately after announcing the Old Gold-Paul Whiteman program. However when Whiteman’s music was finally heard, coming to us from out in California, the effect more than made up for any break in contact. “I'll Do Anything for You,‘ the opening number was very peppily played, Goodness knows how many times we listen to the “Pagan Love Song,” but few are the times we listen to it as Paul Whiteman plays it. “Wake up, Chillun, Wake Up” was another that was truly Whitemanic in its rendition. “My Madonna” promises to be a hit, but we did like the waltz measures of "Beautiful Ohio" much better than any fox trot that was played.

(David Bratton, Brooklyn Times Union, August 7, 1929)

 

August 7, Wednesday. Rhythm Boys headline in “Show of Shows Night” at Club Montmartre, which honors the new Warner Bros. film The Show of Shows. Featured guests are Alberta and Ada Mae Vaughn who appear in the film. Proff Moore continues to lead the orchestra. Later, Bing appears at Curtis Mosby’s Apex Nite Club together with many other stars. He sings two songs accompanied by a pianist from the Whiteman band, probably Lennie Hayton.

 

Ving Crosby (sic) of Paul Whiteman’s Rhythm Boys and L. Stanton (sic), famous composer and arranger of Paul Whiteman’s music sang and played “I Kiss Your Hand Madame” and “Louise” in a way that couldn’t be beat. Everyone knows what Whiteman’s Rhythm Boys are and Crosby gave us just a taste of what they can do.

(California Eagle, August 9, 1929)

 

August 13, Tuesday. (5:00–6:00 p.m.) The regular Old Gold broadcast over KMTR. Bing sings “You Were Meant for Me” amongst other songs.


The weekly dance program by Paul Whiteman and his orchestra, one of the outstanding WMAL-Columbia Broadcasting System presentations tonight, will feature a medley of song hits from the current musical success “Hot Chocolates.” The orchestra will also play a group of other popular numbers, which includes “Toymaker’s Dream,” “Fiddlin’ Joe” and “You Were Meant for Me.”

(Evening Star, August 13, 1929)


Paul Whiteman’s Old Gold program last night sort of sounded a bit off to us. There were arrangements that did not have the former smoothness of Whitemanic arrangement to them. This was noticeable in “Am I Blue” and in the several numbers following it. The solo work for the number was not impressive to us either. “Till We Meet” was a return to the Whiteman style. As was also “My Melody Man,” but several of the other numbers did not click with us in the least. We also did not care much for the comparison made by the announcer between the choice of hats and cigarettes. Rather far fetched in that hats go by styles of one brand and cigarettes go chiefly by brands. However, the program was bright all the way through and provided generally good entertainment, and who could ask for more?

(David Bratton, Brooklyn Times Union, August 14, 1929)


August 16, Friday. Whiteman and the orchestra play at the Santa Barbara Fiesta Day from 10:00 p.m. until the early hours of the morning.

August 20, Tuesday. (5:00–6:00 p.m.) The regular Old Gold broadcast over KMTR. Bing and the Rhythm Boys participate fully in the show. A party takes place at the Whiteman Lodge afterwards and the Rhythm Boys entertain.

 

Bing Crosby, baritone, appearing with the Cheer Leaders Quartet on the Old Gold-Paul Whiteman Hour, will sing three numbers for which he has become well-known over the air, ‘Satisfied’, ‘Vagabond Lover’ and ‘Good Little, Bad Little You’. The quartet will furnish a vocal refrain to many of the orchestral numbers, which include, ‘Waiting at the End of the Road’, ‘Baby Have a Heart’ and ‘I’ll Tell the World about You’.

(The Morning Call, August 20, 1929)


Paul Whiteman and his Old Gold Orchestra was somewhat better this week than it was last week, and there was, fortunately, no atmospheric disturbance to break up the WABC presentation. “Last Night Honey” was well played and sung. “Baby, Have a Heart” was about the snappiest number that Whiteman offered. “Can’t Forget Hawaii” sounded anything but Hawaiian in trend, but was good music for all of that. The story of the three bears and the Old Gold test did not hit our fancy as good comparison, but then fairy tales are always interesting over the air.

(David Bratton, Brooklyn Times Union, August 21, 1929)

 

August 25, Saturday. The Rhythm Boys complete their engagement at the Montmartre cafe.

August 27, Tuesday. (5:00–6:00 p.m.) Last Old Gold broadcast from station KMTR.


Evidently the thought that he will shortly return to the East keyed up Paul Whiteman a bit last night, for his musical renditions were much better than they have been for some time past. For a while, this feature threatened to become mediocre, but within the past two weeks distinct change for the better has been noted in the Old Gold Hour over WABC and the CBS. From the opening selection, “March of the Musketeers” on through the balance of the period, it was nearer Whitemanic than nearly any other program he has offered since he started West to work in the speakies.

The early numbers last evening were, for the most part, new to us. “An Eyeful of You” and “Nobody’s Fault but Your Own.” A series of waltz numbers were played in typical Whiteman manner, which means very well done. Of these, “Where Is the Song of Songs for Me” was the outstanding number. The vocal work in this number was also pleasing, although we cannot say that we care especially much for the feminine voice that chimed in with the male singers of the group.

      (David Bratton, Brooklyn Times Union, August 28, 1929)

August 28, Wednesday. Whiteman’s film King of Jazz is still not ready to go before the cameras and Whiteman sets off with his group back East on the Santa Fe Chief. Hoagy Carmichael hitches a ride, bunking with Bing on the train.

August 31, Saturday. Whiteman opens at Pavillon Royal, Long Island for a 3-week limited engagement prior to returning to Hollywood.

September 3, Tuesday. (8:00–9:00 p.m.) Whiteman begins broadcasting his Old Gold show from New York station WABC; Bing has four solos.

 

Bing Crosby, Tenor Soloist, With Paul Whiteman’s Players

The following program will be broadcast over WABC, WBBM, WKRC, WCAU and the Columbia Broadcasting System at 8 o’clock by Paul Whiteman and his Orchestra with Bing Crosby, tenor (!)”

 We give this program of Paul Whiteman's orchestra at 5 over KHJ for what it is worth. Bing Crosby, tenor, will be the soloist. Instrumental number scheduled are “Oh Ya Ya,” “Valencia,” “When You're Counting the Stars Alone,” “Singin' in the Rain” (not a bad idea at that), “Same Old Moon,” “Water of Venice,” a waltz, and some other popular ditties. We have a sneaking idea that we read somewhere that this concert was to be given in the New York studios of the Columbia Broadcasting Company. Mr. Whiteman paid the west coast quite a visit.”

(Zuma Palmer, Hollywood Daily Citizen, 3rd September, 1929)


Paul Whiteman and the boys played somewhat better than they have lately done over WABC. The Old Gold group were in fine form last night and put lots of vim into their renditions. “The Breakaway” was a good example of how a musician must work on a hot night. Leading this selection, we would be willing to bet that the smiling Paul must have lost at least 10 pounds. Paul Whiteman, in his curtain speech, sounded sincerely glad to be back on Broadway again and we feel sure, from the brand of entertainment offered that just being East again made Whiteman’s boys give so much better a performance.

(David Bratton, Brooklyn Times Union, September 4, 1929)


Paul Whiteman is always called to the mike after each Old Gold broadcast to say a few words, and a few it is, although last week Paul added a few to make sure his hearers knew that he was glad to get back to New York. His last program seemed a little more colorful than some of the preceding ones. Last week’s program was animated and zippy.

(Variety, September 11, 1929)

 

September 6, Friday. Bing records “At Twilight” with Whiteman in New York and this goes on to achieve sales of 12,025 discs. All four takes of “Waiting at the End of the Road” are rejected as Bix Beiderbecke is unwell and has problems with his eight bars solo.

September 10, Tuesday. (8:00–9:00 p.m.) Old Gold broadcast from station WABC, New York. Bing sings “S’posin’” amongst other songs. Old Gold has asked for some changes. Whiteman has the Ponce Sisters appear during their New York stay. A request for a new “sweet trio” is answered by rounding up Bing, Jack Fulton and Al Rinker and calling them the Old Gold Trio. Old Gold pay a further $300 a week for what they think is a separate group outside the Whiteman organization.


Paul Whiteman and his Old Gold Orchestra put across their pleasing hour’s program over WABC. There was just a bit more singing than was usual on the feature. “Kiss Me Again” was well sung and so was “Alabama Bound,” but we did not care much for Whiteman’s girl blues singer. Some of Whiteman’s arrangements sound a bit odd and the blending of one song into another sometimes makes one think that there has been a slip-up on the part of the musicians. However, when all is balanced, the Whiteman-Old Gold program is just about at the top of the list for pleasing music.

(David Bratton, Brooklyn Times Union, September 11, 1929)


September 13, Friday. Another recording session with Paul Whiteman and his Orchestra. This time there is a successful take of “Waiting at the End of the Road” (sales 15,025) but this marks Bix Beiderbecke’s last issued recording for Whiteman. Bix was unable to continue with the session and Andy Secrest takes his place on “When You’re Counting the Stars Alone” which features Bing as part of a vocal group.

 

In 1929, Bix left the Whiteman organization, and his book was taken over by Andy Secrest, a cornetist of pleasing sweet tone, but not of Bix’s stature. However, the loss of this fine soloist was in part made up by the addition of Joe Venuti on violin and Eddie Lang on guitar. The one, an irrepressible Italian from Philadelphia, brought jazz ingenuity on an instrument that had hardly ever before been noted for it. The other, a quiet little man, also from Philadelphia, was an old friend of Bing’s who had moved from the violin to the banjo to the guitar and had literally made that last instrument in jazz. He brought it to such prominence through his playing in the Dorsey Brothers’ Scranton Sirens, in the Mound City Blue Blowers, and in almost every band that had ever played in and around New York that it became a fixture in the dance band, as the banjo had been before.

(The Incredible Crosby, page 61)

 

September 17, Tuesday. (8:00–9:00 p.m.) Old Gold broadcast from station WABC, New York. Harry Von Zell continues as announcer.


A novelty in the Old Gold-Paul Whiteman Hour when it is next heard over the nationwide hook-up of the Columbia Broadcasting System will be the opening and the closing of the hour with a march, ‘March Militaire’.  The opening strains of the march will follow immediately after Whiteman’s new long popular signature, 'Rhapsody in Blue'.  Southern songs and melodies will be sprinkled all through this hour of dance music and Mildred Bailey, the new blues singer, the Old Gold Trio, Jack Fulton, Bing Crosby and the Ponce Sisters will all be heard in vocal interpolations.

(Press release)


Paul Whiteman can always be counted upon to offer something that is the last word in modern melody in the Old Gold-Paul Whiteman hour each Tuesday evening. The program this week included Whiteman adaptations of “Down South,” “Sugar Cane ‘Round My Door,” “Dusky Stevedore” and a medley of old southern melodies. This is the highest-priced program on the air from actual cost to the sponsor and the reason is easily apparent to the person who likes Whiteman music, and 99 percent of the population of this country does.

(The Indianapolis Times, September 18, 1929)


September (undated). Bing meets a man called O’Connell in Loretti’s one Monday night and after a tour of several bars, Bing wakes up on Wednesday morning in an apartment amongst gangsters. While he is in the bathroom, there is shooting and Bing hides until there is silence and then leaves quietly.

September 24, Tuesday. (8:00–9:00 p.m.) Old Gold broadcast from station WABC, New York. Bing is scheduled to sing “The One I Love Loves Me” and “Baby Where Can You Be,” but he may have missed an appearance around this time.


Tuesday evening dance tunes. Paul Whiteman and the Old Gold Hour. Typically Whitemanesque in its construction and the arrangements are all that anyone could wish for. Old timers like “La Sorella” and the “Russian Rag” were played in a manner that brought them completely up to date. “Believe It or Not” had all the earmarks of a hit and other selections all contained the notes that so few in addition to Whiteman are able to draw from a band.  The difference between the Whiteman music of the Pacific Coast and the Whiteman of Broadway is truly startling.  Out on the coast he was almost mediocre in his work, but since his return—right back at the top of the list. Even the "Pagan Love Song” sounds different and better as Whiteman presents it. A waltz proved the group also master of this tempo.

(David Bratton, Brooklyn Times Union, September 25, 1929)


September 27, Friday. Bing and a number of musicians take part in a recording session for Columbia in the Union Square studio in New York supervised by Ben Selvin. Bing is the featured soloist on “Can’t We Be Friends” and “Gay Love.”

 

Bing Crosby, of Crosby and Rinker, later with Harry Barris, known as the Paul Whiteman Rhythm Boys, makes his solo entrance for Columbia with “Can’t We Be Friends” and “Gay Love.” Crosby has a peach tenor that may go baritone with age. He sings with a rich softness that falls pleasurably upon the auditory nerve. Looks like a possible favorite, properly piloted.

(Variety, November 20, 1929)

 

Gene Austin, Nick Lucas, Oscar Grogan, Art Gillham, Ukulele Ike look to your laurels. Put double padlocks on the bureau drawers in which are stored your crowns of popularity. A new baritone soloist who threatens to steal the fans has appeared.

It’s Bing Crosby, the man upon whom Paul Whiteman depends for vocal choruses on records, on the stage, over the radio and in the new talkie, “King of Jazz.” There are few outstanding artists doing male voice records…the popular sort. When you hear one of these numbers you have heard all of them. But Bing colors his work and makes each number a thing by itself by clever little runs and original shadings. His voice is facile and at times dramatic.

The new record (Columbia) is “Can’t We Be Friends” (A) and “Gay Love” (B). A is a catchy tune, very popular now, and B is done in tango rhythm. B is spoiled by the whistled chorus we think.

(James G. Crossley, The Buffalo Times, November 27, 1929)


Bing’s third session under his own name, in late September, was little better than the first two and suffered from pompous, non-jazz accompaniment. Columbia probably wanted to disabuse him of his inclination to scat or embellish. On the movie tango “Gay Love” (written by Oscar Levant and Sidney Clare for The Delightful Rogue), he emotes with a purple bravado that prefigures his hit recording of “Temptation,” the movie tango composed for him a few years later, sobbing the high notes and employing a robust attack no one could misconstrue as crooning.

(Gary Giddins, A Pocketful of Dreams, page 204)

 

October 1, Tuesday. (9:00–10:00 p.m.) The weekly Old Gold broadcast over CBS from station WABC, New York.


The first presentation of music from the new show “Great Day” will be heard when the Old Gold Paul Whiteman orchestra goes on the air this evening at 9 o'clock over WABC and the chain. The Old Gold trio will sing a medley of songs from the newest Broadway presentation and Bing Crosby will sing “Happy Because I'm in Love.” There will be numerous vocal interpolations throughout the hour by those already mentioned, by Mildred Bailey, the Ponce Sisters and Jack Fulton. Paul Whiteman and his Old Gold Orchestra will also offer a novelty fox trot, "Dance of the Babies in the Wood.

(The Staunton News Leader, 1st October 1929)


Peppy and lively, with good rhythm and a set of arrangements that are pleasing to the last degree, Paul Whiteman and the Old Gold orchestra revived old numbers and presented new ones over WABC. A period without a moment's dullness was offered. “One Sweet Kiss” had a well sung verse and was decidedly well played, We like Whiteman and his music very much, but at that, we feel that it would be possible for him to overdo his radio work and therefore are glad that he appears but once each week.

“Love Me” was a sweet bit, with a pleasing tenor voice doing the chorus work and Whiteman’s boys chiming in with the obligato. This a very pretty little waltz number and should attract attention throughout the coming season. “Georgia Pines,” one that we think about the best of the current crop of songs was also presented by Whiteman. Mildred Bailey did the singing at this point in the program and scored a hit. There was also a neat bit of piano work that was most outstanding.

(David Bratton, Brooklyn Times Union, October 2, 1929)


October 8, Tuesday. (9:00–10:00 p.m.) Another Old Gold broadcast from station WABC, New York. Bing sings “Sleepy Valley” and “When You’re Counting the Stars Alone” as well as three songs as part of the Rhythm Boys trio.


Rhythm Boys Heard in Paul Whiteman Program

Mildred Bailey, “Bing” Crosby, Jack Fulton, The Old Gold Trio and the Rhythm Boys will be heard during the Old Gold-Paul Whiteman Hour to be broadcast over station WABC and the C. B. S. at 9 o’clock tonight. A medley from George White’s “Scandals” and one from Murray Anderson’s “Almanac” will be played during this program together with a Fox Trot medley built on Victor Herbert’s themes with vocal accompaniment by Messrs. Crosby and Fulton.

(The Morning Star (Allentown, Penn.) 8th October 1929)


One of the most attractive bits on the air last night was the Old Gold-Paul Whiteman broadcast over WABC. We liked that lively little bit, “Walking with Susie,” about as good as any of the light and airy Whiteman tunes. There are some good singers with this group, too, and Paul’s own message with regard to future programs is always of interest.

(David Bratton, Brooklyn Times Union, October 9, 1929)


October 9, Wednesday. Bing records “Great Day” and “Without a Song” with Whiteman in New York.

 

And not the least interesting feature of the records is that the singing in four of them—“Great Day,” “Without a Song,” “You Brought a New Kind of Love to Me,” and “Livin’ in the Sunlight”—is by Bing Crosby, possibly the world’s greatest rhythm singer.

(The Gramophone, October, 1930)

 

No less operatic is his work with Whiteman on two Vincent Youmans songs, “Great Day” and “Without a Song.” On the former he staunchly sings the verse before disappearing into a trebly choir. “Without a Song,” however, taken at a peppy tempo that displeased its composer, is a Crosby coup of the sort that encourages one to speculate on how inspiring it must have been to, say, Frank Sinatra, who was fourteen when the Youmans numbers were released on a hugely popular platter. Bing’s phrasing, breathing, vibrato, and projection are superbly coordinated, and he pins the high note free and clear, demonstrating hardly a trace of his or anyone else’s mannerisms. His vocal is the more remarkable for crowning an otherwise dreary arrangement.

(Gary Giddins, A Pocketful of Dreams, page 204)

 

October 15, Tuesday. (9:00–10:00 p.m.) Old Gold broadcast from station WABC, New York. Bing, the Old Gold Trio and the Rhythm Boys prominent


A medley of Kern hits will feature the Old Gold-Paul Whiteman hour of dance music over the nationwide network of the Columbia broadcasting system and KHJ. The orchestra also will play “Zonky,” a new tune by the authors of “Ain’t Misbehavin’.” Mildred Bailey, the blues singer, who has become a popular part of the program, will, as her principal contribution, sing “More Than You Know,” from “Great Day.” 

     (The San Bernardino County Sun, 15 Oct. 1929)


“Big City Blues” and others were sung by Mildred Bailey, with Paul Whiteman and his Old Gold Orchestra. The orchestra is good, nay, is better than good; it is one of the three or four best on or off the air, but we can’t say that we particularly care for Miss Bailey’s singing. WABC and the CBS have one of the real headliners of the air with this group. A waltz, “Moonlight Reminds Me,” was a delight as both played and sung.

(David Bratton, Brooklyn Times Union, October 16, 1929)

October 16, Wednesday. Bing again records with Whiteman in New York and the songs include “If I Had a Talking Picture of You.”

 

Bing is more in his element and again in marvelous voice with Whiteman on Lennie Hayton’s pert arrangement of “If I Had a Talking Picture of You,” backed by Lang and Venuti. The chemistry between Bing and Eddie is fully realized on “After You’ve Gone,” a delightfully cool William Grant Still arrangement with voicings that blend rather than separate the strings and the winds, as well as a climax that includes an Andy Secrest solo in the style of Bix and a Joe Venuti solo in a style all his own, complete with sparkling break.

(Gary Giddins, A Pocketful of Dreams, page 204)

 

October 18, Friday. Bing has solos on three songs in a recording session with Paul Whiteman in New York. Whiteman leaves for Hollywood and is followed a few days later by the rest of the troupe.

October 22, Tuesday. (9:00–10:00 p.m.) The last Old Gold broadcast from station WABC, New York, prior to the band’s departure for California.


A medley of tunes from “Sunnyside Up,” Broadway success, will feature in a Paul Whiteman concert Tuesday night at 9 o’clock over WABC and the Columbia Broadcasting system. The orchestra will be assisted by “Bing” Crosby, Mildred Bailey and a trio.

(The Tampa Tribune, October 20, 1929)


Paul Whiteman led his Old Golders through some fine musical renditions last night over WABC. Whiteman offers some good singing lads and the trio is indeed noteworthy. We cannot quite see how Mildred Bailey is given the high rating she receives, for there is, to our way of thinking, nothing outstanding about her voice in the least.

(David Bratton, Brooklyn Times Union, October 23, 1929)


October 24, Thursday. Wall Street crashes.

October 26, Saturday. The orchestra and Bing arrive back in Hollywood to film King of Jazz. Whiteman has lost 26 pounds in weight during his stay in New York.

October 29, Tuesday. (6:00–7:00 p.m.) The Old Gold broadcast on CBS comes from station KMTR, Los Angeles. Bing sings “Great Day” and other songs.


Old Gold moves its radio feature to Hollywood with the return of Paul Whiteman to California for the purpose of making his muchly publicized picture, now to become a revue built upon mammoth proportions, “The King of Jazz.” The Old Gold Hour is the only commercial feature to originate on the Pacific coast. Thousands of dollars are expended weekly by the sponsors of the hour in presenting one of radio’s outstanding personalities, while an additional elaborate outlay, from a technical and program standpoint, is necessary to present the hour from the coast.

With Whiteman will go also the singers who have become so closely identified with the Old Gold Hour, the trio composed of Jack Fulton, Bing Crosby and Al Rinker, the famous Whiteman Rhythm boys, and Mildred Bailey, blues singer, the latter a “find” for Whiteman while upon the Pacific coast during the summer months, and whose singing has won a nationwide following within the brief space of a few months.

(Tucson Citizen, October 27, 1929)


Paul Whiteman and his Old Gold Orchestra performed in the usual good manner of the group over WABC. Their work with “Great Day” was very good indeed. “Can't We Be Friends” was a real hit as played by the Old Gold Orchestra, but we cannot enthuse over Mildred Bailey, Whiteman’s blues singer. Her voice is neither beautiful nor exceptionally pleasing. In fact, there is a distinct lack of intonation to most of her renditions. Whiteman revived “Valencia” in a manner that brought a pleasant memory, and also some good piano playing.

(David Bratton, Brooklyn Times Union, October 30, 1929)


November 2, Saturday. Bing drives a girl home from a studio party after the USC Trojans versus California Golden Bears college football game at the Los Angeles Memorial Coliseum and has a car accident in which the girl is slightly injured. He has been drinking and is arrested and held overnight before being released on bail. A week later, he is sentenced to sixty days in jail for drinking during Prohibition, but he is released under escort for filming. Bing loses a featured solo “Song of the Dawn” in King of Jazz to John Boles. Bing’s sentence is eventually commuted to forty days but in due course, he is transferred to a police station in North Hollywood from where he is released from the jail each day accompanied by a guard to continue his filming work.

 

Seems Paul Whiteman’s band is having one heck of a trouble with automobiles. One of the Whiteman tooters smacked into a car recently and as a result was sentenced to 20 days in the Hollywood Police Station. A couple of the other boys had automotive trouble on their last visit here.

Which reminds me. When there’s a bad smash-up now, the police escort the offending driver(s) to a hospital. A medico pumps his (or her or their) stomach. Reason: to tell whether liquor participated in the smash.

(Dorothy Herzog, Los Angeles Evening Herald, November 18, 1929)


Crosby and the Brox Sisters were at the studio on Saturday, November 2, for a rehearsal of “A Bench in the Park”. Crosby had a drink or two before arriving and triggered a fight with Bobbe Brox, then walked to the Lodge to join a party celebrating the completion of the first week of production. “They had decorated the club building completely a la Halloween, with corn, and pumpkins and straw and scarecrows with lights inside”.  Herman Rosse wrote. “Whiteman’s orchestra played the music with solos by visitors, the ‘Rhapsody in Blue’ and so on. As far as parties go it was not a bad party but you know how much I care about parties.”

Driving a woman home to her hotel after the party, Crosby crashed into another car, and was arrested. The next morning, James Dietrich found Paul Whiteman rushing through the hotel lobby ---”Where can I get $500.00? One of our boys is in the can and needs bail.” After the trial the following week, Crosby arrived at the court in fashionable golfing attire, gave a snide response to the Judge's questions about his familiarity with the 18th amendment, and was sentenced to sixty days for drinking. The studio managed to get Crosby transferred to a Hollywood jail, and after two weeks of negotiating, he was given a police escort from jail to the studio each day.

(James Layton and David Pierce, King of Jazz: Paul Whiteman’s Technicolor Revue, p124)



November 5, Tuesday. (6:00–7:00 p.m.) Weekly Old Gold broadcasts commence from the Universal City studios of station KHJ. John Boles is a guest.


French and American airs will mark the celebration of Armistice Day by Paul Whiteman and his Old Gold Orchestra during the regular weekly Old Gold Hour 8 to 9 p.m. Tuesday night over KHJ, Los Angeles, and a nation-wide network of the Columbia Broadcasting System, continuing the second series of Whiteman’s broadcasts from the Pacific Coast…John Boles, distinguished tenor, who is now appearing in the talking and singing motion picture version of the Ziegfeld success “Rio Rita,” will be the guest of Paul Whiteman and Old Gold for this program. Mr. Whiteman offering the theme song of his film success. Mildred Bailey, Bing Crosby, and Jack Fulton will again sing individual numbers.

(The Capital Times, November 3, 1929)


Whiteman and the Old Gold orchestra was another group that returned to war days for the theme of the evening. From Los Angeles by way of the Columbia network and WABC, this program held well to its former standards and pleased all the way through. The vocal choruses were all well sung, and the various groups of numbers were well diversified. “Over There,” which we heard on virtually seven or eight programs last night, was best played by the Whiteman group.  

(David Bratton, Brooklyn Times Union, November 6, 1929)

 

November 6, Wednesday. Rehearsals continue for King of Jazz. Whiteman pays Crosby $400 a week.

 

That was then I got to know Bing Crosby well. He had come with Paul to work in the movie. Bing was born hep. He was still young and not yet Der Bingel, but he already had the high forehead, the easy, lazy way, a capacity for drink, and an interest in female company. Bing for me was always fun. He was happy to be in California. He loved it. Paul used him only as a singer, which was just as well since he didn’t play any instrument. Sometimes he held a horn and faked it if they wanted the band to look extra large. He just smiled in introspective skepticism.

“I hold it right, don’t I?”

The director sweated. “Just don’t blow the spit out during the dialogue.”

After the picture was done, Bing wanted to stay in California.

“It suits me.”

(Hoagy Carmichael, as quoted in Sometimes I Wonder, page 196)

 

November 12, Tuesday. (6:00–7:00 p.m.) The weekly Old Gold broadcast.


Opening with “Pomp and Circumstance,” the Old Gold-Paul Whiteman hour will again be broadcast over KHJ and a nation-wide network of the Columbia broadcasting system. The new French waltz, “Love Me,” will be among the featured tunes of the hour and will be sung by Jack Fulton, tenor. Mildred Bailey, the popular blues singer, will be heard in “More Than You Know” from the musical success, “Great Day,” and the ballad “If You Believed in Me,” The Old Gold trio and the famous Rhythm Boys will also offer a number of vocal interpolations throughout the program.

(The San Bernardino County Sun, November 12, 1929)


November 14, Thursday. This is "Paul Whiteman Night" at the Blossom Room at the Roosevelt Hotel. The orchestra perform their hits.

November 15, Friday. King of Jazz officially begins filming and follows a six-day working week schedule.

November 18, Monday. ‘Universal Night’ is celebrated at the Roosevelt Hotel as a private event and the Whiteman troupe are present with many others stars from Universal studios.

November 19, Tuesday. (6:00–7:00 p.m.)  Another Old Gold broadcast. Jack Oakie and Nancy Carroll are guests. 


Special Music from Los Angeles

Tonight will be given over to a special football program by the Paul Whiteman orchestra coming over the nation-wide network of the Columbia Broadcasting system from 9 to 10 o’clock originating from Station KHJ, Los Angeles. Included in the program will be a Foxtrot Medley of eight college songs, a special arrangement called “Collegian,” “Varsity Drag” and the well-known waltz song “Sweetheart of Sigma Chi.” As usual the king of jazz presents the Paul Whiteman Rhythm Boys, the trio, Mildred Bailey, contralto, and Bing Crosby, baritone, during the hour.

(Santa Ana Daily Register, November 19, 1929)


Jack Fulton, sweet voiced and a darn good singer, rendered that pleasing old hit, “Sweetheart of Sigma Chi” during the Old Gold-Paul Whiteman Hour over WABC. Mildred Bailey sang too, but for some reason or other we cannot find any alluring quality to her voice. Jack Oakie, movie and talkie actor, sang “Alma Mammy” and interpolated a little side line, asking some lass named Sally in Brooklyn how she was. We hope she replied.

(David Bratton, Brooklyn Times Union, November 20, 1929)


November 26, Tuesday. (6:00–7:00 p.m.) The Old Gold broadcast takes place. Bing may have missed this show although he was advertised to take part.


The Paul Whiteman hour over the nation-wide network of the Columbia Broadcasting System from 9 to 10 o’clock tonight will originate from station KHJ, Los Angeles. Two famous screen stars, William Haines and Hedda Hopper, will be in the Old Gold studios and will contribute to the program. Vocal interpolations by the popular Whiteman artists, Mildred Bailey, Bing Crosby, the Old Gold trio, and the Paul Whiteman Rhythm Boys, will be heard throughout the hour.

(The Morning Call, November 26, 1929)


Paul Whiteman and the Old Gold group again entertained from the Pacific Coast over WABC and the CBS. Moderns, played in a dance rhythm, were the songs of the evening. Whiteman can generally be counted on to put over a good program, but we do think that his programs in the West are not up to the calibre of those rendered in the East.

(David Bratton, Brooklyn Times Union, November 27, 1929)

 

December 3, Tuesday. (6:00–7:00 p.m.) The weekly Old Gold broadcast. Guests are John Boles, Jack Egan and the Duncan Sisters. Although Bing is advertised to appear, it is not known whether he actually did. During the evening, the Rhythm Boys entertain at a party given in honor of Mrs. Stanley Bergerman’s (nee Rosebelle Laemmle) birthday at the home of her father, Carl Laemmle, president of Universal Pictures Corporation. After a buffet supper served in the great Indian room of the lovely Beverly Hills home, the guests were entertained by dancing and an entertainment, which also included such well-known celebrities as Nell O’Day, Grace Hayes, the famous European dancers “Sisters G,” and others.


Paul Whiteman, by way of WABC, put across one of the best programs we have heard in a long time. The music was lively and played in a manner that just made one keep stepping along. Their best numbers were “Painting the Clouds with Sunshine” and in a slower tempo “Memories of One Sweet Kiss.” During the program Whiteman introduced the Duncan Sisters, who sang in perfect harmony their rendition of “Some Day Soon.”

(David Bratton, Brooklyn Times Union, December 4, 1929)


December 10, Tuesday. (6:00–7:00 p.m.) Old Gold broadcast. The Brox Sisters are guests. It is not known whether Bing engaged in the broadcast although he was advertised to take part, but he is back on the show of December 17.


The King of Jazz will present a number of new popular Hollywood dance tunes, such as “Wouldn’t It Be Wonderful.” “The Hoosier Hop,” “If You Were the Only Girl” and “Look What You’ve Done for Me.” The Old Gold trio, Paul Whiteman’s Rhythm Boys, Mildred Bailey, contralto; Bing Crosby, baritone, and Jack Fulton will offer vocal interpolations throughout the hour.

(San Bernardino Daily Sun, December 10, 1929)


Paul Whiteman and the Old Gold Orchestra, playing over WABC and the Columbia System, scored roundly with his program of popular jazz melodies. Whiteman put across one of the best of his recent periods and had several fine harmonizers with him. These did some very good work, but unfortunately for giving proper credit, we missed the names of the group.

However, Mildred Bailey, as usual, failed to impress us with her singing. This was especially true with her work during “To Be in Love.” Among the better played numbers were “Lonely Troubadour,” “The End of the Road” and “Bigger and Better.” The singing and playing of “Without a Song” was one of the high spots of the program.

(David Bratton, Brooklyn Times Union, December 11, 1929)


December 12, Thursday. The Whiteman band plays at the 16th annual Los Angeles Examiner Christmas benefit at the Shrine Auditorium.

December 14, Saturday. The Whiteman band entertains at the Embassy Club. Mr. & Mrs. Hal Wallis give a lavish party there in honor of Mr. & Mrs. Jack Warner.

December 17, Tuesday. (6:00–7:00 p.m.) The weekly Old Gold broadcast. Mary Margaret Owens is the guest.


The Old Gold-Paul Whiteman Hour will present Mary Margaret Owens in a special arrangement of songs from “Show Boat”.  Among the new numbers to be heard in this program are, “You’re Responsible”, “With You, With Me”, “Tanned Legs” and “Blue Eyes Get Red, Ready For Love”  The Rhythm Boys, Mildred Bailey (Contralto), Bing Crosby (Baritone), Jack Fulton and Al Rinker will also be heard during the program.

(San Francisco Chronicle, 15th December 1929)


Paul Whiteman and the Old Gold Orchestra scored well with the program of modern jazz. Whiteman continues to do well with this account and due to his wiseness in not making more than one air appearance a week keeps him in good demand with radio fans. From the opening selection of “Liza” through to “Nola,” “Old Man River” and others, this WABC and CBS period was a true success. However, we cannot understand why Whiteman insists on lowering the high quality of his orchestra with the mediocre singing of Mildred Bailey. Whiteman is surely enough of a musician and leader to recognize the fact that singing of the calibre of Miss Bailey’s has no place on a program of his standard. However, as far as the music went, this program was completely good, even to the singing of the movie stars.

(David Bratton, Brooklyn Times Union, December 18, 1929)


December 24, Tuesday. (6:00–7:00 p.m.) The weekly Old Gold broadcast. Guests are Jack Oakie, Polly Walker and Marguerita Padula.

 

A wide variety of popular dance numbers will be presented by the Paul Whiteman orchestra over the nationwide network of the Columbia Broadcasting System and KHJ. The stars of “Hit the Deck”, Jack Oakie, Polly Walker and Marguerite (sic) Padula, will be the guest artists on this occasion and will sing numbers from the show. The “King of Jazz” will play a special selection of Christmas Music as a background to the following numbers…

(San Bernardino Daily Sun, December 24, 1929)


December 28, Saturday. “Great Day” is at number one in the various charts of the day.

    December 30, Monday. Bing records a song called “Poor Little G String” for a forthcoming MGM production The March of Time. He later films two scenes for the movie but the film is never issued in its intended revue-type format. Scenes are used in a film called Broadway to Hollywood which was issued in 1933, but Bing’s spots are not included. During the filming, Bing meets William “Buster” Collier Jr. who also has a part in the production. They become lifelong friends.

     December 31, Tuesday. (6:00–7:00 p.m.) The weekly Old Gold broadcast and Bing is prominent. The guest stars are Ruth Roland and Ben Bard. Later, Whiteman hosts a party for the band at his rented house in the Hollywood Hills.


Bing Crosby, Whiteman’s baritone, will have a prominent part in the jazz program, singing three speciality numbers, “Chant of the Jungle”, “Someone,” and “I Don’t Want Your Kisses.”

(The Cedar Rapids Evening Gazette and Republican, December 31, 1929)


     During the year, Bing has participated in seven Paul Whiteman records that became hits: “Makin’ Whoopee,” “Little Pal,” “Your Mother and Mine,” “Waiting at the End of the Road,” “I’m a Dreamer, Aren’t We All,” “If I Had a Talking Picture of You,” and “Great Day.” In addition, he also had a hit with “Let’s Do It” with the Dorsey Brothers Orchestra.

 

1930

 

January 7, Tuesday. (6:00–7:00 p.m.) Paul Whiteman broadcasts his Old Gold show from station KHJ in Los Angeles. Bing is a featured soloist.


The Old Gold hour with Paul Whiteman and his orchestra, features a fox-trot medley from the current musical comedy “Fifty Million Frenchmen.” Mildred Bailey, contralto; Bing Crosby, baritone, and Jack Fulton, tenor, will assist the orchestra.

(Evening Star (Washington DC), 7th January 1930)


The Paul Whiteman-Old Gold presentation via WABC was par excellence. Mildred Bailey, soloist with a real “blue” tone, sang “Can’t We Be Friends” and “St. Louis Blues” in swell fashion.  The orchestra “Turned on the Heat” and got oodles of syncopation from this song and “Sweet Georgia Brown” had a lot of sparkle and pep—if you know what we mean.

(David Bratton, Brooklyn Times Union, January 8, 1930)


January (undated). Bing meets Dixie Lee again at a house party thrown by her friend, Marjorie White, and drives her home. They begin dating nearly every night.

 

And my mother, who always did have a big heart, had taken a girl-friend under her wing—Dixie Lee. Dixie lived with us. I liked her. More important, my mother liked her. My mother needed friends. Dixie was a few years younger than my mother, but that didn’t matter.

      Dixie’s man, then, was Bing Crosby. He was around our house a lot, of course, because he and Dixie were in love. So Bing had dinner with us a few nights a week for about a year. . . . But my mother, who became Dixie’s unofficial big sister, laid down the rules, that Bing had to have her home at a certain hour, that their behavior in our house had to be circumspect, all that. In those days people behaved. Mostly.

      So Bing was around the house frequently. I particularly remember the Sunday morning ritual. I’d get up early, and as soon as some grown-up told me it was okay, I’d be out of the house and down to the beach. When I went outside those Sunday mornings, there would be Bing Crosby, asleep on the front porch swing, in his tuxedo and shoes with a flower in his buttonhole. I would get him a pillow and a blanket.

(Jackie Cooper, writing in his book Please Don’t Shoot My Dog, page 33)

 

January 14, Tuesday. (6:00–7:00 p.m.) A further Old Gold radio broadcast from station KMTR. Mary Nolan is the guest star.


The Old Gold Paul Whiteman hour, another outstanding WMAL attraction tonight, will bring to the air not only the ‘king of jazz’ and his orchestra but also a famous guest star in the person of Mary Nolan, motion picture star. She will make her appearance when Whiteman’s Orchestra plays a medley of the hits from her latest talking picture success, “The Shanghai Lady.” 

(Evening Star (Washington DC), 14th January 1930)

 

Not satisfied with giving us his excellent music alone, Paul Whiteman on the Old Gold presentation via WABC introduced a guest artist who has risen from the ranks of a Ziegfeldian chorus to a prominent position in Hollywood and pictures. Mary Nolan, the former Imogene Wilson, was the star and by her great performance showed us the reason she has advanced so rapidly. Mildred Bailey, whom we would call a “blueologist,” was delightful, even more so than last week. The orchestral version of “Wouldn’t It Be Wonderful?” was outstanding.

(David Bratton, Brooklyn Times Union, January 15, 1930)

 

January 21, Tuesday. (6:00–7:00 p.m.) Old Gold radio broadcast from station KMTR. The guests are Charlie King and Stanley Smith.


Charles King, star of “Broadway Melody” and Stanley Smith, juvenile, will sing some of the latest hits from new screen musical revues tonight, when they appear with Paul Whiteman on the Old Gold hour. The program, heard through WJAS at nine o’clock, will feature orchestral selections from Marilyn Miller’s new picture, “Sally”. Mildred Bailey, Jack Fulton, Bing Crosby and the Rhythm Boys will complete the personnel.

(The Indiana Gazette, 21st January 1930)

 
We do hope that Charles King gets a bit of rest tomorrow night. Last evening and Monday night we listened to him singing over WABC and on both occasions he offered “Love Ain’t Nothing but the Blues,” and also “Lucky Me and Lovable You.” Mr. King is pleasing, but we do not think his work is good enough to stand two successive nights of the same songs. Too bad that WABC had transmission trouble during the Old Gold-Paul Whiteman program on which King sang. For a few moments at the start of the final quarter-hour, a studio pianist carried on and then, with one of the neatest bits of tiller work that we have listened to, a studio orchestra in New York picked up the work and carried on while Whiteman was completely dropped. Very neat and clever on the art of the Columbia Broadcasting System. Mildred Bailey sang a bit better than usual, and Stanley Smith, another movie star, offered “My Love Parade” in very good style. Whiteman’s music, what there was of it to hear, was as pleasing as ever, and most of the vocal arrangements were outstanding.

(David Bratton, Brooklyn Times Union, January 22, 1930)

 

When Joe [Venuti] and I were in Hollywood with the Whiteman orchestra in 1929, working on the Old Gold radio program, Charlie King was our guest star on one program. Charlie was an attraction because he’d been featured in one of the first musical talkies. The Old Gold show ran for a whole hour. We rehearsed for it afternoons at the old KHJ studio in downtown Los Angeles. In those days radio was regarded as a frighteningly technical medium and we approached it much more seriously than we did later in its development. We rehearsed and rehearsed to make sure everything would be perfect. The soloists had to learn their positions at the microphone; the section mikes had to balance; the opening had to come off with split-second precision. As part of this intensive preparation, we were rehearsing with Charlie King. Charlie was a singer of the old school. He was a great guy, but in the opinion of such irreverent individuals as myself, he was far better as a comedian and dancer than as a singer. He was what we call a ricky-tick singer today - meaning that his style was a little on the razzmataz side.

During rehearsal, when he began to give out with that “Just bring a sma-aile to Old Broadway” stuff, Venuti was fascinated and he kept his eyes on Charlie throughout the rehearsal. Before the show we had an hour break, and when we went out to find something to eat, Joe disappeared. He came back just before we went on the air.

As I’ve said, a radio program was more or less sacrosanct then, so we were nervous and Whiteman was in a swivet. He was getting money by the sackful from Old Gold and it would continue to jingle in - if things went smoothly. His music was the best in the land, and it had to sound that way. It wasn’t transcribed. He had only one crack at it - when we were on the air. So there was much tension before the show. Then voom! the red light was on and the awful moment had arrived. The show started well, and presently it was time for Charlie King’s solo. He stood up to face the mike. As he took his place, Joe opened his violin case and pulled out an old blunderbuss of the vintage of 1870, and drew a bead on Charlie. We began to laugh. We didn’t really think that Joe would shoot King, but you never could be sure with Venuti. He was wholly unpredictable, and I remember thinking that King was in some slight jeopardy, even if the weapon was loaded only with rock salt.

Joe kept the gun on him, as if daring him to send one more corny note soaring from his larynx, and I thought Whiteman would have a stroke. He’d lost control of the band; we were laughing so hard we were hors de combat and Charlie King was singing a cappella. But toward the end some of the more sedate instrumentalists rallied and mustered enough breath to give Charlie a finishing chord. Undoubtedly Venuti helped age Whiteman.

(Bing Crosby, writing in Call Me Lucky, pages 256-7.)

 

January 28, Tuesday. (6:00–7:00 p.m.) Old Gold radio broadcast. Blanche Sweet and J. Harold Murray are the guests.

    

Paul Whiteman’s music was good last night as he played from the Pacific Coast and it was relayed over the CBS and reached us from WABC. In fact, the orchestrations were even smoother than we have heard Whiteman produce in some time. The introduction of Blanche Sweet was a bit of a disappointment inasmuch as she did little but acknowledge her thanks to the invisible audience for being introduced. Later on the program, however, Benny Rubin displayed that rare artistry that marks him a truly great entertainer. Rubin's monologue regarding his baby and how to bring it up was a real scream. While we heard but little improvement in Mildred Bailey’s singing, the Old Gold Hour could readily be classed as a good one.

(David Bratton, Brooklyn Times Union, January 29, 1930)

   

    February 1, Saturday. Press comment suggests that Bing attends a party at James Gleason’s home.

 

    James Gleason will be host at a party for a group of friends Saturday night, at his Alpine Drive home in Beverly Hills. No wives will be bidden to the function. Guests will include: Messrs. Irving Berlin, Robert Armstrong, Frank McHugh, Lew Cody, Raymond Griffith, Frank Fay, Leonard Fields, A. Van Buren, Myron Selznick, Paul Whiteman, James Gillespie, Bobby Dolan, Walter O’Keefe, John Considine, Dr. Harry Martin, Tay Garnett, Ralph Block, Greg LaCava, Max Hart, Dave Selznick, Tom Buckingham, Sid Grauman, Rollo Lloyd, Anthony Bushell, Charles Sollars, Robert Ames, Bing Crosby, Leon Errol, Charlie Bailey, John Gilbert, Al Christie, George Volk and Dr. H.B.K. Willis.

    There will be tables for cards and a buffet lunch will be served at midnight.

(Hollywood Daily Citizen, Society In Filmland, January 29, 1930)

 

February 4, Tuesday. (6:00–7:00 p.m.) The Old Gold show celebrates its first anniversary in a broadcast from station KHJ. Various guest stars appear on the program including Jack Oakie, Richard Arlen, Sam Coslow, and Lillian Roth. Some of these join the broadcast from New York.


Old Gold’s first anniversary program was quite an affair as presented from California and elsewhere over the Columbia System and heard through WABC. Artists of the movies, the stage and the radio all combined to make the affair a success. However, all of the others together did not approach the smoothness of the work of Harry Richman and even though he is somewhat prejudiced in his own favor, we still believe him to be one of the outstanding radio—as well as stage—-stars of the day. Whiteman’s music was up to standard and pleased mightily.

(David Bratton, Brooklyn Times Union, February 5, 1930)


February 5, Wednesday. Paul Whiteman and his entire ensemble are the guests of honor at Curtis Mosby’s Apex Club.

February 7, Friday. The main filming ends for King of Jazz.

February 10, Monday. Bing records “Happy Feet” with the Rhythm Boys, accompanied by the Paul Whiteman Orchestra.

 

…after the vocal by the Rhythm Boys, there is some splendid work by Frankie Trumbauer on sax and Venuti on violin, while trumpet and guitar shine again.

    (The Melody Maker, July 1930)

February 11, Tuesday. (6:00–7:00 p.m.) Further Old Gold broadcast over the CBS network. Bing sings “Looking at You” as well as other songs with the Rhythm Boys.


Broadway’s two biggest current musical smashes “Strike Up the Band,” and “Sons ‘O Guns,” furnish the high lights of the Old Gold program over the Columbia Broadcasting System this evening from9 to10 p.m. Eastern Standard Time. The song hit “Soon” from “Strike Up the Band,” written by George Gershwin, the Prince of composers, and arranged for the occasion by the King of jazz, Paul Whiteman, will be sung by Mildred Bailey, and the dashing “Ride On, Vaquero,” from the same peppery show will be chanted by Bing Crosby.

(The News, (Paterson, New Jersey), 11th February 1930)


…A good word is deserving for young Mr. Crosby who sang a romantic hit entitled “Ride On, Vaquero.” This chap’s other numbers were also decidedly well rendered. A trio scored success with “Congratulations,” and all went well indeed with the Whiteman program.

(David Bratton, Brooklyn Times Union, February 12, 1930)


February 13–19, Thursday–Wednesday. The Whiteman troupe (including the Rhythm Boys) at Loew’s State, Los Angeles.  They give five 45-minute shows daily as part of a cine-variety presentation supporting the film The Mysterious Island.


Neither Paul Whiteman’s girth, nor his musicianship have suffered by his temporary residence in Hollywood. The personal appearance of the rotund band leader and his band at Loew’s State indicate that even for the sake of becoming a film hero, Whiteman has not taken up the eighteen-day diet. Furthermore, there’s no posing among them despite their recent experiences of facing the camera.

    In ensemble and solo work, the band maintains its standard. New arrangements delighted throngs at the theater and the thunderous applause at the curtain fall left no doubt as to the extent of the aggregation’s popularity. Particularly pleasing was the finale, in which the various instrumentalists had opportunity to engage in solo work, with the entire stage dark excepting the spotlight focused on the player.

(Gregory Goss, writing in the Los Angeles Examiner, February 13, 1930).


Los Angeles, Feb. 13.

Paul Whiteman still holds the crown of stage, concert, dance and screen premiership so far as bands are concerned. Best proof is his value current week to this house, where he and his gang are taking the place of the regular Fanchon and Marco stage unit. Started off Thursday doing five shows of 35 minutes average, with capacity on the first and second. Capacity for second performance has not been attained in this house in many a month.

With trade starting off as it did, indications are that the maestro and his mob will have to do sixes and sevens to handle the crowds.

No doubt he won’t mind, as he is in on a guarantee and cut with possibilities that the cut might exceed any heretofore to other big name attractions the house has played.

Whiteman was astute enough to arrange his program so that the specialists in the organization could do their stuff in addition to the collective playing. Though girls might have been shy on the stage through the regular presentation being eliminated, the amount of entertainment the Whitemans gave the cash buyers here was in excess of that afforded by the regular units, and a variation of the regular week to week stage show. Big novelties of the Whiteman sort can always find a niche here coming in at intervals to carry along a picture which the house might not figure to be a b.o. whirlwind.

With chimes clanging in mellow fashion, the curtain arose on Whiteman and his crew playing “Monterey,” song number of the “King of Jazz,” talker that Whiteman is now completing for Universal. It is one of those dreamy, languid ballads giving the tenor in the outfit a chance to chant the lyrics. Number sounds like another Whiteman natural.

From this the Rhythm Boys get their chance to liven matters up with patter and clowning, stopping the proceedings. Then Goldie, who has taken the Henry Busse spot in the outfit, does a “Sgt. Quirt-Captain Flagg” burlesque. A wow and he finishes it with a bit of trumpeting and hoofing. “Great Day,” another Whiteman natural, is thrust forth with a chanting quartet getting its chance. Wilbur Hall, with his grotesque trick fiddling and pump, next and slamming home a four-bagger.

“Rhapsody in Blue,” which has never missed, offered as semi-climax. “Meet the Boys” number finaled and gave the individuals in the band a chance to solo.

Altogether 35 minutes of entertainment that can never be exceeded in a picture auditorium.

(Variety, February 19, 1930)

 

February 18, Tuesday. (6:00–7:00 p.m.) Old Gold broadcast over the CBS network from station KMTR. Guests are Lawrence Gray and Hedda Hopper.


Coming Eastward from KHJ out in Los Angeles, the Old Gold music was presented by Paul Whiteman through WABC locally. This program is nearly always one to be counted on for a complete hour of entertainment. Last night was no exception and the early selection, a rendition of the “March of the Old Guard” gave a pleasing change to Whiteman’s usual jazz opening theme. However, immediately thereafter, the regular Whiteman themes came on in rapid succession.

Lawrence Gray, motion picture star, sang a piece during this program and while his efforts were good, his voice was rather indifferent for a singer. However, as he is a movie personality, we imagine that his public and movie fans in general were well satisfied. Whiteman has done quite well in presenting motion picture stars to the public by way of radio and this, we feel sure, attracts many additional listeners to his program.

Miss Hedda Hopper, another featured movie player, took the microphone with much assurance and told a number of age old incidents which she insisted on hanging on Paul. It may have been all right with Whiteman, Miss Hopper and the gag man who wrote Miss Hopper’s little speech, but most of the incidents she related were aged before Whiteman even came into the world. At that, her voice was clear and concise and she presented a much better radio personality than did her fellow motion picture star.

(David Bratton, Brooklyn Times Union, February 19, 1930)


February (undated). Paramount wants a singer for a film called Honey. The song writer is Sam Coslow and through him Bing is under consideration for the engagement. Paramount chooses a young actor called Stanley Smith instead.

 

Next on my agenda was a thing called Honey, another Nancy Carroll musical. W. Franke Harling collaborated with me on some of the songs. Just a few days before the start of shooting, the studio had still not found a leading man for Nancy. The part called for a good-looking young fellow in his early twenties who could really sing. A dozen unknowns were tested and discarded. Finally we were up against the wire. The casting director was tearing out his hair. When we played the score for Ben Schulberg, Paramount production head, he said, “Say, you guys ought to know a fellow who can sing and play this part. Any suggestions?”

Sure, I had a suggestion. But I didn’t say what it was. I asked Ben if I could do a little checking first, and report back to him in a day or two. “Work fast,” said Ben. “We’re desperate.”

That night I drove to Loew’s State Theater in downtown L.A., where Paul Whiteman and his band were headlining the stage show. The Three Rhythm Boys were still Paul’s band vocalists. This was just before they joined the Gus Arnheim band at the Cocoanut Grove.

The hunch I had, the one I was not ready to divulge to Schulberg, was that one of the trio, Bing Crosby, was right for the part. I knew Bing well from his New York night club days with Paul. What I wanted to check on was a rumor I’d heard that Bing was ready to leave the band.

I found Bing backstage, and at first I felt him out cautiously. I was not really sure the rumor was accurate. What I had heard was that Bing was somewhat burned up at Whiteman for breaking his promise to give him a solo number in Whiteman’s starring film, The King of Jazz. All that Bing had in the picture was a brief appearance as one of the Rhythm Boys.

I was right. Bing was ready to leave the band for a real part in a movie. He was confident he could get by with it. Acting didn’t seem like such a tough chore.

“All right,” I said, “I’ll try to get them to come down here and catch your show. How much should I say you want?”

Bing hesitated for a moment. Then he mumbled something about “Two hundred a week. That’s what Paul pays me. I wouldn’t want to take a cut. And it would have to be a term deal. After all, I have a steady job with this outfit.” Bing spurted it all out rather apologetically. I could see he was afraid he was asking for too much.

I said I didn’t think two hundred would be any problem, if I could only sell the studio on him.

“What about Harry and Al?” Harry and Al were the other two Rhythm Boys.

“They could fit right in, too,” I replied. “The script has a few band sequences and we’ll need some band vocals.”

Next evening, on my suggestion, Schulberg sent down a couple of Paramount talent scouts to Loew’s State to catch Bing. For about 24 hours, he was under consideration. But the following day they auditioned a young actor named Stanley Smith. He couldn’t sing very well but somehow he got the part – don’t ask me why. It was a big letdown for me, since I had a couple of real Crosby songs in the score. Stanley turned out to be a pretty fair actor, and he photographed well. But he certainly couldn’t handle those songs.

(Sam Coslow, Cocktails for Two, Page 105)

 

February 20–23, Thursday–Sunday. Whiteman at the Fox Theater, San Diego.

 

KING OF JAZZ GETS SPOTLIGHT ON FOX STAGE

    The Fox Theatre offers two major attractions on its program for the week. Paul Whiteman and his band offer a musical program that for pure entertainment is held in a class by itself. Famous all over the world for the brand of music they put out, the players in his orchestra are considered the finest exponents of popular music in the world today. It seems that the rotund jazz king has a firm hold on the pinnacle of popular music, for although other bands rise to prominence for a time, They do not often last the season out, but Whiteman’s Gang seems to carry on at all times.

    They are presented by Fanchon and Marco in lieu of the regular Fanchon and Marco stage act, filling the entire 40-minute period usually given over to the stage with the finest of melody and the essence of clever entertainment. Each man in the group which travels with Whiteman is a high class entertainer who may turn in a good performance if called on.

(San Diego Union, February 23, 1930)

 

I remember when we were with the Whiteman band and playing concerts that we played an evening concert in San Diego to a black-tie audience. We were arrayed on a big stage banked with flowers. The program was almost entirely Gershwin, featuring the “Concerto” and the “Rhapsody.” But for a change of pace we were to give out with a melody of Victor Herbert songs. I was sitting in the fiddle section cradling my prop violin, the one with the rubber strings. I also had a little humming called harmony-humming to do through a megaphone as a back-ground for an instrumental solo.

Joe [Venuti] was seated next to me. They started the Victor Herbert section and were going along swimmingly, playing things like “Gypsy Sweetheart” and “Dance, Gypsies” and “Italian Street Song.” They were getting ready to play “When You’re Away, Dear,” when Joe turned to me and whispered, “I think I’ll sing this chorus.”

I told him, “You must be out of your mind.”

“Anyhow,” he said, “I think I’ll sing. Hey Paul!”

Whiteman was busy conducting and following the score, but he took time out to whisper to Joe, “What do you want?”

“I’m going to sing the next chorus,” Joe said.

“Joe,” Paul said, “you know I’ve got a weak heart. Don’t be silly. Play your violin.”

But Joe was firm. “I’ve got to sing it, Paul!” he said. “I’ve got to do it. I feel it coming on.”

Paul was conducting the modulation and was getting closer and closer to the melody. When it arrived Joe stood up, put his fiddle on his chair, reared back and sang the whole chorus from start to finish with a real stale concert baritone type of delivery. He sings like Jerry Colonna, with long notes and hollering effects. When he got to the end, instead of hitting the last note vocally, he gave out the loudest razzberry I’ve ever heard. It shook the rafters.

While he was singing, the audience didn’t know whether to take it seriously or whether he was clowning. Coming as it did in the middle of a medley it was hard for them to believe that he was being comical. But when he gave out that razzberry, it removed any question from their minds. The applause almost atomized the theater. Then Joe sat down. He seemed very happy. I thought Whiteman would have apoplexy, but he pulled himself together enough to conduct the rest of the Herbert medley.

(Bing Crosby, writing in Call Me Lucky, pages 259-260)

 

February 25, Tuesday. (6:00–7:00 p.m.) Old Gold broadcast over the CBS network. Whiteman and his orchestra broadcast from San Diego. Bing and the Old Gold Trio are featured in four selections.

 

Lupe Velez, “Whoopie Lupe” of the films, will appear on the program with Paul Whiteman and his orchestra at 6 over KHJ. Featured with Miss Velez will be the Mexican Marimba Band of Agua Caliente. Her part of the program comes from Los Angeles, Mr. Whiteman’s from San Diego, so ‘tis said.

(Zuma Palmer, Hollywood Daily Citizen, February 25, 1930)


A Sigmund Romberg waltz was the first attractive number that appeared on the Old Gold-Paul Whiteman Hour over WABC and the CBS last night. To be sure, there were a number of fast moving renditions prior to this one, with Bing Crosby and Mildred Bailey getting in some good work—especially the former. However, the waltz was played in a manner that almost out-melodied Whiteman at his best.

Lupe Velez, motion picture star, was the guest of the Whiteman program and sang rather monotonously through her nose. Her voice did not register well at all over the air and we harked back a while ago when this vivacious young lady appeared at one of the Broadway motion picture palaces. At that time, she packed the crowds in, did a dance step or two and was just about the hit of the season. Her radio appearance, therefore, was a real disappointment to us.

A bit more charm was displayed by Miss Velez when she made her curtain speech at the conclusion of her song. It was in more or less broken English and had intonations that were alluring indeed. Her closing remark in calling her radio friends “Darlings” was a master stroke of showmanship.

(David Bratton, Brooklyn Times Union, February 26, 1930)

 

March 4, Tuesday. (6:00–7:00 p.m.) Weekly Old Gold broadcast from station KMTR, Los Angeles. Guests are Lillian Roth, Joseph Wagstaff, Sam Coslow, Milton Sills and Doris Kenyon.


Stepping out of her latest role in the new Paramount talkie, “Honey,” Miss Lilian Roth, young and vivacious star of many a Broadway operetta, graced the Paul Whiteman Old Gold Hour, Tuesday evening, on the Columbia coast-to-coast network.

With her at the microphone was another screen favorite in the person of Joe Wagstaff, aristocratic star of the latest Fox films, “Song of Kentucky” and “Let’s Go Places.”

Accompanying this duet was Sam Coslow, Tin Pan Alley’s prolific song writer, composer of “Bebe,” “Wanita,” “Not Yet Suzette” and other hits.

(The Daily Item (Pennsylvania), March 5, 1930)


March 6–20, Thursday–Thursday. Whiteman returns to the film studios for retakes for King of Jazz.

March 11, Tuesday. (6:00–7:00 p.m.) Weekly Old Gold broadcast from station KMTR, Los Angeles. The guests appearing are Edmund Lowe, Lilyan Tashman and June Parker.

 

Two popular screen stars and a Southern California crooner will entertain listeners during the Paul Whiteman-Old Gold Hour, over KFRC, Tuesday evening from 6 to 7 o’clock.  Lilyan Tashman, former Ziegfeld Follies beauty who made a hit in ‘The Trial of Mary Dugan’ and other Fox successes, will be one of the screen stars featured in the program.  Her husband, Edmund Lowe, who played important parts in ‘What Price Glory’ and ‘The Cock-Eyed World’, is the other.  June Parker, KHJ crooner, the Whiteman band and the Rhythm Boys are among the other features promised for Tuesday night.

(San Francisco Chronicle, 9th March 1930)


While Paul Whiteman music is still a real air feature, the majority of his motion picture star guests are not so good. Last night, during the Old Gold WABC period, Lilyn Tashman stepped forward and told listeners that she and Paul and George Gershwin and Bud de Sylva and several more were all friends and that was all she did do. There was plenty of talk on the Whiteman period last night, and most of it was of direct advertising nature, which just about spoiled the goodness of the Whiteman music. Cadman’s compositions were about the best portions of the Whiteman broadcast.

(David Bratton, Brooklyn Times Union, March 12, 1930)


March 18, Tuesday. (6:00–7:00 p.m.) Another Old Gold broadcast from station KMTR, Los Angeles. John Boles, Jeanette Loff and Lloyd Hughes are guest stars.


John Boles, declared one of Screenland’s most talented young actors will be presented as guest artist of the Paul Whiteman-Old Gold Hour, over the Columbia system, presented locally by KFRC at 6 pm.  Boles, now starring with Laura LaPlante in the talkie ‘La Marseillaise’ (sic), will sing several of the songs in this picture.  The Whiteman band and the Rhythm Boys will render their sprightly arrangements of popular melodies.

(San Francisco Chronicle, 18th March 1930)
(Some confusion here.  Although ‘La Marsellaise’ was sung in the movie, its release title was ‘Captain of the Guard’)


John Boles, Jeannette (sic) Loff and Lloyd Hughes, prominent screen luminaries, were guest artists on the Paul Whiteman WABC period. Boles is the possessor of a voice with wide range and unusual beauty. He teamed with Miss Loff to offer a duet of outstanding proportions. The Rhythm Boys also did their share toward furthering festivities. This was another top-speed presentation with a sprinkling of everything in the way of popularities and Mr. Hughes sang with surprisingly good voice.

(David Bratton, Brooklyn Times Union, March 19, 1930)


March 21, Friday. Bing records “Song of the Dawn” with Whiteman in Los Angeles.

 

Don’t fail to hear Bing Crosby’s wonderful singing in “Song of the Dawn” or, for that matter, any of the four titles [from King of Jazz].

(The Gramophone, July 1930)

 

“Song of the Dawn” is a rousing chorus number and is treated as such with concerted male voices. Following this vocal there is some magnificent team saxophone work picked up by Frankie Trumbauer, solo, for a few brilliant bars, but this, with the exception of a short appearance of Venuti, finishes the interest in this title.

(The Melody Maker, July 1930)

 

March 22-23, Saturday-Sunday. Recording sessions in Los Angeles. Bing’s final songs with Whiteman for Columbia Records include “You Brought a New Kind of Love to Me.”

March 25, Tuesday. (6:00–7:00 p.m.) The final Old Gold broadcast from station KMTR in Los Angeles. Guest stars are Jeanettte Loff and Grace Hayes.  Bing writes to his mother:

 

Beautiful Jeanette Loff who essays the featured feminine lead against Douglas Fairbanks Jr. in the all-talking picture production, ‘Party Girl’ will be the guest artist of the Old Gold-Paul Whiteman Hour over the Columbia system on Tuesday evening from 6 to 7 o’clock.  KFRC presents this program locally.  Miss Loff who will also be featured in the new Paul Whiteman picture, ‘The King of Jazz’, soon to be released, will offer, among other things, ‘The Bench in the Park’ song from the Whiteman picture.  Paul Whiteman’s band will be heard in arrangements of the newest musical hits.

(San Francisco Chronicle, 23rd March 1930)


Paul Whiteman and his Old Gold orchestra offered music in the typical dance rhythm of the day and put it across the CBS and WABC in fine style. Jeannette Loff, motion picture star of Whiteman’s new picture, sang with good effect “A Bench in the Park,” and Mildred Bailey did a bit better than usual. A trio of male voices and the Rhythm Boys also sang well. The musical hits included “I Don’t Need Atmosphere,” “Fascinating Devil” and “Cooking Breakfast for the One I Love.” Bing Crosby was in good voice and scored with his numbers. Later in the program, a new number, “When You’re Smiling” proved a decisive hit, and Jeanne Lang sang in just about the best manner of any soloist on the Old Gold program.

(David Bratton, Brooklyn Times Union, March 26, 1930)


…Have been rather unsettled concerning the wisest course to pursue professionally. We have been told, and I am practically convinced myself, that there is a good future for us out here.

      Whiteman has been reluctant to let us go, but we have at last reached an understanding which is at least moderately satisfactory to all parties. We leave Sunday for a couple of weeks up the Coast as far as Seattle. Following this the band goes to New York for the summer and we three will return here under an agency Whiteman has chosen, to try our hand freelancing around the studios. The band comes back for a second picture in August, and he has promised me a very favorable break. This, I think, is a very good arrangement, and I am sure that once we are on our own we can go places as a trio and as individuals. So, if this works out I’ll soon be in Seattle, and I hope I can arrange to come to Spokane to see you.

      . . . I will doubtless see you in a few weeks. Incidentally, I met a girl the other night whom I think you’d like. Her name is Dixie Lee and she works for Fox. Been taking her out quite a bit lately, and she’s kind of got me winging. Don’t get alarmed though, nothing serious yet. Or maybe there is.

Love, Harry

(Taken from The Story of Bing Crosby, page 174)

 

...I just have time to thank you and to send you a snap of me and Bing. How do you like? Maybe you have some of his phonograph records. He is the baritone in Paul Whiteman’s Rhythm Boys.

(Dixie Lee, writing to a girl friend named Ellen around this time).

 

March 30, Sunday. The Whiteman ensemble leaves Los Angeles for San Francisco.

April 1, Tuesday. (6:00–7:00 p.m.) The Old Gold broadcast comes from station KFRC, San Francisco.


Paul Whiteman and The Old Gold Orchestra—ah me, this WABC program is one to warm the cockles of the heart of he who likes good syncopation and jazz. Whiteman is aptly termed the “King of Jazz,” for his melodies prove him just this. All the old local favorites were there, including the ever-popular Rhythm Boys, Bing Crosby and Mildred Bailey. Crosby improves with each broadcast and Miss Bailey did much better than she formerly did.

(David Bratton, Times Union (Brooklyn) 2 April, 1930)


April (undated). The Fifteenth Census of the USA population taken this month indicates that Bing is living in rented accommodation at 1746 N. Cherokee Avenue, Hollywood. He gives his age as 25 and his occupation as ‘actor in moving pictures’.

April 4, Friday. Whiteman and his entourage have been billed to appear in Vancouver in British Columbia at 8:15 p.m. at the Vancouver Theater followed by a supper dance at the Hotel Vancouver. The band is also booked to perform at the Grand Public Dance at the Auditorium the following day. As he arrives in Vancouver, Whiteman is amazed to find that the Canadian immigration authorities refuse to allow his orchestra to perform at the two dance dates although they can perform at an “entertainment,” (the theater). Whiteman says “all or nothing” and pulls out of all his Vancouver engagements. The orchestra personnel spend most of the weekend in Vancouver.

April 6, Sunday. The Whiteman band leaves Vancouver for Seattle.

April 7, Monday. Whiteman and his team rehearse in Seattle before going on to give what is described as a preview showing at the Spanish Ballroom of the Olympic Hotel in Seattle

April 8, Tuesday. (6:00–7:00 p.m.) Whiteman’s Old Gold broadcast comes from the Civic Auditorium, Seattle, over station KOL and Bing is prominently featured with two solos, “It Happened in Monterey” and “Alice in Wonderland.” There is an audience of only 1500 in an auditorium that can seat 6000 and Whiteman curtails his concert somewhat.

Songs from the latest talking screen successes will be played and sung during the coming Old Gold Hour tonight when Paul Whiteman directs his famous jazz orchestra from the civic auditorium at Seattle.

The program will be relayed from that northwest city direct to New York, whence the Columbia System will transmit it over its nationwide network.

      Outstanding among the features of this hour will be Bing Crosby’s rendering of hits from two musical comedies now on Broadway. One is the waltz song, ‘It Happened in Monterey’ from Whiteman’s picture, ‘King of Jazz.’ The other is the novelty number, ‘Alice in Wonderland,’ from Harry Richman’s picture, ‘Puttin’ on the Ritz.’ With Crosby on the program will be the popular crooner, Mildred Bailey, who will sing ‘Blue Turning Gray over You’ and ‘I Still Remember.’ Jack Fulton, tenor, will sing the new ballad, ‘Romance,’ and Whiteman’s 32-piece band will include in its own repertoire such hits as ‘Why?’ from ‘Sons o’ Guns’ and ‘Hay Straw’ from ‘Song of the West.’ This program goes on the air this evening at 9 Eastern Standard Time.

(Press release)


Paul Whiteman and his symphonic jazz orchestra, who appear on the Old Gold offering via WABC, went “Sailing on a Sunbeam” and brought penetrating rays of music to our hearts—yes, they did. Bing Crosby warbled some pretty dittys, the most fetching of which was, “It Happened in Monterey” from the maestro’s picture, “The King of Jazz.” Jack Fulton sang about something that has always intrigued us, “Romance” and accomplished this to good effect. Mildred Bailey, blues crooner, said that she was “Blue Turning Gray over You”—wonder it she meant us. This was a good all around presentation.

(David Bratton, Brooklyn Times Union, April 9, 1930)

 

April 9–13, Wednesday–Sunday. Starting at 8:30 p.m. each day, Whiteman performs at the Civic Auditorium, Seattle. There is a matinee show and dance on April 12 and a grand concert at the Civic Auditorium on April 13.

April 14, Monday. Whiteman and his entourage arrive in Portland, Oregon, during the late afternoon by car and check into the Benson Hotel. They had been expected by train and a civic reception committee had been waiting at the railway station. (8:30–10:00 p.m.) Whiteman performs at the Auditorium, Portland, and the concert includes a “comic sketch by the Rhythm Boys.” The whole Whiteman ensemble then goes to Cole McElroy’s Spanish Ballroom where they play until 1:00 a.m.


Bringing his throne and dais, mace and sceptre with him, Paul Whiteman last night made Portland the capital of the mythical kingdom of Jazz. The jazz king appeared before some hundreds of his loyal subjects in the public auditorium for almost two hours earlier in the evening, dispensing some two-score of the musical items which have lent luster to Whiteman’s name. Later in the evening and on toward the dawn the throne and dais, and the famous band which accompany these impediments, held sway in Cole McElroy’s Spanish ballroom for the edification of those who would dance as they listen.

(The Oregonian, April 15, 1930)


April 15, Tuesday. (6:00–7:00 p.m.) The Old Gold broadcast comes from the KOIN studios at the New Heathman Hotel, Portland. The Rhythm Boys sing “So the Bluebirds and the Blackbirds Got Together.” After the broadcast, Whiteman and his troupe (excluding the Rhythm Boys) travel to New York. Bing, Harry Barris, and Al Rinker return to Los Angeles.


Paul Whiteman presented the Old Gold musical diversion over the CBS and WABC. While good singing and musical renditions were the keynote of the period, the outstanding work was with that rapidly becoming famous “Romance” from “Cameo Kirby,” and also the playing of the Gershwin “Rhapsody in Blue.” This latter was played in honor of an anniversary of the first time that Whiteman offered the number at Carnegie Hall. While bits from this number have been played with every Whiteman broadcast as the theme song, it has lost none of its attractiveness when rendered complete.

(David Bratton, Brooklyn Times Union, April 16, 1930)


The band continued to do concerts in Washington and Oregon, but our final radio show with Bing took place on April 15 in Portland.  The Rhythm Boys sang their final number, SO THE BLUEBIRDS AND THE BLACKBIRDS GOT TOGETHER with us.  Bing did an additional four solo spots and bowed out with LET ME SING AND I'M HAPPY. Paul was very sad to see the trio leave the band.  Times were hard with the depression all around us, and the tastes of the public in the music of the day were changing. The trio (Harry Barris, Al Rinker, and Bing Crosby) felt that the contacts that they made while we were in Hollywood might help their careers.  They had a chance for a job at the Cocoanut Grove and been promised possible film work.  They all felt that their future was in Hollywood. We knew that Bing's future was in Hollywood, and on September 29 he married Wilma Wyatt (Dixie Lee).  Bing was appearing with Gus Arnheim's Orchestra at the time.

(Frank Trumbauer as quoted in Tram: The Frank Trumbauer Story)


April 30, Wednesday. The Rhythm Boys appear at the $100-a-plate Sportsman’s Banquet at the Biltmore Hotel in Los Angeles. The program is broadcast by KHJ between 8:30 and 9:30 p.m.

May 2–8, Friday–Thursday. The New York premiere of King of Jazz at the Roxy and it grosses $102,000 first week. Takings rapidly fall to $62,000 second week. Paul Whiteman and his Orchestra appear on stage with George Gershwin playing the piano for “Rhapsody in Blue.” The Rhythm Boys are not mentioned at all in most of the reviews.

 

A 98-minute picture that can stand the loss of 10 or 15 minutes without worry. There are neat camera and other tricks in it, but again, they don’t count at the gate. All in Technicolor, with coloring smartly done.

(Variety, May 7, 1930)

 

The King of Jazz–Starring Paul Whiteman and his orchestra. Directed by John Murray Anderson. A Universal Super Musical Extravaganza. Musical score by Ferde Grofe. Composers, George Gershwin, Mabel Wayne, Milton Ager and Jack Yellen. James Dietrich, arranger. Sets and costumes by Herman Rosse. Russell Markert, dance director. Photographed by Hal Mohr and Jerome Ashe. Wynn Holcomb, artist. Entirely in Technicolor.

At last Universal has caused me to drag out all the superlatives!

The King of Jazz revue, starring Paul Whiteman and his orchestra, with many featured artists, is without a doubt the finest thing of its kind to reach the screen. It is, by far, the best film revue to be produced. As stated in last Saturday’s issue, I promised to preview the super-production this week. There are so many novelty sketches and acts I will change the style of reviewing pictures in order to give everyone due credit.

First, Carl Laemmle, Jr., general manager of the studio, is to be congratulated for this ability in producing such a musical and colorful epic.

Second, director John Murray Anderson has achieved something Hollywood megaphone wielders and producers have been trying to since the advent of audible film.

Here is the list of the talent and the rating I think they should receive:
Paul Whiteman and his band orchestra–excellent. Best recording I have ever heard. Great showmanship displayed in making an orchestra consistently interesting to the eye as well as the ear.
John Boles–also excellent. He’ll worry the popular Lawrence Tibbett for a place in the vocal movies when audiences hear him sing “Out of the Dawn” and “In Old Monterey.”
Jeanie Lang–clever little singer with oodles of personality plus. Ought to gain stardom with her pep and style of presentation.

Billy Kent–very good. Has all the vaudeville tricks, but adapts them to the movies with ease. Fairly funny if given good material.
Laura LaPlante–splendid. When Laura does things her way, they usually come out right. She has the best short sketch in the entire revue.
Jeanette Loff–very fine. She possesses a lovely voice and has a great deal of charm. Sings several beautiful numbers.
Rhythm Boys–Wow! When it comes to putting over novelty vocal numbers, these lads can’t be beat. Great stuff.
Charles Irwin–Always a good master of ceremonies if he doesn’t talk too much. He does quite nicely in this.
Jacques Cartier–exceptional dancer. He does a Voodoo dance which is decidedly original.
Brox Sisters–crooners of sweet melodies. Pretty stuff, but apt to tire quickly.
Al Norman–rare eccentric dancer. Will stop any number if given half a chance. Great work here.
Sisters G–very much over-rated Berlin dancers. They are featured in “Rhapsody in Blue” number, but fail to click.
Grace Hayes–clever signer. Does some splendid work.
Marian Statler and Don Rose–creators of the rag doll dance. Always good for a bright spot.
Slim Summerville–clever comedian. Does some hilarious work in this.
Glenn Tryon–always a hard worker. Good for a laugh. Hasn’t much chance in this large revue, but does nicely.
Stanley Smith–handsome lad and good singer. Hasn’t much to do, but he does that unusually well.
Wilbur Hall–comedy instrumentalist. Gets over big with a new version of his vaudeville act.
The Russell Markert Dancers–best I’ve seen on stage or screen. Their teamwork is nothing short of marvelous. They are an outstanding hit in the show.
There are others in this giant revue, but limited space presents me from raving on. I can certainly yell to the housetops over this production. It is impossible to reveal all the amazing effects secured, nor would it be fair to tell them all here. They must be seen to be appreciated. The King of Jazz is truly a musical epic. It stands alone. Nothing so far produced comes anywhere near it in class or cleverness. It is a beautiful, amusing giant of entertainment!

(Jimmy Starr, Los Angeles Record, March 29, 1930)

 

…Halfway through the film we have a scene by the famous Rhythm Boys, which is all too short. One gag of theirs appealed to me enormously. They are singing perfectly straight, in the style of a certain very famous quartette. Suddenly one of them interrupts with the remark “Who are these revelers?” To which another replies, “Oh, just some quartette on the air – it doesn’t matter!” and off they go into their inimitable hot rhythm. They sing better than they look.

(The Melody Maker, July, 1930)

 

May 11, Sunday. A daughter, Mary Sue, is born to Everett and Naomi Crosby.

May 23, Friday. The Rhythm Boys have a final recording date for Columbia Records in Los Angeles and sing “A Bench in the Park.”

May 27, Tuesday. The Rhythm Boys report to Pathe studios for rehearsals for a short film called Two Plus Fours which stars Nat Carr and Thelma Hill.


PATHE TO PRODUCE COLLEGIAN SERIES

The craze for these college pictures, it seems, simply will not die.  And now that Universal has quit the field, Pathe has decided to take up the good work. Pathe announced yesterday that it will make a series of two-reel films of college life called “Campus Comedies.”  The first one is to be called “Two Plus Four.” Rae McCarey, brother of Director Leo McCarey, has been promoted from assistant to director, and will direct these comedies.

Much interest attaches to the selection of a leading man for the series.  He is Harry Barris, who is a member of the Three Rhythm Boys trio, musicians under contract to Pathe.  Pathe officials one day took a look at Harry as he sat playing the piano, and decided he really looked good enough to be a leading man.  He was given a screen and voice test, and at once qualified.  Thelma Hill will be the girl in the comedies, and Natt Carr has the other featured lead.

     (Los Angeles Times, June 6, 1930)


May 29–June 2, Thursday–Monday. Two Plus Fours is filmed. In all it costs $19,689 to produce and it is directed by Raymond McCarey, the brother of Leo McCarey.

June 2, Monday. (7:30-8:00 p.m.) The Rhythm Boys broadcast from station KNX along with Bill Hatch’s String Quintette.


Did you hear the Paul Whiteman Rhythm Boys last night? Many a “harmony” group of singers could have gained a great deal in the matter of that subtle thing called “showmanship” from these chaps. Too often the “precious little thing” called “blend” isn’t considered. It’s essential.

(Los Angeles Evening Express, June 3, 1930)


June 4, Wednesday. (7:30-8:00 p.m.) The Rhythm Boys take part in the California Melodies program over CBS with Joe Trent, Fred Scott, Jeanie Lang and the Biltmore Trio.

June 11, Wednesday. (7:30-8:00 p.m.) The Rhythm Boys are again featured in the California Melodies program over CBS with Jeanette Loff, Stanley Smith and the Los Angeles Grand Chorus. Bing sings “Midnight” with the Rhythm Boys.

June 17, Tuesday. Bing and Al Rinker play in the qualifying round for the California Country Club tournament and both have 86s.

June 19, Thursday. Two Plus Fours is previewed at the Belmont Theater and subsequently released on August 10.

 

Good laughs

Nat Carr is featured as the Jewish tailor Ginsburg who makes the sporty suits for the Tait college boys. His creditors are about to close up his shop, so he waits for the boys to return from vacation to help him out. They come back broke, and Ginsburg is in a fix till the girl arranges with the boys to kick in from their spending money, and Ginsburg is happy. Carr is a real comic, and keeps the laughs bubbling with his funny antics and Yiddish lingo. It is fast and peppy, and should please generally. Raymond McCarey directed from a story by Fred Guiol and Charles Callahan. Thelma Hill is the girl.

(Film Daily, August 3, 1930)


Collegiate style short, including the three Rhythm Boys, who do a couple of very brief numbers, but do not get a chance to do their stuff and show us what they really can do. Introduces our old friend the “Stein Song” in a new guise as a hymn of praise and thanksgiving to the college tailor  Well worth seeing if only for a good laugh.

(Melody Maker, November 1, 1930)

 

Like most 1930s comedy shorts, it was of its time. It was directed and partially written by Raymond McCarey. Fourteen years later, his brother Leo directed Bing in Going My Way—a far more polished and amusing proposition. Top billing (in capital letters) in Two Plus Fours went to Nat Carr, an ethnic-style comedian who worked in movies from 1925 to 1941. He was known for his 1929 “Ginsburg series” of Pathe shorts. He again undertook the role of Max Ginsburg, as a tailor in Two Plus Fours. The Rhythm Boys were billed—both as a group and individually—at the bottom of the cast list of seven.       

      Basically, Ginsburg, a tailor in a college town, is threatened with eviction by a bullying landlord. The collegians, led by the Rhythm Boys, eventually rescue him. There seem to be about a dozen collegians in all. Their college, incidentally, is Tait (shades of Good News!).

      Barris and Crosby, in Plus Fours, lead the college boys. Barris, a brash and balding collegian, is entrusted with most of the boys’ dialogue. Crosby, with a college-type sailor hat planted firmly on his head, has two or three lines and sings a couple of brief phrases. And he gets to knock down the villain with a quick punch near the end of the film. Most strikingly, at this early point in his career he tosses in the little ballet leap—an attempted entrechat—that he used for humorous purposes in much later films. But most of the time, Bing is simply standing around in medium and distance shots, or looking over the shoulders of the leading figures—basically, Carr, Barris, Thelma Hill, and Ed Dearing. Al Rinker is there but not really there.       

      Except for a short collegian chant of “Oh, Rippy,” the only music in the film is drawn from the Stein Song. That’s the University of Maine song that Rudy Vallee made into a hit after he transferred to Yale. The familiar Maine lyrics are not heard. The collegians, led by the Rhythm Boys, hum and scat the song wordlessly in the opening scene. Later they sing a parody that is a tribute to Ripstitch. By the last scene, an appreciative Ginsburg the tailor joins enthusiastically in singing the Ripstitch parody.        

      The film is not uninteresting. It moves along quickly. But the physical comedy bits—sitting on a hat, breaking the glass in a door, a horse wearing high boots—are few and far between. So are the laughs. Those looking for a Bing breakthrough won’t find it here. He is less star-sprinkled in Two Plus Fours than he was in the King of Jazz.

(Robert Achorn, in a letter to the author dated January 9, 2001)

 

June 26, Thursday. Bing hires agent Edward Small.

June 27, Friday. (8:30-9:00 p.m.) The Rhythm Boys are guests on a new NBC radio series from station KFI. The show is sponsored by the Union Oil Company. Walter O’Keefe is the MC. Bing sings "Frosty Morning".

July 5, Saturday. (8:00–10:00 p.m.) The Rhythm Boys appear in a two-hour revue over station KFWB sponsored by Sanders Chain Stores and featuring Leo Forbstein and his fifty-piece Vitaphone orchestra. The program comes from a Sanders store.

July 12, Saturday. (8:00-9:00 p.m.) The Rhythm Boys broadcast with the Vitaphone orchestra on station KFWB. The Boswell Sisters also take part.

July 15, Tuesday. Gala opening night at the Hotel Ambassador’s Cocoanut Grove as Gus Arnheim returns to the venue. Bing becomes a singing sensation when the Rhythm Boys are featured with the Arnheim Orchestra at $100 each a week. Bing develops his mastery over the microphone, and his solos steal the show. Nightly two-hour radio broadcasts from the Grove on station KNX between 10:00 p.m. and midnight increase Bing’s fame in California during his ten-month stint at the Grove. Performances at the Cocoanut Grove are nightly and at Saturday teas. Star Night is Tuesdays and College Night is Fridays.

 

Finally from 10 to midnight you may hear the gala program arranged by Gus Arnheim for his official welcome back to the Cocoanut Grove. With a list of entertainment too long to set out here you’ll find Gus’ splendid orchestra of eighteen musicians and entertainers, including Eddie Bush with Russ Columbo and Art Fleming; the Three Rhythm Boys, formerly with Paul Whiteman’s orchestra; a vocal quartet and many instrumental groups in two hours of super entertainment.

(Los Angeles Evening Express, July 15, 1930)

 

The third and most moving happening of the night was the final one. I thought this was an odd choice until I remembered this was Sunday. One of the Rhythm Boys, the blond and lackadaisical one named Bing Crosby, stepped up to the microphone and in a surprisingly fine baritone started Gounod’s “Ave Maria.” Immediately there was a hush; not even a plate removed. It is not a long piece and is usually reprised. When he came to the reprise I heard a soprano softly drift in from a table near the stage. Towards the end both voices came in full, and when they finished the hush remained. . . . Then the roar started, chairs were pushed back and people stood and the applause was deafening. It was so emotional, and to me, strangely reassuring. . . . I found later it [the soprano] was Lily Pons.

(Ray Milland, describing a night out at the Cocoanut Grove in his book Wide-eyed in Babylon)

 

Completing their second week at the Ambassador Hotel’s Cocoanut Grove, Gus Arnheim and his orchestra and entertainers are experiencing the most successful season of their career, reports reaching the Paramount Pictures-Evening Express station, KNX, Hollywood, indicate. Even Monday nights - the night usually described as “dead” in entertainment fields-finds the Grove crowded with guests, and, station officials report, the KNX-Arnheim audience nightly from 10 to midnight, except Sundays, is one of the greatest in numbers of the week.

    Arnheim’s Band includes eighteen men who perform on some fifty instruments. Three singing groups and instrumental soloists take part in the choruses and give intermission entertainment. The Rhythm Boys, formerly with Paul Whiteman; the singing trio headed by Eddie Bush and the chorus of voices from the orchestra make up the cast of superentertainers. In addition, there are many special instrumental groups organized by Arnheim, including one of four violins, oboe, clarinet and bassoon; another of six guitars, the two-piano team, of which Arnheim himself is half, and others.

(Los Angeles Evening Express, July 26, 1930)


The programs were broadcast by KNX Hollywood every Tuesday through Saturday from 10:00p.m. to 12:00 p.m. The broadcasts came on with the orchestra playing “Sweet and Lovely” which was Gus Arnheim’s theme song. There was an announcer who would say, “You are listening to Gus Arnheim and his world-famous Cocoanut Grove Orchestra, coming to you from the Ambassador Hotel in downtown Los Angeles.” I have no memory of the identity of the announcer.

      To me, the programs had a fun-loving and informal atmosphere and a great deal of spontaneity. Bing ad-libbed quite often during his vocals and he, Harry Barris, and Al Rinker clowned around a lot and kidded Loyce Whiteman when she sang.  All of the broadcasts that I listened to (and I listened to many) were live performances with no commercials. You could hear the murmur of voices, applause, and at times, raucous laughter. I had the feeling that Bing, Harry and Al were imbibing a bit, along with some of their cronies, whose table must have been close to the bandstand. The music was uninterrupted except for an intermission.

      Bing sang most of the vocals, performed with the Rhythm Boys and sang duets with Loyce Whiteman. Loyce also vocalized. There was a great deal of repetition with some of the most popular songs being played two or three times a night, especially “I Surrender Dear,” “It Must Be True” and “If I Could Be with You.” Bing did a lot of jazz and scat-singing like “Dinah,” “Sweet Georgia Brown” and “One More Time.” This genre became a favorite of mine and remains so to this day. It influenced my love for Dixieland Jazz. One of my most favorite songs that Bing sang was “Lies.” It never became a hit, and I was sorry he never recorded it.

      It was not too unusual for Bing to miss an evening performance. I recall the keen sense of disappointment I would have because of his absence. When Bing was not present, Harry Barris would sing some of the vocals, but he was a poor substitute for Bing. I cannot recall that Russ Columbo sang any vocals. Russ performed with a trio that sang occasionally. As Bing’s popularity soared, so did the rumors of womanizing and drinking as reasons for missing performances.

    (Virgil Edwards, writing in BING magazine, summer 1999)

 

August (undated). Bing films songs for an MGM film Those Three French Girls but the songs are cut from the final print.

August 10, Sunday. (1:00 p.m.) Bing has won the President's Cup flight tournament at Lakeside and is presented with the trophy at the club.

August 21, Thursday. Duke Ellington's orchestra makes an appearance at the Cocoanut Grove.


Duke Ellington and Bing Crosby first shared a stage on August 21, 1930, at the Ambassador Hotel's Cocoanut Grove nightclub in Los Angeles. Ellington's orchestra, which was in Hollywood to film Check and Double Check at RKO, made a guest appearance where they played for an hour. The Cocoanut Grove's regular band, led by Gus Arnheim, featured vocals by the Rhythm Boys, one of whom was Bing Crosby. The studio brass were there (Carl Laemmle, Sr. & Jr.), the director of Check and Double Check (Melville Brown), the stars of the picture (Gosden and Correll) and its songwriters (Kalmar and Ruby) and also a host of celebrities, among them Loretta Young, Roscoe “Fatty” Arbuckle, Mack Sennett, Louise Brooks, Mervyn LeRoy and Skeets Gallagher.

The Rhythm Boys apparently made quite an impression on the studio folk, for they were hired to sing “Three Little Words” on the soundtrack of the film, and they also sang it on Ellington's Victor record. Shortly thereafter, Bing went out on his own and became the biggest singing sensation in the nation.

(Sleeve notes from the Mosaic set “Duke Ellington: The Complete 1932-1940 Brunswick, Columbia and Master Recordings of Duke Ellington and His Famous Orchestra”)


August 26, Tuesday. The trio records “Three Little Words” with Duke Ellington and his Orchestra for Victor (possibly at the RKO Studios in Hollywood) which is used in RKO’s film Check and Double Check with members of the band lip-synching to it.

August 31, Sunday. The Rhythm Boys entertain at the banquet given by the Los Angeles newspapers for the radio industry at the Cocoanut Grove. Part of the event is broadcast betwen 12:30 and 1:30 p.m.

September 3/4/5/8/10/11/15. The Rhythm Boys star in radio shows over station KFI at times varying between 11:30 a.m. and 11:45 a.m.

September 4, Thursday. (2:00 p.m.) The Rhythm Boys entertain at the Eighth Annual Radio Show at the Ambassador Auditorium.

September 5, Friday. (8:45-9:15 p.m.) The Rhythm Boys are featured in a radio program called ‘Tone Pictures’ broadcast over the NBC network.

      September 18/19/22, Thursday/Friday/Monday. The Rhythm Boys again appear in morning radio shows on station KFI.

September 29, Monday. Bing marries Dixie Lee (born Wilma Winifred Wyatt) at Blessed Sacrament Roman Catholic Church, Sunset Boulevard. Brother Everett acts as best man.


The wedding ceremony was held in the vestry of the Church of the Blessed Sacrament on Sunset Boulevard. It was informal, with about a dozen people in attendance, and was held in the vestry because Dixie vehemently refused to convert to Catholicism and even put up a battle with Bing over the need for her promise to raise their children as Catholics. (It should be noted, however, that Dixie was a woman of her word. Though her closest friends say that she never herself attended Catholic church with Bing or the boys, she saw to it that her sons adhered to the faith; she never let them miss a Sunday mass.)

Among the guests at the wedding were Sylvia Picker; Johnny Truyens (of the wealthy Pasadena Truyens), who was an actor and a friend of Bing’s; Harry Barris; Gordon Clifford (the lyricist); Burt McMurtrie (a Tacoma-born friend who would soon produce one of Bing’s radio shows); and a few of the Thalians. Sue Carol was on a publicity tour of the East and so couldn’t be present.

(Bing Crosby – The Hollow Man, pages 126-127)


The Associated Press issues an incorrect news release that is used by many papers including the New York Times but the Los Angeles Times gets most of the facts right.

 

Hollywood. Sept 29 (AP)

Dixie Lee, film actress, was married today to Murray Crosey, 26 years old, orchestra leader, at a simple church ceremony. Miss Lee, 20, was born in Hillman, Tenn. Her name was Wilma Wyatt. She began her career as an amateur while attending school in Chicago. The maid of honor was Miss Elizabeth Zimmermann of Chicago.

(Associated Press)

 

Dixie Lee weds Bing Crosby

Another romance in Hollywood culminated in marriage yesterday when Dixie Lee, under contract to Fox, was wed to Bing Crosby, a member of Gus Arnheim’s Orchestra and one of the original Rhythm Boys. Although the two have been going together ever since last January, they were able to keep their plans to wed secret and even Mrs. M. M. Wyatt, Dixie’s mother, did not know of the projected marriage until yesterday morning. The wedding took place in the Church of the Blessed Sacrament in Hollywood with Father Stack performing the ceremony. Betty Zimmerman, an old school friend of Miss Lee’s was bridesmaid, while Edward [sic] Crosby, the bridegroom’s brother was stood up as best man. It was through her chum Marjorie White that Miss Lee met Crosby. They were introduced at a party given by Miss White last January. Miss Lee’s real name it was revealed was Wilma Wyatt and thus it was possible for she and her fiancé to apply for a wedding licence without being discovered. There isn’t to be any honeymoon trip as both young people are too busy in their professions at this time to be able to spare time to go away.

(Los Angeles Times, September 30, 1930)

 

The reception is held at Everett Crosby’s new house in Nichols Canyon. Bing and Dixie soon move into a house at 4961 Cromwell Avenue in the exclusive Los Feliz section, which is loaned to them by their friend Sue Carol.

October (undated). Bing sings the Irving Berlin song “When the Folks High up Do the Mean Low Down” in Reaching for the Moon, the first film with Bing speaking a line and singing a featured solo. Filming takes place in the early hours of the morning after Bing’s Cocoanut Grove appearance. The film stars Douglas Fairbanks and Bebe Daniels. Edmund Goulding is the director with Alfred Newman acting as musical director.

 

The studio put Douglas Fairbanks into the role of the financier and Bebe Daniels into that the aviatrix who beguiles him. A much smaller role was carved out for a slim young singer making a name for himself with Paul Whiteman’s Rhythm Boys: Bing Crosby.

Crosby’s role served no important plot function, but he represented the vanguard of a new type of popular singer who’d gone right from the clubs to the studio, skipping the years of playing to raucous, vaudeville houses. He was more of an electronic performer than a live one. Entertainers of the previous generation, such as Jolson, Cantor, and Harry Richman, tended to be larger than life on stage. Audiences could practically smell the greasepaint on them; men like that performed not for the camera but for the folks in the back of the highest balcony at the Palace. But Bing Crosby, born Harry Lillis Crosby, was as cool as those frantic crowd pleasers of the previous generation were hot. So many of them had been Jews from the Lower East Side, and he was from Spokane, Washington. He’d even been to college—Gonzaga University. No immigrant desperation here, no tales of tenement starvation and back alley bluster, only an ingratiating manner—plus impeccable timing and a voice like liquid gold. When Crosby and the next generation of singers (crooners, they would be called—no more belting out the songs) stood before a microphone, their careful under-playing sufficed to put the tune across. Farewell to the wriggling hips and waggling eyebrows of their elders. Of course, Irving, the constant student of performing styles, would have to teach himself to write a new kind of song—subtle and nuanced—for this new type of performer. He would have to write songs that could survive the depredations of microphones and directors and editors—the whole maddening crew responsible for movies being the beastly business they were. And course, Berlin would acquire the knack; once he did, he would, years later, write for Crosby again.

Problems developed soon enough with Reaching for the Moon. The studio assigned Edmund Goulding to direct the movie and write the dialogue. From the start, Berlin found Goulding impossible to work with, rigid and dogmatic. Sensing that the movie was in trouble, Berlin turned to his old friend Elsie Janis, who had gradually made the transition since the Great War from vaudeville entertainer to film scenarist. Though Janis was able to make a minor contribution to the script, the movie’s prospects suffered a further blow when, in the middle of 1930, studios discovered that the public’s demand for musicals had suddenly disappeared. (More likely, the studios had rushed so many musicals into release that audiences were surfeited.) Frightened by this development, Goulding jettisoned many of Berlin’s songs from the score.

Although just five Berlin songs were recorded for Reaching for the Moon, the movie, even in its scaled-down form, proved to be hideously expensive to make. By the time the filming was complete, the costs had come to about a million dollars, a mammoth budget for the times, and one that virtually ruled out the possibility of the movie’s returning a profit to the studio. By now Berlin had become so infuriated with Goulding and so frustrated with the entire process of making movies that he walked off the movie and returned to New York, where it was becoming apparent that the Crash heralded major social changes and the Depression was beginning to make itself felt in earnest. This behavior was unique in his career. Even when failure was inevitable, he’d never before abandoned a show before opening night—much less one based on his own idea. That he did so now was a particularly ominous sign for the movie and, by extension, for Berlin’s reputation in Hollywood.

     (As Thousands Cheer: The Life of Irving Berlin, pages 291-293)

October 3, Friday. (7:30-8:00 p.m.) The Rhythm Boys guest on the RKO Radio Pictures show on NBC and sing “Three Little Words.” They receive a fee of $250 for their services.


…The Rhythm Boys did “Three Little Birds” (sic) from Amos ‘n’ Andy’s “Check and Double Check.”  No classification is necessary as to the quality of the entertainment when the boys purvey it. Bing Crosby, mainstay of the Rhythm Boys trio, warbled the R-K-O signature on this program, as it came from the Hollywood studios – Tom Kennedy, who usually croons it, was way back in N.Y. Bing showed that he hadn’t rehearsed it enough when he muffed some of the lyrics, but, in spite of that, Bing is still our favorite orchestra vocal chorister.

(Paul K. Damai, The Times (Munster, Indiana), October 8, 1930)


October 10, Friday. Fox loans Dixie Lee to Paramount to appear in a Clara Bow picture No Limit to be made at Astoria Studios, New York. Dixie leaves for the East that day.

October 15, Wednesday. (8:30 - 9:00 p.m.) Bing and Harry Barris appear on the California Melodies program from station KHJ.


George K. Arthur, motion picture star, will sing his own composition, “Why Leave Me,” as a feature of California Melodies from Los Angeles over CBS and KOIL at 10:30 p.m. tonight. Harry Barris will sing his newest number “It Must Be True:” Bing Crosby will introduce “Frosty Morning” and “One More Waltz”. “Body and Soul,” the new song success from “Three’s a Crowd,” will be given a special arrangement by Raymond Paige and his orchestra.

(Omaha World Herald, October 15, 1930)


October (undated). Bing and the Rhythm Boys film songs for the Universal production Many A Slip but the songs are cut from the final print. One song "There Must Be Somebody for Me" is later used as background in the 1931 Universal picture Up for Murder.

 

Perhaps bolstered by the fact that Ginger had dated Crosby, Mercer went backstage at the Cocoanut Grove and introduced himself. “He was very nice, and I was impressed, as everybody is, by those opaque, China blue eyes, and by his manner and talk, at once warm and hip but with a touch of aloofness that was always there.” Mercer, the suitor, also took in another detail of his former rival; “his lack of hair. He was only a few years older than I, who wasn’t bald yet, but he was practically bald.”

(Skylark: The Life and Times of Johnny Mercer, p54)

     October 25, Saturday. RKO’s Check and Double Check is released with a huge publicity blitz and smashes box office records at many theatres. The film was very profitable for RKO, earning a profit of $260,000, with most critics giving it a positive review, Variety stating, “the best picture for children ever put on the screen”. Mordaunt Hall, film critic for The New York Times, gave the film a lackluster review, praising the efforts of Gosden and Correll, while not being as kind to the rest of the cast. However, RKO examined ticket sale patterns and determined that the film’s success was due to the curiosity factor of the audience wanting to see the black-face performances of their two radio stars, but once seen, the novelty was worn off.

October 29, Wednesday. Bing makes his first recordings with Gus Arnheim and his Cocoanut Grove Orchestra including “It Must Be True” for Victor.

 

Out of the west comes Gus Arnheim, happily brocaded with the delicious “It Must Be True” and the pretty “Fool Me Some More”. Bing Crosby, who may one day be as well known to show business generally as to his own group, baritones the vocal part. A nice combo this.

(Variety, March 25, 1931)


The long expected recording of “It Must Be True” has at last been released by Victor. This is welcome news, for “It Must Be True” is undoubtedly the finest piece of dance music produced this winter. Gus Arnheim and his Cocoanut Grove orchestra, who have many of the attributes of Ted Weems’ band, play this number in masterly style, with an inspiring dance rhythm and a really interesting arrangement. An excellent vocal refrain by that fine singer Bing Crosby gives the final touch to a most praiseworthy musical performance.

(Calgary Herald, Canada, February 21, 1931)


It Must Be True

On my Fleischmann Hour from Rochester I went into a “rave” about the Victor record of this particular song as played by Gus Arnheim and his Cocoanut Grove Orchestra. From all reports that drift back to me, and from people that I know in California, Arnheim has the finest dance aggregation on the West Coast, and to my way of thinking, perhaps the finest in the entire world. This may sound like a rather broad statement, but I would be willing to back his organization against any other in any other part of the world. Although I have never seen them perform on the stage to see what they have in the way of showmanship, from a pure musical standpoint I feel that they are unexcelled.

Perhaps my great admiration for them is increased by the presence of Bing Crosby, formerly the lead in Paul Whiteman's “Rhythm Boys”, who, in my humble opinion, has the finest recording voice to which it has ever been my pleasure to listen. If he doesn't capture all the feminine hearts in America through his records, no one ever will. He has the most unique style of singing I have ever listened to since I used to enjoy the records of Charlie Kaley.

I have a few records put away in a fireproof record safe-records which I will some day treasure as antiques, and this record will be among them. From a standpoint of rhythm, sheer melody, instrumentation, orchestration, and vocal work, it is perfect!

(Rudy Vallee, writing in Radio Digest, June 1931, page 54)

 

October 30, Thursday. Bing and Dixie attend a surprise dinner at the Ambassador Hotel that is given by Nick Stuart for his wife, Sue Carol, who is celebrating her birthday. Other guests include John O’Melveny and Carl Laemmle Jr.

November 5, Wednesday. (8:30 - 9:00 p.m.) Bing appears on the California Melodies radio program and sings "More Than Anybody" and "Wrap Your Troubles in Dreams." Another guest is King Vidor.

November 12, Wednesday. (8:30 - 9:00 p.m.) Bing again appears on the California Melodies radio program and introduces another Harry Barris number, with the latter at the piano. Bert Wheeler, Marcia Manners and Earl Burtnett’s Trio are also featured on the show. Musical support is by the Raymond Paige Orchestra.

November (undated). Bing continues to golf frequently at Lakeside Golf Club.

 

Bing’s success would have happened anyway, but this is how it started: In the fall of 1930, early one morning, I was giving Mack Sennett a playing lesson. Bing was playing alone and caught up with us on the second hole. I had seen him coming and asked Mack Sennett if he minded if Bing joined us. He wanted to know who he was and I told him that he was the rage of the Cocoanut Grove, and that all the women were wild about him. Bing joined us and after we finished and were having a beverage, Mr. Sennett said, “Bing, Willie tells me you sing.” Bing replied, “Yes, they call me a crooner,” and Sennett asked him over to the studio. That’s how it happened because I was there.

(Willie Low, top teaching professional at Lakeside Golf Club 1926 to 1931, as quoted in Lakeside Golf Club of Hollywood)


I took to sitting in on the making of the Whiteman movie. I didn’t think The King of Jazz would win any awards, but it was entertaining. Paul’s boys, singing in rhythm, had no trouble to fake their mouthings to the sound track. They chirped right along and never goofed. But John Boles, billed as a “singing actor,” didn’t do as well. When he faked a ballad there would be holes in the song where he wouldn’t sing at all, followed by long pauses. The drummer said, “He doesn’t know where to open his mouth.” The actor sulked till they worked out signals for him to stop or go.

That was when I got to know Bing Crosby well. He had come with Paul to work in the movie. Bing was born hep. He was still young and not yet Der Bingel, but he already had the high forehead, the easy, lazy way, a capacity for drink, and an interest in female company. Bing for me was always fun. He was happy to be in California. He loved it. Paul used him only as a singer, which was just as well since he didn’t play any instrument. Sometimes he held a horn and faked it if they wanted the band to look extra large. He just smiled in introspective skepticism. “I hold it right, don’t I?” The director sweated. “Just don’t blow the spit out during the dialogue.”

After the picture was done Bing wanted to stay in California. “It suits me.” We wondered what he’d do—he wasn’t the John Gilbert or Conrad Nagel type. “I never clicked in the East and I’m dying to stay out here,” Bing said. Paul tore up the five-year contract with Bing Crosby. “California is all yours.”

The problem was to get Bing a job. They caught an agent and talked it up for Bing. “Why don’t you take on Crosby and his group. They’re free now.”

“Why?” the agent asked.

“The studios made millions in college pictures.”

“That’s all over. Gangsters are in. Warners got this kid Cagney —and Eddie Robinson.”

“Have they closed all the colleges?” I asked.

“We’ll talk some other time. Don’t call me, I’ll—”

“Crosby can sing like a flock and Harry Barris is a very fresh kid with a boop boop de doop and he writes wonderful songs. Al Rinker is a good-looking kid——what you call personality. You could really make some loot with these boys.”

The agent gave a Hungarian shrug. “This fellow Crosby, with those ears? That big fanny of his? He’ll never make it in Hollywood.”

Bing took it all casually—-and went down to sing at the Coconut Grove, among all the palm leaves, the most fashionable club in town, always full of stars and important film tycoons. Opening night he sang, drank a few between the acts, and was very popular. But he didn’t get into pictures. Everybody tested him. Bing said, “They spent a hundred thousand dollars in tests on me and they figured out I’m not picture material.”

Mack Sennett came into the club one night to talk to Bing. “Son, you’re pretty popular here. How’d you like to make some pictures for me?” Bing asked, “How many? You’re kidding, Mr. S.”

“I’ll sign you for four.” Mack Sennett had made millions with his Keystone Comedy Cops, his zany two-reel comedies with Mabel Norman, Fatty Arbuckle, Ford Sterling, Louise Fazenda, Marie Dressler, Ben Turpin, Charles Murray, Harry Langdon-—and others. Originally a boiler factory worker who failed to get into grand opera as a singer, he came west to make pratt falls and double takes into an art. Bing listened to Sennett and asked warily, “For how much?”

“Ten thousand dollars. Twenty-five hundred each - well?”

“Wonderful, Mr. S. Now if you just wrote that contract out on the menu here, I’d treasure it.”

“All right.”

Sennett did, Bing signed it, then sighed. “No, you better tear that up. I’m ashamed of myself, cheating the only honest man in Hollywood.”

“I’ll take care of myself.”

“Everybody has tested me, Mr. S. It’s no good. Too much ear, not enough hair.”

“No. We’ll make the pictures.”

“What will I have to wear?” “What do you want to wear?”

“Any old hat, tweed clothes, comfortable. Get it?”

“You got it.” The Bing Crosby shorts made money, and soon Bing was on his way to millions, marriage, sons, fame, glory, and an amused indifference. I still had my bundle of music unsold.

(Hoagy Carmichael with Stephen Longstreet, Sometimes I Wonder)

 

November 20, Thursday. Recording session with Gus Arnheim and his Cocoanut Grove Orchestra in Hollywood. The Rhythm Boys sing “Them There Eyes,” their last recording together.


The brightest feature of the new releases is the Victor recording of “Them There Eyes” by Gus Arnheim and his Cocoanut Grove orchestra. Besides the quality of the orchestration, which is well above the average, this record is noteworthy for the skilful harmony and clever rhythm effects of the Three Rhythm Boys. “The Little Things in Life” on the reverse side, does not receive the same expert treatment from the orchestra, but is redeemed by the particularly fine vocal refrain by Bing Crosby.

(Calgary Herald, January 31, 1931)


November 22, Saturday. (Starting at 11:30 p.m.) The Rhythm Boys appear at a Midnight Revel at Loew’s State Theater alongside the film Remote Control starring William Haines.

November 25, Tuesday. Another recording date for Bing with Gus Arnheim and his Cocoanut Grove Orchestra at which Bing sings “The Little Things in Life.”

November 29, Saturday. “Three Little Words” reaches number one in the various pop charts.

December 11-January 7, 1931, Thursday-Wednesday. The Rhythm Boys begin a three-week run at the Paramount, Los Angeles, playing matinees and Sundays in addition to their Cocoanut Grove commitments. They receive very good reviews.

 

PARAMOUNT OFFERS COMEDY ROMANCE WITH STAGE SHOW

The variety of entertainment starting today at the Paramount theater is headed by the famous Rhythm Boys, a singing trio from the Ambassador’s Cocoanut Grove orchestra. Their recordings have gained nationwide prominence. The screen fare features Paramount’s comedy romance, Along Came Youth, with Charles Rogers, Frances Dee, Stuart Erwin and William Austin.

(Los Angeles Evening Herald, December 11, 1930)  


 ... On stage one of the longest, and incidentally one of the best, stage shows to visit the Paramount Theater is glorified through the appearance of the famous Rhythm Boys, who sing and entertain in their own special way.

(Los Angeles Illustrated Daily News, December 12, 1930)


    .....The Rhythm Boys could have stopped the show yesterday if they wanted. After their short number the audience applauded for five minutes right through the next act, an Earl Able organ concert.

(Los Angeles Evening Herald, December 12, 1930)

 

. . . Beside all these, the Rhythm Boys, formerly with Paul Whiteman and now with the Gus Arnheim aggregation at the Ambassador Hotel, are making matinee appearances at the Paramount. Collectively they intone “Mississippi Mud” and “The Bluebirds and The Blackbirds Got Together,” their single concession to jazz written since 1920 or thereabouts being “It Must Be True,” which Bing Crosby solos into a microphone just as he does every night in his own little Cocoanut Grove.

(Philip K. Scheur, Los Angeles Times, December 12, 1930)

 

Rhythm Boys, booked for matinees and all day Sunday, as an extra attraction, in line with plan to slip in acts like this now and then for box office draw, stopped the show Thursday afternoon.

(Variety, December 31, 1930)

 

December 20, Saturday. Bing’s recording of “It Must Be True” is at number one in the Los Angeles charts.

December 29, Monday. World premiere of Reaching for the Moon at the Criterion, New York. The nationwide release takes place on February 21, 1931.

 

None of the Berlin songs is left other than a chorus of hot numbers apparently named “Lower Than Lowdown” [sic]. Tune suddenly breaks into the running in the ship’s bar when Bing Crosby, of the Whiteman Rhythm Boys, gives it a strong start for just a chorus which, in turn, is ably picked up by Miss Daniels, also for merely a chorus, and then in an exterior shot to the deck where June MacCloy sends the lyric and melody for a gallop of half a chorus.

(Variety, January 7, 1931)

 

December 31, Wednesday. (11:30 p.m.- midnight) Gus Arnheim and his Cocoanut Grove Orchestra take part in a four-hour nationwide radio program over the NBC network to celebrate the New Year. The Rhythm Boys would probably have been featured.

During the year, Bing participated in four Paul Whiteman records that became hits: “A Bundle of Old Love Letters,” “After You’ve Gone,” “I Like to Do Things for You,” “You Brought a New Kind of Love to Me,” and “Livin’ in the Sunlight, Lovin’ in the Moonlight.”  In addition, two records made with Gus Arnheim and his Orchestra “It Must Be True” and “Them There Eyes” and one with Duke Ellington and his Orchestra “Three Little Words” were chart hits.

 

Chapter 4

________________________________________________

                                                                                           

“Overnight Success,” 1931–1935

 

    In the early months of 1931, a solo recording contract came Bing’s way, Mack Sennett signed him to make film shorts and a break with the Rhythm Boys became almost inevitable.     Bing had married Dixie Lee in September 1930 and after a threatened divorce in March 1931, he started to apply himself seriously to his career. His gramophone records in 1931 broke new ground as his powerful and emotional singing started to change the face of popular music forever.

     Their low salaries at the Cocoanut Grove of the Ambassador Hotel led the Rhythm Boys to walk out, causing union problems for Bing. Everett Crosby interested Bill Paley of CBS in his brother and Paley beckoned Bing to come to New York. A settlement was reached with the Ambassador Hotel and Bing made his first solo national radio broadcast in September 1931 and then went on to star at the New York Paramount Theater. His first commercial sponsor on radio was Cremo Cigars and increasingly his fame spread nationwide. After a long run in New York, Bing went back to Hollywood to film The Big Broadcast and his personal appearances, his records, and his radio work substantially increased his impact.                                                      

     The success of his first full-length film brought him a contract with Paramount and he began a regular pattern of making three films a year. On radio, he fronted his own show for Woodbury Soap for two seasons and gradually his live appearances dwindled. His records produced hit after hit at a time when record sales generally were in decline because of the Depression. His social life was hectic, his first son Gary was born in 1933 with twin boys following in 1934. As 1935 ended, Bing prepared to take over as host of the prestigious NBC radio program, The Kraft Music Hall. He had thought his fame had peaked—it hadn’t!

     A dollar in 1935 was equivalent to $12.53 in the year 2000.

 

1931

 

January 1, Thursday. Bing arrives at the home of journalist Jimmie Fidler at midnight and plays blackjack until dawn.

January 2, Friday. The Rhythm Boys entertain at matinees and on Sunday at the Paramount Theatre alongside the film "The Right to Love."

January 5, Monday. (10:00 p.m.–12 midnight) Gus Arnheim and his Cocoanut Grove Orchestra continue their nightly broadcasts over station KNX. Bing and the Rhythm Boys feature regularly.

 

The Rhythm Boys were an immediate hit at the Grove. Harry Barris’s self-confident approach to his little piano, his cocky gestures and paradoxically appealing smirks delighted the hundreds of dancers who poured in nightly. The trio’s specialties were still sure-fire. And then there was Bing. Harry had written It Must Be True for him, and the Gus Arnheim orchestra’s straightforward performance of it behind him sold his soft accents perfectly. It Must Be True was the first of an impressive list of Barris songs for Bing. Out of Bing’s variations on the chords of Lover Come Back to Me, which he interpolated into It Must Be True, Barris wrested the melody of I Surrender, Dear, perhaps the most successful of his tunes and certainly the most distinguished.

…Several times a week, the whole Cocoanut Grove show was on the air for two hours. All of the room’s talent was paraded in this broadcast—the two bands, Gus Arnheim’s and Carlos Molina’s Latin group, a number of singers, and the Rhythm Boys singing during intermissions between the band spots. These broadcasts were looked forward to by high-school and college kids with all the eagerness that any of the more famous commercial shows elicited in them, and a lot more. After the first few broadcasts it became de rigeur among the students to follow every tremulous change of Crosby pace, to know his every new song, and to be cognizant of all those which had been planned for him in the future. Better than Bing himself did these kids know what new tunes were coming up for the Arnheim band, for the Rhythm Boys, and for him. He became the darling of young girls, who gathered around the bandstand to watch him perform nightly.

Bing’s singing manner was an unassuming one. He didn’t clutch the microphone, he didn’t make romantic gestures. The closest he came to demonstrative motion was an occasional look now and then from the height of the bandstand at the mass of upturned faces below him. It wasn’t the fashion in those days to scream with ecstasy or to swoon with the same emotion at the look or the sound or the twist of body of a singer, but the response to Crosby was just as unmistakable as the latter-day titters and jitters of the kids who followed Sinatra. In Crosby’s time at the Grove it was mostly a matter of standing still, closely grouped, and hushing any disturbance of the impassioned quiet.

More and more the Rhythm Boys were becoming a vehicle for Bing. Less and less did Al Rinker combine with Barris and Bing in three-man performance. There were always the novelties, of course, and there were always a few rhythm tunes that had to be rendered in the inimitable manner of the trio. But the kids who followed Bing, Harry, and Al and their elders in the entertainment business, who had become the Rhythm Boys’ avid fans, were mostly concerned about Bing, the songs he sang, and the way he sang them.

(The Incredible Crosby, pages 77-78)

 

 January 8, Thursday. (9:00–9:30 p.m.) Gus Arnheim and his Cocoanut Grove Orchestra plus the Rhythm Boys are in the MJB Coffee Demi-Tasse Revue over station KFI. The first of many appearances. It is said that Bing usually opened the show by singing a theme song whose opening line went: “Drink a cup of good old M. J. B. etc, etc.”

 January 12, Monday. (10:00 p.m.–12 midnight) Gus Arnheim and his Cocoanut Grove Orchestra make their debut over radio station KFWB, having swapped from station KNX.

 January 14, Wednesday. (9:00–9:30 p.m.) The Rhythm Boys broadcast over station KFI.

 January 15, Thursday. (9:00–9:30 p.m.) Gus Arnheim and his Cocoanut Grove Orchestra plus the Rhythm Boys are again in the MJB Demi-Tasse Revue over station KFI.

 January 19, Monday. Press comment seen about the nightly broadcast from the Cocoanut Grove. (12:45–3:45 p.m.) Records “I Surrender, Dear” with Gus Arnheim and his Cocoanut Grove Orchestra for Victor in their Hollywood recording studio.

 

…Oh, yes and I forgot to mention the Rhythm Boys with Arnheim. You’ll like Bing Crosby, if he hasn’t dined too well.

(Daily News, January 19, 1931)


When we were at the Cocoanut Grove, Barris wrote his great song, “I Surrender, Dear.” “I Surrender” had an exceptional arrangement made by Arnheim’s arranger, Jimmie Grier, and the record we cut of it was unusual for those days. Dance bands usually played a number in straight tempo, but our recording had changes of tempo and modulations and vocal touches in several spots. This had much to do with the popularity of the song. Week after week, people demanded that we sing it; we couldn’t get off without singing it several times a night. “I Surrender” lit a fire under Barris, and he came through with hit after hit: “At Your Command,” “Wrap Your Troubles in Dreams,” and “It Must Be True,” also with a fine arrangement by Jimmie Grier.

(Call Me Lucky, page 104)

 

 January 22, Thursday. (9:00–9:30 p.m.) The Rhythm Boys broadcast with Gus Arnheim and his Cocoanut Grove Orchestra over station KFI in the MJB Demi-Tasse Revue.

 January 24, Saturday. (8:30–9:00 p.m.) The Rhythm Boys broadcast over station KFWB.

 January 25, Sunday. Bing and Harry Barris are in Palm Springs to entertain at the El Mirador and are among the crowd who greet Albert Einstein on his arrival there.

 January 29, Thursday. (9:00–9:30 p.m.) Gus Arnheim and his Cocoanut Grove Orchestra are again featured in the MJB Demi-Tasse Revue over station KFI.


I regret, too, that the three Rhythm Boys, heard with Gus Arnheim’s Orchestra, get to whoopin’ it up occasionally and toss in uncalled-for expletives, but I wouldn’t want them taken off the air. I know they’re just bubbling over with pep, vitality, “-er sometp’n,” as Andy says; they get up full steam, and quite inadvertently, mind you, a couple of the very words I tell Junior he must not use come floating into the living room. I merely want them to be more careful, that’s all.
(Ray De O’Fan, Los Angeles Evening Herald Express, January 29, 1931)

 

January (undated). George Gershwin makes demonstration records of songs for a proposed new Fox film Delicious using Bing as the singer with his piano. Bing is paid $50. Most of the songs are dropped from the picture.

February 1, Sunday. Bing and Harry Barris are again in Palm Springs at the El Mirador Hotel and entertain following a diving exhibition by Georgia Coleman.

February 2, Monday. (10:00 p.m.–12 midnight) Gus Arnheim and his Cocoanut Grove Orchestra continue their broadcasts over station KFWB. Bing and the Rhythm Boys feature regularly.


Every Monday and Tuesday, those who are not in the habit of slumbering at such hours may tune in KFWB and hear that inimitable pair Bing Crosby and Harry Berris, (sic) the Victor recording artists. Since their recent visit to Palm Springs they just can’t help but talk about it, and their usual program is punctuated with accounts of the good times they had here. This is a national broadcast and the value of this type of free advertising cannot be estimated.

(The Desert Sun, February 4, 1931)


February 5, Thursday. Press comment features the Rhythm Boys’ weekly appearance with Gus Arnheim and his orchestra on the MJB Coffee Demi-Tasse Revue at 9 p.m. over station KFI and other stations of the NBC chain.


The Rhythm Boys are busy these days. They not only appear on the Demi-Tasse Revue but prepare a new song of their own composition to feature on each program. They are heard with Gus Arnhein and his orchestra at 9 o’clock tonight from station KFI and others of the NBC chain. That Demi-Tasse Revue listeners will be the first to hear more than one popular hit is shown by the fact that at least two of Harry Barris’ compositions “It Must Be True” and “I Surrender” are among the widely played tunes of the day. Bing Crosby is soloist and Al Rinker is the third member of the trio.

(Los Angeles Evening Citizen-News, February 5, 1931)


February 12, Thursday. (9:00–9:30 p.m.) Gus Arnheim and his Cocoanut Grove Orchestra make their weekly broadcast in the MJB Coffee Demi-Tasse Revue over station KGO.

February 19, Thursday. (9:00–9:30 p.m.) Gus Arnheim and his Cocoanut Grove Orchestra make another weekly broadcast in the MJB Coffee Demi-Tasse Revue. The broadcast comes from the Cocoanut Grove of the Ambassador Hotel, Los Angeles as usual. The Rhythm Boys have a novelty number.


February 21, Saturday. The film Reaching for the Moon goes on nationwide release.

February 26, Thursday. (9:00–9:30 p.m.) The weekly broadcast in the MJB Demi-Tasse Revue by Gus Arnheim and his Cocoanut Grove Orchestra.

March 2, Monday. Bing records four more tracks with Gus Arnheim and his Cocoanut Grove Orchestra including “One More Time” and “Wrap Your Troubles in Dreams.” In the evening, the Rhythm Boys entertain at the dinner dance and cabaret in the Cocoanut Grove for the benefit of El Nido Camp.

 

The best of the month’s HMV American played dance records is, I think, “One More Time” (B6047) by Gus Arnheim and His Cocoanut Grove Orchestra. It is so bright and rhythmical that it very nearly comes under the heading of hot, and is altogether more interesting than the average commercial dance record. Bing Crosby sings the vocal refrain and is in great form.

(The Gramophone, September 1931)

 

March 3, Tuesday. (10:00 p.m.–12 midnight) Gus Arnheim and his Cocoanut Grove Orchestra continue their nightly broadcasts over station KFWB. Bing and the Rhythm Boys feature regularly.

 

Al Rinker, Harry Barris and Bing Crosby comprise the Rhythm Boys, nee Paul Whiteman’s Rhythm Boys, known to the Ziegfeld Roof, the class Paul Whiteman’s and New Yorker, the Hollywood Gardens and lots of other eastern high spots. But never in their varied and cosmopolitan career in the effete east did the trio enjoy the popularity it now has out here. They are the collective Rudy Vallee of the ether west of the Rockies, unfortunately buried away in the Cocoanut Grove of the Hotel Ambassador. On occasion they have ventured out and doubled into the local Paramount, but the boys collectively or singly, can step out and play percentage in picture houses and vaude up and down the coast and mop up. There are lots of folks no doubt in Portland, Seattle, Frisco, Denver, San Diego and other western stands who know the Rhythm Boys by name and radio fame and would go out of their way plenty for a load of ‘em in the flesh.

      Barris is the composer of “It Must Be True” and “I Surrender,” a couple of local song sensations, which alone could carry him over the top. Bing Crosby’s baritone style is also ethereally unique. As personalities in the flesh they have the edge in more than one way on the average behind-the-mike favorite, for the trio came from the stage (and also in comedy pictures out here) to the radio.

(Variety, April 1, 1931)

 

March 4, Wednesday. Dixie announces that she and Bing are separating. She threatens to sue him for divorce, charging “mental cruelty.”

 

Dixie Lee Will Sue Bing Crosby For Divorce Soon

    When “Bing” Crosby, singer with Gus Arnheim’s orchestra, croons into a radio microphone, feminine hearts skip a beat, but not so his wife, Dixie Lee. She admitted to The Examiner last night that they were separated, and that she will soon file a divorce suit against him, charging mental cruelty.

    “We have only been married about six months,” she said, “but we have already found out that we are not suited for each other. Our separation is an amiable one, and the only reason for it is that we just cannot get along. ‘Bing’ is a fine boy as a friend, but married he and I just cannot be happy.” Miss Lee, Fox contract featured player, is 19. She came to Hollywood from New York about two years ago. Miss Lee is credited with being the originator of the dance, varsity drag, and her “off stage” name is Wilma Wyatt.

(Los Angeles Examiner, March 5, 1931)

 

March 5, Thursday. (9:00–9:30 p.m.) The weekly broadcast in the MJB Demi-Tasse Revue by Gus Arnheim and his Cocoanut Grove Orchestra.


“Mississippi Mud,” one of the most original jazz numbers ever written, will be featured by the Rhythm Boys on the Demi-Tasse Revue released over the N.B. C. Network by KFI at 9 o’clock tonight. This number sold 341,000 recordings and is the tune upon which the Rhythm Boys commenced their climb to fame.

(Los Angeles Evening Citizen News, March 5, 1931)


March 12, Thursday. (9:00–9:30 p.m.) The weekly broadcast in the MJB Demi-Tasse Revue by Gus Arnheim and his Cocoanut Grove Orchestra.            

March 15, Sunday. Bing and Dixie reconcile. He stops drinking for months, and never again does the bottle gain the upper hand with him.

 

Dixie Lee’s five months’ marriage to “Bing” Crosby seemed short enough when she announced a week ago they had parted, but they hung up a new record yesterday when it was learned they were reunited. The reconciliation of the crooning member of the Gus Arnheim’s band and the Fox film comedienne was brought about in approved scenario manner.

      Dixie had gone with a party of friends to Agua Caliente for the weekend. To one of the girls in the crowd she confided she was not half as angry with “Bing” as she was at the parting a week ago. The other girl got Crosby on the long-distance telephone and presently he and Dixie were talking to each other. An hour and a half later, Crosby appeared at Agua Caliente, having flown down in an airplane, and all misunderstandings were cleared away.

(Los Angeles Examiner, March 16, 1931)

 

March 17, Tuesday. Newspaper reports state that Director Leigh Jason has announced the signing of Gus Arnheim, his orchestra and the Rhythm Boys to appear in No. 9 of his Humanette series. Filming commences on April 6. The film is built around puppets and it is not known whether the Rhythm Boys were shown live or whether they simply provided the sound track for the puppets. It is advertised as featuring “Bing Crosby and His Rhythm Boys” and it is copyrighted and released on April 15, 1931.

 

Another of the series built on the Bert Levy creation of life-size human heads over the bodies of Punch and Judy dolls, will fit anywhere. This one digresses from the revue routine of some of its predecessors, to attempt a sketch with music. The cast includes the faces of the three Rhythm Boys, Charles Judels, Gus Arnheim and his orchestra, plus a couple of “lookers,” one of whom is a blonde. Judels does dialect as a cafe proprietor who has three disconsolate boys as customers. They are the Rhythm lads who do a couple of harmony numbers, then the girl who caused their sorrow shows and Judels falls for her too. Arnheim’s face is shown, his band is heard and it’s all to an advantage.

(Variety, April 29, 1931)

 

March 18, Wednesday. (5:30-6:00 p.m.) Bing appears on the "Sunkist Musical Cocktail" program hosted by Louella Parsons. Buddy Rogers is a guest.


Buddy Rogers was interviewed by Louella Parsons on the Sunkist Cocktail from Los Angeles by way of WABC….The musical portion of the Cocktail, with the exception of Bing Crosby’s singing, was below previous standards.

(David Bratton, The Brooklyn Daily Times, March 19, 1931)


March 19, Thursday. (9:00–9:30 p.m.) The weekly broadcast in the MJB Demi-Tasse Revue by Gus Arnheim and his Cocoanut Grove Orchestra. It is said that “Wrap Your Troubles in Dreams” is sung for the first time on the air but this is not strictly correct.                                          

March (undated). Bing engages Roger Marchetti as his attorney.

 

      Comes a breezy, but withal, rather friendly letter from “Bing”—“Bing” Crosby—and it appears that so many folks still crave “I Surrender” that he and the other two-thirds of the Rhythm Boys really have no choice but to sing it, night after night.

      Well, okeh by me, if the number of requests warrant it. What I object to is doing a number because one solitary soul asks for it.

      And, I stand corrected on the rumor about “Bing’s” weekly stipend. “A slight inaccuracy,” states Crosby with sardonic humor in his pen.

(Ray De O’Fan, Los Angeles Examiner, March 20, 1931)

 

March 22, Sunday. Bing and Al Rinker play for the Lakeside Golf team against Rancho Golf Club. Lakeside win 11-10. Bing and his partner Richard Keene lose their game while Al Rinker and his partner halve theirs.

March 23, Monday, Bing and Dixie are at the races at Agua Caliente.

March 25, Wednesday. Bing and Dixie are seen dining together at The Munchers.

March 26, Thursday. (9:00–9:30 p.m.) The weekly broadcast in the MJB Demi-Tasse Revue by Gus Arnheim and his Cocoanut Grove Orchestra.                                            

March 30, Monday. (10:30 a.m.–12:45 p.m.) Bing begins his first solo recording contract, singing on the Brunswick label “Out of Nowhere” and “If You Should Ever Need Me” with the studio orchestra. Jack Kapp is the general manager for Brunswick and has signed Bing on a six-month contract with a renewal option.

 

Kapp already knew Bing’s singing from the Whiteman days and did not need persuading. He signed him to a six-month contract with a renewal option favoring the company, which was then controlled by Warners. A couple of weeks later, Kapp traveled to California to supervise his first Crosby session, recording “Out of Nowhere” and “If You Should Ever Need Me.” The latter, a negligible song, is memorable only for a singular reprise with an intimate barrel-down Crosby low note that fluttered the hearts of his fans.

But “Out of Nowhere” was a benchmark, an outstanding song by Hollywood composer John Green, who a year earlier had written the melody of “Body and Soul” (one of the most recorded songs of all time, though Bing, oddly enough, never sang it). Expertly backed by Bennie Krueger’s orchestra and recorded with vivid immediacy, Bing emphasizes the song’s balladic drama with parallel caesuras, or pauses, that also underscore rhythmic momentum. Marred only by a touch of Jolsonesque whinnying on the verse, his performance is rife with details, especially in his opening chorus: the mordent on free, the full two-bar sustain on me, the bravura selling of nowhere. He attacks the last chorus with a huskier mask and reveals Armstrong’s influence by syncopating the phrase with my memories. By April “Out of Nowhere” was a top-selling record, the first released under Bing’s name.

(Gary Giddins, A Pocketful of Dreams, page 244)

 

March 31, Tuesday. Knute Rockne, the inspirational and famous football coach at the University of Notre Dame is killed in a plane crash at Bazaar, Kansas. The tragedy has a profound impact on Bing and he does not travel by plane again until 1944.

April 1, Wednesday. (10:00 p.m.–12 midnight) Gus Arnheim and his Cocoanut Grove Orchestra continue their nightly broadcasts over station KFWB. Bing and the Rhythm Boys feature regularly.

April 2, Thursday. (9:00–9:30 p.m.) The Gus Arnheim troupe including Bing appear on the Demi-Tasse Revue on NBC stations KFI and KFSD.

April 5, Sunday. Loyce Whiteman makes her debut at the Cocoanut Grove.

 

Loyce opened at the Grove on Easter Sunday night, April 5, 1931, and The Rhythm Boys were there. Her audition stage fright was nothing compared to her opening-night jitters. Until that time, for the most part, she had been an unseen radio vocalist, and now she had to sing before an audience of hundreds. Bing was beside her just before it came time for her to go on, and she nervously commented to him that she didn’t know what to do with her hands.

      “Bing did a sweet thing that night,” Loyce said. “He said, ‘Don’t worry about it. I’ll hold your hand,’ and he accompanied me to the mike, held my hand, and sang half a chorus with me to get me started. I’ll never forget that. But that was our only close companionship; after that, he hardly ever spoke to me. He didn’t speak to anyone, particularly. He went his own way. That’s the way he was.”

(Bing Crosby, The Hollow Man, page 136)

 

April 9, Thursday. (9:00–9:30 p.m.) The Gus Arnheim troupe including Bing appear on the Demi-Tasse Revue on NBC stations KFI and KFSD.

April (undated). Bing sings “Out of Nowhere” and the Rhythm Boys sing “Ya Got Love” in Paramount’s Confessions of a Co-Ed (aka Her Dilemma). Bing is paid $500 for his part. The film stars Phillips Holmes and Sylvia Sidney.

 

An unexpected dividend of his first Brunswick recording was an invitation to appear with the Rhythm Boys in a potboiler, Confessions of a Co-ed, singing “Out of Nowhere.” The picture, his first job at Paramount, was the sort of thing Hays Office censors were supposed to stamp out (coed gets pregnant by one man, marries another, leaves him for the first). Bing appears mercifully early, at the school dance wearing a terrible slicked-down hairpiece. His solo number is sung in his reveling jazz mode; he does justice to the song but projects little in the way of movie-star charisma. In distinct contrast, the trio number that follows is restrained and dry - his partners clearly hold him back. A dancing couple interrupts Bing mid-song for no other reason than to shout his name: a salute to the growing fame of his suave moniker.

(Gary Giddins, A Pocketful of Dreams, page 244)

 

April 16, Thursday. (9:00–9:30 p.m.) The Gus Arnheim troupe including Bing appear on the Demi-Tasse Revue on NBC stations KFI and KFSD with Donald Novis.

April 20, Monday. The Thalian Club stages a gala dinner dance for over a thousand guests at the Cocoanut Grove. The Rhythm Boys entertain, as does Dixie Lee.

April 21, Tuesday. (8:30–9:30 p.m.) Station KFWB presents the “Grand Concert Hour” and the Rhythm Boys and Gus Arnheim’s orchestra take part.

April 23, Thursday. (9:00–9:30 p.m.) The Gus Arnheim troupe including Bing appear on the Demi-Tasse Revue on NBC stations KFI and KFSD.

April 28, Tuesday. (8:30–9:30 p.m.) The Rhythm Boys take part in a Grand Concert Hour over KFWB.

April 30, Thursday. (9:00–9:30 p.m.) The Gus Arnheim troupe including Bing appear on the Demi-Tasse Revue on NBC stations KFI and KFSD.

May 1, Friday. Final recording session with Gus Arnheim and his Cocoanut Grove Orchestra in Hollywood when “Ho Hum!” (with Loyce Whiteman) and “I’m Gonna Get You” are recorded. (10:00 p.m.–12 midnight) Gus Arnheim and his Cocoanut Grove Orchestra continue their nightly broadcasts over station KFWB. Bing and the Rhythm Boys feature regularly.

 

Bing owed one more session to Arnheim, who provided him with two bouncy numbers. Bing is irrepressible on “I’m Gonna Get You,” inserting the comment “’cause I’ll never stand for that” in the space of two beats, transfiguring a nothing song into a frolic. “Ho Hum!,” with Loyce Whiteman, is notable as the first of Bing’s numerous recorded duets with women singers. His ease and wit are unmistakable, but the trite number scarcely indicates his particular genius for the format. Bing would establish the duet as a pop-music staple, raising it to a level many emulated in vain. He inspired other singers with his spontaneity, humor, and professional empathy, all of which Loyce experienced on the night she opened at the Grove. Arnheim had called her to the stage for her first solo, and Bing could see that she was trembling with fright. He escorted her to the mike and sang the opening phrases with her; when she was able to continue alone, Bing smoothly backed off the bandstand. The “Ho Hum!” session was significant for another reason: it marked the end of his sideman career.  He now placed himself squarely in the hands of Jack Kapp and would nestle there until Kapp’s death in 1949.

(Gary Giddins, A Pocketful of Dreams, page 245)

 

May 4, Monday. (11:15 a.m.–12:45 p.m.) Records “Just One More Chance” and “Were You Sincere?” for Brunswick Records with a studio orchestra.

May 7, Thursday. (9:00–9:30 p.m.) The Gus Arnheim troupe including Bing appear on the Demi-Tasse Revue on NBC stations KFI and KFSD.

May 14, Thursday. (9:00–9:30 p.m.) The Gus Arnheim troupe including Bing appear on the Demi-Tasse Revue on NBC stations KFI and KFSD.

May 16, Saturday. Bing’s recording of “Out of Nowhere” is the number one record in the various charts. Bing, Al, and Harry Barris do not turn up for their scheduled appearance at the Cocoanut Grove and it becomes clear that they have walked out on their contract. They state that their six-month contract has expired but they did not know or had forgotten that a nine-month option existed. Apparently, a more lucrative contract was in prospect at the Roosevelt Hotel.

 

Suddenly Missing. Rhythm Boys fail to show at hotel but there’s a nine months option.

Los Angeles May 19. The Three Rhythm Boys failed to show up at the Cocoanut Grove at the Ambassador Hotel Saturday or Monday nights under the supposition that their 6 month contract with Gus Arnheim had expired. They didn’t know or had forgotten that a 9 months option existed. Local union immediately warned other nite club spots that as the threesome had signed musicians' contracts no union member could play for them unless the boys returned to the Grove. The trio including 16 men including Roy Bargy, Joe Venuti and Charles Magolis of the Whiteman band were offered to the Roosevelt hotel at $2500 a week.

(Variety, May 20, 1931)

 

By that time the drive was gone from the Rhythm Boys. We were each developing different interests. Harry was writing songs. Bing was playing golf. I was becoming interested in the production end of the business. We felt the Rhythm Boys was a stage in our lives and now it was over.

(Al Rinker, as quoted in Bing Crosby, A Lifetime of Music, page 12)

 

Toward the end of our engagement at the Grove we didn’t take our responsibilities seriously enough to suit Abe Frank. Frank was running the Cocoanut Grove and The Ambassador Hotel. But the Grove was his pet. He was an elderly, serious sort who disliked anything that disrupted the even tenor of the nightly routine at the Grove. When people were supposed to appear, he expected them to be on deck. So, when I failed to get back for the Tuesday-night show once too often, he docked my wages. Of course Abe was within his rights legalistically speaking, but I thought he was pretty small about it, so I quit.

I was encouraged in this defiance by an offer from Mack Sennett to make a series of movie shorts for him. I had made one for him already, and working in pictures looked like easy money to me. I made a couple more shorts at Sennett’s, then Abe Frank plastered a union ban on me, “for failure to fulfill the standard musician’s contract.” After that, union musicians weren’t allowed to work with me. To get around the boycott, Sennett used a pipe organ or ukuleles or an a-cappella choir in the background. Or we worked to canned music, which meant that I sang to a phonograph-record accompaniment.

(Bing Crosby, Call Me Lucky, page 105)

 

May 20, Wednesday. Arising from their initial chance meeting at the Lakeside Golf Club of Hollywood in the previous fall, Bing signs a contract with Mack Sennett on behalf of the Rhythm Boys for a series of two-reel comedies, four of which are filmed in 1931 and two in 1932. The Rhythm Boys are to be paid $1000 a week for each film. (4:30 p.m.–5:00 p.m.) Bing appears on the Sunkist Musical Cocktail program, which is broadcast nationally on CBS from station KHJ and introduces “Just One More Chance” for its first rendering on air. Louella Parsons interviews Marlene Dietrich. Raymond Paige and his Orchestra provide the musical support.

 

If you are a radio fan you have listened to Bing Crosby hundreds of times. He is one of “The Three Rhythm Boys,” and I know how popular he is because when he appeared on a recent radio program with me every secretary, every office girl and even the heads of KHJ stopped to listen in. Bing has now signed with Mack Sennett with the two other “Rhythm Boys” to make a short. These Rhythm Boys are certainly popular in Los Angeles when they appear with the various dance orchestras.

(Louella O. Parsons, Los Angeles Examiner, May 29, 1931)

 

May 26, Tuesday. The Blossom Room of the Roosevelt Hotel in Hollywood reopens and many celebrities attend. Bing sings a couple of songs, Joe E. Lewis entertains, Con Conrad plays the piano and Sam Coslow leads the band.

 June 1, Monday. Press comment indicates that the Musicians’ Union has given the Rhythm Boys until the night of June 2 to return to their Cocoanut Grove contract otherwise they will never be able to sing with a union orchestra again.

 

Rhythm Boys Walk-out draws fire from Union.

Hollywood June 1. The three Rhythm Boys (Bing Crosby, Harry Barris and Al Rinker), the same trio formerly with Paul Whiteman thought they had an out on their contract with the Cocoanut Grove at the Ambassador Hotel and walked. Musicians Union thought otherwise and gives them until tomorrow (2nd) night to return stating otherwise they will never be able to sing with a Union band.

      Union’s attitude is that the trio, which is very popular locally, jeopardized the jobs of Gus Arnheim’s Orchestra at the Grove through the walk out. Trio argues that their contracts are with the Hotel direct and not with Arnheim although they perform in the Orchestra.

(Variety, June 2, 1931)

 

June 5–11, Friday–Thursday. The Rhythm Boys are featured in the one-reel RKO Radio Humanette short showing at the Orpheum in Los Angeles (see March 17).

June 8, Monday. Ginger Meehan marries songwriter Johnny Mercer in New York. It is announced that Mack Sennett is shortly to film Bing in I Surrender Dear, Bing’s first two-reel musical comedy. Arthur Stone is also to be featured. The other Rhythm Boys do not take part and Bing is paid $600 for his services.

 

Bing came to work. He braced me immediately on a matter that was bothering him.

      “What about make-up, Mr. Sennett?”

      “Make-up? What do you mean, Bing?”

      “You know—on the face? What do you want me to do about eyes and chin and mouth and stuff like that there?”

      I looked him over and laughed.

      “Boy, I like you on the hoof, as is. Don’t change anything.”

      “But I took a lot of tests, you know, at most of the big studios, and they all spent hours making me up before they put a camera on me.”

      “I know,” I said. “I know all about that. They covered you with goo—and you didn’t get a job. Now we’ll just put you out there and let you look like yourself.”

      To be honest, I wasn’t as confident as all that in Bing Crosby. I knew he could sing. But whether he could read a line convincingly and make with a funny were unknown quantities. I decided to take no chances with him as an actor. In his first picture I cast a well-known comedian along with him and gave the comedian all the important dialogue. Aside from singing—and we threw in song cues for him on the slightest pretexts—I saw to it that Crosby barely uttered.

      When the first rushes were run off in the screening room, we all discovered instanter something that has made hundreds of millions of people happy ever since: Mr. Crosby, with or without benefit of writer to give him the best lines, was as skillful a comedian as ever stole a scene. He underplayed and made off with every sequence from every comedian we put in his pictures—under the impression we were helping him out. He has been doing it ever since.

(Mack Sennett, writing in his book King of Comedy, pages 258–9)

 

The way we made those Sennett shorts reads like a quaint piece of Americana. For two days we’d have a story conference. I was in on it. In fact, everybody was in on it–actors, cameramen, gagmen, and Sennett. We’ sat upstairs in Sennett’s office, a large room equipped with plenty of cuspidors because Sennett was a muncher of the weed. For our title we used the name of the basic song in the picture, like “I Surrender, Dear,” “At Your Command,” or “Just One More Chance.” For our plot we’d start with a very social mother and daughter. I’d be a band crooner with a bad reputation, and mother didn’t think me quite right for her daughter. Instead she wanted her apple dumpling to marry some respectable pup; some fuddy-duddy; some very disagreeable character; a young businessman or a rising young lawyer.

Once we had this nugget of plot, Sennett would start “writing.” I use “writing” for want of a better word. He put nothing down on paper. His story was really a series of gags. We always would end up with somebody falling in a fish pond or some other device with “punch” possibilities. Sennett would tell me, “This is the scene where you call on the girl, and you know her mother doesn’t like you, and you’re talking to the girl and her mother comes in and discovers you and tells you to leave the house, you louse, she doesn’t want to ever see you again. So you go out, and on the way out, you step into this laundry basket, and you get up with the laundry hanging all over you, and you make an ignominious exit.”

“When do I exist?” I’d ask.

‘When I drop my handkerchief,” he’d say. He’d call, “Camera!” and we were off.

From the corner of my eye, I saw his handkerchief drop. I said, “I gotta go now,” stepped into the laundry basket, took my fall and made my ignominious exit. The songs we used were usually shot against a night-club background or in a radio station or at a microphone. We weren’t clever or adroit about working the songs subtly into the action. Sennett just said, “Now we’ll have a song,” and we had one.

He had an endless treasury of physical gags left over from his old Keystone Cop, Mabel Normand, Ford Sterling, Wally Beery days. I’d be dunked in a tank and fish would get down my shirt front or quick-rising dough would envelop me in a gooey bubble-bath. Sennett was a genius at devising things like that. He knew how to photograph them and how to stage them.

Those shorts had a running time of about twenty minutes. Sennett didn’t shoot scenes over and over again. Once was enough. With a two-day shooting schedule, he couldn’t waste time. At the end we wound up with a chase. I’d get into a car with the girl and we’d start out over the Hollywood hills with the cops or the irate parent in pursuit, while Sennett had his cameraman crank slowly to make it look fast. The finale was me singing the theme song, with the mother won over to my side and beaming happily.

(Bing Crosby, Call Me Lucky, page 106)

 

June 12, Friday. (Starting at 3:05 p.m.) Bing records four songs for Brunswick in Los Angeles with a studio orchestra. “I’m Thru with Love” and “I Found a Million Dollar Baby” are later issued under the name of “Owen Cornell” and “Arthur Beaumont” in Australia.

 

Those who read The Gramophone regularly may remember a remark I made some months ago that Bing Crosby of the Three Rhythm Boys (late of Whiteman’s Band) was the world’s finest hot and rhythmic-ballad singer. Since then Bing has become a radio star in America. Also numerous records by him have been issued here by Brunswick and HMV and you may be wondering why I have not waxed eloquent and done the “I told you so” business. The fact is, however, that so far I have not thought any did Bing justice. But there are two in rhythmic-ballad style this month—“I’m Thru’ with Love” and, particularly, “I Found a Million Dollar Baby” (Bruns. 1197)—on which I am ready to let my stated opinion be judged. Hear them and see if you don’t agree with me.

(The Gramophone, November 1931)

 

I do wish Bing Crosby could do something about his accompaniments. He is such a big seller and has such a reputation in America, that surely it would not detract from his records if he had a less sentimental orchestra behind him.

(Review of “I Found a Million Dollar Baby” in Melody Maker, November 1931)

 

June (undated). Bill Paley of the Columbia Broadcasting System (CBS) hears Bing’s recording of “I Surrender Dear” while sailing to Europe on the S. S. Europa. Paley instructs his office by radiogram to sign Crosby but nothing happens as Paley’s staff is uncertain about Bing’s reputation.

June 22, Monday. Bing enters for the Los Angeles City Golf Championship being played at Griffith Park.

June 24, Wednesday. (10:45 to 11:50 a.m.) Bing records “At Your Command” with Harry Barris on piano for Brunswick Records in Los Angeles.

 

I first heard Bing sing on the radio in 1931 from the Ambassador Hotel with Gus Arnheim’s Orchestra where, of course, he was already creating a sensation with his powerful and unique singing style. The song was “I Surrender Dear”. I got an idea for a song that I thought would make a great follow-up title to the song he sang; I went down to the Cocoanut Grove at the Ambassador Hotel in Los Angeles where Bing, Harry Barris and Al Rinker were featured in Arnheim’s band as the Rhythm Boys.

I spoke to Harry Barris and told him I thought I had a great follow-up title to “I Surrender Dear” entitled “At Your Command”. He liked the idea and introduced me to Bing who approved. The next day the three of us met at Harry Barris’s home and wrote the song.

Bing introduced the song at the Grove and then recorded it with Barris on the Brunswick label. I attended the recording session. When Bing sang “At Your Command” on the radio program, he created calls in the music stores coast-to-coast overnight. As a result of this demand, Jack Robbins, a prominent Music publisher, rushed to the coast from New York and paid us one thousand dollars advance royalties for the publishing rights to the song,

The next morning, Bing, Barris and I ran to the bank to cash the check—and how we ran to the bank! One Grand in 1931 meant an awful lot of money during those Depression days.

(Harry Tobias, as quoted in BING magazine, August 1983 ([#69])

 

“Many Happy Returns of the Day” / “At Your Command” – Brunswick 1182

I saw Bing and his two friends last week in a picture called Her Dilemma. Go and see it if only for the funny faces Barris pulls at Bing. What’s that? The record! Oh, yes. But then, you know all about this fellow and his glorious voice, so why should I waste my time telling you all about him? Incidentally, Harry Barris is responsible for the piano in “At Your Command”.

(The Melody Maker, October 1931)

 

June 27, Saturday. “Just One More Chance” reaches number one in the various charts.

June–August (undated). Bing films three more two-reelers for Sennett, One More Chance (also featuring Arthur Stone and Patsy O’Leary), Dream House (also featuring Ann Christy and Vernon Dent), and Billboard Girl (with Babe Kane) and is paid $750 per film. Because of the union ban on musicians working with him, Bing has to sing on film to the accompaniment of a pipe organ.

 

“Well, the best thing about the Mack Sennett shorts . . . was the training it gave me in ad-libbing. They never had much of a script. You were just told to go into a scene and ad-lib some dialogue with the other characters, and when Mack Sennett dropped his handkerchief, you made an exit! That taught me to be resourceful. I had the opportunity to work with a lot of good gag men and I think it was great training. Before he’d start shooting, he’d have a day or two where he’d sit around the room with two or three writers who had been with him for years. A director, Mack and I, and maybe the leading lady, would just talk up the story line. I was usually an indigent singer working in a cafe, singing for the favors of this young lady whose mother frowned on crooners, and the idea was how I could arrange a rendezvous and clandestine meetings without letting the parents know.

      Finally I’d get caught and there would be a chase and so forth and a few songs and a lot of palaver.”

(Bing Crosby, speaking in an exclusive interview with Gord Atkinson, subsequently broadcast in Gord Atkinson’s The Crosby Years, www.whenfm.com)

 

July (undated). Bing goes fishing off San Clemente Island on Mack Sennett’s boat - Melodie - with Dixie and Maybeth Carpenter.

July (undated). Bing hires his brother Everett as his manager.

July 7, Wednesday. Variety magazine says that Earl Carroll is attempting to sign the Rhythm Boys for his new "Vanities" show to be launched at the rebuilt Carroll theatre in New York in August.

July 9, Thursday. The film Confessions of a Coed (aka Her Dilemma) is released.

July 21, Tuesday. Variety magazine states that a split is looming for the Rhythm Boys. Bing is said to be flirting with a $1,000 to $5,000 a week contract with Mack Sennett running from one to five years.

 

Rhythm Boys split

Split looms for the three Rhythm Boys with Bing Crosby flirting with a $1000 to $5000 contract with Mack Sennett. Crosby did two comedies and refused more until his voice began to bother him. Also the AF of M blacklist against the trio on contract violation is still holding.

(Variety, July 21, 1931)

 

July 22, Wednesday. Bing enters for the Palos Verde Invitational Tournament.

July 27, Monday. Jimmy Gillespie (Whiteman’s manager) fails to sign the Rhythm Boys as an act and Harry Barris decides to return to the Cocoanut Grove where he forms a new trio.

 

Gillespie couldn’t get scattered Rhythm Boys.

LA J.

Jimmy Gillespie returned to Chicago without signing the Rhythm Boys Crosby, Barris and Rinker formerly known as Paul Whiteman’s Rhythm Boys for which purpose he’d come out. Gillespie did however clear up a couple of damage suit claims settling them for nominal sums arising from automobile accidents involving members of the Whiteman orchestra when the troupe was here 2 years ago shooting ‘King of Jazz’. Crosby who is now in a jam with the AFM through a walk-out from the Cocoanut Grove at the Ambassador Hotel here has a Mack Sennett picture offer of $1000 to $5000 a week from 1 to 5 years. He has made shorts for Sennett before. Barris is returning to the Grove personally this week. Rinker is indeterminate. Latter was salaried to Bing Crosby Ltd. which is owned by Crosby, Barris and Roger Marchetti, local lawyer.

(Variety, July 28, 1931)

 

“Barris, Bing, and I parted on the best of terms,” Rinker recalled in the unpublished memoir he wrote shortly before his death in 1982. “Bing went to his Mack Sennett job, Barris stayed on at the Grove for a while, and I went my own way.” Al’s way was, according to a Variety account in July 1931, initially paved by Bing Crosby Ltd., a short-lived alliance between Bing, Barris, and Marchetti, which paid him a salary and may have facilitated his first job, touring in vaudeville on the same Fanchon and Marco circuit that had provided him and Bing with their start nearly six years earlier. In that period Al began to compose and completed his first successful piece, “Peter, Pumpkin Eater” (debuted by Whiteman at the Metropolitan Opera House and recorded by him). For a while he was part of the vocal group backing Kay Thompson on radio. Then, in 1936, he became producer and director of CBS music programs (his first show was a substantial hit, The Saturday Night Swing Club) and prospered.

(Gary Giddins, A Pocketful of Dreams, page 250)

 

July 29, Wednesday. Dixie Lee opens at the new Embassy Club with Hal Grayson’s Orchestra.

August 6, Thursday. Bix Beiderbecke dies in New York.

August 8, Saturday. Bing’s “At Your Command” is the number one record in the charts.

August 11, Tuesday. Bing leaves Los Angeles for New York.


Decision in Crosby Case To Come Late This Week

NEW YORK, Aug. 10. Status of Harry L. (Bing) Crosby may be determined one way or the other latter part of this week when Crosby arrives from the Coast with Leo Morrison to confer with Charlie Morrison, RKO agent. Latter has stack of offers, and believes that the A. F. of L. will allow Crosby to work despite his having been disbarred on the Coast thru action of Local 47, A. F. of M., as a result of Crosby having walked out on Abe Frank, owner of the Roosevelt Hotel, Los Angeles, on a six month contract, leaving the musicians high and dry.

Crosby is not a member of the union, and he claims he can work. Nevertheless, he has been unable to work with any union labor in any form of entertainment whatsoever. At the office of Joseph N. Weber, national president of the A. F. of M., it was said nothing had been done yet, and nothing contemplated to overrule action of Los Angeles local. Charlie Morrison said Milton Schwartzwald spoke to local union men, who believed Crosby could not be prevented from singing on stage. Crosby arrives Friday to try to settle matter and he already has signed conflicting contracts, including one with Jimmie Gillespie, Paul Whiteman manager, who may use it in conjunction with NBC.
(Billboard, August 15, 1931)


August 19, Wednesday. (11:00 a.m.–2:15 p.m.) Bing records “I Apologize,” “Dancing in the Dark,” and “Stardust” in New York with backing from Victor Young and his Orchestra for the first time. The Gramophone magazine of February 1932 comments: “Bing Crosby sings Hoagy Carmichael’s delightful melody, ‘Stardust’ gloriously.”

August (undated). Bing and Roger Marchetti call at Brunswick headquarters to discuss new terms in the belief that Bing’s contract is due to expire but learn that Brunswick has an option on his services.

August 25, Tuesday. It is announced that Bing is to join CBS to perform on a sustaining radio program for $1,500 per week pending a sponsor being found. The National Broadcasting Company (NBC) hires Russ Columbo as a rival in a purported “Battle of the Baritones.”

 

CBS Gets Crosby: Musicians’ Ban In L. A. Only

Following the American Federation of Musicians defining Bing Crosby’s status as unfavorable in the city of Los Angeles but okay nationally and elsewhere, the Columbia Broadcasting System announced the signing of the former Rhythm Boy for six sustaining programs weekly starting Aug. 31.

Up to then it was no secret CBS had the edge through an offer exceeding one entered for Crosby by NBC, but lack of knowledge of the union’s attitude toward the singer made any announcements precarious. Crosby is not a member of the musicians’ union, therefore not liable to actual banning but due to a walkout on an Ambassador hotel, Los Angeles engagement he was temporarily placed in bad standing by the union and in the position of not being able to secure unionized musical accompaniment for his work.

During CBS and NBC’s negotiations for his air services Crosby drew a batch of yawns from New York legit musical producers with the salaries he quoted for himself. The last was $2,500 for any show, but the highest offer received was $1,000 from Earl Carroll. RKO was understood to have bid $1,500 for Crosby for vaude, with this price based on the singer’s record rep.

One setback for the Crosby in the two weeks he’s been east was experiences with his attorney and manager, Roger Marchetti, at the Brunswick headquarters. Bing and his lawyer called on Brunswick to discuss terms for a new disc contract in the belief that his original agreement shortly expires.  The record firm advised Crosby that he had signed an option along with his first contract, and that Brunswick is thinking seriously of picking it up.

With CBS, Crosby will receive around $1,500 a week, from accounts, although in the east he is still an unknown on the radio. The Ambassador Hotel contract which he broke would have paid him $250. According to the musicians’ union ruling, Crosby can perform with union accompaniment anywhere but in Los Angeles. In that city he is barred from any amusement places that are considered opposition to Gus Arnheim at the Ambassador. Crosby’s walk-out was on a contract with Arnheim’s band.

Crosby, also under the union ruling, cannot broadcast in person from an L. A. studio although stations there can transmit Crosby broadcasts emanating elsewhere.

(Variety, August 25, 1931)

 

Within a week, Crosby came in from the West Coast, but accompanied by a very able lawyer [Roger Marchetti], who had seen to it that NBC learned of my personal interest in his client. His price for Crosby was $1,500 a week on sustaining time and $3,000 a week if and when a sponsor was found. It was an astounding price at the time, in fact an outrage, but I did not want to lose him. I negotiated as hard as I could, but we finally settled for his asking price. . . . What made Bing Crosby’s first contract with CBS so extravagant was that he came to our network as new or developing talent, just as had Morton Downey, Kate Smith, the Mills Brothers, and others, to be put on the air on a sustaining basis; that is, without advertiser support. Under this new contract policy, we usually paid such talent a little over $100 a week, or at most $500 a week, until we could find a sponsor.

(Bill Paley, writing in As It Happened, A Memoir, page 78)


BING CROSBY’S COLUMBIA DEBUT MONDAY NIGHT

    “Bing” opens with a “bang” over a nationwide network of the Columbia Broadcasting System, Monday night, 7 o’clock! I’m talking about the youthful and “it-ful” baritone who was christened Harry, full name, Harry Crosby. And KHJ promises to do ever better than Crosby’s most enthusiastic admirers had hoped -the local member of CBS announces it will present the vocalizing Lochinvar, who came out of the West, six nights per week - Sundays off. Incidentally to the Crosby voice will be an orchestra under the direction of Victor Young, and the program will run fifteen minutes.

      No sponsor! It will be a sustaining CBS feature, and incidentally, “Bing” appears to have hunt up a new mark for such an unsponsored program. Unofficial but rather authoritative reports state that cash each week will find $1,500 rolling into the Crosby exchequer. Record-playing stations have, unwittingly, given Crosby a perfect “build-up” for his network debut. They have played and replayed every record the young man ever made, have devoted whole thirty-minute periods to nothing but his recordings.

    Now, this section of the nation at least, is ripe to hear the real article, singing other and newer songs as well. He will, of course, have to sing “Many Happy Returns of the Day,” “At Your Command,” and “One More Chance” occasionally, just to escape a lynching.

    Columbia has long sought a feature that could compete with NBC’s “Amos ‘n’ Andy.” Crosby may fill the bill for the Pacific Coast audience; some folks seem to think he will, at any rate. More than one “Amos ‘n’ Andy” fan will admit that the black-face team has lost its grip, but the habit remains. Another breach-of-promise suit would seal the verdict, however.

(Ray De O’Fan, Los Angeles Examiner, August 27, 1931)

 

August 31, Monday. After rehearsing all afternoon at the CBS HQ at 484 Madison Avenue, Bing is unable to sing at 11:00 p.m. for CBS through station WABC in New York for an unsponsored radio show “Presenting Fifteen Minutes with Bing Crosby” because of laryngitis. He is said to consult Dr. Simon Ruskin, a throat specialist.


Eleven thirty…WJZ…and no Bing Crosby. Scheduled for debut last night as an exclusive Columbia artist…the non-appearance of this baritone sensation of the West Coast was laid to a bad case of laryngitis and the big event will come off tonight.

(Daily News (New York), September 1, 1931)


September 2, Wednesday. (11:00–11:15 p.m.) After a second postponement, Bing completes his first solo radio show with Eddie Lang playing guitar and with the orchestra under Victor Young. Bing sings “Just One More Chance,” “I Found a Million Dollar Baby,” and “I’m Thru with Love.” The opening theme played by the orchestra is “Too Late” and the sheet music of this song quickly states that it is from “Fifteen Minutes of Bing Crosby.” The shows continue daily (except Sundays). Harry Von Zell is the announcer. Freddie Rich leads the orchestra from October 5. Russ Columbo broadcasts for NBC at 11:30 p.m. each night as competition for Bing.

 

I had come to know Bing Crosby when we worked together in Hollywood on the Old Gold Hour radio program featuring Paul Whiteman, his orchestra and company of vocal performers, during Universal Pictures filming of The King of Jazz in the late twenties. It was an association of many months. When the picture was completed, and the Whiteman organization returned to the east, Bing decided he wanted to remain on the west coast. I traveled to New York and found a place on the announcing staff of CBS. When the publicity heralded the coming “battle of the crooners” between Russ Columbo, for NBC, and Bing Crosby, for CBS, I was overjoyed. When I was notified that I was to be Bing’s announcer on his debuting radio series I was more overjoyed and excited. Bing’s recordings and movie musical short features had already won him great public popularity, but this was what is commonly called “the big break.”

      For days the massive publicity campaign sustained. Public excitement and anticipation was running high. I had looked forward for weeks to greeting Bing upon his arrival in New York, and now the moment had come. I recall vividly waiting in the reception room on the 23rd floor of the Columbia Broadcasting building: the elevator door opened... and there he was. I rushed forward to grasp his hand and offer my congratulations. “Bing,” I said, “this is it! Isn’t this just the greatest?” Bing appeared strangely subdued ... even depressed. I was puzzled. It wasn’t what I had expected. He put his hand on my shoulder, and said, “Thanks Harry, but I don’t know. All that ‘blown up’ publicity. I don’t think anybody could live up to that.” We talked for a while, but it was apparent to me that I had not been successful in my effort to lift Bing’s spirit, but felt sure that when the time came to go to work Bing would be ready.

      The date of our debut program was near when I received word that it would have to be postponed. Bing had been afflicted with a severe case of laryngitis! The network publicity announced another date. It had to be postponed. I do not know the cause of Bing’s affliction, but I have heard it said that in the case of actors, public speakers, or singers, a state of extreme nervous tension can induce a condition of laryngitis, and it is my conviction that this was the source of Bing’s trouble.

      The debut finally came. The rest is history. Few people have enjoyed such a high degree of public esteem and popularity as that achieved by Bing Crosby. No one could be more deserving of such success. I have known him for more than forty years. In his lifetime he has suffered stark tragedy, and confronted great challenge, rising up and overcoming both. As a performing artist, and more importantly, as an individual of rare personal qualities, Bing Crosby is a very exceptional man.

(Harry Von Zell, 23 August 1972, Encino, CA.)

 

While on the subject of WABC, we again remained up to see if Bing Crosby arrived. Bing sang, but after the long wait, most of his appeal was stale. As a singer, he has more tricks than voice, but Bing has finally reached the air, so all is well at CBS.

(David Bratton, The Brooklyn Daily Times, September 3, 1931)


So far as Southern California goes, Amos ‘n’ Andy’s listenage has been sadly cut, what with Bing Crosby back on the old air at the same time.

    Despite two false starts early in the week, due to a bad case of laryngitis, Crosby has come back strong, is his old self again. The Boswell Sisters had the same experience when they went east, but contracted their illness before they had been announced definitely.

    Old Crosby listeners detected the fact that there had been a little too much brass in Victor Young’s band, forcing Crosby to put on more steam than usual. They recalled that Gus Arnheim’s band reverted to violins whenever Crosby sang. But the Arnheim-Crosby combination was almost too good to be true, may never again be equaled in excellence. And Young’s band will soon work out its difficulties, it is hoped.

(Kenneth Frogley, Los Angeles Illustrated Daily News, September 5, 1931)

 

In August [1931], Art was hired as a member of the CBS radio orchestra. Shaw would now be working every day in company with the best players in New York.: Manny Klein: Bunny Berigan; Tommy Dorsey and another trombonist Jerry Colonna; Jimmy Dorsey (often playing second alto to Art’s lead); violinist Joe Venuti; guitarist Eddie Lang. All the best white jazzmen were in the network radio orchestra; it was the only way they could make a living. On September 2, 1931, a month after the death of Bix [Beiderbecke], a series debuted on CBS that would change American popular music. It starred the singer Bing Crosby.

Art had first seen and heard Bing in Cleveland when Crosby was part of Paul Whiteman’s Rhythm Boys. He had met Crosby a year ago in Hollywood, when Bing came by The Blossom Room to sing with the [Irving] Aaronson band a few times. Now Art was in the orchestra for Crosby’s CBS broadcast, along with Tommy Dorsey, Joe Venuti, and (right by Bing’s side, feeding him rhythm) Eddie Lang. Crosby – who had already recorded with the best white jazzmen, including Bix, and caroused and sung with black performers such as Louis Armstrong and Duke Ellington – was an immediate coast-to-coast hit with his relaxed jazz-derived ‘crooning.’

“Bing was an enormous influence,” Shaw told Crosby biographer Gary Giddins. “You couldn’t avoid him. He had a good beat. He was a jazz singer, he knew what jazz was, and could sing a lyric, say the words, and make you hear the notes. Bing could swing.”

(Three Chords for Beauty's Sake: The Life of Artie Shaw, pages 48-49)

 

September 6, Sunday. Bing signs a contract with the CBS radio network.

September 8, Tuesday. Bing broadcasts at 8:45 p.m. instead 11:00 p.m. to make way for a special broadcast from station WHK in Cleveland to inaugurate the opening of their new studio.

September 9, Wednesday. Bing's broadcast has a problem.


Due to power line trouble WABC was off the air from 11:09 to 11.39. Bing Crosby’s program was the one to suffer and he was only able to complete a portion of his scheduled songs.

(David Bratton, The Brooklyn Daily Times, September 10, 1931)


September 13, Sunday. The Mack Sennett short I Surrender Dear is released.

 

Good two reeler extolling the vocal virtues of Bing Crosby suitably mixed up with laughs. Appropriate for the Rialto at this time with the singer due next door at the Paramount shortly as a stage feature and undoubtedly spotted here for that reason. Besides which this house is also displaying a trailer on the singing young man. A strong plug for Crosby which is possibly being duplicated by Publix at the Rivoli as well.

      Comedy brief permits explanatory reasons for Crosby’s singing with the title derived from the song of the same name, an important tune for this lad in his climb to prominence. Dialog is a hodge podge of professional quips and twists but which the public will understand, with Crosby breezing through, minus pretense of being an actor. . . A definite share of laughs, tempo and action. They’ll like it all over and a standout amongst shorts. Where Crosby has attained traceable ether popularity should also have box office value. It’s Sennett made.

(Variety, November 10, 1931)

 

Mack Sennett has provided Bing Crosby with a semi-funny vehicle, bordering on the slapstick, that is bright at times and at other times dull. The story is so constructed as to give Crosby opportunity to croon several numbers and to be rushed by a host of girls and a not too good looking leading lady. Unless you are a Crosby fan, it is just fair entertainment.

(Film Daily, September 27, 1931)


Bing Crosby, crooning Bing Crosbyishly, makes this highly entertaining. Bing’s work, plus the usual array of good Sennett gags and a not-too-involved romantic plot, provide a half hour’s fun.

(Photoplay, September 1931)

 

The Chinese and Criterion this week have the sensational radio crooner, Bing Crosby, in I Surrender, Dear, a Mack Sennett parody on his song success. It is worth seeing.

(Los Angeles Illustrated Daily News, September 18, 1931)

 

September 14, Monday. (4:05–5:15 p.m.) Bing records “Sweet and Lovely” in New York with Victor Young and the Brunswick Studio Orchestra.

 

With his lovely voice and original mode of interpretation Bing Crosby grips the listener with every note in his ballad versions of “Sweet and Lovely” and “I Apologize” (Bruns. 1219). As these are featured as ballads you may be wondering why they are reviewed here [in the Hot and Rhythmic Vocal section]. The answer is that Bing singing ballad style conveys more sense of rhythm than many good artists attempting to sing actually in rhythm.

(The Gramophone, December, 1931)

 

September 22, Tuesday. Bing’s broadcasts on CBS are switched to the earlier time of 7:00 p.m.

 

All was not well with the Columbia technical department on Bing Crosby’s first broadcast on his new schedule. At times all you could hear was Crosby. At other times, all you could hear was the orchestra. The final number was balanced properly.

(Kenneth Frogley, Los Angeles Illustrated Daily News, September 30, 1931)

 

September 23, Wednesday. CBS gives a dinner at the Hotel New Yorker for local and out-of-town radio editors and Bing attends together with many other stars


Although Bing Crosby seems to be suffering from a heavy cold, he carried on last night. At the dinner, apologies were made for the huskiness of his voice which was attributed to a day devoted to making records. Bing sang “Million Dollar Baby” fairly well.

(Tim Marks, Times Union, September 24, 1931)


October (undated). An injunction is laid against Bing and CBS by the Ambassador Hotel, Los Angeles (home of the Cocoanut Grove). It is later reported that Bing pays $7,500 to break the contract with the hotel (more than he had received in total while working there for ten months).


Bing Crosby Columbia Baritone is to be supplied with a new orchestra (Freddie Rich’s this time) on Monday of next week. Heretofore Victor Young’s orchestra has accompanied Bing in the studios. Somehow Bing had difficulty in getting into the swing of Vic’s tempo. Better luck with Rich, maybe

(Jo Ranson, Brooklyn Daily Eagle, October 3, 1931)


October 5, Monday. (7 p.m.) Bing continues with his CBS broadcasts.


…Getting back to Bing Crosby, the lad needs a longer vocal rest if his work of last evening can be taken as criterion. His throat is not entirely better at the moment and the WABC 7 o’clock period did him little credit. “One More Chance” was but fair and “Without That Gal” was not so good.

(David Bratton, The Brooklyn Daily Times, October 6, 1931)


October 6, Tuesday. (1:50–4:05 p.m.) Bing records “Now That You’re Gone” and “A Faded Summer Love” in New York with the Brunswick Studio Orchestra, directed by Victor Young.

October 8, Thursday. (11:30 a.m.–1:00 p.m.) A further recording session in New York with Victor Young, which includes “Goodnight, Sweetheart.”

October 13, Tuesday. Variety carries a review of Bing’s sustaining radio series:

 

Getting an earful of Crosby over a series of programs doesn’t leave much doubt that he’s not entirely at ease when delivering an unfamiliar song. In other words, it sounds as though Crosby is best with established tunes which he has been able to study and work out his style of delivery. This may mean he’s at the mercy of the song publishers because of being on nightly and using up three or four songs a period. . . . If he can work out a schedule allowing him the same preparation for radio as for recording, he’s a cinch for ether popularity. (Variety, October 13, 1931)

 


October 25, Sunday. (10:00 a.m.–2:00 p.m.) Bing records “Gems from George White’s Scandals” with the Mills Brothers, The Boswell Sisters, and Frank Munn. Victor Young again leads the orchestra. (10:00-10:30 p.m.)  Guests on the "Radio Varieties" show on station WOR. Nick Kenny is the m.c. and musical support is provided by Ted Black amd his Radio Varieties Orchestra.


October 30, Friday. (7:00–7:15 p.m.) Bing’s broadcasts continue in the same time slot


Bing Crosby, one of today’s emperors of croondom, gave good account of himself on WABC at 7 last night. I liked the way he sang the song “The Kiss that You’ve Forgotten.”

(Ben Gross, Daily News (New York), October 31, 1931)


November 1, Sunday. (10:45 p.m.–12:00 midnight) Bing takes part in the nationwide Hoover Unemployment Relief broadcast put out by both NBC and CBS. Other stars taking part include Kate Smith, Morton Downey, the Boswell Sisters, Paul Whiteman, Guy Lombardo and Amos ‘n’ Andy.

November 2, Monday. (7:15–7:30 p.m.) Bing becomes “The Cremo Singer” (sponsored by the American Tobacco Company) broadcasting from CBS station WABC (studio 8) six nights a week (not Sundays) to February 27. A fifteen-minute show with David Ross as announcer and Carl Fenton conducting the orchestra. Bing has to make a further broadcast at 11:00 p.m. each night for the West Coast audiences. “Where the Blue of the Night” is chosen as Bing’s radio theme song.

The show has a Co-operative Analysis of Broadcasting rating of 6.9 compared with Amos ‘n’ Andy (38.1), Rudy Vallee (24.7) and Paul Whiteman (19.1). The ratings were known as Crossleys, named after Archibald Crossley, the man who conducted them. Crossley used random numbers from telephone directories and called people in about thirty cities to ask them what radio programs they had listened to the day before his call. This method became known as the recall method because people were remembering what they had listened to the previous day.

 

Certified Cremo Cigar Company must have stepped high to corral Bing Crosby, the rage of the radio hour, for their WABC broadcast. But, judging by his work, he’s worth it. This must be a tough week for him, however, for he is doing four shows a day at the Paramount Theatre which, on top of his radio work in the evening, puts a heavy strain on his voice. Monday night, when caught, he showed no effects of hard usage, however, his tones being clear and vibrant as ever. On the air Monday night he used, “Now That You’re Gone”, “Then She’s Mine” (sic) and “Goodnight, Sweetheart”. All these he threw off in the manner that has brought him forward so fast in the favor of the public. It is highly individual, belongs to him alone and he need stand in no fear of competition, because, while he may have imitators, there will be only one Bing Crosby.

(Variety, November 10, 1931)


Within a few months, in spite of the opposition of most columnists, Bing was an established radio name, and on November 2 he began a series for Cremo Cigars at 7:15 every evening on CBS. Cremo, one of the products of George Washington Hill’s American Tobacco Company, will be remembered chiefly for two things, for Hill’s dramatic slogan, “’Spit’ is a horrid word,” and for Bing Crosby. That the horror of “spit” and Bing’s voice were not too often compared was a great personal victory for the singer. He was replacing a brass-band broadcast under Arthur Pryor, and only the strength of his voice can be credited for the tremendous success of that daily fifteen-minute program. Listeners had to endure distasteful commercial after distasteful commercial about the unsalubrious nature of saliva in order to enjoy the warming tones of their favorite singer. It was just as hard to put up with as it was later to overlook the droning tobacco auctioneers and the stuttering “LS/MFT” on other George Washington Hill programs.

Hill, whose slogans were so hard to get around, was determined to make it equally hard for Bing to get around his moral absolutes. He inserted a clause in the Crosby contract forbidding Bing’s drinking. Sidney Skolsky in his Daily News column commented wryly, “There is also a law that forbids drinking.”

(Barry Ulanov, The Incredible Crosby, pages 88-89)

 

Answering some of your queries relative to the Cremo program - my memory is a little vague about most of the points you are asking about, but it seems to me Artie Shaw worked several times in the band.

Carl Fenton was the Conductor, and I think he was so occupied on every one of the series.

It was a large orchestra, with a full string section. Tommy Dorsey occasionally played in the outfit. Jerry Colonna was almost always in it. It was more or less a house orchestra, and Joe Venuti is right when he says that the band varied from broadcast to broadcast.

The network at that time had a number of outstanding musicians - soloists - under contract, and they worked on various important programs. Although, in our case, Carl Fenton, I’m sure, was always the Conductor, but the personnel sometimes was changed quite considerably.

I believe we did two broadcasts - one for the East and West Coast, but I could be wrong about this.

I hope that I’ve been able to supply you with a little help. Sorry that’s the best I can do. It has been a long time ago.

Warmest regards,

Bing

(Bing Crosby, in a letter dated October 17, 1973, to record producer Larry Kiner)

 

 

Paramount.JPGNovember 6–12, Friday–Thursday. Bing begins a cine-variety type engagement at the Paramount Theater, New York, which continues until February 11, 1932. He is said to be paid $2,500 per week for four appearances a day. Rubinoff leads the orchestra and Mr. and Mrs. Jesse Crawford play the theater organ. Bing also continues his daily radio appearances.

 

Crosby is on stage twice and a third time sings off-stage as accompanist for a dance production. There’s no chance for anyone to forget that he’s the big man this week. Not a bad method, either, especially when the central figure stands up under the plugging strain. Crosby does.

      . . . Stage show opens and closes on Crosby as the center of the picture. Starter is an interior set lighted from the rear for silhouette effect. Crosby is singing to a girl. When the traveler closes Crosby steps up to the apron for the customary ‘I’m glad to be here’ hoke. His second song is delivered while seated on the rising organ, played by Mrs. Crawford. He steps back to the apron for his third vocal, this bringing the show into full stage and the first girl number.

      . . . Cafe set for the finish, with Crosby called on twice to sing. His stuff is carried through a mike wherever he stands, making it seem the stage is flooded with microphones. Two are in the open.

      In Crosby the Paramount has a single who entertains and perhaps a name that will attract a little money.

(Variety, November 10, 1931)

 

The real, special, knockout treat at the Paramount was Bing Crosby in person. If Rudy Vallee made a hit—which is undeniable—Bing will wow them! He’s star of Boris Petroff’s revue singing “Just One More Chance,” “I Surrender Dear,” “As Time Goes By,” “Wrap Up Your Troubles in Dreams” and “Diana.”  (sic-assume it's "Dinah") You’ll enjoy Bing and every one of his tunes.

(Daily News (New York), November 7, 1931)


It took a whole building to carry the Paramount Theatre’s announcement of the personal appearance of Bing Crosby, Mack Sennett’s two-reel comedy star. Known to 50,000,000 persons through the microphone, his name now becomes one of the greatest marquee names in films.

(Motion Picture Herald, November 14, 1931)


Nothing more or less than a Bing Crosby field day is the stage show current at the Paramount. Aside from the radio crooner, it offers but little in the way of unusual entertainment. Bing garners applause in generous gobs and sings a number of his ether favorites, including “Just One More Chance” and “I Surrender Dear”. The rest of the show is concerned with Vanessi, well known stage dancer, who is fine, and other items which are not so good. The contributors are the Danny Dare Girls, Kinney and Lewis and Jimmy Conlin. Crosby will be held for a second week.

(Film Daily, November 8, 1931)


Bing Crosby is the leader among the current flock of popular song baritones on radio. And the first to be recognized as possessing sufficient importance to rate stage headlines. Crosby in about two months on the New York air for CBS has met with some popularity. His disc rep preceded him east. He might mean enough now to bring some money into the Paramount, though not enough to make the entertainment angle secondary.

      That Crosby still entertains more than he draws keeps him out of the freak headliner class. He’s as pleasant to hear on a stage as on the radio, for at the Paramount they rigged up a stage full of microphones for him. Crosby isn’t a novice on a stage, another advantage for him over the average radio name crashing the theatre. He saw an audience before he saw the inside of a radio studio, so he must know audiences. When with Whiteman’s Rhythm Boys he struck a battered cymbal for emphasis with a drumstick and made a noise like a goose.

      Crosby is also at home in a tux, and fronts okay. At the Paramount, in a presentation constructed around him, he sings five numbers, two in person and one offstage as accompaniment for a ballet. He didn’t register a wallop way with his picture house audience, but they liked him enough to qualify the booking.

      The baricrooner is booked for an indef run between New York and Brooklyn Pars.

(‘New Acts’ section of Variety, November 10, 1931)

 

November 7, Saturday. During his broadcast for the West Coast radio audience, Bing is said to have broken “down completely and the orchestra volume saved the day by snowing him under.”

November 13–19, Friday–Thursday. The Mills Brothers join Bing on the bill at the Paramount.

 

This is the second week of Bing Crosby’s engagement here, and though he is not an apparent box-office draw as yet, he is entertaining. The stage-show in which he is featured is a Boris Petroff production entitled “Stardust,” and is produced in seven beautiful scenes.

The Harriet Hoctor Ballet of 16 nice-looking and accomplished dancers opens with a well-performed routine as Crosby sings “Shine On, Harvest Moon,” from the wings. After this he enters and sings “Good Night Sweetheart,” as the girls assemble around him. As a special attraction (for Friday only) Richard Arlen and Regis Toomey, stars of the week’s feature picture, appear in person and after being introduced by Crosby, who acts as m.c. throughout the show, enter to a real ovation. After their departure, Armida, beautiful little Spanish girl, sings a song about “buying cigarettes,’’ as she goes through the audience and distributes cigs.

Armida’s voice is rather weak for a house as large as this and from the good hand her dancing got, she would do better by giving more dancing than singing. A most entertaining and novel ballet routine was next presented by Harriet Hoctor and her girls. Miss Hoctor is the personification of grace and her dancing is beautifully done. The audience showed their appreciation of real dancing. In the next scene Crosby sang “I Apologize” and “Call Me Darling,” to Armida. The Mills Brothers, four colored boys who have gained fame over the air, stopped the show cold with their pleasing harmonizing. They were forced to encore twice. Paul Hakon did well with his Russian dancing routine. The closing scene is beautifully laid out and in it Bing Crosby sings “Stardust,” as the ballet ensemble offers a sprightly dance. Miss Hoctor also does a ballet routine in this scene that is outstanding.

(Motion Picture Herald, November 21, 1931)


...Crosby has one solo spot for a couple of songs and at other times is theme singing for the other specialties. He does ‘Star Dust’ while Miss Hoctor toe dances in the finale...Some rearranging brought the Mills boys on later after the first show Friday, the reason being apparent at the evening performances. They tied things up and forced a walk-on by Crosby to get the show going again.

(Variety, November 17, 1931)


There’s crackerjack entertainment on the stage at the Paramount this week in a Boris Petroff show labelled “Stardust.” Bing Crosby, in his second week, gets over strong, but the real smash of the presentation is the Mills Brothers Quartet, Negro entertainers, who score loudly. Harriet Hoctor and her ballet, especially Miss Hoctor, help matters considerably.

(Film Daily, November 15, 1931)

 

November 15, Sunday. Mack Sennett releases the film short One More Chance starring Bing.

 

Featuring Bing Crosby, the radio crooner, in a slight story that jumps all over the map and is very disconnected. The “plot” is pretty hazy, if any. Bing is a happy-go-lucky salesman for an electric washing machine who depends on his songs to sell his wares. He has the usual trouble holding his wife from the other fellow, but wins her back in the last sequence by crooning his song. Bing’s crooning is okay, but as a comedian there is little to be said in his favor. Or was it the fault of the material?

(Film Daily, November 1, 1931)

 

Second of the two-reelers by the radio crooner, also bearing as title one of the torch numbers he uses, the first being “I Surrender Dear.” New subject is first rate, Crosby revealing a splendid camera presence, remarkable to those who have seen his mild personal appearances on the Paramount stage....Crosby displays a capital comedy sense, plays with assurance and certainty. Subject is worth minor featuring in lieu of air popularity. Used here in conjunction with world premiere of the new Gloria Swanson feature, “Tonight or Never.” Short a solid click with the premiere crowd.

(Variety, December 22, 1931)

 

(10:45 p.m.-12:00 a.m.). Bing takes part in a nationwide radio program “Parade of Stars” broadcast jointly by NBC and CBS. The program is to aid the Unemployment Relief Program and various stars contribute from Los Angeles, Chicago, and New York. Others in New York with Bing are Douglas Fairbanks, Morton Downey, and Eddie Cantor.

November 20–26, Friday–Thursday. Bing and Mills Brothers again top the bill at the Paramount. The ballerina Harriet Hoctor is also featured. The film being shown is Touchdown.

November 22, Sunday. Loyce Whiteman marries Harry Barris at the Cocoanut Grove.

November 23, Monday. (4:00–5:00 p.m.) Bing records “Where the Blue of the Night” for the first time at a session in New York City. The Brunswick Studio Orchestra is directed by Benny Krueger.

November 26, Thursday. Russ Columbo opens at the Paramount Theater in Brooklyn.

November 27–December 3, Friday–Thursday. Bing and the Mills Brothers are joined by Kate Smith at the Paramount, New York, for the week.

 

...Anyhow, the radio names are the show, Kate Smith being brought in this week to the support of Bing Crosby, whose fifth week finds his novelty waning, even if the charm of his crooning is unimpaired. Astuteness of the Smith booking is self-evident in her reception. Crosby did nicely, but his returns paled beside the other. The baritone doesn’t live who can rival Miss Smith’s ‘St. Louis Blues’ in fair and open competition.

      The Crosby routine undergoes weekly changes and revisions, wise handling for a run feature. This week he does his torch song and another, then going into a crossfire session with a trim flap falling for the dumbbell line. But it’s the tear stained ballad that turns the trick for this radio ace.

(Variety, December 1, 1931)

 

December 3, Thursday. (1:30–2:30 p.m.) Records “I’m Sorry Dear” in New York with the Brunswick Studio Orchestra. Meanwhile, Warner Brothers Pictures (the owners of Brunswick Records) license the label to American Record Corporation (a subsidiary of Consolidated Film Industries).

December 4–10, Friday–Thursday. Bing’s support at the Paramount is the act of Jans and Whalen with Rubinoff continuing to lead the orchestra. The presentation is titled "Say It with Songs". Mr. and Mrs. Jesse Crawford play the new stage organs.  Russ Columbo continues at the Brooklyn Paramount.

 

Important items over here this week seem to be that they’ve made an ordinary baton-waving m.c. out of Bing Crosby and the laughs provoked by that standard comedy team Jans and Whalen....You can’t call Crosby a colorless m.c. Not with that baritone and flair for handling flip dialog. But the faster he can get away from swinging that right arm in front of a bunch of musicians the better for the former rhythm of the Three Rhythm Boys. A case of a lad coming in from the coast, developing almost overnight on the air—then Publix makes an m.c. of him. ...As a matter of fact, if Crosby cares to pay some attention to that waistline, he may not always be spending his time between a microphone and the film and vaude houses. Flashes of the way he handles patter are the spark to the idea that this youngster is promising legit juvenile material...Crosby, anyway, is already a candidate for a revue, and that he can be developed into a light comedian who can carry love interest for a book show is plausible from what he’s showing over here.

      If anyone happens to think this is an out-and-out plug for Crosby such is not the intent. Especially for a guy who can break 85. Rather is it an attempt to show what can and may happen to a youth with prospects...Crosby should figure on presenting himself as a specialist for his own good.

(Variety, December 8, 1931)


…Another shot in the right direction bagged Bing “Bang” Crosby, one of the better baritones, begging by way of WABC for someone to “Call Me Darling.” As you probably have heard, this fair-haired lad of the melody world is the king pin of the baritones (or is it Russ Columbo?) and his style is unique (besides Columbo). He never does (or hardly ever does) a song as it is written, but improvises a few notes of his own. He roams all over the scale for an effect that is odd but pleasing, perhaps because of its novelty.

(David Bratton, Brooklyn Times Union, December 9, 1931)

 

December 11–17, Friday–Thursday. Another week at the Paramount and the presentation is called Romantic Rhythm. Support is from Buck & Bubbles, the dance team of Veloz and Yolanda, and Eleanor Powell.

 

…Bing Crosby, now in his fifth week or so, still gets all the billing, but is only incidental in the proceedings, singing three numbers cold and straight and making vague gestures of leading the stage band and the item handled entirely without build-up of showmanly parade. Even the dressing is blah, with the radio star standing motionless before a stage-center mike dressed in what apparently is a white yachting suit.

The numbers for this appearance are “Time on My Hands,” “River, Stay Away from My Door” and “Cuban Love Song,” with the Bines girls easing in at the tail end of the last-named to complete the effect of blurring the whole appearance. Crosby makes another perfunctory showing for the finale, walking on from the first entrance to a stand again at his ubiquitous mike. Tepid handling of this feature leaves it all up to his voice, and the fact that he does get returns in spite of everything against him is the best testimony to the Crosby vocal lure.

(Variety, December 15, 1931)

 

“Romantic Rhythm,” featuring Bing Crosby and staged and devised by Boris Petroff, had little in it to make it outstanding. Though it was entertaining it was not up to the usual standard of this house. The show opens cleverly with the 16 David Bines Girls going into a snappy dance routine after making their entrance from an Austin which was driven on the stage. Eleanor Powell’s tap-body wiggle dance routine was presented with the greatest of ease and in an unusually showmanly manner. Miss Powell’s work was one of the outstanding bits of this show and she deserved the encore the audience requested. Buck and Bubbles, colored comedians, held up the comedy end of the bill with their droll actions, and gained a good hand at the finish. The 16 Bines Girls, neatly costumed, offer a routine of body-wiggles just before Crosby’s entrance and then serve as a background for him as he sings “Time on My Hands,” “River Stay ‘way from My Door,” and “Call Me Darling.” Crosby’s fine voice, which is known to millions, is proving a box-office attraction here, but it is a wonder to this reviewer why Crosby does not show the audiences that happy smile and pleasing personality that we know he has.

A clever entrance, serving as introduction for Yolanda and Velez, is effected by the Bines girls who, in pairs, dance different type waltzes just before the famous dance team’s entrance. Their offering consists of three types of waltzing which they do with the greatest of ease and smoothness. Without a doubt they are the personification of grace, and it is a privilege to see them dance. The finale was a beautiful scene in which Crosby sang “As Time Goes By,” as the ensemble and Yolanda and Velez stand by.

(Motion Picture Herald, December 19, 1931)


Another holdover for Bing Crosby, plus a good collection of variety acts, makes this Paramount stage show thoroughly enjoyable. The presentation is called “Romantic Rhythm,” and was devised and staged by Boris Petroff. Buck and Bubbles, the colored funsters; Veloz and Yolanda, class dancers, and Eleanor Powell, songstress are the supporting principals, along with a contingent of David Bines Girls. Rubinoff directs the Paramount Orchestra in “St. Louis Blues,” while Mr. and Mrs. Jesse Crawford perform at the twin organs on the stage in a group of “Organ Reveries.”

(Jack Harrower, Film Daily, December 13, 1931)

 

When I was emceeing the Paramount stage show in the early 1930s, there was an act I introduced. Then I’d stand in the wings and watch them every show, five times a day during their two-week engagement. There were about twenty violins in the string section of the orchestra and they played “Toujours l’amour” as the two attractive people—he in white tie and tails and she in a lovely evening gown —moved gracefully about the stage while I stood bewitched. Their names were Veloz and Yolanda.

      Then there was the great team of Buck and Bubbles, particularly the dancing member of the team, Bubbles. He was considered by Fred Astaire (and many others) to be the greatest soft shoe, buck and wing, or tap dancer who ever lived. At every performance we had visiting dancers in the wings who had dropped in from other vaudeville circuits or motion picture presentation houses, who came over to watch and learn. People like Eleanor Powell and Hal Le Roy. Five times a day, seven days a week, Bubbles never danced the same routine twice, but always an inspired improvisation. Later he went on to play “Sportin’ Life” in Porgy and Bess.

(Bing Crosby, writing in Call Me Lucky, pages 331-332)

 

December 15, Tuesday. (5:15–5:30 p.m.) Bing is interviewed by Bob Taplinger for his "Meet the Artist" program on the CBS station WABC in New York. (7:15–7:30 p.m.) Bing makes his daily radio show broadcast as “The Cremo Singer”. Later, he is thought to have appeared at the Radio Ball for Christmas Fund.

December 16, Wednesday. (4:40–5:35 p.m.) Bing records “Dinah” with the Mills Brothers and an orchestra directed by Benny Krueger.

 

Those American Brunswick people are certainly generous. Bing Crosby and the Mills Brothers must be huge sellers each by themselves, but Brunswick have gone the whole hog and put them all into one record of the haunting “Dinah” (Bruns. 1271). The result is an orgy. Bing sings the first chorus. Here is the old Bing back again. No gallery fetching punk, no exaggerated sentimentalism, and what a conception of the song, what style. Later the Mills Brothers come in—same sort of thing as their “Nobody’s Sweetheart”—and later everyone joins up. Bing nearly spoils the show and his own reputation with some bobba-bobba-bobba business, but it doesn’t last long, and, anyway, it will go well with the crowd. The whole thing is well constructed, and never lacks interest or effectiveness from beginning to end. Put this in your “must” list, and don’t forget it. . . . The backing is Bing Crosby singing “Can’t We Talk It Over”—one of Bing’s sex appeal stunts. Just as well I’m a trousers, for I’m sure I’d fall.

(The Gramophone, April, 1932)

 

December 18–24, Friday–Thursday. Bing is joined by Lillian Roth and Lina Basquette on the Paramount bill.

 

Lilian Roth does four songs and a dance in what technically may be called the No. 2 spot...Crosby this week plays a first part on the moving platform with two piano accompanists before moving down to the apron. Two more tunes down there slide the show into its dancing and scenic flash finale.

(Variety, December 22, 1931)

 

... Bing Crosby and a lively group of assistants lend a more appropriate holiday flavor to the stage side of the festivities.

(Part of review of film Husband’s Holiday, The New York Times, December 25, 1931)


And here’s a sidelight on another WABC star, Bing Crosby, booked for 7:15 this evening. When he comes to the studio these nights, no matter how cold, Bing is attired in summer clothes and sports shoes. The reason? He has but fifteen minutes to get from there to a Broadway movie palace, where he is playing…and his stage appearances call for this costume.

(Ben Gross, Daily News, December 19, 1931)

 

December 21, Monday. (4:00–5:15 p.m.) Bing, in Brunswick Studio Number Two at 799 Seventh Avenue, records two songs accompanied by Helen Crawford on the Wurlitzer pipe organ in the Paramount Theater. The organ music is piped to the recording studio by a remote line.

December 22, Tuesday. (7:15–7:30 p.m.) Bing makes his daily radio show broadcast as “The Cremo Singer”. Was scheduled to appear in the Brooklyn Daily Eagle's benefit concert at the Clover Gardens in Grand Central Palace, New York. However because of the inclement weather, there is only a small crowd and he is notified by telephone not to appear.

December 25–30, Friday–Wednesday. Cab Calloway shares top billing at the Paramount with Bing. Others featured are Barto and Mann  and Frances Faye. Bing is still making his daily radio appearances as “The Cremo Singer.”


Plenty of good talent on the bill at the Paramount this week, with Bing Crosby held over as one of the name draws, augmented by Cab Calloway and his Cotton Club Orchestra.

The production, titled Cheerio, has had nice staging by Boris Petroff, with the other specialty artists, including Barto and Mann, Dick and Edith Barstow, Frances Faye and a Dave Gould Ensemble of 16 girls and 8 boys, who offer several nicely set dance routines. Miss Faye is the first specialty artist to appear. She registered a genuine knockout, playing her own accompaniments to several popular numbers…

…Bing Crosby held the next position, doing his first number, Too Late, with a special set, in which a story is told in pantomime by members of the chorus. Miss Faye then returned to accompany him on the piano in Why Did It Have To Be?, with the pianist coming in for a few catch lines. The final number was Sleepy Time Down South…

…Cab Calloway closed the show and registered as heavily as he did the first time at this house. His program included I'll Be Glad When You're Dead, You Rascal, You; Minnie, the Moocher, and Tiger Rag for a finish, leading into the finale bringing on the group dancers.

(Billboard, January 2, 1932)


December 31–January 7, 1932, Thursday–Thursday. The Boswell Sisters join Bing on the bill at the Paramount, New York. Bing’s songs are advertised as “You’re My Everything,” “Mississippi Mud,” and “As Time Goes By.”

 

This time they’ve concentrated on Bing Crosby himself, with a neat introduction, the singer appearing on an entirely dark stage, standing on what is apparently a “boom” which moves him about from side to side and up and down as he sings his characteristic torches into the mike, which follows along at his elbow. Only the singer’s face is visible....

      Boswell Sisters, also from radio, are introduced from a dark stage in the midst of a bower of flowers built on the movable platform and concealing the piano they use for their hot-cha harmonising. Open in a trio; two girls are off while Connie does a sympathetic ballad solo in her nice contralto. Absent sisters return for “Mississippi Mud”, with a reference to its having been introduced by Crosby. They go into the number and Crosby joins them, standing behind them but on the platform, and singing as a background for their harmonising.

(Variety, January 5, 1931)

 

Since my 1932 engagement at the Paramount lasted twenty-nine weeks, they strove to devise something spectacular every week in the way of a production number. One week they had me perched on a giant crane. The machinery for the crane was in the pit, and when the mechanism reached for me on the stage, I climbed into the seat. The crane swung me out over the heads of the audience with a spot focused on me, dangling in space, and I sang my song which was probably something suitable like “Penthouse Serenade.”

I did this crane number on New Year’s Eve when the place was full of drunks and sailors. As the crane swooped low, the sailors reached up, held it and took off my shoes and socks. They were working on my pants when the crane operator switched on enough power to bring me back to the stage, where I finished my song in my bare feet, clutching my belt. It was a big smash, but the rest of the week I imposed a fifty-foot ceiling on the boys backstage.

(Bing Crosby, writing in Call Me Lucky, pages 113-114)

 

 

During the year, Bing participated in four Gus Arnheim records that became chart hits: “I Surrender Dear,” “One More Time,” “Ho Hum!” and “The Little Things in Life.” In addition, he had no less than eleven hits under his own name.

 

1932

 

January 8–14, Friday–Thursday. Bing again tops the bill at the Paramount. His pay rises to $4,000 per week and he is contracted by the Paramount for another ten weeks. The revue this week is a Boris Petroff production called "Variations" with Frances Faye and the Ruth St. Denis ballet troupe.

 

...Crosby is again hooked in for an appearance with a turn that has appeared earlier, this time working with Frances Faye, returning as his accompanist after opening the show solo. Having clicked on her own, Miss Faye’s second appearance is worked as a build-up for Crosby. He uses a bit of comedy repartee for a change of pace from straight crooning, but his cold entrance and his finish, which amounts to an m.c. announcement of the St. Denis interlude, do little to help him. The crooner hasn’t been well handled throughout his stay at the Paramount, but he seems to have made friends among the regulars.
(Variety, January 12, 1932)


…Crosby, who was greeted with a fine hand at his entrance, offers as his part of the program, the singing of “Let's Talk It Over, Dear,” first, alone in a pin spot and then “You Try Somebody Else” and “River Stay 'Way from My Door,” with Frances Faye accompanying with hot rhythms on the piano. Special lyrics for the second chorus are sung both by Miss Faye and then by Bing. After good applause, Crosby announces that Miss St. Denis and her Ballet will offer her well-known Javanese “Nautch” dance. The entire number is beautiful and most gracefully performed but as a finale for a stage show it is most weak.

(Motion Picture Herald, January 16, 1932)


January 9, Saturday. Dream House, another Sennett two-reeler featuring Bing, is released.

 

One of the series of six Mack Sennett shorts Bing Crosby made on the coast, before coming east for CBS. In this, as in its predecessors, Crosby goes through his paces with ease and naturalness and shows a good sense of comedy value.

Fault here is that the singing portion has been relegated to the background. Crosby has less warbling to do in this than in either of his former releases. It hurts some, inasmuch as Crosby’s rep is built on his ability as a warbler, not as a comedian, although he does not disappoint from the latter standpoint. He has but three brief vocal bits, the first of which means nothing along singing lines as it is interrupted by the action. Other two are also brief. Closing song is ‘Dream House’ after which this short is titled.

Two songs used previous to the titular number are both noticeable passé pops. This is natural since this series was produced last spring.

Story opens in a small town with Crosby as a plumber. Girl he loves is taken to Hollywood by her mother, who resents Crosby’s attention. Latter follows the girl to the coast and gets mixed up in a studio scene, where he gets into blackface.

With the exception of the last bit, about a lion, which is given too much time, short is fast and contains enough comedy to get over anywhere. Besides which the Crosby billing should help.

(Variety, February 16, 1932)

 

Bing Crosby, the radio crooner, is starred in this Featurette Comedy. Bing is a young plumber who has his troubles with a future mother-in-law who is trying hard to separate him from her daughter after they are engaged. She spirits the girl off to Hollywood, where Bing follows to find her on the studio set with a sheik making love to her. Bing busts into the scene in black face, and crabs the sheik’s act with his crooning. Plenty of snap, and well gagged.

(Film Daily, December 17, 1931)


This is another one of the comedies featuring the famous radio crooner, Bing Crosby. Bing seems more at ease in this quite amusing skit than in previous years. You’ll like his songs.

(Photoplay, March 1932)

 

Bing Crosby who demonstrating his talent as a purveyor of melody, but lack of histrionic ability has the lead in this Sennett comedy effort. Several comedy situations of the slapstick variety draw a fair portion of laughs. Bing plays a small-town plumber, whose girl, after going to Hollywood, is successful. Her mother writes to Bing, telling him the engagement is off. Unsuccessful in getting on the set, he disguises himself as a colored boy and gets an extra bit. His voice is recognized by the girl, but the mother and a lion chase him, with fairly amusing results. All in all, a fairly good comedy—Running time, 19 minutes.

(Motion Picture Herald, January 9, 1932)

 

January 10, Sunday. Cardinal O’Connell, in addressing one thousand members of Boston’s Holy Names Society, denounces crooning.


“I desire to speak earnestly about a degenerate form of singing which is called crooning. No true American man would practice this base art.

“I like to use my radio when weary. I can’t turn the dial without hearing these whiners, crying vapid words to impossible tunes.

If you will listen closely, when you are unfortunate enough to get one of them, you will discern the basest appeal to sex emotion in the young. They are not true love songs. They profane the name. They are ribald and revolting to true men. If you will have music, have good music. Not the immoral and imbecile slush.”

(The Evening News, Wilkes-Barre, Pennsylvania, January 11, 1932)


Meanwhile, Bing writes to a fan, a Mr. A. C. Collins.


In response to your kind letter, I want to thank you very much for your interest in my broadcasting. Having no contact with our unseen audience, any applause or critical comment is greatly welcomed and appreciated.

Both Mrs. Crosby (Dixie Lee) and myself wish to thank you for your kind invitation to spend a vacation in Canada, as we can think of nothing that would be more pleasant. However, I feel, as you must know from your experience, that the luck I am having right now will not hold up forever, and I want to take advantage of it and make all I can while I can, and do not think I will get a vacation until late in the summer, at which time I expect to go back to California and do some picture work.


January 15–21, Friday–Thursday. Burns and Allen with Bing and the Boswell Sisters at the Paramount for one week.

 

Tho the picture, Two Kinds of Women, at the Paramount this week is only an ordinary programmer, the stage show is so good that this house should be able to hold the SRO signs all week The stage show includes Burns and Allen, the Boswell Sisters; Lowe, Bernoff and Wensley: Bing Crosby, Three Little Words and a Dave Gould Ensemble of eight boys and girls.

The revue is titled Home, Sweet Home, and was devised and staged by Jack Partington. Home, one of the newer popular numbers, forms the basis of the revue, with Bing Crosby singing it thru the “mike” before the curtains part. Then the various scenes take us to homes on the Bowery, Harlem. Westchester and an old Colonial mansion in the South, the finale scene being a penthouse in New York.

The first scene introduces the dancing ensemble in a novelty number, followed by the Boswell sisters presented in a Southern setting offering first Stay Out of the South. Connie, the personable soloist of the trio, follows with Faded Summer Love, which was show-stopping. Love Goes on Just the Same follows by the trio for the close in. Two encore, were responded to, the girls going even stronger at the start, each number building to a terrific hand at the finish.

Three Little Words, three youthful colored lads, did some mean stepping to excellent returns in a Harlem setting, followed by Burns and Allen, who need no introduction, but who tied the old show up in a knot, which was nothing more than anticipated. Surefire always and bigger and better than ever here.

Crosby followed with a series of numbers leading up to the finale, which introduced Lowe, Bernoff and Wensley, two men and a girl who make an entrance and start a ballroom waltz, only to go into some comedy stunts that are not only excruciating, but an innovation in this type of work. It is the originality of this bit that makes the number one of the biggest show-stoppers ever seen at this house.

(Billboard, January 23, 1932)


Crosby, who tails the Jesse Crawford organ recital, with a bit over the mike, has the mike in his hat for one number in the full stage scene. Later a standing amplification receiver is brought on. At first his voice comes over hoarsely, but later it’s OK.

(Variety, January 19, 1932)

 

And then someone glances at the clock—twelve forty-five and he’s due for his first appearance at the Paramount Theater at one. It’s a mad dash in a taxi, horns honking, a rush, a scramble and just as the orchestra is playing the final chords of the tune that says “the gold of her hair crowns the blue of her eyes, Bing Crosby steps out to wild applause.

       A snatch of lunch and another performance later in the afternoon and then to the broadcasting station on the run for a bit of rehearsal and Eastern broadcast at seven. Another wild taxi ride back for more shows at the theater and if he is making a Western broadcast, another dash back to the broadcasting station at eleven.

      Sometimes, with traffic congestion he’ll arrive just as the orchestra has played the last note of his song and he’ll begin his “surrendering, dear” almost at the door. And several times they’ve shoved the printed words of his song in his hand as he entered and half way through “Too Many Tears” he’d feel unsure of a word, glance down at the pages and discover to his horror he was holding the words of “I’ll Be Glad When You’re Dead, You Rascal, You”.

      Or in his rush, he’d find himself with a frog in his throat with no time to clear it and go through the entire song of “Paradise” expecting to get as far as “she takes me to...” and then croak like a frog or leap like a toad. It’s awful.

(Lois Shirley, writing in an unidentified magazine in 1932. Reproduced in Bing’s Friends & Collectors Society Newsletter, February / March 2002)

 

January 15, Friday. A suit in federal court is filed against Bing and others alleging that the song “At Your Command” is identical to the song “Jealous” copyrighted eight years earlier. The suit is unsuccessful. Bing continues to make a further broadcast at 11:00 p.m. each night for the West Coast audiences.



8 p.m. – KHJ. Bing Crosby (CBS). If he has weathered a severe cold he will sing “You Try Somebody Else,” “I Wouldn’t Change You for the World,” and “Call Me Darling.”

(Los Angeles Times, January 15, 1932)


January 21, Thursday. (2:15–2:45 p.m.) Bing records “Snuggled on Your Shoulder” in New York with the ARC Brunswick Orchestra directed by Benny Krueger. (7:00–7:15 p.m.) Bing presents his Cremo Show broadcast on CBS. (8:30–9:00 p.m.) Bing is interviewed by Bob Grannis on the radio program Fast Stepping broadcast by station WOR. He sings his new theme song “Where the Blue of the Night”. Other guests include Connie Boswell and Nell Roy. Musical accompaniment is by Will Osborne & His Orchestra. The program is sponsored by L. Miller & Sons, creators of fine footwear for women, who also advertise the show in the New York Times.

January 22–28, Friday–Thursday. Bing and the Boswell Sisters continue at the Paramount. Bing is advertised to sing "At Your Command" and "All of Me" as well as other hits.

 

...On the stage end the Cinderella theme is carried out, wedding n’all, with the choristers in white satin before a throne room set into which strolls the Crosby arrayed in grey trousers, blue coat and shirt, red tie and a stiff straw hat. You figure it out if it’s Crosby or the other half of Laurel and Hardy...Crosby mikes it a couple of times and that about washes everything up. ..However, there doesn’t seem any particular reason for Crosby’s careless costuming.

(Variety, January 26, 1932)


A survey made by Variety representing nation-wide opinion results in the naming of 11 stars as the 1931 crop of radio entertainers that attained the heights.

They are the Boswell Sisters, Bing Crosby, Russ Columbo, Mills Brothers, Goldbergs (Gertrude Berg), Eddie Cantor, Walter Winchell, Guy Lombardo, Ben Bernie, Cab Calloway and Sisters of the Skillet.

Despite Bing Crosby’s rating, it is rumored that he is slated to be dropped by his sponsor late next month. This action on the part of the sponsor is thought to be caused partially by a peeve resulting from a kidding given by Colonel Stoopnagle and Budd about the 10 o’clock dance hour on the NBC sponsored by the same tobacco firm.

(Dorothy Doran, The Akron Beacon Journal, January 28, 1932)

 

January 29–February 4, Friday–Thursday. Lilyan Tashman joins Bing at the Paramount. It is advertised that Bing will sing "Human Thing to Do" and "Blue of the Night" amomgst others.

 

Bing Crosby in the stage show at the Paramount again this week (his steenth) continues to prove he can take it. In one spot the radio crooner sits at his mike in the center of the stage and croons modestly, or doesn’t croon at all, while a group of dancing girls obscures him from the audience. Only excuse for the girls being on stage at all is Crosby’s number “Cuban Love Song” and the case is unique as representing a “name” attraction behind a row of prancing Coryphees.

      Later on in the entertainment Crosby, together with Sid Silvers, works with Lilyan Tashman, and it is constantly an issue whether it’s Bing or Silvers who is functioning as general stooge for the turn. Whatever the case may be, Crosby doing a quiet line of clowning here shows up well enough as the imprudent reporter, even if they do dress him up like a racetrack tout. Maybe the crooner takes it out in kind—his subjection to unimportance, that is—for a chance to work in a plug for his Cremo hour on CBS. Anyhow, he slips in the plug with great distinctiveness and éclat. Maybe that makes it even for what this house has done to muffle his personality.

(Variety, February 2, 1932)


…Number four spot opens to a dark stage with a pin spot played on Bing Crosby, who sings "Cuban Love Song." As he sings, the stage is slowly lighted and behind him appear the 16 Danny Dare girls, posed on the slowly rising stage-elevator. After it reaches the level of the stage the girls, dressed in colorful costumes, go into a simplified rumba routine, and, at the finish of the song, make their exit the same way that they came on. Bing offers two more numbers, "Spend an Evening in Caroline," and "Is That the Human Thing to Do." These were sung before a plain drop curtain with Bing using a guitar accompanist.

The show closed with "The Interview," a spicy, wise-cracking comedy skit, featuring Lilyan Tashman, Bing Crosby and Sid Silvers.

Miss Tashman has an opportunity to live up to her reputation of being the "screen's best dressed woman," for she is dressed in most beautiful gowns. Crosby surprised (at least this reviewer) by showing actual human traits and an ability to portray a character other than that of a crooner. The cross-fire wise-cracking between Miss Tashman, Crosby and Sid Silvers certainly proved entertaining.

(Motion Picture Herald, February 6, 1932)

 

January 30, Saturday. “Dinah” is the number one record in the various charts.

January 31, Sunday. Thought to have appeared in the 69th annual benefit performance of the Theatrical Mutual Association at Erlanger's Theater.

    

The Paramount people declined to renew the Russ Columbo contract and the “Romeo of Song” concludes his Brooklyn Paramount engagement within the week. And he is to be followed by none other than his rival in song, Bing (bang) Crosby, the boy who wears the yellow ties, green hats and sings “Blue of the Night.” The style of singing adopted by these boys is peculiarly alike. But that is where the sameness ends if one were to compare. Columbo is almost conservative in dress and is of the “sheik” type while Crosby’s clothes are flamboyant and appears more like a collegiate flaming youth than the college boys themselves. Both are fine chaps though, and your reporter likes them.

(Tim Marks, Brooklyn Times Union, January 31, 1932)


      February 3, Wednesday. Bing is still continuing as The Cremo Singer.



8 p.m. – KHJ. Bing Crosby reaches for your heart (if it is romantic) with “Great Day” and “I’ll See You in My Dreams.” (Los Angeles Times, February 3, 1932)


February 5–11, Friday–Thursday. Bing closes at the Paramount, New York, after fourteen weeks. Lilyan Tashman and Sid Silvers are on the bill.

February 6, Saturday. Bing appears in a “Spectacular Radio Artists Ball” at the Newark Armory in Newark, New Jersey, on a bill with the Boswell Sisters, Nick Lucas, and the Mills Brothers accompanied by Benny Krueger and the Brunswick Recording Orchestra. Admission is $1.

February 11, Thursday. (Late evening) Records “St. Louis Blues” with Duke Ellington. The session finishes at 1:20 a.m. on February 12.

 

“St. Louis Blues” features Bing Crosby, and to such an extent that no one will quarrel because it has been labeled Bing Crosby with Duke Ellington and His Orchestra. After the ballad performances to which Bing has been devoting most of his time lately the brilliance of his rhythmic style will be surprising, even to those who remember the days when, with Harry Barris and Al Rinker, under the name of Paul Whiteman‘s Rhythm Boys, he created quite a sensation as a hot singer.

(The Gramophone, December 1932)

 

Between midnight and one, they recorded two Ellington arrangements of W. C. Handy’s “St. Louis Blues.”  Although they admired and liked each other (Duke created his concerto version of “Frankie and Johnny” for Bing’s radio show in 1941; the last recording Bing made in the United States was for a memorial tribute to Duke in 1977), this was the only time Bing formally recorded as a soloist with Ellington and one of the few times he recorded the blues.  A pity on both counts, for the result is gem - or, more precisely, two gems.

The second (B) take was initially released and remains the best known of the two, beginning with a slap-tongue introduction by baritone saxophonist Harry Carney and proceeding with glowing choruses by trumpeter Cootie Williams and trombonist Joe Nanton. After a short piano transition, Bing sings two twelve-bar choruses, backed by a covey of clarinetist Barney Bigard, Carney, and guitarist Fred Guy, whose dynamic strumming suggests a banjo. Bing continues with the two sixteen-bar refrains (Ellington dispenses with the tango rhythm of the original), backed at first by Nanton and then by the previously noted trio. He coolly improvises phrases with such authority that when he forgets the lyric, he is able to unhesitatingly fake - in true blues tradition - a closing refrain. At which point the tempo is doubled as the great alto saxophonist Johnny Hodges wails a chorus, setting up a stirring passage by Bing, one of the finest examples of scat singing in that era. He concludes at half tempo with the beautifully modulated line “And I love my baby [critic J. T. H. Mize astutely singled out the “slow and deliberate tilt on baby”] till the day I die.”

That closing phrase probably clinched the choice of take B, but the verdict was actually settled on a question of gender; in Bing’s first try, the St. Louis woman pulled “that gal around,” instead of the man she was supposed to be pulling. The A take has rewards of its own, beginning with an orchestral introduction and a ferocious Cootie Williams solo that establishes a far earthier mood, peaking with one of Bing’s headiest jazz moments on record. Before Hodges completes his double-time chorus, Bing - Louislike - leaps in and commands the saxophonist’s last four bars as a scat runway for his own elated chorus. In neither version does Bing make an effort to mimic expressive blues techniques. He enjoyed, as did Ellington, the contrast between his level tones and the band’s idiosyncratic timbres.

(Gary Giddins, A Pocketful of Dreams, pages 275-276)

 

February 12–18, Friday–Thursday. Bing opens at the Paramount, Brooklyn, with Lilyan Tashman and Sid Silvers. The newspaper advertisement states “Brooklyn’s First Chance to See Him! He’s Hot—He’s Torrid! He’s your Favorite Torch Singer of Songs you Love!” The accompanying film is Wayward starring Nancy Carroll and Richard Arlen.


…Heading this portion of the bill is Bing Crosby, the baritone “rhythm singer” (crooner to you), who comes to the local Publix house for an indefinite engagement following his extended run at the Paramount in Manhattan. Sharing the spotlight is Lilyan Tashman, the screen star, in a highly amusing skit in which she is assisted not only by Crosby, who is revealed as a surprisingly accomplished comedian, but by Sid Silvers, who displays his widely acknowledged talent as a “stooge” in the orchestra pit.

(Martin Dickstein, Brooklyn Daily Eagle, February 13, 1932)


The rounds of applause which greeted his every performance last week have caused Bing Crosby, radio and stage star, to be held over at the local Paramount Theater for a second week beginning today. Those lucky 30 persons who won Home Talk theater courtesies for the Paramount, and who saw him with Lilyan Tashman last week, were won over by his delightful mannerisms.

(The Brooklyn Daily Eagle, February 19, 1932)


February 16, Tuesday. Records “Starlight” and “How Long Will It Last?” with the ARC Brunswick Orchestra directed by Victor Young. Tommy and Jimmy Dorsey are in the orchestra.


Bing Crosby, who is singing at the Brooklyn Paramount Theatre, does not use the studio there as did Vallee, the Mills Brothers and Columbo, but hops over to Manhattan for his WABC program at 7:15 and again for his repeat for the Far West at 11 each evening.

(David Bratton, Brooklyn Times Union, February 18, 1932)


February 19–25, Friday–Thursday. Bing heads the bill for a second week at the Brooklyn Paramount. Advertisements say, “Held over to satisfy the demands of the thousands who will thrill again to Radio’s greatest STAR!” Others on the bill include Vox & Walters and the film is Nice Women starring Sidney Fox and Frances Dee.


The stage show this week, entitled “Sweethearts,” features Bing Crosby, radio baritone, held over from last week. Crosby introduces several new song numbers for which he received much applause at last evening’s final show.

(The Brooklyn Citizen, February 20, 1932)

 
…Under the leadership of Bing Crosby, Brooklyn audiences will again find much to prove their wisdom in deciding that he be retained for a second week. Crosby’s particular adeptness in singing sweet tunes as well as rhythmic melodies, coupled with his ability as a light comedian, stopped almost every show in his performances at the Paramount last week.

(The Brooklyn Daily Times, February 21, 1932)


February 20, Saturday. Is the guest of honor of the Friars at a midnight dinner in New York where George M. Cohan presents him with a solid gold life membership card. Speakers include Jack Benny, George Burns, Irving Berlin, Rudy Vallee, and Damon Runyon.

February 23, Tuesday. (10:00 a.m.–1:30 p.m.) Bing records “Love You Funny Thing” and “My Woman” with a studio orchestra.


My Woman

Bing Crosby has turned not only discoverer but song-writer! The story, as I understand it, on this particular song is that Bing was approached by a couple of amateurs with an unusual melody and an unusual idea. However, it remained for Bing himself to finish the lyrics, and he has certainly done an excellent job of it. Not since Fannie Brice introduced and made famous the song for which she is best known, namely, “My Man,” a song which has gone down through the years, pleasing hundreds of thousands of people, has there been a song which the man might sing about his woman but here it is.

In fact, it is strangely and hauntingly reminiscent of the “My Man” song. Crosby has made a most excellent record of it, with Lennie Haydn’s (sic) background arrangement giving him a clear field for his vocal accomplishment. The first syllable of the word “Woman” gives Bing on the record, an excellent chance to utilise his exaggerated glissando, which is typical of his style, and like “My Man” the song goes on to tell you how she lies, makes a fool of him, never treats him well, but still he loves her. You’ve got to hear it-its minor vein makes one think of “Deep Night.”…I hope for Bing’s sake, that it becomes a big success.

(Rudy Vallee, writing in Radio Digest, May 1932, page 24)


Folks have agreed that Bing Crosby is as entertaining a film comedian as he is a microphone crooner. Bing still has that contract with Mack Sennett for whom he made two shorts out of a scheduled six and if Paramount executives can fix it up with Sennett, Crosby will be starred in a picturization of the current stage play “Wild Waves.”

(Irene Thirer, Daily News (New York), February 25, 1932)


February 26–March 3, Friday–Thursday. Bing again tops the bill at the Brooklyn Paramount with the publicity stating “3rd Big Week By Popular Demand. Nothing Like It Before. Now In His Own Show! Written By Bing Himself!” He shares the bill with The Collette Sisters and Burns & Kissen amongst others. The accompanying film is Broken Lullaby starring Lionel Barrymore and Nancy Carroll.


…In the current stage presentation, “Bing! Bang!” at the Brooklyn Paramount, Bing’s riotous acting, his humorous “lines” and situations which provoke hilarity, are all the product of his creative mind. Although he has written a script for the entire stage production, Crosby seldom finishes one show in the same manner as its predecessor, his penchant for “ad-libbing” prompting many admirers to sit through two or three shows at a time

(The Brooklyn Daily Times, February 28, 1932)


…Now he’s at the Brooklyn Paramount duplicating his Broadway success. The show depends upon his moods, but he never sends the audience away feeling that they did not get their money’s worth. He insists on putting on his own show regardless of how the script reads. When he’s supposed to wax romantic, he might suddenly feel the urge to do something humorous. You can’t tell about that Crosby feller—he’s just what Brooklyn seems to want. He’s a “surprise boy.”

(The Brooklyn Citizen, March 2, 1932)


February 27, Saturday. (7:15–7:30 p.m.) Bing's last appearance as the Cremo Singer on radio. He is billed to appear the following week on a sustaining basis (i.e. without a sponsor).

 

Wasteful Merchandising

One of the silliest perversions of advertising is a gargling crooner of “torch songs” intended to cause a flutter among the women and girls, attempting by that appeal to popularize or sell a cigar. The foolish part is that women and girls who hang enraptured on the crooner’s lays do not as a rule smoke cigars. That’s not the worst of it. Men who do smoke cigars as a rule are inclined disgustedly to tune-out when the crooner starts his gulping imitation of an impassioned tummy ache.

Hence the separation of the adorable “Bing” Crosby from the radio hours of an otherwise well advertised cigar. This is but one case where wrong merchandising has had to be corrected. The cigar company seeing a crooner emerge with individual stardom at the cigar company’s expense, and seeing the futility of advertising cigars to women and girls, was constrained to conclude that radio advertising is far from being an infallible go-getter.

(Lafayette Journal and Courier, March 4, 1932)


His cancellation of Cremo Presents Bing Crosby perplexed me and it was not until two years later that Hill gave me an explanation. It involved the fact that the Cremo cigar was advertised and sold as a machine-made cigar, which supposedly had a big advantage over the handmade variety because no worker’s saliva would touch the cigar wrapper in making the cigar. Cremo was known, if you please, as the “no-spit cigar.” But the cigars sold so well that his production manager, without informing Hill, had to augment the machine-made production with handmade cigars and, of course, “spit” was involved. So, George Washington Hill’s ad slogan had become a lie. Fearing exposure for deceiving the public, he had just canceled the program and left CBS without an explanation.

(Bill Paley writing in As It Happened, A Memoir)

 

February 29, Monday. (1:30–6:15 p.m.) Bing and the Mills Brothers record “Shine” in New York.

 

The tie-up between the Mills Brothers and Bing Crosby, which resulted so happily in “Dinah,” has been repeated with even greater success in a revival of “Shine” (Brunswick 1316). Bing sings just as he did in the days of the Rhythm Boys, before he became all sex-appeal and sugar, and the Mills Brothers are as neat and musical as ever. The whole construction of the record is good, and it is difficult to imagine a conception that would have suited these artistes better.

(The Gramophone, August, 1932)

 

Among the several small vocal ensembles with which Bing Crosby has appeared is The Mills Brothers, three brothers and their father, who have achieved unusual success as a male quartet, especially in their ability to simulate instruments vocally. In 1932 Bing recorded several sides with this superior foursome, including the easy-listenin’ MY HONEY’S LOVIN’ ARMS (C0-4304-M). As one of the demonstrators here, we have chosen SHINE, a Mack-Brown-Dabney song which was made famous by jazz singer Louis Armstrong; and the Crosby version of it demonstrates well his scat singing ability and his pretty choices of intervals in obbligato:

Four measures of muted blues trombone precede a measure of scat singing by Bing . . . And then for the first chorus the Mills Brothers take over for the opening chorus, with the bass voice of Mr. Mills, Sr., booming out, a simulated tuba sounds as the three others harmonize on the words; it should be noted, critically, that certain passages here are not in the best harmony, notably the chord choices for the I take these troubles all with a smile phrase ... For an extended interlude the quartet simulates instruments (three muted trumpets and a tuba) in a simple, plaintive melody ... The tempo is slowed down and the orchestra enters to accompany Bing’s statement of the words, with deviations from the straight melody ... Over an organ point by muted trombone, Bing, somewhat like Louis Armstrong, sings a beautiful passage on Oh, chocolate drop, that’s me ... Then while one of the Mills solos on the straight melody with a resonant voice and Southern dialect, Bing adds some delightful melodic commentaries with clever wordage and pretty intervals, such as the luscious Ah, keep on smilin’ thru ... Bing takes a solo break and then proceeds to “scat like mad” while the Mills accompany him with orchestra-like rhythm figures ... Over the extended interlude material Bing improves slightly and lightly and politely, to close the recording, a presentation of Bing’s scat singing in one of its very best samples.

(Dr. J. T. H. Mize, Bing Crosby and the Bing Crosby Style, page 133)

 

March (undated). Said to have strained his vocal cords so that he seeks medical attention from Dr. Simon Ruskin again. Bing is offered the opportunity to see Chevalier Jackson for possible surgery to remove a node on his vocal cords but instead he decides to rest his voice completely for a period.

March 1, Tuesday. (6:30-6:45 p.m.). Commences evening radio shows on three nights a week for CBS on station WABC, on a sustaining basis, with Freddie Rich’s Orchestra. Three nights a week instead of six has been chosen to reduce the strain on Bing's voice. The first week the shows air on the East Coast on Tuesday, Thursday, and Saturday in the 6:30-6:45 p.m. time slot before switching to a Monday, Wednesday, and Friday format at 6:45p.m. However, the time switch is not acceptable to the West Coast and station KHJ in Los Angeles declines to take it except on Saturday afternoons at 3:30 pm.


Bing Crosby, now a sustaining feature (WABC – 6:30) sings better since he isn’t on a commercial. Why? Don’t ask me!

(Ben Gross, Daily News, (New York), March 4, 1932)


March 2, Wednesday. The twenty-month-old son of Charles Lindbergh is kidnapped.

March 4, Friday. It is rumored that Bing has signed to make a film for Paramount in Hollywood called Wild Waves. The title is later changed to The Big Broadcast.

March 4–10, Friday–Thursday. Bing tops the bill at the Brooklyn Paramount with Yorke & King and Rubinoff in support. His act is described as “New Kind of Fun - Even a New Kind of Love - Bing Crosby in ‘Time Goes By’ His own idea of musical comedy newer than next year’s ‘Follies’.” The accompanying film stars Fredric March in Strangers in Love.


…Bing Crosby joins the celebration with a whoopee musical comedy idea on the stage in which Yorke and King, internationally comic favorites, play an important part…In the stage show, a musical comedy idea has been developed in which Bing Crosby takes the entire show under his wing as master of ceremonies.

(The Brooklyn Daily Eagle, March 4, 1932)


March 8, Tuesday. (9:50–11:25 a.m.) Bing records "Face the Music medley" and "Shadows on the Window" with the ARC Brunswick Orchestra directed by Victor Young.

March 11–17, Friday–Thursday. Bing at the Paramount Theater, Brooklyn, with musical comedy star Johnny Burke in support. The advertising says, “Have a fling with Bing in Big Whoopee Show.” Claudette Colbert stars in the accompanying film The Wiser Sex.


“In the Bag” is the title of the stage presentation at the Brooklyn Paramount. Bing Crosby draws down a large share of the plaudits in several new songs.

(The Brooklyn Daily Times, March 12, 1932)


March 14, Monday. Bing's radio show is switched to a Monday, Wednesday, and Friday slot at 6:45p.m., and in addition he starts broadcasting a show on Thursdays at 11:45 p.m. for the West Coast to replace the Saturday broadcast.

March 15, Tuesday. (9:30–11:30 a.m.) Records “Paradise” and “You’re Still in My Heart” with a studio orchestra directed by Victor Young.  In the evening, Bing leads the Brooklyn Paramount bowling team as they defeat the Brooklyn Times-Standard Union team in a match at Dwyer's Bowling Academy.

March 18–24, Friday–Thursday. Ends his appearances at the Brooklyn Paramount. Bing shares the bill with Pola Negri and the ‘Revue International’. Miriam Hopkins and Jack Oakie star in the supporting film Dancers in the Dark.

 

…Firstly, you’ll see the glamorous Pola Negri in a skit. Also on the stage will be seen the youthful radio idol Bing Crosby, who is to be seen in his sixth and last week on the Paramount stage. His own gags, his own humor, and his own productions have aided in making this lad one of the most enjoyable personalities yet to be presented on the stage of the Brooklyn Paramount.

(The Brooklyn Daily Eagle, March 18, 1932)

 

March 19, Saturday. (9:30 p.m. onwards) Is one of many stars taking part in the Israel Orphan Asylum at Madison Square Garden. Others featured are Beatrice Lillie, William Gaxton and Russ Columbo.

March 20, Sunday. Another Mack Sennett short starring Bing—Billboard Girl—is released.


A Featurette Comedy with Bing Crosby. Bing falls in love with a billboard girl he has never met, and finally meets up with her in a college town where she attends the co-ed institution. The girl’s brother dresses up like his sister and has Bing do a pash love scene with all the class as hidden audience. The girl also hidden, sees it, and falls in love with Bing’s singing. Business of parental opposition and also a big goof who is engaged to the girl, but love triumphs. The comedy is fair, but the singer’s crooning puts it over.

(Film Daily, March 6, 1932)


The reputed popularity of Bing Crosby will perhaps make this comedy effort successful, though it cannot be accurately stated that the crooner is an actor. The short concerns Crosby falling in love with the picture of a girl 
on a billboard. His letters to the girl at college are intercepted by her brother, who, upon the crooner's arrival, masquerades as his sister and stages a love scene and elopement rendezvous. The girl, Margie Kane, discovers 
the plot and it all comes out in the end. Crosby renders two numbers in fairly effective style for those who like his type of vocal rendition. — 
Running time, 21 minutes. 
(Motion Picture Herald, March 26, 1932)


 March 22, Tuesday. Variety carries an item stating that Bing is attempting to buy himself out of his contract with Roger Marchetti. He is frustrated because Marchetti is based on the West Coast and cannot help Bing in New York although he is taking 20 percent of his income. Marchetti seeks $100,000

March 25–31, Friday–Thursday. Bing opens at the Paramount in New York in George Jessel’s show Joy Jamboree. Burns and Allen, Lilian Roth and Rubinoff are also on the bill.

 

Crosby as a gendarme shows a flair for comedy that has cropped out in his [film] shorts, but not up to now on the stage. . . . Those countless microphone users in vaudeville at present could take a tip from Crosby on the use of that instrument. Instead of standing the mike on the stage and hiding behind it while singing, Crosby has it planted in the pit several feet in front of him, and in that way the audience can see Crosby as well as hear him.

(Variety, March 29, 1932)


George Jessel’s “Joy Jamboree,” current stage-show, devised and produced by Boris Petroff, is a typical Broadway musical show, full of wit, snappy gags, good music and fine dancing, and is by far the most entertaining presentation ever offered on the boards of this house.

Opening with a snappy rhythmic dance routine by the David Bines Girls, which starts the show off well, Jessel then appears and as master of ceremonies introduces Lillian Roth, who does a great job of singing “Between the Devil and the Deep Blue Sea,” and encored with “You’re My Everything,” singing it to Jessel, who nearly broke her up with his comedy.

Burns and Allen, the most entertaining comedy team in show business, offered their regular routine, but using a number of new gags and a new men’s hat store setting. This team always “clicks” and they did great here. Jessel next introduces Mr. and Mrs. Jesse Crawford, who, on their stage organ consoles, play the musical accompaniment for the dancing of Dorothy Paige and the Bines Ballet, in a most attractive setting.

Mrs. Crawford then plays the accompaniment for Bing Crosby’s singing of “Snuggled on Your Shoulder,” and a hot rendition of “Dinah.” The popular Bing has a quality and nonchalance in his singing that is lacking in most other singers and this audience’s reaction is representative of his popularity all over the country. Bing then sang “My Woman,” with Lillian Roth playing the part and appearing in a “dive” scene, and singing “Falling in Love Again,” as an interpolation. This was only one of the great bits of this show and audience reaction to it was tremendously favorable. A “restaurant” bit by George Jessel and Burns and Allen was also most entertaining. The Trainor brothers did well with their routine of eccentric rhythm dancing. A special sketch written by Jessel and Eddie Cantor, in which Miss Roth, Bing Crosby and two others enacted their bits in French, from the stage, with Jessel interpreting into English for the audience and in Jewish for his “mother,” had the laughs coming so fast that the audience could hardly keep up with them. This, without a doubt, was the best part of the show.

Jessel sings only one song in the entire production and that one is Eddie Cantor’s “Now’s the Time to Fall in Love.” The finale was a burlesque on the opera “Rigoletto,” with the entire company participating. Show caught Sunday night, to packed house. Feature picture was “Broken Wings,” featuring Lupe Velez and Leo Carrillo.

(Motion Picture Herald, April 2, 1932)

 

March 27, Sunday. A Merrie Melodies film cartoon called Crosby, Columbo, and Vallee is released. Mack Sennett’s Educational Pictures announces an exploitation tie-up between them and Bing with Lion Brand Shirts (who have named one of their best sellers “The Bing Crosby Harmony Chord Shirt”) and the Washington Hat Company (who are selling “The Bing Crosby Three Hat Ensemble”).

March 29, Tuesday. An update about Bing and Roger Marchetti is published in Variety. This indicates that Bing has had to pay only $15,000 to secure his release from the contract, thanks to negotiations carried out by attorney, John O’Melveny, who subsequently represents Bing for the rest of his life.

 

Bing Crosby affirms Roger Marchetti’s statement that the latter hasn’t been collecting from Crosby for almost two months. Both split up in late January, when Marchetti received a $15,000 settlement in lieu of a $100,000 claim he had as a one-third partner in Bing Crosby, Inc. Marchetti, Coast lawyer, had organized the corporation with Harry Barris and Crosby as the other two equal partners.  Crosby incorporating himself on the Coast came about at the time the Three Rhythm Boys were in a jam with both the musicians’ union and Abe Frank of the Hotel Ambassador, L. A., for their walkout on the Cocoanut Grove. It was Marchetti’s suggestion that the boys incorporate and that he’d handle their legal affairs and other business details in return for a 33 1/3 cut. The $15,000 was compromised as the value of his legal services and Crosby is now the sole owner of his name. Everett Crosby, his brother, now handles Bing’s business affairs.

(Variety, March 29, 1932)

 

April 1–7, Friday–Thursday. Bing, Anna May Wong, and Walter O’Keefe star at the Paramount, New York in a show called "Springtime in the Orient".

 

Crosby continues to get the production works. This has been going on for so long now, it is taken as a matter of course that the radio crooner will be kicked around. Frame-up this week puts him in the capacity of a stooge for O’Keefe in a rough-and-tumble comedy session...Crosby comes down front to the mike for three numbers, “Lovers No More,” “Human Thing to Do,” and “Auf Wiedersehn.” This was the best appearance he has made so far, because they left him alone to manage his appearance in the simplest manner possible.

(Variety, April 5, 1932)

 

April 3, Sunday. Bing performs at a testimonial dinner for Eddie Jackson at the Hotel Commodore with other stars including Cab Calloway.

April 8–14, Friday–Thursday. Completes his run at the Paramount, New York, in the company of George Jessel, Burns and Allen, and Lilian Roth.

 

The Crosby influence with the mikes must have had an unostentatious P.A. system planted all over the stage, as everything reached across the foots into the balcony. Crosby clicked with three numbers. ‘My Woman’ being produced for flash effect and getting it. It’s an answer song to the famous ‘My Man’ and constructed similarly with a good chance for popular impression.

(Variety, April 12, 1932)

 

April 13, Wednesday. (9:30 a.m.–12:20 p.m.) Records “Lawd, You Made the Night Too Long” with the Boswell Sisters in New York. Don Redman and his Orchestra provide support. He then departs for a personal appearances tour accompanied by Dixie plus Eddie and Kitty Lang. Bing continues to deliver his fifteen-minute radio show from each location on the tour but only on Tuesdays and Wednesdays. The show now airs at 6:45 p.m. and 11.45 p.m. EST.

April 15–21, Friday–Thursday. Stars at Detroit for the week in a cine-variety show. The film is The Misleading Lady with Claudette Colbert.

 

Bing Crosby is also doing himself no harm as working here. A little improvement in the songs used will help his act a little. He carries a guitar player and musical director, who doubles at the piano. Guitar player could be dispensed with very easily. Crosby takes a couple of songs to get warmed, but when he started using his personality he was over for the best sock any personal appearance has made here all season. . . . Bing Crosby on next and stopped the show after three numbers, and came back for one more. Doing 13 minutes, he could have stayed as long as he wanted in a long show.

(Variety, April 19, 1932)


Bing Crosby, a quiet-mannered young fellow who croons through an amplifier, heads the stage show, but a great share of the applause goes to Gordon, Reed and King, three nimble fellows whose dancing is the best to come along the circuit in some time.

(James S. Pooler, The Detroit Free Press, April 16, 1932)


April 22–28, Friday–Thursday. Has a week’s engagement at the Oriental Theater in Chicago as part of a cine-variety show. The film being shown is Misleading Lady starring Claudette Colbert. Bing arrives in the early hours of April 22 and later in the day is one hour late for a press conference. He stays at the Morrison Hotel where Jackie Cooper and his mother are also staying. He tells the press “Meeting the Coopers was like a family reunion.”

April 23/24, Saturday/Sunday. Records five songs, including “Sweet Georgia Brown,” with Isham Jones and his Orchestra in Chicago.

 

In Chicago Bing recorded five tunes with Isham Jones’s orchestra during the first stopover, and four with a Frankie Trumbauer unit during the second. Those sides produced Crosby’s classic versions of two of the most indelible and rhythmically energized songs in the American canon, both created by black songwriters. Maceo Pinkard’s hugely popular “Sweet Georgia Brown” was written in 1925 and was introduced by bandleader Ben Bernie. The song is disarmingly fluent given its distinct qualities. Structurally, it avoids the prevalent aaba format in favor of abac; harmonically, it employs a cycle of fifths but averts the tonic chord until midway; melodically, it is uncannily buoyant, making a slow treatment virtually impossible. Bing’s performance with Isham Jones, whose dance band was studded with jazz players (including Woody Herman), is jubilant. Lang strums a two-bar transition to introduce Bing, who is loose, unhurried, letter-perfect. Bing rarely begins phrases on the one, preferring to coolly syncopate them against the ensemble rhythm. No singer of that era understood as well as Bing Louis Armstrong’s proclivity for superimposing implied rhythms over stated ones. But where Armstrong flows, Bing inclines toward a two-beat lockstep, underscored by his practice of adding words to heighten swing; for example, in the space of the phrase, “I’ll tell you why and you know I don’t lie, not much,” he songs, “And I’ll tell you just why, you know that I do not lie, not much.” A Bixlike solo by trumpeter Chelsea Quealey and Jack Jenny’s graceful trombone precede his scat solo and handsomely embellished reprise.

(Gary Giddins, Bing Crosby, A Pocketful of Dreams, The Early Years, 1903-1940, page 283-284)

 

April 27, Wednesday. (9:00–9:30 p.m.) Takes part in the Chicago Theater Show that is broadcast over WIBO. Others taking part are Vincent Lopez and Jackie Cooper.

April 28, Thursday. (2:00–2:15 p.m.) Interviewed by Eddie and Fannie Cavanaugh on their Radio Gossip program on WIBO.

April 29–May 5, Friday–Thursday. Appears in a cine-variety show at Shea’s Buffalo in Buffalo, New York, for the week. During his time in Buffalo, Bing visits the Wheel Chair Home in Kenmore and entertains the ladies. His rendition of “My Wild Irish Rose” is said to be the highlight of the show he puts on for them.

 

Some who are a little lax about keeping up on such affairs did not become Bing Crosby-conscious until last winter. Then came a report from New York that found its way into the news columns. It told how a girl’s club in that center of culture, organised to do honor to Rudy Vallee, had switched its allegiance to Bing Crosby.

Mr. Crosby is appearing at Shea’s Buffalo this week and is disclosed as an agreeable young man in a conventional tuxedo who sings into a microphone, and, no doubt, astonishes a good many of his hearers by sounding exactly like Bing Crosby.  

He sings “Was That the Human Thing to Do?” his familiar theme song about the blue of the night, and one or two other numbers, the words of which seem singularly alike. As Mr. Crosby sings them, they run largely to “do-do-doodle-ee-do,” to the great delight of his public. He conducts himself without the great affectations of many of these radio magnificoes, but he goes up to the mike in the center of the stage with a funny little trot which you will probably have to misfortune to hear described as “cute” before the week is over.  But in the main his contribution to the program is pleasing, in good taste and lacking in brazen ballyhoo.

(Rollin Palmer, The Buffalo News, April 30, 1932)


Right off the ether waves comes Bing Crosby, crooning baritone, to stop shows at the Buffalo. Singing three songs in that particular husky baritone of his own, and much imitated, the young man from Washington found his audience hadn’t enough. He had to do two more, in the course of which he introduced a guitarist as accompanist. Charles Manning’s background music makes the program all the more enjoyable. Crosby will grow on this town.

(Buffalo Courier Express, April 30, 1932)


Talked His Contract

Bing Crosby, radio singer, recorded the first contract ever made via talking pictures. While cameras ground and microphones recorded every word, Crosby read his contract with the Paramount Publix corporation, thus giving both Paramount and himself a permanent talking picture of their agreement. More perfect than a signature or a fingerprint, the film document was termed legal by Paramount attorneys and will be filed away in proper film vaults.

Crosby’s unusual style of singing has made him the new center of attention and his fan mail is surpassing all records. Crosby is at Shea’s Buffalo this week for a personal appearance.

(The Buffalo News, April 30, 1932) (This may have been a  spurious publicity piece. If he could read it, why didn't he just sign it?)


May 3, Wednesday (evening). Bing is the guest at the monthly meeting of the Press Club of Buffalo at the Hotel Markeen. He is accompanied by Eddie Lang and Lennie Hayton.

May 6–12, Friday–Thursday. Bing’s personal appearances tour brings him to the Metropolitan, Boston, for a week. During his stay, he is photographed signing the guest book at City Hall with Mayor James Michael Curley. Later says that he entered a Crooners Contest in Boston and was not placed.

 

Bing Crosby, assisted by the ‘mike’ and an accompanist on the guitar, sang several of the songs he has made famous on the radio including ‘Was That the Human Thing to Do?’ and a new number entitled ‘My Woman’. His welcome from the crowded house was a very warm one.

(Boston Post, May 7, 1932)

  

The Metropolitan Theatre this week presents one of the most attractive programs seen there in weeks. As its stellar attraction it presents Bing Crosby—latest sensation of radio—in person, and also offers a dainty and handsomely mounted revue, supplemented by an excellent variety of vaudeville talent…As for Mr. Crosby, he is as charming a singer in person as he is over the ether and furthermore he is a willing worker. Appreciative applause—and there was plenty of it yesterday—is rewarded with song. Despite the long show he gives all that his audience asks.

(Boston Globe, May 7, 1932)


While Bing Crosby was playing a vaudeville engagement in Boston recently there was held a radio contest for the best imitation of the CBS baritone. None of the competitors was announced, merely being identified by numbers. Bing himself took part and when the returns came in it was found that he hadn’t even placed.

(Los Angeles Evening Herald Express, May 25, 1932)

 

May 7, Saturday. (8:45–9:00 p.m.) Bing is interviewed by Eleanere Geer on the Boston station WAAB.

May 8, Sunday. Said to have appeared in “Friars Frolic” at the Metropolitan Opera House in New York with George M. Cohan and Jack Benny amongst many others. An old-fashioned minstrel act is recreated.

May 9, Monday. Bing plays golf each morning at Woodland Golf Club, Auburndale, with Fred Auger, New England manager for Leo Feist Inc., the music publishers.

May 11, Wednesday. (6:45–7:00 p.m.) Bing again broadcasts his radio show from station WAAB and it is then piped to the rest of the CBS network.

May 12, Thursday. The body of Charles Lindbergh’s kidnapped baby son is found in woods five miles from his home. Meanwhile in his morning golf game, Bing beats Carl Moore 8 up and wins $2.

May 13–19, Friday–Thursday. Bing undertakes a week’s engagement at the Paramount, New Haven in Connecticut alongside the film Sky Bride starring Richard Arlen.

 

Only one day left for you to see and hear that king of crooners and prince of good fellows, Bing Crosby, who is appearing in person on the stage of the Paramount this week. Also appearing in person on the stage as master of ceremonies is the well-known, youthful screen actor Arthur Lake. Lake has a fine time introducing the acts and at least trying to keep out of the way. The stage show is composed of some real laugh provoking acts and ingenious stunts of every manner and description.

(New Haven Register, May 18, 1932)

 

May 20–26, Friday–Thursday. Returns to the Oriental in Chicago for another week as part of a cine-variety show. The film is Night Court starring Walter Huston.

 

Bing Crosby has returned to the Oriental Theater. So enthusiastic was the response to the radio singer during his last engagement that Balaban & Katz arranged immediately for a second appearance, which started Friday. Bing has prepared an entirely new group of songs made up of the many hundreds of requests he has received. The suggestions came from members of the Oriental audience who expressed their preferences after word of Crosby’s return was announced.

      No radio singer, it is said, has a wider variety of songs than Bing Crosby. In addition to the hundreds of popular songs he has offered on the air, he sings comedy songs, hill-billy, cowboy ballads and Negro spirituals.

(Chicago Herald and Examiner, May 22, 1932)

 

Crosby is singing two songs as his regular turn, the second being backed by Eddie Lang and his guitar. For an encore, Crosby makes the error of sending the mike back into the pit and trying to get across the footlights without mechanical aid, but sans the mike his voice is lacking and doesn’t even sound like Crosby.

(Variety, May 24, 1932)

 

May 25, Wednesday. Records “Cabin in the Cotton” and “With Summer Coming On” with Lennie Hayton and his Orchestra in Chicago. (9:00–9:30 p.m.) Takes part in the Chicago Theater Show that is broadcast over WIBO. Others taking part are Sara Ann McCabe and Art Kahn.

May 26, Thursday. Another recording session with Lennie Hayton in Chicago. Bing records “Love Me Tonight” and “Some of These Days.”

 

SOME OF THESE DAYS • C0-4305-M

SOME OF THESE DAYS is associated with Sophie Tucker, “the last of the red hot mamas” but whose vocalizing is relatively corny and uninteresting to the slightly more sophisticated public music audience of today. But practically since its composition in 1910 by Shelton Brooks, SOME OF THESE DAYS has been in the repertoire of jazz musicians as a perennial, programmed more frequently than occasionally. Bing does this song on C0-4305-M and thereon examples his scat singing style:

At bright tempo the accompanists, with prominent guitar, play a four measure introduction ... With slight changes of the melody Bing states the first chorus…The entire second chorus is devoted to his scat singing of de and do and dweet and tweet. After a mediocre jazz single-string guitar solo, a muted trumpet plays a fair jazz solo ... The first half of the next chorus, with the guitarist continuing to strum 8/8 accompaniment, is Frankie Trumbauer’s C-melody saxophone improvisations ... Bing enters at the half-way mark, to sing the words in an improvised manner, resolving into da da and tweet tweet syllabilizations on the closing.

(Dr. J. T. H. Mize, Bing Crosby and the Bing Crosby Style, page 133)

 

May 27–June 2, Friday–Thursday. Stars in a cine-variety show at the Minnesota Theater in Minneapolis performing at 1:30, 3:45, 7:30 and 10:10. He misses the evening performances on June 2. The film is Sinners in the Sun starring Carole Lombard. Bing’s radio program now airs at 7:45 p.m. EST.

 

Your very own Bing Crosby is at the Minnesota this week, and, if the applause of audiences so far is any criterion, you’ll like him as much as the theater men say and hope you will. Bing stands behind a microphone and croons several of the current popular tunes, then tries to bow himself from the stage. The procedure fails, and he tries it again. And again. So after several encores, the feature picture goes on in the midst of continued Crosby applause. The show – a good one throughout – is his, as might be expected.

(The Minneapolis Tribune, May 30, 1932)


Bing Crosby broadcast CBS sustaining for months without being paid by that company. He is under weekly guarantee of about $400 per week to CBS. If Crosby has a commercial and isn’t booked in a theatre, CBS is forced to pay this sum out of its own pocket. However, if Crosby is playing theatre dates the salary is much more than the guaranteed $400 and CBS doesn’t have to shell out for Crosby at all, besides which the network discounts its commission for booking him in vaudeville.

      Bing Crosby refused to fly from Minneapolis to St. Louis for his next stand, and, as a result, lost both evening shows at the Minneapolis theatre on his last day. Publix wanted to send him by special plane to the Missouri metropolis after the second night show, but the crooner objected. He has sworn off air transportation after Knute Rockne’s death and hasn’t been up since.

(Variety, ‘Inside Stuff — Radio’, 14 June, 1932. p51:2/3).

 

June 1, Wednesday morning. Golfs at Interlachen Country Club at Edina, Minnesota with Jimmy Johnston against Totton Heffelfinger and Ted Erringer. Bing has an 80 and he and his partner win on the last green.

June 2, Thursday. Agent Edward Small files suit against Bing for $20,000 claiming that the amount is due under a contract signed in June 1930 giving him 10 percent of Bing’s earnings. Bing is in Minneapolis and expresses surprise at the developments. He had understood that Small had released him verbally from the contract and had agreed to await Bing’s arrival in California, when a settlement was to be reached.

 

Eddie Small’s (Hollywood agent) 10% attachment for $20,000 against Bing Crosby in New York last week is the second time the crooner has been jammed with commish claims. Once before, Roger Marchetti, coast lawyer, and one third partner in Bing Crosby, Inc., went after the singer. This resulted in a settlement for about $15,000.

Marchetti, Crosby and Harry Barris were co-partners in Crosby, Inc. Barris was one of the three Paul Whiteman Rhythm Boys, later the Three Ambassadors at the Cocoanut Grove of the hotel Ambassador, L. A. with Crosby and Al Rinker comprising the other two. Rinker was not made a partner in but was employed by Crosby, Inc. Barris with his wife Loyce Whiteman, also a radio songstress, have since come east for NBC under contract. Small’s 10% is predicated on an alleged $200,000 earning power.

Another coast crooner, Russ Columbo, also got himself involved. He is still being sued by Jack Gordean, the latter claiming a co-managerial interest with Con Conrad, Columbo’s present manager.

(Variety, June 7, 1932)

 

June 3–9, Friday–Thursday. Bing appears in a cine-variety show at the Ambassador, St. Louis, for the week. The film is Love Is a Racket starring Douglas Fairbanks Jr. Bing's radio show is broadcast on Tuesdays and Wednesdays over CBS at 7:45 and 11:45 Central.

 

Bing Crosby is not a crooner. That is, not entirely. He croons, occasionally, of course but he contends he is a singer.

      “A crooner,” he said on his arrival in St. Louis for a week of personal appearances at a local movie house, “is someone who always sings softly, never raises his voice to its full strength. You know how people talk about mothers crooning to their babies to put them to sleep? Well, anyone who always sings that way is a true crooner. I raise my voice to the full pitch whenever it’s suited to the song.”

      But he is used to being called a crooner by almost everyone. There’s nothing to be done about it, he says, and if his listeners like to hear him just as well under the name of crooner as of singer, it’s all right with him.

      “I used to get sort of worked up about it, and make a kick when they called me a crooner, but I’ve got over that now.”

      He was accompanied here by Mrs. Crosby and their wire-haired terrier, “Cremo” and was pretty nervous. Something had gone wrong with the mikes at the first performance, because they had not arrived in time for a rehearsal, and a temperamental mike is an awful thing for a croo—for a singer. On top of that, when they wanted to rush all the way out to the Park Plaza between shows, their taxi got tied up between two big trucks, at the stage entrance.

      It was all pretty upsetting, but there was nothing for Bing to do except to pace up and down, with his sad blue eyes watching “Cremo” take in every puddle of water within the limits of his leash. “Cremo” was having a grand time what with auto cushions to get on next, and Bing was too perturbed to rebuke him. . . .

      Finally the stage door traffic tangle was straightened out with the aid of “the law” and once in the taxi with “Cremo” trying to fall out of a window to avoid missing anything, Bing was more composed, ready to talk.

      One of the subjects that came up was the recent criticism of the radio crooners by William Cardinal O’Connell of Boston, who asserted they are “Whiners and bleaters defiling the air.”

      “Yes, I remember that,” Bing said casually. “And he probably meant me, along with the others, because people usually think of me when they think of crooners. I don’t agree with him. There’s nothing degenerating or demoralizing about sentimental songs. I think myself they are a benefit to the public, because the American people like music and like simple themes, and the kind of songs we sing are the kind they like. And whatever is said about radio singers ‘defiling the air,’ the greater part of the public doesn’t seem to agree with it.”

(The St. Louis Post-Dispatch, June 4, 1932)

 

June 12, Sunday. Bing and Dixie (plus their wire-haired terrier, “Cremo”) arrive back in Los Angeles and Bing is welcomed at Union Station by Charles Kaley and his Band from the Biltmore Hotel playing “California Here I Come” as part of a Paramount publicity stunt.

June 13, Monday. His radio show continues to be broadcast over the CBS network on Monday and Wednesday afternoons from 3:45 p.m. to 4:00 p.m. Pacific time. Bing uses the studios at station KNX which are located on the fringe of the Paramount lot and the program is produced and announced by Lindsay MacHarrie. Wilbur Hatch and his Orchestra provide support. Bing and Dixie lease the Fowler residence at Cromwell and Edgemont in Los Feliz. Sue Carol is their next door neighbor.

June 17, Friday. Commences filming Sing, Bing, Sing, (original title The Girl in the Transom) with Florine McKinney, Franklin Pangborn, and Arthur Stone, the first of two final shorts under his contract with Sennett.


Bing Crosby, your favorite crooner, and yours and yours, called at the Mack Sennett Studio yesterday. Bing is out to try to get as big a reputation as a screen hero as he now has on the radio. Mack has been helping him by trying to locate an appropriate comedy. I don’t know how appropriate The Girl in the Transom is, but it’s Bing’s next and it goes into production today.

(Louella O. Parsons, Los Angeles Examiner, June 17, 1932)


Bing Crosby this Wednesday will sing “Star Dust,” “Between the Devil and the Deep Blue Sea,” and “Paradise.” (KHJ-KNX at 3:45 p.m. Wednesday.)

(Los Angeles Times, June 21, 1932)

 

June 26, Sunday. Bing is at an “informal tea” given by Mr. and Mrs. James Gleason in their Beverly Hills home. Others attending include Marion Davies, Marie Dressler, Zasu Pitts, Frank McHugh, Carle Laemmle Jr., Edward Everett Horton, George Cukor, Frank Lloyd, Reginald Denny, Hoot Gibson, Robert Montgomery, Tay Garnett, Elliott Nugent, Frank Borzage, James Cagney, David Butler, Pat O’Brien, Douglas Fairbanks Jr., William Powell, Stuart Erwin, Lew Ayres, and Laurence Olivier.

June 27, Monday. (3:45-4:00 p.m.) Continues with his radio show.

…the following of Bing Crosby will hear their favorite in the following repertoire: “Three on a Match,” “Hummin’ to Myself,” and “Lullaby of the Leaves.” Incidentally, Eddie Lang who picks a wicked guitar, is to entertain on this special. KHJ-KNX are the stations, 3:45 is the time.

(Los Angeles Times, June 27, 1932)


June 28, Tuesday. (6:15-6:30 p.m.) Bing is interviewed by Lorna Ladd on station KHJ.

July 1, Friday. Bing and Dixie are at the Olympic Arena to watch the sectional boxing tryouts for the Olympic Games.

July 2, Saturday. Filming starts on Blue of the Night (original title “Honey Crooners”), Bing’s final film for Sennett. Babe Kane, Franklin Pangborn, and Toby Wing are also featured.


July 5, Tuesday. Begins filming The Big Broadcast for Paramount-Publix for five weeks and is said to receive $35,000 for his services. The film features Burns and Allen, Kate Smith, The Mills Brothers, The Boswell Sisters, Arthur Tracy, Stuart Erwin, Leila Hyams and others. Many of the stars film their contributions on the east coast at the Paramount Long Island studios. The director is Frank Tuttle.

July (undated). Films a Paramount short Hollywood on Parade No. A-2 (1932) which is rushed out to help promote The Big Broadcast.

July (undated). Bing rents a house on Cromwell Street in Hollywood and hires his eldest brother Larry to handle his public relations.

July 10, Sunday. (8:30-9:00 p.m.) Guests on the California Melodies show. Raymond Paige directs the orchestra.

July 12, Tuesday. Variety carries a review of Bing’s radio show.

 

With a new corking musical background, Bing Crosby was at his best over WABC from a Hollywood pickup. . . . He had Eddie Lang (unannounced) effectively getting in some telling innings with that mean guitar while Lennie Hayton’s nifty piano-ologing manifested itself brilliantly in an excellent orchestral background with Bill Hatch’s merry men, probably the studio combination named as the outfit. Crosby was in fine voice. He mentioned his Paramount picture Big Broadcast mission on the coast and rang the bell with a number of ballads including a swell version of “Paradise.”

 

July 15, Friday. Bing and Dixie are at the Friday night fights at the Hollywood American Legion Stadium.

July 18, Monday. Bing is advertised to sing three songs on his radio show at 3:45 p.m. but pulls out of the show at the last moment,

July 20, Wednesday. The Los Angeles Times states that Bing will not be singing at 3:45 pm. on KHJ-KNX from now on.

July 22, Friday. Bing and Dixie are at the Hollywood Stadium to watch the Jack Beasley vs. Harry Thomas bout. Beasley wins on points.

July 25, Monday. Bing and CBS cannot agree on a new contract, which apparently imposes a 35 percent pay cut on him.

 

Crosby walks out on CBS.

Hollywood, July 25th. Failing to get together on a new contract, Bing Crosby is currently divorced from CBS. Crosby says he won’t go on the air again until September at the earliest and after completion of his Paramount picture Big Broadcast will go fishing off the coast of Mexico. Singer and CBS called it quits by telegraph within an hour of a scheduled program Monday 18th. Crosby contract expired July 15th. with agreement Crosby would waive the raise called for in the option and take a 20% cut. When contract arrived from New York, Crosby objected to clauses tabbing a high percentage for booking through CBS’s artists' bureau and telegraph crossfire followed with the calling off of future broadcasts.

(Variety, July 26, 1932)

 

July 30–August 14, Saturday–Sunday. The Olympic Games take place at the Memorial Coliseum in Los Angeles. The most remarkable athlete is an eighteen-year-old Texan typist called Mildred “Babe” Didrikson who wins medals in the three events she is allowed to enter.

July 31, Sunday. (8:30–9:00 p.m.) Bing appears for free on the California Melodies program on KHJ (a CBS outlet) apparently in an attempt to show that CBS cannot manage without him. Music is again supplied by Raymond Paige and his Orchestra.

August 1, Monday. Further details emerge of Edward Small’s case against Bing. Bing eventually settles out of court.

 

Revealing the high cost of crooning, a suit was on file today in the Superior Court against Bing Crosby, crooner de luxe, for a total of $105,000 based on his crooning contracts. It was stated that in the two years from June 26, 1930, to June 26, 1932, Crosby crooned $250,000 worth and that he now is working under a new contract under which he will receive $800,000.

    The suit was filed in the form of an attachment by Grace Dobish, acting as assigned for the Edward Small Co., theatrical agents. It was alleged the agents obtained the two-year contract for him and that he was to pay the agency 10 percent of his earnings, and on this assertion $25,000 was asked. The contents of the complaint were revealed when the sheriff made a return to L. E. Lampton, County Clerk, stating that he had found about $3,000 owing Crosby from the Paramount Publix Corp., and was holding that pending the outcome of the suit.

(Los Angeles Evening Herald Express, August 1, 1932)

 

    August 7, Sunday. (9:00 a.m.–12 noon) Records a Paramount publicity disc at Victor on which he sings “Please” and “Here Lies Love” to publicize the film The Big Broadcast. (8:30-9:30 p.m.) Bing again appears without charge on the California Melodies program on CBS singing two songs with Raymond Paige and the Orchestra. Ken Murray is another guest on the show.

 

Crosby’s gratis hour has convincer for CBS.

Los Angeles August 8th. - Bing Crosby is giving his services gratis once a week to KHJ, the CBS outlet here. Hopes to show that CBS can’t do without him. He has sung a couple of songs in the last two Saturday programs of ‘California Melodies’ which goes over the CBS coast chain. Will continue indefinitely on this hour without asking for a pay check. Everett Crosby, brother and manager of the singer, left for New York Friday the 5th to negotiate a new deal with CBS.

(Variety, August 9, 1932)


August 12, Friday. Finishes work on The Big Broadcast and leaves on vacation.

August 13–30, Saturday–Tuesday. Cruises south along the Mexican coast on M.V. Kamika, deep-sea fishing with Lew Ayres, Nick Stuart, Lennie Hayton, and Eddie Lang. Bing returns sporting a moustache.

September 2, Friday, Bing attends the boxing at the American Legion Stadium in Los Angeles.

September 3, Saturday. (8:30–9:00 p.m.) Appears on the California Melodies radio program with Raymond Paige and the Orchestra. Lennie Hayton and Eddie Lang also accompany Bing.


September 5, Monday. Hollywood on Parade No. 2 is released nationwide.

   

Stuart Erwin acts as master of ceremonies in this variety skit, the second in the series produced by Lewis Lewyn for Paramount release. Erwin introduced Bing Crosby, who engages in some comedy byplay with George Burns and Gracie Allen, after which the crooner sings a number. The rest of the short is devoted to Olsen and Johnson, the comedy headliners, who do some nutty stuff on the beach with the support of a bunch of bathing beauties.

     (Film Daily, August 5, 1932)

September 9–15, Friday–Thursday. Stars at the Fox Theater, San Francisco, in a cine-variety bill. Conchita Montenegro is also on the bill. The takings for the week are $40,000, a record for the venue, beating the previous figure achieved by Al Jolson by $6,000.

 

The Bing Crosby craze came to San Francisco in person yesterday. The radio idol whose crooning has captured the fancy of the nation arrived on the Lark yesterday with Conchita Montenegro, tempestuous film player. Both are appearing on the Fox Theater stage.

Crosby believes crooning is here to stay—for few years at least. “Chiefly,” he says, “because low, soft tones come over the air to the best advantage.”

(The San Francisco Examiner, September 10, 1932)


…Bing Crosby was called back again and again. He sang half a dozen songs. The audience cheered and whistled. But my favorite on the stage there this week is still the trained donkey.

(Ada Hanifin, The San Francisco Examiner, September 10, 1932)


A Bing with a better voice than he’s displayed in the past held Fox stage (this) Saturday night, drawing four encores, in addition to his previously rendered five tunes. Singing old tunes, breaking music publishers’ hearts by the score as he chanted “Song in My Heart,” “Dinah,” “Paradise,” “Human Thing,” “It Must Be True.” “Surrender,” and “Some of These Days.” More than his own singing, Crosby also gave ‘em the ace guitaring of Eddie Lang, who accompanied him on all tunes, and the equally hotcha pianoing of Lenny Hayton, who was in the pit.

(Variety, September 13, 1932)

 

September 13, Tuesday. Variety reports that Bing has rejected an offer to do a “sustaining” radio show for $250 per week pending a sponsor being found.

September 16, Friday. Records “Please” in San Francisco with Anson Weeks and his Orchestra. Eddie Lang provides the guitar accompaniment. Bing also rushes over to Berkeley during the evening to attend the grand opening of the new United Artists Theatre in Shattuck Avenue.

 

Bing probably holds the record for the fastest disc session of all time on his famous version of “Please,” which was made while Bing was appearing at the RKO Pantages Theater [sic] in San Francisco. Bing ran out of the theater into a waiting cab, drove to the Decca (sic) offices on Mission Street, rode up three floors to the recording studio, made the record with Eddie Lang and Anson Weeks’ orchestra, then hurried back to the theater. Time elapsed: one and a half hours. “Please” was one of Crosby’s most popular records. As with dozens of his songs, Bing’s inherent sense of phrasing gave it the unique Crosby stamp, hurry or no hurry.

(From an article in Modern Screen magazine, April, 1951).

 

September 16–19, Friday–Monday. Stars in a cine-variety show at the Fox Theater, Oakland. Bing appears at 1:05, 4:15, 7:05, and 9:30 p.m. each day. Conchita Montenegro is in support again.

 

Crosby, to dispose of the advertised headliner first, is a mild-mannered, personable young fellow with a gift of comedy and a soft singing voice that strikes immediate response in his listeners. He sang half a dozen songs over the stage microphone and the house trembled with show-stopping applause.

(Oakland Tribune, September 17, 1932)

 

Bing Crosby, that fellow whose crooning causes gals of all ages to get moon-eyed and wander about in a daze, surrendered himself into several thousand more hearts in his first personal appearances at the Fox Oakland theater yesterday.

A smallish, good-looking chap, bubbling over with personality, Bing received a tremendous ovation when he took the spotlight.

Of course most of the clapping was by feminine hands, but that was because the mere men present were trampled when the lady friends started their rush for seats down front.

The objective of these center rushing ga-ga females seemed to be to get where they could look up into Bing’s eyes when he crooned. One plump lady was working her way down front by dashes. At the third show she was bearing up well, but still had 12 rows to go. A somewhat plumper lady, who had apparently planned things beforehand, sandwiched through the milling crowd at the door, collapsed into the last seat and thelast row and immediately whipped out opera glasses and an ear trumpet. Bing was going to sing to her alone, crowd or no crowd!

Bing was right generous with his songs yesterday. His “With a Song in My Heart,” “Dinah” and others got the gals to screaming for more. When he swung into his “I Surrender, Dear,” even the Prince of Wales would have been cold-shouldered by the ladies present.

(Howard Waldorf, The Oakland Post Enquirer, September 17, 1932)


Possibly you are a Bing Crosby fan. Maybe you don’t like him. It makes no difference. You should see and hear him at the Fox Oakland. There need be no beating around the bush.

Bing will convince you that he’s a great. And the wave of applause which follows his singing will assure you that everyone in the theatre is sure of it.

The King of the Crooners sings the numbers which have brought him fame, to the accompaniment of an amazing guitarist, Eddie Lang, whom you have heard with the Dorsey brothers.  The pianist and arrangements will also excite you.  Bing works with a mike, is at ease on the stage, tied the show into knots.

Off the stage, he’s as regular as can be. Adoring females of all ages were following him from Broadway to the Hotel Leamington…

(J. E. Doyle, The Oakland Post Enquirer, September 17, 1932)


Only today and tomorrow remain for those who wish to see Bing Crosby in person at the Fox-Oakland Theater. While the regular show on stage and screen will continue the usual full week, Bing Crosby is called to Los Angeles after his concluding performance here tomorrow night. Judging by the immense crowds that have packed the Fox-Oakland Theater, Crosby is one of the most popular attractions this theatre has ever presented.          

(The Oakland Edition of The San Francisco Examiner, September 18, 1932)


The first time I ever saw Bing in person was in 1932. He was making a P. A. tour and it was at the Fox Oakland theatre that I had the good fortune to catch him. Eddie Lang was with him and was his sole musical accompaniment. I will always consider it one of the “privileges” of my life to have seen and heard Eddie Lang as well as Bing.  They really went together like salt and pepper. Just listen to any of Bing’s early Brunswicks (before Eddie’s death) and you’ll be convinced. If you’re interested in the songs he sang at that show, I’ll list them: “Was That the Human Thing to Do?”, “Love Me Tonight”, “Some of These Days”, “Dinah”,  “It Must Be True”, “Fool Me Some More” and “I Surrender, Dear”. And that’s the order he sang them in, too.

(Helen Tolton, writing in BINGANG, summer 1996)

 

September 22–28, Thursday–Wednesday. Heads the bill at the Paramount Theater in Los Angeles and receives a fee of $4,500. Helps produce a “very big” gross of $23,000 for the week. Georgie Stoll leads the orchestra.

 

Bing Crosby returned to the stage of the Paramount after a year, during which time he rose from a $150 singer at the Cocoanut Grove to a $4,500 a week headliner, and proved to be a matinee draw opening day, but night business was average. A little more reserved than when here last, the crooner sticks to his better known numbers, doing only one current tune, his own “Love Me Tonight” during the 15 minutes he is on stage. This did not prevent him from wringing the audience dry of applause.

(Variety, September 28, 1932)

 

The Paramount Theater comes forward with a splendiferous one and only Bing Crosby, heaven’s gift to radio listeners who are addicted to crooners. Crosby gives an unstinted performance, and, judging from the uproarious ovation which greets his appearance on the stage, his popularity is on the increase in person as well as over the mike.

(Eleanor Barnes, Los Angeles Illustrated Daily News, September 23, 1932).

 

Bing Crosby, the boy who made crooning what it is today, no matter what angle you look at it, received a grand reception yesterday at the Paramount Theater. And he didn’t disappoint his host of admirers, for he worked hard for them and answered each encore with popular songs done in his own style.

(Los Angeles Evening Herald Express, September 23, 1932)


     September 24, Saturday. (8:00–8:30 p.m.) Again appears on the California Melodies radio program with Raymond Paige and the Orchestra. He is assisted by Eddie Lang and Lennue Hayton.

   

Bing Crosby, who has the distinction of having more imitators than any other current crooner, is heard tonight on KHJ’s California Melodies at 8 to 8:30. This most popular of singing stylists sings two numbers, “Love Me Tonight,” and “I Guess I’ll Have to Change My Plan,” his most recent singing successes. This program, of course, will go over the entire coast-to-coast Columbia network, and thus finds Crosby singing gratis for the same company which recently would not renew his contract.

(Kenneth Frogley, Los Angeles Illustrated Daily News, September 24, 1932)


     September 25, Sunday. (9:00–10:00 p.m.) Bing takes part in the Union Oil Dominos radio program from station KFI and sings three songs accompanied by Lennie Hayton and Eddie Lang. Jack Sheehan is the host. Ray West's band provides orchestral support.

September 27, Tuesday. Entertains at the luncheon meeting of the Advertising Club. (7:00-7:15 pm.) Interviewed by Eleanor Barnes on station KRKD.

October 1, Saturday. Plays two evening shows in between the film "Tiger Shark" at the Fox-Alexander house in Glendale accompanied by Eddie Lang and Lennie Hayton. Also gives two shows at the Fox Colorado, Pasadena.

October 2, Sunday. Bing gives two performances at the Fox Theater, San Bernardino at 3 p.m. and 8:30 p.m. Does the same at nearby Fox Riverside at 3:55 and 9:20 pm. He is again accompanied by Eddie Lang and Lennie Hayton.

October 3, Monday. Three more shows at the Fox Theater, Pomona, again accompanied by Eddie Lang and Lennie Hayton. A matinee at 2:15 p.m. and twice at night, 7:00 and 9:00 p.m. before the film "Back Street".


Los Angeles, Oct. 3. Bing Crosby went out over the week end, cutting his old price when booked on Friday (30) by Sid Schallman of Fanchon & Marco vaude department. He played the Fox house in Glendale, also Pasadena, two shows each Saturday night, getting $175 for the day. Same figure for Sunday, playing two shows each at the Fox house, Riverside, and Fox, San Bernardino, on Monday night. He’s booked to do two shows at Pomona for some figure.

(Variety, October 4, 1932)


October 4, Tuesday (evening). Bing and Dixie leave Hollywood for New York.

October (undated). Changes agent from Paramount-Publix to Mills-Rockwell.

October 8, Saturday. Bing’s recording of “Please” enters the various charts and quickly reaches number one where it remains for six weeks.

October 9, Sunday. (Starting at 2 p.m.) Bing is at Ebbets Field to see the Staten Island Stapletons surprisingly beat the Brooklyn Dodgers 7-6.

October 14, Friday. (9:00 a.m.–12:05 p.m.) Records three songs with the ARC Brunswick Studio Orchestra in New York. Bing’s film The Big Broadcast opens in New York. Reviewers praise Bing’s presence and poise in the film.

 

The film is a credit to Crosby as a screen juve possibility, although he has a decidedly dizzy and uncertain role which makes him behave as no human being does.

(Variety, October 19, 1932)

 

.... Bing Crosby croons several attractive songs which seem destined to enjoy wide popularity. For that matter, he needn’t be ashamed of his acting either. Burns and Allen have several good comedy sequences, and Cab Calloway and his orchestra are excellent in one sequence. All the radio stars are heard much as you hear them on the air. The novelty of seeing them may be an attraction. But Tuttle has not relied upon the drawing power of that novelty. He has injected little touches of fantasy, hints of satire, moments of slapstick comedy and a general impression of jolly good humor. He tells you frankly that this picture is not to be taken seriously and I think that most audiences will believe him and thereby enjoy it.

(Hollywood Citizen News, October 14, 1932)

 

Bing Crosby is the star, make no mistake about it. The “Blue of the Night” boy is a picture personality, as he demonstrated in his two-reelers. He has a camera face and a camera presence. Always at ease, he troupes like a veteran.

(The New York American)

 

October (undated). Bing meets Bob Hope for the first time near the Friars Club at 110 West 48th Street, New York.

October 25, Tuesday. (9:00 a.m.–12:30 p.m.) Records four songs including “Brother, Can You Spare a Dime” in New York with Lennie Hayton and his Orchestra.

 

The session grew suddenly serious for the next selection, a song from a new Broadway revue, Americana, with a melody by Jay Gorney and an emphatic lyric by E. Y. (“Yip”) Harburg. Instead of trite metaphors, “Brother, Can You Spare a Dime?” paints vivid images of veterans (“half a million boots went slogging through hell”), laborers, and farmers who believed they were “building a dream,” only to find themselves destitute and forgotten. Bing recorded his version three weeks after Americana opened. Brunswick rushed the platter to stores, and within two weeks it was the best-selling record in the nation - the one Tin Pan Alley hit that addressed the darkness in American life. Columbia quickly issued a version by Rudy Vallee that with a spoken introduction (he describes the song as “poignant and different”), and Jolson sang it on his radio show. But other versions pale beside Bing’s, a perfectly pitched statement of protest and empathy, dignified but not somber, rueful but not bitter, heroic but not overwrought. As Studs Terkel would later note, he “understates [the song] beautifully,” all the better to allow the words to “explode.” Bing’s record emerged as an emblem of the era.

(Gary Giddins, Bing Crosby, A Pocketful of Dreams, The Early Years, 1903-1940, pages 283-284)

 

October 28, Friday. (12:40–2:40 p.m.) Another recording session in New York when “Let’s Put Out the Lights” and “I’ll Follow You” are recorded with the studio orchestra

November 4, Friday. (12:50–3:00 p.m.) Records “Just an Echo in the Valley” and “Some Day We’ll Meet Again” in New York with a studio orchestra.

 

He certainly knows how to make the most of these modern love songs, and even if you despise the cheapness of the material, you must own that the singer has a good deal of artistry as well as sex-appeal.

(The Gramophone, March, 1933)

 

November 8, Tuesday. Franklin D. Roosevelt is elected president of the United States for the first time, defeating the sitting Republican president, Herbert Hoover.

November 19, Saturday. Bing’s recording of “Brother, Can You Spare a Dime” is a hit and soon reaches number one in the charts.

November 21, Monday. Bing and Nick Stuart watch the Ben Jeby - Chick Devlin fight at St, Nicholas Rink, New York. Jeby wins on points.

November 22, Tuesday. It is announced that Bing has signed with Paramount to make a film called College Humor.

November 25–December 1, Friday–Thursday. Bing heads the bill in a cine-variety show at the Carman Theater, Philadelphia, for a week and in his fifteen-minute spot he is accompanied by Eddie Lang and sings “Brother Can You Spare a Dime” amongst other songs. He receives $3,500 for the week, giving three shows each day at 2:15, 6:30, and 9:15 p.m. There is an extra show on Saturday. The crowds are so great in the opening days that it is decided to open the doors a little earlier.


The Carmen presented Bing Crosby yesterday as its headliner for the current stage show. Making his first appearance in this city, Bing gave a very pleasing performance at the North Philadelphia house, where he sang many songs that pleased a large opening audience that kept demanding encores vociferously. The first appearance of this most popular of all the crooners in Philadelphia proved to be a success. He won his audience as soon as he came on the stage singing his well-known “Blue of the Night.” Eddie Lang, a native of this city, assisted Bing with his mandolin.

(The Philadelphia Enquirer, November 26, 1932)


November 29, Tuesday. Visits the Tubercular Hospital at Lakeland, New Jersey and sings several songs for the patients. (12:30 p.m.) Bing puts on a short show in the second floor auditorium at Gimbels store in Philadelphia. (11:45 p.m.-12:15 a.m.) Appears on the United campaign program on station WCAU. Meanwhile, Everett Crosby works out a new thirteen-week radio contract for Bing on CBS with Chesterfield for $2,000 for two broadcasts per week, to begin in January 1933.

December 2–8, Friday–Thursday. Bing tops the bill in a cine-variety show at the Capitol Theater, New York, with Bob Hope (of Ballyhoo) in support. Sings and ad-libs with Hope. Abe Lyman's Californians  provide musical support.

 

On the stage at the Capitol, Bing Crosby leads the show and stops it. Bob Hope is a rather amusing master of ceremonies.

(Daily News, December 4, 1932)


The vaudeville portion of the current vaude/film is Bu-bu-bu-Bing Crosby, while the Abe Lyman band in its 8th week here in recent months of doubling between pit and stage is featured. Bob Hope who grabbed himself a Broadway rep in going from the 4-a-day to “Ballyhoo” runs through the bill as m.c. Crosby was in good voice Friday night baritoning his way over easily, later repeating in the finale with the Lyman band. He’s carrying a guitarist whose swell strumming detracts at first but eventually helps out the Crosby singing.

(Variety, December 6, 1932)

 

Bing gets a nice hand and sings “Love Me Tonight,” after which he introduces Eddie Lang, well known steel guitarist, who accompanies Crosby for the remainder of his act, the songs being “Dinah” and “How Deep Is the Ocean.” In an encore Crosby offers “Please,” which he introduced in “The Big Broadcast.”

(Motion Picture Herald, December 10, 1932)


The big electric sign hanging before the Capitol spelled out BING CROSBY AND BOB HOPE, just as it has spelled out many times since on the marquee of the Paramount and on other theaters. I was emcee, and after Bing sang his songs, we clowned together. We did our impression of two orchestra leaders meeting in the street. Each of us pulled out a baton and led the other while we talked as if we were leading an orchestra. Next we did our impression of two farmers meeting. One of us asked, “How are things down on the farm?” The other said, “It’s pretty cold in the reading room.” Real Noel Coward! Then we milked each other’s thumbs. It was the beginning of a long, pleasant and profitable association.

(Bob Hope in Have Tux, Will Travel, page 103)

 

December 3, Saturday. Thought to have sung at a Friars' Club dinner in honor of Burns & Allen.

December 9, Friday. (11:00 a.m.–1:10 p.m.) Bing records “Street of Dreams” and “It’s Within Your Power” in New York with a studio orchestra.

 

“Street of Dreams”

There never was and probably never will be a light singer of the calibre of Bing Crosby. He is as unique in his own sphere as was Caruso; there is a feeling and sensitivity for the value of words, and in this recording he again proves himself to be unsurpassed.

(Roger Wimbush, The Gramophone, 1933)

 

December 14, Wednesday. Bing and Dixie have checked in at the Biltmore Hotel, Miami, for a short vacation. He is later photographed at the Roney Plaza Sun Club with his half pint pup, Bingo.

December 16, Friday. The Crosbys lunch with friends at the Roney Plaza Sun Club.

December 21, Wednesday. Golfs on the Miami Biltmore links with Joe Hurst.

December 23–29, Friday–Thursday. Bing stars in a cine-variety show at Loew’s Century Theater, Baltimore alongside the Sylvia Sidney / Cary Grant film Madame Butterfly. Variety notes that the takings of $16,700 were good for holiday week.


Bing Crosby heads the program at the Century, singing several numbers, assisted by Eddie Lang, playing a guitar, and Lenny Hayton at the piano. Crosby does some clowning between songs.

(The Baltimore Sun, December 27, 1932)


During the year, Bing has had fifteen records that became chart hits.

 

1933

 

January 4, Wednesday. (9:00–9:15 p.m. EST) Starts a new radio program Music That Satisfies on CBS, originating from station WABC in New York. Sponsored by Chesterfield Cigarettes, the show is broadcast each night (except Sundays) with Bing appearing on Wednesdays and Saturdays. On other nights, Ruth Etting and Tom Howard and George Shelton star. The show comes from New York with Norman Brokenshire as announcer and Lennie Hayton conducting the orchestra. Eddie Lang accompanies Bing, who uses “Just an Echo” as his closing theme song.

 

Tom Howard, Bing Crosby, and Ruth Etting are the new singers of the new Chesterfield quarter hours with Lennie Hayton the new orchestral backup in place of Nat Shilkret. It’s a saving for Chesterfield and a great break for Hayton thanks principally to Crosby who had the present singing account’s maestro with him on tour as pianist/arranger and also during the making of the Paramount picture “Big Broadcast.” As far as this quarter hour is concerned, it is highly palatable stuff if not particularly distinguished. Crosby and Hayton are both adept but the presentation is quite formula featuring Crosby in three and a half songs not counting the “Please” vamp-in. Hayton’s orchestra in an OK rendition of “Let’s Put Out The Lights” and Norman Brokenshire’s rather saccharine overly benign wordage in between. “Echo in The Valley” which was scheduled for the thematic is the sign off instead and was broken into by time limitation. “Please” after the opening bars (in itself not a bad association in view of the Paramount picture from which it comes) gives way to “Love Me Tonight.” “Please” is later rendered in full as is “How Deep Is the Ocean.” Finally “Echo.” In taking Guy Lombardo—Burns & Allen’s time Wednesday night’s at 9 p.m. Eastern Standard Time, it’s a break for this program.

(Variety, January 10, 1933)

 

...On Wednesday night, Bing Crosby made his initial appearance and traveled along in leisurely style, in good voice and pleasing tunes. As in the case with Miss Etting, the Hayton Orchestra obliged with a slow tune "Let’s Put out The Lights”, rendered in excellent rhythm, but not in a way that can jazz up a program.

(Billboard, January 14, 1933)

 

Chesterfield's Bing Crosby (Wednesday, Jan. 4, 8 p. m. CST on CBS) in new series with Leonard Hayton's orchestra. The great crooner, in top form and more listenable after his long absence than I imagined he would be, was supported by one of the half dozen-aye, two or three-best bands it has been my pleasure to hear. Where did the sponsor find this Layton outfit? Watch it go places. The combination was plumful.

(Radio and Amusement Guide, January 15, 1933)


Bing Crosby’s 1933 inaugural broadcast for Columbia over the Chesterfield program had all the scintillating sidelights of an opening night ... Visitors fought for studio passes ... for the first time more than a score of Crosby worshippers were admitted to the studio ... fair women pleaded for a handshake or an autograph ... ushers guarded stairways and passages ... and Crosby, informally garbed in grey trousers, belted blue jacket, warm-tinted tie, and a pleasantly antique brown fedora sang on ... with his old friend and former accompanist, Lennie Hayton, conducting the orchestra ... afterwards the deluge of messages and calls including a tribute from an invalid friend who welcomed him back to the air.

(Broadcast Weekly, Week of 22nd-28th January, 1933 - p8:1 “Microphone Gossip”)

 

“Echo in the Valley” was written in London by the trio, Woods, Campbell and Connelly. I do not believe it was written with Bing Crosby in mind, but it has become his signature, and was sung by him for the first time on Wednesday last, January 4th. I did not catch Bing’s first rendition of it, but did the closing part of his exceptionally fine Chesterfield program, and I thought he was in excellent voice and did more than full justice to every song he sang. … By the time this copy reaches your eyes, those of you who have been fortunate enough to catch Mr. Crosby on the Chesterfield Hour, have not only heard the song, but have probably become captivated by it.

(Rudy Vallee, writing in Radio Digest, February, 1933)

 

The twice-weekly Chesterfield show that Bing headed was the first to give some inkling of his script-reading and ad-libbing gifts. He chose his own script writers; and though these latter hardly caught the twinkle in the larynx and the light on the lips and the shine of the words that later made so much of the Kraft Music Hall program, some of the genuine Crosby personality emerged in the husky introductions to songs sung by Bing or played by the studio orchestra under Lennie Hayton.

Lennie had been one of the pianists with Paul Whiteman when Bing was one of Pops’ fixtures. He knew how to play for Bing, how to arrange for him, decorating his simple, tasteful scores with piano interludes on the same level, of the same quality. His dark eyes, his soft voice, the warm thrusts and twists of his hirsute head commanded the musicians under him with unmistakable authority.

“A moody man,” Bing summed up Lennie to another dark-eyed, soft-voiced musician, Eddie Lang. “A brooder, but a considerable musician, or should I say and a musician?”

As on all his previous CBS series, Eddie sat behind Bing, marking the keys for him, striking the changes of chord and tonality, giving his singing a lovely guitar background and his personality a secure resting place.

(The Incredible Crosby, pages 101-102)

 

I’m afraid I’m not going to be very useful to you in your search for data in connection with some of the old radio programs.

I can’t remember who the announcer was. I don’t think it was Brokenshire. I knew him, but I don’t think I did many shows with him.

I wouldn’t be able to recall definitely any members of the band, but we generally worked with Lang and Venuti, Tommy Dorsey, Artie Shaw, Arnold Brilhart – people like that, but I suppose it varied from week to week. I’m sure when Raymond Page took over the orchestra it was occasioned by the switch to Hollywood, and I don’t remember any of the personnel or who the announcer was. 

I don’t know who the series was for, the sponsor or anything else about it.

I believe we did change, for a short time, from “The Blue of the Night” as a theme song to “Just an Echo in the Valley”.

I don’t know how long we used it, but for an appreciable period of time, and the format of the show, I’m sure, was just like the Cremo show. It reads like it, from the data you furnished me, and it’s quite likely that we did indeed do a show for the East Coast and one for the West. That was standard procedure in those days.

I hope some of this is useful to you, and I wish I could supply a little more details -

Sincerely yours,

Bing
(Bing, writing in a letter to record producer Larry Kiner, March 10, 1975).

 

January 6, Friday. The Mack Sennett short Blue of the Night starring Bing is released by Paramount.

 

With Bing Crosby singing 3 of his most popular numbers, “Auf Wiedersehen,” “Every Time My Heart Beats” and “Blue of the Night,” this catchy Sennett film looks to be one of those that will draw in about as much money as the regular feature. Given a prominent advertising break, which includes tie-ups with music stores and radio stations, it should be booked at a time when you need a particularly attractive short subject. Outside of Crosby’s singing, the story is simple—a case of mistaken identity, “Babe” Kane and Bing being taken as bride and groom by passengers on a transcontinental train. Use showmanship with Bing’s name in the lights, ads and lobby displays.

(Motion Picture Herald, September 10, 1932)

 

January 7, Saturday. Bing’s Music That Satisfies show is not broadcast due to a radio concert by the Philadelphia Orchestra taking precedence.

January 9, Monday. (11:00 a.m.–1:00 p.m.) Records “I’m Playing with Fire” and “Try a Little Tenderness” in New York with the ARC Brunswick Studio Orchestra.

January 11, Wednesday. (9:00–9:15 p.m.) Bing stars in the Music That Satisfies radio show.


The baritone crooner of the cinema success, ‘The Big Broadcast’ and the pet of feminine listeners some ten months ago - Bing Crosby,  of course - will open a fifteen minute broadcast on the Columbia network and KOL,  tonight at 6 o’clock,  with the current ballad,  ‘Just A Little Home For The Old Folks’.  The powerful song, ‘Brother, Can You Spare A Dime?,’ introduced last year by Lawrence Tibbett, will be Crosby’s second number.  He will close his offering with ‘Let’s Put Out the Lights’. 

(Seattle Post, 11th January 1933)


January 12, Thursday. (1:00–2:40 p.m.) Again records in New York including “You’re Getting to Be a Habit with Me” and two other songs with Guy Lombardo and his Royal Canadians.

January 14–20, Saturday–Friday. Bing appears at the Albee, Brooklyn, in a cine-variety bill with Weber and Fields earning $3,000 for the week.

 

Bing Crosby brings his crooning voice to the stage of the Albee in a triumphant return to Brooklyn. Crosby is the show’s headliner, entertaining with a well selected group of songs. But Bing is well supported in the stage presentation by those two old comic favorites of a former generation, Weber and Fields.

(Brooklyn Times Union, January 14, 1933)


Inside stuff - The inefficiency of the salary agreements among the circuits is exemplified by Bing Crosby’s $3000 now from Loew’s et al after a $2250 to $2500 figure had been set on the former $3500 act. Publix paid the crooner that largish figure for some 20 weeks last summer and fall. When Crosby was offered less, Irving Mills, his new Manager, refused until Loew’s suddenly needed an act and the $3000 was thus established demonstrating anew the old law of supply and demand.

(Variety, January 31, 1933)

 

January 14/18/21/25, (9:00–9:15 p.m.). Bing stars in the Music That Satisfies radio show.


Following his witnessing of the “Big Broadcast” in London, the Prince of Wales stopped at a phonograph shop and purchased a dozen of Bing Crosby’s records, according to the London Daily Times.

(David Bratton, Jr., Brooklyn Times Union, January 25, 1933)


January 17, Tuesday (2:30 p.m.). Bing makes a personal appearance at Loeser’s Music Shop in Brooklyn to sign autographs etc.

January 26, Thursday. Paramount-Publix goes into receivership and is later reorganized as Paramount Pictures. (12:45–3:15 p.m.) Bing has a recording session with the Dorsey Brothers and their Orchestra and also sings “My Honey’s Lovin’ Arms” with the Mills Brothers.

 

Yet the session’s highlight turned out to be the last record by Bing and the Mills Brothers, “My Honey’s Lovin’ Arms.” Bing vigorously romps the first chorus, the brothers imitate instruments in the second, and Bing ad-libs against the scrim of their harmonies in the third. This savory performance boasts a rapid-fire in-joke that Crosby expert Fred Reynolds has noticed: in the third chorus (of take A), Bing does an easily overlooked but unmistakable Jolson imitation on the line “I know that I belong.” Bing’s teaming with the Mills Brothers had been initiated by the singers, not Kapp, and from now on it would continue only on the radio.

(Gary Giddins, Bing Crosby, A Pocketful of Dreams, The Early Years, 1903-1940, pages 283-284)

 

January 28, Saturday. (9:00–9:15 p.m.) Bing stars in the Music That Satisfies radio show.

January 30, Monday. Adolf Hitler becomes chancellor of Germany.

February 1/4/8/11/15/18/22/25, (9:00–9:15 p.m.). Bing stars in Music That Satisfies radio shows on CBS.

 

The vivacious and talented Jane Froman, contralto, was introduced to Chesterfield listeners, last evening, for the first time in a new set up of six weekly broadcasts over the Columbia system. The full Chesterfield schedule is now: Ruth Etting on Monday and Thursday; Jane Froman, Tuesday and Friday and Bing Crosby, Wednesday and Saturday - all at 9 p.m. on WNAC, effective last evening.

(Boston Post, February 22, 1933)

 

February (undated). Bing’s voice is insured for $100,000 by Lloyd’s of London. Emphasis is placed on the “growth on his vocal cords which affects his voice.”


…Singing as Bing did, constantly and arduously, and often with his throat and vocal cords slightly inflamed, Bing acquired what is known as a “singer’s node.” The membrane of the vocal cords is known as epithelium, and what Bing did was to develop, if you’ll pardon us for being callous about it, a corn on his epithelium, where his vocal cords rub together. If Bing’s node is ever removed, he has the word of his doctor, Dr. Simon Ruskin, famous New York throat specialist who has cared for many noted singers, that it would materially affect his voice, and that it would certainly raise it in pitch from the rich baritone which delights the ears of radio listeners.

Do you think Bing doesn’t value his node? If you do, you’re very, very wrong; for he has insured himself against the possibility of ever having to have it removed, with Lloyd’s of London, for $100,000.  Bing tried to get a quarter of a million dollars’ worth of insurance on it, but one hundred thousand was as high as Lloyd’s would go. And the interest on that node more than pays the premiums!

(Knute K. Hansen, Radio Digest, February 1933)


February 2, Thursday. Dixie announces that she is pregnant.

February 9, Thursday. (11:50 a.m.–1:20 p.m.) Bing makes two recordings in New York, “What Do I Care, It’s Home” and “You’ve Got Me Crying Again,” with a studio orchestra.

February 14, Tuesday. (5:00-5:15 p.m.) Bing is interviewed by Bob Taplinger on the "Meet the Artist" program on CBS.


When Bing Crosby ad libbed on the ‘Meet the Artist’ program: ‘And I play a hell-of-a-game of pool,’ squawks were received from ‘holier than thou’ listeners.

(Variety, February 21, 1933)

       


February 23, Thursday. It is reported that Bing had won $1,600 on the horses in the previous week.

March 1, Wednesday. (9:00–9:15 p.m.) Bing stars in the Music That Satisfies radio show on CBS.


Bing Crosby will reveal the 1933 version of Dancing with Tears in My Eyes when he sings You’ve Got Me Crying Again. He will open his program at 6 o’clock with the plea, Why Can’t This Night Go On Forever? and will conclude with My Honey’s Lovin’ Arms.

(The Fresno Bee, March 1, 1933)


March 3, Friday. Paramount releases another Sennett short Sing, Bing, Sing.


…Perhaps it goes without saying that Bing sings a lot in this short. In the opening scene he’s at a radio station crooning “My Hideaway” into one of those massive, boxy microphones of the day. When he concludes, we learn that he and his girlfriend Helen are planning to elope. We learn this, along with all of Bing’s listeners, because he simply addresses her at home, where she’s listening to his broadcast, and unfolds the plan. Unfortunately for the lovers Helen’s crabby father is also listening. He wants to marry his daughter off to a callow young man named Herbert, played by the one and only Franklin Pangborn, so it’s no wonder Helen is keen to run off with somebody else. Bing shows up that night at Helen’s home to whisk her away but Dad and Herbert are waiting, along with two detectives in standard issue derby hats. But Bing is unflappable, and when the elopement is thwarted he simply tries again in the morning. The runaways are pursued over a mountain highway in a zany car chase, but Bing and Helen win out in the end—and Bing, naturally, has time for one more song. That’s really all the plot this breezy little short has to offer, which is fine. Story-wise this could have been a Sennett production of 1912…

     (An extract from a review by Charles Morrow, (aka wmorrow59) on the Internet Movie Database, September 27, 2008)

March 3–9, Friday–Thursday. Appears at Loew’s Journal Square Theater in Jersey City with Eddie Lang.

 

Bing Crosby, one of the most popular stars of the air, who is headlining the stage bill at Loew’s Jersey this week, is continuing to win tremendous applause at each and every performance. He is nothing short of a sensation. Bing sings several of the songs which made him famous, and he also offers a number of song hits of this season.

(The Record, March 7, 1933)


On a fateful evening together, Frank [Sinatra] took Nancy to see his idol Bing Crosby in a performance at Loew’s Journal Square, an old vaudeville theater in downtown Jersey City. It was a night that changed his life forever. “I was a big fan of Bing’s,” he recalled. “He was the first real troubadour that any of us had heard. After seeing him that night, I knew I had to be a singer. But I never wanted to sing like him, because every kid on the block was boo-boo-booing like Crosby. My voice was up higher, and I said, ‘That’s not for me. I want to be a different kind of singer.’”

(Frank Sinatra—An American Legend, pages 23–24)

 

It was a very exciting evening for both of us, but for Frank it was the biggest moment of his life. Bing had always been his hero, and he had listened to all his records, but watching him perform in person seemed to make it all come alive for him. I mean, he loved to sing; he’d sing at parties, he sang for me all the time, and he used to take me along on some of his appearances around town. But I don’t think he really believed it would really happen for him, until that night. “Someday,” he told me on the way home, “that’s gonna be me up there.”  

(Nancy Sinatra Sr., as quoted in Frank Sinatra—An American Legend)

 

March 4, Saturday. Bing’s recording of “You’re Getting to Be a Habit with Me” reaches the top of the pop charts. (9:00–9:15 p.m.) Bing stars in the Music That Satisfies radio show on CBS.

March 8, Wednesday. (9:00–9:15 p.m.) Bing again stars in the Music That Satisfies radio show on CBS.


Bing Crosby who got his name as an Injun scout in his Tacoma backyard, will introduce a new song entitled, ‘Shuffle Off to Buffalo’ as a feature of his program with Norman Brokenshire.  Bing will also sing, ‘Try a Little Tenderness’ and ‘More Than You Know’ while Leonard Hayton strikes up the band in ‘I Gotta Right To Sing he Blues’ (WJSV 9 pm).”

(The Washington Post, 8th March 1933)


March 9, Thursday. Dixie leaves New York for California, travelling by the Dollar Liner, President Van Buren, to Cuba and then back via the Panama Canal. She is accompanied by Everett’s wife, Naomi, Sue Carol, and by Billie Dove.  Dixie stays with Sue Carol on her arrival in Hollywood.

March 10–16, Friday–Thursday. Bing tops the bill at the Capitol, New York, with Milton Berle and the Eddy Duchin Central Park Casino Orchestra.

 

They liked Crosby’s mike crooning for which he carries a guitar accompanist, and demanded an encore. Later Crosby returned along with Berle to finish off the Duchin band turn and they clowned the show to a strong finale.

(Variety, March 14, 1933)

 

...Berle was on the scene again with a couple of gags and then introduced Bing Crosby, who created a mild furore with his crooning via the familiar mike. It was not until he brought on his guitar accompanist that his contribution to the evening’s festivities really got started, but nevertheless he garnered plenty of applause.

(Billboard, March 18, 1933)

 

March 11, Saturday. (9:00–9:15 p.m.) Bing stars in the Music That Satisfies radio show on CBS.

March 12, Sunday. President Roosevelt makes the first of his “fireside chats” to a radio audience of sixty million people. Bing attends a welcome home party for Abe Lyman at the Paradise Restaurant on Broadway together with many other stars such as Jack Dempsey, Jack Benny, George Raft and Milton Berle.

March 13, Monday. Harry Barris files a voluntary bankruptcy petition in Hollywood.

March 14, Tuesday. (Starting at 10:15 a.m.) Bing records three songs for Brunswick in New York with the Dorsey Brothers orchestra.

March 15, Wednesday. (9:00–9:15 p.m.) Bing stars in the Music That Satisfies radio show on CBS.

March 17–23, Friday–Thursday. Bing appears at the Valencia Theater in Queens, New York.

March 18, Saturday. Bing is unable to take part in the Music That Satisfies radio show as “something unexpected has happened.”

March 22, Wednesday. (9:00–9:15 p.m.) Bing in the Music That Satisfies radio show on CBS.


Bing Crosby to sing new songs

Bing Crosby will introduce a new song, “Somebody Stole Gabriel’s Horn,” during his broadcast at 6 tonight over KFRC and the Columbia network. His other numbers will be “What Have We Got to Lose?” and “Maybe I Love You too Much.” Leonard Hayton’s orchestra will play a scintillating version of “Meet Me In the Gloaming.”

(The Sacramento Union, March 22, 1933)


March 25, Saturday. (9:00–9:15 p.m.) Bing stars in the Music That Satisfies radio show on CBS.

 

The show for March 25 had been recorded on what was described as a flexible acetate and the library staff had had great difficulty in extracting the contents and putting them on a CD. I held my breath as the CD began to play and then I heard Norman Brokenshire say:

“Let’s forget about the week, it’s the weekend, it’s Chesterfield Time!”

Then Bing is heard singing the first few lines of “You Are Too Beautiful” and Brokenshire comes back to talk about Bing who is subsequently heard singing “What Do I Care, It’s Home”, a version that was fairly similar to his commercial recording of the previous month. A guitar accompaniment is apparent and presumably this was Eddie Lang.

The announcer then comes in to tell us about the virtues of smoking Chesterfield Cigarettes prior to the orchestral interlude, which was a rumba called “Tony’s Wife” and features some fancy clarinet playing (Artie Shaw?). After the orchestra has concluded, Bing and Norman Brokenshire exchange some dialogue about Bing changing the mood of the show with his next song, which turns out to be a full version of “You Are Too Beautiful”. Bing sings a verse first with guitar accompaniment then launches into the chorus powerfully and with real feeling. A great performance! Another commercial from the announcer has to be endured before Bing returns to sing “Moon Song (That Wasn’t Meant for Me)”. A pleasant ballad with guitar prominent. The needle had jumped once or twice when the CD was created from the acetate. Bing then speaks saying “My show is over, all that’s left is...” and then he segues into “Just an Echo” before whistling as Brokenshire talks over him to tell us that “Chesterfield Time” will return on Monday on CBS.

I was limp as a rag by now. A real “Music That Satisfies” show dredged up from the long lost ether! …Interesting that the show was known as “Chesterfield Time” by then. Presumably the previous title was too cumbersome. At last, we can confirm that “Just an Echo” was used as a theme at the end of Bing’s appearances. We had thought that it was used as an opening signature tune like “Where the Blue of the Night” but judging from the show I heard there was just an announcement followed by Bing singing a few bars from the featured song of the evening.

(Malcolm Macfarlane, writing in BING magazine, spring 2003)

 

March 26, Sunday (afternoon). Bing’s closest friend, Eddie Lang, dies at the Park West Hospital, New York, when a blood clot forms following a routine tonsillectomy. Bing is telephoned at the Friars Club and races over to the hospital to be with Kitty Lang. He accompanies the body to Philadelphia and attends the funeral at Holy Cross Cemetery, Yeadon, on March 30. The crowds mob Bing and turn the funeral into a circus.

 

     with Eddie Lang copy.jpgA Medical History

      Lang’s preoperative diagnosis is difficult to discern. In the few references that exist on the topic, Lang has been described as having “a chronically inflamed sore throat,” “laryngitis,” and “disorders of....the digestive system that tormented him his whole life.” Could Lang’s hoarse voice have been a sequela of undiagnosed gastroesophageal reflux? We may never know. Regardless, a tonsillectomy was advised. Lang’s family was assured that it was to be “an extremely simple operation.” On Lang’s death certificate, under the heading of “diagnosis during last illness,” are written the words “operation for recurrent tonsillitis/chronic tonsillitis.”

The tonsillectomy was performed the morning of Sunday, March 26, 1933, at Park West Hospital at 170 West 76th Street in Manhattan. Presumably, general anesthesia was used. Lang’s wife Kitty (a former Ziegfeld Follies dancer) was present in the hospital at the time of the operation. In the immediate postoperative period, the operation appeared to have been a success. The surgeon reportedly left, stating that everything had gone well. Kitty Lang recalls being told by the doctor that Eddie had been given a sedative and would sleep for a while. According to one published reference, Kitty left to get something to eat, and on her return found that Eddie Lang had died. However, in another source, Kitty claims that, despite the doctor telling her to go home and come back later, she remained at Eddie Lang’s bedside throughout the entire postoperative period, waiting for him to awaken and see her. Eddie Lang never woke up. According to Kitty, after a nurse checked Lang’s pulse around 5:00 p.m., a doctor was rapidly called, and Kitty was escorted out of the room, being told soon thereafter that Eddie had died. Bing Crosby, who reportedly had been at the nearby Friar’s Club, rushed to the hospital after being notified of Lang’s death. According to Kitty, “when Bing found out, he cried in my arms like a baby.”

The mechanism of death is uncertain. In a 1992 interview of some of Eddie Lang’s living relatives by Italian jazz critic Adriano Mazzoletti, it was stated that Lang had “suffocated on his own blood.” One relative suggested that Lang was allowed to bleed to death because of inattention by the nursing staff. Could there have been a lack of staff because of the operation being performed on a weekend? Another possible contributory factor to Lang’s death may have been a narcotic overdose, as the patient apparently never did regain consciousness after having been given a postoperative sedative. Yet another theory as to the cause of death centers around Kitty Lang’s claim that she had been told that Eddie had developed “a blood clot that formed in the lung.” Indeed, on Lang’s death certificate, under the heading “Contributory,” the words “coronary embolus” are written and scratched out with a single line, followed by the words “pulmonary embolus.” However, the accuracy of such a diagnosis cannot be confirmed, as an autopsy was never performed. According to Kitty, “I didn’t want them to cut him up anymore. Whatever had gone wrong, I felt I didn’t want to know.” Lang’s body was transported to his hometown of Philadelphia, where the funeral was held on Thursday, March 30, 1933. The event, which drew more than 2000 guests, including many members of the jazz community, was documented by a small obituary in the Philadelphia Record. Eddie Lang’s death drifted into distant memory as rapidly as Bing Crosby’s career rocketed toward uncharted heights. Legal action was never taken. “I feel that a mistake was made,” said Kitty, “but I don’t know for sure.”

On review of the limited data regarding the death of Eddie Lang, several questions emerge. First, where are the medical records? New York City’s Park West Hospital, where the surgery was performed, no longer exists; the site is now occupied by an apartment complex. The hospital had been a small (64- to 72-bed), private, for-profit institution established in 1926. During the time of Eddie Lang, the hospital was reportedly frequented by celebrities who required medical treatment and wished to protect their anonymity (personal telephone communication with E. Massaro, nephew of Eddie Lang, November 27, 2000).

In May 1976, 43 years after the death of Eddie Lang, Park West Hospital, along with its sister institution Park East Hospital, filed for bankruptcy. The hospitals were officially closed by July 1977, following repeated New York State Health Department citations for health, change of ownership, and building safety violations. After Park West Hospital was shut down, all medical records were retained by a lawyer. These records were destroyed in a Brooklyn warehouse fire, the exact cause of which was never determined (S. Weinbaum, personal communication by written letter to the author, January 17, 2001).

Another unsolved mystery regarding the death of Eddie Lang is the identity of the operating surgeon. Kitty Lang once recalled the doctor’s last name during an interview, “Wolf,” but the doctor’s first name has remained undisclosed. A 1934 American Medical Association physician roster lists 12 Manhattan physicians with the last name of Wolf, one of whom is identified as an otolaryngologist, but a connection between any of these physicians and Eddie Lang remains unproved.

Finally, why was the operation performed on a Sunday, and not during the regular work week? The answer appears to be related to the work schedule of Lang and Crosby. According to a relative, Lang and Crosby had to return to Los Angeles the following Wednesday and had already reserved a train compartment. Lang was to have the operation on Sunday, leave the clinic by Monday, spend Tuesday with his niece who would have just celebrated her fifth birthday, then leave for California on Wednesday. Needless to say, events did not go according to plan.

(Taken from Jazz and Otolaryngology: The Death of Guitarist Eddie Lang, an article by David L. Mandell MD, from the Department of Otolaryngology, Mount Sinai School of Medicine, New York, and published in the magazine of The American Laryngological, Rhinological & Otalogical Society, Inc., Volume 111(11) November 2001 pp 1980-1983)

 

Eddie’s passing hit me hard. He had a chronically inflamed sore throat and felt bad for a year or eighteen months before his death. He mistrusted doctors and medicine. Like many people who came from backgrounds similar to his and who had had no experience with doctors or hospitals, he had an aversion to them. But his throat was so bad and it affected his health to such a point that I finally talked him into seeing a doctor. Many times afterward I wished I hadn’t. The doctor advised a tonsillectomy. And Eddie never came out from under the general anesthetic they gave him.

(Bing Crosby, Call Me Lucky, pages 91–92)

 

March 29, Wednesday. (9:00–9:15 p.m.) Bing’s final Music That Satisfies show from New York.

 

Crosby Re-Adjusts Film Contracts - Plans One-Niters

Bing Crosby has re-adjusted his contract with Paramount and leaves for Hollywood this Thursday (30th). The singer refused to take a cut on his picture salary but agreed to concessions regarding his broadcast, line charge and band obligations. Paramount had originally agreed to pay Crosby’s radio hook-up bills and also furnish him with an orchestra for his broadcasts over a period of eight weeks. Line charges figure around $1800 a week and the band about $2300 weekly. Under the revised arrangement the producer will only have to foot these bills for two weeks or, the balance of Crosby’s contract with Chesterfield. Program goes off the air April 15th; concessions to Paramount also mean that the plan for Crosby doing a sustaining series on CBS after that date is out. Crosby will be off the air following the Chesterfield finale for at least thirteen weeks. After he’s finished his picture he lands a vaudeville bill and orchestra around him for a cross country tour of one-niters.

(Variety, March 28, 1933)

 

March 30, Thursday. Bing attends Eddie Lang's funeral in Philadelphia and then leaves for California.


Once the news broke of Eddie’s death, the radio networks marked the solemn occasion with a moment of broadcast silence. On March 29, Bing returned to broadcasting Music That Satisfies. He must have had difficulty stifling his sorrow while singing the opening song, “Have You Ever Been Lonely? (Have You Ever Been Blue?).”

Ed Massaro depicted for me the funeral proceedings which took place the very next day: “My father, Tom Massaro, oversaw the arrangements. My uncle’s body was transported to Philadelphia, where the funeral was held on Thursday, March 30. There were more than 20,000 guests. Ruth Etting’s husband, Norman ‘The Gimp’ Snider, controlled the overflowing traffic. Bing rode to the funeral in the lead car with Joe Venuti. When he arrived, he was mobbed. My grandfather was still in a state of shock at the funeral. Bing paid for the tombstone.”

Giddins’ report lays bare the tumultuous circumstances: “Kitty waived the autopsy. Eddie’s father Tom paced the floor for days while Kitty sat in a trance. She lost thirty pounds. ‘I remember someone touching my shoulder and telling me that Bing had arrived to take me to the funeral. Poor dear Bing, my heart went out to this great man who was sitting on top of the world as the greatest singer the world had ever known, and yet he lost the one companion who had been instrumental in putting him there.’ The service was hell for Bing, his first taste of the madness of celebrity. He was accustomed to autograph seekers in person and through letters; these he efficiently answered. At Eddie’s service, people closed in on him and turned the ceremony into a circus. In their haste, ‘just to touch him,’ in Kitty’s words, they overturned pews and the appalled priest was forced to implore mourners to take their seats. Bing was already phobic about hospitals and doctors, but this was unendurable, an intrusion on his and the family’s grief, and he resolved never to let it happen again. A welterweight named Marty Collins volunteered to protect Bing, who was impressed with his manner and effectiveness.”

(Martin McQuade, writing in GuitarPlayer magazine, October 21, 2016)


April 1, Saturday. Bing’s Music That Satisfies show is not broadcast.

April 2, Sunday. Bing arrives at Pasadena on the “Santa Fe Chief” and is met by Dixie. Mary Pickford and Nick Stuart have also been on the train with him.

April 3–May 4, Monday–Thursday. Films College Humor for Paramount Pictures with Jack Oakie, Mary Carlisle, Mary Kornman, and Richard Arlen. The director is Wesley Ruggles.

 

Arthur (Johnston) and I had learned that the studio was preparing, as Crosby’s first solo starring vehicle, a lavish filmization of College Humor, adapted from the popular novel Bachelor of Arts by Dean Pales, a book we had read and knew to be sprinkled with logical, spots for numbers. That was the script we wanted. Crosby had by now become a real powerhouse as a songmaker. The combined impact of his radio appearances, the eagerly awaited monthly recordings on Brunswick’s release list, and now the big musical films planned for him, were enough to catapult any good song to the top of the charts. We were well aware that the College Humor score was a prize that every songsmith in the land coveted. I say this without fear of contradiction, for aside from the five Crosby films I worked on, other Crosby scores were later written by such immortals as Irving Berlin, Cole Porter and Rodgers and Hart.

As much as we wanted to do College Humor, at Paramount you just didn’t ask for an assignment, any more than a doctor goes after a wealthy patient. The accepted thing to do was to just sit there and wait for it. Sometimes you got the one you wanted. Other times the dice came up with someone else’s number. So we did just that - sat there and waited, making a pretense of reading the other scripts that had been sent to us. Sat there and just hoped that the studio heads would see the obvious justice and good sense of giving the plum to the team that had turned out Bing’s biggest-selling song hit. Day after day, we sat around waiting for news. The suspense was something awful.

The anxiety ended one morning at Oblath’s Diner across the street from the studio. I was having breakfast and reading Louella Parsons’ column in the Los Angeles Examiner. Right there in her column was the item we were waiting for. Louella revealed that she had learned through the grapevine that Paramount was assigning the score of Bing’s first starrer to the writers of his popular hit, “Just One More Chance.”

Arthur and I went to the Grove that night and opened a bottle of champagne. We were so elated that we forgot to be sore at the studio for telling Louella before us. In fact, that night we weren’t mad at anybody.

College Humor, as we expected, was a juicy, gratifying assignment. The picture, directed by Wesley Ruggles, established Bing as a film superstar and was one of the top grossers of 1933. Three of our College Humor songs achieved hit status: “Learn to Croon,” “Down the Old Ox Road,” and “Moonstruck” - all remembered to this day as early Crosby standards.

“Learn to Croon,” in fact, contained a vocal trick for Bing which he capitalized on forever after. The middle section of the chorus goes:

You murmur “Boo boo boo, boo boo”
-And when you do,

She’ll murmur “Boo boo boo, boo boo”
And whisper love words to you.

The “Boo boo boo” sound has been the familiar Crosby trademark throughout the years.

“Down the Old Ox Road” was a sneaky bit of lyrical quasi-pornography which somehow got by the censors. I’ll never know why. Especially in those Victorian movie days, when the Motion Picture Producers Association rules did not even permit a word like “damn” to be used. In the script, it was brought out that when a college boy seduced a girl into sexual fulfillment, he was taking her “down the old ox road.” Girls who had been down the ox road were the ones most likely to succeed with college lads, as we were reminded throughout the story. The short chorus of the song really left nothing to the imagination if you knew the code words, which apparently the MPPA censors didn’t. I was almost sure it would be deleted from the final cut of the film when I wrote:

Down the old ox road,

Though you’ll never find out where it is by looking in
maps,

With a little investigation you’ll discover perhaps

That this old tradition’s not a place, but just a

proposition          

On the old ox road, the old ox road.

The lyric got by that way, and has never been changed.

(Sam Coslow, Cocktails for Two)

 

April 5, Wednesday. (6:00–6:15 p.m.) The Music That Satisfies show has moved to Hollywood to accommodate Bing’s filming activities and the first broadcast from there takes place using the studios of station KHJ. Paul Douglas is the new announcer, Raymond Paige becomes conductor. Press reports state that the orchestration for “Just an Echo” has been left in New York and Bing has to sing it using headphones while accompanied by the Lennie Hayton Orchestra in New York.


Bing Crosby sang from the West Coast last night, accompanied by Lennie Hayton’s Orchestra in the New York studio.  Bing had lost the orchestration of ‘Echo In the Valley’, prepared for a coast band.  So, putting on the earphone, as Hayton did here, Crosby sang, with both wires open, perfectly, with the band 3,000 miles from him, affording his background. 

(New York Evening Journal, 6th April 1933)


April 8, Saturday. (6:00–6:15 p.m.) Music That Satisfies radio show on CBS.


Los Angeles once again becomes the center of the nation’s attendance (KHJ-6p.m.) when Radio Station KHJ snatches Bing Crosby from the film studios to put him on the Columbia network. With Raymond Paige’s orchestra weaving a sympathetic pattern of accompaniment, Bing will sing “Linger a Little Longer,” “Farewell to Arms” and “You’re Beautiful Tonight, My Dear.”

(Los Angeles Times, April 8, 1933)


April 12, Wednesday. (6:00–6:15 p.m.) Bing stars in another Music That Satisfies radio show on CBS.


Still in Southern California, Bing Crosby saunters into KHJ tonight, to open up with ‘I Wake Up Smiling’.  He will be accompanied by Raymond Paige and his Orchestra, Bing’s second selection will be, ‘Try a Little Tenderness’ and he will conclude with ‘Night and Day’ and his familiar theme, ‘Just an Echo in the Valley’”

(Los Angeles Times, 12th April 1933)


April 13, Thursday. (9:15-10:00 p.m.) Bing takes part in the KHJ Birthday Party broadcast.

 

Congratulations to KHJ, one of the outstanding stations on the Pacific coast. It has only 11 candles on its birthday cake today, but that does not mean it is a youngster. In radio, that number, small as it is, indicates that the station is one of the pioneers of the country. In its short existence, KHJ has had its power increased tenfold, has added modern television equipment, has become the key station of the Don Lee Broadcasting System, and an associate of the Columbia Broadcasting System. Morton Downey, Bing Crosby, Burns and Allen, Norman Nielson, Hazel Warner, Uncle John Daggett and many other radio entertainers will help KHJ celebrate its birthday anniversary tonight by presenting a program which will be broadcast at 9:15. Ken Niles will be master of ceremonies. A limited number of guests have been invited to the studios for this performance.

(Zuma Palmer, Hollywood Citizen News, April 13, 1933)

 

April 15, Saturday. (6:00–6:15 p.m.) The final Music That Satisfies show is broadcast.

 

Bing Crosby will ring down the curtain on the ‘Music That Satisfies’ broadcast series tonight, when he appears on the Columbia network and KOL at 6 o’clock with a fifteen minute song recital. The popular series which has brought to the microphone such entertainers as, Ruth Etting, Crosby, Jane Froman, the Boswell Sisters, Arthur Tracy, Alex Gray and Leonard Hayton’s Orchestra, will be discontinued for the summer months. Crosby will close his engagement tonight with the two ballads, ‘Why Can’t This Night Go on Forever?’ and ‘Maybe I Love You Too Much’ (sic). He will also sing ‘Darkness on the Delta’, a melody of the Southland. Raymond Paige’s Orchestra will accompany the singer and play ‘Syncopated Love Song’”

(Seattle Post, 15th April 1933)

 

Later, starting at midnight, Bing attends the annual benefit staged by the Temple Israel at the Pantages Theater but after waiting for two hours to sing, gives up and goes home. Bebe Daniels, Chico Marx, Gus Arnheim, Phil Harris, and Ken Murray are also advertised to take part.

April 20, Thursday. (6:45-7:00 p.m.) Bing takes part in a radio program from station KFWB when he is interviewed by Ray De O’Fan. Bing sings “Just One More Chance.”

April 21, Friday. Said to have auditioned via a 3000-mile leased wire to New York for a proposed new Chesterfield show for CBS with Richard Arlen and Mary Brian. It is subsequently announced that the half-hour program will commence on May 15 but in fact, there are no further developments because of the high weekly line charges from Los Angeles to New York amounting to $1,200 per week.

April (undated). Bing goes to Palm Springs for a rest.

April 26, Wednesday. Bing and Dixie join a party at the home of Sue Carol and Nick Stuart for what is described as beer and sandwiches. Then the twenty-five people present are driven to the circus in four separate cars where they enjoy the performance by cheering on every act. The party included Ginger Rogers, Lew Ayres, Charlie Farrell, Jimmie Fidler, Ken Murray and Johnny Mack Brown. After the circus, they return to Sue Carol's home and play bridge until 3 a.m.

May 4, Thursday. Vaudeville returns to the Warner Bros. Hollywood Theater. Bing is one of several stars who attend the show, which is accompanied by the Warren William feature picture, The Mind Reader. The best of the offerings is said to be the Egyptianized solo dance of Eddie Anderson, colored comedian, who appears with Earl Dancer’s musical aggregation, the Harlem Entertainers. Eddie later becomes well known as “Rochester” in the Jack Benny radio show.

May 11, Thursday. (3:00–6:00 p.m.) Makes promotional records for his film College Humor with the Paramount Orchestra.  

May 13, Saturday. Golfs at Midwick in the Scotch foursomes. Bing and his partner are beaten and after the match is decided, Bing has a hole-in-one at the thirteenth.

May 15, Monday. Paramount signs Bing to a two-year contract that calls for two pictures a year.

May 18, Thursday. Bing and Dixie rent the home of Sue Carol and Nick Stuart while the owners are away on a personal appearance tour. The Paul Whiteman film King of Jazz is re-released nationwide in view of the success of Bing, John Boles, and others on radio.  

May 24, Wednesday. Commences filming shorts Please and Just an Echo (both with Mary Kornman and Vernon Dent) for Paramount with exteriors being done at Yosemite Park until June 2. Arvid E. Gillstrom directs both shorts.

May 29, Monday. Bing and Dick Arlen watch Jimmy McLarnin knock out Young Corbett III in the first round to win the world welterweight title at Wrigley Field.

June 5, Monday. Mary Rose Peterson (Bing’s sister) gives birth to daughter Carolyn.

June 6, Tuesday. (6:00-6:30 p.m.) Sings “Learn to Croon” and “Moonstruck” from the film College Humor on the California Melodies program broadcast by CBS from station KHJ. This is the first time these songs have been heard on the air. Jack Oakie is also on the show and Raymond Paige and his orchestra provide the musical accompaniment.

June 9, Friday. Records “Learn to Croon” and “I’ve Got to Pass Your House” plus two other songs in Los Angeles with Jimmie Grier and his Orchestra under Jack Kapp’s supervision. Many fans consider this session to represent the best of the “young” Bing.

 

“When a Bing Crosby movie ever came to Steubenville, I would stay there all day and watch. And that’s where I learned to sing, ‘cause it’s true I don’t read a note,” he [Dean Martin] would say. “I learned from Crosby, and so did Sinatra, and Perry Como. We all started imitatin’ him. He was the teacher for us all.”

      In the 1933 movie College Humor, Crosby sang ‘Learn to Croon.’. . . His Brunswick recording of it became a hit that summer, and with it, Crosby’s way of singing, slow and low and cool, became irrevocably known as crooning. Many years later, there would be fancy talk of Crosby’s “discreet use of appoggiaturas, mordents, and slurs,” and the New York Times would describe him as “a bel-canto baritone whose art disguises art.” But back then, it was crooning pure and simple. He worked the microphone as if it were a broad, weaving songs whose melodies seemed magically to merge with his natural breath. Young Dino was not alone. No singer who came after Crosby would ever approach a microphone or a song without passing through his shadow.

(Dino, Living High in the Dirty Business of Dreams, page 76)

 

June 12, Monday. (8:00–8:30 p.m.) Stars in “Hollywood on the Air” over KECA-NBC. The program previews College Humor.

June 13, Tuesday. Recording session in Los Angeles with Jimmie Grier and his Orchestra. Four songs are recorded including “Shadow Waltz” and “Blue Prelude”.

 

“I’ve Got to Pass Your House” – “Blue Prelude”

Everything in this record is absolutely ace high, and it must surely rank as one of the finest vocal discs ever issued. Bing is at the top of his form, and the grand recording brings out every inflection of his splendid voice. Both numbers are of the blue type, and Bing renders them perfectly, backed up by an able and artistic accompaniment. These performances are very moving, and it is a thrill of a lifetime to hear the way Bing finishes the first number. What a climax!

(Melody Maker, October 7, 1933)

 

June (undated). Bing starts building his first home, on Forman Avenue in the Toluca Lake District. Dixie’s father, Evan Wyatt supervises the work with Harold Grieve and his wife, Jetta Goudal, handling the decorating arrangements. Grieve was a former art and technical director in the movies who set up his own internal decorating business, often working for clients from the film industry.

June 16, Friday. President Roosevelt signs the National Industry Recovery Act and a new agency, the National Recovery Administration, is set up to administer it. Meanwhile, Bing records three more songs with Jimmie Grier and his Orchestra in Hollywood. Bing’s film College Humor is prereleased in four different locations and is a huge hit. The main release takes place on June 30.

 

On the campus of Mid-West University the girls are charming, the faculty is tolerant and the romantic problems of Jack Oakie and Richard Arlen have a reminiscent appearance. “College Humor,” at the Paramount, is a musical comedy tour of Mid-West during the four semesters when Professor Bing Crosby is giving his informal course on the history of the drama.

Burns and Allen are there, too, as caterers, and Miss Allen is still preserving an uncommonly foolish attitude to the facts of life. And there are songs—“Learn to Croon,” “Moonstruck,” “Play Ball” and “The Old Ox Road.” And a football game, Mid-West vs. that Eastern college, and the score 13—7 in the last minute.

“College Humor” is funny in spurts and agreeable most of the time. There are delightful moments when it seems to be on the verge of satirizing all the dreary collegiate films of the last decade. Mr. Crosby turns out to have a sense of humor and his subterranean blue notes are easy to listen to. Burns and Allen, hilarious clowns, have too little catering to do, for one thing. And the story wanders off the deep end about the time Mr. Arlen is kicked out of school for getting drunk and trying to punch Mr. Crosby in the nose.

Looked at as a whole, it emerges as an unsteady entertainment, with no very discernible intent, theme or goal, but with a modest fund of humor and two or three heartily amusing patches. The story would seem to indicate that Mondrake (Mr. Arlen) is in love with Barbara Shirrel (Mary Carlisle), sister of his room-mate, Barney Shirrel (Mr. Oakie). Barbara, a capricious girl, loves Professor Danvers (Mr. Crosby), who doesn’t realize it. Mondrake is expelled for making a spectacle of himself and Barney is forced to bear the brunt of the big football game all by himself.

Mr. Oakie’s owlish efforts to assimilate an education help the comedy along and Miss Carlisle is a very model of a model musical comedy co-ed. Mr. Arlen is reliably pleasant.

(New York Times, June 23, 1933)

 

A choppy cutting job that gives the story’s progress a jerky, uneven appearance went a long way toward tearing down College Humor’s best points, but fortunately there was enough left after the scissor-man got through for an entertaining picture. A light, frothy musical that doesn’t give the customers much of a mental workout, it’s nice summer fare on timely release that should turn in satisfactory business in general…The leading boy, as usual, is the fresh guy freshman, but the uncommon angle is a professor (Crosby) who croons his lessons and croons the campus belle away from the star footballer, and then croons himself into a star crooner on the radio…“Learn to Croon” is the most catchy of the Coslow-Johnston score but the picture, under its musical rating could have used a more outstanding lead tune. Crosby does the singing.

      Between Crosby for romance and Oakie for laughs, the picture has a strong pair of male leads. . . Crosby makes his best showing to date with a chance to handle both light comedy and romance. His pale face makeup is the only flaw so it looks like all he needs is a new paint job and another good role.

(Variety, June 27, 1933)

 

“College Humor”, by the way, is drawing the longest lines that have been seen in some time and people are getting all excited over a new discovery—Bing Crosby. They’ve suddenly discovered what a grand personality the lad has, even when he isn’t singing. The public is sometimes slow, but always proud of its discoveries.

(The Hollywood Reporter, June 30, 1933)

 

June 19, Monday. (9:30 p.m.) Bing and other members of the cast from the film College Humor make personal appearances on the stage at the Paramount Theater in Los Angeles to publicize their movie.

June 20, Tuesday. (8:15-8:30 p.m.) Bing appears on radio station KFWB to interview Harry Bassler, the Lakeside golf professional, who in turn gives him advice on how to use a spoon (a type of golf club).

June 23–29, Friday–Thursday. Appears live at the Paramount in Los Angeles on four occasions and sings songs from the film College Humor, which is also being shown at the theatre.

June 26, Monday. The Kraft Music Revue makes its debut on NBC. Al Jolson and Paul Whiteman star in the opening show. The name of the program is changed to the Kraft Music Hall in 1934.

June 27, Tuesday. Dixie gives birth to Gary Evan Crosby at Cedars of Lebanon Hospital. The baby weighs seven pounds, six ounces and he is named after Bing’s friend Gary Cooper and Dixie’s father, Evan Wyatt.

July 1, Saturday. “Shadow Waltz” enters the charts and subsequently reaches number one.

July 3–mid-August. Bing films Too Much Harmony for Paramount with Judith Allen, Jack Oakie, Skeets Gallagher, and Lilyan Tashman. The film is directed by A. Edward Sutherland. Bing also films another Hollywood On Parade, an eleven-minute short, with Jack Oakie and Skeets Gallagher in order to promote Too Much Harmony.

July 4, Tuesday. (6:15-6.45 p.m.) Appears on the California Melodies radio program singing three songs from College Humor.


Bing Crosby will furnish the pyrotechnics on the Melodies program this evening, singing three tunes from his latest motion picture.

(The Fresno Bee, July 4, 1933)


July 8, Saturday. Bing is thought to have golfed at Lakeside in a competition called The Bering Trophy. Dixie is reported to have suffered a slight relapse at the Cedars of Lebanon hospital following some minor surgery after having given birth on June 27.

July 9, Sunday. Bing (handicap 6) defeats Horace Heidt, band leader, 1 up, at the Rancho Country Club, to win the “musical golf championship of America.” Each had a medal score of 79, with Bing coming from behind after being two down in the first five holes to win the match.

July 20, Thursday. Bing films Hollywood on Parade No. A-4 (1933), a twelve-minute short film with Mary Pickford in which he promotes his song “Down the Old Ox Road” from College Humor.

July 25, Tuesday. Bob Crosby marries Marie Grounitz (age 19) in Oakland. (6:00–6:45 p.m.) Again appears on the California Melodies radio show and sings “Blue Prelude” and “I Would If I Could, But I Can’t.” It is announced that Bing has hired a bodyguard, Marty Collins, to protect his wife and new baby in his Hollywood home. Permission is given for the bodyguard to wear a special officer badge.


The current edition of “California Melodies” over KHJ at 6 pm. gives promise of being a winner, especially with the women, as it marks the reappearance of Bing Crosby and brings John Boles, singing film star, to the microphone for an interview.

(The Los Angeles Times, July 25, 1933)


July (undated). Bing signs a contract to make three films for Paramount in 1935 for $250,000 in total.

August 3, Thursday, onwards. Bing goes to Catalina Island on a fishing trip and he and Richard Arlen and Gary Cooper cruise down to Mexican waters in Arlen’s boat, the Jobyna R.

August 16, Wednesday. Dixie Lee is back in Cedars of Lebanon hospital having fallen at home and broken her elbow. Bing rushes back from Catalina Island to take her to hospital.

August 21, Monday. Bing asks Paramount to remove his star billing for Too Much Harmony and co-feature him with Jack Oakie and Skeets Gallagher.

 

Crosby doesn’t want star billing by Par.

Hollywood August 21. Bing Crosby has requested Paramount to kill the star billing the studio has given him on ‘Too Much Harmony’. He requested that he be co-featured with Jack Oakie and Skeets Gallagher. Studio has all the paper on the picture printed and feels that it can’t afford to dig new paper. Crosby is insistent. Player claims that too many actors have been killed by top billing and he is not going to take a chance. Studio says that the crooner’s name is one of its best assets at present and should be used for all its worth. Situation has Crosby in the front office daily demanding that the studio pull his name down on the picture’s advertising while the studio is attempting to sell him that he is big enough to carry a picture.

(Variety, August 22, 1933)

 

August 22, Tuesday. Bing catches a 188-pound marlin sword fish in 45 minutes at Catalina Island and is photographed with his catch.

August 27, Sunday. Bing plays in the Los Angeles Examiner Golf Championship at the Midwick Country Club but has a poor round, scoring a ninety-five! Partnered with Chico Marx, they lose to radio writers Kenneth Frogley and Ray De O’Fan. Bing subsequently writes to Ray De O’Fan of the Los Angeles Examiner as follows:

 

I am in receipt of a bill from the management of Midwick Golf Club covering Flit and other deodorant used in expurgating their lovely fairways following my debacle of last Sunday. Although I am ready and willing to assume some portion of this expense, it seems only right that the Messrs. Marx and Frogley are equally liable for the damage done and should accordingly be assessed. I hope at some early date I can get you at Lakeside. There I am confident of at least a 92 or 93.

(Los Angeles Examiner, September 1, 1933)

 

Bing later records four songs from the film Too Much Harmony in Los Angeles with Jimmie Grier and his Orchestra. (6:45-7:45 p.m.) Takes part in a major joint NBC and CBS broadcast which is designed “to help pep things up for the National Recovery Administration.” Other artists in the studio with Bing are Will Rogers, Eddie Cantor, and Ruth Etting.


Crosby and Grier Make Recordings for Brunswick Co.

Among the best phonograph records produced of late are four recordings made by Jimmie Grier and his orchestra with Bing Crosby. The tunes are “Black Moonlight,” “It Had to Be That Way,” “The Day You Came along,” and “Thanks.” They are from Crosby’s new picture. The recording was done at Recordings, Inc., at the Melrose Avenue studio for Brunswick.

All the numbers were done in concert style from arrangements by Grier. “Black Moonlight” is particularly outstanding from the standpoint of voicing and originality.

(Tempo, September 15, 1933)


August 28, Monday. During the afternoon and evening, Bing and Dixie attend a reception at the Westwood home of Mr. and Mrs. Skeets Gallagher following the christening of the Gallagher’s baby daughter, Pam. The christening was solemnized at the Little Church of St. Paul, the Apostle. Other guests include the Charles Erwins, the Leo McCareys, the Wesley Ruggles, the Frank Capras and Jack Oakie.

August 30–October. Films Going Hollywood with Marion Davies for William Randolph Hearst’s Cosmopolitan Pictures using the MGM facilities. Preliminary rehearsals take place at Hearst’s San Simeon castle. Bing sings “Temptation” and four other songs, earning $2,000 weekly above and beyond a lump sum. The film also features Fifi D’Orsay and Stuart Erwin. The producer is Walter Wanger and the director is Raoul Walsh. Some outdoor locations are shot at Walsh’s Encino ranch. Lennie Hayton is the musical director. Production is delayed in September by the illness of co-star Marion Davies and the film wraps several weeks late. The end of picture party is held at Marion Davies’ lavish bungalow at Santa Monica and Bing sings a parody called “Rollicking Rockaway Raoul.”

 

SPEND FIVE DAYS FILMING ONE SONG

Five full days of music and melody—40 full hours of singing and dancing—boiled down to three brief minutes of tuneful entertainment for the screen!

This was the production miracle accomplished for one of the five song hits introduced in Marion Davies’ new Cosmopolitan production for Metro-Goldwyn-Mayer, “Going Hollywood.” And this time element does not include the weeks of preparation, nor the long period of dance rehearsals, It involved the picturization of one song. “Going Hollywood,” sung by Bing Crosby, Miss Davies’ leading man in the picture, and which is presented, critics have stated, in one of the most novel, tuneful arrangements ever brought to the screen.

The song is offered during Bing Crosby’s flight through New York's Grand Central Station, on his start for Hollywood and a picture career, and continues from the moment he appears on the grand stairway until he reaches the observation platform for his westward journey.

It was not the filming of those scenes alone that necessitated the five days of labor. A hundred other tasks were necessary to boil the five-day program down to three minutes of actual footage.

There were the rehearsals by the augmented orchestra, led by Lenny Hayton, America’s young musical director.

There were the song rehearsals of the vocalists, and the varied choruses, supervised by Herb Nacio Brown and Arthur Freed, composers of "Going Hollywood" song numbers.

There were those aching hours of dance rehearsals, directed by Albertina Rasch, by the hundred and more sprightly tap-dancers.

The hours required for limbering-up by the colored porters’ dancing chorus.

The hours spent in synchronizing the many voices, including Bing Crosby’s, with the orchestrations.

    (The Washington Herald, November 22, 1933)

Bing Crosby was a very fine man to work with. He was always in a very happy mood and he never paid any attention to anybody—he just paid attention to his work. What amazed me was that when he started to sing before the orchestra, he could sing perfectly fine with a pipe or a cigarette in his mouth. I said to him one day, “How can you do that when you’re smoking.”

      “It gives me that sort of husky quality.”

      He was very cute and very sweet, and he was crazy about his wife Dixie. And she was a darling. Every time he’d be doing a scene, his eyes would be sort of. . . He had big blue eyes and you knew his mind would be way off. I knew where it was. He was wondering where Dixie was and what she was doing. He’d stay by himself and read a newspaper, and then he’d go to the phone and call up Dixie.

(Marion Davies, writing in her book The Times We Had—Life with William Randolph Hearst)

 

Despite the overwhelmingly positive reviews afforded to Marion in 1932, with the success of Polly and the Circus and Blonde of the Follies, in 1933 Marion found herself back in unidimensional roles. Going Hollywood in which she co-starred with Bing Crosby, would be something of a step backward in her quest for more substantial roles. Going Hollywood was originally written by Frances Marion as Paid to Laugh with Marie Dressler cast as Marion’s mother. Frances was off contract at the time, and MGM paid her $10,000 for the rights before handing the material over to Donald Ogden Stewart, who cut out the role of Marion’s mother and retitled the project Going Hollywood.  Raoul Walsh, a veteran director of dramas, signed on to be the director, and it would be his first musical.

The story is one of Marion’s stranger films and more convoluted plot lines. In Going Hollywood, Marion plays a young boarding school teacher who yearns for freedom, deciding to follow her favorite singer (played by Bing Crosby) across the country.  Going Hollywood is noteworthy for introducing the song “Temptation,” which became a Crosby standard, and as one of the movies in which Marion was able to do her biting, spot-on impression of co-star Fifi D’Orsay. Marion’s alcoholism was beginning to affect her health, and it is noticeable in Going Hollywood. Her face was slightly puffier, and she had gained weight. This increase in Marion’s drinking was exacerbated by Crosby’s, as the two of them clowned around on the set. Since W.R. was not watching Marion, they felt free to let the alcohol flow.

(Lara Gabrielle, Captain of Her Soul: The Life of Marion Davies, page 127) 


September 2, Saturday. Bing and Dixie go to a dinner party at the Toluca Lake home of Mr. and Mrs. Richard Arlen.

September 10, Sunday. Bing and Dixie attend a reception given by actor Nick Stuart and Dave Kay in their new business quarters in West Hollywood. Nick has opened an agency.

September 11, Monday. (8:00-8:30 p.m.) Bing, Jack Oakie, and Skeets Gallagher appear on the Hollywood on the Air radio program from station KECA and promote their film Too Much Harmony.

September 12, Tuesday. It is announced that Bing will commence weekly broadcasts on CBS for Woodbury Soap on October 7. He will be paid $1750 per show.

September 15, Friday. Bing records the song “Going Hollywood” for the soundtrack of the film of the same name.

September 18, Monday. Bing and Dixie move into their new home at 4326 Forman Avenue.

September 19, Tuesday. Variety states that Bing “is the present-day disc best-seller.” Under his Brunswick contract, he receives $200 a side plus royalties. Victor is said to be flirting with Crosby and offering $1,000 per recording. (6:00-6:30 p.m.) Bing appears on the California Melodies radio program from station KHJ singing songs from Too Much Harmony accompanied by Raymond Paige and his Orchestra. English actor Clive Brook is interviewed on the same show.

September 20, Wednesday. Bing and Dixie are again entertained to dinner at Richard Arlen’s home. Other guests are Sue Carol and Ken Murray.

September 22, Friday. Bing’s film Too Much Harmony is released.

 

The film bears the title of Too Much Harmony and those who are partial to crooning will find plenty of it in this production...Even persons who delight in Mr. Crosby’s peculiar ballads may be somewhat disappointed in his attempts to register admiration and affection, for, although he is one of the most popular singers in his line, his acting is often apt to make one uneasy.

(New York Times, September 23, 1933)

 

Pretty weak on the story end, but there’s enough incidental matter to carry this one through. It’s a musical with accent on the music and the song and cast should bring it pleasant returns all over… Between Bing Crosby and Jack Oakie, the literary deficiencies are modified. Crosby for the singing and Oakie for the comedy; a strong combo. . . At least one of the several songs should make the best-seller grade in the competent hands of Crosby. His singing ability he always had, but Crosby now has also found himself in the trouping department. It makes him a cinch.

(Variety, September 26, 1933)

 

In this, as in other films, the Crosby voice records as if microphones were invented for it. Bing has definite personality besides, and he grows steadily more at ease in his acting.

(Los Angeles Evening Herald Express, September 29, 1933)

 

College Humor and Crosby’s third picture, Too Much Harmony, both received some excellent critical reviews as well as some bad ones. The main topic of most of these notices was, of course, Crosby. Most critics found him a strong contender for stardom; however, some reviewers were less than impressed with his as yet undiscovered abilities as an actor. Most of these critics commented that Crosby could not yet sustain a believable characterization. This is basically true; however, there is no denying that Crosby’s roles in these films were very weakly written and understandably difficult for him to make believable, As a result, his acting in these early films is distinctly limited, lacking in the style and credibility he brought to most of his later characterizations. Nearly all critics did agree that Bing’s singing, voice was one of the most original and pleasant sounds ever to emerge from a motion picture.

(The Films of Bing Crosby, page 22)

 

September 27, Wednesday. Bing records four songs including “The Last Round-Up” and “Home on the Range” in Los Angeles with Lennie Hayton and his Orchestra. Later in the day, he records the song “Temptation” for the Going Hollywood soundtrack.

 

…Bing’s singing becomes more and more impressive, and though he is referred to more often than not as a crooner, he is definitely nothing of the sort. The virility and richness of his voice make him incomparable as a singer of popular songs, whether it be with or without the medium of the microphone. His recent Brunswick record of the Last Round-up is sung so powerfully and richly that it looks like being the hit record of the season, bigger even than Please which was his furore in the Big Broadcast film.

(Melody Maker, November 18, 1933)

 

In contrast to the prosaicness of the accompaniment of Lennie Hayton’s orchestra on the coupling, [Home on the Range] the four-measure introduction here is superbly effective, including Hayton’s meaty violin unisonals and prominent guitar. The slightly lachrymose effect used on Home on the Range is peculiarly effective here with the tear in Bing’s voice being exactly appropriate to the thought and theme of The Last Round-Up. With his personalizing and vitalizing every phrase, with unobtrusive and complementing accompaniment, and with Bing whistling the bridge of the second chorus, this is practically a perfect rendition of this well-nigh perfect little song, an adjudication with which there can be little disagreement.

(Dr. J. T. H. Mize, Bing Crosby and the Bing Crosby Style, page 107)


Bing's version of "Home on the Range" turned a little-known saddle song into the most renowned western anthem of all time. In November 1933, when his record was issued, the origin of "Home on the Range" was obscure and widely debated. Folklorist John Lomax, who said he learned if from a black saloonkeeper in Texas, published it in 1910, in Cowboy Songs and Other Frontier Ballads. In 1925 a sheet-music arrangement found modest popularity; two years later Vernon Dalhart, the operatic tenor turned hillbilly singer, recorded it for Brunswick. California's radio cowboys picked it up from him, and in 1930 the movies' first crooning western star, Ken Maynard, recorded a version. Not until Bing sang it, however, was the song embraced as a national hymn, so popular as to generate a farcical plagiarism suit that had the unintended benefit of spurring an inquiry into the song’s history. It was traced to a poem, "Western Home," written in the 1870s (without the chorus or the phrase "home on the range") by Dr. Brewster Higley, whose neighbor, Dan Kelley, set it to music. Bing's stirring performance transforms a nostalgic lament into an ode to pioneering, a dream of shared history, a vaguely religious affirmation of fortitude in the face of peril. He made it a Depression song that ignores the Depression, expressing longing, awe, and grace. Bing's subtle embellishments enhance the melody, and his projection and control are unfailingly dramatic, particularly during the soaring eight-bar release. His record offered a transcendent secularity, a well from which all Americans could drink. More prosaically, it anticipated the golden age of gentle-voiced singing cowboys and the Irish sentiment of the John Ford westerns that followed on their heels. FDR acknowledged "Home on the Range" as his favorite song.

(Gary Giddins, A Pocketful of Dreams, pages 338-339)

 

The year had witnessed a shortage of finance of the most acute character. The summer of 1933 had been exceptionally hot and the record industry had continued to dwindle. We were, however, consolidating our position in the industry and our American contracts were showing the promise of great things in the future. Already we were achieving bigger sales than our American friends. Whereas in the U.S.A. a sale of 25,000 copies of any one record was regarded as exceptional, in Britain Bing Crosby’s record of Please went over 60,000 and of The Last Roundup 80,000 copies.

(E. R. Lewis, founder of Decca, writing in his book No C.I.C, page 44)

 

September 30, Saturday. (6:15 to 6:30 p.m.) Bing stars in Parade of Champions on CBS with the Raymond Paige Orchestra. This is the first of a series of six broadcasts sponsored by Studebaker to promote their four models. He sings “Thanks,” “Don’t Blame Me,” and “I Guess It Had to Be That Way.” (8:30-9:00 p.m.) Bing is interviewed by Jimmie Fidler on the Hollywood on the Air radio program and again sings “Thanks”.

September (undated). Everett Crosby is involved in negotiations for Bing to appear as the Mock Turtle in the Paramount film of Alice in Wonderland. It is said that his demands for a week’s salary for Bing and for Bing to have permission to do one picture outside the studio are unacceptable and the part goes to Cary Grant.

 

Bing Crosby has not yet accepted the role of the Mock Turtle in Alice in Wonderland. The part requires but a few days’ work, and Crosby, I hear, has demanded payment for a full picture in return for playing this brief role. Perhaps Crosby doesn’t fancy the elaborate disguise he would have to don, either. Paramount wants as many big names as possible for this picture, into which so much money already has been poured. Radio crooners are big box office attraction, so if Crosby won’t sing the ditties of the Mock Turtle, it’s possible that Russ Colombo may be engaged. Colombo is working at Universal, but he is not working there at this time. And with his first picture, Broadway Through a Keyhole, now released, he will be building film popularity.

(Elizabeth Yeaman, Hollywood Citizen News, November 2, 1933)

 

October 2, Monday. Bing and Dixie attend the premiere of the play “Louder Please” at the Belasco Theater. The play features Ken Murray and Sheila Terry.

October 5, Thursday. (6:15–7:15 p.m.) Appears on the final show of the Parade of Champions radio series with Ethel Barrymore, Morton Downey, Willie and Eugene Howard, Ruth Etting, and the Raymond Paige Orchestra. Bing is advertised to sing "The Day You Came Along" and “This Time It’s Love”.

 

Crosby, Etting and Downey with their several vocal styles need no reviewing. Suffice that each confirmed previous judgments by socko song-peddling. First two broadcast from L.A.

(Variety, October 10, 1933) 

 

October 8, Sunday. Gary Evan Crosby (aged 3½ months) and Richard Ralston Arlen (aged 4½ months) are christened in a double ceremony at St. Charles Church, North Hollywood. Afterwards a huge party is held at Bing’s new home. Several hundred guests are there, including Bing’s parents, and they overflow into the garden. Russ Columbo is also one of those present.

 

Bing Crosby and Russ Columbo have buried the hatchet. Not, as you might surmise, in each other’s skull, but in six feet of soil where the weapons of warfare was planted without ceremony. The “battle of the baritones” has ended and the boys have made up. They realize there is enough money, enough following for both and they will enjoy it.

      It all happened when Columbo attended the christening of Crosby’s young son last Sunday and of course “Ears” O’Fan was on the job, three feet away, when greetings were exchanged.

      “Hello, Russ,” came the hoarse, familiar voice of Crosby.

      “Hya, Bing,” returned the good-looking Columbo.

      They chatted for a few minutes until both paid respects to other guests. Of course I wanted a picture of that handshake but the powers insisted that the time was not ripe for photographs. Columbo was one of the last guests to leave.

      Others lifted their eyebrows in amazement to see the two crooners talking together. Sam Coslow, himself one of the crooning troupe and one whose voice has a Crosby and Columbo twang, was stupefied. “If I hadn’t seen it with my own eyes I’d never believe it,” he said.

      Throughout the afternoon, air buzzed with “Columbo’s here.” There was no sign of strained relations. In fact one of the Crosby contingent volunteered, “Everything is going to be alright between those fellows.”

      The story of their break dates back to the time when both were affiliated with Gus Arnheim. Later both bucked the portals in New York City and again they clashed. Those who know say that “advisors” whispered poisonous words into the ears of Bing and Russ.

(Ray De O’Fan, Los Angeles Examiner, October 11, 1933)

 

October 10, Tuesday. Variety carries the following item. (It did not come to pass!)


Bing Crosby opens at the Paramount, New York, Nov. 10, for a five-weeks run in the one house at $5,000 per. Deal is on a straight salary basis, without percentage. Crosby, who has been on the Coast for Paramount and doubling on the air, had intended to do his first 26 broadcasts for Woodbury from Hollywood. Broadway booking will necessitate his coming east and transfer of the program to CBS' New York studio.

(Variety, October 10, 1933)


October 14, Saturday. Press reports indicate that Bing has joined the Screen Actors Guild.

 

FILM WORKERS WILL MEET TO PROTEST CODE

Upon the outcome of a huge mass meeting of film workers and actors at 8pm tomorrow at the El Capitan Theater rests the turn of the approaching crisis with which the film industry is threatened because of dissension over the NRA film code’s regulations.

A large attendance is expected at the gathering, sponsored by the Screen Actors Guild and the Screen Writers’ Guild, when “definite action” against the tentative film code provisions will be taken, according to Guild officials.

WALKOUTS THREATENED

The vigor of the protests may be such that strikes and walkouts of film talent will be discussed, according to reports which were prompted by statements of Eddie Cantor, president of the actors’ guild, who said that “reputable actors would not work for producers who impose the unfair and un-American provisions of the code articles.”

Kenneth Thomson, secretary of the Actors’ Guild, announced today that a flood of new members has been received into the Guild, which now numbers almost 700 actors and actresses.

Those who signed yesterday were Marion Davies, Richard Arlen, June Collyer, Stuart Erwin, Charles Farrell, Bing Crosby, Thomas Mitchell, Gregory Ratoff, Nella Walker, Toby Wing, Claude Gillingwater and Frank Sheridan.

WORD TO COWAN

Executives of the Academy of Motion Picture Arts and Sciences today wired Lester Cowan, executive secretary, now in Washington, D.C., concerning information a report that he would leave the capital probably tonight by airplane to return to Hollywood to continue the Academy fight for modification of the drastic regulations in the code.

Sections drawing the talent fire include blacklisting of talent, the registrar’s control of talent activities, a limited open season in which producers may bid for services, the open negotiations between producers and talent after expiration of contracts.

(Hollywood Citizen News, October 14, 1933)

 

     October 16, Monday. (5:30–6:00 p.m.) Bing returns to CBS, now on Mondays, for Woodbury Soap with Lennie Hayton’s orchestra and with Ken Niles as announcer. The guest is eighteen-year-old songstress, Mary Lou Raymond. Bing is paid $1,750 per broadcast for a minimum of 13 weeks plus a figure to be agreed for a further six broadcasts.

The show has a 25.1 rating for the season putting it in 14th. position for evening programs. The highest rated evening program as assessed by the Co-operative Analysis of Broadcasting for the 1933-34 season was the Eddie Cantor show (with a Crossley rating of 50.2) with Rudy Vallee coming in at 39.0.

 

Bing Crosby, the baritone sensation of two years back, returns to the air on a series of weekly broadcasts over the Columbia network, beginning at 5:30 o’clock tonight. Smart management and Crosby’s success in motion pictures brings the star crooner back into the good graces of fickle fandom. A nightly spot in 1931 wore down both Bing and his following. His conspicuous absence since that time has again raised a demand for the Crosby talents.

      Crosby will share his opening broadcast with the 18-year-old California songstress, Mary Lou Raymond. The pair will be supported in the thirty-minute program by Leonard Hayton’s Orchestra.

(Press release)

 

Selling a product to the women must of necessity use a program of definite appeal to them and in Crosby, Woodbury Soap has chosen wisely. For Bing is in the middle of a brilliant career and the motion picture successes in which he appears add to his strength as a radio draw. Further, he has not been heard too often of late and his performance is better than ever as to both voice and choice of selections. On this particular program he neither whistled nor dabbled in his famous impromptu obbligatos.

      Lennie Hayton, an able accompanist, arranger and conductor, has always shown a distinctive style about his work and Crosby, through past association, naturally feels at home when Hayton wields the baton or is at the piano. All of which makes for efficiency.

      With Crosby and Hayton is a chorus of mixed voices that comes in occasionally, while a good piece of showmanship was a solo by a feminine vocalist about the middle of the program which seemed to offer the precise bit of relief and contrast. Hayton also injected some piano parts played by himself for further diversity of the musical end of the half-hour. Crosby himself offered an excellent selection of ballads, mostly of the romantic type and closed with ‘The Last Round-Up’ for good measure. Orchestral interludes were well done, smooth and soft, plus plenty of rhythm.

      Show originated on the Coast, where Crosby, of course, is making pictures. Credits, done against a partly faded-out musical background with the theme ‘Beautiful Lady’, leaned towards the lower price of the product and its value as a complexion requisite. These were not overdone considering the background of Woodbury, which was used by many grandmothers of today when they were girls

(Billboard, October 28, 1933)

 

The debut was October 16, 1933, with Ken Niles saying: “Bing Crosby entertains” followed by a word of welcome from Crosby and an opening song. After that Niles would intone a message from Woodbury whose slogan: “For the skin you love to touch,” represented considerable esthetic improvement for Crosby over coughless cigarettes and saliva-free cigars.

      The Woodbury program is significant for it gave Crosby some dialogue for the first time, his personality emerging in light banter with Niles and introductions to his songs. It also began the system of cross-promoting his own work which he would refine to a degree never before or since approximated. He featured songs and guest stars from his own films and sang songs he had recorded.

(Norman Wolfe, Troubadour)

 

October 17, Tuesday. Press comments indicate that Bing has reached the semi-finals of the Canada Dry tournament at Lakeside.

October 18, Wednesday. (8:00 p.m.) Bing is thought to have entertained at the Temple of Los Angeles Lodge No. 99, B.P.O.E. in a benefit designed to obtain clothing and food for the needy. Others advertised to appear are Mae West, Jack Oakie, Jimmy “Schnozzle” Durante, Lupe Velez, Johnny Weissmuller and George Raft. Harry Owens is in charge of the program. The price of admission, per person, is a bundle of old clothing, or imperishable food items. Music is provided by Harry Casey and his orchestra from Paramount studios.

October 22,Sunday. Loses one down to Bill Davidson in the semi-finals of the Lakeside Club Championship. Later, Bing records three songs, including “Temptation,” from the film Going Hollywood in Los Angeles with Lennie Hayton and his Orchestra.

October 23, Monday. (5:30–6:00 p.m.) Bing hosts another Woodbury show. The guest is again Mary Lou Raymond.


Bing Crosby’s new Columbia series, originating at KHJ on Mondays, hasn’t set the world afire. It lacks unction and zip—or something. Anyway. Ed Lowry has been recruited to spice it up in the role of guest master of ceremonies. He appears next Monday.

(Carroll Nye, Los Angeles Times, October 28, 1933)


October (undated). Bing organises a golf tournament for municipal golfers at Griffith Park in Los Angeles, which is spread over several weeks. There are 82 entries.

October 26–November 1, Thursday–Wednesday. Appears at the Paramount Theater in Los Angeles in a cine-variety bill. He receives a standing ovation for his rendition of “The Last Round-Up.” He is said to be paid $5,000 for his services.

 

Naturally, Bing Crosby in person is the real attraction at the Paramount this week. The popular crooner takes part in a special sketch, designed to show off recent song hits in Paramount pictures.

Following this, Crosby sings request numbers, even the much-maligned “Headin’ tor the Last Round-Up” being included. Incidentally, you should hear Crosby warble this one. It’s as different from the rendition given by a thousand so-called crooners as day and night. Georgie Stoll and an unnamed guitar player assist the singer in many of the tunes.

It might have been a “plant,” but anyway yesterday afternoon a young lady from the audience, rushed onto the stage and kissed the apparently surprised Crosby, who then muttered, cheerfully enough, something about a sorority initiation, and the wish that she’d get her pin all right.

The crooner is the popular man of the hour, right enough, yet withstanding his hat band remains the same size and he appears ready to grant as many request numbers as time allows.

(John Scott, The Los Angeles Times, October 28, 1933)


Crosby is introduced in a production number, the classroom scene out of “College Humor.” Wows them with it supported ably by the girl line and Vicki Joyce. Then he gives them ‘Last Roundup’ for another volley of applause and winds up with some old favs, backed by Stoll’s violin and Bobby Sherwood, a la Joe Venuti and the late Eddie Lang. His 14 minutes not enough for the opening mob, which insisted on another number.

(Variety, October 31, 1933)

 

Bing Crosby was mobbed by women and children yesterday at the Paramount, and he crooned. One woman grew so enthusiastic when he sang “Please” that she jumped on the stage, threw her arms around him, kissed him fervently and cried, “Oh, Bing—you’re marvelous.”

      Bing was all of that. From a sartorial standpoint he was a living symbol of N.R.A. in white trousers, blue coat, and red and white striped tie. From a singing standpoint he was at his best, for never in the history of the Paramount Theater has there been such a demonstration.

(Eleanor Barnes, Los Angeles Illustrated Daily News, October 27, 1933)

 

October 30, Monday. A complaint at the Los Angeles Municipal Court alleges that Bing hired a limousine from a Violet Wildey at $75 per month and used it from April to September but has not paid the hire charge. A judgment of $450 is asked against Bing.  (5:30–6:00 p.m.) Another Woodbury show. Guests are Ed Lowry and Joan Marsh.

 

Spice is added to Bing Crosby’s weekly program over KHJ when Ed Lowry, vaudeville comedian appears as master of ceremonies and Joan Marsh is recruited from the motion picture colony to sing a number with radio’s ace crooner. An augmented choral ensemble and Lennie Hayton’s Orchestra round out the bill.

(Los Angeles Examiner, 30th October 1933) 


Controversy between Bing Crosby and Woodbury Soap over what theme song shall prevail in that commercial Monday night session over CBS, has been settled. Commercial and its agency, Lennon & Mitchell, yielded to the baritone and henceforth, ‘In (sic) The Blue of the Night’ stays in the program and ‘Loveliness’ is out. Crosby argued that the logical theme for the stanza was ‘Blue of the Night’, on the grounds that the song had been identified with him ever since he’s been on the air. Sponsor and agency’s contention was that the ‘Loveliness’ tune has always been the theme of the Woodbury programs, no matter what name was connected with them and for this reason the old bars should stick. In answer to this, Crosby pointed out, that even though there were some listeners who associated the ‘Loveliness’ melody with the product, it seemed to him that the listener association of ‘Blue Of The Night’ and himself at the opening of the program would be of greater benefit all round. Crosby and the combo headed by Lennie Hayton will broadcast the Woodbury affair from New York starting November 13th, with the December 4th program, the origin will again be the West coast. Entry of Dale Winbrow as Woodbury’s producer last week started with a verbal set-to between Crosby and Winbrow, who had been sent out to the West coast from New York by the Lennon & Mitchell agency. After introducing himself, Winbrow listened to the program that Crosby and his combo pilot, Lennie Hayton, had prepared for the next broadcast and gave voice to an opinion that rounded no corners. The flare up that was provoked from Crosby wound up with the warbler and Hayton declaring themselves out of the show. The baritone’s management later prevailed upon him to hold on while the situation was being straightened out with the agency on the New York end. Winbrow’s previous air connection was as MC and plug-reader on the Crisco Chipao show.

     (Variety, October 31, 1933)

November 1, Wednesday. (8:00–8:30 p.m.) Bing takes part in a nationwide radio program launching a new CBS station (WBBM) in Chicago.

November 2, Thursday. (Starting at 11:42 a.m.) Playing with Harry Bassler, Bing comes joint third with a 67 in a pro-am prior to the Southern California Open at Fox Hills Golf Course, Los Angeles.

November 3, Friday. The Paramount short Please opens at the Paramount Theater in Los Angeles. It is released nationwide on December 15.

 

Two shorts, Bing Crosby in Please and a Popeye cartoon almost run the main feature off the screen. Crosby sings and clowns with Vernon Dent and, although he has just completed a week at the Paramount, the audience reacted as if he had been off the screen for ages.

(Los Angeles Evening Herald Express, November 3, 1933)

 

Between Bing Crosby’s several vocal numbers and the intervening comedy sequences this Arvid E. Gillstrom two-reeler manages to be consistently entertaining. Crosby, driving along the road, does a little flirting with Mary Kornman, who turns out to be a voice teacher. So he stops at her place for lessons. A rival, Vernon Dent, pulls various pranks to eliminate Crosby, but only makes things worse for himself, with Crosby finally coming through, not only as the star crooner, but also in a romantic way.

(Film Daily, November 13, 1933)


For those among the motion picture audience who find the crooning Bing Crosby engaging as performer and vocalist, this short subject probably will be judged entertaining. In a comedy effort, Crosby comes upon a young vocal teacher in the country and concealing his identity, becomes her pupil in an effort to persuade her to look upon him with favor. In a singing contest before the townfolk, Crosby wins over the other swain seeking the teacher's hand. There are a few laughs, but the Crosby fans

should like it. His name is worth selling space in the advertising and on the marquee. — Running time, 20 minutes.

(Motion Picture Herald, November 18, 1933)

 

November 4, Saturday. Bing is in Palm Springs at what is described as the Crosby-Arlen house on the hill overlooking the El Mirador Hotel. He hosts a cocktail party that includes Gary Cooper and John Gilbert as guests.

November 6, Monday. (5:30–6:00 p.m.) Bing’s radio show for Woodbury Soap on CBS.


“Going Hollywood,” hit melody from the new motion-picture of the same name, which he has just completed with Marion Davies, will be the featured number of Bing Crosby’s program over WFBM and the Columbia network Monday from 7:30 to 8:00 p.m.

(The Indianapolis Times, November 6, 1933)


November 8, Wednesday. Bing is back in Palm Springs and is photographed playing baseball on the Diamond at the Desert Inn.

November 13, Monday. (5:30–6:00 p.m.) Bing hosts another Woodbury show.


Those two old friends and musical partners, Bing Crosby and Lennie Hayton will combine their talents for another half hour presentation of melody and song over an international network and The Bee radio at 5:30 o’clock. The popular baritone of radio, stage and screen will offer three or four characteristic selections.

(The Fresno Bee, November 13, 1933)


November 18, Saturday. Bing and Dixie are seen at the Colony Club together with other celebrities.

November 19, Sunday. Bing is at the Beverly Wilshire Hotel and is persuaded to mount the orchestra platform and sing three songs with Gus Arnheim.

November 20, Monday. (5:30–6:00 p.m.) Bing’s radio show for Woodbury Soap on CBS. Bing sings four songs accompanied by Lennie Hayton and his Orchestra. Kay Thompson and the Three Rhythm Kings begin an extended run as guest stars. (The Three Rhythm Kings comprise Hal Hopper, Woody Newbury and Chuck Lowry)


The unusually improved Bing Crosby, whose crooning has been displaced by a baritone voice of magnetic appeal, sings the latest in popularities via WABC at 8:30. He will be assisted, of course, by that clever conductor, Lennie Hayton, who does much to help Crosby maintain his rhythms.

(Brooklyn Times Union, November 20, 1933)


Meanwhile, big things afoot at KHJ. Bing Crosby, then the most popular voice on radio and the seventh biggest box-office star, was hired by Woodbury Soap to host a new CBS series beginning October 16, 1933. In order for Bing to continue his day job at movie studios in Hollywood, the network agreed to base the series at KHJ where it would be written and directed by staffers Pat Weaver and Jack Van Nostrand.

Practically overnight, The Bing Crosby–Woodbury Show became one of the top programs in the country, and to Kay’s delight, Bing invited her and the Three Rhythm Kings to be his guests on the November 20 installment. When asked by the Los Angeles Times how things went, Thompson said she was most proud of the fact that “Bing tapped his foot” when she sang.

The foot tapping must have been sincere, because Kate and her boys were invited back the following two weeks, and then, “as a result of listeners’ response” signed as regulars for a 13 week commitment through March 5 1934–far and away Thompson's most important national exposure to date.

And yet, she didn’t have much in the bank to show for it. While Crosby was raking in $1,750 per show (plus additional earnings for movies and records) Kay was limited to her all-inclusive salary of $200 as a KHJ staff artist.
(Sam Irvin, Kay Thompson: From Funny Face to Eloise, pages 35-36)                                         


November 25, Saturday. Olive Kathryn Grandstaff is born in West Columbia, Texas. She later becomes Kathryn Grant and marries Bing in 1957.

November 27, Monday. (5:30–6:00 p.m.) Bing’s radio show for Woodbury Soap on CBS.


A half hour serenade from California will go on the air from 7:30 to 8 o'clock, the singers and players being Bing Crosby and Lennie Hayton and his orchestra. Crosby will be heard in four selections, accompanied by the orchestra, and Hayton will leave the podium at one stage of the recital and play a piano solo of his own.

(The Courier Journal, 27th November 1933)

 

Bing Crosby planned to go to New York earlier this month but changed his mind and remained in the Southland, to rest at Palm Springs, between his weekly nation-wide broadcasts which originate at KHJ at 5.30 pm.  His assistants on today’s program are Kay Thompson, the Three Rhythm Kings and Lennie Hayton and his Orchestra.

(Los Angeles Examiner, 27th November 1933)


Burt McMurtrie, CBS commercial program mgr., is due back in New York, this week from his rush trip to Los Angeles to put Woodbury Soap's Bing Crosby-Lennie Hayton stanza on an even keel. Network flew McMurtrie out to the coast three weeks ago when friction between the agency’s (Lennon and Mitchell) producer on the program developed air performances that weren’t to the commercial’s like.

(Variety, November 28, 1933)


November 30, Thursday. Press reports indicate that Bing is having a little trouble with his throat and has had to pass up two weeks at the New York Paramount at $5,000 per week

December 4, Monday. (5:30–6:00 p.m.) Bing hosts the Woodbury show on CBS. The guests are Kay Thompson and the Three Rhythm Kings.

 

Bing Crosby, having discarded his plan to head eastward in November, will continue to present his weekly singing affair from Los Angeles, thus costing his sponsors extra shekels for line-reversal charges. He’ll again have the snappy Rhythm Kings trio and Kay Thompson as musical accoutrements, plus the incomparable Lennie Hayton, pianist extraordinary. Hear the lot at 5:30pm on KHJ.

(Los Angeles Illustrated Daily News, December 4, 1933)

 

December 5, Tuesday. Prohibition ends as Utah becomes the last state to ratify the Twenty-first Amendment.

December 11, Monday. Bing interrupts a Palm Springs vacation to record “Did You Ever See a Dream Walking” and “Let’s Spend an Evening at Home” with Lennie Hayton and his Orchestra in Los Angeles. (5:30–6:30 p.m.) Bing broadcasts his Woodbury show. Kay Thompson and the Three Rhythm Kings are again featured.


Bing Crosby will offer his interpretation of ‘The Last Round-Up’, in his program tonight (KFRC 5.30 to 6 pm).  Kay Thompson and the Rhythm Kings will be, hereafter, heard regularly with Crosby and Lennie Hayton’s Orchestra.  Crosby’s other songs tonight will be ‘Bless Your Heart’, ‘Beautiful Girl’, ‘My (sic) Temptation’ and ‘Thanks’.  Hayton’s Orchestra will be heard in ‘Dinner at Eight’, ‘The Cashmir (sic) Song’ and ‘Tea for Two’.  Miss Thompson and the Rhythm Kings will present two specialities, ‘Not for All the Rice in China’ and ‘By a Waterfall’.

(San Francisco Chronicle, 11th December 1933)


Bert McMurtrie, of CBS, left for Hollywood late last week to remain as long as the Woodbury broadcasts emanate from there. That will probably be until about Feb. 3. Woodbury show consists of Bing Crosby and Lenny Hayton orchestra. The Network feels that the presentation needs personal handling locally.

(Variety, December 12, 1933)


December 13, Wednesday. (Evening) At McHuron's Grill in Hollywood, Bing presents the trophy to Johnny Ross, the winner of the first Griffith Park Golf Championship.

December 14, Thursday. Starting at 10:52 a.m., plays in the amateur-pro prior to the California State Open with Harry Bassler at the Lakewood course in Long Beach. They have a 71 and are unplaced.

December 15, Friday. Bing sings at the Los Angeles Examiner Christmas Benefit Show at the Shrine Auditorium. Many other stars such as Will Rogers, Jimmy Durante, Ethel Merman, and Rudy Vallee also perform.

 

. . . Ted Healy was special master of ceremonies for the MGM delegation, that included such famous stars as May Robson, Polly Moran, Jeanne and Jimmy Durante, and, of course, the Healy Stooges, Larry Fine, Moe Howard and Jerry Howard.

      Paramount-Publix contributed a galaxy of noted artists, with Roscoe Karns as master of ceremonies. and everything on the bill down from comedy to drama, the list of stars included Burns and Allen, radio’s famous pair; Ethel Merman, from Broadway; Baby LeRoy, Jack Haley, Ida Lupino, Dorothy Dell and Buster Crabbe, along with Leroy Prinz’s Paramount Beauties.

      Then there was Bing Crosby himself, Paramount’s star loaned to Cosmopolitan, crooning his best. The Mills Brothers, famous quartet, also appeared on the bill. . .

(Los Angeles Examiner, December 16, 1933)



December 18, Monday. (5:30–6:00 p.m.) Bing’s radio show for Woodbury Soap on CBS. Guests include the Mills Brothers and Kay Thompson and the Three Rhythm Kings.


Lured to the coast by lucrative motion picture contracts, the Mills Brothers, amazing exponents of harmony, with the ability to simulate orchestral effects with the vocal chords, enter a new phase of their radio career as entertainers on Bing Crosby’s Columbia program which originates at KHJ at 5.30 pm.  They will offer their novelty arrangements of ‘Dinah’ and ‘Lazybones’.  Crosby is billed to sing ‘Heaven Only Knows’, ‘Goodnight Little Girl of My Dreams’ and ‘Thanks’.  Lennie Hayton’s Orchestra provides the orchestral features and Kay Thompson and the Three Rhythm Kings continue to lend their talents to the show. 

(Los Angeles Examiner, 18th December 1933)


Few are aware of how active [Crosby] was in the fight for racial equality in the United States. Crosby was one of the first white performers to appear on an equal basis with black performers. His recordings with the Mills Brothers . . . are early examples of his commitment. Also, the brothers were regulars on Crosby’s radio show—an important step toward more racial equality on the radio and the music business in general.

(Douglas E. Friedman, Four Boys and a Guitar: The Story and Music of the Mills Brothers)



    December 22, Friday. Starting at 11:25 a.m., plays in the first round of the Pasadena Open at Brookside Park but finishes up with an 84.


…Bing Crosby smashed a mashie iron on a rock early on the first nine. The loss of the club effected his game and he was out of the picture with an 84.

(Max Colwell, The Pasadena Post, December 23, 1933)


   

December 23, Saturday. The film Going Hollywood has its premiere at the Capitol, New York.

 

Blended properly with the holiday humors, Going Hollywood has enough basic liveliness to produce a sprightly and jocular mood at the Capitol. The overwhelming magnitude of the latter-day musical picture is gratefully absent from this one. It is warm, modest and good-humored. Bing Crosby has a manner and a voice, both pleasant, and the songs that Nacio Brown and Arthur Freed provide have a tinkle and a lilt. From the competent routine sentiments of “Our Big Love Scene” and the pleasing little pastoral lyric “We’ll Make Love When It Rains” they range down to that brooding song which Mr. Crosby, loaded with whisky and sorrow, sings across a Mexican bar while the glamorous Miss Davies is far away.

(The New York Times, December 23, 1933)

 

Pretentious musical with class in every department but one. It has names, girls and good music, but its story is weak from hunger and the script will prevent a big click. Fair is its rating.

      Marion Davies is starred and Bing Crosby featured, but Crosby will draw the bulk of what this one gets. Other assets are the music, the fact that it’s good, and that it has girls and plenty of them . . .  From start to finish Crosby is constantly singing. It must be good singing because it doesn’t get tiresome, despite that it’s laid on so heavy. . . .  At least three songs in the generally excellent score, as played by Lennie Hayton’s orchestra, sound promising. With Crosby there to sing ‘em the songs get a break, too.

(Variety, December 26, 1933)

Bing Crosby, who plays the movie star, is in his best voice. “Going Hollywood” will make Bing more popular than ever with his fans. Not only is his voice thrilling, but he more effectively demonstrates his personality than in any picture in which he has yet appeared.

(Louella Parsons, writing in the Los Angeles Examiner, January 26, 1934)

 

“Stupendous! Gigantic! Colossal! Superb!”

      This is the blurb growled by Ned Sparks, as the motion picture director, in Marion Davies’ latest vehicle, Going Hollywood. And it expresses the tone of the film most accurately in those four extravagant, worn-out adjectives. It is all that—and nothing more.

      A stupendous, gigantic, colossal and superb background for Miss Davies, who seems to possess a new and amazing loveliness as the years roll by. A stupendous, gigantic, colossal and superb stage-setting for Bing Crosby to croon his ditties and express an arrant dilettantism that will thrill the ladies...However, you’ll want to see Going Hollywood. It is a marvelous agglomeration of luxurious entertainment...

(The Washington Post, December 23, 1933)

 

Sometimes when Mama went in to Smithfield to do the big grocery shop on a Saturday, Virginia and I would go to the movies. She wasn’t allowed to sit downstairs, that was whites only, so I was the only little white thing, a white blond child, up in the balcony with the blacks. I remember seeing one movie with Bing Crosby and Marion Davies. You’ll have to check what it was called and what year that was. (Going Hollywood, 1933). I must have been ten or eleven years old. Virginia and I came home and acted out the whole thing; one time I’d be Davies and she would be Crosby, then we’d switch around

(Ava Gardner quoted in Ava Gardner: The Secret Conversations, p46.)

 

December 25, Monday. (5:30–6:00 p.m.) Bing’s radio show for Woodbury Soap on CBS. Guests include the Mills Brothers.


A gala array of talent will be heard will be heard with Bing Crosby at 5:30 p.m. Lennie Hayton’s Orchestra, the Mills Brothers, Kay Thompson and the Three Rhythm Kings will be heard.

(The Fresno Bee, December 25, 1933).


Lennie Hayton stymied by L. A. Union Rules Loses Woodbury Acct.

Broadcast of Jan. 9 will be the last for Lennie Hayton on the Tuesday night Woodbury show over NBC.  Account's dissatisfaction with the dance combo under his direction is the cause. In agreeing to the withdrawal Hayton admitted that he has found it difficult to maintain a first rate dance unit from among the pickup men available to him in Los Angeles. Pick of the town's musicians, the leader pointed out, had permanent berths and the rules of the local union banned them from doubling into other jobs.

(Variety, December 26, 1933)


December 27, Wednesday. Larry and Elaine Crosby have a daughter, Molly.

December 31, Sunday, (5:30-7:00 p.m.) CBS broadcasts "Kaleidoscope of 1933" over their network. This looks at high spots from the theatrical and amusement calendar of 1933 and Bing, the Mills Brothers plus Raymond Paige's orchestra contribute a joint performance from the West Coast.

During the year, Bing has had sixteen records that became chart hits. His parents have moved to Hollywood and Bing has rented a bungalow for them at 4405 Mariota, North Hollywood. He later buys them a house at 4366 Ponca Avenue in Toluca Lake.

 

1934

 

January 1, Monday. Bing attends the Rose Bowl game between Stanford and Columbia; he sees Columbia win 7-0. He describes the game on his Woodbury Soap show that night when the guests are the Mills Brothers plus Kay Thompson and the Three Rhythm Kings.


Bing Crosby’s “noodling,” in the cupboard of forgotten accomplishments for so long, has returned prominently since Bing and the Mills Brothers joined company for the Monday evening broadcast. “Dinah” last week and “Shine” this week show Crosby as a fellow who sings anything and sings it well. I remember when he either dared not or cared not to hit high notes. Now he goes one or two notes higher than necessary at the finish of a song and his expression seems to express a satisfaction which might be interpreted as “Well, Mr. Note, you were HIT. Right on the nose.”

(Ray De O’Fan, Los Angeles Examiner, January 3, 1934)

 

January 3, Wednesday. (7:00-7:15 p.m.) Bing is interviewed on radio station KMTR by the Los Angeles Times drama critic - Edwin Schallert - and is asked about his plans for the future and his views on the ultimate place of crooners in radio’s firmament.

January 5, Friday. Bing attends the Friday night boxing in Los Angeles.

January 8, Monday. Acts as guest announcer for the Los Angeles Examiner at the Los Angeles Open Golf Championship at the Los Angeles Country Club. (5:30–6:00 p.m.) Bing hosts the Woodbury show. Guests include the Mills Brothers and Kay Thompson and the Three Rhythm Kings.

 

CBS brings startling information in headline manner that Bing Crosby will broadcast from California. Where has he been? Mills Brothers continue to form an important part of the program. Bing’s reading of the football summary last week was given in a manner which made numerous announcers blush. Stumbling and confusion were conspicuous by their absence. He had all the self-assurance of a Husing. The Crosby broadcast is heard at the usual hour, 5:30pm, through KHJ.

(Los Angeles Examiner, January 8, 1934)

 

January 10, Wednesday. Dixie Lee tests for the feminine lead in a new Paramount film Melody in Spring. She eventually takes a role in Manhattan Love Song, a Monogram Studios production.

January 11, Thursday. Just an Echo, a twenty-minute short film is released by Paramount.

 

BING CROSBY ‘Just an Echo’ Musical Sketch 22 Mins. Paramount, N. Y. Crooner Bing Crosby, now also Actor Crosby, is cast this time as a forestry trooper with a yen for vocal calisthenics and pretty girls, in particular the niece of his superior who arrives at camp for a vacation. In between the light romantic plot developments, Crosby croons a couple of numbers, with ‘Just an Echo’ the tune featured. Lacks the punch of a trip hammer but agreeable shorts diversion for all.

Background is the outdoors of some spot in the west that looks like a forest preserve with campers around. Bing is on horseback part of the time riding around the mountains, among other things stopping people from smoking cigs, the how he first meets up with the girl; a type who screens none too well. Later, when a dance is given for her by her Captain papa, Bing is called upon to render a pop croon special.

When his attentions to the leading lady are stubbornly restrained, the girl goes to jump into the lake under heat of conceit, and does, Bing follows for the rescue. The two end up on horseback, Bing closing things up with more of ‘Just an Echo.’ Two girls supporting are Mary Kornman and Alice Ardell, mistress and maid respectively.

Arvid E. Gillstrom is the producer and director.

(Variety, January 23, 1934)

 

In the latest of the Arvid E. Gillstrom two-reelers, Bing Crosby plays the role of an officer in a government park reservation where no smoking is allowed. Mary Kornman and a friend drive through, with Mary toting a lighted cigarette, so Bing takes it from her. Later at park headquarters it develops that the girl is a niece of Bing’s superior officer. She has him assigned to do things for her, such as unpacking her baggage, shining her boots, etc., while Vernon Dent takes to her girl friend. And so on, with various comedy results, plus some agreeable crooning by Crosby.

 (Film Daily, February 8, 1934)

 

For the film feature, Bing Crosby, after a fashion, rides a horse. Dressed in a wide-brimmed hat and a flannel shirt, Crosby croons. This was too much for the audience yesterday. They snickered. But Crosby for a crooner isn’t such a poor actor. Crooners can be a lot worse. You remember Rudy Vallee.

(Los Angeles Post Record, January 12, 1934)


For those among the motion picture audience who have a fondness for Bing Crosby, of the radio and screen voice, this may be found reasonably effective as comedy with music. Rather unfortunately Mr. Crosby, in the role of a state trooper, is several times astride a horse. To say the least, he does not ride in a manner comparable to our better western stars. In fact, he is occasionally laughable. The music has its moments, however, and the comedy is at least fair. — Running time, 20 minutes.

(Motion Picture Herald, February 24, 1934)

 

January 13, Saturday. Bing “stops the show” with his performance at the Screen Actors’ Guild Ball at the Biltmore Hotel. Rudy Vallee is billed as the MC and stars such as Jeanette MacDonald, John Boles, and James Cagney also take part.

 

. . . Rudy Vallee, as master of ceremonies, introduced the artists and kept the show moving at a fast pace. When Jeanette MacDonald sang the Italian Street Song from Naughty Marietta, we caught a glimpse of the anticipated MGM production of the famous musical with Jeanette in the leading role. Bing Crosby stopped the show, as did the handsome John Boles. Pert Kelton’s imitation of Charlie Chaplin was a riot and simply out-Chaplined Charlie. When Jimmy Cagney danced, we were reminded of the fact that before he became a “socker” of beautiful ladies on the screen, he was a popular New York hoofer. And then there was Eddie Cantor, wise-cracking from New York via the telephone, and Jimmy Durante, George Raft, Ted Healy and his stooges, Frank McHugh, Dick Powell, Hal LeRoy and—oh, well, you just should have been there. . .

(Los Angeles Examiner, January 14, 1934)

 

Rudy Vallee, billed as master of ceremonies, was not present. Dick Powell, master of ceremonies from Pittsburgh, took his place. Bing Crosby, Charlie Butterworth and Frank McHugh “panicked ‘em” with an imitation of the Boswell Sisters.

(Associated Press, January 14, 1934)

 

The high-spot of the evening was the impersonation of the Boswell Sisters given by Bing Crosby, Charles Butterworth and Frank McHugh, in their lavender gowns and bonnets. Somebody should really make a reel of that.

(The Hollywood Reporter, January 15, 1934)

 

January 15, Monday. (5:30–6:00 p.m.) Bing’s radio show for Woodbury Soap on CBS. Guests include the Mills Brothers and Kay Thompson and the Three Rhythm Kings. Gus Arnheim and his Orchestra take over from Lennie Hayton.

 

The Bing Crosby broadcast is a pip to watch—not only for its entertainment but in that the entire program is presented in an easy-going informal fashion. The high pitched tension that has so long been a part of the nation-wide network show is lacking in this sparking production of Paul Rickenbacker.

Crosby is a striking “just folks” type and his singing and dialogue are done in a matter-of-fact style that’s restful to the eye as well as the ear. Dressed informally in brown and with his short collar open, America’s ace crooner does his bit, walks out of the studio to hear the Mills Brothers, and then saunters back to continue his part of the show.

The directing of Gus Arnheim’s Band by Lou Kosloff was a thing of beauty and the and the clever, dark-haired maestro was a hit with the musicians as well as the KHJ officials, who have signed him to wave the baton until Gus returns from his brief sojourn in Hawaii some two weeks hence.

After watching Bing and company go through their paces before the mike with everybody tapping their feet to the uncanny rhythm and instrumental noises created by the dusky four boys and a guitar, it is easy to see why his half-hour variety broadcast, ably announced by Kenny Niles, is a roaring success over the air waves.

Bing appeared to have writer’s cramp. Judging by his hasty exit down the back stairway to escape an autograph-hungry crowd waiting outside.

(Carroll Nye, Los Angeles Times, January 18, 1934)


This is the night when Bing Crosby and Gus Arnheim’s Orchestra enjoy their radio homecoming. Apart for the past three years, since both were featured in a nightly broadcast, the combination is revived on Crosby’s coast-to-coast program at 5:30 o’clock, released here through KHJ. Much water has flowed beneath the bridge since the Crosby-Arnheim rhythm team last ruled the airialto. Bing has gone to a perch atop the crooning field. Arnheim has gone to dazzling heights in the orchestral world. There is sentiment attached to the reunion. It may be noticeable. It would be gross negligence to fail to mention the Mills Brothers, who are part of the show. Originally signed for three weeks as guest artists, they proved so popular that they were made a regular feature.

       One can speak of Crosby and Russ Columbo in the same breath nowadays. In New York they seldom saw each other and reports had it that they cared little if meetings were never arranged. We’ve heard Crosby’s story and we’ve had Columbo’s. Apparently outside influence tried to build a bitter feud between them. Since neither saw nor talked to the other, each believed that he was the victim of disparaging remarks. Not long ago they talked things over and found that the “battle of the baritones” was a fight in which neither took part.

       Both are fine fellows, successes in radio and in motion pictures. Crosby is pleasantly aggressive and a wit. Columbo, on the other hand, is a listener, who allows the other fellow to talk. Both are good looking, but widely different in type. Bing is of medium height and stocky, with light complexion. Columbo is typically Latin. About 6 feet tall, he resembles the late Rudolph Valentino. His olive complexion is inherited from Italian forbears.

(Ray De O’Fan, Los Angeles Examiner, January 15, 1934)


As the popularity of the series grew, Bing rapidly gained enormous amount of power and for better or worse, took control of all creative aspects. He also demanded that the station pay him the entire $5,800 weekly budget, from which he would pay all salaries and expenses, then pocket the rest. Although Crosby had been offered the use of conductor Raymond Paige and the KHJ Orchestra, he insisted on hiring his own, cheaper accompanists. The first was Lennie Hayton and his 16-piece band. Musically, Lennie and Kay’s arranging styles melded perfectly and they became instant friends. Unfortunately, the collaboration was cut short in January 1934 when Lennie was offered more money by NBC in New York to conduct Town Hall Tonight starring Fred Allen. Lennie’s replacement was none other than Gus Arnheim, with whom Bing and Kay had worked (separately) at the Cocoanut Grove. However, the network was unhappy, not only with the change of orchestras but with Crosby’s mismanagement and ever-increasing demands. The behind-the-scenes drama got so bad, William S. Paley, chairman of CBS, finally intervened, sending in one of his big guns, Burt McMurtrie, to handle the situation.

Both natives of the state of Washington, Burt and Bing had worked together before Bing was a star. But now the dynamics of their relationship had changed and Crosby was not about to take any orders from his old friend.
(Sam Irvin, Kay Thompson: From Funny Face to Eloise, pages 35-36)                                         

 

January 20, Saturday. Emanuel Cohen holds a dinner dance at his home on Misty Mountain in honor of Gary Cooper and Sandra Shaw who had married in New York in December. Bing sings at the party and W. C. Fields, Jack Oakie, and Lanny Ross also entertain.

January 22, Monday. (5:30–6:00 p.m.) Bing’s radio show for Woodbury Soap on CBS. Guests include the Mills Brothers and Kay Thompson and the Three Rhythm Kings. Elsewhere, an eleven-minute short Hollywood on Parade (No. 7–1933) is part of the program at the Paramount Theater in Los Angeles. In it, Bing is seen with John Barrymore and Harry Langdon in a comedy skit on the golf course.

    

Bing Crosby features another song from Marion Davies’ latest Cosmopolitan production, Going Hollywood, which opens Thursday at Loew’s State Theater, when he takes the air with Gus Arnheim’s Orchestra today (5:30pm, KHJ). Songs from this picture are among the finest in Bing’s repertoire, and little wonder, since he is the leading man in the production. This time it will be “We'll Make Hay While the Sun Shines,” a tuneful score by Nacio Herb Brown and Arthur Freed.

(Los Angeles Examiner, 22nd January 1934)


    January 26, Friday. Bing and golf pro Charles Guest stumble on a robbery at Lakeside Golf Club during the morning as they arrive for a round of golf.

 

CROSBY FREES THUG VICTIMS

Bing Crosby, screen and radio crooner and ardent golfer, today played a role in a melodrama in real life.

      While two bandits fled the office of the Lakeside Golf Club this morning with $200 loot from the safe, Crosby freed Membership Manager S.E. Handbury and Secretary Helen Baier, who lay gagged and bound up in long strips of black adhesive tape like mummies. The two bandits, who had posed as golfers seeking memberships, ran from the clubhouse as Crosby entered. They got away in their auto too quickly for Crosby to pursue them, he said, and he rushed to the assistance of the pair on the floor behind a telephone booth.

      Manager Handbury told Van Nuys police that the bandits applied yesterday for memberships and when they returned today drew revolvers and ordered him and Miss Baier to lie on the floor. They then draped tape about their bodies and over their mouths. Thus helpless the victims could only watch the bandits loot the safe.

(Los Angeles Post Record, January 26, 1934)

 

January 28, Sunday. Thought to have been at Wrigley Field to see the National All-Stars lose to the Chicago Bears 23-0.

January 29, Monday. (5:30–6:00 p.m.) Bing’s radio show for Woodbury Soap on CBS. Guests include the Mills Brothers plus Kay Thompson and the Three Rhythm Kings. Later, Bing is thought to have entertained at a welcome party for Earl Carroll in the Blossom Room of the Hollywood Roosevelt Hotel. The proceedings are broadcast over KMTR at 10:30 p.m. W.C. Fields acts as master of ceremonies.


Bing Crosby will head another variety show to be broadcast from Los Angeles with Gus Arnheim’s Orchestra and the Mills Brothers, tonight.  Crosby will sing a group of solo numbers and will also serve as Master of Ceremonies.

(San Francisco Chronicle, 29th January 1934)


January 29–March. Films We’re Not Dressing for Paramount with Carole Lombard, Ethel Merman, Burns and Allen, and Ray Milland. The film is directed by Norman Taurog. Location shooting takes place on Catalina Island for several days at the end of February and early March. The cast stays at the St. Catherine Hotel.

 

A lot of old maids and widows living on small pensions or small fixed incomes were staying on Catalina at the St. Catherine Hotel. It was a family-type hostelry, and our movie company was an exciting experience to the guests. I imagine they wrote to their friends and relatives, “We have a number of Bohemians stopping with us.” Our movie company ate at two or three huge tables in the dining room. The smaller tables were occupied by the regulars, who strained their ears to drink in the racy things they were sure we were saying. Carole (Lombard) was annoyed with this constant surveillance and eavesdropping. We were eating breakfast one morning when she came slinking in with that feline walk of hers. All eyes swiveled around to watch her, and she decided that this was the time to make up something shocking. She was the girl who could do it. She had an inventive turn of mind.

She called across the dining room, “Bing!” “What?” I asked.

“Did I leave my nightie in your room last night?”

The spinsters almost dropped their teeth. I’ve never heard such tch, tch, tching and gasps in my life. After that they gave us a wide berth. Some of them even stopped eating in the dining room.

(Bing Crosby, Call Me Lucky, page 127)


...Referring to one of his earlier films, “We’re Not Dressing”, Bing related the real story behind “Droopy” the bear, who played a part in that film. It seems that Norman Taurog, who directed this movie, had a pretty tight budget and an even tighter schedule. He managed to find an animal trainer who possessed a tame black bear. The trainer convinced Taurog that the bear would get along with Bing, with Carole and the rest of the cast, and would be able to perform the tricks necessary without any bother at all. Came the day of shooting and the bear was hopeless - quite incapable of performing what was required. Taurog, in a fury, held up the production and told the trainer to take away the bear and bring it back when it could perform the scenes that Taurog required. As time went on, Taurog realised that he was getting nowhere with the bear and his impatience began to get very evident. So much so, that on one occasion, his assistant director slapped the “dumb bear” on the jaw ... whereupon, Bing said (giving a perfect imitation) the bear started to cry. Eventually, as Bing explained, they managed to get some footage of the bear. Not much and not good, but enough to carry Taurog through the scenes he needed. By the end of the movie, Taurog was thoroughly annoyed about the bear and couldn’t (pardon the pun) bear the sight of the animal.

The picture ended and Bing, Carole, Taurog and the rest of the cast threw an end-of-the-movie “cast party” (a necessary habit of those early movie days) and when the party ended and Norman Taurog returned to his house in the early hours of the morning, what should be chained to his front porch but ... “Droopy” the bear. It seems that Carole Lombard, who had a wonderful turn of humour, purchased the bear from the trainer and presented it to Taurog (without his knowledge) as a gift. Taurog was stuck with the bear. And Bing, wisely, never did go on to tell us the fate of poor old “Droopy”...
(Ralph Harding, “The Crosby-Harding 80-minute Chat Show”. As printed in The Crosby Collector, June/July/August 1972 Issue)

 

February 3, Saturday. (7:30–9:00 p.m.) Bing is one of several artistes featured in a special coast-to-coast radio program "CBS Radio Playhouse" marking the opening of the Columbia Playhouse (formerly the Hudson Theatre) in New York. He makes his  conttibution from  Columbia's Los Angeles studio.

February 5, Monday. (5:30–6:00 p.m.) Bing’s Woodbury show. The Mills Brothers together with Kay Thompson and the Three Rhythm Kings continue as Bing’s guests.


Topping the variety show to be broadcast from California will be Bing Crosby singing with Gus Arnheim’s orchestra, while the Mills Brothers will contribute their special variations of musical numbers over WFBM and the Columbia network Monday from 7:30 to 8 p.m.

(The Indianapolis Times, February 5, 1934)


February 7, Wednesday. Bing has arranged a golf tournament to be played at Lakeside and a dinner and Calcutta Pool takes place prior to it starting. One round is to take place each week. Bing subsequently plays with Duke Hinnau but they lose in the second round to the McCray brothers 7 and 6.

February 10, Saturday. The New York World Telegram publishes the results of a nationwide poll that places Bing at the top of the “popular male singer” category with Lanny Ross and Morton Downey.

February 12, Monday. (5:30–6:00 p.m.) Bing’s Woodbury show. The Mills Brothers together with Kay Thompson and the Three Rhythm Kings continue as Bing’s guests.


Bing Crosby, Gus Arnheim’s Orchestra and the Mills Brothers will contribute their special type of entertainment on their program tonight, from Los Angeles.  Crosby’s solos will be ‘Last Year’s Girl’, ‘Day You Came Along’ and ‘On the Wrong Side of the Fence’.  Other tunes on the program are ‘Dancing In the Moonlight’, ‘Smoke Rings’, ‘Mine’, ‘My Old Man’, ‘Dutch Mill’ (sic) and ‘Going To Heaven on a Mule’. 

(San Francisco Chronicle, 12th February 1934)


February 14, Wednesday. Dixie Lee films her part in Manhattan Love Song until February 23.

February 18, Sunday. Marie Crosby (nee Grounitz- age 22), Bob’s wife, gives birth to a daughter Elizabeth Ann.

February 19, Monday. (5:30–6:00 p.m.) Bing’s radio show for Woodbury Soap on CBS. Guests include the Mills Brothers.

 

A group of love songs will be sung by Bing Crosby with Gus Arnheim’s Orchestra and the Mills Brothers, broadcasting from Los Angeles, tonight.  ‘So Shy’, ‘Our Big Love Scene’ and ‘Love Locked Out’ are Crosby’s solo numbers and with the Mills Brothers, he will offer, ‘Stay on the Right Side of the Road’.  The Mills boys will harmonise on ‘Blue Mood’ (sic) and ‘Got the Jitters’.

(San Francisco Chronicle, 19th February 1934)


February 24, Saturday. Bing and Dixie sing at a party given by Mr. and Mrs. Raoul Walsh. Bing's recording of "Rollickin' Rockaway Raoul" is played.


Snapshots of Hollywood collected at random.

...the Raoul Walshes entertaining 50 or more guests at a highly successful cocktail party; Bing Crosby singing original songs and everybody applauding.

 (Louella O. Parsons, Courier-Post, March 12, 1934)


February 25, Sunday. In Los Angeles, Bing records four songs from the film We’re Not Dressing with Nat W. Finston and his Paramount Orchestra.

February 26, Monday. (5:30–6:00 p.m.) Bing’s radio show for Woodbury Soap on CBS. Guests include the Mills Brothers.


Bing Crosby, Gus Arnheim’s Orchestra, and the Four Mills Brothers will again entertain the nation with a half hour vocal instrumental, and quartet selections at 5:30 p.m.

(The Sacramento Bee, February 26, 1934)


March 1, Thursday. Press reports seen about Bing's continuing golf tournament at Lakeside Golf Club. Contestants include Jack Oakie, Leon Errol, Wesley Ruggles, Dick Arlen, John Montague, W. C. Fields, Mack Sennett, and Randolph Scott.

 

The Bing Crosby-Lakeside Golf Tournament is progressing. Bing has donated several trophies and, according to latest reports, the popular crooner lost the first match. Alibiing, he said: “It would have been a breach of etiquette for me to win the first in my own tournament.”

(Los Angeles Express, March 1, 1934)

 

March 5, Monday. (5:30–6:00 p.m.) Bing hosts the Woodbury show. The Mills Brothers are the guests. The musical support is provided by Carol Lofner’s Beverly Wilshire Orchestra.


Into the Bing Crosby Monday evening program, there enters another orchestra. This time it is Carol Lofner, the mustachioed wand-waver, who undertakes the task of accompanying the crooner, as well as co-featuring with special musical numbers. Lofner bows into the picture today, KHJ, 5:30, as Gus Arnheim and his troupe bow out. It is an assignment on which Lofner will bend his best efforts, for it is a Coast-to-Coast assignment, and such things often lead to other—and remunerative—calls. As far as Crosby is concerned, Arnheim filled the bill to satisfaction. But Gus is called to San Francisco, and contracts there have been signed, he is on his way.

(Ray De O’Fan, Los Angeles Examiner, March 5, 1934)
 

March 10, Saturday. Records “Little Dutch Mill” (which has been written by Harry Barris) and “Shadows of Love” in Los Angeles with Jimmie Grier and his Orchestra. The Radio Guide magazine for the week ending 10 March states, “Bing Crosby is second in popularity among the stars. Bing again has dropped from his leadership, to give his place to Joe Penner.” Penner was a radio comedian with a Sunday night variety show. He died in 1941 at the age of 36.

March 12, Monday. (5:30–6:00 p.m.) Bing’s radio show for Woodbury Soap on CBS. The guests are again the Mills Brothers.

 

Bing Crosby took the seven weeks’ contract from Woodbury at $2,500 per broadcast in preference to the $3,000 offer made by Studebaker. Term insisted upon by the motorcar maker was a minimum of 13 weeks. Warbler thumbed this angle on the ground that he wanted to be free for a tour of personal appearances immediately on the expiration of his Paramount contract, the end of May. It was Studebaker’s intention to step into the Monday night niche held by Woodbury on CBS. Had not Crosby renewed the soap packer would have called it quits for the season with the April 9 broadcast.

(Variety, March 13, 1934)

 

March 13, Tuesday. Another recording session with Jimmie Grier and his Orchestra. Bing sings “She Reminds Me of You” and “Ridin’ Around in the Rain.” (9:00–9:30 p.m.) Dixie Lee guests on the Ben Bernie radio show.

March 14, Wednesday. Bing attends the opening of Al Jolson’s film Wonder Bar at the Warner Brothers Hollywood Theater. Ruby Keeler, Burns and Allen also attend.

March 17, Saturday. Bing attends the races at Agua Caliente, Tijuana, Mexico.

March 18, Sunday. Bing crowns the winner of the winner of the Agua Caliente Handicap - Gallent Sir - at Agua Caliente. Press report seen about a cocktail and supper party given recently by Lady Carlisle in honor of Mrs. Jack Heywood. Bing and Dixie are listed among the guests.

with Jimmy Grier copy.jpgMarch 19, Monday. A plot to kidnap Bing and/or his son Gary is overheard and Bing is warned about this by police. (5:30–6:00 p.m.) Bing’s radio show for Woodbury Soap on CBS. The guests are Kay Thompson and the Three Rhythm Kings. Jimmie Grier and his Orchestra take over from Carol Lofner’s Beverly Wilshire Orchestra.


Kay Thompson and the Rhythm Kings go back to the Bing Crosby program tonight at 5.30 pm on KHJ, due to the absence of the Mills Brothers, who are in San Francisco.

(Los Angeles Illustrated Daily News, 19th March 1934)


March 22, Thursday. Bing and his brother Everett have obtained permits to carry guns and they do so in view of the kidnap plot.

 

Police abandoned hope today of making an arrest in connection with a reputed extortion plot against Spencer Tracy. Although Tracy denied such a plot detectives said Tracy received two letters, threatening to abduct him, one of his two small children or an unnamed actress friend unless he paid over $8,000.

Bing Crosby also was notified his baby had been marked in a kidnap plot, His informant today disclosed receipt of a threatening letter.

“Do you know what happens to rats and stoolies?” the letter demanded. “You ain’t hurt nobody but yourself for shooting off your mouth.”

(Associated Press, March 26, 1934)


Bing Crosby Urges Baring of Threats

HOLLYWOOD. April 16.—Bing Crosby, who with his wife and baby son is under constant guard because of purported kidnap threats, believes the police and public should be told by all other Hollywood stars who receive similar threats.

“A large percentage of Hollywood folk who have received kidnaping and extortion threats have adopted the attitude of silence,” the singer and actor said. “Ann Harding. Mae West, Marlene Dietrich and a number of other film stars have made known threats against their homes and lives, and I think they have been wise.”

Crosby said he believed there would be fewer threats “if the unvarnished truth were told about Hollywood income—if the correct figures, and not the phony and highly colored ones, were actually stated, after deducting income taxes, commissions and living expenses necessary for the peculiar positions in which our work places us.”

    (Fort Worth Star-Telegram, April 16, 1934)


    March 24, Saturday (starting at midnight). Bing performs at the Sixth Annual Hollywood Temple Israel Benefit at the Pantages Theater and with Frank McHugh and Charles Butterworth does “their inimitable ‘Boswell’ act.” Other stars appearing are Grace Moore, Will Rogers, Ted Lewis and his band, Carole Lombard, Ben Bernie, Burns and Allen, Ruby Keeler, Dick Powell, W. C. Fields and Russ Columbo.


It certainly did my heart good to see Bing Crosby at the recent Temple Israel Benefit. This grand trouper, who turns down thousands of dollars for public appearances, and who dislikes too much limelight, did not consider himself when asked to appear on the bill. Not only did he keep his word and make his appearance, but together with Charles Butterworth and Frank McHugh, took time to plan and rehearse and costume an act that was a remarkable imitation of the Boswell sisters. This act stopped the show cold and was one of the highlights of a grand program.

(Vivian Denton, Hollywood Filmograph, March 31, 1934)


March 26, Monday. (5:30–6:00 p.m.) Bing’s radio show for Woodbury Soap on CBS. The Mills Brothers are billed to appear but do not do so as they are rushing to finish a film prior to a European tour.


The husky young daddy known as Jimmie Grier was placed on the Bing Crosby program last week (with his orchestra, of course) as an experiment. In one program he was told to “make the grade.” So successful was his debut that the sponsor not only signed him for the remaining three weeks of the broadcast but extended the broadcast eight additional weeks and gave Grier the entire eleven weeks’ work. Four string instruments were added to the Grier orchestra for this occasion. The Crosby weekly, therefore, instead of leaving the air early in April, continues to May 27—at so many thousand per week. The combination is available this evening at 5:30 through KHJ.

(Ray De O’Fan, Los Angeles Examiner, March 26, 1934)

 

Highlights - 5:30pm KHJ—Bing Crosby and Jimmie Grier’s orchestra (D.L. CBS). Jimmie Grier’s orchestra wasn’t up to snuff on the Bing Crosby broadcast last Monday...Perhaps the dance leader will whip his boys into shape for today’s program

(Carroll Nye, Los Angeles Times, March 26, 1934)

 

April 1, Sunday. The final of the Bing Crosby Tournament is played at Lakeside with Dr. L. D. Rankin and John Monk Saunders beating Harry Hughes and Bud McCray 4 and 3. Bing presents the trophy.

April 2, Monday. (5:30–6:00 p.m.) Bing’s radio show for Woodbury Soap on CBS. Bing’s principal guest is Carole Lombard.

 

Tonight’s Bing Crosby broadcast will present a scene from his forthcoming starring picture, We’re Not Dressing which will be reenacted by Carole Lombard and the crooner. Four songs from the same picture will be included in this program from KHJ at 5.30 pm. Jimmie Grier’s band, of course, provide the musical background for Crosby’s crooning.

(Los Angeles Times, April 2, 1934)

 

April 3, Tuesday. A party is held at the Cafe de Paris in Movietone City for Frank Lloyd’s daughter, Alma, and Bing attends with many other stars.

April 9, Monday. Arranges to hire Leo Lynn (who has been working for Clive Brook) as his chauffeur. Leo remains close to the family and serves as Bing’s factotum and stand-in for movie cameramen until Bing’s death. (5:30–6:00 p.m.) Bing’s radio show for Woodbury Soap on CBS. The Mills Brothers are the guests.

April–May. Bing films She Loves Me Not for Paramount Pictures with Kitty Carlisle and Miriam Hopkins. The film is directed by Elliott Nugent. While filming Bing refuses to have his ears glued back any longer. Location shots are taken at Occidental College, Los Angeles and Bing later presents the college with two cups for their annual golf match to thank them for their co-operation.

 

In 1934, halfway through the shooting of She Loves Me Not, one of the scenes had to be more heavily lighted than the others. During one number the heat of the lights loosened the spirit gum and out popped Bing’s left ear. This happened no less than ten times. After the tenth time, Bing furiously refused to allow the errant ear to be stuck back. Wally [Westmore] was quickly summoned in the crisis. He burst out laughing when he saw Crosby’s lopsided head, one ear flapping like an angry elephant’s. Wally went to the head of the studio, then Emanuel Cohen, who agreed that Bing’s ears had nothing to do with his extraordinary voice. Both Crosby ears thereafter were allowed to flap untrammeled.

(The Westmores of Hollywood, page 82)

 

And do you know another doll was Bing Crosby. Oh my God! We did She Loves Me Not. Now I thought I was a dramatic actress, you see, and I want to rehearse everything first. . . . Well, there was one scene in She Loves. I said: “Bing, I’d like to rehearse this with you.” He says . . ., “Now, you know very well, you’ve been in the theater and New York, and I’m just a guy who dropped a load of pumpkins.” I said, “What do you mean, ‘dropped a load of pumpkins?” And that was the famous line, “I’m just a guy who dropped a load of pumpkins,” you know. Oh, but so darling!

(Miriam Hopkins, as quoted in the book People Will Talk, page 361)

 

The next picture was She Loves Me Not, with Bing Crosby and Miriam Hopkins. Miriam Hopkins had the reputation of being a termagant. To me she was the most generous of colleagues, offering to rehearse before each scene, run lines, and in every way help a beginner.

      Bing Crosby’s star was rising, and it was quite a coup to be singing with him. But any flirtatious notions I might have had were quickly dispelled when it turned out that he was considerably shorter than I was. Bing had to stand on a box in all our love scenes. It was death to romance. Bing and I didn’t have much in common. He was a natural movie actor, whereas I, who came from the stage, had to struggle for film technique. The only remotely personal conversation that I remember was when he showed me a modest diamond necklace he’d bought for his wife, Dixie Lee, and asked me if I thought she would like it.

      His singing constantly astonished and delighted me. Into the recording studio he would come, chewing gum, eating chocolate and drinking milk, all things considered taboo before performing. Then out of his throat would come that heavenly golden sound. One day I asked him which would be the hit song in our movie. “If I could predict that,” he said, “I’d be a millionaire music publisher, and I wouldn’t be putting on this toupee. I’d be out on the golf course every day and never go to work again.”

      There was a hit song, “Love in Bloom,” and Bing and I sang it together. It was the last song I ever sang that wasn’t pretaped. We filmed it directly on the set with the orchestra, at nine in the morning, and I was so nervous that every time I watch the movie I can see the muscle twitching in my cheek. I thought eventually it might be my theme song; but soon after it was published Jack Benny picked it up, and when I sang it people laughed, because all they could remember was Jack Benny scratching it out on his violin.

(Kitty Carlisle Hart, writing in Kitty: An Autobiography)

 

Miriam Hopkins suffers an injury during filming and Bing has two weeks off during which he finds and eventually arranges to buy a block of old Rancho Santa Fe, twenty-five miles north of San Diego.

       April 13, Friday. Bing and Dixie are at the Friday night fights.

April 14, Saturday. Bing’s recording of “Little Dutch Mill” reaches number one in the charts and remains there for five weeks.

April 15, Sunday. Bing is thought to have sung at the Masquers Easter Event at their clubhouse on North Sycamore. Charles Butterworth and Frank McHugh are also said to have appeared.

April 16, Monday. Golfs with Duke Hinnau at Lakeside.  (5:30–6:00 p.m.) Bing’s radio show for Woodbury Soap on CBS.

April 17, Tuesday. We’re Not Dressing has its Los Angeles premiere at Grauman’s Chinese Theater.

 

Those sterling radio entertainers, Bing Crosby and Alexander Woollcott, are now sharing the Rivoli screen in different pictures. Mr. Crosby lends his vocal talent to a crooning and clowning mixture labeled “We’re Not Dressing” and Mr. Woollcott makes his film bow in a short subject bearing the title of “Mr. W.’s Little Game.”

Even though some visitors to this theatre may decide that there is a trifle too much of “We’re Not Dressing” and scarcely enough of “Mr. W.’s Little Game,” the feature production stirred up laughter and occasional applause from an audience yesterday morning. This musical tale appears to have been inspired to a certain extent by the Barrie play “The Admirable Crichton,” but it is merely a fluffy bundle of laughter and chansons d’amour.

The crooning Mr. Crosby is supported by a variety of performers, including Gracie Allen, George Burns, Carole Lombard, Ethel Merman and Leon Errol. It has all the plausibility and romantic flavor of the average musical comedy. It is nicely photographed and cleverly directed, the sort of thing that, while it may have too many moaning melodies, is invariably diverting.

With all due respect to Mr. Crosby’s earnest rendition of the song “Love Thy Neighbor,” the fun afforded by the dependable Miss Allen and the unstable Mr. Errol wins the honors. Other melodies sung by Mr. Crosby are “Good Night, Lovely Little Lady,” “May I?” “She Reminds Me of You” and “Once in a Blue Moon.”

Here one finds Mr. Crosby cast as a singing sailor named Stephen Jones and Miss Lombard as the fabulously wealthy Doris Worthington. Alas! Jones is little more than a deck hand on Doris’s yacht, but Hubert (Mr. Errol), Edith (Miss Merman) and the effete Princes Alexander and Michael Stofani are passengers. When the yacht is wrecked, as one expects it will be when Hubert takes the helm, several of those aboard swim to a Pacific island and it is not long afterward that Jones, like Crichton, rules the roost. Often one may find him in the early morning hours busy fishing from a rock and crooning away to his heart’s content. There is never the least doubt concerning his love for Doris, but, like most heroines of such affairs, she hesitates to tell him that she reciprocates his affection, which gives the gallant sailor a chance to pretend that he does not believe her when the time comes for the two to indulge in the inevitable embrace.

As for Miss Allen and Mr. Burns, they carry on their nonsense in another section of the island. Here Miss Allen evinces a desire to emulate Frank Buck by her ingenuity in inventing traps for wild beasts. They are extraordinarily complicated affairs. She thinks that flora and fauna are a vaudeville team and, believing that Mr. Burns has by some miracle disguised himself as a lion, she shoos the animal away. The Burns and Allen team assuredly serves this film valiantly.

Miss Lombard is attractive and competent. Ethel Merman sings “It’s a New Spanish Custom” quite agreeably and Mr. Errol, never very far from a cocktail shaker or a bar, makes the most of his rôle.

(Mordaunt Hall, New York Times, April 26, 1934)

 

‘We’re Not Dressing’ in plot is an unofficial remake of Par’s ‘Male and Female’ (nee Sir James Barrie’s ‘The Admirable Crichton’), but at least Par has taken its musicals out of the backstage-tin pan alley atmosphere. Where it’s light and familiar on the story it’s heavy on sturdy croonology by Bing Crosby, who makes the footage a vocal delight. . .  All in all a cinch audience picture—any audience… The vocalizing is all Crosby’s. While he may be crooning constantly he does it so well (and not too implausibly because he is discovered as a naturally singing desk washer) that it’s forgivable. What’s more, a little effective business is introduced with the bear, who responds only to the ‘May I?’ song. That number, along with ‘Love thy Neighbor,’ ‘Once in a Blue Moon,’ ‘She Reminds Me of You,’ ‘Good Night, Lovely Little Lady,’ and ‘Riding Around in the Rain,’ already are being well aired on the ether waves and will continue so to be, particularly ‘Neighbor,’ ‘May’ and ‘Lady.’. . . Crosby himself is most of the picture. He screens his best and sings better.

(Variety, May 1, 1934)

 

Perhaps it is his uncompromising masculinity and obvious inability to overplay anything that makes him so innocuous to his own sex. Unlike most of the other radio names, he never seems to be trying to be charming. . . . He borrows something from the old deadpan school of slapstick comedy and something from the insouciant ogle of the professional masher to produce an effect of being congenitally at home and sure of himself anywhere—not working hard in the least, just taking it as it comes.

(New York Herald Tribune, May 6, 1934)

 

April 23, Monday. (5:30–6:00 p.m.) Woodbury show on CBS hosted by Bing with Jimmie Grier and his Orchestra. Ken Niles continues as announcer.

April 24, Tuesday. Bing lunches with the tobacco heiress Doris Duke at Paramount.

April 30, Monday. Dixie’s film Manhattan Love Song is released. (4:30–5:00 p.m.) Another Woodbury show is hosted by Bing.

 

There’s an extra strong cast in this indie, and a zippy story, but the brutal direction and poor story adaptation k.o. it for serious consideration. . . But film shows the potential value of Dixie Lee and Helen Flint, both of whom can go places if properly handled, especially Miss Flint. . . One song, reprised by Miss Lee twice, isn’t bad but won’t mean anything.

(Variety, September 4, 1934)

 

May (undated). Bing writes to his brother Ted.

 

I am three weeks along into She Loves Me Not a collegiate comedy with a couple of songs, from the play now current in New York. It has a terrific script, great dialogue, and grand situation. I don’t see how it can fail to be a great laugh picture and fine for me.

Dad had some teeth out the other day and was a little out of line for a bit, but is okay now. I have been so busy I haven’t seen much of mother or anyone else for that matter, but at last reports she was in good health and spirits. Everett is, of course, living the life of Riley, and his family are well.

I finish the picture in another week, the radio May 26th, and following this plan on resting for possibly a couple months. Feeling a little tired, and further income in May & June will put me in a very disagreeable income tax bracket. So I might as well rest as give it back to Uncle Sam. I am trying to pick up a ranch near San Diego, not too elaborate, and if successful, you can come down and start me off rite on some intensive gentleman farming.

 

May 7, Monday. (4:30–5:00 p.m.) Bing’s radio show for Woodbury Soap on CBS.


Bing Crosby, who sang “Goodnight Lovely Little Day” on a local screen last week, will feature the number at 8:30 this evening over WGR. Also “Love Me” and “The House Is Haunted.”

(The Buffalo News, May 7, 1934)


May 8, Tuesday. Purchases a half interest in welterweight Freddie Steele for $7500.

May 12, Saturday. Bing plays in the annual Agua Caliente golf tournament. The Los Angeles Times states that Bing and Everett have been sworn in as deputy sheriffs and carry guns.

May 13, Sunday. The second round of the Agua Caliente tournament. It is announced that Bing has purchased the 44-acre Rancho Santa Fe and hacienda formerly owned by Don Mario Osuna. He employs Lilian Rice to restore the adobe house and add modern facilities such as tennis courts and swimming pools.


So early this summer Bing up and bought a good sized chunk of the Rancho Santa Fe holdings in San Diego County. It is near the Orange County Line, a two and a half hour ride from Los Angeles, and less than a dozen kilometers from the Pacific ocean.

There are 44 acres all told . . . count ‘em. In the early days of the conquistadores the valley was a barren wilderness. In the days of the Spanish land grants thousands of acres were given to Don Mario Osuna. ‘Tis said by those who know their history that the ranch buildings once sheltered General Pico’s Mexican rangers in the war between Mexico and the United States. In the hey day of romantic California days it became the center for the Estudillos, the Alvarados, Picos, Bandinis and other pioneer social families.

A few years ago a real estate development dubbed the place Rancho Santa Fe and began to sell country estates. Bing not only bought some land, he went the others one better. He bought the part that has the original hacienda of Don Osuna, historic old adobe dwelling that was built in 1840. Don Jose Crosby plans to restore the place to the charm of earlier days with some tile roofs, straw-stuffed dobe bricks, wide verandahs, whitewashed walls and such.

During the warm summer months he has been busy looking the place over, supervising the planting of a few crops, putting up some buildings for the help, and taking some week-end holidays in the rolling valleys and commanding knolls.

(Radio Mirror, September 1934)


May 14, Monday. (4:30–5:00 p.m.) Bing’s radio show for Woodbury Soap on CBS with Jimmie Grier and his Orchestra. Ken Niles continues as announcer.

May 18, Friday. Catherine Anne and Helen Dolores, twin daughters of Ted and Hazel Crosby, are born.

May 18–20, Friday–Sunday. Bing is one of many stars appearing in the “Film Stars Frolic” at the Gilmore Stadium in Hollywood.

May 21, Monday. (4:30–5:00 p.m.) Bing’s radio show for Woodbury Soap on CBS.


Woodbury soap has expressed itself as anxious to recontract Bing Crosby for a minimum of 26 weeks, starting in the early fall, but the warbler prefers to refrain from making a new deal until later in the summer. Meanwhile he will consider the proposition made by a Sunday night food account and also one from a femme accessories manufacturer, for whom it’s to be a debut in radio. Crosby has decided not to come East this summer for nighters and deluxe picture house stands.

(Variety, May 22, 1934)


May 24, Thursday. Press comment says that Bing “has scarcely left his wife’s bedside during the past week; she’s been quite ill.” X-rays show that Dixie is pregnant with twins, with one in a complicating position, and, as a result, she is suffering chronic back pain.

 

It was not long after We’re Not Dressing that Dixie and I became the parents of twins. We didn’t conform to the custom followed by some in the Hollywoods of letting the gossip columnists know about the hoped-for advent eight months in advance. We were old-fashioned enough to announce the arrival of our sons only upon delivery.

But when our twins were in the offing complications set in which we couldn’t control. About the sixth month, Dixie had a siege of false labor and the doctor was alarmed for fear she would lose the baby. He thought she ought to have some X-rays, and the X-rays disclosed that there were going to be twins. Somehow or other this news leaked out, as things will leak out in a hospital where there are nurses, telephone operators, and X-ray technicians.

The news-leak didn’t annoy me as much as it otherwise might have done for I had something more important to worry about. The X-ray showed that one of the twins had his body arranged in such a position that it was interfering with the functioning of one of Dixie’s kidneys. She claimed later that it was Dennis. And when he grew older and she kidded him about being cantankerous, she added, “You started out that way.”

(Call Me Lucky, page 130)

 

May 28, Monday. (4:30–5:00 p.m.) Bing’s final Woodbury Soap show of the season.


Items of interest abound in the lineup of broadcasts tonight. For one thing, Bing Crosby, KHJ at 4:30 p.m., winds up his current series. He’ll take a rest from radio throughout the summer months with current plans calling for his return some time in September.

(Homer Canfield, Monrovia News-Post, May 28, 1934)


Bing’s the boss on new Woodbury show

Woodbury Soap through Lennen & Mitchell signatured Bing Crosby last week to a 39-week contract, which gives the singer complete authority over the program. Account has set aside $6,000 for the program’s cast, writing and production, with Crosby free to do his own picking of the other entertainers and the band. Account’s new series will take a Tuesday evening spot (9 to 9:30 EST), with Sept. 18 the starting date. Talent for the stanza will be booked through the Rockwell-O’Keefe office which represents Crosby.

(Variety, July 3, 1934)


      May 29, Tuesday (onwards). Bing works alongside the laborers working on his Rancho Santa Fe property for a while and returns to Hollywood with blisters on his hands.

June 17/18, Saturday/Sunday. Bing and Dixie spend the weekend in the yachting party of Ralph Goetz and Frank Kerwin aboard their 110-foot cruiser, Conquista, in honor of the Walter Winchells. The Conquista, which was a submarine chaser until converted into a luxuriant pleasure craft, weighs anchor at the California Yacht Club on Saturday at noon, and sets sail for Catalina. The party goes to the St. Catherine Hotel on Catalina Island for dinner and dancing. Sunday is devoted to tennis at the hotel, bathing from the yacht and dancing on deck. Others present include Ruth Etting, Mack Gordon, Harry Revel, and Eddie Cantor.

June 25, Monday. Bing is thought to have taken part in the Marion Davies Foundation benefit at the Biltmore Bowl with a host of stars.

July (undated). Forms Bing Crosby, Incorporated. Bing’s brother Larry is put in charge of public relations while his father becomes treasurer. John O’Melveny, of the firm O’Melveny, Tuller, and Meyer, is the lawyer to the company.

July (undated). Press reports indicate that Bing recently hooked and landed a 197-pound Marlin swordfish off Catalina Island.

July (undated). Bing is said to have invited some of his friends to take part in an informal golf tournament at the 12-hole Old Brockway course at Kings Beach, North Lake Tahoe. This is said to become an annual get-together and eventually result in Bing’s annual pro-am tournament. It has not been possible to confirm that this actually happened.

July 3, Tuesday. Dr. Samuel S. Pasetto sues Bing for $1,000 in respect of physician’s services performed for Gary.

July 5, Thursday. Bing records “Love in Bloom” and three other songs with Irving Aaronson and his Commanders in Los Angeles to conclude his contract with Brunswick Records.

 

“Love in Bloom” and “Straight from the Shoulder” (Brunswick 01850). Crosby’s usual crooning, delightful or nauseating, according to your tastes. Mixture as before, with accompaniment by Irving Aaronson’s Commanders in the style of a good theater pit band.

(The Gramophone, October 1934)

 

July 6, Friday. The British entrepreneur, Ted Lewis, founder of the Decca Record Company Limited of England, dines with Jack Kapp, Bing’s record producer and a Brunswick Records executive at the house of attorney Milton Diamond in New York. The three men had been negotiating to buy Columbia Records but the deal had just fallen through as the American Record Corporation had agreed to purchase Columbia. Kapp says that several Brunswick executives will leave to join a new record company if the financial incentives are right. Kapp says that he can bring Bing with him and Lewis immediately decides to form Decca Records Inc., which is actually incorporated on August 4.

 

We decided there and then to form a new record company. Jack Kapp was certain that he could bring over Bing Crosby and there was, I believe, a clause in his contract under which if Kapp ceased to be associated with the Brunswick Company the contract would become null and void. Obviously the new company must be a Decca company, with the Decca label, which we believed would become quickly known provided Bing Crosby’s recordings appeared on it, to say nothing of other leading popular artists, including Guy Lombardo, The Boswell Sisters, The Mills Brothers, and The Casa Loma Orchestra. Jack Kapp explained that there was a possibility of making a deal with Warners to take over their record plant on West 54th Street, with about 35 presses and ancillary equipment, recording studios and offices at 799 Seventh Avenue. Only a small production was being carried out at the plant in transcriptions for radio stations on 16-inch discs.

      The problem of personnel could be readily solved, with E. F. Stevens, Junr., who he believed was ready to leave Columbia and join as sales manager, and Milton Rackmil from Brunswick as treasurer and production supervisor. Other experienced men were available for key posts, including those of branch managers in Chicago, Los Angeles and New Orleans. Never had the possibility occurred before of starting a record company with so many pieces in the jigsaw fitting so perfectly into position.

      The question then arose as to the price or prices at which the new Decca records would be marketed. Jack Kapp wanted to follow the existing pattern with 75, 35 and 25 cent records and argued vehemently for this set-up. I could see no hope of success for such a policy. The total sales of records in America were then no greater than ten million and for us to succeed we had not only to capture some of those sales but also to increase the total volume. I insisted that only on the basis of a one price 35 cent record could we agree to go ahead; and as we were to supply the trademark and the finance it could never have been formed without us. I argued that at 35 cents not only would we take business from competitors but would almost inevitably increase the over-all turnover of the industry at the very moment when it seemed that it might well have touched bottom. There was in those days a small, gross profit on a 35 cent record, and whilst it was unlikely that Victor, Columbia or Brunswick would cut their first line records to 35 cents, even if they did we would be fighting them on equal terms, with top line artists. The possibility of our being undercut was out of the question, for the 25 cent record was only a commercial proposition through chain stores with non-royalty artists.

      ...Although most people thought that radio had killed the record industry which in the U.S.A. had slumped from a total of over 100,000,000 records in 1928 to some 10,000,000 by 1933, 1 doubt whether any company started at such a propitious moment. Most new companies are formed in the last stage of a boom. American Decca was started at the end of an unparalleled slump  

      ...Of the 20,000 shares which the English company subscribed for at $1 each, we arranged to give 1,250 to Jack Kapp and 750 to Stevens, each of whom signed a service agreement.

(E. R. Lewis, writing in his book No C.I.C)

 

July 8, Sunday. Bing attends a pre-opening sports tea at Nick Stuart’s new Bath and Tennis Club at Brentwood.

July 12, Thursday. Starting at 11:25 a.m., plays in an amateur-pro competition with Harry Bassler prior to The Santa Monica Open. They have a 66 but are unplaced.

July 13, Friday. Starting at 10:45 a.m., Bing shoots a 78 at the Santa Monica Open played at the municipal course at Clover Field. Meanwhile, Dixie gives birth to twins: Phillip Lang and Dennis Michael in Cedars of Lebanon Hospital shortly after 6:00 a.m. The babies are premature and weigh between four and five pounds each. They are placed in incubators and are not released from hospital until August 18. Phillip is named for Eddie Lang while Dennis is named after Bing’s grandfather, Dennis Harrigan.

 

Her doctor put her to bed, kept her quiet, and sent her to the hospital at the end of seven and a half months, so he could keep an eye on her well in advance of delivery, because he wanted the babies to grow as much as possible before birth.

I checked in at the hospital every day, but as luck would have it the day I left the hospital and went to Santa Monica to play in a golf tournament, the twins were born. It was no surprise to Dixie that I was on the golf course then. That’s where I spend most of my time anyhow. But it gave her a beautiful opening if anybody asked her if I played much golf.

“He wasn’t even there when the twins were born. He was out playing golf,” she’d say, giving it the full Eleonora Duse-Sarah Bernhardt treatment.
Sometimes, after she was through needling me, I noticed people who didn’t know either of us very well looking at me as if I were the jerk of the world.

(Bing Crosby, Call Me Lucky, page 130)

 

July 18, Wednesday. Plays in the Hollywood Invitational Golf Tournament but has a 'no return' in the qualifying round.

July 31, Tuesday. Bing’s film She Loves Me Not has its Los Angeles premiere at the Paramount.

 

Crosby, in the role of a chivalrous senior, gives a nice acting performance and sings as only he can.

(Los Angeles Evening Herald Express, August 1, 1934)

 

It is indeed a strange group of characters that are introduced during the hectic proceedings in the film version of last season’s play, “She Loves Me Not.” Mixed up with Princeton students are the university dean, his daughter, a fiery-tempered cabaret dancer, a couple of cool gunmen and an energetic motion picture press agent and his persistent camera men. As on the stage, this adaptation is a swift-paced piece of hilarity, with occasional romantic interludes during which Bing Crosby and Kitty Carlisle contribute some tuneful melodies.

Some of the farcical episodes in this Paramount offering are apt to recall that famous old comedy, “Charley’s Aunt,” but in the present production, instead of having a varsity student in skirts, they dress up a cabaret girl in male attire after she has invaded a dormitory room. It has many madcap exploits, such as when the urbane Dean Mercer is felled unconscious by one of the students, just after a thug has been treated similarly. It gives the producers the opportunity to present the thug and the college dean bound together on a sofa. And not the least humorous aspect of this incident is the fact that that excellent actor, Henry Stephenson, impersonates the unfortunate dean.

The story slips from a night club in Philadelphia to Princeton, thence to New York and back to the university. Miriam Hopkins appears as Curly Flagg, a dancer who flees from a night club—where she was a witness to a killing—to Princeton, where she takes refuge in one of the students’ rooms. She is a constant source of worry to two students, Paul Lawton and Buzz Jones, even when she is garbed as a young man. Then the gangster chief decides that Curly will probably squeal about the murder and he dispatches two hirelings to “take her for a ride.”

A motion picture producer hears about the girl being hidden in the Princeton students’ room and his imaginative publicity man conceives the notion of employing Curly as a star, after getting as much publicity as possible in discovering her.

Lawton, who is acted by Bing Crosby, becomes infatuated with Midge Mercer, the dean’s daughter, and their romance offers opportunity for the singing of several songs, which include “Love in Bloom,” “I’m Hummin’,” “I’m Whistlin’,” “I’m Singin’” and “Straight From the Shoulder, Right From the Heart.” These are rendered quite effectively by Mr. Crosby and Miss Carlisle.

Miriam Hopkins gives a vivacious performance as Curly and Warren Hymer adds to the fun by his portrayal of a gangster. Lynne Overman is splendid as the publicity man and George Barbier is in his element in the rôle of a motion picture magnate. Mr. Stephenson makes the most of the rôle of the unfortunate Dean Mercer.

(Mordaunt Hall, New York Times, September 8, 1934)

 

‘She Loves Me Not’ (the play) is still current on Broadway in its 47th week and the film version holds Bing Crosby and Miriam Hopkins. That’s plenty for the marquee and virtually underwrites its economic returns for the exhib and distrib. But Par’s ‘She Loves Me Not’ leaves considerably wanting…

      …But apart from this possible captiousness Par’s ‘She Loves’ holds plenty for the gate. Crosby is most of it. He looks better than ever (somehow his stature has been built up although the faintest suggestion of embonpoint doesn’t quite jell with a Princeton undergrad), but he acts intelligently and sings those tunes. The songs will be no small asset to the film. There are three outstanders, two by Revel and Gordon—‘Straight from the Shoulder (Right from the Heart),’ and ‘I’m Hummin’, (I’m Singin’, I’m Whistlin’) and one by Robin and Rainger (‘Love in Bloom’)—and the latter is the smash hit of the flicker and currently Tin Pan Alley’s No. 1 song, so it’s easy to figure out the b.o. reaction. The others too are plenty in the air…

      On the other hand the distinguished Crosby vocalizing (Miss Carlisle is the vis-à-vis in most of it) more than offsets these portions. The bit with the pair doing cross-patter in song to hoodwink the dean is one of those outstanding bright moments.

(Variety, September 11, 1934)

 

August 3, Friday. Press reports praise Bing and Jimmie Grier for “working twelve hours recording numbers for the National Welfare Association program.” (See October 22, 1934)

August 4, Saturday. Bing’s record of “Love in Bloom” starts to attract attention and soon becomes number one in the charts. It stays in the top position for six weeks.

August 6, Monday. Dixie Lee returns home from hospital. The twins are kept in hospital and now weigh 5 and a half pounds each.

August 8, Wednesday. Bing records the first songs for the new Decca Records Company at the Decca Studios at 5505 Melrose Avenue, Hollywood, with Georgie Stoll and his Orchestra. The songs are “I Love You Truly,” “Let Me Call You Sweetheart,” “Someday Sweetheart,” and “Just A-wearyin’ for You.” Bing’s exclusive contracts with Decca eventually run to December 31, 1955. During the day, Bing golfs at Lakeside and has a 79.

 

Bing’s record is a remarkable piece of virtuosity. He sings ‘Let Me Call You Sweetheart’ as a ballad and then you turn over the record and hear him sing ‘Someday, Sweetheart’ in a style that is “hotter than hot”; what an artist, but I hope he isn’t falling between two stools here and that people who like one side of the record won’t be horrified at the other. Still, it’s a grand experiment.

(The Gramophone, April 1935)

 

Jack Kapp left Brunswick Records in 1933 when that company refused to elevate him to its presidency. He had reached the eminence of the position of recording director with Brunswick in 1930, at the age of twenty-nine. After four years he felt another move was indicated, and the only move available was to the very top of the organization. Jack ate, slept, walked, and talked records. Record salesman son of a record salesman father, he was a shrewd record merchandiser by his early twenties. When he left Brunswick he had enough experience behind him as a traveling salesman of the grooved disc and as a director of recordings to make auspicious plans for his own company.

The first big step Jack Kapp took when he formed American Decca was to concentrate production on 35-cent records. His second was to move the bulk of his manufacturing facilities behind one artist, Bing Crosby. He had other hit artists when he started, notably Lombardo; he added others in the year to come; but always the leading Decca name was Bing Crosby, and Jack did everything to maintain a policy that would ensure that position for Bing and assure Decca’s No. 1 position as the firm that owned the world’s No. 1 voice. His loyalty to Bing was reciprocated; in spite of fantastic offers from other companies, in the face of remarkable opportunities to form his own recording outfit, Bing remained with Decca and Jack Kapp.

(The Incredible Crosby, pages 116-117)

 

August 9, Thursday. Plays in a "Nassau Derby" golf tournament at Oakmont Country Club in Glendale. Bing has an 82 in the qualifying round and falls by the wayside.

August (undated). Thought to have won the Pasadena Open Golf Trophy Plate. This may have been a private golf match involving Bing, Jimmy Hines, Harry Bassler, and Leo Diegel. The trophy lists Bing as winner and also bears the inscription “Ex High Chief Jack V. Bare Trophy Golf Champion.”

August 16, Thursday. Together with Joe Penner and Lanny Ross, gives a banquet at Levy's Tavern for the radio critics of the local newspapers. More than 30 attend.

August 18, Saturday. Bing and Dixie are allowed to take the twins home from hospital, as they now weigh over seven pounds.

August 23, Thursday. Press comment indicates that Bing may have to have his appendix removed.

August 27, Monday. Commences filming Here Is My Heart with Kitty Carlisle, Roland Young, and William Frawley. Filming is completed in November and the director is Frank Tuttle.

August (undated). Seriously considers retiring from radio and films.

August 29, Wednesday. Press reports indicate that Bing is having to alter his diet in order to correct his appendix problems. Leo Lynn has to have an appendectomy.


Bing Crosby has Hollywood's most obliging standee. Bing was supposed to have his appendix removed, but doctors put him on a diet and nixed the op. Bing's stand-in, Leo Lynn, had an appendectomy instead.

(Variety, September 4, 1934)


August 30, Thursday. Jack Kapp writes to Bing.


After listening to "Just a-Wearyin' for You," there can be no doubt of your ability to do songs of a semi-classical nature as well, if not better, than any singer in the country today. I feel our judgment in this regard is wholly justifiable. There is one thing I'd like to call to your attention. The public today wants an unadulterated Bing Crosby, without any frills. They think that the combination of his voice tinged with a natural feeling which he possesses, is unsurpassed. I agree with them and I think that the frills should be avoided, as well as "hot" songs. You have in your grasp the opportunity to be the John McCormack of this generation. You can achieve that much more easily than you think. By doing what we are discussing and by following thru both on records and on radio, you will reach a popularity, which, in my opinion, will be as great as ever enjoyed by any singer in this country. Think it over Bing. I do not mean to be presumptuous, but the masses want melody combined with soul, which is yours. Nobody can touch you there.



September 2, Sunday. Russ Columbo dies following a bizarre shooting accident.

September 6, Thursday. (10:00 a.m.) Bing is a pallbearer at Russ Columbo’s funeral at Blessed Sacrament Church, 6661 Sunset Boulevard, Los Angeles.

 

BING CROSBY, RADIO RIVAL, WILL BE PALLBEARER AT RITES FOR RUSS COLUMBO

Bing Crosby, whom he rivaled as a radio crooner, will be one of the pallbearers at the funeral for Russ Columbo, to be held tomorrow at 10am at the Blessed Sacrament Church, 6661 Sunset Boulevard.

The other pallbearers will be Sheldon Keate Callaway, Gilbert Roland, Walter Lang, Stewart Peters and Lowell Sherman. Following requiem mass, the body will be returned to the Delmer A. Smith chapel to await final burial arrangements.

This morning at 9:30 o’clock, an inquest into Columbo’s death will be held at the coroner’s office. Witnesses will include Lansing V. Brown Jr., Hollywood portrait photographer, who held the gun which was accidentally discharged and killed Columbo at Brown’s home Sunday. Brown was under the care of physicians yesterday, after his collapse upon word of Columbo’s death.

Other witnesses will be John Columbo, a brother, who will identify the body; Virginia Brissac, Columbo’s secretary, who will tell of arranging the meeting between Brown and Columbo, and Dr. A.F. Wagner, who will describe the fatal wound.

Brown was showing Columbo an ancient cap and ball dueling pistol when a forgotten charge of powder in the gun was exploded as Brown lighted a match under the pistol’s hammer. The lead ball ricocheted from a table and struck Columbo over the left eye, penetrating his brain and shattering his skull at the back.

Mrs. Julio Columbo, mother of the singer, who has been dangerously ill at the Santa Monica hospital, will not be told of her son’s death until her condition is strong enough to withstand the shock.

Posthumously, Columbo’s name appeared yesterday on the docket of Superior Court. Listed for trial before Superior Judge Marshall McComb, but shortly thereafter ordered off calendar, was a suit in which Irving D. Lipowitz, New York attorney, demanded $9,000 from Columbo for fees. Columbo had disclaimed any obligation.

(Los Angeles Illustrated Daily News, September 5, 1934)

 

September 9, Sunday. Thought to have been at Wrigley Field for the Jack Lelivelt Day ceremonies.

September 15, Saturday. The Mutual Broadcasting System comes into being following an alliance between several radio stations including WOR in New York.

September 18, Tuesday. (5:00–5:30 p.m. Pacific Time) Bing returns to CBS radio and Woodbury Soap, now for a half hour on Tuesdays, with a contract that pays him $6,000 a week as a package with total control. Georgie Stoll leads the orchestra as Jimmie Grier has been signed exclusively by another program. The Boswell Sisters are guests on the opening show having been signed on a thirteen-week contract. Claude Binyon writes the scripts and Ken Niles is the announcer. The audience share during the season is 15.5.

 

The program which Bing Crosby arranged all by himself takes the air this evening for the approval of listeners from one coast to the other. Under the title “Bing Crosby Entertains,” the crooner will be heard in several vocal selections and in addition he will present the famous Boswell Sisters, Connie, Martha and Vet. George Stoll’s orchestra has its first big-time opportunity during the half hour, which is heard through KHJ at 5 o’clock. Departing from his usual practice of singing popular songs of ballad and torch nature, Crosby includes on this evening’s broadcast the popular “Just a-Wearyin’ for You.” Each week he plans to present one of this type. Others will be “I Love You Truly,” “Let Me Call You Sweetheart,” and songs in that vein.

(Ray De O’Fan, Los Angeles Examiner, September 18, 1934)


Two types of delivery, both the finest in their line and a first rate orchestra to round it out. This one sounded sure-fire on paper and lives up to all expectations on the air. Crosby is Crosby and calls for no comment. His four songs on this initial program rang the bell. The Boswells are more torrid than ever in their close harmony. This sister combination has withstood the competitive radio gaff for a long while now and there is no indication of them weakening. The Georgie Stoll Orchestra, a Coast aggregation (program emanates from there), is capable in both accompaniment and its own moments. Woodbury here, has a Tuesday evening show that’s bound to be tuned in on.

(Variety, September 25, 1934)

 

Crosby and Boswells

(Fair)

Woodbury soap with Bing Crosby, the Boswell Sisters, Georgie Stoll’s orchestra, half hour, Tuesday eve, WABC.

Musicianship—Not much change in this as when last heard excepting the addition of the Boswell Sisters and the switching of orchestras. Crosby has never been quite satisfied with the musical backing he received since Lennie Hayton established headquarters in the East. Having worked with him since the early days, Hayton knew all his tricks. After making some phonograph records on the west coast with Georgie Stoll, Crosby tied up with his outfit for the air series and judging by the first broadcast, he’s a better bet than Jimmie Grier. Although the band lacks body in some of the rhythmical things, the vocal arrangements show pleasing touches. The Boswells give a good account of themselves and are a distinct addition.

Showmanship—Crosby is still an ace attraction as a singer but the day for those who just step up to the mike and warble a few songs is decidedly on the wane. According to present standards, songs in themselves don’t suffice, it’s the setting, the song and the story idea that fits the fashion. A love interest injected into this would round it out. Otherwise it’s just the same old routine. This is the first time that Crosby and the Boswells have worked together on one spot although they have been together on alternate nights by the same sponsor.

Commercial—Nothing new or particularly refreshing on this end. The situation skit is used an opening wedge and the heavy ammunition is reserved till last. Is one of the last renovated of all the fall openings.

(Doron K. Antrim, Metronome, October 1934)


Bing Crosby may have taken all the singing glory for himself on last Tuesday’s opening broadcast, but he distributed ample honors in other directions. Georgie Stoll was introduced as a “swell band leader.” Announcer Ken Niles was given recognition and the Boswells were affectionately introduced. Crosby overlooked no one, not even the twins. He spent so much time telling the audience what fine people others were that he plumb forgot to build up himself.

(Ray De O’Fan, Hollywood Citizen News, September 21, 1934)


In late 1934 and through a big part of 1935, Bing continued to broadcast for Woodbury soap, at the handsome weekly stipend of $6,000 and with the pleasant knowledge that his weekly half hour was all his to do with as he wanted. He used the bands of Georgie Stoll, a little man with a large shock of hair who was making a movie career for himself, and Jimmie Grier (sic), with whom Bing had worked in the Gus Arnheim days. On the Woodbury program, Bing first became aware of the intelligent use that could be made of small vocal groups back of him. He used both the Boswell Sisters and the Mills Brothers for this harmonizing purpose, striking a semijazz note in his work with the three girls from New Orleans and the four boys who made a nation jump to their vocal impressions of a small instrumental jazz combination.

(Barry Ulanov, The Incredible Crosby, pages 117-118)

 

September 20, Thursday (8:30-9:30 p.m. Pacific time). Bing makes a short guest appearance on the Dorsey Brothers opening radio show of the season, which comes from Ben Marden's Riviera Club in Fort Lee, New Jersey. The Dorseys are broadcasting from New Jersey on station WEAF with Bob Crosby. Bing is linked in from Hollywood with the Boswell Sisters and Georgie Stoll. Bing sings, “Love in Bloom.”


Bob Crosby, who sang with Anson Weeks on W-G-N during the summer, will have a coming out party on NBC at 10:30 tonight. A parade of radio stars including his brother Bing will salute the younger Crosby when he and the Dorsey Brothers orchestra begin an engagement at a well known New York night spot tonight. The Boswell Sisters, singing from Los Angeles; Anson Weeks, playing in New York; Buddy Rogers from Chicago, and the Mills Brothers from Detroit will contribute to the one hour show.

(Larry Wolters, Chicago Tribune, September 20, 1934)


September 22, Saturday. Press coverage about a competition between Richard Arlen and Bing to see which one could pick up the most foreign radio stations during a one-week period. Both are said to be shortwave fans. Bing wins the contest and between them they pick up 122 stations. This may have been a publicity press release. Radio Guide for the week ending 22 September lists Bing as second in their readers’ poll for the Star Of Stars Election. The top five were: Joe Penner, Bing Crosby, Eddie Cantor, Jack Benny, and Rudy Vallee. During the day, Bing visits Gary Cooper on the set of the Paramount film Lives of a Bengal Lancer and is photographed with him.

September 23, Sunday. Bing and Pat O’Brien entertain at a lavish party at Lloyd Bacon’s house.

 

The Lloyd Bacons on Sun. went ABSOLUTELY lavish with a Spanish dinner party (those hot peppers still have me!) embellished with genuine high-kicking Spanish dancers, singers and the like. The highlight of the affair was when Bing Crosby and Pat O’Brien presented their burlesque of the adagio and other light fantastic thingamuhjigs. Pat and the cook finally ended up doing an Irish reel (somebody SHOULD have made a movie of that). Barbara and Bill Koenig, Matt Allen, Joe E. Brown and others went in for badminton between courses. Dixie Crosby and Phil Regan CROONED at each other. Just to give you an IDEA of how long Ruby Bacon, a perfect hostess, fluttered about–the thing started at 2 in the afternoon and finished at 2 in the morning!

(Jimmy Starr, Los Angeles Evening Herald Express, September 25, 1934)

 

September 25, Tuesday. (5:00–5:30 p.m.) Bing’s guests on the Woodbury show are the Boswell Sisters. Goes on to see Vincent Lopez and his band at the Gold Room of the Beverly-Wilshire.


Bing Crosby and the Boswell Sisters will offer a rhythmic half-hour during the second of their new series of the program at 7 o’clock through WDSU.  Crosby will sing five new songs, the New Orleans trio will offer three tunes and Eddie (sic) Stoll’s Orchestra will play several numbers, including, ‘My Old Flame’.

(New Orleans Times-Picayune, 25th September 1934)


September (undated). Bing and Dixie celebrate four years of marriage at a party given for them at the Beverly Hills home of Frank Tuttle, film director. The occasion ends with a midnight swimming party.

October 2, Tuesday. (6:00–6:30 p.m.) Bing’s Woodbury show. Guests are the Boswell Sisters.


Bing Crosby, supported by the popular harmony trio, the Boswell Sisters, will be heard in another stanza of West Coast melody and harmony Tuesday night at 8 o’clock over WBBM, Chicago.  Georgie Stoll and his orchestra, newcomers to network broadcasting, support the singers.

(Belvidere Daily Republican, October 2, 1934)


October 5, Friday. Recording session in Hollywood with Georgie Stoll and his Orchestra. Four songs are recorded including “The Very Thought of You.”

October 9, Tuesday. (6:00–6:30 p.m.) Bing’s Woodbury show with the Boswell Sisters as featured guests.


Bingsie Wingsie Crosby and Georgie-Worgie Stoll and Kensie-Wensie Niles, in their weekly broadcast from coast to coast, are fast becoming favorites with the children. Stoll’s interpretation of a new musical score from a motion picture was the best musical work on the program thus far. Stoll admitted his first broadcast with Crosby was not up to expectation, but charged it to nervousness. Eastern network moguls have announced themselves as satisfied with the work of the orchestra.

(Ray De O’Fan, Los Angeles Examiner, October 9, 1934)

 

October 12, Friday. Bing sings at a banquet in honor of Emanuel Cohen (Paramount vice president) in the Indian Room at the Ambassador Hotel.

 

EMANUEL COHEN BANQUET

J.P. McEvoy, noted author and playwright, was master of ceremonies, while Mae West, film star, and Cecil B. DeMille, veteran director, were the main speakers of the evening lauding their chief’s achievements. DeMille left a sick bed at the Cedars of Lebanon Hospital to attend.

      Movie stars by daytime, but just entertainers for the banquet were such figures as Bing Crosby, Lyda Roberti, Paul Gerrits, David Holt, Jack Oakie, Lois Maybelle, Julian Madison, Colin Tanley, Alfred Delcambre, Carl Brisson, Joe Morrison, W.C. Fields, Lanny Ross, Sam Coslow, Arthur Johnston, Marian Mansfield, Diana Lewis, Queenie Smith, Mack Gordon and Harry Revel.

      The entire College Rhythm chorus, directed by Le Roy Prinz, staged a dance number from the production. Among the guests were Claudette Colbert, Kitty Carlisle, Gary Cooper, Katherine De Mille, Marlene Dietrich, Frances Drake, Cary Grant, Roscoe Karns, Elissa Landi, Charles Laughton, Gertrude Michael, Charlie Ruggles, Randolph Scott, Lou Sheridan, Sylvia Sidney, Alison Skipworth, Sir Guy Standing, Kent Taylor, Lee Tracy, Evelyn Venable, Henry Wilcoxon, and Toby Wing.

      The banquet was arranged under the direction of a committee consisting of DeMille, Mae West, Gary Cooper, Benjamin Glazer, Grover Jones and Victor Milner. Robert Sparks was in charge of program arrangements.

(Hollywood Citizen News, October 13, 1934)

 

October 14, Sunday. Bing and Dixie serve as best man and maid of honor at the wedding of Kitty Lang and Dr. William Sexton.

October 15, Monday. Decca launches an energetic promotional campaign built around its stable of stars (led by Bing) and its unprecedented thirty-five cent (or three for a dollar) record prices. Other companies’ records sell for seventy-five cents. Jack Kapp also targets the growing jukebox market.


With Decca slated to debut on the counters at 35c per 10-inch platter around Oct. 15, both Brunswick and Victor have decided on a policy of watchful waiting. Neither Brunswick nor Victor intends for the time being to meet Decca competition with a general slashing of the price lists. Victor will stand pat as far as its 75c library is concerned, while the only price changes contemplated by Brunswick (American Record) involves those artists and bands that have let the latter catalogs for Decca.

Decca, which has over 200 platters ready for release, will retail the 10-inch stencil for 35c (3 for $1), and the l2-inch disc for 55c. Profit allowed the dealer in either case will amount to 40%, or from 12c to 14c per record.

(Variety, October 2, 1934)


Bing was big in a way that’s hard to grasp these days. In 1931, when I was six and just beginning to listen to the radio in Queens, he had ten of the top thirty songs of the year, including “I Found a Million Dollar Baby (in a Five and Ten Cent Store).” By 1936, he was hosting the Kraft Music Hall (opening the show with “Where the Blue of the Night Meets the Gold of the Day”—people all over America could sing those lines like they do commercial jingles now) and was making three films a year, including Pennies from Heaven, which featured the song that became a Depression-era ballad.

Bing also made what would become a typically wise business decision. Singles cost a dollar in those days. A dollar is usually what it costs to download a single song in these modern, much more expensive times. But few people could afford to pay a dollar for music during the Depression. Record sales plummeted.

Jack Kapp, the founder of Decca Records, decided, in so many words, that if you can’t sell your salami for a dollar, lower the price until it moves. He decided to charge 35 cents for a single and pay performers and composers a royalty for each record sold, rather than a flat fee for recording.  A lot of artists balked; it might lower their incomes (or increase them, of course, depending on sales). But Bing saw that there would be no market for music if people couldn’t afford to buy records. Radio was already bringing music into their homes for free. Bing stayed with Decca and supported Jack Kapp’s idea, and, given that he was the number one selling recording artist in America, he essentially rescued the recording industry. And did pretty well for himself, too.

    (Tony Bennett with Scott Simon, Just Getting Started, pages 18-19)

October 16, Tuesday. (6:00–6:30 p.m.) Bing’s Woodbury show, with the Boswell Sisters as featured guests again. Press comment around this time indicates that Bing is receiving 3000 fan letters a month which are all answered by his staff of four at a cost to him of 50 cents each ($1500 a month). Any photographs requested are sent free of charge.


Bing Crosby and the Boswell Sisters, reigning rhythm potentates, will hold court again over the Columbia network and the Bee Radio Station, KFBK, from 6 to 6:30 p.m.  This popular West Coast feature, originating in Hollywood, also will present the syncopation of Georgie Stoll’s orchestra.

(The Sacramento Bee, October 16, 1934)


October 22, Monday. Bing and Jimmie Grier’s orchestra have made an electrical transcription for the Community Chest that is broadcast by various Los Angeles radio stations as follows: KMTR, 6:35 p.m., KHJ at 6:45 p.m., KECA and KNX at 8:00 p.m. (see August 3, 1934). Bing sings “Fare Thee Well to Harlem” and “With My Eyes Wide Open I’m Dreaming”.

October 23, Tuesday. (6:00–6:30 p.m.) Bing’s Woodbury show. Guests include the Boswell Sisters. Georgie Stoll and his Orchestra continue to provide the musical support.

October 24, Wednesday. Bing and John Monk Saunders finance Joe Ezar, Lakeside golfer, on a trip to Australia to compete in a golf tournament.

October 29, Monday. Bing and Dixie attend a dinner party at the Beverly Hills home of film director Raoul Walsh.

October 30, Tuesday. (6:00–6:30 p.m.) Bing’s Woodbury show with the Boswell Sisters as featured guests.

 

Bing Crosby and the Boswell Sisters are back again this evening to sing for you on KHJ. Producers of the program are still making Bing do a lot of talking, and Bing sings so much better than he talks.

(Kenneth Frogley, Los Angeles Illustrated Daily News. October 30, 1934)

 

October 31, Wednesday. Bing and Dixie plus the Richard Arlens leave Los Angeles to motor to San Francisco. En route, they golf at Cypress Point and Pebble Beach whilst staying at Del Monte Lodge on the Monterey Peninsula.

November 4, Sunday. In San Francisco, Bing sits on the Gonzaga bench and watches Gonzaga University play football against the University of San Francisco. Gonzaga lose 28–0. After the game, Bing brings the entire team back to Hollywood and acts as its host.

November 5, Monday. Bing entertains the 40-strong Gonzaga football squad on the Paramount set where they are shown Here Is My Heart and given lunch.

November (undated). Bing is said to have made a surprise guest appearance on the Rudy Vallee radio program.

November 6, Tuesday. (6:00–6:30 p.m.) Bing’s Woodbury show has the Boswell Sisters plus the Three Rhythm Kings as guests.

November 7, Wednesday. Plays in the first round of the Canada Dry competition at Lakeside and beats Ed Kennedy 1 up. He is eventually knocked out of the competition in the quarter-finals by Jack Woody.

November 9, Friday. In Hollywood, records three songs, including “Love Is Just Around the Corner” and “June in January,” from the film Here Is My Heart with Georgie Stoll and his Orchestra.

 

Are you one of those people who have always secretly regretted the day that Bing Crosby became famous and forgot that he could ever be happy? If so, you will be delighted with his new record (Brunswick 01952) of “Love Is Just Around the Corner.” It is stylish—almost hot—and shows that Bing can be at the top of the class all the time if only his public will allow it. Bing is happy and his admirers should share his feelings. On the other side is “Maybe I’m Wrong Again.” Oh no you’re not, sir!

(The Gramophone, January 1935)

 

November (undated). Films a short appearance in Star Night at the Cocoanut Grove, a short for MGM. Introduced by Mary Pickford, he sings “With Every Breath I Take.”

November 11, Sunday. Plays in the annual Paramount Golf Tournament at Altadena in Los Angeles County and finishes with an 80. The winner, Bert McKee, has a 76

November 13, Tuesday. Starting at 10:30 a.m. plays in an amateur-pro competition at Westwood Hills with Eddie Loos. They come joint third with a 65.  (6:00–6:30 p.m.) Bing’s Woodbury show. The guests are the Boswell Sisters. It is a matter of conjecture that the later ‘Kraft Music Hall University’ routine, attributed to Carroll Carroll, had its beginnings here. For this and the next six programs, after the opening theme, the orchestra launches into ‘Boola Boola’ and the listener is transported to the ivy-covered walls of ‘Woodbury Prep’. Ken Niles is president of the student body and Bing, the venerable Dean. The Boswell Sisters are co-eds. It is worth explaining that ‘Prep’ is not an abbreviation for ‘Preparatory’ but ‘is short for preparation and Woodbury’s is the finest preparation of its type on the market’!


Bing Crosby raises his voice to sing, ‘If I Had a Million Dollars’, on his program with The Boswell Sisters, tonight.  ‘Alexander’s Ragtime Band’ and ‘Stay as Sweet as You Are’ will be sung by the Boswell’s.  Other Crosby numbers will include ‘Love in Bloom’, ‘Out in the Cold Again’ and ‘Dinah’ (KFRC 6 to 6.30 pm).

(San Francisco Chronicle, 13th November 1934)


November 14, Wednesday. Teeing off at 9:30 a.m., Bing has an 81 in the first round of the Westwood Hills Open.

November 15, Thursday. Bing has an 80 in the second round of the Westwood Hills Open and with a score of 161 just qualifies for the final 36 holes. In the event, heavy rain forces the postponement of the final for several days and it appears that Bing does not take part.

November 18, Sunday. Bing attends the annual ‘little-big’ football game between Santa Clara and St. Mary’s of Moraga at Kezar Stadium in San Francisco. It rains throughout the game and Bing does a lot of shouting in support and loses his voice. The 60,000 spectators see St. Mary’s win 7-0.

November 20, Tuesday. (6:00–6:30 p.m.) Bing’s Woodbury show. The guests are the Boswell Sisters. At the beginning of the show, Bing announces, in an extremely hoarse voice, that he will not be able to sing as a result of attending the football game at the weekend. The Boswell Sisters and the Georgie Stoll orchestra have to carry the program.


Did you hear Bing Crosby apologise last night for his inability to sing on his program? Bing, it seems, went to the Santa Clara-St. Mary’s football game Saturday (sic) and shouted himself hoarse. Which, we’re sure, means that Bing will keep away from football games if the soap company which sponsors him has anything to say about it.

(Ray Fitzpatrick, The Waterbury Democrat, November 21, 1934)


November 23, Friday. For some time, Bing has been negotiating unsuccessfully with Famous Music (owned by Paramount) to share in the royalties of songs written for his films. The dispute has led to a breakdown in relationships between Bing and the head of Famous Music, Lou Diamond. On this day, Bing is irritated by the layout of the sheet music issued by Famous and writes to Diamond in New York (with a copy to Emanuel Cohen) as follows:

 

Dear Mr. Diamond:

      I would like to know who is responsible for the last three lines on the bottom of the song cutouts. This is typical of the kind of consideration I’ve been generally accorded by the Famous Music Corporation, in spite of my consistent cooperation with this firm.

      It is beginning to appear that the only effective method of maintaining a harmonious relationship with you fellows is to repay you in kind, which I am loath to do. However, I am only marking time to witness your handling of the new score, and if it is treated in the same manner as heretofore, you can consider my relations with your firm at an end. I don’t know why I give myself headaches wrangling with Famous when I get along so well with Crawford and Vocco.

      I hate to be arbitrary about these things, but I don’t see what other course you have left for me to pursue.

Sincerely yours,

Bing

 

November 25, Sunday. Bing plays baseball in Palm Springs as part of the “Go-Getters” team that also includes Richard Arlen, Spencer Tracy, and Skeets Gallagher.

sep21[1].jpgNovember 26–January 19, 1935. Films Mississippi with W. C. Fields, Joan Bennett, and Gail Patrick. The film is directed by A. Edward Sutherland. Weighing 190 pounds, Bing wears a girdle to enable him to fit into the tight period costumes.

November 27, Tuesday. (6:00–6:30 p.m.) Bing’s Woodbury show. Guests include the Boswell Sisters, Marian Mansfield, and Kitty Carlisle.

 

Bing Crosby (barring throat trouble) is to croon numbers from the Rainger and Robin score for the film, Here Is My Heart on his current broadcast over KHJ at 6 p.m. Special guests on the program are Kitty Carlisle and Marian Mansfield, Paramount featured players. The Boswells will sing ‘Lost in a Fog’.”

(Los Angeles Times, November 27, 1934)



December 4, Tuesday. (6:00–6:30 p.m.) Bing’s Woodbury show. Guests include the Boswell Sisters.


Bing Crosby will sing ‘June in January’, the hit tune from his forthcoming picture, ‘Here Is My Heart’, during his half-hour with The Boswell Sisters, tonight.  He will continue with ‘Have a Little Dream on Me’ and ‘One Night of Love’.  The Boswell Sisters have chosen ‘Here Come the British’ and ‘Stars Fell on Alabama’ (KFRC 6 to 6.30 pm).

(San Francisco Chronicle, 4th December 1934)


December 8, Saturday. Bing’s recording of “June In January” is a hit and reaches number one where it stays for seven weeks. At night, Bing and Dixie are part of Carole Lombard’s party in the Mayfair Cocktail Room and the Florentine Room at the Mayfair Club’s first dinner dance of the season at the Beverly-Wilshire Hotel. Bing entertains the audience during the evening.

December 11, Tuesday. (6:00–6:30 p.m.) Bing’s Woodbury show. The guests are the Boswell Sisters.

 

When Bing Crosby’s eye fell on the Boswells while he was crooning soulfully at a recent broadcast, he almost forgot to finish the song. Connie had blacked out two of Martha’s and Vet’s front teeth, had done the same for herself, and the three of them were grinning loathsome smiles at Bing. Tonight Bing sings, “One Night of Love,” and the Boswells grit their teeth to offer “You Ain’t Been Livin’ Right,” KHJ, at 6 o’clock.

(Eugene Inge, Los Angeles Evening Herald Express, December 11, 1934)

 

December 14, Friday. Bing sings at the Los Angeles Examiner benefit at the Shrine Auditorium.

December 18, Tuesday. (6:00–6:30 p.m.) Bing’s Woodbury show. The guests are Marian Mansfield and Pinky Tomlin.

 

A local lad and a local lady will sing to the nation this evening, as Bing Crosby’s program begins a three-week series of “guest artist” shows (KHJ, 6:00). The lad is Oklahoma’s fair-haired one, the affectionate Pinky Tomlin. With him will be Marian Mansfield, who, between radio and motion pictures, is quite a busy songstress these days. Gone are the Boswells from Bing’s half hour, their contract having run its course. On the way to the program are the four boys and a guitar, the Mills Brothers. It is due to their delay in reaching the Coast that the guest-artist series is being presented.

(Ray De O’Fan, Los Angeles Examiner, December 18, 1934)

 

December 21, Friday. Bing’s film Here Is My Heart has its New York premiere.

 

Since the appearance of two superior photoplays on the same day has a tendency to make a reviewer overcautious, this one had better declare at once that the new Bing Crosby film at the Paramount is a witty, lyrical and debonair farce, and a first-rate addition to the holiday bounties. “Here Is My Heart” began its lunatic career as a rewrite of “The Grand Duchess and the Waiter.” During the process of adaptation Harlan Thompson and Edwin Justus Mayer have managed to devise a new and highly diverting superstructure for the original framework. For Mr. Crosby’s high-priced croon the tunesmiths have composed three swinging numbers, “Love Is Just Around the Corner,” “With Every Breath I Take” and “It’s June in January.”

Mr. Crosby, who has already shown that his talents include a gift for light comedy, emerges this time as a celebrated songbird who, having made his way in the world, decides to take his million dollars and satisfy all the frustrated ambitions which he had brooded over as a boy. Having fished from the middle of the Atlantic, hunted buried treasure and generally eased his juvenile inhibitions, he arrives finally at Monte Carlo, where the schedule calls for him to fall in love with a real princess.

“Here Is My Heart” roars into top speed when it sets Mr. Crosby in pursuit of Princess Alexandra, a bored and haughty expatriate. Those hilarious people, Alison Skipworth, Roland Young and Reginald Owen, are the members of her entourage. The photoplay, in its satirical study of these pompous and indigent aristocrats, jabs with urbane skill at the arrogant and useless members of an out-moded royalty. Mr. Crosby, having been icily spurned by the Princess, insinuates himself into their hotel suite by posing as a waiter. Thereafter, in his frantic efforts to keep the impoverished aristocrats from being kicked into the street for non-payment of bills, he is forced to buy the hotel himself and to stuff the imperial wallets with large quantities of francs.

This is the best of fun, both in the writing and the acting, and Frank Tuttle provides the show with an admirable technical finish. Kitty Carlisle, a charming and gifted young woman who promises to make her mark in the cinema, is creditably bored as the Princess, and she makes a pretty partner for Mr. Crosby in his lyrical duets. “Here Is My Heart” is a bright and funny entertainment, deftly produced and happily performed.

 (The New York Times, December 22, 1934)

 

A setup for the Crosby fans and an excellent example of musical comedy picture making. Here Is My Heart should have an easy time of it most anywhere. Crosby is in fine voice, the songs he was handed are honies, and the story serves nicely as something to hang the singing and the songs on. . . Crosby gets a music cue every few feet, and always answers, but never tires. He can make a songalog into a feature picture because he gives the vocalizing something more than just a voice. To change the pace the director has him singing while doing anything but hanging from a chandelier. One well planned departure has Crosby in a duet with himself with a phonograph for a teammate.

(Variety, December 25, 1934)

 

At night, back in Hollywood, Bing entertains at a Christmas basket party hosted by Joe E. Brown at the Beverly-Wilshire Hotel. Dick Powell and Al Jolson also perform before the audience of 800. The event is sponsored by the Rotary Club of Beverly Hills and is designed to provide Yule cheer for the needy of Beverly Hills.

December 25, Tuesday. Santa Anita race track at Arcadia has its first meeting for twenty-five years. Bing has invested $10,000 in it in order to obtain a choice box seat and attends regularly for the next two months. (6:00–6:30 p.m.) Bing sings “Silent Night” at the conclusion of his Woodbury show. Guest stars are Irene Taylor and Charles Bourne. He also forecasts the result of the forthcoming Rose Bowl game between Stanford and Alabama saying “Stars will fall on Alabamy in the Rose Bowl on New Year’s Day—I hope.”

 

Irene Taylor, who sang with Paul Whiteman’s orchestra when Bing Crosby was one of the conductor’s Rhythm Boys, will appear on the crooner’s program to be released at 6 by KHJ. Miss Taylor, with Charlie Bourne at the piano, will sing “Just Like Looking for a Needle in the Haystack.” Mr. Bourne will have a solo spot, his number to be “Ol’ Man River”...

(Hollywood Citizen News, December 25, 1934)

 

By 1936 (sic) we thought it was time to try “Silent Night” on the Christmas radio show. Perhaps some of you remember that show. As a finale, it had a short play, set on a college campus. I was supposed to be a professor bidding the students good-by for the holidays. The problem was that I had no home of my own to go to and would have to face Christmas alone. After a brief sequence of events, during which I cheered up another lonely soul, I heard “Silent Night” being sung outside my quarters, the students having come back to serenade me. I opened the door and joined in, singing a solo as the show ended. We received thousands of enthusiastic letters, and “Silent Night” has been part of the Christmas show ever since.

(Bing Crosby, writing in Good Housekeeping magazine, circa 1956)

 

Bing sang “Silent Night” there for the first time. All by himself. He sang it like nobody—I mean, nobody, had ever sung it before. And all of us watching him stood stone still. It was unbelievable. So moving. Bing shouldn’t have worried about it. Everything went off so beautifully, and even before we went off the air, the telephones started ringing.

(Burt McMurtrie, producer of the Woodbury show, speaking in 1979. As reproduced in Bing Crosby—The Hollow Man, page 177)

 

     December 27, Thursday. Larry Crosby’s one-year old daughter, Molly, is reported to be recovering rapidly from cuts in her throat caused by an attempt to eat a glass ornament from a Christmas tree. She was rushed to the eye and ear hospital and three pieces of glass were removed from her throat, after which she returned to the Larry Crosby home at 3660 Boyce Avenue.

For the first time, Bing is in the top ten box office stars in the U.S.A. for 1934. He is seventh with Will Rogers coming out on top. During the year, Bing has had eleven records that became chart hits.

 

1935

 

January 1, Tuesday. Alabama beat Stanford 29-13 in the Rose Bowl game. Bing loses heavily on the various bets he made. He is also said to have made a New Year's resolution to go on a reducing diet. (6:00–6:30 p.m.) Bing hosts the Woodbury show on CBS. Guests are Ginger Rogers and Eddie McGill’s Negro Choir.

 

In Hollywood today they are reversing the title of the popular song and warbling: “Alabama Fell on the Stars.” The film colony, which backed Stanford heavily to win against Dixie Howell and his team-mates in the Rose Bowl classic, is paying off and mourning the most disastrous betting season in years. Hollywoodites lost plenty on the bad year of the Trojans of Southern California. Stanford’s defeat just about finished them.

      Heading the list is Bing Crosby. The star’s brother and manager, Ev Crosby, was busy yesterday ordering $1000 worth of ping pong equipment and pen-and-pencil desk sets to pay off Bing’s wagers with his radio fans. In addition, the star lost about $750 in cash.

      Bing gave $100 to Gail Patrick to bet with the Alabama team, who knew their own strength. Hearing of it, Dixie Howell, the southerner’s passing ace, was amazed.

      “Does Mr. Crosby think we are going to lose this game?” he asked.

      Don Hutson, ‘Bama’s tall end, who can catch ‘em about as well as Howell can throw ‘em, grinned widely.

      “Well, if he don’t,” he drawled, “he’s doing a mighty peculiar thing.”

(Harrison Carroll, Los Angeles Evening Herald Express, January 3, 1935)


Eddie McGill’s Negro Choir and Bing Crosby will offer a special arrangement of Stephen Foster’s “Swanee River” at 6 over KHJ. The choir sang with Mr. Crosby in his new moving picture Mississippi. Vocal solos will include “I Love You Truly” and “June in January.”

(Zuma Palmer, Hollywood Citizen News, January 1, 1935)


     January (undated). Dixie Lee films Love in Bloom for Paramount.

 

Dixie Lee’s return to films – her first since the arrival of the famous Crosby twins five months ago – is in a picture with Joe Morrison, a new crooner. Odd, you think, that Mrs. Bing Crosby should be opposite one of her husband’s rivals, if Joe can be called that?

      “Not at all,” says Dixie, who is as blonde today, and as breezy natural, as she was when she first came from the Broadway stage to Hollywood in the early talkie days.

      “I can’t work when Bing’s around me, makes me self-conscious,” she says. “I won’t even let him on the set – say, if he comes over here, I think I’ll show my authority and have him thrown off. Oh, no, he doesn’t mind when I go over and watch him, but that’s different. But Crooner–that’s Bing–and I will never work in the same picture.” Somebody told Dixie she was looking well. “Not at all as if you’d had even one child,” was the compliment. “Say,” Dixie retorted, “don’t tell me that. I want to look at least a little maternal. Oh, but there’s a swell cameraman on this picture. He makes me look like two other people.” And then Mrs. Bing Crosby made a statement which, coming from a movie actress-mother, was nothing short of startling.

      “I can’t say that I’ve experienced any great surge of glory over this motherhood–the sort of thing you read about and people talk about.” Moreover, she confessed, or rather mentioned casually, that now she is working she doesn’t get to see the twins much. What – none of this rushing-home-to-see-the-children, breaking away from the set, no-matter-what, to bill and coo with the little darlings? No, none of that. Dixie Lee’s a working girl.

      She is not so sure, however, how much she wants to work. Just occasionally, she thinks. Certainly not a contract. “Just as soon as I’d sign one, I’d have to work while Crooner was free, and he’d go away some place and I couldn’t go – and would I be sore?” Bing–or Crooner–tells it around that he put Dixie to work to help feed the two extra mouths in the family. That’s what he told Gary Evan, 17 months old, their first-born, when he cried the first day Dixie went to the studio.

(Robbin Coons, writing in the Hollywood Citizen News, January 2, 1935)

 

January (undated). There are plans for a major three-part series of articles to be written by Grover Jones about Bing’s life for publication by Collier’s magazine. Paramount are also interested in making a film about Bing’s life and Bing writes to his brother Ted about this. Nothing comes of the plan and eventually a book about Bing by Ted and Larry Crosby is published in March 1937.

 

…Inasmuch as the studio has expressed a desire to make a picture covering my career, I see how we can mutually profit in the following manner. Before the articles in Colliers are released, Jones proposes to get a title okayed by the company: After the story appears there is no reason why it can’t be sold to Paramount for $15,000 or even $20,000, as a starring vehicle for me, and I can urge its purchase.... I figure if [Grover] could take this material you are writing and revise and rewrite to suit his purposes, release it to Collier’s, withholding, of course, picture and book rights, we would be in a much better position to collect on the latter two. Of course, any money coming to me I would assign to you. But for the business angle of the whole thing, I should appear. This deal with Collier’s is already set, so your chance is on picture and book rights, where I have every reasonable belief you would be successful.

I have no clear recollection of the interesting events prior to my going into show business and naturally rely on your material to supply these. What has happened in the meantime he and I can concoct. He plans the whole thing in story form, not an article, and in real down-to-earth fashion, not the stilted biographical things that have appeared in the various film and radio magazines.

I would like to try and arrange the thing so some of the professional credit redounds to you, in addition to the financial gain for yourself if everything works out as planned.

What he is interested in chiefly are the minor incidents that happened around Spokane, and in school, that are real and interesting, These to be fictionized and colored a bit, and woven into a good tight story that avoids the cut and dried and makes good reading. The only parts of the yarn that need to be factual are the high points, such as marriage, the children, places of employment etc.

 

January 8, Tuesday. (6:00–6:30 p.m.) Bing hosts the Woodbury show on CBS. The Mills Brothers begin an extended run on the show.


The Mills Brothers, ‘Four Boys and a Guitar’, return to the Bing Crosby on Columbia programs by KHJ.  They appeared with America’s ace crooner in his first picture, ‘The Big Broadcast’ and offered their unique harmonies on his network series, last year.

(Los Angeles Examiner, 8th January 1935)


January 11, Friday. Bing is again at the Hollywood Stadium for the Friday night boxing.

January 13, Sunday. Bing and Dixie are at Agua Caliente for the horseracing.

January 15, Tuesday. (6:00–6:30 p.m.) Bing’s Woodbury show with the Mills Brothers as featured guests.

 

Last week in New York, while Bing Crosby’s program was on, a young lady called up CBS requesting Bing to include ‘One Night of Love’ in the half hour. The production department explained that Bing was in Los Angeles. ‘Oh, that’s all right,’ she replied a la Gracie Allen. ‘When you phone, just be sure to ask him to sing the chorus three times.’ Tonight Bing sings “I Woke up Too Soon,” and the Mills Brothers offer, “It’s My Night to Howl”. KHJ at 6.

(Los Angeles Evening Herald Express, 15th January 1934)


January 16, Wednesday. (7:00-7:15 p.m.) Bing and Dixie guest on the Jimmie Fidler radio show over KFI (an NBC outlet) with several other stars, including Jean Harlow.

January 19, Saturday. Filming of Mississippi is completed.

January (undated). Bing and Dixie attend the Trocadero together with many other stars.

January 22, Tuesday. (6:00–6:30 p.m.) Bing’s Woodbury show. The guests are the Mills Brothers.

 

He sings on the radio. He is at the top, largely because his name appears in most radio and motion picture columns daily. One would imagine he hires a high-salaried staff of publicity men. On the contrary, there is no one to ballyhoo his name. His office staff consists of a few secretaries, a business manager, a check-signer, a buffer. If he never had his name in a column it would suit him perfectly. One of my most grievous offenses would be to miss his name for a day. Now, should I or not? His feelings, I imagine, would be injured were I to neglect him for a twenty-four hours. ‘I am slipping,’ he probably would say. ‘Ray doesn’t care for my stuff any longer.’ I am not cruel; I would not harm a flea, much less him. Therefore, to keep everyone satisfied, even those who write and say ‘Is he the only man on the air?’ I maintain my policy of each day squeezing in a mention for the fellow who doesn’t really care two hoots: Bing Crosby.

(Los Angeles Examiner, January 22, 1935)

 

January 26, Saturday. Thought to have entertained at the Mt. Sinai All Star Show of 1935 at the Shrine Auditorium with Burns and Allen, the Mills Brothers, and many others.

January 27, Sunday. Bing and Dixie plus the children go to his ranch at Rancho Santa Fe.

January 29, Tuesday. (6:00–6:30 p.m.) Bing’s Woodbury show. The Mills Brothers continue as the only guests. Georgie Stoll and his Orchestra are still in support and Ken Niles remains as announcer.


Bing Crosby is scheduled to have a new bag of vocal tricks for the CBS-WDSU audience during his broadcast at 8 pm.  The Mills Brothers, not to be outdone, will emulate a four-piece orchestra in rhythm and blues numbers.  Georgie Stoll and his Orchestra complete the program. 

(New Orleans Times-Picayune, 29th January 1935)


January 30, Wednesday. Takes part in the huge charity fundraising celebrations for President Roosevelt’s birthday at Warner Brothers studio. Other stars present include Nelson Eddy, Dick Powell, and Jackie Cooper.


…The President was the unseen host and a legion of pale, tragedy-wracked children were his guests in spirit as 2000 persons sat table-to-table for dinner and entertainment on the vast sweep of a Warner Brothers sound stage, and another 8000 threaded their way in dance across the floor of the Palomar ballroom…

(The Los Angeles Times, January 31, 1935)


February (undated). Buys his first racehorse called “Zombie” adopting blue and gold as his racing colors.

February 2, Saturday. Bing goes to the races at Santa Anita.

February 5, Tuesday. (6:00–6:30 p.m.) Bing’s Woodbury show with the Mills Brothers as guests.

February 7, Thursday. Bing’s horse "Zombie" comes in second in a race at Santa Anita.

February 8, Friday. Bing and other stars including Johnny Weissmuller are at the Hollywood Stadium for the Friday night boxing.

February 10, Sunday. Bing is at the Riviera Inns with Adolphe Menjou, Sam Goldwyn, Leo McCarey, and Johnny Weissmuller.

February 11, Monday. Bing is named as top male popular singer in the poll of radio editors taken by the New York World-Telegram. The Mills Brothers are the top harmony team.

February 12, Tuesday. (6:00–6:30 p.m.) Bing’s Woodbury show. The guests are Joan Bennett and the Mills Brothers. Bing and Joan Bennett present a scene from their film Mississippi and Bing sings several songs from the picture.

February 15, Friday. The eighteen-minute MGM short, Star Night at the Cocoanut Grove, is released.


Photographed in Technicolor, this musical revue is a grand buy for any showman. This famous night club, the Cocoanut Grove in Los Angeles, is presented on Star Night, when all the Hollywood stars attend. Sell this to the fans as the same entertainment that nightly thrills the stars. Entertainers include Ted Fio Rito and his orch, Eduardo Durant’s tango band, the Fanchon and Marco Sunkist Beauties. Leo Carrillo is the master of ceremonies, and introduces a galaxy of stars from the tables. Several of them come to the mike and do a bit. Among these are Mary Pickford, Jack Oakie, Arline Judge, Bing Crosby, Gary Cooper. Here is a chance for the fans to watch the stars at play, being entertained by others. Gorgeously produced, with smartness, class and snap.

(Film Daily, March 25, 1935)



February 17,Sunday. Bing and Dixie attend a party at the new Brentwood Heights home of Pat O’Brien. Bing sings several songs as well as assisting with the serving. Many show business personalities are present.

 

In a facetious moment, Bing Crosby shook up a musical cocktail, and accompanied the business with a song medley, then poured it to “Cocktails for Two,” with Joe E. Brown, Lyle Talbot and Bert Wheeler joining in with effective, if somewhat dubious harmony.

(Los Angeles Examiner, February 19, 1935)

 

February 18, Monday. Bing is thought to have been at the races at Santa Anita.

February 19, Tuesday. (6:00–6:30 p.m.) Bing’s Woodbury show. The guests are the Mills Brothers.


Bing Crosby croons with the Mills Brothers again tonight on KHJ at 6. He sings “I’ll Follow My Secret Heart,” “Easy to Remember” “Way Down Upon the Swanee River.” The Four Boys and their Guitar ask “What’s the Reason I’m Not Pleasin’ You?” and “Tell Me What You Mean.” Georgie Stoll’s orchestra plays “Carlo,” “Gilded Lily” and “Lost in a Fog.”  

(Los Angeles Evening Post Record, February 19, 1935)


February 21, Thursday. Records four songs from Mississippi with Georgie Stoll and his Orchestra including “It’s Easy to Remember” and “Soon.” Completes the session with “Silent Night” for the St. Columban Foreign Missionary Society.

 

Bing Crosby’s record of “It’s Easy to Remember” (Brunswick 01993), complete with a chorus of angels, will sell without any help from me, but my own preference is for “Down by the River” on 01995, backed with “Soon.” “Down by the River” is a perfect example of microphone art; Crosby’s voice has been amplified and made too, too intimate by turns in the past, but here he has taken the microphone into his confidence with immense success. 

(The Gramophone, May 1935)

 

Late that year (1934), a missionary priest, Father Richard Ranaghan, came into the office of Crosby Enterprises. A member of the St. Columban Missionary Fathers, he had just come from their mission in China with a film showing the work done there. He planned to travel over the United States, showing the film in parish auditoriums to raise funds, and wanted to borrow some sound equipment to record a narration. No problem to this, and in the ensuing discussion, my brother Larry came up with an idea.

“Bing,” he suggested, “why don’t you sing a couple of songs for the narration sound track?” Who suggested “Silent Night” and “Adeste Fideles” I do not know, only I do know it was not I. Very possibly it was the good padre himself. In any event, the whole incident was just that casual. No special vocal arrangements were worked out, no particular method of styling devised. I just sang the way I sang other songs. That the hymns were a far cry from the romantic ballads and popular tunes I was accustomed to singing and that they might possibly have called for a different approach never occurred to us.

The sound track turned out pretty well, and Father was enthusiastic. Then Larry hit upon another bright idea—that we cut some records of “Silent Night” and “Adeste Fideles” from the sound track for Father to take along with him. He figured that some members of the audience might buy them and thus add to the fund.

The records sold well, and both sides were played over the radio in several of the towns where the film was shown. Record shops began to get inquiries. Decca, learning of these requests, suggested I cut a master record of the two hymns for them. I sang the songs in exactly the same way, but with fuller orchestral backing.

The record had an immediate sale. Letters began to come in, both congratulatory and critical. Not to my knowledge, however, were there ever any complaints from religious groups or from the clergy of any denomination. Most of the protests came from music teachers and music critics. They said that neither my voice nor my styling was suited to such spiritual songs. In answering the letters, I told the simple truth—that I had intended no sacrilege by singing in my usual ballad manner. I added that the record’s sale must have brought those two beautiful songs closer to many people who had not known them too well before. The explanation evidently satisfied the critics, for all but one wrote back friendly and understanding notes…

…When, in 1935, we cut the master record for Decca, we established a fund, in perpetuum, to which all royalties from the records were to go. The money was to be used solely for charity. The fund grew to such proportions that for several years around $50,000 a year, the entire royalty, was distributed among charities of many different religious denominations. Schools, orphanages, hospitals, and old people’s homes also shared. At present the net royalties are closer to $5,000 annually, because a tax ruling now requires that personal income tax be paid on them even though they are used for charity.

Also from this fund came the financing of the North Hollywood Marching and Chowder Club Clambake Follies. That bit of a tongue twister was the name of a troupe that traveled all during the war years to camps throughout the West, from California to Oklahoma. We had top talent and entertained more than a million service people. We gave shows in theatres, hangars, and on open fields to crowds of from 1,200 to 32,000, with an average attendance of nearly 7,000 per show.

(Bing Crosby, writing in Good Housekeeping magazine, circa 1956)

 

February (undated). Hires trainer Albert Johnson in order to establish a string of racehorses. Johnson was once a star jockey for the stable of Col. E. R. Bradley. Bing goes on to build stables and an exercise track at Rancho Santa Fe.

February 23, Saturday. At Santa Anita racetrack for the $100,000 handicap, which is won by a horse called Azucar.

February 25, Monday. Bing is at Santa Anita again to see his horse "Zombie" come third in its race.

February 26, Tuesday. Bing buys two more horses, increasing his stable to four. (6:00–6:30 p.m.) Bing’s Woodbury show. The guests are the Mills Brothers.

February 27, Wednesday. The annual Academy Awards ceremony takes place at the Biltmore Bowl and for the first time an Oscar is awarded for the Best Song. Bing’s song “Love in Bloom” from his film She Loves Me Not is nominated but the Oscar goes to “The Continental” from the Astaire/Rogers film The Gay Divorcee.

February 28, Thursday. Bing's horse "Zombie" wins its first race at Santa Anita. Bing says that apart from the $700 prize money, he also had a 'sentimental wager' on Zombie's nose..

March 2, Saturday. Bing is thought to have been at the racing at Santa Anita. Starting at 8:15 p.m., Bing takes part in the “Screen, Stage and Radio Stars Gambol” for the benefit of the Loyola High School Scholarship at Carthay Circle Theater.

March 5, Tuesday. (6:00–6:30 p.m.) Bing’s Woodbury show. The guests are the Mills Brothers. Bing reprises “Just One More Chance”.


Only a few years ago, three young fellows known as, ‘The Rhythm Boys’ were broadcasting during dance intermissions at The Cocoanut Grove.  One song, in particular, was requested chiefly because of the throaty, rhythmic intonations of one member of the trio.  The singer was Bing Crosby: the song, ‘Just One More Chance’.  Bing revives it on his current Columbia over KHJ at 6 pm.

(Los Angeles Examiner, 5th March 1935)  


March 9, Saturday. (7:30-8:00 p.m.) Dixie Lee and Joe Morrison appear on the California Melodies show on CBS.

March 11, Monday. Dixie Lee records “You’ve Got Me Doing Things,” a song she introduced in the film Love in Bloom. This is her first record and she backs it with “My Heart Is an Open Book.”

March 12, Tuesday. (6:00–6:30 p.m.) Bing’s Woodbury show. Again, the guests are the Mills Brothers. Bing sings, “My Heart Is an Open Book.” The Mills Brothers depart on a tour and are replaced each week by various guest artists.

March 15, Friday. The film Love in Bloom starring Burns and Allen with Dixie Lee and Joe Morrison in featured roles is released by Paramount.

 

I’m happy to report that Dixie Lee has established a foundation for a successful new career. She is beautiful to see, very pleasant to hear and very convincing in the role of a former carnival girl who loves a naive lad.

(Los Angeles Examiner, April 19, 1935)


This one is pretty sad film fare and is no credit to Paramount or the stars, George Bums and Gracie Allen. The comics try to get some laughs out of the script, but they just aren’t there. The story concerns a young boy and gal in a carnival company. They run away to be married but the gal’s father comes along .and spoils the works. The lad writes a hit song and gets together enough money to buy a half interest in the carnival and incidentally win the girl.

Dixie Lee (Mrs. Bing Crosby) is the girl and Joe Morrison is the romantic young man. Neither player ever has a chance to get started since the story is too thin to be spread over a feature length film.

The picture will do no good for Burns and Allen in future productions and it is difficult to understand how they permitted themselves to be featured in such a weak vehicle.

This might get by on a double bill.

(Billboard, May 4, 1935)

 

March (undated). Dixie Lee returns to the Fox film studios as part of the cast of Redheads on Parade.

March 17, Sunday. Bing plays in a competition at Lakeside Golf Club and comes second to Richard Arlen. He promises his caddy a new suit of clothes if he breaks 70 but he finishes up with a 72.

March 19, Tuesday. (6:00–6:30 p.m.) Bing’s Woodbury show. The guests are Marian Mansfield and Charles Erwin.


Bing Crosby tonight escorts to the microphone the first of a parade of Hollywood guest artists to be heard on his program. (KHJ, 6.) Marian Mansfield, Bing’s sister in “Here Is My Heart,” will sing “Clouds” and “Going Shopping With You.” Comedian Charlie Erwin will discuss some of the generally neglected phases of horse racing.

(Los Angeles Evening Post-Record, March 19, 1935) (NOTE: Miss Mansfield sang a different song.)


March 26, Tuesday. (6:00–6:30 p.m.) Another Woodbury show. The guests are Joy Hodges and pianist Joe Sullivan.

March 28, Thursday. The Los Angeles premiere of Mississippi at the Paramount Theater.

 

Altho March 8 is set for the release date on Mississippi, there is every reason to believe that the picture will not be ready for exhibitors until April 1. Following this preview Bing Crosby stormed Paramount and demanded revisions on certain parts of the picture and such revisions are now before the cameras.

As previewed the picture is highly entertaining, altho somewhat under the average Crosby picture. Crosby has little to do and walks on and off from time to time while W. C. Fields in a role of captain of a Mississippi showboat, has a part rich in material for his particular type or comedy and he delivers solidly. Fields steals every inch of the picture from Crosby.

Story fails to follow a straight course and jumps from place to place and from scenes to scenes with little or no continuity. Crosby has the part of a boy who sings his way to success thru three numbers: Soon, Easy to Remember and Down by the River. Tunes are not exactly the type best suited to the Crosby personality and plainly show they were written for Lanny Ross and not Bing Crosby. Joan Bennett, playing opposite, is in for the first 15 minutes of the picture and then fades until in the closing shots. Gail Patrick, as the girl who married a near maniac is excellent, and Claude Gillingwater, as the father of the two girls, fills the bill remarkably well. John Miljan has his usual type of “heel” role and gets over nicely. Queenie Smith, Paramount’s new rave, doesn’t get a chance to demonstrate her abilities thru the small part assigned.

Retakes of the Crosby parts will no doubt improve the picture ad make it a highly acceptable program picture.

(Billboard, March 9, 1935)


Amid an atmosphere of magnolia, crinoline and Kentucky whisky, the boozy genius of Mr. Fields and the subterranean croon of Mr. Crosby strike a happy compromise in “Mississippi,” the new film at the Paramount Theatre. Having its money on Mr. Fields, this column considered the photoplay only pleasant when he wasn’t around, preferring during those interludes to remember how the Commodore of the River Queen shuddered with ecstasy in the grip of a mint julep or how he looked when he drew the five aces. But that, as Jimmy Durante would say, is ingratitood.  “Mississippi” is a tuneful and diverting show even when it isn’t being particularly hilarious, and it is madly funny at sufficient length to satisfy us Fields idolators. The Paramount has served its Easter Week clientele generously.

Naturally, it is Bill Fields, the beery aristocrat of the river, the bogus Indian fighter, the prodigious quaffer of rum, the greatest liar afloat, who provides the entertainment with its memorable moments. You ought to be told about that marvelous poker game in which the Commodore, surrounded by Southern gentlemen and primed pistols, deals himself five aces and then makes desperate and fruitless efforts to reduce his holding to the more orthodox four. Then there are some hoary but reliable monkeyshines about the cigar-store Indians who invade the dazed vision of the Commodore like a tribe of authentic redskins in quest of scalps, causing him to seek a hasty refuge in a bottle of bourbon, which he dilutes with two timid spurts of soda.

A good-natured burlesque of the old Mississippi dueling code, freely adapted from Booth Tarkington’s “Magnolia,” the film tells about the soft-spoken lad from Philadelphia who is about to marry into a Kentucky family. When he declines to fight a duel for his lady’s honor he is sent off scornfully into the night, despite his sensible plea that the proposed affair of honor is somewhat lacking in motivation. So he joins Commodore Jackson’s showboat troupe on the River Queen. Under that gentleman’s tutelage he acquires a considerable paper reputation as a dead shot and soon is being billed as The Notorious Colonel Blake, the Singing Killer. Then he falls in love with Miss Joan Bennett, the sympathetic younger sister of his former fiancée, and finally bullies the Kentucky aristocracy into a cocked hat.

Mr. Crosby, who is a personable light comedian as well as a husky-voiced master of the croon, makes an excellent partner for Mr. Fields. Richard Rodgers and Lorenz Hart have composed some appropriate romantic numbers for him. Miss Bennett, modest and charming in her pantalettes, is admirably suited to the demure requirements of her part Queenie Smith appears rather too briefly as one of the belles of the River Queen. Concealed behind goatees, ten-gallon hats, stogies and itching pistols, you will find such reliable performers as Claude Gillingwater, Fred Kohler, John Miljan and Ed Pawley. But the spot news in Forty-Third Street concerns Mr. Fields. “Women,” he proclaims in one of his numerous oratorical flights, “are like elephants to me. They are all right to look at, but I wouldn’t like to own one.”

(Andre Sennwald, New York Times, April 18, 1935)

 

Paramount obviously couldn’t make up its mind what it wanted to do with this film; it’s rambling and hokey. For a few moments it’s sheer farce, for a few moments, it’s romance. And it never jells. Viewing in New York suggests that it may have been severely cut after completion because some bits and sequences are not even followed through, but left in thin air. . . None of it is convincing, for even a moment. The Crosby part was written with Lanny Ross in mind and even when he’s singing, it’s no go. They’ve pasted a bit of a mustache on Crosby’s lip, which doesn’t help either.

      Three songs in the film and all good, although leaving something to be desired. That, too, is a production fault and not traceable to Rodgers and Hart. All three numbers are slow, dreamy tunes for Crosby to sing. That was according to production dictate, but certainly a fast tune by someone else to change pace would have made a difference. Songs are ‘Soon,’ ‘Easy to Remember’ and ‘Down by the River.’ First two are doing oke on the ether already.

(Variety, April 24, 1935)

 

The anachronism of a crooner on a Mississippi showboat in the middle of the last century would have been of little importance had “Mississippi” been a more solid piece of work than it is, but Mr. W. C. Fields and Mr. Bing Crosby, although appearing to work together, are actually engaged in a tug-of-war, and the film is nearly wrecked in their struggle. The struggle was inevitable and not in the least their fault, for that part of the audience which delights in watching Mr. W .C. Fields trying to get rid of a fifth ace when he is engaged in a game of poker with some particularly murderous-looking ruffians are hardly likely to appreciate Mr. Crosby’s crooned version of “Swanee River” - and vice versa

Mr. Crosby makes determined efforts to prove that he is something more than a crooner, and, after a misunderstanding over the ethics of duelling with his fiancée’s father, he joins Commodore Jackson’s showboat and gains a reputation thanks largely to the Commodore’s unrivalled powers of rhetoric and invention, as the “Singing Killer”. In the end, he carries off Lucy Rumford (Miss Joan Bennett) in the most approved fashion of melodrama, but, although he acts with simple and sentimental sincerity as he sings, it is Mr. Fields who wins the day. His Commodore is a glorious creation, and he can, from the audience’s point of view, never tell too often the story of how, armed only with a bowie-knife and surrounded by hostile Indians, he “carved his way through a wall of solid flesh” to safety.

(The Times, [London] April 22, 1935)  

 

In innumerable films Fields played a con man, a bunko artist, or a card shark and there is a delicious moment in “Mississippi” when, playing a game of five card draw poker, he finds to his delight that he has dealt himself four aces. Then comes the tremor when he discovers that his fifth card is also an ace. He tosses it aside and draws yet another ace. He uses every subterfuge he can summon to rid himself of the offending card, but every new one that he smuggles into his .hand is also an ace. Eventually, one of his table-mates calls, setting a pistol on the green baize at the same time. “Oh, just a little old pair,” says Fields, hastily folding his cards, “I’m afraid I was only bluffing.” Breathes there a man with soul so dead that he has never enjoyed seeing a con man get his come-uppance? Fields had mastered the art of being insincere in earnest …      

(The Films of W. C. Fields)

 

The business of scene-stealing represented total war to Fields. He had no scruples about tricking his closest friends. His behavior was much like that of an amiable but efficient prize fighter; during the rounds he was occupied in trying to fracture his opponents’ skulls; at the bell he was ready to embrace and exchange amenities. W. C. Fields had real affection for Bing Crosby, his neighbor and occasional companion. In turn, Crosby had an idolatrous, filial attitude towards Fields, whom he always called ‘Uncle Bill’. They were both gratified when they were both cast together in the picture “Mississippi” which Eddie Sutherland directed. Fields was never in better form. His accounts to his gambler friends of “cutting a swath” through a living wall of Indians; his manipulation of the riverboat’s wheel, absently tilting his cigar as each spoke cane by, his poker games - all these were sequences that pleased him, and he capered along in his most larcenous style.

Crosby played the scenes with his usual quiet competence, satisfied to let the director worry about where the emphasis was falling. He sang and he made love to Joan Bennett, though he was consistently interrupted by the overpowering rasp of the film’s comedian, who jumped the gun on nearly every cue and covered the sets like a Great Dane. In a calm way, Crosby is a hard man to steal scenes from (he could scarcely have survived a string of co-starring pictures with Bob Hope otherwise); he gives the impression of abetting the thefts, but in doing so he radiates such disarming geniality that the felon is caught red-handed … When “Mississippi” was released, Fields went to see it in one of his cockiest humors. He was happy to note that, as predicted, the ferocity of the comedian was the dominant chord in the over-all production. Toward the end, however, he got the uneasy notion that somehow none of this was detracting from Crosby. In the lobby afterward (he told a friend) he heard a girl say to her companion, “Wasn’t he wonderful?” Fields coughed modestly, and she added, “I could listen to him sing forever.” Thereafter, Fields implied to several people that Crosby was a pretty underhanded sort of fellow, who churlishly relied on the illegitimate device of singing. The complainant’s tone suggested that the practice ought to be stopped.

(W. C. Fields: His Follies and Fortunes)

 

Even in his thirties, Crosby had a paternal air; and Norma (Peggy Lee), who clung to paternal figures, was hooked. “I literally saved pennies to go to see his movies,” she explained. “Tears rolled down my cheeks if the leading lady didn’t treat him right.” A hymn to lost love that he sang in Mississippi, “Down by the River”, haunted her: “Once we walked alone, down by the river/All the world our own…” His intimate delivery profoundly inspired her sense of how a song should be sung.

(James Gavin, Is That All There Is? The Strange Life of Peggy Lee, page 35)

 

March 29, Friday. Bing is at the Hollywood Stadium watching the boxing in the company of Mae West, George Raft and Pat O’Brien.

April 1, Monday. Bing is one of several Hollywood stars financing the tour of the Hollywood All-Stars basketball team to Japan.

April 2, Tuesday. (6:00–6:30 p.m.) Bing’s Woodbury show. The Rhythmette Trio are guests and the Georgie Stoll Orchestra’s accordion player, Johnny Kiado, is given a solo. Bing reprises “Please.” Just after the completion of the show, a fire badly damages the control room at the broadcasting studio. Repairs are rushed through in order to make the studio usable for the following week’s broadcast.


The song Bing Crosby made famous, “Please,” will be his first offering at 8 p.m. today over WBT and WHAS.  His other numbers will be “If the Moon Turns Green,” “Down By the River,” and “Words Are in My Heart.”

(The Birmingham Post, April 2, 1935)


April 4, Thursday. Bing plays in the Lakeside Invitational Golf Tournament but is eliminated in the first round 4 and 3 by Vic Kelly Jr.

April 5, Friday. Press coverage seen about Bing’s efforts to lose weight. At night, Bing is again at the boxing at the Hollywood Stadium in the company of Johnny Weissmuller and Pat O’Brien.

April 6, Saturday. Bing is asked to judge a beauty contest at Baker University in Kansas from photographs and he writes to the Editor of the student magazine.


You asked for it, and I don’t mind being the goat when it comes to enjoying the photographs of some pretty young ladies. It’s a difficult task but here goes:

First – Miss Roberta Allen

Second – Miss Lucille Fries

And you should really permit me to name one more –

Third – Miss Ruth McDaniels

This is my best judgement with only photos to judge by.

And if I may comment, Misses Allen and McDaniels appear to be very true types, while Miss Fries is more classic and probably capable for a professional career. Distance gives me safety, but you are there where you must “take it” for my judgement.

Best wishes,

Sincerely yours, Bing


April 9, Tuesday. (6:00–6:30 p.m.) Bing’s Woodbury show. The Mills Brothers return as guests. Bing again sings, “My Heart Is an Open Book.”


With the Mills Brothers returned from their theatrical tour of the Northwest, Bing Crosby observes “Old Home Week” by singing “Let Me Call You Sweetheart.” (KHJ, 6) The Rhythmettes, girl trio, join Bing in a neat arrangement of “Just an Ordinary Human.” Crosby’s other numbers will be “My Heart Is an Open Book,” “Soon” and “Throwing Stones at the Sun.”

(Los Angeles Evening Post-Record, April 9, 1935)


April 11, Thursday. The Crosby twins have their fingerprints taken by Captain H. L. Barlow, Superintendent of the Bureau of Records at Los Angeles Police Department. Press coverage suggests that this is so that the twins will not be mixed up but there may have been a more sinister reason in view of the danger of kidnapping.

April 13, Saturday. “It’s Easy to Remember” is at number one in the charts.

April 14, Sunday. Severe dust storms sweep across the USA’s “breadbasket.”


April 16, Tuesday. (6:00–6:30 p.m.) Bing’s Woodbury show. The guests are the Randall Sisters.


Bing Crosby’s guests tonight are the Randall Sisters, trio which has been featured with such somebodies as Paul Whiteman, Rudy Vallee and Jimmy Grier. Bing sings “Thanks,” “Lullaby of Broadway,” “Let Me Sing You to Sleep with a Love Song” and “Restless.”

(Los Angeles Evening Post-Record, April 16, 1935)


April 17, Wednesday. Bing films a brief spot in The Big Broadcast of 1936 and sings “I Wished on the Moon.” There are plans for Dixie and the children to appear in the film with Bing but he vetoes this.

April 20, Saturday. (8:30–9:00 a.m.) In the NBC Studios in Hollywood, Bing sings four songs in an “International Week-End” radio program which is broadcast to England by shortwave and transmitted by the BBC at 5:30 p.m. their time as “Six Hours Back.” Georgie Stoll and the orchestra provide instrumental backing. Meanwhile, Bing’s recording of “Soon” takes over as number one record.

April 23, Tuesday. (6:00–6:30 p.m.) Bing’s Woodbury show. The guest is Wini Shaw.


As an added feature of his weekly program, Bing Crosby will present Winnie Shaw, singing star of “Gold Diggers of 1935,” as his guest on KHJ at 6. Supported by Georgie Stoll’s orchestra, Crosby will sing a quartet of popular melodies, “Some Day, Sweetheart,” “Night Wind,” “Lost My Rhythm” and “Solitude.”

(Los Angeles Evening Post-Record, April 23, 1935)


April 25, Thursday. Bing takes Dixie to Palm Springs in an attempt to help her get rid of a stubborn cold.

April 27, Saturday. Collier’s magazine publishes a major article about Bing called “The Kid from Spokane” by Quentin Reynolds. Elsewhere, newspapers report that Bing has lost fourteen pounds in weight.

April 28, Sunday. Bing is at Agua Caliente and sees his horse 'Saragon' come second in one of the races.

April 30, Tuesday. (5:00–5:30 p.m.) Bing’s Woodbury show. The guests are the Williams Sisters (a vocal trio from Tacoma) and Mildred Stone. Bing reprises “Stardust.”


Revival of Bing Crosby’s interpretation of “Star Dust” and the appearance of the Williams Sisters, vocal trio, are major features of the Crosbian program over KHJ at 6. Bing will put his famous baritone also into “I Lost My Rhythm,” “Clouds” and “Easy to Remember.”

The Williams Sisters, Ethelyn, Laura and Alice (three comely misses from Tacoma, whose triple-voiced harmony has been aired nation-wide on previous occasions) will be heard in their own arrangement of “Around About a Quarter to Nine.”

Also much in evidence will be Georgie Stoll’s violin and orchestra.

(Los Angeles Evening Post-Record, April 30, 1935)


May 1, Wednesday. Bing is thought to have been at Agua Caliente, the resort area of Tijuana, Mexico, for the horseracing.

May 2, Thursday. A newspaper report states that Bing has recently been given a ticket for speeding.

May (undated). Bing signs a new three-year contract with Paramount that calls for him to make three films a year for $125,000 a picture plus $15,600 for each week over eight spent on any one film. It also gives him the right to make one film each year for another company.


No Starring for Bing

Bing Crosby may be one of the ten biggest box-office attractions on the screen – as he has been ever since he came to Hollywood – but he definitely is not going to be a star.  Before the singer signed his new Paramount contract, which runs for three years, he insisted upon a non-starring clause.  He will submit to featured billing, or co-starring with some other player, if necessary, but the studio is definitely restrained from starring him in any film without his written consent.

(Los Angeles Times, May 26, 1935)


May 7, Tuesday. (5:00–5:30 p.m.) Bing hosts his Woodbury show with guest Henry Busse. Bing sings “I Surrender Dear” amongst other songs.


Guest star of Bing Crosby’s program, broadcast by KHJ and the Columbia network, from 5 to 5:30 tonight, will be Henry Busse, orchestra leader and trumpet player extraordinary. The Williams Sisters trio will sing “Emmaline.”

(Los Angeles Evening Post-Record, May 7, 1935)


May 14, Tuesday. (5:00–5:30 p.m.) Bing’s Woodbury show with the Williams Sisters as guests again.

 

Most appropriately (for a famous young man whose unusual vocal talents have rocketed him to the top, and kept him there), Bing Crosby’s feature song on tonight’s nation-wide presentation will be “Life Is a Song.” (KHJ, 5) Punctuating the program will be numbers by the Williams Sisters and Georgie Stoll’s orchestra. Bing’s other songs will be “Heavenly Thing,” “Lost My Rhythm” and “The Words Are in My Heart.”

(Los Angeles Evening Post-Record, May 14, 1935)


Crosby, Woodbury Ideas Disagree

Woodbury has not renewed with Bing Crosby for the fall. Primarily, standing in the way of a new contract is the refusal of the account to again allow the singer to have full control over the program. Under the past season’s arrangement, Crosby picked his own supporting cast and numbers. Crosby has turned down other propositions because they call for his being part of a variety show.

(Variety, May 15, 1935)

 

May 15, Wednesday. Bing is listed together with many other stars who are expected to attend a charity performance that night at Carthay Circle Theater for the benefit of the Jewish Community Center Clubhouse. It is not known whether he actually attended.

May 19, Sunday. Bing is said to have spent the weekend in Agua Caliente with Andy Devine, Oliver Hardy, and others.

May 21, Tuesday. (5:00–5:30 p.m.) Bing’s Woodbury show. Georgie Stoll and his Orchestra continue to provide musical support. The guest is Martha Tilton.


Martha Tilton, wistful crooning star of Hal Grayson’s Orchestra, will appear as guest artist in Bing Crosby’s weekly program over Columbia at 6. The two singers and Georgie Stoll’s Orchestra will provide a fast-paced program comprise mainly of popular music. Miss Tilton will give her interpretations of “Love Dropped in for Tea” and “Pardon My Love.” Bing is scheduled to sing “Lost My Rhythm,” “Everything’s Been Done Before,” “There’s a Little Picture Playhouse in My Heart,” “Solitude” and “Down by the River,” and the orchestra will give its versions of “Lovely to Look At” and “I Won’t Dance.”

(Star-Phoenix, May 21, 1935)


May 24, Friday. Actor Chester Morris and his wife entertain the committees of the Screen Actors Guild in the garden of their home. Bing is one of many celebrities attending.

May 28, Tuesday. (5:00–5:30 p.m.) Bing’s Woodbury show is advertised to take place with guest Andy Devine but, due to a row with the sponsors, this nearly does not take place. The script for the show indicates that Valerie Hobson was to be a guest also.

 

Sharing the spotlight with Bing Crosby on his weekly nationwide feature, this evening, will be Andy Devine, the youthful screen comedian with the “gravel-throated” voice. The program, starring the popular Crosby voice, Devine and Georgie Stoll’s orchestra will be broadcast by KHJ and the Columbia network, from 5 to 5:30.

      The fun begins when Stoll discovers some excess baggage in the orchestra in the persons of Devine, erstwhile drummer. In other words, Devine, in loafing on the job, has gone “high hat” for the moment, and thinks he should be starred as a singer. Crosby’s songs, the episode featuring Devine and a brace of numbers by the orchestra round out the half-hour.

(Los Angeles Evening Post Record, May 28, 1935)


Los Angeles, June 4. For a time it looked as if Bing Crosby was about to walk on his Woodbury Soap CBS program last week with three broadcasts to go, but crooner won his point and the walkout was soon followed by a walkback. Crosby and Woodbury have not gotton together for next season and are not expected to.

Crosby, now having virtually complete control on the Coast emanator, got into a wordy battle over last week’s program four hours before due to go on. Scrap was on the manner in which he was to present Andy Devine, his film guest star. Not getting anywhere with words, Crosby announced he was through and plans were immediately formulated to substitute Georgie Stoll’s orchestra with Dave Broekman’s combo and have John Boles in the crooning spot.

Just as rehearsals were being set, hot wires from New York to the Coast instructed the adv agency and CBS officials to let Crosby have his way, so program went on as per schedule.

(Variety, June 5, 1935)

 

May 29, Wednesday. Bing, Richard Arlen and Joe Penner are in Indianapolis to watch the Memorial 500-mile race at the Indianapolis Motor Speedway.

June 1, Saturday. Bing again at Agua Caliente racetrack, just over the Mexican border.

June 4, Tuesday. (5:00–5:30 p.m.) Bing’s Woodbury show. The guests are Mildred Stone and the Williams Sisters.


Mildred Stone, young California songstress who was recently signed to appear in several pictures, will be the guest singer on Bing Crosby’s program, broadcast by KHJ and the Columbia network from 5 to 5:30 tonight.

(Los Angeles Evening Post-Record, June 4, 1935)


June 6, Thursday. Press comment seen stating that Bing is at Rancho Santa Fe resting up prior to making a film called Two for Tonight.

June–July 27. Films Two for Tonight for Paramount with Joan Bennett, Mary Boland, and Lynne Overman. The film is directed by Frank Tuttle.


The New Deal wouldn’t have to worry about new methods of taxation to aid the unemployed if there were more Bing Crosbys in the United States. And there is more than a mere figure of speech in this observation. Paramount statisticians are prepared to prove that every time Bing sings before the motion picture camera it means jobs for 54 other persons. A word picture of the payroll represented while Crosby sang a single solo in his latest picture, “Two for Tonight,” with Joan Bennett, is presented by the studio business office as follows: Director Frank Tuttle is in charge of operations, with two assistants. Cameraman Karl Struss has two cameras, with complete crews for each, trained on the singer. Sound Man J. A. Goodrich is doing the recording of the song with the help of three assistants. Song writers Mack Gordon and Harry Revel are standing off stage following Crosby’s rendition of their new composition. Nat Finston, head of the music department, and one of his aides are also in attendance. Georgie Stoll is directing an 18-piece orchestra which is accompanying Crosby. The production unit business manager and film cutler are interested observers in another corner of the set. All around, and in studio rafters above, are numerous grips, carpenters, electricians and property men totaling 54 persons by official count.

(Schenectady Gazette, September 6, 1935)

June 11, Tuesday. (5:00–5:30 p.m.) Bing’s final Woodbury show. The guest is Martha Tilton. Bing sings “I Wished on the Moon” amongst other songs.


Taking leave of his radio friends for the summer months, Bing Crosby tonight closes his current series, featuring an unusual presentation of “Wishing on the Moon.” Bing will sing the lead, supported by four trios (evenly distributed as to masculine and feminine gender) and Georgie Stoll’s orchestra. (KHJ, 5)

Other numbers to be done by Bing will be “You Saved My Life,” “Seeing Is Believing” and a medley of Gypsy songs.

Martha Tilton, guest vocalist, will be heard in “I See You Every Time I Close My Eyes.” Stoll’s violin speciality will be “Flowers for Madame.”

(Los Angeles Evening Post-Record, June 11, 1935)


June 14, Friday. A Walt Disney cartoon Who Killed Cock Robin is released and features a Crosby soundalike.

June 16, Sunday. Bing celebrates Father’s Day at his ranch

June (undated). It is announced that Bing’s brothers, Larry and Ted, have written a book about him and this is eventually published in March 1937.

June 26, Wednesday. Bing attends a cocktail and buffet supper party in the new playroom of Harry Revel’s Franklin Avenue home. The wall of the playroom has been decorated with life-size caricatures of the whole Crosby family, Bing, Dixie, Gary, and the twins, all crooning at microphones, plus other stars. Others present include George Burns and Gracie Allen, Jack Benny, Ida Lupino, Georgie Stoll, Andy Devine, Gus Arnheim, Cary Grant, and Jack Oakie.

     June 29, Saturday. Bing and Dixie and the Andy Devines enjoy a day of tennis at Bing’s Rancho Santa Fe home. They then go to the California Pacific International Exposition at Balboa Park, San Diego where they visit the Bavarian beer garden and entertain those present with an informal sing-song.

     July 1, Monday. (1:00-1:30 p.m.) Bing takes part in a nationwide radio hook-up over CBS celebrating the opening of the new Los Angeles Times building at the corner of First and Spring streets. Will Rogers is the m.c. Raymond Paige's orchestra provides musical support.


Bing Crosby captivated the audience with his singing of “It’s Easy to Remember, but So Hard to Forget.” Shortage of time and the necessity of returning immediately to the Paramount studio prevented a response to an insistent demand for an encore.

(The Los Angeles Times, July 2, 1935)


     July 6, Saturday. (5:30–6:30 p.m.) Dixie Lee appears on the Shell Chateau radio program on NBC hosted by Al Jolson.

July 20, Saturday. Bing and Dixie attend a party in the private dining room at the Trocadero hosted by Gene Markey and his wife Joan Bennett. Many top stars are there.
     July 27, Saturday. Finishes the filming of Two for Tonight during the afternoon.


July 31, Wednesday. Leaves on the Golden State Ltd for a vacation with Dixie at Saratoga Springs, New York State (for the racing).

August 2, Friday. Arriving at Saratoga Springs, they stay with Mr. and Mrs. Robert H. Crawford at their Fifth Avenue cottage. Whilst at Saratoga,Bing purchases nine horses there, increasing his stable to fifteen horses.

August 8, Thursday. Bing and Dixie are photographed at the evening yearling auction at Saratoga Springs where Bing acquires several yearlings.

August 14, Wednesday. Records in New York with the Dorsey Brothers. The event marked the end of their orchestra as the brothers went their separate ways having had a major row some weeks before. Bing records songs from the film Two for Tonight then has an argument with Jack Kapp over the style of recording for the song “I Wished on the Moon.” A factor in the row is that “I Wished on the Moon” is to be published by Famous Music and Bing is still on acrimonious terms with Lou Diamond. Ultimately, Bing’s wishes prevail.

 

While Jimmy carried on and Tommy remained incommunicado, radio stars and program executives were figuring out plans for the upcoming season. Kraft wanted to buy Bing Crosby. Along with Bing, the Rockwell-O’Keefe office wanted to sell Jimmy and the Dorsey Brothers band, which was, de facto, the Jimmy Dorsey band. Before the band could be sold to the advertising agency and sponsor, it was necessary to sell it to Bing. Bing had not heard the band, because, in those days, the “remotes” —i.e., the broadcasts from hotels and clubs —did not reach California. But the horses were running at Saratoga in August and Bing would be there. He didn’t want to go to Glen Island—he didn’t want to get into crowds and, besides, he would have to wear the hairpiece. Cork O’Keefe suggested they do a record date. This would give Bing a chance to hear the band. This was okay with Bing. He would come to New York from Saratoga. In the aftermath of “Separation Day,” Bing was impartial. He wanted to hear the band with both Tommy and Jimmy. The situation had to be handled adroitly. Every band in the business was hustling the job, wanting to work with Bing. Cork located Tommy and persuaded him to do the record date. “For you I’ll do it,” Tommy said, “and for Bing, but not for that ____.” It was a hot August day when they assembled at Decca. Bing listened to the band, liked it….

(Herb Sanford, writing in Tommy and Jimmy: The Dorsey Years)

The song he sings from this film [Two for Tonight] is “Takes Two to Make a Bargain,” and for the first time he falls into the trap of letting his sense of rhythm and phrasing run away with him to the detriment of the diction. But it’s no wonder when you realize that he has the Dorsey Brothers Orchestra to back him up. By the way, there is no mention of this fact on the label, only in the printed list; this is remarkable as in “I Wished on the Moon” there is more Dorsey Brothers than Bing! The record is little more than a dance record with Bing singing the vocal chorus. But it is all very good and you must make a note of the number, Brunswick 02070.

(The Gramophone, October 1935)

 

August 15, Thursday. (10:00–11:00 p.m.) Appears on Paul Whiteman’s Kraft Music Hall in New York (for NBC from station WEAF) singing songs from the film Two for Tonight. Bing carries on to Ben Marden’s Riviera Club (just over the George Washington Bridge), Fort Lee, New Jersey for Paul Whiteman’s opening night where he is the guest star. Renews his friendship with Bob Hope there. It is said that Bing does both shows for nothing “in friendly memory of the days when he was one of Paul’s boys.” Whiteman presents Bing with a humidor made by Alfred Dunhill and inscribes it inside: “To Bing, In deep admiration, Paul, August 15, 1935.”

     

Old home week at Paul Whiteman’s with Bing Crosby (one of the three original Whiteman Rhythm Boys) and the Dorsey Brothers, also from the same stomping ground, returning for personals on Kraft’s weekly broadcast last Thursday (15). Principal attraction of course was Crosby’s appearance, though the Dorseys acquitted themselves in top fashion with their expert saxophonology.

“Two for Tonight,” Crosby’s forthcoming Paramount pix with Joan Bennett, was given heavy plug through a chanting of all six songs (all hummable). Also terse re-enactment of picture’s clinch scenes were given.

Crosby was up to the musical background provided by the Whiteman band. Themer from the Paramount picture of the same title given heaviest plug and reprised.

Dorseys, spotted after a liberal Crosby spread, demonstrated their mellow tooting to good results. Guesting was paced neatly in both cases, with Whiteman cross-firing in general style and gracious as always in his introductory remarks and backward glances.

(Variety, August 21, 1935)


Paul Whiteman’s opening at the Riviera last night attracted so many persons that a new record has been set. ... Harry Richman’s famous mark was topped by an increase in attendance that spurted above 500…Night club fans just don’t seem able to pass up Bing Crosby either, since he was probably responsible for a great number who were present…Whiteman is nearly always close to Broadway, while Bing hasn’t been in these parts in a long, long time.

The affair brought practically every news concern’s cameraman, something unusual, since film editors don’t relish the thought of giving night clubs publicity… but the fact that Bing Crosby was singing in front of his old boss’s orchestra was adjudged sufficiently newsy to photograph…Several  times during the night Whiteman shouted at the photographers not to take pictures, since he has a film short contract with a movie concern, and if his band appears in flickers while playing music it nullifies the contract ... Crosby walked into the place so nonchalantly that old-timers were even surprised....

The crowd “oohed and ahhed” as Bing pressed his way through the surging throng that wished to touch him, shake hands with him, get his autograph, or speak a few words to him … but Bing kept on as though he were going to the aid of a drowning man.  

When he got up to sing, he forgot quite a few words to his songs and substituted  his well-known “boo-bee-boo” phrases, which pleased the fans immensely, although another singer probably would have had groceries thrown at him .... and Bing had to stop Whiteman during the middle of “Love in Bloom” and request it in another key, since he practically cracked on one or the high notes.  

They shouted, they huzzahed, they applauded, they knocked on plates and glasses with wooden clappers … and it reminded this writer of how fickle the public is … A few years ago Bing Crosby was just another person, just another singer—just another … He loved to have a good time with the boys and live an easy life … At that time no crowd would stand up and cheer for him until it sounded like Lindbergh’s ovation returning from Paris.

(“Scene on Broadway” by Justin Gilbert, The Record (Hackensack), August 16, 1935)

 

August 16, Friday. It is announced that Will Rogers and Wiley Post have been killed in a plane crash during the night of August 15. Bing is at the Arrowhead Inn in Saratoga Springs where Guy Lombardo is playing when the news comes through. (10:00-11:00 p.m.) A radio tribute over the NBC Blue Network takes place and at short notice Bing is asked to sing, “Home on the Range” from the inn. Having attended a Turf Writers dinner earlier in the evening, he has had a fair amount to drink and has trouble remembering the words at first. Bing later says that it was the only time he was really nervous when performing. George M. Cohan and Will Hays also take part in the tribute.

August 17, Saturday. Sophie Tucker opens at the Piping Rock in Saratoga Springs. Jock Whitney celebrates his birthday there with a party of 30 including Bing, Ben Bernie and the David Selznicks.

August 30, Friday. Bing’s film Two for Tonight is released in New York. Bing and Dixie leave Saratoga Springs to return to the West Coast.

 

If Two For Tonight the new Bing Crosby film at the Paramount, had a second act as richly comic as its first, there is little doubt but that it would be hailed this morning as one of the merriest comedies of the season. Unfortunately for us all, the battery of writers neglected to bring up their reserves and permitted their lunatic script to walk, rather than run, to the nearest exit....Still, not even an unsatisfactory finale can efface the memory of several hugely amusing moments, and it is with these in mind that one marks down the new photoplay as a diverting, agreeable light comedy...The songs by Gordon And Revel are not up to standard, with the possible exception of “From the Top of Your Head” which is tuneful.

(New York Times, August 31, 1935)

 

Despite its relatively short footage—clocked at 60 minutes at the Broadway Paramount screening—Two for Tonight is still a rather loose affair. Not up to Bing Crosby’s best and will have to be carried solely by the crooner, Joan Bennett and the rest of the marquee names. . .  Producer Douglas Maclean recognized the basic script deficiencies apparently and sought to offset that by a light romantic approach, punctuated quite a bit—a bit too much, in fact—by Crosby warbling. He has five numbers, virtually all solos since Miss Bennett is not a vocalizing vis-à-vis…The songs, the competent cast, the fetching title and mostly Crosby will have to offset the other deficiencies in Two for Tonight.

(Variety, September 4, 1935)

 

If you are one of those who like Bing Crosby’s crooning, you will like Two for Tonight, for Crosby has abundant opportunity to croon in the picture. . . . If you are looking for anything more, I am afraid you are going to be disappointed, because Two for Tonight considered as a screen play, is not among today’s better pictures.

(James Francis Crow, Los Angeles Evening Herald Express, October 4, 1935)

 

September 5, Thursday. Bing and Dixie arrive back in Los Angeles.

September 9, Monday. Press reports state that Bing is financing Milton Stern, a young Los Angeles inventor, who is developing a new type of television set.

September 13, Friday. The Big Broadcast of 1936 has its world premiere at the Paramount, New York.

 

Bing Crosby gets an exterior log cabin set for his song “I Wished on the Moon” with choral accompaniment. It’s just Crosby and just singing and that couldn’t be bad.

(Variety, September 18, 1935)

 

The Big Broadcast of 1936 is as uneven an entertainment as an evening on the radio - except you can’t turn it off... Bing Crosby, in a mercifully brief appearance, sings a likeable ballad, “I Wished on the Moon”.

(The New York Times, September 16, 1935)

 

The Fox film Redheads on Parade starring John Boles and Dixie Lee is released but the reviews are mediocre.

 

Hardly living up to the excellence of its title and exploitation possibilities, ‘Redheads on Parade’ is relegated to subsequent-run assignments by its weak and unexciting story. . . Interwoven with this is the love story affecting Boles and Dixie Lee, extremely muddled and placing Mrs. Bing almost solely in the role of a good listener except for a couple of songs. . . Picture doesn’t contain an outstanding performance or moment, though each member of the cast contributes his best.

(Variety, September 4, 1935)

 

September 14, Saturday. The Big Broadcast of 1936 has its first showing at the Paramount Theater in Los Angeles. Bing, Ethel Merman, and Frances Langford are in attendance. The proceedings are broadcast nationally on the NBC Red Network through the “Lucky Strike Hit Parade” program between 4:00 and 5:00 p.m.

September 17, Tuesday. Bing arranges to sell his Foreman Avenue house to Al Jolson and Ruby Keeler for occupation by Mrs. Keeler, mother of Ruby, and her family.

September 18, Wednesday. Buys seven acres in Toluca Lake on Camarillo Street on which to build a home closer to the Lakeside golf course. The house is completed in 1936 and is number 10500 Camarillo Street. It is built in the Colonial Revival style and there are twenty rooms, ten bathrooms, a tennis court, and a swimming pool. The interiors are designed by Harold Grieve.

September 22, Sunday. Bing and Dixie attend a surprise birthday party for Grace Bradley along with Harold Lloyd, Betty Grable, and Jack Oakie.

Anything Goes.jpgSeptember–November. Films Anything Goes with Ethel Merman, Charles Ruggles, and Ida Lupino. The film is directed by Lewis Milestone.

 

There were a few stories emanating from Paramount, too. The studio was busy giving Anything Goes the treatment at the same time Born to Dance was being filmed. For Anything Goes, Ethel Merman was swaggering through her original role, joined by Ida Lupino, Charles Ruggles and Cole’s less than favorite performer, Bing Crosby. Cole had nothing against him personally, but he didn’t like the singer’s style. Crosby, it might be said, subtracted a dimension from “You’re the Top” by crooning it. Not that Crosby’s crooning the tune made a great deal of difference since only “You’re the Top,” “I Get a Kick Out of You” and “Anything Goes” (with additional cleansed lyrics by Cole’s distant cousin Ted Fetter) were retained in the film. Instead there was a clutch of new songs by Leo Robin, Richard A. Whiting, Frederick Hollander, Edward Heyman and Hoagy Carmichael.

(Cole Porter, a biography, page 153)

 

 

September 29, Sunday. Bing gives Dixie a Swiss watch set in wood for their fifth wedding anniversary.

October 1, Tuesday. A newspaper article says that Bing and opera singer Gladys Swarthout have recorded two duets “Thunder Over Paradise” and “Home on the Range” at Paramount as a test for a possible film. It was intended to star Bing in a film version of Hermann Bahr’s operetta The Yellow Nightingale but Bing is said to have indicated that his voice was not appropriate.

October 4, Friday. Bing is stopped by police when driving at forty-two miles an hour on N. Highland Avenue (a twenty-five-mile zone) and is given a speeding ticket. This is Bing’s second ticket in six months. The officer notices that Bing has a revolver and when Bing cannot produce his gun permit, he is asked to drive to Hollywood police station. His explanation that he had forgotten to carry his permit is accepted and Bing is then allowed to continue to Paramount Studios.

October 17, Thursday. Bing rents Marion Davies’ house in Benedict Canyon for $1,200 per month pending completion of his new home.

October (undated). Bing beats G. W. Schweinhard in the first round of the Alphonzo E. Bell competition at Bel-Air but is beaten in the next round the following week by Steve Cunningham 3 and 2.

October 25, Friday. (8:15-8:30 p.m.) Bob Crosby and his Orchestra are due to commence a radio series on NBC-WJZ but Bob is taken ill with a respiratory infection, which threatens to develop into pneumonia. He is hospitalized at St. Vincent’s Hospital in Toledo, Ohio. Bing offers to take his place on the opening broadcast but Bob refuses, defies his doctor's orders and travels to New York to complete the broadcast..

November 11,Monday. (2:15 p.m.) Attends the Southern Methodist University Mustangs vs. UCLA Bruins football match at the Los Angeles Memorial Coliseum and sees the Mustangs win 21-0. At night, he and Dixie plus the Joe E. Browns, Jack Benny, the Jack Haleys, the James Cagneys, the Frank McHughs and many others descend unannounced on Pat O’Brien’s home for a surprise party to celebrate O'Brien's birthday.


Beer trucks have more than one use. They may also be loaded with a crowd of Pat O’Brien’s friends on their way to surprise him on his birthday anniversary!

Pat really was surprised Monday evening when one of the huge drays chugged up his driveway and a howling mob piled out. The group brought all its own talent and informed the pleased Mr. O’Brien that they could sing, croon, yodel or dance to add a dash of zest to the occasion.

Beer-truckers were Bing Crosby, Jack Benny, the Joe E. Browns, Ted Healy, the Jack Haleys, Mr. and Mrs. James Cagney, the Frank McHughs, Allen Jenkins, Dr. Charles Solier, John Rice, Lucile and Jimmy Gleason, Mr, and Mrs. Joe Breen, Ben Bard, Mert Blum and Mrs. Wallace Beery.

(Marshall Kester, The Los Angeles Times, November 17, 1935)


November 12, Tuesday. Records five songs in Hollywood with Victor Young and his Orchestra including “Red Sails in the Sunset.” During the sessions, Bing also records “Adeste Fideles” and “Silent Night” as commercial waxings but with the earnings assigned to charity.

 

Quite the most remarkable record of the month, however, is Bing Crosby’s attempt at “Adeste Fidelis” and “Still Night, Holy Night” (Brunswick 02054). If it were not rather pathetic it would be utterly laughable to hear this singer who is acknowledged to be king of the crooners making such an awful and complete mess of these two beautiful airs; all his little tricks are here, but they are so utterly out of place that instead of being fascinating they are merely irritating and in bad taste. No, we prefer Bing in the sort of thing he can do well, such as ‘On Treasure Island’, ‘Take Me Back to My Boots and Saddle’ (02100) and ‘Red Sails in the Sunset’, or the reissued ‘Star Dust’ on 02101.

(The Gramophone, January 1936)

 

At night, Bing and Dixie plus the Joe E. Browns again descend unannounced on a friend’s home for a surprise party. This time the unsuspecting host is Jack Oakie.

November 13, Wednesday. Records three songs from the film Anything Goes with Georgie Stoll and his Orchestra.

 

Plenty bullish on the vocals in the current disk crop, with the cinematic stars featured. Bing Crosby delivers “Moonburn” (Hoagy Carmichael-Eddie Heyman) from the forthcoming “Anything Goes,” a peach of a tune, with a novelty Georgie Stoll trio accompaniment on which Joe Sullivan’s hot pianology stands out. It’s backed on Decca 617 with “Treasure Island,” the Victor Young orchestra assisting. Same combo on Decca 616 with “Red Sails in the Sunset,” a No. 2 “Isle of Capri” idea, paired with “Boots and Saddle.” Crosby has been compelled to deviate from the 100% self-introduced picture songs and essay pop song material through being so long between pictures. Besides he’s too good boxoffice and Jack Kapp, the Decca prez has been clamoring for more releases.

(Abel Green, Variety, December 11, 1935)

 

Bing sings all three with ease and assurance and all those little tricks that every crooner since he first burst upon an unsuspecting world has tried to copy and for the most part, lamentably failed. There is nothing he doesn’t know about putting over these sentimental ditties of our degenerate generation. That they die and are forgotten in the briefest moment of time is of no account; the singer does the job in hand superbly, and as such justifies the enormous salary he receives from the hardheaded magnates of the American film industry.

(The Gramophone, March 1936)

 

During the week, Bing plays in the semi-final of the annual Canada Dry Tournament at Lakeside against Johnny De Paolo. The result is not known. 

November 23, Saturday. Press reports seen regarding Bing and Dixie’s recent visit to the Century Club with Dr. and Mrs. William Sexton (Kitty Lang). Meanwhile Bing and Dixie are in the San Francisco area.

Mr. and Mrs. Crosby Peninsula Visitors

Interesting visitors on the Peninsula over the week-end were Mr. and Mrs. Bing Crosby, who were the house guests of Mr. and Mrs. Lindsay Howard in Burlingame. On Saturday evening Mr. and Mrs. Howard took their guests to the dinner dance at the Burlingame Country Club. Others at the Howard table included Mr. and Mrs. Dana Fuller, Mr. and Mrs. Charles Howard and Mr. and Mrs. Robert Six.

(San Francisco Chronicle, November 26, 1935)

 

November (undated). Bing buys a horse called Khayyam and says he will enter it in the 1936 Kentucky Derby. He promises to croon to the horse before the race.

November 30, Saturday. Bing is at Santa Anita with trainer Albert Johnson watching his horse "Friend Andy" work out.  (6:30-7:30 p.m.) Dixie Lee appears on the Chateau program from station KFI (an NBC outlet). The MC is Wallace Beery.

December 1, Sunday. (8:15 p.m.) A memorial benefit, entitled Show of Shows, for the late Will Rogers takes place at the Shrine Auditorium in front of a crowd exceeding 6000. 85 stage, screen and radio stars take part. Bing opens the show and sings, “Home on the Range”.

December 3, Tuesday. (9:30 a.m.-12:30 p.m.) Bing rehearses the songs for his forthcoming Kraft broadcast with Jimmy Dorsey and his orchestra.  In conjunction with Harry Revel, Mack Gordon, and Paramount, Bing is sued for $500,000 by a woman who claims that the song “Without a Word of Warning” is based on a song she has written.

December 5, Thursday. (5:00-7:00 p.m.) Rehearses for his Kraft broadcast. (7:00–8:00 p.m.) Bing appears on the Kraft Music Hall prior to taking over as host. Paul Whiteman hosts the program from New York with Bing being “cut-in” from Hollywood. Bing is accompanied by the Jimmy Dorsey Orchestra and is paid $3,000 weekly. Murdo MacKenzie is the sound engineer in Hollywood and stays with Bing throughout the latter’s radio career eventually becoming coproducer of his shows.


With Bing Crosby and Jimmy Dorsey’s orchestra entertaining from Hollywood, and Paul Whiteman and his regular troupe from New York, the Music Hall will present one of the most impressive talent lineups in its long program history beginning with the broadcast at 9 p. m. over WBAP. The date marks the first time that Crosby will be heard as a regular star of the Music Hall series. He and Whiteman will be co-starred on the program for four weeks--until Jan. 2--when Bing will take over the Music Hall entirely from Hollywood.

Crosby and the Dorsey band are now in Hollywood, where Bing is working on the movie lots. Their portion of the program will originate in NBC’s studies at the film capital. Bing will act as master-of-ceremonies for the Hollywood part of the show.

 Whiteman will continue to be master-of-ceremonies of the entertainment in New York, presenting the orchestra and various members of his troupe, including Ramona. singing pianist; Bob Lawrence, baritone; the King’s Men, quartet; Durelle and Jack Teagarden.

 When the entire show moves to Hollywood, Bob Burns, bazooka-tooting comedian, will move with it. Heard infrequently on previous programs from New York, Burns has signed a 26-week contract which establishes him as a regular Music Hall performer. With Burns and Jimmy Dorsey’s orchestra as regular features of his program, Crosby will present as guest artists each week famous personages of the film colony.

(Fort Worth Star-Telegram, December 5, 1935)


December 7, Saturday. (7:30-10:00 p.m.) Al Jolson introduces Bing on a gala radio show celebrating the NBC Hollywood Studio opening. Bing sings “On Treasure Island” accompanied by Victor Young and his Orchestra.

 

Network pushed off its new half-million dollar studio with an air opus that ran the gamut. Al Jolson kept the show moving. He was in top form both in voice and wit. His biggest laugh came when he ribbed Will Hays for his overlong oration…Bing Crosby, eager for an early getaway, crooned “Treasure Island,” with Victor Young on the dais.

(Variety, December 11, 1935)

 

December 8, Sunday. Bing and Dixie join in the floor show at the Century Club with Paul Draper much to the audience’s delight.


Fortunate were the Century Club customers who selected last Sunday night in which to do their night-clubbing, for they were rewarded with a million-dollar impromptu show, when Bing Crosby sang “Dinah” and “I Kiss Your Hand, Madame,” Dixie Lee sang “Lucky Star,” George E. Stone danced, as did that ace-stepper, Paul Draper, Jimmy Dorsey played his celebrated clarinet, and then Bing, still in festive mood, joined Billy Gray and Jerry Bergen, the club’s m.c. and comedian, in a comedy act. Bing and Dixie were making one of the very rare night-spot appearances, and in their party were Joe Venuti and Eddie Sutherland. Others were the Zeppo Marxes, Gene Town and Walter Kane.

(Reine Davies, Los Angeles Examiner, December 12, 1935)

 

December 10, Tuesday. Bing and Dixie are at the dinner-dance at the Palomar to see Joe Venuti and his orchestra.

December 12, Thursday. (5:00-7:00 p.m.) Rehearses for his Kraft broadcast. (7:00–8:00 p.m.) Bing again appears as a guest on the Kraft Music Hall.

December 14, Saturday. Bing’s song “Red Sails in the Sunset” is a hit and soon reaches the top of the charts.

December 19, Thursday. (5:00-7:00 p.m.) Rehearses for his Kraft broadcast. (7:00–8:00 p.m.) Bing again appears as a guest on the Kraft Music Hall.


Cork [O’Keefe]] came out from New York in December to make sure all was ready for that January start. Paul Whiteman was still doing the Kraft show from the east. To promote the new Bing Crosby show, Bing and Jimmy did “cut—ins” from Hollywood during December. Christmas was approaching. Cork was preparing to go home to be with his wife, Marge. Bing didn’t want Cork to leave. “Why go back to New York?”

“To be with my wife for Christmas.”

“What's the phone number?” Bing called Marge and persuaded her to come to Hollywood. The O’Keefes enjoyed a jolly Christmas with the Crosbys.

(Herb Sanford, writing in Tommy and Jimmy: The Dorsey Years)

Compliments came fast the day after the first program by Bing Crosby and Paul Whiteman, one in Hollywood and the other in New York, because of the instant switch-over from one to the other. It was a two-line broadcast costing the sponsors $1,200 addition to obliterate the silent period. During this broadcast, a saving of 30 seconds is made, long enough for a sponsor to drive a message to millions of homes, a fact that might have influenced the expenditure. Listen to KFI at 7 and you will hear Bing and Paul respond to each other’s questions as though they were talking over the same microphone, and not 3,000 miles apart, as is the case.

From the eastern studio, Mr. Whiteman will present Anna Hamlin, soprano, as guest star, and Bing, accompanied by Jimmie Dorsey's orchestra, will sing from Hollywood, several currently popular tunes.

(Gene Inge, Los Angeles Evening Herald Express, December 19, 1935)

 

December 20, Friday. (12:30 p.m.) Plays in an amateur-pro event at Oakmont, Glendale and he and his partner, Bob Woods, come equal third with a best-ball 66. Bing receives a trophy for low gross.

December 21, Saturday. Starting at 10:30 a.m., plays in the first round of the Southern California Open at Oakmont and has a 76.

December 22, Sunday. Has an 81 in the second round of the Southern California Open and fails to qualify for the final round.

December 23, Monday. Starting at 11:00 a.m., Walter Hagen teams up with Richard Arlen and Bing in a "Fallen Angels Flight" at Oakmont as part of the Southern California Open Golf Championship.

December 25, Wednesday. Bing is at the Santa Anita racetrack for the opening of its season.

December 26, Thursday. (5:00-7:00 p.m.) Rehearses for his Kraft broadcast. (7:00–8:00 p.m.) Bing again appears as a guest on the Kraft Music Hall singing a medley and three other songs with backing from Jimmy Dorsey and his Orchestra. Bob Burns joins Bing during the broadcast and plays “Jingle Bells” on his bazooka.


It's always difficult to say goodbye to an old friend—but that's what it'll be tonight when Paul Whiteman and orchestra come to the Music Hall microphone at 10:00 p.m. over NBC-WIOD. Paul and his troupe of entertainers will be making their last appearance on this show. But there are two facts that make it easier for us, who listen. One is that Paul and his troupe will undoubtedly be back on the air before long—after they've had a bit of a vacation. The other is that the show has an able star to carry on.

That star is Bing Crosby who has been featured on the Music Hall program for the past few weeks. And in addition, Bob Burns, the Arkansas Traveler, has been signed up for a 26-week contract to appear as regular star. Bob will make his initial appearance on next week’s broadcast.

 (The Miami News, December 26, 1935)



Bing is later revealed to have earned $318,907 from Paramount in 1935.  He places 12th in the Motion Picture Herald's box-office survey for 1934-35. Shirley Temple comes out on top. During the year, Bing has had nine records that became chart hits.