Chapter 7
Transcription and
Transformation, 1946–1949
The period began with
headlines on the front page of Variety magazine’s first issue of 1946
illustrating the extent of Bing’s success.
Bing’s
Bangup Box Office in ’45
400G
from Decca Records alone
No other figure on
the show business horizon has managed to parlay his multiple pix-radio-music
talents into the gross yearly earnings wrapped up by Bing Crosby during 1945.
That he’s the hottest guy in show biz today is reflected in the unprecedented
royalties (more than $400,000) from the 1945 sale of Decca records. Add to that
the current jockeying among every top advertising agency in the business and
the top bankrollers in radio to latch on to Der Bingle’s radio services in the
wake of his Kraft Music Hall divorce, plus the record four-week grosses racked
up by the Radio City Music Hall, N.Y., for his current starrer, “Bells of St.
Mary’s” (those 7:30 a.m. lines of customers circling the Rockefeller Center
theater building have been one of the top attractions for New York holiday
oglers) and you can credit El Bingo with copping, hands down, all laurels for
emerging the one-man industry in show biz today.
As
Decca’s all-time disk grosser, the Groaner has recorded during the year
virtually every pop song that struck the public’s fancy. It’s by far the top
royalty slice to any disk performer in modern times, and maybe of all time,
with the current Crosby fan wave making him even potentially bigger in ‘46. . .
.
Crosby
is said to have a royalty deal with Decca which gives him 10% of the retail
price of every record sold (his disks retail at 50c). On that basis, the 400G
royalty total indicates that some 8,000,000 of Der Bingle’s needlings went
across the counter and into jukeboxes in 1945. That’s considerably in excess of
the number he must sell in order to earn the $300,000 he’s said to be
guaranteed annually by Decca.
(Variety,
January 2, 1946)
While this sounded
marvelous, it was also true to say that Bing was increasingly beset by
difficulties all around him. The issues at home with Dixie’s drinking were
continuing, he may well have been engaged in an extramarital relationship with
Joan Caulfield, his health was affected by his kidney stone problems, he was
locked into a legal dispute with Kraft, his singing was reflecting the
uncertainties in his life and, incredibly bearing in mind his income, he had
cash flow considerations to worry about too.
The long-running
Kraft contract duly ended after the legal battle as Bing fought to have the
right to record (or “transcribe” to use the jargon of the times) his radio show
in the same way that he had previously recorded broadcasts for the armed
forces. He moved to Philco in 1946 and problems emerged not only with the
recorded show, but also with Bing’s voice which had fallen from its previous
high standards. However, Bing came back strongly in 1947 after his troubles and
he regained his vocal prowess, albeit with a narrower range in a lower key. His
record sales were aided considerably by Decca issuing 36 albums of his
songs during the years 1946-49. Many were repackages of earlier
releases although some contained new recordings. Initially issued as
78rpm albums they were also released as 10" long-playing vinyl records when that
format was introduced during the late 1940s.
The
Philco show achieved good ratings although the impact of television was
becoming apparent. A switch to Chesterfield in 1949 kept Bing in the forefront
as a radio star, but the medium was undoubtedly starting to lose out to
television as the decade ended.
Although Bing’s
income had indeed been enormous during the 1940s, his net income had not been
well managed by his brother Everett and on his attorney’s recommendation, he
recruited an accountant called Basil Grillo from Arthur Andersen to restructure
his financial situation and find more tax effective ways of earning money.
During the war, the special income tax levied on American citizens to fund war
production and mobilization had taken over 90 percent of Bing’s income and
although tax levels reduced, they were never to return to prewar levels. He
sold his interest in the Del Mar Turf Club and rolled the funds over into a
share of the Pittsburgh Pirates baseball team. His home at Rancho Santa Fe was
sold and he increased the size of his working cattle ranch in Nevada. In 1949,
he raised a large sum of money when changing radio company from ABC to CBS and
he went on to invest lucratively in oil wells.
Bing spent a
considerable amount of his time away from his Holmby Hills home and he and
Dixie were infrequently seen together although the myth of the happy marriage
was maintained. He tried to spend periods with his sons whenever possible and
each summer he took them to his ranch at Elko, Nevada, and then on to a holiday
home at Hayden Lake, Idaho.
After being
suspended during the war, his annual golf tournament was relaunched at Pebble
Beach in 1947.
Commercially the
1940s belonged to Bing but, after the war, it was apparent that the huge
pressures on him from various sources had transformed him into a more
introverted personality and he started to avoid live appearances and social
events. A trip to Vancouver in 1948 brought him back into contact with a large
unruly crowd again and the local press carried a perceptive article which was
probably fairly close to the truth. The article is reprinted courtesy of The
Vancouver Sun.
Bing
Puzzled Over Mass Hero–Worship
Man
Forced into Limelight Glare Prefers Shadows of Private Life
Bing
loves ‘em individually; but collectively people are perhaps his greatest
problem. His life, say those who know Harry Lillis Crosby, is one long pursuit
to “get away by himself and be natural.”
Semi-retiring,
genuinely friendly, taken aback by crowds, “a man of more depth than most
people give him credit for”—that’s Bing, say his friends. And yet few
personalities on the Canadian-American scene are so surely calculated to draw
crowds wherever they go. That’s Bing’s quandary. The whole show company
traveling with him are well aware of his allergy for crowds, though few admit
it. Hence the public find this company, constantly “running interference” for
him.
Bing,
meanwhile, keeps as few formal appointments as possible, although he is always
punctual when committed, sings and jokes his programs, then runs “to get away
from it all.” Then he is likely to show up a few minutes later at a boys’ club,
or on a sandlot pitching the ball with the kids.
“He
realizes the responsibility grown-ups have to youth. That’s why he’s here,”
said one of his company.
“People
love Crosby. But when they show it in such large numbers he seems actually a
little frightened. Bing likes people too. But he doesn’t like crowds.”
But
crowd conscious or not, he is still the day-to-day quarry of a relentless horde
of idolizing youngsters who want his autograph, wide-eyed women who want to
“just pinch him,” men who tell him they think they have a voice, etc. In
Vancouver, something new has been added. An English inventor traveled all the
way here from the Old Country to see Bing. He wants the crooner to sponsor the
manufacture of a new-type auto trailer. Life’s like that for Bing “a little guy
who likes people, but not crowds.”
(Bill Ryan, The
Vancouver Sun, Wednesday, September 22, 1948)
However, despite
all of his problems, Bing generally managed to continue to maintain his public
image of the easygoing crooner, and as a film star, he was the top box office
performer for a record five years. This, allied to his vast record sales, his
highly-rated radio shows and the constant publicity made him, arguably, still
the most famous man in the world for most of the period.
In 1949, $100 was
equivalent to $721 in the year 2000.
1946
January 2, Wednesday.
John O'Melveny and Everett Crosby join Bing in New York. Bing sends a
telegram to J. Walter Thompson stating that he will not return to the
Kraft program on January 3 as requested. In the early afternoon, he
goes for a brisk walk and meets the Barsa girls (two young fans) and
takes them for a frankfurter at Howard Johnson's.
January 3, Thursday. Kraft
files suit against Bing as he will not complete his Kraft Music Hall
commitments. The process server hands Bing the summons as he opens the door to
his New York hotel suite. It is revealed that Bing has been receiving $5,000 a
show since 1939.
January 5, Saturday. Bing
attends the opening night of the revival of Show Boat at the Ziegfeld
Theater in New York.
January 7, Monday.
Dixie’s
mother, Nora Matilda Scarbrough Wyatt, dies from a heart attack in
Santa Monica at the age of 63. There is a private service at 2 p.m. at
Pirece Bothers, Beverley Hills on January 10 and she is buried at
the Forest Lawn Memorial Park in Glendale, Los Angeles the same day.
January 9, Wednesday.
Rumors about Bing's relationship with Joan Caulfield are starting to
circulate and in an effort to calm these, he writes to Hedda Hopper
stating that he and Joan have a very firm friendship and that there is
nothing clandestine about the relationship. However around this time he
goes to see Archbishop Spellman and tells him of his marital
unhappiness. Spelllman makes it clear that divorce is out of the
question and recommends that Dixie is put into a sanitarium as soon as
possible.
January 12, Saturday. After
indications that the dispute between Bing and Kraft was to be settled amicably,
John Kraft changes his mind and decides to go to court.
Round And ‘Round Kraft
And Crosby
Dispute between Bing Crosby and
Kraft Foods over former’s desire to ease out of his Kraft Music Hall contract
which seemed likely to be settled amicably, last week, after several huddles
between representatives of both principals will now go to court due to a
reported, last minute, change of heart on Saturday (12th) by John Kraft. As a
result, Crosby’s attorneys are now preparing an answer to Kraft’s application
for an injunction.
Kraft
claimed Crosby has reneged on a 1937 contract which it states runs on until
1950. The Groaner, however, maintains that last summer when he gave notice to
quit, he was merely taking advantage of California’s seven-year employee law
which says an employee can’t make a contract beyond seven years. In its
application for injunction, Kraft acknowledges the Crosby statute but maintains
that Crosby was not an employee but an independent contractor. This claim is
based on the fact that Crosby himself picked the four songs which he sang on
the Music Hall program each week. Crosby denies he’s a contractor, pointing out
that he hired no one for the program, merely presented himself and used Kraft
scripts handed to him. He also maintains that his weekly Kraft pay check had US
Withholding Tax deducted from it, proving that he was an employee.
Furthermore,
according to Crosby, Kraft Foods promised that they wouldn’t go to court over
the matter but would sit down and discuss it first. Crosby or his manager
brother, Everett were in constant touch with Kraft or their agency, J. Walter
Thompson. They came East, three weeks ago, after John Kraft, in Chicago, phoned
them to do so, to thrash the matter out, then the injunction application was
filed. Despite this, according to Crosby, the two sides met amicably. Crosby
offered to do two broadcasts while Kraft countered with a request for
twenty-six broadcasts before they would release him. Crosby came up to six,
Kraft replying it would take the six now, with five more guest shots, next
Fall. Crosby countered with an offer to do thirteen broadcasts and two guest
shots, next Fall; whereupon, according to Crosby, Kraft reps asked for thirteen
now and four guest shots in the Fall. This was the situation last Thursday.
On
Friday, after consultation with John Kraft, in Chicago, according to Crosby,
their offer was withdrawn. Kraft reverting to their original for twenty-six
broadcasts, whereupon Crosby decided to go to court.
(Variety, January 16, 1946)
January 14, Monday. The annual
Photoplay Gold Medal Awards formal banquet takes place in the Palm Room of the
Beverly Hills Hotel. Bing has won the Gold Medal for the most popular actor of
1945 as determined by the Gallup Poll of America's moviegoers. As he is still
in New York, his mother accepts the award on his behalf.
January 15, Tuesday. Bing
attends a party at Eddie Condon’s apartment in Washington Square which goes on
until the early hours.
January 16, Wednesday. (10:00
a.m.) The Eddie Condon band meets to rehearse with Bing at Condon’s apartment
in New York. At 3:15 p.m., Bing arrives at the Decca’s Studio A in New York and
between 3:45 p.m. and 5:15 p.m. he records three songs with Eddie Condon,
including “After You’ve Gone.” A different pianist is used for each song with
Joe Bushkin accompanying Bing on “Personality.” The latter song enters the Billboard
best-sellers chart for three weeks and peaks at No. 9.
The old studio clock had just struck
3 p.m. Condon’s barefoot-boys-with-shoes-on were on hand but showing visible
signs of strain at the early hour. Decca types hustled—keeping a sharp eye on
the door. At about 3:15 p.m. the Crosby arrived. Stripped of his bright yellow
scarf, tweed coat, and inner-lined battle jacket, he was left naked in a brown
felt hat, bright red checked shirt, brown slacks, and the sort of shoes
ordinarily seen in the Alps at this time of year. Came 3:45, and in rushed
Condon. No taxis, he said.
“Blue
and Broken-Hearted,” the first number to be waxed, didn’t go so well. A large
blue screen-like sound absorber stood between Bing and the boys. Kicking it
aside, he commented: “Got to see if anybody’s alive out there.” Another
run-through or two and, at his question: “Will this be the deathless disk?
Shall we, men?” the side joined history.
“After You’ve Gone,” went rather quickly. Although trouble loomed when Jack
Kapp, president of Decca and Crosby-adviser-extraordinary on record policy,
walked in and asked if “Wild Bill” Davison’s trumpet ought to stay so dirty.
“You go back to the board of directors if you make one more remark,” Crosby
said. “I’ve flown these boys in at great expense. Eddie flew in without a
plane.”
The
clock was falling away from 5 when the group assailed “Personality,” a sock
potential from “Road to Utopia.” Since Dorothy Lamour sings it in the picture,
Bing had never seen the music. But no matter. He smoked his pipe (“the kinda
singing I do, you can’t hurt your voice”), achieved one of his rare grimaces at
what he called Newsweek’s “nostril shots”, and the side was done. Exit the Crosby—fast.
(Newsweek, January 28, 1946)
January 21,
Monday. Bing
records “On the Sunny Side of the Street” and “Pine Top’s Boogie
Woogie” with
Lionel Hampton and his Orchestra. Hampton subsequently announces that
he will give half of his royalties from the recordings to the Sister
Kenny Foundation in which Bing is heavily involved. Bing goes to see
the New York opening of Nellie
Bly at the Adelphi, Broadway. Marilyn Maxwell has been replaced by Joy
Hodges and the play has been extensively revised. The reviews are again poor
and a “notice to close” is posted after the first week. The show closes after
sixteen performances on February 2. Bing is reported to have lost $50,000 on the production.
On the Sunny Side of the Street
It’s only
because of the combination of the Groaner and the Hamp that the side is bound
to attract undue attention, both in coin boxes and across the counter at the
retail marts. And while Crosby’s chant may not be in the groove, Hampton’s
music definitely is. Moreover, the vibe pounding maestro provides some of the
lyrical joshing that Crosby fails to deliver. Flipover is a solid eight-beat
rider in the classic “Pinetop’s Boogie Woogie,” which features Hampton’s flash
knuckling of one or two fingers on the keyboard while Crosby staggers thru a
prepared script with stop-and-go boogie woogie exhortations.
(Billboard,
June 14, 1947)
NELLIE BLY
Story Synopsis
Frank Jordan, managing editor of the
New York Herald, is excited by the threat of a promotional beat staged
by the New York World. The World assigns a reporter, Nellie Bly,
to circle the globe in an attempt to beat the eighty-day record of Jules Verne.
Jordan of the Herald engages Phineas T. Fogarty, who has been working as
a “stable boy for the Hoboken Ferry,” to race Nellie. To be sure Phineas
doesn’t loaf on the job, Jordan goes along and manages to fall in love with
Miss Bly before the evening is well started.
Review
It is reliably reported that the
musical show, Spring in Brazil, which failed on the road to the tune of
300,000 dollars and was not brought to New York, suffered from so much
rewriting that by the time it reached Chicago the only line remaining from the
original book was properly enough, “Good God, what an awful mess!” The
insistence of the grimly vengeful leading comedian, Milton Berle, is said to
have been responsible for its retention, a compromise having being effected
with the show’s understandably obdurate producer in the elimination of the
qualifying adjective “awful.”
It is
also reliably reported that this Nellie Bly, which was nevertheless
brought into New York and failed to the same 300,000 dollar tune, underwent so
much outside rewriting that the original authors, the Messrs. Ryskind and
Herzig, wrathfully severed all connection with it on the road when the
management declined to permit them to incorporate the line from Spring in
Brazil. Just what the natal shape of the show was, I have no direct
means of knowing, but it may be allowed from first-hand observation that one of
the two dozen or so final troubles with it was that most of the people
connected with it did not seem to know in the least what they were talking
about. . . . Mr. Cantor, co-producer of
the show, who supplied the major portion of the 300,000 dollars wasted on it,
is further said to have been infected to the point of inserting into it divers
additional humors which he esteemed as irresistible novelties and which
amplified Mr. Moore’s notion of sumptuous belly-laughs. As examples of their
unsurpassed novelty may be cited a scene in which Mr. Moore was disguised as a
harem siren and was made love to by an actor who believed that he was a female;
another in which Mr. Moore stuffed his laundry into his bosom and observed that
if he was going to drown in the sea he might as well get it washed free; still
another in which Mr. Moore proclaimed that if he was lying to his female
companion might St. Patrick send down a bolt of lightning and strike him, with
the bolt promptly serving as a blackout; another still in which the desperately
seasick and undone Mr. Moore was told “You give up too easily,” with his
retort, “I’ll say I do!”; another yet in which Mr. Moore, carrying a pail of
beer, was apprised that “It has a head on it” and his inquiry, “Is it anybody I
know?” and such jocosities as “There’s a south south-easter blowing from the
north-west.” . . . Nellie Bly found itself in the unfortunate
predicament of going around the world backwards.
(George Jean Nathan, from The
Theatre Book of the Year, 1945-1946)
January 22, Tuesday. Records
with the Jay Blackton Orchestra in New York including the songs from Nellie
Bly. Bing is in poor voice but his version of “They Say It’s Wonderful”
reaches the Billboard Best-Sellers lists and spends four weeks in the
charts with a peak position of No. 12.
January 24, Thursday. Everett
Crosby announces that a settlement has been reached with Kraft Foods Co.
following out-of-court negotiations. Bing leaves by train for the West Coast.
Ed Sullivan Speaking
What
persuaded Bing Crosby to drop from the air? Why did he suddenly
decide that he’d do one program a month, instead of one a week? Everybody has
guessed at the reason. Instead of guessing, I asked “The Groaner” how the
litigation with Kraft started.
“It’s
simple, Ed,” said Crosby. “I got the idea as a result of those ‘Command
Performance’ broadcasts we did for the troops overseas. It dawned on me then
that the proper way to do a broadcast was to first play it before a studio
audience, and learn from them what jokes to cut out, what songs to sing. Then
when the thing is letter perfect, put it on a record. If the first record isn’t
top-notch, well — break it, and make another record until you get exactly the
pace you want. You rarely get a perfect studio broadcast to send out over the air.
I think that a recorded program is the answer and correction of all the human
errors that are inevitable in a studio broadcast.”
Before he
left New York and went back to the Coast, Crosby made at least a
dozen records for Decca’s shrewd, able Jack Kapp. . . . Largely, they were
Irish records. One of them you’ll be hearing is “Dear Old Donegal,”
which Bing made with the Jesters and a hot band fronted by Bob
Haggart. This number happens to be Pat O’Brien’s favorite, and Pat sings it at
the drop of a shillalah. So Kapp and Bing determined that at some
point in the lyric, they’d have to work in a reference to their pal, O’Brien.
When you hear the record, as Bing reels off a list of Irish names,
you’ll hear one phrase: “And Pat O’Brien showed up late.”
Just how
many records Crosby has made since he first plattered “I Love You
Truly” and “Just A’Wearyin’ For You” back in 1934 would require a staff of
CPAs. I asked Kapp, instead, what records had won the greatest sales. Out in
front is Bing’s Decca platter of “White Christmas,” which sold 2,500,000 in
this country, plus 500,000 abroad. Second would be “Silent Night,” with a sale
of 2,000,000.
(Ed Sullivan, Modern Screen,
April 1946)
January 25, Friday. Bing tops
the list of nominees for the “Best Actor” Oscar for his role in the film The
Bells of St. Mary’s. The results are to be announced on March 7.
January 28, Monday.
Bing arrives back in California on the Santa Fe Super Chief having
played gin rummy all the way from Chicago to Pasadena with Spike Jones.
On his return, he tells Dixie that
unless she stops drinking, he will seek a legal separation and her
partial custody of the children will depend on her ability to take care
of them properly.
Wearing a screaming
cravat and looking as if he were on the rough end of 30-day diet, Bing Crosby stepped
from the Super Chief into the bright California sunshine at the Santa Fe depot
in Pasadena yesterday morning. Bing, who likes a riot of color in his attire (the
tie would indicate that he has a strong preference for pink), was returning
from a six-weeks’ stay in New York. He arrived at 8:45 a.m., which may have something
to do with his wan appearance. No doubt about it, though, Der Bingle has lost
weight, and it shows up mostly in his face, which is no longer round.
(Bill Bird, Pasadena Independent, January 29, 1946)
…a field day in Pasadena, with Bing Crosby, Spike Jones,
Gloria and Joan Blondell and Johnny Burke getting off the rattler. Their
arrival in Pasadena ended a 19-hour gin rummy game for Bing and Spike. They
started playing when the train pulled out of Chicago, and when they totted up
the score Bing had won $1.25. Six cents an hour…
(Daily Variety, January 30, 1946)
January 31, Thursday.
Bing makes an appeal for contributions for the Sister Kenny Campaign
which is still struggling to reach its $5m target.
February 1, Friday. Bing
attends a meeting with Billy Wilder and Charles Brackett regarding the
forthcoming Emperor Waltz film. Jimmy Van Heusen and Johnny Burke are
also present. Wilder indicates that he thought that some of the songs
written for recent Crosby films were weak. A problem arises with the proposed
inclusion of “I Kiss Your Hand, Madame” but eventually agreement is reached.
February 4, Monday. Bing and
Bob Hope are featured on the cover of Life magazine.
February 5, Tuesday.
Bing replies to his friend Father Corkery's letter about the situation
with Dixie. Corkery had also ruled out divorce and suggested that Dixie
had treatment. Bing indicates that he is reluctant to place Dixie into
a sanitarium.
Dear
Frank,
Mother
called me just before I left New York and told me there was some chance your
Los Angeles visit might be extended a day or so. I was hopeful of finding you
here upon my arrival, but I can well appreciate that more important and vital affairs
called you to Spokane.
I’m glad
you took appointments to meet my wife and children, even if the visit had its
unpleasant aspects. She was once a wonderful girl, and basically, is still a
highly moral person. Unfortunately this appetite is a little too strong for her
and has produced a split personality. The history of her case, of course, would
take much more time than I would care to devote to it in a letter, and when you
return in April (as you indicate you intend) I’ll supply the dreary details. I
have no definite plans. This kind of a situation defeats planning. All I really
know is that it’s impossible for me to do the amount of work my responsibilities
require me to do, and abide this kind of a life at home.
I saw
Cardinal Spellman in New York, and he told me the most important thing was to
put her in a sanitarium at once. That the children should not be daily witnesses
to what generally transpires. But she would have to be placed there by force,
and being a very proud person, I am sure would not long survive such a move. Or
if she survived, past experience hardly provides hope that she would be cured.
Since
returning home, I've taken one step. I have told her that unless she improves I
shall have to arrange a legal separation, and her partial custody of the
children will depend on her ability to take care of them properly. This has
frightened her some, and some improvement can be noted. The local newshawks
have long heard the rumblings and smell a story - as a result every step must
be carefully taken, and every precaution employed. I propose
to go along on this line a few weeks and see what develops. I don’t start a
picture for about a month, and am thus able to spend a great deal of time at
home, which is a good thing, even if sometimes unpleasant.
It’s
constantly amazing to me what a tough time these Crosby boys have with their
wives. I guess our mother, by her example, led us to expect too much. I know I
spoiled Dixie for the first eight years of our marriage. She had too much
leisure, too much money, and lacked the background or experience to handle it.
I’ll
look forward to your visit in April.
Your
friend,
Bing
February 7, Thursday.
(11:00–2:00, 4:30–6:00 p.m.) Rehearses for his Kraft show in NBC Studio B in
Hollywood. (6:00–6:30 p.m.) Bing returns to the Kraft Music Hall radio program for thirteen shows
under a compromise to break the contract. Ken Carpenter, the Charioteers, Eddy
Duchin, Frank Morgan, and John Scott Trotter and his Orchestra continue as
regulars on the show. Audience share for the season overall for the Kraft Music
Hall is 17.5 pushing the show down to twentieth position in the ratings. Bing’s
absence for several months had obviously had an impact. The top evening show for
the season is Fibber McGee & Molly with 30.8.
THE MAN WHO WALKS ALONE
Bing Crosby, a man who walks alone, walked back
into his radio program in characteristic style this week. After months of
arguments and a law suit, Bing came back to his old stand at the Music Hall.
More than the usual number of songpluggers–about 45–were at NBC studios to
press their tunes on him. He walked right through then, tossing a nonchalant
greeting to those he knew.
He sauntered
into studio B, waved a casual “Hi kids” as though he had been gone 15 minutes
and sat down on a stool by his microphone. The rehearsal began and things
looked normal in the Music Hall again. Bing had his regular loud sports shirt
hanging over his slacks and the pencil was tucked under his hat. John Scott
Trotter supplied a downbeat and the world’s most famous voice began to wave its
charm.
(Bob Thomas, Hollywood Citizen News,
February 9, 1946)
Bing Crosby slid back into his old,
Thursday night NBC slot, last week (7th) and once more everything’s as it
should be on Kraft Music Hall. His belated entry into the ’46 programming
sweepstakes automatically provided nighttime radio with a hypo. A half-hour
with El Bingo and it’s easy to understand why his sponsor made a super
production and a federal court case out of his exit threat.
The
Crosby style provides for a final thirteen week, smash semester for the Groaner
on Kraft Music Hall, after which he’s privileged to talk terms with anybody but
latest reports have it, that it is strictly within the realm of possibility
that Crosby will be back again on the Kraft bandwagon, next season with the
sponsor taking a cue from Texaco, willing to toss in a couple of cheese
factories or anything his heart desires which would appear to be to Kraft’s
advantage. Make no mistake about it, Crosby’s still got what it takes. It was
demonstrated, last Thursday, when he moved in on Kraft with a naturalness that
belied the months-old, bitter entanglements. Introduced as a guy just back from
vacation, he bantered and sang his way through the Kraft session with the same
casualness, ease and showmanship that have trademarked his picture-radio
career, in recent years. “Aren’t You Glad You’re You”; “I Can’t Begin To Tell
You”; “Personality” (from the Crosby/Bob Hope/Dorothy Lamour Road to Utopia
pic) and “These Foolish Things.” With his knack for keeping the palaver
rolling, here were the sock ingredients for a “boff” Crosby turn. As presently
set up, however, the Kraft showcase is top heavy with talent and not without
its imperfections. For instance, there is Frank Morgan who’s been holding down
the spot since the start of the season; he’s committed to Kraft until June
which takes him right through the thirteen week period with Crosby. It’s
strictly a clash in personalities, there’s a discordant note about his
brashness that isn’t attuned to the Crosby tempo. Fortunately, the
scriptwriters were not over-sensitive in minimizing his contribution. On the
other hand, Eddy Duchin, also a regular on the show, since his recent return to
civvies, blended harmoniously into the stanza. In fact, the Crosby/Duchin
parlay shapes up as a natural, this season, next season, with or without the
Kraft auspices. His pianistics on ‘Where Or When’ and ‘It Might As Well Be
Spring’ was top drawer and complemented the Crosby mood. The Charioteers and
John Scott Trotter’s Orchestra gave an assist that was all in the show’s favor
and Ken Carpenter is still turning over those Kraft commercials, smoothly.
(Variety, February 13, 1946)
February 9, Saturday. Bing is the host for 450 wounded veterans at The Masquers dinner.
February 13, Wednesday. He receives the Picturegoer
Gold Medal Award from David Niven at the Paramount studios. The award by the British magazine Picturegoer is for Bing being voted "Britain's most popular star in 1945".
Bing, at least 20lbs lighter from
the combined effects of arthritis and worry – he has been going through
troubles apart from professional ones, and these are all his own business –
couldn’t take his eyes off the Gold Cup as it rested on the luncheon table
ready for the various guests…He is, however, a buoyant personality and a great
natural wit, and it is all the more regrettable to find him a bit off beam. His
health is improving, however. There is nothing seriously wrong, and everyone
hopes that other conditions around him may soon clear up so that he can feel
his own happy, carefree self again.
(W. H. Mooring, Picturegoer,
February, 1946)
February 14, Thursday.
(11:00–2:00, 4:30–6:00 p.m.) Rehearses for his Kraft show in NBC Studio B in
Hollywood. (6:00–6:30 p.m.) Bing’s Kraft Music Hall show on NBC. Guests
include Les Paul. A song from the rehearsal is issued on V-Disc.
February 19, Tuesday. Press
reports state that Gary Crosby (age twelve) is taking off some weight at Terry
Hunt’s.
February 21, Thursday.
(11:00–2:00, 4:30–6:00 p.m.) Rehearses for his Kraft show. (6:00–6:30 p.m.)
Bing’s Kraft Music Hall show on NBC. Frank Morgan and Eddy Duchin are guests.
February 27, Wednesday.
Transcribes a special Command Performance Show for Army Day at the CBS Playhouse on Vine Street with Bob Hope,
Dinah Shore, Frank Sinatra, Bette Davis and the Andrews Sisters. Harry Von Zell
in the announcer and the show is broadcast on April 6. Elsewhere, Bing’s film Road
to Utopia has its New York premiere at the Paramount and goes on to take
$4.5 million in rental income in its initial release period.
That was a great command
performance for Army Day with Bette Davis, Bing Crosby, Bob Hope and Frank
Sinatra all on stage ribbing one another at one time. The C.B.S Playhouse on
Vine St. was packed. Others taking part in the big affair were Dinah Shore, who
emceed; Jimmy Durante, who had much fun with big words; Spike Jones, Meredith
Willson, Harry Von Zell, et al. Producer Art Van Horn was receiving plaudits.
(The Los Angeles Times, March 2, 1946)
Not since Charlie Chaplin was prospecting for gold
in a Hollywood-made Alaska many long years ago has so much howling humor been
swirled with so much artificial snow as it is in “Road to Utopia,” which came
to the Paramount yesterday. And not since “Road to Morocco” have Bing (Damon)
Crosby and Bob (Pythias) Hope been so crazily mixed up in madness as they are
in this current vagrancy. For the latest of Paramount’s “Road” shows, in which
the Messrs. Crosby and Hope again have as fellow-traveler the indestructible
Dorothy Lamour, is a blizzard of fractious sport and clowning, a whirlwind of
gags and travesty, a snowdrift of suffocating nonsense—and that is said without
consulting a press book.
There is no point in telling anybody what sort of
humor to expect when the Messrs. Hope and Crosby are turned loose together in a
show. Their style of slugging each other with verbal discourtesies is quite as familiar
as ice cream—at least to the patrons of films. And their can-you-top-this vein
of jesting runs straight through our national attitude. The only difference, in
this case, is that their style seems more refined, their timing a little more
expert, their insults a little more acute. Bing and Bob have apparently been
needling each other for so long that they naturally stitch along a pattern
which shapes the personalities of both.
And the personalities of the rascals—Bing the
debonair blade and Bob the bumbling show-off—are fully defined in this tale of
a couple of vaudeville grifters caught in a race for an Alaskan gold mine. Mr.
Hope is the chicken-hearted partner who wants to go back to New York; Mr.
Crosby is the adventurer who wants to woo fortune in the mining camps. And
that’s why (despite Bob’s demurrers) they find themselves in roaring Skagway,
holding a secret map to a gold mine which is really Miss Lamour’s by rights,
mistaken for two desperadoes and caught blindly between two villainous gangs.
Out of this lurid situation the Messrs. Crosby and
Hope—with the help of the boys at Paramount—have ripped a titanic burlesque of
brawny adventure pictures and of movies in general, indeed. A “Road” show is
always an occasion for the cut-ups to have a marvelous time and in this case
the comic inventors (stars and writers and director) ran wild. The late Robert
Benchley is employed as a sort of commentator on the film, who pops in the
frame at odd moments to give a goofy explanation of the cinema craft. Actors
from other pictures walk across the sets and the Messrs. Hope and Crosby
several times address the audience. And, of course, the whole nature of the
action is in the grand style of ha-ha ridicule.
But where this sort of clowning might be juvenile
and monotonous in other hands it has rich comic quality in the smooth paws of
the gentlemen involved. To catalogue gags is boring, so we reluctantly won’t do
so—other than to say the flow of same in this picture is abundant and
sustaining to the end. Also the boys manage neatly to clean up a few poolroom
jokes which have a particular subtlety, at least for the wise guys in the back.
Several songs are also brought into the picture by the Messrs. Crosby and Hope
and Miss Lamour in one or another combination, all of them handled pleasantly.
We understand this picture was made a few years
ago and is just now released. The reason? They were waiting till the
laugh-ceiling was off. Now look out for inflation. It will skyrocket laughter
throughout the land.
(Bosley Crowther,
New York Times, February 28, 1946)
The highly successful
Crosby-Hope-Lamour “Road” series under the Paramount banner comes to attention
once again in “Road to Utopia,” a zany laugh-getter which digresses somewhat
from pattern by gently kidding the picture business and throwing in unique
little touches, all with a view to tickling the risibilities. Very big
boxoffice results assured . . .
Though this one is rich in laughs and fast, the songs turned out for it are not
of heavy caliber. Crosby and Hope’s “Put It There Pal” is on the novelty side
and cute. Crosby single, “Welcome to My Dreams” and Miss Lamour’s number in a
saloon setting, “My Personality” is nothing to get excited over. Quite good,
however, is her “Would You.”
(Variety, December 5, 1945)
Gorgeous fun is provided by the
famous two of the former “Road” films. This one takes them to the frozen wastes
of Alaska, and is told in a flashback as the film opens with Bob Hope and
Dorothy Lamour an old married couple enjoying a visit from dashing old bachelor
Bing Crosby. Bob and Bing are entertainers who have to make a quick exit from
the port where they are performing, and pose as a pair of tough bad men, with
plenty of trouble resulting from their theft of a map. It is packed with bright
lines, comic situations, and unexpected laughs. Don’t miss it.
(Picture Show, December 29,
1945)
Mel Frank was
responsible for a “Utopia” line which became a movie classic. In ‘Road to
Utopia’, Hope and Crosby have to act tough to impress the local bad guys. They
saunter up to a bar in the mining town, and the local heavy asks, “What’ll you
have?”
“Oh, a couple
of fingers of rotgut,” growls Crosby.
“What’s yours?”
asks Douglas Dumbrille.
“I’ll take a
lemonade,” squeaks Hope in a high pitched voice before responding to a nudge by
Crosby and snarling, “in a dirty glass.”
(Randall G.
Mielke, Road to Box Office)
February 28, Thursday.
(11:00–2:00, 4:30–6:00 p.m.) Rehearses for his Kraft show. (6:00–6:30 p.m.)
Bing’s Kraft Music Hall show on NBC. Guests include Martha Tilton and
Jerry Colonna. A song from the rehearsal is issued on V-Disc.
March 7, Thursday.
(11:00–2:00, 4:30–6:00 p.m.) Rehearses for his Kraft show. (6:00–6:30 p.m.)
Bing’s Kraft Music Hall show on NBC. Guests include Lina Romay. Later,
having been nominated again for the Oscar as “Best Actor” for The Bells of
St. Mary’s, Bing loses out to Ray Milland (for his performance in The
Lost Weekend) at the Academy Awards ceremony at Grauman’s Chinese Theater. The
Bells of St. Mary’s has also been nominated as “Best Picture” but The
Lost Weekend is the winner. Similarly, Leo McCarey, who had been nominated
for “Best Director” for The Bells of St. Mary’s, loses to Billy Wilder
for The Lost Weekend. Ingrid Bergman is nominated as “Best Actress” for The
Bells of St. Mary’s but she is beaten by Joan Crawford for Mildred
Pierce. Robert Emmett Dolan’s nomination for “Best Scoring of a Dramatic or
Comedy Picture” is unsuccessful too as Miklos Rozsa wins for Spellbound.
Two of Bing’s songs (“Ac-cent-chu-ate the Positive” and “Aren’t You Glad You’re
You”) are nominated as “Best Film Song” of 1945, but the winner is “It Might As
Well Be Spring” from State Fair. Bing is supposed to sing his two songs
at the ceremony but he pulls out at the last moment.
March 8, Friday. The Crosby Investment Corporation
obtains a court injunction against Bing's brother Ted claiming that he had failed to live up to a contract agreement.
BING ENJOINS HIS BROTHER FROM SELLING STOCK
Washington, March 10. - Bing Crosby got a
temporary injunction in Federal District Court here Friday to prevent his
brother Ted from selling 100 shares of stock in Bing’s Del Mar Turf Club
(Daily Variety, March 11, 1946)
March 9, Saturday. Bing is
at Santa Anita to see War Knight win the Santa Anita Handicap in a
photo-finish.
March 10, Sunday. Starting at 1 p.m., Bing and Bob Hope tee off on the new Long Beach Naval Hospital
pitch and putt course. Jerry Colonna and Tony Romano are also in the foursome
whilst Frances Langford keeps the score. Bing has a 28, Hope a 29. A crowd of 3,000 watches the event.
March 13, Wednesday.
Ted Crosby says that he has been damaged to the extent of $10,000 by
the suit brought against him by the Crosby Investment Corporation. He
states that it is "an unfortunate family affair which has no place in
court."
March (undated). Has dinner with the Russell Havenstrites at the Beverly Hills Club.
March 14, Thursday.
(11:00–2:00, 4:30–6:00 p.m.) Rehearses for his Kraft show. (6:00–6:30 p.m.)
Bing’s Kraft Music Hall show on NBC. Frank Morgan guests. A song from the rehearsal is issued
on V-Disc.
March 16, Friday. Has tickets to hear soprano Marjorie Lawrence sing at the Philharmonic Auditorium but it is not known whether he actually attended.
March–May. Films Welcome
Stranger
with Barry Fitzgerald and Joan Caulfield. The director is Elliot
Nugent. Robert Emmett Dolan handles the musical score and Joseph J.
Lilley
looks after the vocal arrangements. Location shots are filmed at Munz
Lakes in the northern Sierra Pelona Mountains in Los Angeles County.
March 21, Thursday.
(11:00–2:00, 4:30–6:00 p.m.) Rehearses for his Kraft show. (6:00–6:30 p.m.)
Bing’s Kraft Music Hall show on NBC. Guests include Cully Richards and
the Slim Gaillard Trio. A song from the rehearsal is issued on V-Disc.
“I would stand in line only to see Bing
Crosby,” an out-of-town woman back of us was overheard to say as we waited for
NBC’s Studio B’s doors to open for Music Hall. I wonder if she thought the same
after the miserable performance he gave. Crosby didn’t seem to be putting
anything into his songs–not even good tonal quality at times. He should keep
two things in mind–the debt he owes the public for its loyalty and the fact
that one comes down hill much faster than one goes up. The perfect spot on
Music Hall was the song by the Charioteers. Eddy Duchin’s piano playing was
smooth, the comedy, mediocre. The Slim Gaillard Trio probably was more
interesting to see in action than it was to hear over the air. Its number was
novel, at any rate. There was a lack of warmth, a feeling of something being
missing from the Music Hall.
(Zuma Palmer, Hollywood Citizen News,
March 25, 1946)
March 22, Friday. (6:00–9:00
p.m.) Bing records "Oh, But I Do" and "A Gal in Calico" in Hollywood with John Scott Trotter and his
Orchestra but both songs are unsatisfactory and are not issued.
March 28, Thursday.
(11:00–2:00, 4:30–6:00 p.m.) Rehearses for his Kraft show. (6:00–6:30 p.m.)
Bing’s Kraft Music Hall show on NBC. Guests include Georgia Gibbs.
March 29, Friday.
The first day of the first peacetime baseball season for 5 years. Lieutenant Gov. Fred Houser was
supposed to waft the first pitch to Bing at Gilmore Field but bad weather prevents it
and it is rearranged for the next day.
March 30, Saturday. Starting at 8:15 p.m. Lieutenant Gov. Houser duly makes the first pitch to Bing. Later, Bing
and Dixie attend a party at the Clover Club on Hollywood Boulevard which is
hosted by Cary Grant, James Stewart, Eddy Duchin and John MacClain.
The four hosts,
all dressed in tails, formed a receiving line. Mike Romanoff’s food ranged from
green turtle soup to oysters, crab, shrimp, trout, chicken, stuffed turkey,
roast ribs of beef, ham, coq au vin, boned squab, vegetables and salads, and
numerous desserts. At five in the morning, 250 guests were still there, sitting
on the floor and listening to Bing Crosby sing every song he ever knew, to the
accompaniment of Hoagy Carmichael.
(Peter Duchin, writing in his book, A
Ghost of a Chance)
The last to go
home at eight a.m. were Bing Crosby and Pat O'Brien. Eloise, Pat’s wife, couldn’t come to
the party because of the expected baby — and when Pat saw what time it was, he
insisted that Bing come home with him.
(Modern Screen, July 1946)
March 31, Sunday. Bing and Leo McCarey help out at the Garden Charity Bazaar given by
Mrs. Bob Hope for Immaculate Heart College. They are put in charge of the religious booth
April 4, Thursday.
(11:00–2:00, 4:30–6:00 p.m.) Rehearses for his Kraft show. (6:00–6:30 p.m.)
Bing’s Kraft Music Hall show on NBC. Guests include Georgia Gibbs.
During the day, Bing and other stars send a telegram to Washington objecting to
a new bill intended to curb the activities of James C. Petrillo, president of
the American Federation of Musicians. They felt that it covered too much other
ground and would restrict the labor rights of all radio workers.
April 6,
Saturday. Dixie is
reported to be in hospital with the flu. Earlier press reports had
suggested that she was entering hospital for a major operation.
April 7, Sunday. Attends a garden fair and buffet supper at Bob Hope's home for the benefit of destitute children.
April 11, Thursday.
(11:00–2:00, 4:30–6:00 p.m.) Rehearses for his Kraft show. (6:00–6:30 p.m.)
Bing’s Kraft Music Hall show on NBC. Guests include Marilyn Maxwell and
the Les Paul Trio.
It’s now Prof.
Trotter, if you please. Music Hall’s plump and affable conductor is now
instructing a weekly class in radio orchestration at University of Southern
California. But he won’t let the dignity of his new title prevent his joining
Bing Crosby and Eddy Duchin in warm welcome to Marilyn Maxwell when the songstress
goes visiting at 9 p.m.
(The Miami Herald, 11th April, 1946)
April (undated). Bing
and Barry Fitzgerald are photographed receiving smallpox vaccinations
following reports of increasing cases of the disease in Hollywood.
April 15, Monday. Filming of
Abie’s Irish Rose commences. This is the second film made by Bing Crosby
Productions and it stars Joanne Dru and Richard Norris. Edward Sutherland is
the director and John Scott Trotter is in charge of the music. Everett Crosby
has not put proper financing in place for the film and at the outset they
cannot meet the payroll costs. Faced with this crisis, Bing hires Basil Grillo
to run Bing Crosby Productions. Grillo subsequently reorganizes all the Crosby
business activities and Bing Crosby Enterprises is formed. Everett Crosby’s
influence on his brother’s business matters recedes.
Everett was just about persona
non-grata over the “Abie’s Irish Rose” fiasco but he took Grillo to Paramount
and faced his brother down, the last of many significant things he did for Bing
Crosby.
The two
argued heatedly, during a break in filming, and enough of the conversation was
audible for Grillo to realize Crosby regarded him as merely the latest in a
long line of “geniuses” supposed to “fix everything.” As Grillo remembered the
scene, Crosby seemed abruptly to give in. He walked off the set and over to
where Grillo stood, extending his hand and offering an apology for the broken
appointments.
“He turned
on that friggin’ Irish charm and I was his forever,” Grillo said. The brief
meeting began a 30-year relationship and when it was over, Grillo would
describe Crosby as:
“The
finest human being I have ever known.”
“Abie’s Irish Rose” became Grillo’s first priority. Crosby was worried about
the situation finding its way into the newspapers and asked him to talk with
Sutherland whom he had known since his days at the Cocoanut Grove. Sutherland
also had directed him in “Mississippi” in 1935. The director agreed to proceed
without pay until financing could be put in place. Grillo then made the same
plea to Joanne Dru who also agreed. He telephoned the news to The Singer,
pointing out Sutherland and Dru’s cooperation did no more than win a little
time. He suggested the simplest solution might be for Crosby to personally
finance the picture. Crosby exploded and banged the phone in his ear.
Ultimately,
Grillo was able to negotiate a loan for $370,000 from Society First National
Bank of Los Angeles and the film about a Jewish boy and a Catholic girl was
released amid mild controversy in 1946.
(Norman Wolfe, Troubadour: Bing
Crosby and the Birth of Pop Singing)
April 17, Wednesday.
Completes the sale of his 35 percent interest in the Del Mar track for a
reported $481,000 and soon sells the home at Rancho Santa Fe and his stables.
His brother Ted sues him over the Del Mar sale. Elsewhere, Dixie Lee is named “Hollywood’s
Ideal Mother” by the advisory committee of the United Home Finding Service.
April 18, Thursday.
(11:00–2:00, 4:30–6:00 p.m.) Rehearses for his Kraft show. (6:00–6:30 p.m.)
Bing’s Kraft Music Hall show on NBC. Guests include Trudy Erwin and the
Kraft Choral Club.
Kraft Music Hall (review), NBC, Thursdays, 9
PM,
EST.
Well, Crosby’s back and Kraft has
got him--at least until May. After getting off to a somewhat dispirited start,
Bing has swung back into his free and easy method of entertaining, with
informality the keynote. He heckles the orchestra, the announcer, the guests,
and even makes fun of himself with well-timed ad libs that require more than
casual listening to catch all of the fun that goes on. His singing on the air
has improved since his vacation, even as it has on records; his backing from
John Scott Trotter and band isn’t as good as the Haggart, Heywood, etc. he’s
had on records, but he sounds as though he’s enjoying it and that produces fine
Crosby singing.
Regulars are the Charioteers who sing spirituals inoffensively, Eddy Duchin who
makes with a bit of comedy and some strictly unhep piano solos, Ken Carpenter
who plays straight man to Bing plus doing the commercials (accompanied by
remarks from Bing), and the fancy work of Les Paul, who occasionally rounds up
his trio for some really find plucking.
It’s
too bad if Bing is unhappy, as rumours riot, about a live show; it doesn’t seem
as though this spontaneity could be carried into a transcription studio and
come out equally merry. It’s anybody’s guess as to Bing’s sponsor for next
fall, but with Crosby at his best it should be mellow stuff.
(Metronome, May 1946)
April 20, Saturday. Decca has issued a 6-disc 78rpm album set by Bing called Don't Fence Me In and it reaches the No. 2 spot in Billboard's best-selling popular albums chart on this day.
April 21, Easter Sunday. Dixie Lee and
her four sons are in Carson City, Nevada during the morning on their way to Bing’s Elko
ranch. Mrs. Crosby and the quartet of hearty youngsters had breakfast at the
Senator and did some shopping. (12:00 noon–1:00 p.m.) Bing is on Can You Tie That, a radio program over station
KLAC which is emceed by Al Jarvis
and comes from Earl Carroll’s Theater/Restaurant in Hollywood. This is a record
grading contest. Bob Hope grades “Who’s Sorry Now” by Bing while Bing grades
Hope’s record of “Two Sleepy People” amongst several other records by other
artistes. The other members of the panel are Ella Logan and Dave Dexter. The
event is designed to generate funds for underprivileged people of the world and
$14,000 is raised.
The occasion was a
clothing drive for Catholic Charities, and the seven tons collected just about
measure up to the amount of hilarity served up on the discs. Hope and Crosby
jitterbugged their way through the first record played, Les Brown's "Good
Blues Tonight," and each gave it 95. Ella Logan judged it at 67, and Dave
Dexter granted it a tepid 59. At this announcement, Hope and Crosby got up to
leave. "You can tell we're from the country," commented Bob sadly.
Second record played was "Who's Sorry Now?" by a singer named Bing
Crosby. Crosby leaned back and listened in rapt attention with occasional
murmurings of "Beautiful—beautiful. Turn it up." Hope's first comment
was, "Well, I don't follow the singers much!" But he thought it was
nice that Eddie Heywood let his father sing with the band. "After careful
consideration, I give it six and one half points!" he decided. From singer
Shirley Ross, Jarvis borrowed an old record on which she and Hope shared the
vocal, "Two Sleepy People" (now scheduled for release). A stunned
Hope recovered to find that on nostalgia value alone even hard-to-get Dexter
had given him a satisfactory score. One of the highlights of the show was the
presentation to Crosby of a gigantic picture of Frank Sinatra. Bing countered
by giving Bob an even greater enlargement of Red Skelton. Jarvis admits that
throughout the program, the boys kept him laughing so hard that he forgot about
emceeing. "It should have been television," he sighed. "I've
never had so much fun in all my life!"
(Joan Buchanan, Radio Life, June 23, 1946, pages 7-8)
April 22, Monday. Bing
attends Bob Murphy’s annual Sportsmen’s dinner with his brother Larry, Bob Hope
and Joe E. Brown.
April 24, Wednesday. Bing is
part of a syndicate which files an application for a 1946–47 franchise in the
National Hockey League.
April 25, Thursday. Does not
appear on the Kraft Music Hall broadcast and is said to have gone to San
Francisco for a benefit performance. Frank Morgan deputizes for him. The book Bing
by his brothers Ted and Larry, which was originally published in 1937, is
brought up-to-date and republished as The Story of Bing Crosby
with a
foreword by Bob Hope. Ted Crosby is now shown as sole author. It sells
24,936 copies in the six months after publication, producing $450 in
royalties on top of a $2,000 advance.
May 2, Thursday.
(10:00–2:00, 3:30–5:00 p.m.) Rehearses for his Kraft show. (6:00–6:30 p.m.)
Bing returns to the Kraft Music Hall show on NBC. Guests include Joe
Frisco and Peggy Lee.
Bing Crosby, celebrating his
birthday on the Kraft Music Hall over NBC on Thursday night (2nd), came up with
one of the most hilarious shows in the soon to be concluded series. Evidently,
ad-libbing most of the way, Crosby broke up the show several times with aside
remarks to the studio audience and his guest stars, Peggy Lee and Joe Frisco.
The hilarity was topped during the last five minutes when Bob Hope appeared
unexpectedly with Bing’s birthday cake and the two let go with some unmatched
witticisms. Sore spot to some listeners occurred however, when the crooner went
off the deep end with a gag line to Eddy Duchin—“Fan your fanny over to the
pianny and waft some music this way.” It might have been better if Crosby,
heretofore, lauded for the cleanness of his shows and for “priest” roles he’s
portrayed in pictures had remembered that some parents object to their kids
listening to such stuff on the radio.
(Variety, May 8, 1946)
Selling records was only half of the equation for a popular singer in
Peggy Lee’s early
days. In postwar America, it was radio
that dictated the success of
records. No artist could be declared
major until she or
he appeared on a network
radio show. And no one had a network
radio show to rival
the Kraft Music Hall.
On May 12,
1946, (sic) Peggy Lee took to the NBC airwaves and sang “I Don’t Know Enough About You,” not only
for an immense audience—a few years earlier, the Kraft
show had boasted a staggering fifty million listeners—but
for the show’s host, the most beloved performer in the history of
American popular culture.
When
Peggy stepped in front of the microphone that night, it was
with the introduction and imprimatur
of Bing Crosby, the reigning
god of song. It was the first
of some fifty appearances she would make on
Crosby’s shows over the next decade, a time during which
Crosby would become a close
friend and ally. Crosby’s love for
Peggy Lee’s music,
and for Peggy
Lee the woman, was perhaps the single most important factor in the blossoming of her career—and how could it have been otherwise? As an artist, she was following a trail into pop-jazz that no woman had trod, but that Bing Crosby had not only discovered,
but mapped. It
was with Bing
Crosby’s sensibilities that Peggy Lee truly identified, on every band of the
spectrum.
(Fever – The Life
and Music of Miss Peggy Lee, pages 146-7)
Bing was always so protective and so
sensitive during my early days of nerves and self-consciousness. Just before
air time on one of my first Kraft programs, he found me standing rigid outside
the studio at NBC and asked me what he could do to help. I managed to say,
“When you introduce me, would you please not leave me out there on the stage
alone? Would you stand where I can see your feet?” From then on he always
casually leant on a speaker or piano to give me the support I needed to learn
about being at ease on stage.
You have to love a man like
that. He offered everything—money, cars, his own blood, and even volunteered to
babysit with our little daughter, Nicki, while David was so sick in hospital.
(Miss Peggy Lee—An Autobiography,
pages 105–106)
May 7, Tuesday.
(6:15–8:50 p.m.) Records four songs with John Scott Trotter and his Orchestra
in Hollywood, including “When Irish Eyes Are Smiling” and “A Gal in Calico”.
The latter song reaches the No. 8 position in the Billboard Best-Seller lists,
spending six weeks in the charts.
A GAL IN CALICO. Bing Crosby, with the Calico Kids and John Scott
Trailer’s Orchestra Decca 23739. A bright and breezy rhythm ditty from the
movie “The Time, the Place and the Girl,” contagion is added to the chant in
the dittying design of Der Bingle who sings it free and easy, with vocal
assist from the Calico Kids to heighten the appeal of the spin. Flipover is
also from the same screen score, with Crosby chanting it alone and with
persuasion from the slow ballad “Oh, But I Do.”
(Billboard, December 7,
1946)
May 9, Thursday.
(10:00–2:30, 3:30–5:00 p.m.) Rehearses for his Kraft show. (6:00–6:30 p.m.)
Bing’s final broadcast as host on the Kraft Music Hall. The guests are
Dorothy Claire and Spike Jones and his City Slickers.
The
last airing (May 9) was a surprisingly subdued, if not to say mild, offering.
No fanfares, no frills, no balloons going up, no bells. After all those
hundreds of others, the listener might have expected something more appropriate
than (Ken): “Well, Bing, this is getaway night on the old Kraft Music Hall”:
(Bing): “That’s what it is, Ken.”
A bit
later, Duchin tells Bing, “I want to wish you a happy
vacation and - no kidding - thanks for everything.” At the moment before the
close, Bing speaks directly to his audience. “I want to thank you all from the
bottom of my heart for your tolerance and loyalty for this show.” This time,
the applause runs on and on, then under Ken’s sign-off. Trotter’s orchestra
carries all of it into yesterday with a few bars of the swing arrangement of
HAIL KMH!
(Vernon Wesley Taylor, Hail KMH! The
Crosby Voice, February 1986)
May 10, Friday. (5:00–9:00
p.m.) Records “Route 66” and “South America Take It Away” with the Andrews
Sisters and Vic Schoen and his Orchestra.
May 15, Wednesday.
(6:00–9:30 p.m.) Records “Pretending” and “Gotta Get Me Somebody to Love” with
Les Paul and his Trio.
It is a sad,
thankless, and sometimes presumptuous task to have to report that a champion
has slipped up. If the champ happens to be a great one—personally as well as
professionally—the task becomes inordinately difficult.
Bing Crosby has become that kind of champ. He has been the
non-pareil, the unprocessed cheese kid. From the days of “Just One More
Chance,” down through the abundantly talented years, he has been wonderful,
with a special kind of purity in his appeal. Of late, though, his seeming
disinterest has become more and more apparent, until now it can no longer be
ignored.
In the entertainment business, though, you think twice before you
criticize an idol, for if it is kind of amusing to say that so-and-so has a
clothespin on his nose, it is almost lese majeste to suggest that a Crosby is
not what he used to be. But be that as it may, the evidence is too stark.
The Groaner, although his manner still has that incomparable kind of
relaxation, no longer imparts the verve, the dash of his early disking, and if
you think otherwise, listen to his newest releases.
Crosby’s “Pretending” and “Gotta Get Me Somebody to Love” (Decca 23661)
are so inferior that you are apt to mistrust your own judgment when you hear
them for the first time. You are apt to suspect that something is wrong with
your phonograph. But you find out it isn’t your phonograph at all. Bing
is accompanied by Les Paul and his trio (an effective background) and the faces
should have been good. Five years ago, they might have been magnificent.
Both tunes (“Gotta Get Me” is from Duel in the Sun) are the lazy sort of
thing which Bing used to do better than anyone else. But he sings them so
indifferently that you cannot ignore the gloomy conclusion that Bing has
slipped. Sinatra, Haymes, Como, Buddy Clark and a few others are cutting him.
If it sounds unduly harsh on him to say this, it would be harsher on the others
to keep it quiet.
(George
Frazier, Variety, October 2, 1946)
…Sheer routine are Pretending
and Gotta
get me somebody to love from the film “Duel in the Sun“ (03800).
(The Gramophone,
December 1947)
Bing Crosby Named in Composer’s Suit
on Song “Pretending”
Don A. Marion, composer, today asked for return
of the song “Pretending,” claiming it had earned $250,000 since it was
illegally appropriated by two other song writers. Mario’s suit for an
accounting and an injunction, filed yesterday, also naming Bing Crosby and Andy
Russell, Kate Smith and recording and radio companies for singing and selling
the song without his permission. He said the song he composed in 1930 was
stolen from him by Al Sherman, listed on the published version as composer of
the melody, and Al Synes, credited with writing the lyrics.
(Hollywood Citizen News, January 7,
1947)
May 17, Friday. The Woman’s
Home Companion poll names Bing as the leading male film star. He is similarly
named for the next four years. Meanwhile, Bing finishes
prerecording songs for The Emperor Waltz.
May 17…The
morning was devoted to sets. Lunched at the commissary and went to the sound
stage where Bing recorded “The Kiss in Your Eyes” magnificently. He made eleven
takes of it, which is unusual for him. Usually he gets a song in three…
(From the
diaries of Charles Brackett, as reproduced in It’s the Pictures That Got
Small, page 289)
May 21, Tuesday.
Bing had planned to stay with Spike Spackman in Ketchum, Idaho for the
opening day of the fishing season on the Wood River but he is held up
in Hollywood by business and says he will not be able to get to Idaho
until June 1. Dixie and Mr. & Mrs. Eacret have been staying with
Mr. Spackman and they return to Elko.
May 31,
Friday. Joan Fontaine and Roland Culver arrive at Jasper Park to join the crew
filming The Emperor Waltz. Bing is still on holiday.
June 1, Saturday. Decca has issued a 4-disc 78rpm album set called Bing Crosby - Stephen Foster and Billboard reviews it on this day.
It was expected that sooner or later Bing Crosby would make
an album of Stephen Foster tunes. Crosby does full justice to the popular
composer’s music.
June 3,
Monday. Bing is at Hugh Bradford’s Alturas Lake Ranch at Hailey, Idaho and
he writes to Bill Morrow.
Dear Bill,
We leave here today for Spokane and
then on up to the location at Jasper Park. Had a great time here with Spike
& Dolly, the Eacrets, Ralph Smith and Vic Hunter. Quite a bit of ad-lib
drinking went on and yesterday, by noon, Spike was leaning back quite a bit. We
caught 80 red-fish yesterday morning and spent the afternoon dredging the
bottom with some choice ??? trying to shake up a big one, but no luck. Too
early I guess. I hope your plans have developed so you can come up to Nevada
and on up here about mid-June. Johnny has several places cased for you and the
Wild Horse Dam and the lake fishing will be available. Just phone or wire him
at Tuscarora where and when to meet you.
I
should hear something from Kapp by the time I reach Jasper and I hope, for the
benefit of all concerned, it is something favorable. If not we can apply some
pressure in the rite spot. The General Motors transcribed show is very hot rite
now for about September opening. I propose the following lineup.
Glen Wheaton - Producer
Bill Morrow - Writer
Trotter - Band & choir
Les Paul - guitar accompaniment,
occasional specialties.
Skitch Henderson - Piano solo and
accompaniment.
Charioteers, Specialties,
accompanist Peggy Lee, or some ?? with a similar delivery.
Crosby
This
will be a package arrangement with possibly first four shows live and maybe one
or two others during the year, at our option. It should be an easy show for you
to write - with Wheaton doing documentary material - and such guests as we use,
being of a type suitable for humor.
Jack
tells me he is going to Mammoth on the 15th., so you got yourself a nice
parley, Mammoth to Nevada to Sun Valley. I’ll see you probably around July 1st
and we can discuss the foregoing at that time.
Take
care of all the local grummet (?) in my absence.
Bing
June 4,
Tuesday. Bing
arrives in Spokane by car from Sun Valley, Idaho and complains about
the poor road conditions, having had four tire blowouts. He then calls
in at the Athletic Round Table
before playing a friendly game of golf at the Country Club with Roy Moe
(local
pro), Bud Ward, and Vic Hunter (a Hollywood advertising executive who
is
traveling with Bing). Subsequently, Bing is persuaded by the Athletic
Round
Table to stay on and play in a benefit golf match with Bob Hope later
in the
week as Hope will be putting on a show in the Gonzaga stadium on
Thursday.
June 5, Wednesday. Bob
Hope flies into Spokane during the evening and gets together with Bing
straightaway. They go into the Desert Hotel and entertain the Athletic Round
Table before Bob leaves to rehearse his show planned for the next night.
Bob Hope and Bing Crosby nearly put
the Athletic Round Table out of business last night—or at least they tried.
The
famed twosome showed up at the Desert Hotel club unexpectedly about 9, donned
waiters’ uniforms and went to work behind the bar.
“Anybody want a drink?” yelled Hope.
And
customers immediately swamped the bar. Crosby and Hope promptly started handing
away the club’s bottled goods—until the stock, at least all that was handy, was
exhausted. The two then took off the jackets, autographed anything from blank
checks to membership cards, and left.
(Spokane Daily Chronicle,
June 6, 1946)
June 6, Thursday. Bing
calls in at Gonzaga University and at the Athletic Round Table he joins in
briefly with the Gonzaga Quartet who are rehearsing. At noon, Bing is the guest
at a Gonzaga High School class of 1920 reunion at the Spokane Hotel. Starting
at 1:00 p.m., Bing and Bud Ward play Bob Hope and Neil Christian (the local
professional) at the Downriver golf course, Spokane, before a crowd of 2,500.
The match, which is designed to raise money for the PGA rehabilitation
fund, ends all-square and Bing has a seventy-six. Bing’s approach shot to the
ninth green strikes a spectator breaking his binoculars but otherwise not
causing any damage. Press reports indicate that Bing is suffering from a touch
of arthritis in his shoulders and has played golf just three times in the last
five months due to filming commitments. He is also said to be suffering from
laryngitis and is unable to sing. He goes on to dine that night at the Desert
Hotel with Mr. and Mrs. Bud Ward and others where he is photographed with the
Gonzaga Quartet.
June 7, Friday. Bing lands a 16lb Rainbow trout while fishing at Lake Pend Oreille, Idaho with Vic Hunter and then leaves for Jasper Park, Alberta.
June 8, Saturday (evening). Arrives in Jasper Park over the
Banff-Jasper highway to film The Emperor Waltz with Joan Fontaine,
Roland Culver, and Richard Haydn. The director is Billy Wilder with Victor
Young in charge of the musical score and Joseph J. Lilley handling the vocal
arrangements. Young is subsequently nominated for an Oscar for “Best Scoring of
a Musical Picture” in 1948 but loses to Brian Easdale for The Red Shoes.
Bing is paid $125,000 for the picture. The location scenes are filmed at Jasper
Park in five weeks during May / June. The weather is often too poor for filming
and this gives Bing the opportunity to play plenty of golf on the Jasper Park
Lodge course. In addition he fishes at Maligne Lake during the period in
question. Bing stays in the cabin called Squirrel’s Cage at the Jasper Park
Lodge during the filming. The studio work is completed in Hollywood by
September 20, with Bing working until 1:00 a.m. some nights because of a
threatened studio shutdown. The movie costs $4 million, some $1.2 million over
budget. Because of a backlog at the studio, the film is not released until May
1948.
“I did The Emperor Waltz
after coming back from the war, from Germany, where I was stationed in
Frankfurt…It came out in ’48. We held it back as long as we could. We shot it
in 1946, because I know that we were in the Canadian Alps, where I shot a lot
of stuff, and we were celebrating my fortieth birthday. And I had made two grim
pictures, Double Indemnity and The Lost Weekend…It came out of a
bravado gesture that I made in a meeting of the front office. They did not have
a good picture for Bing Crosby. And I just said, “Why don’t we just make a
musical?”
“But it was not really a musical, because a musical is a thing
where people, instead of talking, they sing to each other. The songs are plot
scenes, and they sing. And I started fumbling around there for a plot, and that
was kind of it, well, the dog, and it was just kind of ach. We had to go
to Canada with that thing, for the Alpines. It was supposed to pass as the
Austrian Alps, except there were many villages in the Austrian Alps. In Canada,
there was just snow. And we were not very happy with Joan Fontaine, she didn’t
have the part. We had nothing. I was just kind of improvising there. The less
time you consume in analyzing The Emperor Waltz, you know, the better.
There’s nothing to explain, there’s nothing to read into that thing. The
picture was just…nothing. We were doing kind of little tricks that a good
magician would have maybe been able to get something more out of than I did. I
just had come back from Germany, from the war, from the job that I was doing
there. And I was in the mood kind of to do something gay, and when they brought
up Crosby. I jumped in with this idea…it was a favor for Paramount. No good
deed goes unpunished.”
Crowe assesses The Emperor Waltz. “The movie is
fascinating today, almost riveting, in how aggressively un-Wilder it is. For
that reason, it stands alone and apart from all his other work. And still there
is a jewel: Crosby’s musical number, “The Kiss in Your Eyes.””
(Billy
Wilder, speaking to Cameron Crowe, Conversations with Wilder)
In the book Nobody’s
Perfect: Billy Wilder: A Personal Biography, Joan Fontaine is quoted as saying:
“Crosby wasn’t very courteous to me. I remember he
didn’t stand up when we were introduced. I thought “Poor Dorothy Lamour!”
This man didn’t have respect. Maybe he treated her better. There was never the
usual costar rapport. I never enjoyed his songs after working with him. I was a
star at that time, but he treated me like he’d never heard of me. I should have
brought my sarong. Crosby’s personality was what you might have expected from
the Emperor Francis Joseph. He was the Emperor of Paramount. Bing Crosby
had the power over Billy Wilder. Paramount would certainly have replaced Mr.
Wilder, and Mr. Brackett, too, any day if Crosby had wanted it. It wasn’t
that he had anything against Mr. Wilder. He just didn’t pay much attention to
him. He told me once that he had some trouble understanding his funny
accent…Crosby was directing himself, and he had writers working on what he
said, and sometimes he didn’t pay any attention to the Wilder - Brackett words,
or even the words of his own writers. He said it as he felt it at
the moment.”
…“Bing Crosby operated for himself, not for the
group or the film,” Wilder said. “He was a big star, the biggest, and he
thought he knew what was good for him. He did. He sensed what his audience
expected and he knew how to deliver that. The picture didn’t come out what I
wanted, but that wasn’t Crosby’s fault. It was mine.”
(Nobody’s Perfect: Billy Wilder: A Personal
Biography by Charlotte Chandler
pp. 134-135)
June 9, Sunday. Bing plays
on the Jasper Park Lodge golf course.
June 15, Saturday. At a
colorful ceremony on the veranda of Jasper Park Lodge, Bing is made an
honorary member of the Edmonton Highland Games Association, one of the largest
Scottish organizations in Canada.
June 17, Monday. Bing is at
the practice tee at the Jasper Park Lodge course when he is interrupted by
eight-year-old Linda Wightman, the daughter of the local bakery owner, and
presented with a picture of two bears taking a bath in Lac Beauvert. That
evening Bing calls at the girl’s home and chats with the family, leaving a
parcel for Linda containing a large picture of himself, which is inscribed
“With love to my little pal, Linda, from Bing Crosby.”
June 24, Monday. The tired old bus carrying the Spokane Indians
baseball club across Snoqualmie Pass around 8 p.m. on a rain-slickened highway
in Western Washington crashes and nine players are killed.
June 30, Sunday. The crew
filming The Emperor Waltz leaves Jasper Park to return to Hollywood. Bing calls in for lunch at Lake Louise lodge for lunch on his way south.
July 1, Monday. Bing arrives in Spokane. Says that the bad weather in Jasper meant that they
only shot on six days. Golfs with Bud Ward and Curly Hueston at Indian
Canyon.
July 2, Tuesday. Still in
Spokane, Bing purchases $2,500 worth of tickets for a benefit baseball game in
aid of the families of the nine Spokane Indians players killed in the bus crash
on June 24. He specifies that his tickets should be given to convalescent and
other servicemen. The Oakland Oaks play the Seattle Rainiers in the exhibition
game in Spokane on July 8 and 6,000 fans attend.
July (undated). Bing fishes at
Lake Pend Oreille, Idaho (near Spokane). During his visit he stays at the Hotel
Hope.
July 3, Wednesday.
Leaves Spokane for Boise, Idaho where he calls in to see Sib Kleffner,
an
operator of a sporting goods store, and gives him $11.04 to pass on to
Matt Hally, the Idaho Highway Director, in respect of a debt which Bing
has
owed him since college days in 1924.
July (undated). At his Elko,
Nevada, ranch.
July 6, Saturday.
Billboard magazine announces the results of its 8th. annual college
poll of favorite male singers. Bing is top with 559 votes followed by
Sinatra (462) and Como (341).
July 8, Monday. Filming of The
Emperor Waltz continues at Paramount Studios. Billy Wilder is in constant
pain with kidney stones.
July 10, Wednesday. Bing is
back in Hollywood. During his absence, the Rosary Confraternity of Greece has appealed
to Bing for help in providing rosaries for 50,000 Greek Catholics following his
Family Rosary broadcast. He arranges for 10,000 rosaries to be sent to Greece.
July 13, Saturday.
(8:00–10:50 a.m.) Bing records “Lullaby” and “Where My Caravan Has Rested” with
Jascha Heifetz (violin) and the Victor Young Orchestra. Later in the day, a
birthday party is held at Bing’s Malibu home for all four of his children in
accordance with their usual custom. In all 33 children attend.
Crosby’s other disk this week is in
the nature of a stunt. Jack Kapp, Decca’s wily boss, long ago conceived the
novelty value of coupling The Groaner with other Decca contractees e.g. the
merry Andrews, Louis Jordan, Eddie (“I Hate Publicity”) Condon, etc. Now Kapp
has Jascha Heifetz fiddling obbligatos to Bing’s renditions of “Where My
Caravan Has Rested” and “Lullaby” (from “Jocelyn”) on Decca 40012. It is not
disclosing any military secret to say that Heifetz—even if, on this, he’s no
Heifetz—takes the honors. Crosby sounds tired, disinterested, and,
incidentally, badly advised not to rest his caravan.
(George Frazier, Variety,
October 2, 1946)
The groaner goes concert with this
cutting. And with no less a Strad scratcher than Jascha Heifetz tearing off the
obbligatos as well as stringing in a bit of the theme himself, Bing Crosby
gives with some real lullabying for both of these standard songs. “Lullaby”
from Godard’s “Jocelyn” and “Where My Caravan Has Rested” is the classic chant
of Herman Lohr and Edward Teschemacher. Victor Young brings up the orchestral
background for the desired effect. Crosby crowds will like these better for
home spinning.
(Billboard, October 12, 1946)
July 14,
Sunday. (starting at 10:00 a.m.) Plays in
Frank Borzage’s Invitational Motion Picture Golf Tournament at the
California
Country Club with Eddie Sutherland, Eddie Mannix and George Marshall. Bing has a poor round recording an 82. A crowd
of 3000 watches the event, which is in aid of the AWVS. Other
stars taking part include Don Ameche, Randolph Scott, Bob Hope, Nigel
Bruce,
Ken Murray, Mickey Rooney, Bob Crosby and Johnny Weissmuller. Some of
the
action is included in a novelty newsreel called Rough But Hopeful
produced by Courneya-Hyde Productions.
July 18, Thursday. (8:00
a.m.–12 noon) Records six songs from the film Blue Skies with John Scott
Trotter and his Orchestra. Decca issues them on a 78rpm album set and the album reaches the No. 2 spot in Billboard's best-selling popular record albums chart.
Don’t miss this show album. Any of
the complete score albums that Decca turns out have rotten tunes thrown in with
the good. This one is no exception - but it does have Crosby, and Astaire in
what may very well be his last wax appearance. Astaire may be no singer, but
even on wax, his personality comes through. (Decca A481)
(Downbeat, November 4, 1946)
Another winner is Bing Crosby’s
“I’ve Got My Captain Working for Me Now,” a good revue number on the subject of
every G.I.’s dream. The smart lyric is set to appropriate music, and Crosby
once again recalls the great days of the Rhythm Boys before the crooner swept
all before him. You can see what happened by turning over and hearing how “Blue
Skies,” which calls for a nice easy relaxed rhythm is dragged by the singer,
who twenty years ago might have done it to perfection.
(The Gramophone, May, 1947)
July (undated). Films a cameo role
in Bob Hope’s film My Favorite Brunette. Bing arranges for the fee of
$25,000 to be paid directly to Gonzaga University.
July 24, Wednesday.
(6:00–9:30 p.m.) Bing records three more songs from the film Blue Skies
with John Scott Trotter and his Orchestra. Fred Astaire duets “A Couple of Song
and Dance Men” and Trudy Erwin joins Bing in “I’ll See You in C-U-B-A.”
July 26, Friday. Bing takes
delivery of his new Dodge 6 car registration number AB 4662.
July 29, Monday. Recording session at Paramount for the 'Masque Ball' scene in Emperor Waltz. Joseph Lilley leads the orchestra.
July 31, Wednesday.
Bob Hope and Bing are photographed sending off 15-year old caddy Roger
Dunn to the National Caddy Tournament to be held at Columbus, Ohio. The
two men have sponsored Roger who will be representing Southern
California.
August 1, Thursday.
(4:00–7:05 p.m.) Records “The Things We Did Last Summer” with Jimmy Dorsey and his
Orchestra in Hollywood. Goes on to the premiere of Night and Day at Warners Hollywood Theatre and is photographed with Alan Ladd.
August 8, Thursday. The
Dreyfuss family sells the Pittsburgh Pirates National League baseball team to a
group headed by Frank McKinney (50% holding), John Galbreath (20%) and Thomas P. Johnson (15%) for a reported $2,250,000.
Bing also has a 15 percent interest in the syndicate. It is announced that
Bing will again head the National Executive Committee of the Sister Elizabeth
Kenny Foundation for Infantile Paralysis. The fund-raising drive is to begin on
November 3 with a target of $2 million.
August 9, Friday. (7:00–8:40
p.m.) Bing records “When You Make Love to Me” and “So Much in Love” with Victor
Young and his Orchestra in Hollywood.
When You Make Love to Me—FT; V. It Could Happen to You—FT;
V.
September Song—FT; V. Temptation—FT; V.
Mine—FT; V. Connecticut—FT; V.
The
groaner
gives out on a batch of ballads for these six sides bringing on Judy
Garland for one set. (23804). And while the song selections, for the
most part, are not
out of the top drawer, Bing Crosby’s dittying leaves little to be
desired of
the lyrics. His piping plenty listenable and the spinning smoothsome,
Victor
Young’s music provides the lush musical background for “When You Make
Love to
Me” while John Scott Trotter commands the music stand for the companion
“It
Could Happen to you.” Trotter still on deck, Crosby spins most
soothingly for
“Temptation,” the scoring set to a bolero beat while mixed voices blend
with
the band to make for richer background color. Flipover finds lush
lyricizing
for “September Song,” making the lovely song sound as lovely as ever.
Joined by
Judy Garland, with Joseph Lilley laying down the musical background,
it’s a
lively pace set for “Connecticut,” dipping back to the slow ballad
tempo as
they share the wordage for George Gershwin’s “Mine.” While neither
voice lets
loose on either set of lyrics, their chanting is in good style and
taste. The
Crosby fans will listen to these at home.
(Billboard,
February 8, 1947)
August (undated). At Bel-Air Country
Club, Bing gets his first hole-in-one at the par 3 fifth hole.
August 15, Thursday.
(5:00–7:30 p.m.) Records a reading of “The Star-Spangled Banner” and “Old
Ironsides” with Victor Young and his Orchestra. The records are included on a Decca 78 rpm album called "Our Common Heritage".
The Star Spangled Banner—FT; V.
…Instead of
singing the national anthem, he recites a meaningful poem while Victor Young
provides the incidental background music that weaves around the anthem theme.
It all makes for an impressive and dramatic spin.
(Billboard,
September 20, 1947)
With considerable beating of the
drums, Decca has issued an album called “Our Common Heritage” (eight 10 inch
records). It contains sixteen poems commemorating “milestones in the history of
America.” Jack Kapp, president of Decca is keynoting the campaign for this
album [and writes] “Who else but Bing Crosby, who symbolises America to the
world, should read The Star-Spangled Banner? And who else should make it a
living experience, read as we believe Francis Scott Key felt it?” Who else,
indeed? Unless of course, it should occur to you that you could read it for
yourself....If it makes American ideals shine more brightly for them to hear
Bing Crosby, Pat O’Brien and the others dramatize them, only a bounder would
disagree with Mr. Kapp.
(Howard Taubman, New York Times,
April 27, 1947)
Later, Bing signs a
contract with Philco Radio Corporation to perform his radio show as a
transcribed program. Bing is said to be paid a minimum of $24,000 and a maximum
of $30,000 per show depending how many stations take it. Out of this he
receives $7,500 as a salary with the remainder going to Bing Crosby Enterprises
Inc. to meet the other expenses of the show. This arrangement is tax
advantageous to Bing.
Everett Crosby, who handled the negotiations
for his brother Bing, said last night that the contract covers a three-year
period and that it would be a straight transcription show. It was learned that
Philco wanted a five-year contract and Bing a one-year deal and that Everett
Crosby negotiated the compromise three-year agreement.
(Daily Variety, August 16, 1946)
Primary change was the absence of
Carroll Carroll who had not been invited to work on the new program. Vernon
Taylor felt the reason may have been that Carroll’s writing had turned inward
in the final seasons of The Kraft Music Hall, and Crosby wanted
something fresher. There did not seem to be any animosity between the two and
Carroll made the point he had never worked for NBC or Kraft in any case. He had
always been on the J. Walter Thompson payroll and remained there.
The new
writer and coproducer was Bill Morrow, a loosely knit bachelor who played the
field with Hollywood ladies. He had written for Jack Benny and was brought on
to impart some of the brisker pacing of the Benny program. Better writer than
producer or businessman, Morrow tended to overpay for guest stars and
musicians. The program consistently ran over budget until Grillo was placed in
charge of all contracts.
(Norman Wolfe, Troubadour: Bing
Crosby and the Birth of Pop Singing)
So everything was daisy until I launched my battle for a transcribed radio hour. At
the time that warfare
was practically front-page news. There
was great opposition to the notion, not only from
Kraft, with whom I’d been for ten years, but from the
whole radio industry.
I had confidence that a show on tape would be just as satisfactory entertainment-wise as a live show, better in many ways.
There were two reasons why I wanted to transcribe my radio shows. The first, and most important one, was that it gave me a chance
to do a better
show. By using tape, I could do a thirty-five or forty-minute show, then edit it down to the twenty-six or
twenty-seven minutes the program ran. In that way, we could take out jokes, gags, or
situations that didn’t play well and finish with only the prime meat of the show; the solid stuff that played big.
We could also take out songs that didn’t sound good. It gave
us a chance to first try a recording of the songs in the afternoon without an audience, then another one in
front of a studio audience. We’d
dub the one that came off best into the final transcription. .It gave us a chance to ad lib as much as we wanted, knowing that excess ad libbing could be sliced from the final product. If I made a
mistake in singing a song or in the script, I could have some fun with it, then
retain any of the fun that sounded amusing.
A second consideration—and a mighty important one to me personally—was that it would give me
a chance to get around
the country more if I could tape in advance. If I had to go to New York, I could do two or
three shows ahead, which eliminated the necessity of transporting a cast and musicians across the
continent. If
I wanted to go fishing or hunting or play in a golf tournament, that too could be arranged.
Then, too, once
when we knew a musicians’ strike was coming off, we taped ten or twelve weeks’ shows in advance. We knocked them off in
about two weeks, working
every day and every night. This gave us a chance to stay on the air
with good shows while the strike was being settled.
But everybody
was against the idea—the networks,
the sponsors of other shows, the advertising agencies. They thought it might hurt the network financially. They felt that if entertainers were allowed to tape, they could sell to
individual stations instead of having to use the network. Then at the psychological moment
when the issue seemed in the balance, Philco said that it would be okay with them if I taped a certain number of
shows. The way it worked out, it didn’t seem to hurt the networks. To my mind,
the only things which lose impact on tape are sports events, or important news events.
(Call
Me Lucky, pages 151-152)
August 20, Tuesday. Rags
Ragland, who had toured army camps with Bing, dies at the age of forty.
August 21, Wednesday. Variety
magazine reports that Bing and Tommy Dorsey have fallen out following the
breakdown of negotiations for Bing to take part in the film The Fabulous
Dorseys. Dorsey retaliates by saying that he will not perform songs
published by the Edwin H. Morris and Burke-Van Heusen publishing firm as Bing
has an interest in this.
August 22, Thursday.
(3:30–7:35 p.m.) Bing records four songs with Russ Morgan and his Orchestra,
including “Among My Souvenirs” and “Does Your Heart Beat for Me?”.
Bing Crosby’s newest Decca cut
couples “My Heart Goes Crazy” with “So Would I” (both from My Heart Goes
Crazy). If not top flight Crosby, they are unquestionably superior to most
of his recent stuff. He sings carefully, feelingly, and, on the whole, rather
as if he were concerned about his sponsors renewing. Better side is “So Would
I” and you’ll be hearing it everywhere. Russ Morgan batons the accomp on
both sides.
(Variety, January 22, 1947)
Sweet Lorraine / The Things We Did
Last Summer / Among My Souvenirs / Does Your Heart Beat For Me / September Song
/ Temptation
If you have any doubts that Bing is
both losing his voice and getting increasingly sloppy about his singing
listen to these six sides and come away a little sick at the residue
(relatively speaking) of a good binger. “Lorraine” is extremely nasal in its
opening chorus of phrasing, “Things” is dead and unimaginative. “Souvenirs” is
better though the top tones wobble (“rest” for example). The tenor sax solo
(Russ Morgan accompanying) is for the books, “Me”, written by Morgan has long
been identified with him. “Song,” a reissue, is the one that will really stop
the stoutest Crosby fan in his tracks. He just has no tone in it, is
consistently off pitch, and fades to nothing on high tones. Bing is a
comparatively young man—losing his voice at his age is a result of either
incorrect over use or complete sloppiness while making these records.
(DownBeat, January 29, 1947)
“So Would I” - “My Heart
Goes Crazy”
Russ Morgan accompanies Crosby on
Decca—Dave Barbour accompanies Peggy Lee on Capitol—now you know why Capitol’s
vocal discs, by and large, are better. Why saddle Bing with this sort of thing
rather than giving him the best possible background—certainly the way he’s been
singing lately he needs it. (Decca 2374)
(DownBeat, March 12, 1947)
Bing Crosby has done “Among My
Souvenirs” on Bruns. 03779 with the sinister “Temptation,” a contrasted record
to interest the fans, but frankly not otherwise anything to write about.
(The Gramophone, August, 1947)
August 26, Monday. (7:00–7:30
p.m.) Bing stars in the Lady Esther Screen Guild Players radio version of The
Bells of St. Mary’s on CBS with Ingrid Bergman and Joan Carroll. Wilbur
Hatch leads the orchestra.
Spotting of the Bing Crosby Show for
Philco was finally cleared up, yesterday (Tuesday). Once Philco executives
completed negotiations with ABC, the Crosby ‘wax in your ears’ half-hour
production goes into the Wednesday night at ten segment on all stations, in the
East, with the Central, Mountain and Coast zones, carrying the show at 9
o’clock on the same evening. Crosby show tees off on October 16th on 211 basic
ABC Stations. In addition, 400 other Stations, around the country, are being
pacted separately to carry the program. These, of course, would include
affiliates of other webs in cities not carrying the show. Spotting of Crosby at
ten o’clock in the East and not at nine as was anticipated, is believed to have
been motivated by the Groaner’s feeling that it would be labelled as ‘spite’
work, in view of the fact that Frank Sinatra’s Old Gold Show is also heard at 9
pm on CBS.
(Variety, August 28, 1946)
September 1, Sunday.
(5:15-5:30 p.m.) Louella
Parsons returns to the air after her summer absence with Bing as her
guest. Later, Bing and Louella go on to a big party at the home of Donn Beach (of Don the Beachcomber).
…Bing Crosby, who had been on my radio show with me earlier in the
evening, wore the brightest red shirt I’ve ever seen. He looked like a fireman
on a holiday and didn’t mind the kidding he took in the least… Later, everyone sang
island songs, led by Bing Crosby. Everything considered, I think it would have
been best if we had all shut up and let Bing do the warbling.
(Louella Parsons,
writing in “Party Postscripts” in Modern
Screen, October 1946)
…improvement in her diction, delivery and
relaxed manner of conducting the interview with Bing Crosby. Not a line was
fluffed and the excited inflections toned down. Gone, too, was the gushy
treacle that formerly dripped from her gabby sessions with guestars if we can
excuse her “Bing, dear” as a slight reversion…
(Daily Variety, September 3, 1946)
Miss Parsons’
initial broadcast for the new season had more than usual interest; with Bing
Crosby, on hand to receive her special award for his Paramount “Blue Skies” contrib,
making what will be one of his few live appearances on the air this season. (He
also owes his ex-employer, Kraft Music Hall, a couple of guest shots). For a
briefie insert, it was crammed, with some revelatory comment. Challenging a
crack anent rumors that he was getting lazy, the Groaner gave the first off-the-cuff
explanation of his desire to transcribe his air show in the future; (1) it’ll
permit for editing similar to pix studio retakes: (2) you can pattern your
shows to the availability of guest talent: (3) you can spot the show in the
best time slots for public reception. Too, his announcement that he’s planning
an album of hymns of various religions, with proceeds to go to the National Federation
of Churches, also gave the Parsons stanza a news “exclusive.”
(Variety, September 4, 1946)
September 11, Wednesday. Whilst
completing the filming of Emperor Waltz at Paramount, Bing pays a
surprise visit to Ingrid Bergman’s set on Arch of Triumph and toasts the
box office queen on her twelfth role in U.S. pictures.
September 18, Wednesday. Using
the NBC Studio B in Hollywood, Bing rehearses for his first Philco show.
Bing Crosby will be a busy little
bee this weekend and the hive will be a mass of honey by the time he oils up
his shootin’ irons for a go at the deer and pheasant in the general vicinity
of his Elko, Nevada ranch.
(Daily Variety, September 18,
1946)
September 19, Thursday. During
the morning, Bing continues to rehearse for his first show for Philco using NBC
Studio B. (1:07–3:07 p.m.). Transcribes his first Philco Show with Bob Hope
which is broadcast on October 16. (3:40–5:10 p.m.). Rehearses for his second
Philco show. (5:10–7:25 p.m.). Transcribes his second Philco show and this is
transmitted on October 23.
Downey Did It
First
It all depends
upon who does a thing. While there’s a great fuss about Bing Crosby going
network via transcriptions (October 16), it’s been ignored that Morton Downey
has been going over the Mutual network via e.t.’s for some time without the
network falling apart or the Downey rating doing any fIipflops. Nevertheless
what happens to the Philco-Crosby show will determine in part just what Bob Hope
and a number of other stars will want to do, come the end of their present
contracts. The subject of transcriptions is a touchy one at both NBC and CBS. What
happens to the show will have a bearing on what ABC will be in the future also.
The Burl Ives show on Mutual for Philco is also transcribed. That fact hasn’t
even raised a ripple.
(Sponsor magazine, November 1946, page 2)
September 20, Friday.
(8:30–10:10 a.m.) Rehearses for another Philco Show. (10:10 a.m.–12:10 p.m.)
Records a Philco show for broadcast on October 30.
September 22, Sunday.
(8:30–10:10 p.m.) Rehearses for a Philco show. (10:10 a.m.–12:10 p.m.) Records
a Philco show which airs November 6.
September 30, Monday. A radio
program “End of the Oregon Trail” commissioned by Olympia Beer in
celebration
of its 50th Anniversary is broadcast on 26 western radio stations at
various times. Bing plays
the part of his great grandfather, Captain Nathaniel Crosby, part
operator of
Crosby Flour Co., Tumwater, Washington. He briefly sings a couple lines
of “She
Had Pearls in Her Hair”.
October 1, Tuesday.
(4:00–7:00 p.m.) In San Francisco, Bing rehearses for his evening broadcast
with Bob Hope. (7:00–7:30 p.m.) Bing guests on the Bob Hope radio show on NBC
with Carole Richards. Jerry Colonna and Vera Vague are also in attendance with
Desi Arnaz leading the orchestra. The show is broadcast from the American
League Convention in Marine Memorial Park, San Francisco.
After Fibber and
Molly” came Bob Hope and Bing Crosby as his guest. The repartee between these
two was priceless, and dotted with genuine ad lib stuff with the funny man and
the groaner vieing to run each other down. Hope’s quip, “It’s not too late to replace
you, Bing, with an old cracked transcription,” perhaps was the funniest of all.
(Allen Rich, Valley Times, October 3, 1946)
October 5/6, Saturday / Sunday. Attends a dinner party in his honor given by Dr. & Mrs. Charles Crocker at Pebble Beach.
October 7, Monday. For the
second time in the year, Bing appears on the cover of Life magazine,
this time with Joan Caulfield with whom he is said to have a very close
relationship.
October 8, Tuesday. (12:00
noon –2:00 p.m.) In KFWB Studio 4, Bing and Ezio Pinza rehearse for a Philco
show. (2:14–4:15 p.m.) Records the Philco show with Ezio Pinza which is
broadcast on November 13. (6:00–7:45 p.m.) Rehearses for his next Philco show
with Burl Ives. (8:05–10:05 p.m.). Transcribes the show for transmission on
November 20.
October 10, Thursday. The film “The
Jolson Story” premieres at Radio City Music Hall in New York.
October 13, Sunday. (5:00–5:30
p.m.) Paul Whiteman’s radio show on
ABC has a tribute to Bing and highlights his imminent return to the air on the same station.
October 16, Wednesday. Bing is at his ranch at Tuscarora, near Elko. Bing’s
film Blue Skies is released and in many cities the first day’s receipts
go to the Sister Kenny Foundation. In its initial release period in the USA,
the movie takes $5.7 million in rental income making it one of the box office
successes of the year.
“Blue Skies” is another in
the show biz cavalcade cycle and it’ll spell beaucoup blue skies and black ink
for any exhibitor. With Crosby, Astaire and Joan Caulfield on the marquee, a
wealth of Irving Berlin songs and lush Technicolor production values, this
filmusical can’t miss for terrific grosses.
The cue sheet on “Blue Skies” lists 42 different song items but some of it has
been excised and the rest so skilfully arranged, orchestrated and presented
that the nostalgic musical cavalcade doesn’t pall. The songs are pleasantly
familiar to the World War I generation and, for the youngsters, they are
refreshing and solid, especially as Berlin has modernized them.
…the dialog is inclusive of such tongue-in-cheek cracks as “I like kids even
better than horses” (Crosby), along with other topical innuendos on Bing’s
bangtails [racing] penchant. It’s in a rather corny scene with the baby that
one of the three new Berlin numbers, “Running Around in Circles (And Getting Nowhere)” is done by Crosby
to Karolyn Grimes, a rather self-conscious five-year-old. (Incidentally,
of the other two new Berlin numbers, “You Keep Coming Back Like a Song” and “A
Serenade to an Old-Fashioned Girl,” the former is the most promising of all
three new tunes).
…Certainly, for Astaire, it’s perhaps a new triumph. If he ever seriously
thought of retiring, ‘Skies’ should postpone any such ideas.
…Crosby is Crosby although a slightly heftier Bing. He’s the same troubadour,
chirping the ditties as only Crosby does even though his waistline is somewhat
more generous than behooves a juve.
(Variety, September 25, 1946)
So many screen exercises in the music-album line
have been so cluttered up with “biography” that it is a pleasure at last to see
one in which a tune-vender’s life and his music are not mutually and mawkishly
abused. Such a one is the Paramount’s current and cheerfully diverting “Blue
Skies,” which catalogues some songs of Irving Berlin without catalyzing that
gentleman’s career. And with Fred Astaire and Bing Crosby as its bright
particular stars, everyone’s probity is honored by it—especially Mr. Berlin’s.
There’s a lot to be said for any picture in the
musical comedy groove which adheres to the oft-forgotten dictum that a film should
be seen as well as heard, that variety and vitality in the visual are the stuff
of which musicals are made. And when the evidence of that adherence is so
enthusiastically displayed as it is by Messrs. Astaire and Crosby in “Blue
Skies,” you may depend upon being entertained.
The story? Let’s not argue about it. It’s a
standard and harmless little thing about the casual and genial competition
between two song-and-dance men for a girl. One of them very soon gets her, but
as he is a rolling stone, his interest is slightly sporadic. On that track, it
ambles along. As a plot, it is no more elusive than the peg for “Holiday Inn,”
in which the two above-mentioned performers and Mr. Berlin’s tunes were also
combined. And the worst—or the best—to be said for it (you can tolerably take
your pick) is that it does have a few soggy moments which are quickly and
obligingly dismissed.
But it does serve as adequate hanger for some
sparkling and stimulating turns of song, dance and general fancifying to Mr.
Berlin’s familiar tunes. Best of the lot, for our wampum, is Mr. Astaire’s
electrifying dance to that ancient and honorable folk-song, “Puttin’ on the
Ritz.” Turned out in striped pants and top hat, Mr. A. makes his educated feet
talk a persuasive language that is thrilling to conjugate. The number ends with
some process-screen trickery in which a dozen or so midget Astaires back up the
tapping soloist in a beautiful surge of clickety-clicks. If this film is Mr.
A.’s swan song, as he has heartlessly announced it will be, then he has
climaxed his many years of hoofing with a properly superlative must-see.
And that’s not his only contribution. In company
with the redoubtable Bing, he doubles in song while that nipper doubles in
dance in a comedy gem, written especially for the occasion, entitled “Two
Song-and-Dance Men.” He also kicks his heels glibly in a fancy production of
the torrid “Heat Wave,” and trips through the plot and other numbers with the
elasticity of a happy rubberman.
Naturally, Mr. Crosby, as the rolling-stone
character, has his share of the spotlight and holds it with aggressive modesty.
He makes something lively, slick and novel of “Cuba,” along with Olga San Juan,
and groans with his customary competence a new hit “You Keep Coming Back Like a
Song.” Joan Caulfield, the “you” of this ditty, is most lovely and passive as
the girl who stands none too seriously or firmly between Crosby and Astaire.
And Billy De Wolfe, an obnoxious sort of person, is allowed only once to get
too much in the way.
For the rest, there are no less than twenty of Mr.
Berlin’s melodious tunes jammed here and there onto the sound-track, either as
production numbers or incidental bits. And we must say that Robert Emmett Dolan
has directed the music as distinctively as Stuart Heisler has directed the
actors—or maybe more so. That’s why they sound so good. Or maybe it’s because
they’re used as music and not as milestones in somebody’s awesome “life.”
(Bosley Crowther, The New York
Times, October 17, 1946)
(9:00–9:30 p.m.)
Bing commences his first season for Philco
Radio Time on ABC which continues at weekly intervals until June
18, 1947. This is the first major transcribed radio series and most of the shows
are recorded in Hollywood. The scripts for the shows are mainly written by Bill
Morrow who also acts as coproducer with Murdo MacKenzie. The program has an
audience rating of 16.1 during the season which makes it one of the ABC
network’s top shows but leaves it outside the top twenty shows nationally.
Fibber McGee & Molly again top the Hooper ratings with 30.2 but they have
to share the position with Bob Hope. In addition to the 211 stations on the ABC
network, up to another 400 independent radio stations also take the show. Bob
Hope appears on the first broadcast with regulars Lina Romay, the Charioteers,
Skitch Henderson, Ken Carpenter, and John Scott Trotter and his Orchestra.
Crosby’s Clicko Wax Radio Network -
Debut For Philco History Making (Front Page Headline)
The Bing Crosby disc show for
Philco, probably the most publicized debut on record, hit the air lanes via ABC
and a flock of Indie Stations last Wednesday (16th) and make no mistake about
it, it’ll go down in industry annals as a precedent shattering event. The long
awaited ‘wax in your ears’ debut is fraught with significant undertones and
overtones. The implications from a standpoint of radio entertainment are as far
reaching as anything to hit show business since the advent of talking pictures.
The boys who have long contended that it would take no less a personality than
the Groaner (and Philco and the dealers backed them up with one of the top coin
investments in radio sponsorship) to cue a whole new pattern in broadcasting
which would invite a mass exodus of radio’s top headliners from live
broadcasting to transcribed shows have even a more solid base for argument,
today. For on the basis of Crosby’s initial show and it was a honey, you can’t
minimise the importance of that argument and what it might well do to bring
about an entire new change in NBC and CBS policy, regarding their present ban
on transcriptions.
Once
the switch-over of top names from live to transcribed shows gets under way and
that’s inevitable, the NBC/CBS brass, rather than risk the loss of their
star-studded rosters will have no other recourse but to let down the bars.
Today, they still say it won’t happen but get a flock of wax shows under their
belt that will pitch in the same high register as last week’s opener and
they’ll be singing a different tune. Crosby proved it can be done. It was
argued that wrapping up the transcribed show would strip it of the spontaneity
that an on the spot performance before a live studio audience invites. Also,
the ad-lib quality and the off the cuff bantering that made Crosby’s Kraft
Music Hall semester one of radio’s real boffs would be lost forever. Through
the simple expedient of waxing his shows before an audience, Crosby has
invalidated these claims and you can match Philco’s Number One on the Crosby
Disc parade with any of the live shows he’s done in the past and that goes for
the spontaneity and the ad-libbing and the overall free play on the banter
which only leaves us a possible pitfall, the element of timeliness and topical
slant. A sufficient reserve of substitute transcriptions could be the obvious
solution.
The
pay off on the Philco premiere was that without the tag-line revealing the
transcription auspices, this might just as well have been done live, thus accenting
the Groaner’s own claims as to the multiple advantages of “going platter” i.e.
you can eliminate ‘muffs’ via re-takes similar to pix, you could spot your show
at the most advantageous time and it virtually solves the problem of wrapping
up guest talent. As one of radio’s top coin packages, the Philco half-hour is
solid showmanship but that not only goes for Crosby but in the permanent cast
line-up, including Lina Romay, The Charioteers, Skitch Henderson and John Scott
Trotter and his Orchestra, as well as the overall production under the strict
‘pro wand’ of Bill Morrow and Murdo McKenzie and the scripting contribution of
Morrow, Jack Benny’s ex-writer Al Lewis and Larry Clemens. Show business, in
general had its ear tuned to this new Crosby show, in view of distributing
reports that the Groaner’s voice ain’t what it used to be, however the Crosby
three-way vocalizing of, “Sun In The Morning”, “Moonlight Bay” with The
Charioteers and Orchestra and “Cynthia’s In Love” with Skitch Henderson and the
band should put a quietus on the rumor mill. If there is any deterioration in
the groaning department, it wasn’t audible.
Last
Wednesday’s show format adhered pretty closely to the Kraft Music Hall lay-out
where principal emphasis on the vocal, with the glib Crosby cross-firing. The
Trotter Orchestra and The Charioteers have moved over from KMH along with Der
Bingle. Spotting of Bob Hope as the guest star on the getaway show was a
natural with the two ‘B’s’ slugging it out in their now, standard needling
routine and chirping a novelty tune, “Put It There Pal” to accent their
Pittsburgh Pirates versus Cleveland Indians baseball ownership rivalry. Ken
Carpenter does the announcer chores - he’s as smooth as ever, both on script,
continuity and the sales pitch. The Philco commercials weren’t commercials as
such. The plugs were so inoffensively integrated, so sparsely used, as to make
them an innovation. The Jimmy Carmine welcome of Crosby to the World’s largest
radio audience on behalf of Philco was a blending of commercial copy with
showmanship. The rating on the new Crosby show will be watched closely. It will
have a lot to do with charting radio’s new pattern.
(Variety, October 23, 1946)
…In
practically all other respects it was a typical Crosby half hour with Trotter's
socko arrangements to back up I Got the
Sun in the Morning (Crosby solo), Moonlight
Bay (Crosby and the Charioteers, who are superb); Put It There, Pal (Crosby and Hope), and Cynthia, Bing alone. Those Trotter arrangements are plain whammo,
doubly valuable because they so perfectly complement Crosby's lazy larynx
style. The Crosby-Hope crossfire, similarly, had belly after belly, following
the usual style of trading insults. Only the way these two guys do it, it’s
good. Topper of the lot, probably, was Hope’s crack that he was glad to help
Crosby make his “comeback.” So fast was some of the delivery that it was hard
to tell where the script left off and the ad libs came in. Lina Romay did a
vocal, not too painful.
Only
deviation from the norm was Ken Carpenter's announcement that “this program was
produced and transcribed in Hollywood,” certainly a smart way to dispose of the
FCC-required e.t. identification. Public reaction to the difference, if any,
between Crosby live and Crosby plattered will be found elsewhere in the radio
section, in a report tabulated by C. E. Hooper, Inc.
Carpenter
also handled the brief Philco commercials, done in good taste. First was a
welcome to Crosby from Jimmy Carmine, Philco veepee; the other was a socko bit
of selling, which came just before Bingle’s getaway tune. On it Crosby noted
that Hope, as usual, had overstayed his welcome, leaving little time for a
commercial. However, he added, he had prepared for just such a contingency,
arranging with Carmine to tear up the last sales plug if the show ran over.
Whereupon he proceeded to tear it up, with accompanying sound effects. It was
smart merchandising—as smart as all the merchandising which so far has
accompanied the Philco-Crosby enterprise.
All
concerned with this one can take a bow, not the least of whom is bald Bill Morrow,
ex-Jack Benny scripter, now co-producing and co-directing Philco Radio Time
with Murdo MacKenzie. Morrow also is in on the script, co-authoring with Al
Lewis and Larry Clemmons. It’s big league stuff, all around.
(Billboard, October 26, 1946)
October 23, Wednesday.
(9:00–9:30 p.m.) Bing’s transcribed Philco Radio Time show is broadcast
by ABC. The guests are Spike Jones and his City Slickers.
Bing Crosby’s
customary unruffled calm will be attacked by the cleverly raucous noises of
Spike Jones and his City Slickers on the second WTJS-ABC broadcast of Philco
Radio Time, to be heard tonight at 9:00 p.m. “The Groaner’s” great versatility
as a singer will be on display in the contrast between his rendition of ballads
and his collaboration with the Jones crew in an outrageous arrangement of “Love
in Bloom.”
(The Jackson Sun, October 23, 1946)
October 30, Wednesday.
(9:00–9:30 p.m.) Bing’s transcribed Philco Radio Time show is broadcast
by ABC. The guests are the Les Paul Trio. Bing is in Boise, Idaho, having come
from Weiser where he had been pheasant shooting. He meets up with some old
Gonzaga friends in the office of T. Matt Hally (class of ‘26), state highway
commissioner. The other schoolmates are Sib Kleffner and Dr. Jack Garrity.
November 1, Friday, Bing gives an impromptu concert for schoolchildren at a small school near Weiser, Idaho. He
then leaves for Elko. Elsewhere, his house at 23844 Roosevelt Highway, Malibu is sold to Dr. and Mrs. Becka.
November (undated). Dixie throws a birthday party and baby shower at her home for Sue Carol, who is now married to Alan Ladd.
November 6,
Wednesday. (9:00–9:30 p.m.) Bing’s transcribed Philco Radio Time show is
broadcast by ABC. The guest is Ralph Mendez.
Crosby Distress Signals Up - Wax Future
Hinges On Hypo (Headline)
Bing Crosby’s
troubles apparently are just beginning. That initial 24 rating on his Philco
transcribed show is now down to 12.2. Latter rating based on last Wednesdays’
(6th) Show and it is understood that word has gone out to The Groaner from his
Philco sponsors to get busy and do something in a hurry. Everett Crosby,
brother and business manager for the crooner, who has been in New York for the
past few weeks, getting agency/sponsor/trade reaction on the Philco Time Show,
admitted before leaving for the Coast, Sunday 10th, that the platter show is
due for some drastic re-vamping. Just who goes off the show and what hypos are
contemplated hasn’t been determined yet. There are only two shows left in the
advanced wax works (with Ezio Pinza and Burl Ives as guest stars) and The Groaner
is due at the Hollywood recording studios, this week, when the boys will sit
down and thrash out the whole advanced pattern of the show. Meanwhile, the
rating nose-dive plus the unfavorable reaction to Crosby’s last few shows have
contributed to putting a quietus on the ‘live to transcription’ flurry of trade
excitement that followed in the wake of Crosby’s premiere and Philco’s super
promotion job. In view of the original contract stipulation which calls for
Crosby to go ‘live’ in the event that his ratings slip under 12 on four
consecutive broadcasts, some of the boys are wagering that The Groaner segues
back to live programs. The fault, they say, doesn’t lie in the transcriptions
as such but in the quality of the show. While others say let Bergen go into the
same spot on NBC and you will get a more accurate appraisal of transcription
potentialities. The new musician’s contract is also raising havoc with the
show, with Everett Crosby tipping off that the 31 piece John Scott Trotter
Orchestra will be reduced to 18 men, to bring the show in under the talent cost
budget.
(Variety,
November 13, 1946)
November 8, Friday. Bing sends a postcard to Billy Wilder at Paramount. S. P. Eagle is presumably Sam Spiegel.
I tried to call you several times but you were not in
the studio and the Green Gables refused to call you on the phone. Hope you took
cognizance of Blue Skies New York business—S. P. Eagle can have the ‘artistic
triumphs.’ Regards to Charles B. and the Sisters D.
Bing
November 13, Wednesday.
(10:00–11:00 a.m.). In the NBC Studios, rehearses for a Philco show with Judy
Garland. (12:15–2:15 p.m.). Records the Philco show which is broadcast on
November 27. (9:00–9:30 p.m.) Bing’s transcribed Philco Radio Time show
is broadcast by ABC. The guest is Ezio Pinza.
Crosby show’s face
lifting.
Philco switch adopts
name guestar policy.
Hollywood, Nov. 16— Breathing now is a little easier in the Bing Crosby crowd
since the Philco show’s 12.2 Hooper dive straightened out last week (13) to a
15.8. However, show will still get a P.D.Q. hypo to avoid another rating dip.
Bill Morrow, Groaner’s producer-writer, says the airer will use “good, solid
names,” listing among future guesters, Judy Garland for Thanksgiving week
broadcast, Jimmy Durante, Jack Benny, Jascha Heifitz, Edgar Berger and a return
engagement for Bob Hope. Show for the most part will be plattered only two
weeks prior to airing with Morrow feeling that any weaknesses in the first six
programs can be blamed on too many cuttings crammed into a short period of
time. Der Bingle is of the opinion that the advance recording should in no way
impair the program’s listener appeal and in the future he will avoid doing too
many shows in a short span of time. Lina Romay, who appears on the first six
platters, will now “occasionally” drop in on the show, as will other fem
chirps. Miss Romay was not included in the Thanksgiving program cut last week.
Morrow, however, stressed that changes now being made in the show are not to be
mistaken as “panic or emergency moves resulting from the 12.2 rating.”
According to Morrow, some of these changes were planned after the first platter
was aired, with others to have evolved naturally as the show progressed. He
denied that Miss Romay is being eased out, saying the Latin lass was not
intended as a cast regular originally and that the only reason she is on the
first six shows is because the platters were cut within the same period of
time. Morrow pointed out that if the show were live, gradual changes would have
been made during the six weeks it had been on the air, brushing up certain weak
spots. By waxing all six at one shot, nothing could be done until this time.
(Billboard, November 23,
1946)
November 14, Thursday.
(9:00–11:50 a.m.) Records songs from his film Welcome Stranger with John
Scott Trotter and his Orchestra.
November 16, Saturday. (6:00-6:30
p.m.) Bing, Kate Smith, and Rosalind Russell broadcast on the Mutual network on behalf of the Sister
Kenny Foundation.
A star-studded
array of personalities will be lined up tonight at 8 via WIBC-Mutual to appeal
for funds to support the Sister Kenny Foundation for infantile paralysis
treatment. Far from being the sober, dramatic type of appeal, there will be a
comedy sketch with Rosalind Russell as Sister Kenny and Bing Crosby as Father O’Malley.
Bing is chairman of the executive committee for the foundation and Rosalind has
the title role in the movie, “Sister Kenny.” Along with these stars is Kate
Smith, national chairman of the campaign committee.
(The Indianapolis News, November 16, 1946)
November 18, Monday. (3:30–5:00
p.m.). In the NBC Studios, rehearses for a Philco show with Jimmy Durante.
(6:45–8:45 p.m.). The Philco show recording takes place and the show is
broadcast on December 4.
November 19, Tuesday.
(8:30–10:15 a.m.) Bing records “Country Style” and “My Heart is a Hobo” with
John Scott Trotter and his Orchestra. Later he checks in to St. John’s Hospital
for what is said to be a minor surgical operation at first but is later
corrected to “x-rays and a routine check–up.”
Album Reviews
Welcome Stranger –
(Decca A-531)
Bing Crosby covers four songs from
his Welcome Stranger movie in this set of two records. And with John
Scott Trotter’s music, emphasises the hit quality of the score’s ballad song, As
Long as I’m Dreaming. Other songs have only production value, Crosby
singing it in easy and rhythmic style for Smile Right Back at the Sun and
My Heart Is a Hobo. And with the Calico Kids on the chant, Crosby is
also the caller for the country style square dance ditty. Picture of the singer
graces the album cover. Accompanying is a booklet more ambitious than the
recordings, giving the screen story, Bing’s bio and the song lyrics. Screen
showings will hypo interest in this set.
(Billboard, May 24, 1947)
Country Style / My Heart Is a Hobo /
As Long As I’m Dreaming / Smile Right Back at the Sun
Better sides than Bing has made in a
long while. Sounds if he actually felt like singing. In Style it’s
mostly his engaging half-singing manner that sneaks him through the by now
apparent faults in his upper tones - and it’s a square dance too (Decca A531)
(DownBeat, June 4, 1947)
You’ve probably heard this in all
the juke boxes by now but we’d still like to recommend ‘Country Style’ as the
best Crosby disc of the season. Crosby’s easy-going humorous arrangement takes
you for a rural hayride and he does a bang-up job calling the turns at the
village barn dance. Farmer Crosby certainly didn’t lay an egg with this one.
(Song Hits Magazine, October
1947, p14)
For the more sophisticated
there are no less than six new records by Bing Crosby. Everybody will enjoy Country Style from the film “Welcome Stranger,” though
the reverse may be confined to the fans As Long as I’m Dreaming
(Bruns. 03801). From the same film are Smile Right Back at the Sun and My
Heart Is a Hobo, both with a comfortable lilt on 03802.
(The Gramophone,
December 1947)
November 20, Wednesday.
(9:00–9:30 p.m.) Bing’s transcribed Philco Radio Time show is broadcast
by ABC. The guest is Burl Ives. Lina Romay drops out of the show after this
program. The Hooper rating is 15.6.
November 21, Thursday. Bing
checks out of St. John’s Hospital.
Bing Crosby back home over the
weekend after three days in St. John’s Hospital, Santa Monica, where he
underwent minor surgery.
(Daily Variety, November 25,
1946)
November 23, Saturday. June
Crosby, Bob’s wife, gives birth to a son, Stephen Ross.
November 24, Sunday. (3:00–4:00
p.m.). In the NBC Studios, rehearses for a Philco show with Peggy Lee and Jerry
Colonna. (6:25 –8:30 p.m.) The Philco show is recorded and airs on December 11.
Radio icon Bing
Crosby extended no fewer than forty-nine invitations to Lee over eight years to
join him as a guest on his popular radio show. The two shared several duets and
scripted skits, giving Lee plenty of experience managing the challenges of performing
for radio broadcasts.
(Tish Oney, Peggy Lee – A Century of Song, page 46)
November 27, Wednesday. A test
screening of The Emperor Waltz is held at Long Beach and Wilder
and Brackett decide to cut the song “Get Yourself a Phonograph” from the film.
(9:00–9:30 p.m.) Bing’s transcribed Philco Radio Time show is
broadcast by ABC. The guests are Judy Garland and the Les Paul Trio.
Nov.27…Drove to
Long Beach for the preview of The Emperor Waltz. It was the right kind
of a first preview, not breath-takingly enthusiastic but proving that we have a
solid fairy-tale kind of a picture if the terms be not contradictory, a mousse
with a reliable skeleton, which will be infinitely improved when the minutes
are cut from it. One song “Get Yourself a Phonograph” laid a complete egg and
must go. The violin concerto is too long, the style of writing the titles is
appalling—illegible. Some official jokes don't warrant their laugh, but the
whole thing is going to be all right. Everyone from the studios seemed pleased
with it, Frank Butler having a couple of excellent suggests.
(From the
diaries of Charles Brackett, as reproduced in It’s the Pictures That Got
Small, page 296)
Judy Garland, whose acting, charm and appealing singing have won her
top honors in the movie capital, will be the special guest of Bing Crosby when
Philco Radio Time is heard over WTJS-ABC, at 9:00 p. m. Possibly thinking of
her young daughter, Judy has selected “Liza” as her solo. She also will join
Bing in a duet of the old favorite, “Wait Till the Sun Shines, Nelly,” a song
which they have sung together before and with pleasing results. Showing off his
guest’s dramatic ability, “The Groaner” and Judy will tee off on a humorous
skit concerning turkey hunting. In this epic, the Charioteers will join in with
some of their special effects. Another attraction will be the new song by Hoagy
Carmichael, “Ol’ Buttermilk Sky,” sung by Bing with the John Scott Trotter
orchestra.
(The Jackson Sun, 27th November, 1946)
November 28, Thursday. Bing and Dixie entertain his parents at their home for Thanksgiving Day.
December 1, Sunday. Press
comment states that after a brilliant start on the ABC network, Bing’s
transcribed radio show is now “the season’s major disappointment.” The
transcribed discs are felt not to be satisfactory and appear metallic and
fuzzy. Bing is said to be too casual, with even his singing not tidy and sure
and sometimes off-key. His relaxed charm seems to be missing and there is an
apparent preoccupation to get each program done. Major revisions are planned
for the future of the show with top performers such as Al Jolson being engaged.
December 2, Monday. (2:45–3:30
p.m.). In the NBC Studios, Bing rehearses a Philco show with Peggy Lee.
(6:30–8:23 p.m.) Records the Philco show for transmission on December 18.
December 4, Wednesday.
(9:00–9:30 p.m.) Bing’s transcribed Philco Radio Time show is broadcast
by ABC. The guest is Jimmy Durante.
Jimmy Durante hypoed the Bing
Crosby-Philco Show into easily the best since the debut program when Bob Hope
guested. Crosby needs a sprightly comic to give the proceedings that bounce
which is so necessary.
(Variety, December 11, 1946)
Bing Crosby always had a great love
for Jimmy Durante and enjoyed doing vaudeville routines with him. Durante
appeared as a guest on Crosby’s Philco Radio Time five times from 1946
to 1949 on ABC. The funniest of those guest appearances was Crosby’s show of
December 4, 1946. Durante tried to sing Bing’s theme song, “Where the Blue of
the Night (Meets the Gold of the Day),” and “I Surrender Dear” as a duet. Bing,
for his part, tackles Durante’s theme song, “You Gotta Start Off Each Day with
a Song,” as part of a duet, and bravely sings without help Durante’s “I’m
Jimmy, the Well Dressed Man,” changing it to “Crosby, the Well Dressed Man.”
The show closes with both singing “Blue Skies.”
(Jimmy Durante -
His Show Business Career, page 125)
December 5, Thursday. Bing
attends a baseball banquet at the Biltmore Bowl. He sings “My Old Kentucky Home”
with Bob Hope, George Jessel and Baseball Commissioner A. B. ‘Happy’ Chandler.
December 9, Monday. (2:00–3:30
p.m.) In NBC Studio B, Bing rehearses for his Christmas show for Philco.
(5:45–7:45 p.m.) Records the Philco show and it is broadcast on December 25.
December 7, Saturday. Bing’s
recording of “White Christmas” enters the charts and eventually reaches number
one again during its six-week stay.
December (undated). Bing and Bob Hope
perform a golfing sketch and sing “Harmony” for the film Variety Girl, a
Paramount extravaganza packed with guest stars performing cameo roles. Among
those taking part in the final section of “Harmony” are Gary Cooper, Barry
Fitzgerald, Dorothy Lamour, Ray Milland, William Holden, Burt Lancaster,
William Bendix and Cass Daley.
December (undated). Plans are being
made for Bing to go to England in February 1948 to make a film for Alexander
Korda. While there he will record some Philco shows with British talent and
make some records. British comedian Sid Field is thought likely to be in the
film which was to be written by Damon Runyon. However Runyon dies on December 10 and the
project does not proceed.
Bing Crosby has canceled his British picture.
“I wanted to go there but they didn’t have a script for me,” Bing tells me at
Paramount on the Road to Rio set. I guess they haven’t yet heard in
England that Bing is the three times winner at the box office in this country.
And when I ask Bing his reaction to this he replies, “Now I believe it, three
times makes it official.” And you can bet that Bing won’t be doing any more
pictures featuring a minority race. He is really upset with the Jewish-Irish
controversy over Abie’s Irish Rose.
(Sheilah Graham, Hollywood Citizen News,
January 1, 1947)
Runyon’s Death Kayoes Crosby-Korda British Pic
Damon Runyon’s
death—without leaving a word on paper of the screen story he was working on for
Bing Crosby’s slated picture under Sir Alexander Korda’s banner in England this
spring—will probably result in cancellation of the Korda-Crosby deal. Crosby
had his U.S. commitments arranged to go to London March 1. In light of Runyon’s
death, he has given Korda an extra 60 to 90 days to dig up another story for
him, but it appears unlikely that the producer can locate a satisfactory yarn
and provide a shooting script in that time. Runyon was working out a story idea
provided by Korda. It was supposed to be ready Dec. 15. A few months
previously Korda had asked him to write out the story as far as he
had it completed, but Runyon said he’d rather stick to his custom of getting it
all worked out in his head, after which he could bang it out in two or three
weeks. Before he could get to his typewriter, however, he turned critically ill.
Spokesman
for Korda said Crosby had been extremely gracious in extending the
time limitation and otherwise expressing willingness to cooperate. However, the
story was a tailor-made affair, not only for Crosby’s talents, but for Runyon’s,
it was said, and Korda is experiencing difficulty in getting another
writer to pick up the threads or in locating another suitable yarn. Korda idea
on which Runyon was working was to have Crosby an American cowhand who
suddenly, via the death of a distant relative in England, finds himself a
British nobleman, with a castle, hunting preserve and the other standard
prerogatives. There’s then a comparison of American ways with British, which
prove that while there are superficial differences, people are the same the
world over.
One
of the humorous ideas in the story, for instance, was to have the British, with
whom Crosby goes grouse-hunting, amazed to find that while they use the
traditional fowling piece, the American cowhand gets his grouse every
time by shooting from the hip. Another was his insistence on using a western
saddle, instead of the conventional English saddle, but getting there faster
nevertheless.
It
was hoped that Runyon might have left some scraps of the story among his papers
and a thorough search of his efforts was made with that possibility in mind. Not
a line has been found, however.
(Variety, February 12, 1947)
December 8, Sunday. (Starting at 1:00 p.m.) Bing and
Bob Hope take part in the International Blind Golf and Shooting Tournament at
Inglewood Golf Club, California. Bing plays with Charles Boswell and Bob has Clinton J. Russell as his partner. Hope and Russell win 1-up in the 9-hole match.
December 9, Monday. Leo Lynn, Bing's stand-in is admitted to hospital with a heart ailment.
December 11, Wednesday.
(9:00–9:30 p.m.) Bing’s transcribed Philco Radio Time show is broadcast
by ABC. The guests are Peggy Lee and Jerry Colonna.
Opinion is divided as to whether Jerry Colonna’s role as Bing Crosby’s
guest tonight will be that of fugitive or spy from the Bob Hope show. The only
certainty is that he will be funny in either capacity. In addition to his own
stylized banter, Jerry will join Bing and the Charioteers quartet in a
questionable singing of “Wyoming.”. Colonna will not be the only guest-celebrity.
The program to be heard at 9 o'clock over WCLO also lists Peggy Lee, whose
singing talents have earned her high praise and many contracts…Just for the
record, it’s worth mentioning that back in 1938, when Jerry Colonna first
appeared in Hollywood, his initial public appearance was on Bing Crosby's show.
Unknown to the listening audience, Jerry was billed as Giovanni Colonna, the
celebrated Italian Opera star. It took just a few bars of “The Road to
Mandalay” for Colonna to convince his listeners that a new comedian was born.
(Janesville Daily Gazette, 11th December, 1946)
December 16, Monday.
(12:30–2:15 p.m.) In NBC Studio B, Bing rehearses for a Philco show with Peggy
Lee and Joe Frisco. (3:50–5:50 p.m.) Records the Philco show and it is
broadcast on January 1, 1947.
December 17, Tuesday.
(9:30–11:45 a.m.) Bing records “That’s How Much I Love You” and “Rose of Santa
Rosa” songs with his brother Bob’s Bobcats and The Chickadees in Hollywood.
“That’s How Much I Love You” briefly charts in the No. 17 spot.
At first, Nelson served as a ghostwriter for Trotter. Over a three-year
period, he wrote about two dozen charts for Crosby,
one of which, “That’s How Much I Love You,” reached #17 on the Billboard pop chart in April 1947.
Finally, Nelson got his chance to actually conduct a recording date with
Bing. Bob Bain, who played on that date, recalled calling Doreen as soon as
they had finished recording. “Nelson wasn’t nervous but Doreen sure was,” Bain
recalled. “I had promised her that I would call her to let her know that
everything went okay, which it did.”
(Peter J. Levinson, September in the
Rain: The Life of Nelson Riddle, page 74)
December 18, Wednesday.
(9:00–9:30 p.m.) Bing’s transcribed Philco Radio Time show is broadcast
by ABC. The guest is Peggy Lee.
December 21, Saturday.
Press releases show a photograph of W. C. Fields with a report that he
is to appear on the Philco show on January 1st. Fields had been in poor
health in recent times and it did not prove possible to record the
show. He dies a few days later on December 25. Meanwhile, Decca has
issued a 4-disc 78rpm album set called Bing Crosby - Jerome Kern and Billboard magazine reviews it on this day.
With the forthcoming of the new movie keyed to the music of
Jerome Kern, there is more than casual interest in this packaging of eight
melodies by the master, some of which had been issued earlier as singing sides.
Attention is also directed to two of the eight sides Bing Crosby had the
missus, Dixie Lee, joining him vocally. Mr. and Mrs. Crosby share the lyrics
for the ballads A Fine Romance and The Way You Look Tonight with Victor Young
providing the musical background. Album plays down Mrs. Crosby, which is easy
to understand once the sides spin out. Much more effective are the other six
sides that has the groaner giving out in his usual easy and relaxed style,
bearing out all the expression and understanding of the Kern songs… Booklet
included with the package includes copious notes on the singer and the
composer…Movie association will heighten the merchandising appeal of this
slap-together set.
December 22, Sunday.
(10:00–11:30 a.m.) In NBC Studio B, Bing rehearses for a Philco show with
Mickey Rooney and Peggy Lee. (1:38–3:38 p.m.) Records the Philco show and it is
broadcast on January 8, 1947.
December 23, Monday. (11:00
a.m.–12:15 p.m., 1:30–2:45 p.m.) In NBC Studio B, Bing rehearses for a Philco
show with Al Jolson. (5:40–7:38 p.m.) The Philco show is transcribed. One of
the duets with Jolson is issued on V-Disc. The show is broadcast on January 15,
1947.
I watched a theatrical history-making event the other evening. I watched Al
Jolson and Bing Crosby do a broadcast, that is to make a recording for a
“Bingsday” show, which was really something! It was a thrill and something
unique to watch these two masters of two entirely different techniques work
together. It was the first time that Al and Bing had ever performed together.
This recording, which the public will be able to hear on the Jan. 15 broadcast,
will be a collector’s item.
Jolson represents a definite type of
singing, of selling a song, and Crosby represents an entirely different type of
singing and selling a song. Yet both Jolson and Crosby are a distinct part of
Americana, both leaders who set styles that had many imitators, both are
permanent representatives of American theatricals.
It was fascinating to watch these
men perform together. When they did the broadcast at NBC before a regular
studio audience, you could feel that the audience knew that they were watching
something entirely out of the ordinary. In fact, practically every performer
and musician who was at the broadcasting station left their job to crowd into
this studio to watch Jolson and Crosby.
Both Jolson and Crosby, you could
tell while you watched them go through their routines, had great admiration and
respect for each other. They kidded each other, but it was not the usual type
of radio kidding and insulting. You felt that these two men were admiring each
other and inspecting each other. And when they sang together, they do three
different types of songs together, you were aware that you were listening to
the best in the manner of popular singers that this nation had produced during
our time.
There was Jolson, who pushes a song,
who sells it somewhat in the manner of a fighter in the ring, who punches from
the shoulders and gives it everything he has. There was Crosby, who almost
listlessly croons a song, and who does it with almost a studied indifference.
Jolson appeared concerned about putting the song over, and Crosby appeared
unconcerned about putting the song over. Yet together they put over songs as
they have never been put over before.
Crosby wasn’t really fooling when he
said, “Al, you were my idol when I started in the business. I went to hear you
sing and admired you.” Jolson wasn’t really fooling when he said, “Bing, I
didn’t believe you’d get anywhere with that slow and easy manner of singing.”
Yet they both realized that they were the leaders in their distinctive styles
for their different generations of admirers.
Yet, as Crosby commented, “It is
remarkable that the Jolson technique is still favored and again a vogue by a
generation who had never seen him but his technique in The Jolson
Story.”
During the broadcast, Bing sang and
played strictly to the microphone, and not to the actual audience watching.
Jolson, who was popular before the day of the microphone, played mainly to the
gathered audience, regardless of the microphone. Like the theme of the picture
about him, Jolson was singing so he could watch the faces of his audience.
I could go on–but wait until you
hear the broadcast. It’s a hunk of theatrical history.
(Sidney Skolsky, Hollywood Citizen News,
January 2, 1947)
December 24, Tuesday.
(3:00–6:00 p.m.) Rehearses with Bob Hope for an evening broadcast. (7:00–7:30
p.m.) Bing guests on Bob Hope’s radio show on NBC with Desi Arnaz, Jerry
Colonna, and Vera Vague. The show comes from Sawtelle Veterans’ Hospital. (9:00
–10:30 p.m.) Bing appears at the conclusion of the radio show Paul Whiteman’s
ABC Christmas Party on ABC. He reads the Nativity story from St. Luke’s
gospel and then sings “O Little Town of Bethlehem”.
December 25, Wednesday.
(9:00–9:30 p.m.) Bing’s transcribed Philco Radio Time show is broadcast
by ABC.
December 26, Thursday. Bing and Bob Hope entertain at the Los Angeles Times National Sports Awards dinner at the Biltmore Bowl. Bing sings three songs.
...Messrs. Bing
Crosby and Bob Hope broke loose during the evening. So did bedlam. The bowl,
which was as hard to get into last night as the Rose Bowl will be Jan. 1. rocked
with laughter as the comedian and the crooner quipped and quarrelled. Jerry
Colonna and Tony Romano aided the headliners as did Russ Morgan and the
Biltmore band.
(The Los Angeles Times, December 27,
1946)
December 27, Friday. The Bing
Crosby Productions film Abie’s Irish Rose is released by United Artists
and creates Jewish-Irish controversy which upsets Bing. The film is based on a
very successful stage play from the 1920s about an Irish girl marrying a Jewish
boy but it fails badly at the box office. Some of the material is now regarded
as offensive to religious and racial groups and Jewish observers attribute the
change in feeling about the story to the heightened awareness of religious and
racial tensions which the intervening years since the stage play was shown have
produced. Several cuts to the film were made following complaints before
release.
...It still is a source of
intermittent laughter; laughter which stems from the exaggerated racial and
religious prejudices of Solomon Levy and Patrick Murphy, whose youngsters, Abie
and Rosemary, are married first by a minister, secondly by a rabbi and lastly
by a Catholic priest. But somehow in this day, one does not relish this sort of
humor. In fact, it is downright embarrassing to see characters upon the screen
insulting each other because one happens to be a Jew and the other an Irish
Catholic. Of course, it is all intended as innocent joshing and the principals
come to love and respect one another before the fadeout, but this does not
quite remove the distaste of what has gone before.
(New York Times, December 23,
1946)
The essence of film fare is
obviously to entertain. This one doesn’t. It can’t, when the fundamentals are
as meretricious as unwind in these hokey 96 minutes. Nor does it suffice to
dismiss it as merely hokum. There is commercial hoke and there is spurious
buncombe [sic]. This celluloid concoction, for all its elementary plot
development, is untimely. . . Fundamentally, the story has become a topical
misfit.
(Variety, November 27, 1946)
Rosemary is the daughter of Patrick
Murphy, an American-Irish Catholic; Abie is the son of Solomon Levy, an
American orthodox Jew. The two young people meet in London on VE Day, when
Rosemary is entertaining American troops, and Abie, a wounded soldier, is one
of the troops. They fall in love at first sight and are married by a Protestant
Army chaplain. Back in America the problem arises how to break the news to
their respective parents. . . .
(Picture Show, March 6, 1948)
December 30-March, 1947. Monday. Films Road to
Rio (the fifth of the series) financed this time by Bing, Bob Hope, and
Paramount. Bing, Bob, and Dorothy Lamour star as usual with Gale Sondergaard in
a featured role. The Andrews Sisters appear in the film to sing “You Don’t Have
to Know the Language” with Bing. The director is Norman McLeod with the regular
team of Robert Emmett Dolan and Joseph J. Lilley being responsible for musical
direction and vocal arrangements respectively. Dolan’s work on Road to Rio
is unsuccessfully nominated for an Oscar for “Best Scoring of a Musical
Picture” for 1947 and he loses out to Alfred Newman for Mother Wore Tights.
The
Road To Rio was an entirely
different ball game for Bing and me. This time his company and mine each owned
one third of the picture, and Paramount owned
the other third.
Bing
and I were partners in other businesses as well.
We had
both invested in a Texas oil venture that had brought us money by the gusher.
We found another promising investment, a soft drink called Lime Cola. A
promoter from Montgomery, Alabama, convinced us to invest $25,000 apiece with
the promise that he was going to put Coca-Cola out of business.
The
thought occurred to us: why not use The Road to Rio to help sell Lime
Cola?
Why
not indeed? We ordered a large sign to be displayed prominently in one of the
scenes.
“You
can’t do that!” argued the Paramount attorney, Jack Karp. “That’s advertising!”
“We
can’t do that, huh?” I said. “Say, Bing - who owns this picture?”
“Why,
you own a third, and I own a third,” Bing replied.
“Let’s
see - one third and one third makes two thirds, right? I guess Paramount is
outvoted.”
The
Lime Cola ad remained in The Road to Rio.
Unfortunately,
Lime Cola didn’t put Coca-Cola out of business: Lime Cola went out of business
itself. Bing’s and my 25 Gs were gone with the wind.
There
was no way to remove the Lime Cola ad from the picture. When the sign came on
the screen at the preview, the only thing Bing and I could do was slump down in
our seats and crawl up the aisle on our hands and knees.
(Bob Hope, writing in The Road to
Hollywood)
Following the 1946 release of “Road To
Utopia,” described by Crowther as the funniest film about prospecting since
Chaplin’s “The Gold Rush,” Paramount announced it would be the last in the
series.
The studio said coordinating
shooting schedules for the three stars had become all but impossible. Billboard
quoted a Paramount spokesman saying the radio schedules of Crosby and Hope cost
the studio $250,000 in delays and rescheduling during shooting of the last one.
Media and the public rose up in protest and some 75,000 irate letters were received
by Paramount before the studio waived a white flag, which read “Road To Rio.”
Hollywood was changing once more,
listing back in the direction of Little Mary’s glorious legacy of control by
inmate whim. Stars of the sound era were learning to “talk” money as their
silent predecessors had. More of them were retaining financial advisers and the
need for advantageous income tax positioning was bringing about a restructuring
in the wage-slave relationship with studios.
Hope and Crosby incorporated
themselves and demanded the right to have their companies invest in their films
and share in the profits. They put $350,000 into “Road To Rio,” each getting
one-third ownership which made them equal partners with Paramount. Dorothy
Lamour did not have a company and was not given a chance to participate
although Hope and Crosby did make certain she received a small percentage of
the profits, apart from her base salary. She was unhappy but no enduring breach
resulted.
For The Singer, “Road To Rio”
produced the last of the memorable songs from the series, “But Beautiful,” in
the top ten four weeks.
(Troubadour, page 302)
Early
in 1947, Bing picked up the Los Angeles papers and read some unpleasant news
about an old friend, a trombonist and singer whom he’d known for almost twenty
years and whom he’d used in several of his pictures. The musician had become a
band leader, but times were bad for band leaders, and he was stranded in Los
Angeles without enough money to pay off his band. In addition, his wife was
suing him for divorce in an unsavory court action,
which was bringing him just that more ugly publicity. Bing, working on “The
Road to Rio” at Paramount asked the musician to come out to the studio. He
greeted him warmly and then made an abrupt about-face.
“You
know”, he told the troubled bandsman, “I’m getting sick and tired of seeing
your face around here. When can you get out of here, and how much will you need
to get back to New York? Answer one at a time.”
“Immediately”
was the answer to the first. “Four hundred dollars,” answered the second. Bing
turned to his stand-in, Leo Lynn and directed his next movements. “Get him $600
and put him on the next train out of here.” He turned to the musician.
“Now git! And don’t let me see you around here until you’re persona grata
with everybody. Honestly, every time my back is turned…” He winked and went
back to work whistling.
When
he got back to New York, the musician told friends, “All he did was to save my
life and career. That’s all.”
(The
Incredible Crosby, page 289)
In the spring of 1947, Jack Teagarden was unemployed
and in debt, when he received a message from Bing Crosby to call at his office
the following day. Bing was well aware of Jack’s troubles and when Jack said he
could not make a fresh start in California, Bing suggested that he should pick
up where he had left off in New York. He then had a cheque made out to Jack for
six hundred dollars for, as he put it, some fares and some snacks. When
Teagarden assured him that the loan would not be for long, he was told with a
smile, “I know, you’ll pay me back. Make sure that you do. I need the dough,
son.”
(From Jack Teagarden: The
Story of a Jazz Maverick by Jay Smith and Len Guttridge)
Bing hosts
the University of Illinois grid team to lunch at Paramount after they visit him on the Road to Rio set.
Bing’s 1946 income
is put at $867,500. He is named the top movie box office star in the U.S.A. for
1946. In the annual poll by Down Beat, Frank Sinatra is voted top male
singer of 1946. Bing is second with Perry Como third. During the year, Bing has
had thirteen records that have become chart hits and also Decca has issued ten 78rpm albums of his recordings in the twelve-month period. A scholarly book Bing
Crosby and the Bing Crosby Style by Dr. J. T. H. Mize has been published by
Who Is Who in Music Inc. and this commences as follows:
The best-liked, best known, and
best-paid singer in the world is Bing Crosby. He is the person most deserving
of the appelative “a truly typical American,” or “Uncle Sam without the
Whiskers,” or “Mister America.” Comparable to the late Will Rogers, Bing has
truly captured the hearts of America’s millions, for his unique and flexible
manner of musical utterances possesses unparalleled mass appeal, and his appeal
is not confined to any class nor age. Indeed, his popularity is not confined to
America, for it is validly stated that his voice has been heard by, and is
readily recognized and enjoyed by, more people than any other voice in the history
of the human race. Because his musical, social and cultural contributions are
immeasurable, because he has achieved an unprecedented and deserved popularity
in the world’s musical scene, because he has achieved this ascendancy in so
many media of expression, and because his manner and style of singing, has
exerted such a distinct and string influence on practically all style of
singing, this Biographical Bookette is devoted to him alone: Bing Crosby and
the Bing Crosby Style.
1947
January 1, Wednesday.
(9:00–9:30 p.m.) Bing’s transcribed Philco Radio Time show is broadcast
by ABC. The guests are Peggy Lee and Joe Frisco. The Hooper rating is 16.1.
January 7, Tuesday. (12:30–2:00 p.m.,
4:00–4:15 p.m.) In NBC Studio B, Bing rehearses for a Philco show. (4:20–6:12
p.m.) Transcribes his Philco show with George Jessel and Lina Romay. The show
is broadcast on January 22.
January 8, Wednesday. (9:00–9:30 p.m.)
Bing’s transcribed Philco Radio Time show is broadcast by ABC. The
guests are Peggy Lee and Mickey Rooney.
Since it is
Wednesday and since this is Bing Crosby’s night to howl, I feel that it is
about time to fly in the face of those malcontents who have expressed their
disapproval of this particular program.
There is, naturally, no accounting for tastes and if you don’t like Crosby’s
show, yours is the perfect right to level the finger of scorn. As far as I am
concerned, and I have said this before, he has one of the happiest musical
half-hours in broadcasting.
So perhaps some of his gags do fall flat; who, among radio performers, is
immune from that recurrent fever? He can still out sing any popular baritone
currently airing his pipes before the public . . . .
(Paul Speegle, San
Francisco Chronicle, January 8, 1947)
January 9, Thursday.
It is announced that Bing has leased 33,094 acres of the Fatjo ranch in
Santa Clara and Merced counties to use as a cattle ranch. He pays
$156,000 for a 6-year lease.
January 10–12, Friday–Sunday. The Bing
Crosby Pro-Am Tournament resumes at the new location of Pebble Beach on the
Monterey peninsula as a fifty-four-hole competition. For the first time it is
known as the National Pro-Am and Bing puts up $10,000 in prize money. All of
the gate proceeds go to charity. The format is that the first round is played
at Cypress Point, the second at the Monterey Peninsula Country Club and the
final round at Pebble Beach. Bing’s own play is praised after the first round
when he and Cam Puget, the home professional, are in second place in the pro-am
competition. However, they do not win. Bing’s handicap is quoted as five. The
professional tournament is tied between George Fazio and Ed Furgol with Sam
Snead and Roger Kelly winning the pro-am. Others playing include Bob Crosby, Johnny Weissmuller, Dennis O'Keefe, Van Johnson, Frank Borzage and Richard Arlen. Bing and Jimmy Demaret sing a duet at
the stag dinner following the tournament.
…Durein took the lead in writing to Crosby. Crosby thought it
was a great idea and in early September 1946 it was announced that he would
bring his $5,000, 36-hole National Pro-Am to the peninsula. Which course would host
it was yet to be determined. As was the case at Rancho Santa Fe, Bing’s brother
Larry would be general chairman and Maurie Luxford, tournament chairman. Locals
formed a committee headed by Dan Searle, a 1-handicap golfer and past champion
at Monterey Peninsula Country Club (MPCC), to attend to local details. His club
agreed to supply the army of volunteers needed to manage the details on the
peninsula.
In late October, Searle and Durein met with the Crosby team to
hammer out the details. It was Crosby that suggested using three courses rather
than just one. The PGA initially objected, “It’s never been done.” Crosby
countered that nowhere else were three world-class courses—Cypress Point,
Monterey Peninsula Dunes and Pebble Beach—in such close proximity. When the PGA
announced that for 1947, the minimum purse would be $10,000, any concern was
calmed when Crosby agreed to put up the larger purse.
They agreed that 76 pro-am teams would play one course each day.
The PGA would qualify the pros and Crosby would invite the top amateurs and
celebrities, like Bob Hope and Johnny Weissmuller, and even four women. Crosby
hoped to again include Babe Zaharias, who not only got her amateur status back,
but won the 1946 U.S. Women’s Amateur. Runner-up Clara Callendar Sherman was
also on the initial list. She had grown up at MPCC, where her father was the
first pro, and she, at age 12, won both the 1932 MPCC Women’s championships.
Proceeds from the tournament would again go to charity. For 1946
the funds would be split between the Sister Kenny Foundation for Infantile
Paralysis and the Monterey Peninsula Community Chest.
Durein proudly announced the results of the meeting in the
October 29, 1946 Monterey Peninsula Herald as “the most sensational, colossal,
stupendous, breathtaking spectacle in the history of golf.” Following
immediately after the Los Angeles Open, the tournament would be played January
10-12 and “officially known as the Sixth Annual $10,000 National Pro-Am
Championship, Sponsored by Bing Crosby.” It wasn’t until 1966, “the 25th”
tournament, that the tournament program acknowledged the numbering error, which
was blamed on forgetting about the nearly washed-out event in 1937. Despite the
acknowledgment, there was no correction. The errant numbering continued through
1985.
The tournament came off nearly as planned, although neither the
ladies nor Bob Hope made it that first year. Celebrities besides Crosby
included Dennis O’Keefe, Randolph Scott, Richard Arlen, Edgar Kennedy and
Johnny Weissmuller. The latter, famous as Tarzan, paired with Ed “Porky” Oliver
as part of the top-drawing foursome that also included pretournament favorite
Ben Hogan, winner of the prior week’s Los Angeles Open, who was paired with
top-ranked amateur Frank Stranahan.
(Neal Hotelling,
Carmel magazine Winter 2023/24)
January 13, Monday. Attends the Photoplay
Awards star-studded black-tie ceremony at the Beverly Hills Hotel and picks up
the Gold Medal for Most Popular Actor for the third successive year. Bing sings
and entertains, accompanied by Skitch Henderson. ABC radio broadcasts the event
between 10:30 and 11.30 p.m. Part of the proceedings are captured by newsreels.
Photoplay Gallup
awards party went very smoothly by comparison with the 1946 event, thanks
largely to presence of Danny Kaye at the helm. Champ Bing Crosby’s singing of “Buttermilk
Sky” was amusing, especially when he ran out of words, carrying “ine” rhyme, and
suggested the matter would have to be referred to “Sylvia Fine,” Kaye’s spouse.
(Edwin Schallert, Los Angeles Times, January 15, 1947)
…The other guy —
well, he was none other than Mr. Harry Lillis Crosby, complete with tuxedo,
which was for him an almost unheard-of bow to the occasion. And he was utterly
and enchantingly Bing. A lesser showman would have sung “The Bells of St.
Mary’s” — but Bing knew better. He wasn’t pretentious. He wasn’t mock-modest.
He caroled “A-Huggin’ and A- Chalkin’ ” and “Ole Buttermilk Sky.” He did a duet
with Danny. He grinned and radiated charm — and kidded Bing Crosby.
In three words, he was perfect.
(Photoplay, April, 1947)
Hollywood had an award party last night where nobody stroked a long whisker or
pointed with pride, and everyone loved it. For a while I thought some of the
editors of Photoplay were a bit alarmed with Danny Kaye, Bing Crosby and others
started to gallop off with Gallup, but they fell into the spirit of it and
realized presently that it was the best prize-giving soiree we’ve ever had in
these parts. Some fun.
Danny was master
of ceremonies. He put the gang in his pocket at the outset and kept ‘em there.
He sang gobbledegook in the inimitable Danny Kaye manner, he kidded Gallup, he
grew sentimental about his new baby, Dana, and sang a new specially composed
sandman song dedicated to her, and he couldn’t do anything people weren’t crazy
about. Too bad Sylvia Fine wasn’t there to hear him.
Any Hollywood
crowd is a pushover for Crosby. It’s so unheard of for Bing to get up and start
adlibbing like he did last night that people couldn’t believe their ears, but
he really gave. Some fun. Not a long whisker anywhere. I remember Bing ambling
up to get his Oscar a couple of years ago, a solemn guy feeling the importance
of the occasion. Last night was important too but it wasn’t so weighted with
dignity....Skitch Henderson and Anita Colby at the David O. Selznick table and
Skitch played Bing’s piano accompaniment.
(Florabel Muir, Hollywood Citizen
News, January 14, 1947)
January 15, Wednesday. (2:30–3:30 p.m.,
4:00–4:30 p.m.) In NBC Studio B, Bing rehearses for a Philco show with Bob Hope
and Dorothy Lamour. (4:30–6:00 p.m., 8:00–8:30 p.m.) Transcribes the Philco
show. The show is broadcast on January 29. (9:00–9:30 p.m.) Bing’s
transcribed Philco Radio Time show is broadcast by ABC. The guest is Al
Jolson and the Hooper rating is 20.6.
Crosby and Jolson
read like a good combination and sounded as well, spinning on Philco’s
half-hour platter, last week (15th). No question that it was among the top and
best shows Crosby has done for his new sponsor. The program was good,
principally because the crossfire between the pair, stood up. For it was a
cinch that with these two guys there wasn’t going to be much wrong with the
singing. The comedy premise was a switch back to a dressing room with neophyte,
Crosby, calling on the star, Jolson to ‘try out’. Of course, they had to be a
little careful about just how early they keyed the sequence, in order to skip
having to blow out the footlights. But the comedy writing job stood up and had
a good ‘tag’ of Jolson telling Crosby that if Paramount does “The Crosby Story”
he will be glad to do for him what he did for Larry Parks.
Previously, they had teamed on “April Showers”; “Rosie” (sic); “The One I Love
Belongs to Somebody Else” and Jolson had whipped across “Swanee” alone, in Hit
Parade tempo with a dynamic orchestra which guarantees to get him out of any
jam and does. He was in no difficulty here, although the repeat on his very
familiar standard tunes was sufficient to hint that Jolson might shuffle the
deck and thumb through it in search of a couple of not so familiar songs. For
instance, what’s become of “Rum-Tum-Tiddle” and there are surely, others.
Perhaps the surprise part of the broadcast was when Crosby and Jolson were
taking turns splitting a chorus. It wasn’t always easy to distinguish who was
singing, especially in the lower registers. A singing commercial by both, also
was, inevitably, funnier in the studio than over the air, as it came through
not as the pause that refreshes. Yet the combination can obviously stand a
repeat, anytime. Most everybody thought this would be a good one - ‘Twas!
(Variety,
January 22, 1947)
I’ve heard a lot of talk from people about what a break it was for Al Jolson
when I gave him two or three radio spots. There was talk that it revitalized
the old boy and gave him a second birth in show business.
Al
did as much for me as I did for him. Signing him was a lucky stroke for me.
Some of the best radio shows I’ve ever had involved Al. If they helped Al make
a comeback—that is, if he needed a comeback—they helped me as much. Al happened
to me at a time when I needed good shows, and getting him to go on with me gave
me a big boost.
He was indefatigable. If you’d let him, he’d sing all night. Some people
had trouble controlling Jolson on the radio because he wanted to do the things
that had been successful for him for so many years on the stage, in vaudeville,
and in pictures. Al loved to do things for a studio audience which were
strictly visual. His gestures and his mugging would make the audience in the radio studio laugh, but the people listening at home were baffled. They
figured they weren’t in on the gag and that they were being left out of things.
It steamed them. Radio producers didn’t think those things
were good
radio fare, and for that reason Al was in
Coventry.
But Bill Morrow, my writer, had the knack of handling Jolson. He would talk Al out of
those things
so reasonably that Al would think he was getting his own way.
(Call Me Lucky, page 153)
January 17, Friday. (8:30–9:50 a.m.) Bing
records songs from the film The Emperor Waltz in Hollywood with Victor
Young and his Orchestra. Decca later issue the songs as 2-disc 78rpm album and this reaches the No. 2 spot in the Billboard best-selling popular record albums chart on August 7, 1948.
It is 9th in the year’s top-selling popular record albums listing.
January 19, Sunday. Larry Crosby’s son,
John, marries Beatrice Turner (age 16). Larry knew nothing about it and had not met the bride.
January 21, Tuesday. (2:15–2:45 p.m.,
6:00–6:53 p.m.) In NBC Studio B, Bing rehearses for a Philco show. (2:45–4:15
p.m., 6:53–7:29 p.m.) Bing transcribes the Philco show with Peggy Lee and
Beatrice Lillie which airs on February 5.
Crosby
ET Show in Steady Climb: Hooper Hits 20.6
New York, Jan. 25. Bing Crosby’s transcribed Philco show
continues to climb, rating-wise, and is nearing the socko 24.0 Hooper
registered by the opening show on October 16 which had Bob Hope as guest.
Wednesday’s (22) session with Al Jolson guesting, registered a 20.6—giving ABC
and Philco cause for rejoicing. Next Wednesday’s show (29) is also expected to
hit a high mark, the groaner having lined up Hope again, with the added
attraction of Dorothy Lamour. Ratings since show opened reveal an initial high
rating followed by a sharp drop, in turn followed by a steady climb. Figures
are as follows and include special Hooper studies made in addition to the
regular Hooper taken at two-week intervals.
October 16,
24.0; November 6, 12.2; November 13, 15.8; November 20, 15.6; December 4, 13.4;
December 18, 15.8; January 8, 16.1 and January 15, 20.6.
This pattern of diving and climbing bears out thinking of ABC execs who
predicted such a course. Show opened on the wave of socko promotion. Weak
guestars, plus a fade in the initially strong promotion helped account for the
dive; and a return to a stronger guest policy plus Crosby’s strong personal
draw is held accountable for the upward swing. Proponents of the transcribed
feature of the Crosby-Philco operation also point out that the boost in
listening audience is a strong indication that it matters little to listeners
whether a program is live or disked.
(Billboard,
February 1, 1947)
By common consent [Crosby] is the head man of American
entertainment in just about every branch but sidewalk magic. But none of the
other achievements measures up to the magnitude of his assault on the
established framework of radio. For two decades the tycoons of the ether have
snuffed out rebellions like so many cigarettes; it took Crosby to bring them to
heel ( . . . ) That he had his way is the clearest testimony that he is the No.
1 man in entertainment—certainly, as Variety called him, ‘Mr. Radio himself.’
Radio is a tough business, and characteristically merciless to nonconformists.
That the whole roster of radio stars is planning to follow Crosby’s lead next
year [in transcribing their programs for broadcast on later dates] is plain
enough tribute to his leadership.
(Fortune Magazine, January 1947)
January 22, Wednesday. (9:00–9:30 p.m.)
Bing’s transcribed Philco Radio Time show is broadcast by ABC. The
guests are Jack McVea and his All Stars, Lina Romay, and George Jessel.
Memories of many years of show business will awake in the minds of
listeners when Bing Crosby’s guest, George Jessel, does a special medley called
“Themes of Oldtimers” on the ABC program at 10 p. m. today. Jessel’s long
experience on the vaudeville and musical comedy stages of the country has given
him an enormous fund of nostalgic material and his unusual ability as a mimic
makes him an ideal performer tor this number…Several guests, namely Jack McVea
and his All-Stars, here enter the picture to collaborate with Bing on the
novelty number which they have popularized, “Open the Door. Richard.” McVea and
his boys are a five-man band, three years old as a unit on the day of the
broadcast, whose recording of his opus has become a smash hit. Latin Songstress
Lina Romay will return for this program.
(Battle Creek Enquirer, 22nd January, 1947)
January 26, Sunday.
Loyola University's 9-hole pitch and putt course is opened with Bing
and Roger Kelly beating Bob Hope and Johnny Dawson 1-up in an
exhibition match. Crosby and Kelly have a best ball score of 24 for the
par-27 course.
January 28,
Tuesday. Bing's stand-in. Leo Lynn, is discharged from St. John's
Hospital following a heart attack and told to have 6-month's rest. (2:25–2:45 p.m.,
6:20–6:47 p.m.) In NBC Studio B, Bing rehearses for a Philco show with Groucho
Marx and Peggy Lee. (2:45–4:15 p.m., 6:47–7:17 p.m.) Transcribes the Philco
show which is broadcast on February 12.
January 29, Wednesday. (9:00–9:30 p.m.)
Bing’s transcribed Philco Radio Time show is broadcast by ABC. The
guests are Bob Hope and Dorothy Lamour.
Never did Bill (Morrow) put me in worse jeopardy than the time when I
had Dorothy Lamour on our broadcast as a guest. She did a song on the show and
it was very good, too, but we had Hope on the show. He ad libbed
all over the place, up and down the aisles, milking laughs until unconscious.
The result was that the show ran over-long and something had to be edited out.
Bill Morrow did the cutting and the axe fell on Dotty’s
song. The night the show went on the air she had a dinner party. Included among
the guests were a couple of people she’d been talking to about a night club
tour and whom she wanted to hear the song. Dorothy is very easy to get along
with but I must say that on this occasion she was really steamed and
justifiably so.
We were shooting The Road to Rio at the time and I stayed away
from the set until well after lunch time, until she had had a chance to cool
out a little. Although it was Morrow’s doing, she still jumps me out about it
every once in a while.
(Call Me Lucky,
page 273)
February 1, Saturday.
Bing attends a reception for the major Paramount executives, hosted by
Henry Ginsberg, vice-president in charge of production, at Paramount
Studios.
February 4, Tuesday. (2:25–2:45 p.m.,
6:05–6:52 p.m.) In NBC Studio B, Bing rehearses for a Philco show. (2:45–4:15
p.m., 6:52–7:22 p.m.) Bing transcribes the Philco show with Judy Garland and
William Frawley. The show is broadcast on February 19.
February 5, Wednesday. (9:00–9:30 p.m.)
Bing’s transcribed Philco Radio Time show is broadcast by ABC. The
guests are Peggy Lee and Beatrice Lillie.
Bea Lillie, who is Lady Peel to the plush-chair set of England, and a
great comedienne to the Americans, will be Bing Crosby’s guest…She and Bing
will sing songs together, enact sketches and do a top line job of adlibbing.
Those who have already heard transcriptions of the show say it is a good
program.
(Des Moines Tribune, 5th February, 1947)
February 9, Sunday. The Bob Hope film My
Favorite Brunette is shown at a New York trade show and is released nationwide at the end of March. (10:15–10:30 p.m.)
Bing is thought to have been featured in the Here’s to Veterans radio
show. This was a fifteen-minute NBC program which was broadcast on Sundays.
Bing Plays Role Without Billing
Bing Crosby sneaks
“under the wire” to make an appearance in the latest Bob Hope-Dorothy Lamour
laugh riot, “My Favorite Brunette” at the Paramount Hollywood and Downtown
theaters. You won’t find his name in the billing, but Bing plays a very important
role in Bob Hope’s life as a private detective in “My Favorite Brunette”.
(Valley Times, March 31, 1947)
February 11, Tuesday. (2:15–2:54 p.m.,
4:12–4:18 p.m.) In NBC Studio B, Bing rehearses for a Philco show. (2:54–4:12
p.m., 5:50–7:30 p.m.) Transcribes the Philco show which is broadcast on
February 26. The guests are the Andrews Sisters and Les Paul.
February 12, Wednesday. (9:00–9:30 p.m.) Bing’s
transcribed Philco Radio Time show is broadcast by ABC. The guests are
Peggy Lee and Groucho Marx. The transcribed Philco disks are being sent to the
various radio stations along with instructions as shown below.
INSTRUCTION AND CUE SHEET – ATTENTION STATION MANAGER
PHILCO RADIO TIME STARRING – BING
CROSBY - PROGRAM NO. 18
This sheet will
give your play-back Engineers and local Announcers information about their part
in the production of “PHILCO RADIO TIME” STARRING Bing Crosby. Program No. 18.
The recordings are to be played continuously from beginning to end. The
pick-up is not to be lifted from the records until their conclusion since the
show has been timed out to approximately 29:30. At points where the local
Announcer cuts into the program, the record should be cut out, but it should
continue to play and the local Announcer should match his reading time with the
recording, in accordance with the Cue List set forth below.
IMPORTANT
PART 2 OF THIS
PROGRAM STARTS INSIDE! PLEASE MAKE CERTAIN YOUR PLAYBACK ENGINEER
UNDERSTANDS PART 2 STARTS INSIDE:
This recording
should be played at the orthacoustic or (equivalent) setting on your play-back
and at a constant level. There is no necessity to ride gain.
It is not necessary
for the local Announcer or the Station to identify these recordings as
transcriptions, on the air, since this is already done in the program at both
the beginning and end.
CUE SHEET
1. At
approximately 3:57 after the beginning of the program Crosby finishes singing
“RAINY NIGHT IN RIO”. At approximately 4:21 Carpenter says “CERTAINLY THAT
APPLIES TO PHILCO RADIOS AND RADIO-PHONOGRAPHS”.
This is the cue line for the first Commercial. (Note: Since Crosby talks
immediately, it will be necessary to make a fast fade-out as soon as Carpenter
gives the cue line.)
2. First
cut-in Commercial as read by the Local Announcer should run not longer than
1:06.
3. At
approximately 5:27 the play-back engineer should cut back to the record with a
fast fade picking up the music which immediately follows the Commercial, which
ends with Crosby saying “YOU’RE BRAVE MAN, KEN” and Ken
saying, “I THANK YOU”.
4. At
approximately 14:28 in the middle of the Groucho Marx spot, Marx says “WHEN
SHE FINALLY GETS HIM CORNERED YOU SPLASH MUD ON HER AND HE
JILTS HER” This is the cue to switch over instantaneously to Part 2,
Program 18, picking up with Crosby’s line “OH! I’M A BEAST”.
5. At
approximately 23:15 after the beginning of the program, Crosby and Peggy Lee
finish singing their duet “THE BEST MAN”. At
approximately 23:23 Crosby says “NOW WE SHALL HEAR
FROM PHILCO’S BEST MAN”…This is the cue for the second cut-in Commercial.
6. Second
cut-in Commercial as read by the Local Announcer should run not longer than
1:08.
7. At
approximately 24:31 after the beginning of the program the playback engineer
should cut back to the record with a fast fade picking up the music which
follows the commercial.
8. Carpenter’s
closing begins at approximately 28:54 after the beginning of the program and
concludes at approximately 29:19. Closing theme “BLUE OF
THE NIGHT” fills to approximately 29:58.
A
stroboscope is affixed to the back of both transcriptions – Part 1 and 2.
It is requested that you check your turn-tables with this stroboscope to see
that they are running at exactly 33 1/3 RPM’s. Any
slight variation in the speed of your tables will alter the length of the
program and put the cue times in error. It is requested that when
checking your tables with this stroboscope you place your pick-up in the blank
grooves provided on the transcriptions and play the record since the weight of
the record and the pick-up drag will noticeably slow down the speed of your
table.
We
are most anxious that local station production of Philco Radio Time be
top-notch in quality. We’re certain you also want that. We,
therefore, request that if it is not already your practice, you have your
Engineer and local Announcer run a dress rehearsal of the program before it
goes on the air. As is stated on the records these transcriptions must be
returned within 7 days to Philco. A return label is enclosed for your
convenience in making this shipment. TO INSURE THAT YOU ARE
CREDITED WITH RETURNING THESE RECORDS PLEASE INSERT YOUR CALL LETTERS IN THE
SPACE PROVIDED ON THE LABEL.
Thank
you very much for your effort and co-operation in helping us make Philco Radio
Time a success.
HUTCHINS ADVERTISING COMPANY
8619 Sunset Boulevard
Los Angeles 46,
California
CAUTION: THE
TRANSCRIPTION FOR THE BING CROSBY PHILCO RADIO TIME PROGRAM IS NOT TO BE PLAYED
PRIOR TO BROADCAST FOR OR WITHIN THE HEARING OF ANYONE EXCEPT THE NECESSARY
STATION PERSONNEL FOR REHEARSAL AND CUEING PURPOSES.
February 13, Thursday. (8:00–10:05 a.m.) Bing
records three songs with Les Paul and his Trio in Hollywood.
February 16, Sunday. (10:15–10:30 p.m.) Again
thought to have been featured on the Here’s to Veterans radio program on
NBC.
February 18, Tuesday. (1:30–3:30 p.m.,
5:15–5:26 p.m.) In NBC Studio B, Bing rehearses for a Philco show. (5:26–7:33
p.m.) Bing records the Philco show with Al Jolson and it is broadcast on March
5.
Bing Crosby and Al Jolson made another record for a broadcast
which will be heard on March 5th. I thought after their recent great show that
Bing and Al shouldn’t try it again. Why not leave superb alone? However, I went
to watch them make the record and I take it all back! They should continue
doing broadcasts together. The records would be best sellers and also
collectors’ items. Bing Crosby and Al Jolson are the greatest combination I’ve
ever seen in show business. It was interesting and thrilling watching them work
together. Bill Morrow, who wrote the show and put it together, rates plenty of
credit. I came in at the start of the rehearsal. There was Bing, nonchalantly
drinking a bottle of milk and eating a chicken sandwich. Al was already at
work, running through a song with the orchestra. ‘I haven’t sung much since I
was here last,’ said Al, ‘so don’t expect much’. Crosby smiled.
These two performers of entirely
different styles and generations have great admiration and respect for each
other. There is absolutely no display of temperament. I did notice a slight
difference from the initial broadcast. Crosby acted more like a fan entranced
by Jolson, which is really something coming from the great Crosby. When Al did
his solo, ‘Rockabye’, Bing went into the control booth and listened to him.
After Jolson finished, Bing said, ‘I wish I could sing like that guy.’ Later,
to a group, Al said, ‘I never met anyone like Bingie. He’s in a league by
himself.’
After they had done the broadcast,
Bing couldn’t contain himself any longer. He leaned over and kissed Al.
Jolson never looked so pleased. They are a mutual admiration society in
themselves which may be why they are so great together. If you thought the
original broadcast was great and thrilling, well, in the words of a fellow I
know, you ain’t heard nothing yet!
(Sidney Skolsky, Hollywood Citizen News, February 25, 1947)
February 19, Wednesday. (9:00–9:30 p.m.) Bing’s
transcribed Philco Radio Time show is broadcast by ABC. The guests are
Leo McCarey, William Frawley, and Judy Garland. The Hooper rating is 17.3.
Bing Crosby will be all but overwhelmed by the profusion of top rank
guests appearing on his program tonight…At first glance it would appear that
two or three programs were being telescoped into one, but a second look shows
that they all have something in common. Judy Garland, Leo McCarey, and William
Frawley are the headliners. Director McCarey and Crosby were associated in the
prize-winning films “Going My Way” and “The Bells of St. Mary’s.” Together with
Miss Garland and actor William Frawley, they will attempt a rendition of
“Tearbucket Jim.”
(The Capital Times, 19th February, 1947)
February 21, Friday. Bing is reported to have
boosted his contribution to a new engineering building fund at Gonzaga to
$75,000. The Rev. Francis Corkery, S.J., president of the university, announces
receipt of a $50,000 check. Bing earlier had given $25,000 to the fund, which
now totals $223,500. (6:30–7:00 p.m.) Bing guests on the Jimmy Durante–Garry
Moore Show on CBS. Suzanne Ellers and Candy Candido are also on the show and the music is
provided by Roy Bargy’s Orchestra. The announcer is Howard Petrie and the sponsor is Rexall Drug Products.
February 25, Tuesday. (1:30–3:15 p.m.) In
NBC Studio B, Bing rehearses for a Philco show. (5:20–7:30 p.m.) Bing
transcribes the Philco show with Peggy Lee and the Ernie Felice Quartet. The
show is broadcast on March 12. Peggy Lee’s husband, Dave Barbour, is seriously
ill in hospital at the time.
A
surgeon cut away a portion his stomach. Barbour survived, but stayed in
critical condition for days. Lee drew comfort from her girlhood idol Bing
Crosby, who had hosted her numerous times on his radio show and in turn became
her friend. Crosby called her each morning to check that Barbour had made it
through the night. He offered money, blood, even his babysitting services.
(James Gavin, Is That All
There Is? The Strange Life of Peggy Lee, page 96)
February 26, Wednesday. (9:00–9:30 p.m.)
Another transcribed Philco Radio Time show is broadcast and Bing’s
guests are Les Paul, Joe Frisco, and the Andrews Sisters.
February 27, Thursday. (7:00-7:30 p.m.) Bing takes part in a
Family Theater radio production of J. Smith and Wife
on the
Mutual Network with Irene Dunne. The host is Dana Andrews and music is
provided by Meredith Willson and his Orchestra. The Family Theater
productions started on February 13, 1947, and ran until 1969 with
Father Peyton
heavily involved.
Bing Crosby went straight Friday (sic) night on Mutual’s Family
Theater in a warm captivating dramatic vignette tabbed J. Smith and Wife
with Irene Dunne playing opposite him. The story of a married couple (who die
in a boat sinking) outside the gates of the Elysian Fields was full of
tenderness and beauty key to the thematic purpose of the Family series.
(Variety, March 5, 1947)
March 1, Saturday. The Paramount newsreel
issued today includes film of Bing and Bob Hope discussing baseball.
March 3, Monday. (1:30–2:56 p.m.,
6:05–6:27 p.m.) In NBC Studio B, Bing rehearses for a Philco show. (2:56–4:56
p.m., 6:27–7:03 p.m.) Bing transcribes the Philco show with Al Jolson and John
Charles Thomas. The show is broadcast on April 2.
March 4, Tuesday. (2:15–4:15 p.m.,
6:59–7:34 p.m.) Bing transcribes a Philco show in NBC Studio B with Danny Kaye
and Peggy Lee. The show is broadcast on March 19.
March 5, Wednesday. (9:00–9:30 p.m.) Bing’s
transcribed Philco Radio Time show is broadcast by ABC. The guest is Al
Jolson and the Hooper rating is 21.7.
March 8, Saturday. Decca has issued a 5-disc 78rpm set called St. Patrick's Day and it is reviewed on this day by Billboard magazine. The album quickly reaches
No. 4 in Billboard's best-selling popular record albums chart on March 22, 1947
and is
still selling well the following year when it reaches
No. 1 in the same chart on March 20, 1948.
Aiming at maximum holiday sales, this package of
five platters brings together 10 Erin faves cut at varying times by Bing
Crosby, getting vocal assist on some of the sides from the Jesters and the
King’s Men, while the music making belongs to Bob Haggart, Victor Young and
John Scott Trotter. Der Bingle in good Erin form for each of the sides and song
selections are tops ... Photo of the smiling Bing on the album cover, with
notes on the singer and the songs in the accompanying booklet.
(Billboard, March 8, 1947)
Bing’s album, despite his usual graceful ease of
interpretation, lacks his old fullness of voice. If Crosby is going to keep on
making records with his evident sloppiness and lack of interest, it would be
better if he would stop now and let his millions of fans remember him by his
older and far better discs.
(Down Beat, March 26, 1947)
On the same day, Billboard reviews two 5-disc 78rpm album sets called Favorite Hawaiian Songs, vols. 1 and 2
This is an over-ambitious attempt to coin extra-added out of
Bing Crosby’s early recordings. In this instance the label is packaging Der
Bingle’s Hawaiian diskings, putting 10 sides in a set. And there’s enough here
for two such sets, using the same cover design of smiling Bing against a
geographical picture of the islands with a descriptive booklet accompanying
each set. For the first set, they are all slow and dreamy spinners, with
instrumental and vocal support from Dick McIntire, Lani McIntire and the
Paradise Island trio. Top faves in the first volume include Song
of the Islands and Sweet Leilani…Both
McIntire strumming ensembles are included in the second album, also of 10
sides, with two sides cut with Harry Owens’s full band. Second set includes
several selections at a livelier beat, with Trade Winds the top song favorite…For Der Bingle
and hula fans, there’s enough in these two packages to last a lifetime.
(Billboard, March 8, 1947)
March 11, Tuesday. (1:30–2:00 p.m.,
6:10–6:40 p.m.) In NBC Studio B, Bing rehearses for a Philco show. (2:00–4:00
p.m., 6:40–7:15 p.m.) Transcribes a Philco show with Jack Benny which airs on
March 26.
March 12, Wednesday. Bing is interviewed by
telephone by Australian sports writer Hugh Dash and the interview is broadcast
on March 14 on the Telegraph Sports Parade radio program on station 2AW,
Sydney, Australia. (9:00–9:30 p.m.) Another transcribed Philco Radio Time
show is broadcast and Bing’s guests are Peggy Lee and the Ernie Felice Quartet.
March 13, Thursday. The 1946 Academy Awards
show takes place at the Shrine Auditorium. Bing’s “You Keep Coming Back Like a
Song” has been nominated as best film song but the winner is “On the Atcheson,
Topeka, and the Santa Fe” from the Judy Garland movie The Harvey Girls.
Bing has been asked to sing at the event but is said to have declined
indicating that it had been so long since he sang in front of an audience he
would feel uncomfortable. Robert Emmett Dolan’s nomination for “Best Scoring of
a Dramatic or Comedy Picture” for Blue Skies is unsuccessful as Morris
Stoloff wins for The Jolson Story. Norman Panama and Melvin Frank are
nominated for “Best Original Screenplay” for Road to Utopia but the
winners are Muriel and Sydney Box for The Seventh Veil.
March 14, Friday. Universal releases a film called Smash-Up,
The Story of a Woman about a lady alcoholic which is said to be based on
Dixie Lee. The film stars Susan Hayward, Lee Bowman, and Eddie Albert and is
directed by Stuart Heisler. Susan Hayward is unsuccessfully nominated for an
Oscar as “Best Actress.” It is rumored that Bing makes a point of not working
with anyone who had anything to do with the film.
There isn’t much doubt that Smash-Up -- the Story of a Woman
will be tagged as “the ‘Lost Week-end’ of a lady,” since it has so fortuitously
to do with a female alcoholic, synonymous to the gentleman lush in that
previous film. But don’t let this flattering parallel fool you. The Lost
Week-end was a hard and plausible binge, while the current booze drama at
the Capitol is soggy and full of (figurative) corn...All it lacks to make it
outright melodrama is a pair of swinging doors.
(Bosley Crowther, New York Times, April 11, 1947)
Sordid story of a night-club singer who takes to drink
before shows to fortify her nerves. She marries a radio crooner who becomes
famous, surrounds her with luxuries, but takes away from her all feeling of
independence. This eventually drives her to drink, to separation and, when he
takes away her child, nearly to death.
(Picturegoer, May 10, 1947)
March 16, Sunday. The FBI files indicate
that a police raid on Dancara Stock Farm, Burbank, during the early hours of
the morning finds illegal gambling. About one hundred patrons, including Bing
and Bob Hope, are allowed to leave without being charged. (4:00–4:30 p.m.) Bing
guests on the Jack Benny radio show on NBC with Dick Haymes, Andy Russell, and
Dennis Day. Forgetting it was a live show, Bing says “hell” on the air when
reaching for a high note while singing “Always” and causes a mild upset in the
press. The event is subsequently captured on a V-Disc.
Bing Crosby should
know better. There was no excuse for his slip-of-the-tongue on the Jack Benny
show on Sunday. Crosby is an old hand around microphones, so such slips can’t
be termed accidental.
(Bee Offineer,
Radio Editor, Akron Beacon Journal,
March 18, 1947)
Jack Benny’s new
quartet produced hilarious results, particularly when Bing, who isn’t used to
live broadcasts, hit a high note and ad libbed: “Who the hell set this pitch –
Dennis Day?” The puritanical NBC erased
the remark from the transcribed re-broadcast for the Pacific Coast.
(Bob Thomas, Associated Press, March 18, 1947)
The next season, though the Sportsmen Quartet was still on the
program, I began trying out other vocal groups. I was going to prove to
Mr. Riggio I could find a better quartet. On one show, the quartet consisted of
Bing Crosby, Dick Haymes, Andy Russell and our own Dennis Day. Now to
appreciate the next story you have to realize that in those days there was no
such thing as taping shows in advance and editing out fluffs and profanities.
You did your broadcasts live and what was said in the studio, spontaneously and
otherwise, went out over the four winds.
During the quartet spot, Crosby had
to sing a note that was much higher than his normal baritone range. Instead of
the usual sweet Crosby sound, he sang a hideous squeal. This upset him and when
his voice cracked on the high note, he forgot about the quartet and snarled
into the microphone, “Who in the hell picked this key—Dennis Day?”
I have to explain two more things.
In 1947 you did not say words like “hell,” “damn,” “syphilis,” “bastard” or
“pregnant” on the air. Secondly, in several recent pictures, most notably in
the Academy Award winner, Going My Way, Crosby had been playing priests.
In those sweet innocent old days, all performers, network executives and
sponsors walked in fear and trembling of a vague indefinable monster known as
“public opinion.”
As soon as Crosby said the magic
word “hell,” all heck broke loose on every member station of the NBC network
and all the switchboards began lighting up and buzzing as thousands of irate
listeners telephoned to register their shock at “Father” Crosby’s blasphemy.
After the show ended, an NBC vice
president was waiting for me in the dressing room. He was shaking his head. He
was fretting and fussing and fuming. He was sure one of my writers had
purposely written in this line for Crosby and had given it to him just before
the show so it had not been on the mimeographed script and the NBC censors had
not been able to censor it. He did not believe me when I told him it was one of
those little improvised sayings that a person utters in the heat of a tense
broadcast.
He blamed me for the whole
business. “You did an awful thing,” he said. “An awful thing. What an awful
thing you did. You’ll have to apologize, Jack, for the awful thing you did.
Your writers will have to issue some sort of a statement justifying themselves
for the awful thing they did. Your producer, Hilliard Marks, will have to
apologize for the awful thing. Lucky Strikes will have to apologize. NBC will
have to apologize. Bing Crosby will have to apologize.” I waited and waited
while he, like my imaginary Mr. Riggio, finished blowing off every molecule of
steam. He was full of steam. Finally, he was out of breath.
“You listen to me,” I said. “Nobody
is going to apologize.” He started to scream again. I raised my hand to silence
him.
“The only thing that is going to
happen is that in his next movie, Crosby will wear his collar frontwards,
that’s all.”
He didn’t think I was very funny.
(Jack Benny, Sunday Nights at Seven)
March 17, Monday. (9:00–11:50 a.m.) Records
with Victor Young and his Orchestra in Hollywood. Lee Wiley joins him on “I
Still Suits Me.” (1:30–1:45 p.m.) In NBC Studio B, Bing rehearses for a Philco
show. (1:45–3:45 p.m., 5:45–6:45 p.m.) Bing transcribes the Philco show with
Alec Templeton and Peggy Lee which is broadcast on April 9.
Joined by songbird Lee Wiley and Victor Young’s music, both sell
it strong for the specialty show lyrics of Jerome Kern’s “I Still Suits Me”
song sophistication.
(Billboard, August 16, 1947)
March 19, Wednesday. (9:00–11:40 a.m.) Bing
rerecords “White Christmas” and “Silent Night” as well as cutting other tracks
with John Scott Trotter and his Orchestra plus the Ken Darby Singers. This
version of “White Christmas” becomes the world’s best-selling record.
(5:00–7:45 p.m.) Bing goes on to record two tracks with Dick Haymes and the
Andrews Sisters. (9:00–9:30 p.m.) Bing’s transcribed Philco Radio Time
show is broadcast by ABC. The guests are Peggy Lee and Danny Kaye. The Hooper rating is 17.1. This is The
Charioteers last appearance as regulars on the show. Press reports state that
Bing and Claude Binyon have bought stock in Variety Records, a local odd-label
record concern founded in the previous fall.
Danny Kaye, whose radio appearances have been few and far between since
his sponsor dropped his contract, will be heard on the Bing Crosby show. Kaye
will serenade his daughter with “Dena’s Lullaby” and join “The Groaner” in what
promises to be a jarring interpretation of Brahm’s “Lullaby.”
(The Indianapolis Star, 19th March, 1947)
There’s No Business Like Show Business - Anything You
Can Do, I Can Do Better
Take two Irving Berlin favorites from an “Annie, Get Your Gun”
legiter, give them to Bing Crosby to record, or Dick Haymes or Andrews
Sisters—or, hey, wait a minute, give’m to all three and don’t you wish you
could buy shares of Decca stock. It’s a buck platter, we know, but triple
talent such as this on one black biscuit won’t do until the next thing comes
along. Great material…Great recording…should go over solid.
(Billboard, June 28, 1947)
...Crosby is joined by Dick Haymes and the Andrews Sisters
with Vic Schoen in those two lively numbers from Annie Get Your Gun,
“Anything You Can Do” and “Show Business.” This last is undoubtedly a wow, and
any gramophonic glossary would distinguish between a wow and a nap. I would
stress the fact that Crosby often makes records that appeal to those who
despise common crooning, and both the first and last records in this recital
are in this category and should have universal appeal.
(The Gramophone, December, 1947)
Although
they had no personal problems working with Crosby and Haymes—both on records and on radio—the girls were not accustomed
to Haymes’ style of song arranging. He insisted on dividing segments of the song equally between himself and the sisters.
According to Maxene, the trio was more concerned with
the quality
of the finished product rather than who sang how many lines,
so they usually let the crooner have his way.
One session proved troublesome, however, when the trio and Haymes joined Bing Crosby in March of 1947. Maxene recalled,
The
only artist we had problems with was Dick Haymes. I guess maybe they figured we
were a strange act to work with because we didn’t read music. So, when we would come into the recording
session, we would have the secretary type out all of the lyrics and type out the direction of how
it would go. And nobody ever disagreed. Crosby said, “Anything the girls want to do.” Dick
counted lines, so
he ruined a wonderful
recording session that we could have had with “There’s No Business like Show Business” because he made everybody change things in it.
(John Sforza, Swing
It! page 113)
March 20, Thursday. (5:45–8:55 p.m.) Records
the Christmas story “The Small One” with Victor Young and his Orchestra.
This
Christmas story is narrated by Crosby when, in Old Mexico at the hour of siesta,
he sees the boy Pablo berating a disreputable looking donkey. He explains that
what is mistaken for stubbornness in the breed is, in fact, the pride that was
brought by one that fulfilled their destiny. He relates how, many years ago a
boy was sent by his father to take an old donkey (the “Small One”) to the
tanner and obtain a piece of silver for its hide; of how the boy first tried to
save the animal by selling it to a new owner at an auction where he was scoffed
at and re-buffed; of how, entering the tanner’s gate he is stopped by a
stranger asking if he will sell the donkey to him as he has to undertake a long
journey and his wife is not well; of how, when the new owner is stopped at the
town gate by a soldier and asked his identity, replies that he is Joseph, his
wife is Mary and that they are on their way to Bethlehem. There, in a stable, a
King was born and the Small One was envied for becoming part of a great miracle.
Bing
tells the charming story with conviction and he is well supported by the other
actors and the background effects and music provided by Victor Young with a “Silent
Night, Holy Night” conclusion. The “hoofbeats” effects (the same notes that the
angels sang in their rejoicing) are adroitly interpolated.
(Fred
Reynolds, The Crosby Collection 1926-1977
(part three), pages 186-7)
March 21, Friday. (2:00–4:00 p.m., 6:20–7:20
p.m.) In NBC Studio B, Bing transcribes a Philco show with Burl Ives which is
broadcast on April 23.
March 22, Saturday. Another 78 album of Bing's records - Cowboy Songs, Vol. 1 - has been released and Billboard reviews it.
Another
anthology of Bing Crosby, this time packaging eight of his cuttings of western
songs of early vintage but still standing up for the most part to the test of
time. Supported by the music of Victor Young, John Scott Trotter and Jimmy
Dorsey, plus Eddie Dunstedter at the organ for There’s a Gold Mine in the Sky, the Crosby chanting is heard again
for Home on the Range, When the Bloom Is
on the Sage (the Foursomes on the vocal assist), I’m an Old Cowhand, Mexicali Rose, Silver on the Sage, Take Me Back to
My Boots and Saddle and My Little
Buckaroo. Bing in 10-gallon hat and riding a broncho makes for the album
cover design with an accompanying booklet for the folk music.
(Billboard,
March 22, 1947, page 110)
March 24, Monday. (2:30–1:15 p.m., 5:40–5:55
p.m.) In NBC Studio B, Bing rehearses for another Philco show. (1:15–3:15 p.m.,
5:55–6:55 p.m.) Bing records the Philco show with Jimmy Durante for
transmission on April 16.
March 25, Tuesday. (10:00 p.m.–12:30 a.m. on
the 26th.) Makes his only two records with Al Jolson, “The Spaniard That
Blighted My Life” and “Alexander’s Ragtime Band.” Morris Stoloff and his
Orchestra furnish support. “Alexander’s Ragtime Band” spends two weeks in the Billboard
Best-Seller charts in the No. 20 spot.
Good natured joshing by two great show business figures. Get
Jolson’s mimicking an aria on Life. (Decca 40038)
(DownBeat, June 4, 1947)
ALEXANDER’S RAGTIME BAND - THE SPANIARD THAT BLIGHTED MY LIFE Bing
Crosby and Al Jolson with Morris Stoloff’s Ork Decca 40038 It
takes no genius to tout the “greatest.” But if this pairing by Crosby-Jolson doesn’t
plough little aisles all over the country for people to lay in, then there are
no prophets. Casey didn’t strike out and the atom bomb won’t work. Without
boring you with details, it’s simply colossal. Crosby and Jolson (in the
same easy informality that has Hooperocketed Bing’s Philco show) do two
American favorites with charm, humor, grace and, leave us face it, class. With
“Alexander” benefitting from exploitation of the same-titled Fox pic revival;
with “The Spaniard” a natural for the mass audience that loves it when Bing and
Al clown it up, there’s no more question. Decca’s Jack Kapp can take a fast bow
and run for cover before the orders swamp him under.
(Billboard, April 26, 1947)
Decca cashed in on the situation. Both artists were under contract
to the label and they issued a new version of one of the numbers Al and Bing
had sung on the Philco show—“Alexander’s Ragtime Band” and backed it with a
novel version of “The Spaniard That Blighted My Life.” Stoloff did the
orchestrations for this. It was Jolson’s way of showing how much he appreciated
the value of the balding musician who had begun his professional life as a
violinist. However it was to be the only commercial recording Jolson and Crosby
made together.
(Al Jolson, page 234)
March 26, Wednesday. (5:00–7:25 p.m.) Bing
records “Go West, Young Man” and “Tallahassee” with the Andrews Sisters and Vic
Schoen and his Orchestra. (9:00–9:30 p.m.) Bing’s transcribed Philco Radio
Time show is broadcast by ABC. The guests are Jack Benny, Mary Livingstone,
and Peggy Lee. This is Skitch Henderson’s last appearance as a regular on the
show.
When Jack Benny and Mary Livingston drop in for a visit to Bing
Crosby’s program this evening at 9:00 p. m. Bing will bring to light one of his
hidden talents. Violinist extraordinary Benny offers Bing a summer job as a
member of his band playing at a beach resort. Unable to afford Bing’s crooning
services. Benny suggests that Bing could handle a light band chore playing the
cymbals. For an hilarious finish. Bing, Jack and Mary Livingston form a trio
offering “Margie” with Benny playing the violin.
(The Jackson Sun, 26th March 1947)
Tallahassee – Go West, Young Man
Strong
material, a solid record-selling name combination—maybe not at their very best,
yet good enough to be better than most—and this twosome certainly stacks up a
sure-fire two-sided juke attraction. Newly hatched Decca promotion activities
will be employed much in the same, and a successful manner that was applied to
the Jolson-Crosby “Alexander’s Ragtime Band” on this disking and should cull
for it added retail attraction. But “Tallahassee” with its very clever
second-chorus Crosby-Patti Andrews duet and its strength as song material, and
“Go West,” with its light-hearted lyrical ribbing of the California Chamber of
Commerce given the Crosby and Andrews touch, should hardly require a fanfare to
make the hit grade. Both tunes are from films, “Go West” from “Copacabana” and
the other from “Variety Girl.”
(Billboard,
May 17, 1947)
March 28, Friday. (9:00 –11:10 a.m.) Records
three songs with Victor Young and his Orchestra and the Ken Darby Singers.
The Chistmas Song—FT; V. O Fir Tree Dark—W;
V.
Of greater merchandising import are the lovely “Christmas Song”
ballad and the caroling for the hymnal “O Fir Tree Dark.” For the seasonal
songs, vocal gloss is added to Crosby’s soulful chanting by the Ken Darby
Singers with John Scott Trotter (sic) providing an effective musical base. “The
Christmas Song” will catch the holiday coins.
(Billboard, November 8, 1947)
March 29, Saturday. A
Certificate of Merit signed by President Truman is issued to Bing in
recognition of his service to the United States. It is awarded for
"Outstanding fidelity and meritorious conduct in aid of the war effort
against the common enemies of the United States and its allies in World
War II." It is subsequently presented to him on April 6, 1948.
March 31, Monday. (12:30–1:15 p.m.,
4:30–4:40 p.m.) In NBC Studio B, Bing rehearses for a Philco show. (1:15–2:15
p.m., 4:40–6:40 p.m.) Transcribes a Philco show in Hollywood with Al Jolson and
Irving Berlin which is broadcast on May 7. During the day, Bing and Bob Hope
are at Paramount looking at a rough cut of Road to Rio. (9:30-9:45 p.m.)
Bing, Jack Benny, Burns & Allen, and Bob Hope appear on a Pacific Coast League baseball preview
radio show on station KLAC. This has been transcribed.
April 2, Wednesday. (9:00–9:30 p.m.) Bing’s
transcribed Philco Radio Time show is broadcast by ABC. The guests are
Al Jolson, John Charles Thomas, and the Ken Darby Choir. The program recreates
an old-time minstrel show. The Hooper rating is a massive 25.8. During the day, Dixie arrives home from a trip to
the east coast.
Revival of the burnt cork era on the Bing Crosby Show (2nd) on ABC
with Al Jolson and John Charles Thomas as guests was one of the stronger
packages delivered by Der Bingle since he espoused the cause of transcriptions.
The informality, knowing humour and sophisticated and yet respectful ribbing of
minstrelsy by a set of experts, created a mood that warmed old-timers who have
memories of Dockstader, Primrose et al and gave the youngsters a look see into
a theatrical form that’s long since gone. Mixture of old-time tunes and ‘Who
was that lady you wuz with last night?’ cracks hit constant bullseyes as far as
laughs and sentiment were concerned. The duets, trios and solos by the
participants produced the essential nostalgic atmosphere and even Ken
Carpenter’s commercials took on the mood of the rest of the show.
(Variety, April 4, 1947)
AI Jolson, by now an old hand at
hypoing the Hooper wherever he guests, took Bing
Crosby’s Philco series for a sky ride last week and sent the show soaring
to its highest rating since the first disc was spun. Checkers caught the show
at 25.8.
(Daily
Variety, April 9, 1947)
Bing Crosby, John Charles Thomas and Al Jolson took no chances
on offending us squawkers when Bing’s WJZ air program did an old fashioned minstrel
show recently. The show was good and corny but funny without ridiculing the
Negro. Bing paid tribute to the late pantomime master comedian, Bert Williams,
when he sang, “I Ain’t Done Nothing to Nobody.” Baritones please note: Bing and
Al changed the word ‘darkies’ to ‘voices’ when they sang James Bland’s nostalgic
In the Evening in the Moonlight. How
about a little more consciousness on the part of all who sing songs which contain
this and other similar words? ‘Tis very
easy to do, as Bing and Al proved in their hilarious broadcast.
(The People’s Voice (New York, New York), April 19, 1947)
April 3, Thursday. Bing leaves for the east
coast.
April 4, Friday. (8:00–8:15 p.m.) Bing
guests on Burl Ives’ radio show on ABC. This was a transcribed program. Bing
sings “Red River Valley” and duets with Ives on “Three Green Bottles”.
April 6, Sunday. In Chicago, Bing attends Easter services at St. Ita’s Church,
Catalpa Avenue and stays at the Edgewater Beach Hotel (suite 471-71A).
April 8, Tuesday. Bing sends a hand-written letter to a Mrs. Frances Sullivan of Chicago.
Dear
Mrs. Sullivan
I’m
agreeably surprised that you and your husband should consider me well-dressed.
Even tho I was in my finest for Easter – don’t you know I’m notorious as the
worst dressed man in show business? And I have been for years. I must be
slipping.
Warmest
regards, your friend, Bing Crosby
April 9, Wednesday. (9:00–9:30 p.m.) Bing’s
transcribed Philco Radio Time show is broadcast by ABC. The guests are
Peggy Lee and Alec Templeton. During the evening, Bing transcribes his Philco
show at the Hines Hospital for Veterans in Chicago. Groucho Marx guests with
Dorothy Shay on the show which is broadcast on April 30.
April 10-12,
Thursday-Saturday. Plays in the 54-hole Twelfth
Annual Midwest Amateur Golf Tournament at the Hill Course, French Lick
Springs,
Indiana and finishes 12th with a score of 240 (85-78-77). His handicap
is 4 and he had recently been afflicted with a shank but the local pro
(Mel Smith) cured it for him. Whilst staying at the French Lick Springs
Hotel, he despatches a
hand-written letter to Bill Morrow at the Ambassador East Hotel in
Chicago.
Dear Bill,
That was quite a hassle last eve, but I guess we’ll get away with
it. You know I told that ass, Banks, to kick the P.A. way up to overcome the
size and volume of the band in that small room and playing from that shell - I
think he turned it off altogether. It was a tough audience, but suitable. We
should pre-cut songs downtown again as we’re using Hank, show at base can be
later. Any home the hospital authorities approve. And I think we should
definitely go to the base. Also all shows in New York area should be from
hospitals, with pre-cuts made at studio unless inordinately expensive. We
should have more time at the hospital for dialogue rehearsal and piano
rehearsal on songs, and for a suitable warm-up, and this last named (?). I
don’t think they heard half of what was said or sung. It seems to me, when
we’re working from a hospital, announce it as such, no one is going to be so
captious as to criticize quality. We have the pre-cuts on the songs in any
case. On this show we should use pre cuts of all numbers save Shay’s
solo and possibly Albuquerque. These may have been best at the hospital. I want
to use Shay for a solo and some small talk next week or some dame equally
should be set.
I left a large brown envelope
containing some mail in Charlie Crane’s apt at the Churchill. Have Ja(y)ne pick
it up. It has a letter in it for you. Be sure and use the Edgewater clippings.
You can work better there, and be free from interruption whether engaged in
social activity or literary endeavor. Don’t use Shay if you’re going to be
short and cut her anyhow. I heard show last nite but we used wrong take on
Glocca. Otherwise it (illegible).
Weather balmy here - nice trip down
- hope phones go in soon and we can discuss these things more in detail.
Tell Sam they’re running at ????
and I may ease a few heats (?).
Regards, Bing
Have Ja(y)ne call Bennat at Hines
and ask for some photos taken at show and before.
April 12, Saturday. The Paramount newsreel
copyrighted today includes footage of Bing at the Paramount studios greeting
actress Corinne Calvet.
April 13, Sunday. Bing arrives in Columbus,
Ohio to watch the Pittsburgh Pirates lose to Columbus two to one in an
exhibition game at Red Bird Stadium. The attendance is 10,234.
April 14, Monday. (Starting at 11:30 a.m.)
Bing plays golf at Scioto Country Club, Columbus, with Red and Bud Trautman and Carroll
Widdoes. Bing cards an even par seventy-two. He goes on to see the last hour of
the Ohio State football squad’s spring drill before returning to Chicago and
the Edgewater Beach Hotel. Bill Morrow has been allowed to occupy Bing’s suite
during his absence.
April 15, Tuesday. (Starting at 1:30 p.m.) Bing and Groucho Marx
watch the Pittsburgh Pirates play the Cubs at Wrigley Field in freezing
temperatures. Star First Baseman Hank Greenberg makes his debut for Pittsburgh
and helps the Pirates to a one to nil win. The attendance is 29,427.
In 1948 Groucho was doing a show with me in Chicago when
our radio troupe was touring in that area. It
happened to be opening day of the National
League baseball season. It was a cold
and blustery spring-afternoon, with
the wind whipping off Lake Michigan. But the Pittsburgh
Pirates were engaging the Cubs just the same
and we were determined to see the game. With a view to
the threatening temperature, all members of our
gang put on plenty of extra warm clothing except Groucho. He
turned down my offer of a suit of long-handle underwear. He gave
a five-minute monologue covering his reasons for doing this,
although at the time he didn’t even sport a mustache for
added warmth.
He soon regretted declining the woolies because it was
really cold at the ball park, and he was even more vociferous in bemoaning his
congealed condition than he’d been in turning down my offer
of clothing. His body was cold but his jokes were sizzling. A big
fellow sat in front of us wearing one of those luxuriously
thick, cashmere-soft, three-hundred-dollar
camels-hair overcoats, or maybe it was a vicuna.
Groucho tapped this fellow
on the shoulder and said, ‘Would you mind removing
your overcoat? I can’t see the game.”
He really
broke up the box with his sallies,
his observations about Chicago, the weather, and the Pirates. He even made a bonfire
of our programs to keep warm. Finally, he gave up, shivered his way to a taxi
and went back to the Ambassador East to catch the rest of the ball game on the
radio.
(Call
Me Lucky, page 277-8)
April 16, Wednesday. (9:00–9:30 p.m.) Bing’s
transcribed Philco Radio Time show is broadcast by ABC. The guests are
Jimmy Durante and Peggy Lee. Bing records another Philco show at Ross
Auditorium, Great Lakes Naval Training Center with Groucho Marx and Hank
Greenberg. The show is broadcast on May 14.
“My
husband said he wouldn’t walk across the street to hear a crooner, so I had to
come alone,” explained a matronly woman as she took a seat in the section
reserved for navy brass at Ross stadium, Great Lakes.
Well,
Bing Crosby, who was the attraction that night, is considerably more than a
crooner. He’s the minstrel of the era,
the No. 1 entertainer of our times, if we can believe what we hear from the
movies’ box office, Mr Hooper’s radio ratings, and Jack Kapp’s Decca
statistics.
The
1,800 navy men (200 of them on stretchers and in wheel chairs) who gathered to
watch him transcribe his ABC radio show found him a swell guy, a great singer,
a very funny fellow, and generous with his time and talents.
To
us he is all that – and somewhat of an enigma too. For two weeks we had been striving without
success to talk to Bing and to look in on his rehearsal. Bob Hope answers the phone himself; so does
Jack Benny. And even the President of
the United States meets the press. But
Bing is elusive.
We
were about to give up the chase when word came that radio editors would be
welcome to watch Bing record his show at Great Lakes. After we reached the station we were
cautioned that if we met Bing (which we didn’t on this occasion although I had
met him at the Quiz Kids’ session and found him very old shoes) we were not to
ask him any questions.
So
we didn’t meet him but we had sandwiches and coffee with the Crosby entourage,
which included Bill Morrow, his writer-producer, formerly with Benny; Murdo
MacKenzie, co-producer; John Scott Trotter, that genial, courteous North
Carolinian whom we have admired since his Hal Kemp days; Hank Greenberg, a
pleasant fellow, and his heiress wife, and Society Kid Hogan, bon vivant, vocal
coach, chronic aesthete, horse authority, and Randolph Street fashion plate.
(The Kid was wearing a pearl gray suit and a bright red sweater.)
A
Crosby rehearsal and transcription is as relaxed as a cat lying in the
sun. It has about as much tension as a
piece of spaghetti and about as much hurry as a child getting to bed. An air of exaggerated carefreeness pervades
the scene. Crosby leans against a piano
in an attitude of complete unconcern.
With his balding dome he isn’t recognized immediately by the navy
men. His trade-mark – the flowered shirt
– is missing. A dun colored garment
hangs over brown slacks.
Groucho
Marx, sans mustache and hair, in a bilious green shirt and loud suspenders
isn’t easy to identify, either. Trotter
carries on an amiable conversation with musicians: Greenberg, Warren Brown, and Morrow gab. MacKenzie hasn’t a care in the world. It’s a scene of contrived casualness. That apoplectic air that precedes the curtain
raising of most radio shows is missing.
Only Jane Hill, secretary to Morrow, seems concerned. She is rushing
about, teetering on spiked heels.
Finally,
well after the designated hour for starting, Bob Murphy, Chicago announcer,
introduces “The Man” (That’s what Bing is called by his henchmen.)
“Sorry to keep you fellows waiting,” says
Crosby, “but we had to get a few things lined up. At least we’ll know pretty soon whether
they’re lined up."
The
show was largely devoted to the first day of baseball – that Cub-Pirate deal in
which Greenberg showed signs of earning the money Crosby pays him as a co-owner
of the team. It was funny then, but
won’t it be a little stale by the time the show is played on May 14th?
Bing
did a wonderful job that night singing that paean to status quo, “Glocca Mora,”
but even if he hadn’t it wouldn’t matter.
All his songs had been transcribed earlier in the day at the Merchandside
Mart and the best rendition is picked for the radio show. A transcription has the advantage that it is
subject to editing and revision. And we
have a feeling that some of those jokes about Groucho’s girl baseball team will
get the blue pencil, but we hope that one about “a curve on every bag” will be
spared.
We
thought it all went off smoothly but afterwards we heard one of the Crosby crew
say: “It was a hassel.” A local radio
expert explained: Hassel is Hollywood for rat race.”
(Larry Wolters, Chicago Tribune, April 27, 1947)
April 17, Thursday. (Starting at 1:30 p.m.) The Pirates beat the
Cubs seven to one at Wrigley Field and Bing was probably there. (6:15-6:45 p.m.) A special presentation titled “Going His Way” by New York Catholic Charities with
appearances by Bing, Barry Fitzgerald, Ruth Hussey, and Jimmy Durante among
others is heard on NBC.
April 18, Friday. Bing arrives in Pittsburgh by train for
the Pirates opening home game in the National League. Starting at 3:00 pm., he sees his team win
twelve to eleven against the Cincinnati Reds in front of a record crowd of
38,216 at Forbes Field. He also takes a turn at broadcasting the play-by-play
commentary with Rosey Rowswell. Later he attends a Baseball Banquet at the
William Penn Hotel when the Chamber of Commerce honors the new owners of the
Pittsburgh Pirates. Bing sings “Goodbye Mr. Ball, Goodbye” and “The Anniversary
Song.” The after-dinner proceedings are captured by radio station WWSW.
Bing
Crosby was all dressed up for the Chamber of Commerce dinner last night at the
William Penn Hotel. Der Bingle wore a tie!
Crosby
was one of the honored guests at the banquet to pay tribute to the new and old management. And, as usual, he stole the show, much to the
delight of almost 1000 who turned out for the affair.
Before
Bing got to the microphone, President Frank McKinney of the Pirates prepared a
surprise.
He
secretly installed Buzz Aston, KDKA crooner, at one end of the hall, and had
him sing two of the songs he did in the Baseball Writers’ Show last February,
when he imitated Bing. Aston, who can croon low, was accompanied by Cap Davies
and Frank Natale, and his skit almost knocked Crosby off his chair.
When
it came Bing’s turn, he turned on everything. Charm, songs, sweet talk and a
personality that can’t be beaten.
Bing
sang one song without benefit of accompaniment and for an encore, crooned
“Anniversary Waltz,” (sic) aided by
the pianist. Gosh, if he could only pitch!
(Les Biederman, The Pittsburgh Press, April 19, 1947)
April 19, Saturday. Golfs at the Allegheny Country Club in the morning and has a 76. Starting at 1:30 pm., the Pirates beat the
Reds six to one at Forbes Field to complete their fourth straight triumph and
they reach the top of the National League.
April 20,
Sunday. Golfs at the Oakmont Country Club and has a 78. (Starting at
3:00 p.m.) A
double-header at Forbes Field sees the Reds win thirteen to five in the
first
game while the Pirates win the second seven to five. Bing arrives
midway through the first game when the Reds are already winning 7-0.
April 23, Wednesday. (9:00–9:30 p.m.) Bing’s
transcribed Philco Radio Time show is broadcast by ABC. The guests are
Burl Ives, Peggy Lee, and Les Paul.
April 25, Friday (afternoon). Bing is one of several
stars who entertain 150 wounded veterans in the ballroom at the Delmonico Hotel
in New York. Others advertised to appear are Mary Pickford, Ethel Smith and
Ralph Bellamy.
April 27, Sunday. Bing is thought to have
been at Yankee Stadium for “Babe Ruth Day”. A ceremony is held during which
Babe Ruth gives a short Goodbye speech over the microphone to the crowd of
58,339 (the highest of the season).
April 29, Tuesday. (9:00-9:30 p.m.) Bing makes a non-singing
guest appearance on a CBS radio program called Vox Pop as he is cut in from New York to be interviewed by Parks Johnson and Warren Hull.
April (late in month). Bing commences transcribing Philco
shows in New York which are broadcast from May 21 onwards. During his time in
New York, Bing stays at the Hotel Drake at 440 Park Avenue.
April 30, Wednesday. (9:00–9:30 p.m.) Bing’s
transcribed Philco Radio Time show is broadcast by ABC. The guests are
Dorothy Shay and Groucho Marx. Bob Murphy is the announcer.
Groucho Marx, comedian of vaudeville, Broadway, the movies and radio,
and Dorothy Shay, who travels under the banner, “The Park Avenue Hillbilly”
will visit the Bing Crosby show…The show originated in Chicago, the trio made
with comedy, both in patter and music, for the boys at Vaughn Veterans
Hospital.
(The Des Moines Register, 30th April, 1947)
The West is benefiting from Daylight Saving on the
radio, even if the East isn’t. The shows that are being transcribed are being
released at a time when Westerners are home to hear them. The quality of the
platters is excellent, except, of course, the Bing Crosby e.t. which still
sounds as if Bing and cast were doing their broadcasting from a barrel. What’s
the reason for that?
The explanation is easy. Crosby platters are not cut
continuously, then simply played back. A Bing Crosby recording session produces
a whole bunch of records. The best of these records are then dubbed on to the
platter which is finally broadcast. Some records are dubbed and even re-dubbed,
and with each dubbing there is a loss in tone quality. The question now is
this: The sponsor is paying $3,000,000 a year for Bing’s show with Bing getting
$35,000 a week, so when is he going to conclude he’s entitled to the original
Bing, not a carbon copy.
(William Moyes, The Oregonian, May 6, 1947)
May 7, Wednesday. (9:00–9:30 p.m.)
Another transcribed Philco Radio Time show is broadcast and Bing’s
guests are Irving Berlin and Al Jolson.
Bing Crosby and Al Jolson in their now familiar act with an assist
from Irving Berlin, really wrapped it up last Wednesday (7th) on Der Bingle’s
ABC platter show; parlaying nostalgia and sock showmanship for a bang up half
hour session. Take off on the Ralph Edwards “Mr. Hush” give-away with “492 huge
prizes”, including a herd of sheep, a kit of burglar tools, a case of Chevrolets
and a town in Indiana, gave the program an added comedy fillip. Jolson and
Crosby sweetened their harmony with every duo and they really got together on
the Berlin medley. It’s radio’s top parlay today, bar none and if Philco has
that kind of dough to kick around next season, a Bing/Joly permanent team-up
could be a sure bet for Number One spot in the 1947/48 Hooper sweepstakes.
(Variety, May 14, 1947)
May (undated). Transcribes a Philco show at Radio
City, New York, with Fred Allen and Connee Boswell which is subsequently
broadcast on June 4.
May 8, Thursday. Records “Feudin’ and
Fightin’” and “Goodbye, My Lover, Goodbye” with Bob Haggart and his Orchestra
and the Jesters in New York. “Feudin’ and Fightin’” reaches the No. 9 position
in the Billboard charts and spends four weeks in the lists.
Feudin’ and Fightin’—FT; V. Whiffenpoof Song—V/;
V. Goodbye, My Lover, Goodbye—FT; V. Kentucky Babe—FT; V.
Bing Crosby, surrounding himself with good vocal company and fine
musical assist, brings a full measure of enjoyment in his singing for each of
these four sides. In high order in striking rhythmic style is his vocal
fancying for the catchy mountain novelty “Feudin’ and Fightin’,” bringing out
all the mountain humor of the lively ditty. The Jesters join their voices with
Crosby on the chant with Bob Haggart’s music providing pert rhythmic beats. In
the same lively fashion, with Bob Haggart’s music in support, Crosby and the
Jesters make it just as tasty for “Goodbye, My Lover, Goodbye.” For the second
set Crosby calls in Fred Waring’s glee club, and in a capella style sings it
most expressively and with beautiful vocal harmonies for the “Whiffenpoof Song”
and “Kentucky Babe.”
“Feudin’ and Fightin’” will find
its way into jukes.
(Billboard, July 26, 1947)
May 11, Sunday. (3:00-3:30 p.m.) Mother's Day. Bing has a short spot in
Father Peyton's Family Rosary Crusade radio program The World’s Greatest Mother on the
Mutual Network. (8:30–9:00 p.m.) Guests on Fred Allen’s radio show on NBC. The
show is titled “The Hollywood Mikado.”
...Titled “The
Story of the World’s Greatest Mother,” the broadcast will trace events in the
life of Mary as the mother of Christ. Music will be produced by Meredith
Willson’s orchestra.
(Chicago Tribune, May 11, 1947)
Just before Bing
Crosby went on the air from Mutual’s New York studios, during the all-star “World’s
Greatest Mother” program yesterday afternoon. He sat in the network’s offices
calmly listening to a radio description of the St. Louis Cards- Pittsburgh Pirates
baseball game. He did so with interest, being part owner of the Pittsburgh
club.
(Daily News, May 12, 1947)
Bing
Crosby, himself in person and not transcribed, and his host Fred Allen will do
a take-off on the foibles of Hollywood life tonight at 8:30 over WIBA. Set to
the music of “The Mikado” the popular Gilbert and Sullivan operetta, the comedy
dialogue will be in the true Crosby-Allen tradition. Busy-boy Crosby, who just returned
from a visit to his ball club, the Pittsburgh Pirates, will be making one of
his rare “live” appearances when he saunters into Allen’s Alley.
(Alan
Beaumont, The Capital Times (Madison,
Wisconsin), May 11, 1947)
May 12, Monday. (3:00-3:30 p.m.) Bing appears
on the Barbara Welles show on the Mutual Broadcasting system radio
station WOR. The
show is hosted by former model Florence Pritchett calling herself Barbara
Welles. During the day, Bing has a recording session with John Scott Trotter
and his Orchestra plus the Skylarks in New York at which three songs are
recorded.
Florence
Pritchett, who’s riding the WOR kilocycles under the monicker of Barbara Welles
and who was the whilom Barbara Bruce of the N. Y. Journal-American women’s
page, had an auspicious launching Monday (12) of her daily half-hour gab spot
which was formerly occupied by Martha Deane. Bing Crosby was her guest and he
pushed the program off at a pace that’ll be difficult to match in future
sessions. With Crosby blooming in the spring with an iridescent and irrepressible
line of chatter, there wasn’t much room or time on the preem for anyone else.
It's unfair, moreover, to evaluate any gabber when he or she is up against such
a free-wheeling maestro of the flippant phrase as Crosby. Miss Welles didn’t
manage to hit any home runs during her few times at bat but she fielded Crosby’s
line drives neatly and kept the conversational ball from being lost in a pocket
of dead air. Definitely in her favor for the daily grind is her bright, clear
voice, her unaffected manner and an average quality of educated speech that’ll
make any hausfrau feel right at home. And the graceful way she hurdled the obstacle
of a plug, for a fudge company by making Crosby take the leap
with her indicates smooth traveling for her through the jungle of afternoon
commercialism.
(Variety, May 14, 1947)
I Do, Do, Do Like You—FT; V. The Old
Chaperone—W; V.
Senor Bing dips down below the border. And on him, it looks good.
Assuming a calypso pose, with the fem voices of the Skylarks adding vocal
assist and John Scott Trotter’s music making the rhythmic background
toes-teasing, Crosby chants it with full calypso fancy for “I Do, Do, Do Like You.”
And just as potent is his piping the comedy wordage for “The Old Chaperone,” a
lilting Mexicali waltz melody about thwarted lovers. Crosby rings the bell with
both sides for coins.
(Billboard, July 12, 1947)
…“Kokomo, Indiana,” a folksie specialty song from the “Mother Wore Tights” movie
which Bing Crosby chants in breezy style with the assist of the harmonizing
Skylarks and John Scott Trotter’s music…
(Billboard, August 16, 1947)
May 13, Tuesday.
(8:00-8:30 p.m.) Makes a guest appearance on the radio show "Musical
Caravan" on WNYC. This is in behalf of aid for veterans and disabled
men
May 14, Wednesday. (9:00–9:30 p.m.) Bing’s
transcribed Philco Radio Time show is broadcast by ABC. The guests are
Hank Greenberg, Groucho Marx, and the George Barnes Octet. Bob Murphy is the
announcer.
Bing Crosby puts emphasis squarely on variety tonight with a guest
line-up which includes Groucho Marx, Hank Greenberg, slugging first baseman of
the Pittsburgh Pirates; Warren Brown, sports-writer for the Chicago
Herald-American, and the George Barnes Octet. “The Groaner” who lists himself as
the Pirate’s “vice president in charge of watching games, eating hot dogs and
keeping my mouth shut” will air a comedy sports skit with Greenberg, Marx and
Brown in the cast. On their second times at bat Groucho and Bing will sing a
duet on “Good-by, Mr. Ball, Good-by”. (9 p.m., WISH-ABC)
(The Indianapolis Star, May 14, 1947)
May 16, Friday. Bing plays eighteen holes
of golf at the Pine Valley club in Philadelphia. A compilation film Road to
Hollywood is released by Astor Pictures which features the first four of
Bing’s film shorts for Mack Sennett.
Astor Pictures has come up with what looks like a
goldmine of an idea with its compilation of four old Mack Sennett - Educational
two-reelers starring Bing Crosby into a feature-length production appropriately
titled “Road to Hollywood.” Shorts were bought by Astor prexy Bob Savini several
years ago when Educational went bankrupt. Entire cost of this production is
some $20,000 and, with the film already booked into several of the major
circuits. Savini should realize several times that amount in profit.
Savini was aided in the compilation by Bud Pollard,
prexy of the Screen Directors’ Guild, eastern chapter, who re-edited and tied
together the shorts with a live narration, in which he is seen on the screen
seated in a director’s chair. With Crosby’s name as surefire marquee lure and with
some zany Sennett slapstick for good word-of-mouth, the film should bolster
double bill situations wherever played, if properly ballyhooed. It’s not strong
enough nor long enough to hold up by itself.
Savini and Pollard did a creditable job on editing the
briefies, managing to integrate a faint story line with them. Opening with
Pollard explaining to the audience that this is how Crosby got his start in Hollywood,
the film fades into one of the shorts depicting the Groaner starting off to the
Coast in a dilapidated jalopy (a stock Sennett trademark). Then, with Pollard
bridging each gap with his explanatory narration, the other three shorts have
Crosby in typical Sennett comedies, things which he probably wouldn't deign to
do now.
Stuff, besides being hilarious, has a certain
nostalgic quality which should
please any audience. Interspersed with it all, of course, are eight oldtime
faves sung by Crosby. There’s been considerable speculation lately about
whether his voice is as good now as it was several years ago and this picture proves,
at least, how terrific he was when he first hit the Coast. He dishes out “I
Surrender, Dear,” “At Your Command,” “Out of Nowhere,” “Wrap Your Troubles in
Dreams.” “I’d Climb the Highest Mountain,” “Just One More Chance” “Mine All Mine,''
and “When I Take My Sugar to Tea,” all of which he almost single-handedly
boosted to Hit Parade status. Sound track is free of fuzz, stacking up with
present-day standards of recording.
(Variety, May 21, 1947)
May 17, Saturday. Plays in the National
Celebrities Golf Tournament at the Columbia Golf and Country Club, Washington,
D.C. Bing tees off at 2:40 p.m. with Senator Robert Taft, A. B. (Happy)
Chandler, Hildegarde and Arthur Godfrey. He has an 80. A crowd of over 7,000 is in
attendance.
May 18, Sunday. Bing takes part in the
second day of the National Celebrities Golf Tournament playing with Gene
Sarazen, Bobby Jones, and General Omar Bradley. Bing comes second with 158 in
the special division excluding established golfers. Film of the event is
included in the Paramount newsreel of May 24.
May 21, Wednesday. (6:00–7:00 p.m.) Bing
sings three songs outside a house in Columbus Circle, 59th Street, New York,
which is the HQ of the Damon Runyon-Winchell Fund for Cancer Research. A crowd
of 5,000 help raise money for the Fund. Ken Roberts acts as MC and others
appearing are Henny Youngman and Monica Lewis. (9:00–9:30 p.m.) Bing’s
transcribed Philco Radio Time show is broadcast by ABC. The guest is
Maurice Chevalier. Bob Murphy is again the announcer.
Bing Crosby has added another honor to his already
imposing list. The editors of “Song Hits Magazine” have named him first male
singer of the country and added: “Probably the most outstanding popular singer
of our time.”
…But getting back to top singers, Maurice
Chevalier and Bing Crosby combine the top singing talents of two continents and
the thrill of fondly remembered songs when the French entertainer makes his
first post-radio appearance on the Crosby show tonight at 9 o’clock on WTS-ABC.
Fun and nostalgia follow each other when
Crosby and Chevalier imitate each other’s singing styles and Maurice is heard
once again in “Louise” from his first Hollywood film, “The Big Pond,” in which
Claudette Colbert was his leading lady and which the parents of many of the
younger folks listening saw during their courtship days.
Raising the singing commercial to unheard
heights of grandeur the pair make duet of a parody on “Valentine” in which the
sponsor’s product is extolled in a special lyric fitting the tune that has
become associated with gentle ribaldry.
Tonight’s Crosby show promises to be the most
discussed, quoted and praised radio show in a season of memorable Crosby
programs.
(Glen Johnson, The Jackson Sun, May 21, 1947)
May 23, Friday.
Bing and Bill Morrow arrive in Quebec and Bing is interviewed at the
railway station by Station CKVL. He goes on to play golf at
Laval-sur-la-Lac with J. P. Emile Collette, vice president of
Associated Textiles, and has a 74.
May 24-26, Saturday-Sunday.
In a four-man fishing party with Bill Morrow at Clear Lake at the
Seigniory Club, Chateau Montebello at Montebello, Quebec. On one day the fishermen catch 20 brown trout in three hours. J. P. Emile Collette is the host of the party.
May 27,
Tuesday. Bing and Bill Morrow leave Quebec on the Canadian National
Railways
“Washingtonian” train in car 82 (Room A) to Boston. While he is in
Quebec, Bing cuts two transcriptions of "Calling All Hearts", Allan McIver's theme song for the Federation of Catholic Charities.
May 28,
Wednesday. Plays nine holes at the Brae Burn course at West Newton,
Massachusetts, with Elmer Ward and Fred Corcoran. (2:30 p.m.) Bing
plays
in the Goodall Round Robin pro-am for the Children’s Hospital Medical
Center Campaign at Charles River Country Club, Newton, near Boston. He
and
Jimmy Demaret play Elmar Ward and Frank Craven in front of a crowd of
5,000.
Bing has an eighty. After the golf, Bing entertains the crowd with a
few songs whilst standing on a table.
Sixteen of golf's top professionals teed
off with relief today in the Goodall round robin—for Bing Crosby and his stampeding
bobby sox fans were gone from the again-pleasant acres.
Pressure is one thing and the shrill
squeals and screams which rolled over the hills and echoed through the dales at Charles River country club yesterday are
another. Golf etiquette was fractured beyond recognition as several thousand fans
followed Bing down the road to par oblivion.
Surrounded by 17 protecting local
gendarmes, Bing played 18 holes in the pro-amateur kickoff to the Goodall tournament.
With him were Jimmy Demaret, host Elmer Ward and Frank Craven. Suffice it to
say that Craven is club champion and shot somewhere in the neighbourhood of an
80
Nobody in the foursome got close to par
but it was a neck and neck race between Demaret and Crosby for “best dressed”
honors with Bing off his recaing record again, no doubt, winding up in the
place spot. The crooner's ensemble was a brown hat with blue polka-dot ribbon; blue-green
shirt; gold sweater; mustard slacks and brown shoes. Demaret upheld his sartorial prestige with a white
cap of the gay nineties auto duster type; yellow shirt. Nile green slacks and honest-honest—green and grey alligator
shoes.
“The sunlight glaring off those shoes
is ruining my game,” Crosby complained as they jostled their way through a
tough road show.
It was a new experience for such stars
as Ben Hogan, Sam Snead and Lloyd Mangrum. Accustomed to large galleries, they
played practically in private. It was so
upsetting that Hogan, out in five under par 31, slipped off his game and came
in with a 36.
“The silence got me,” he grinned.
But there was little silence between
Crosby and Demaret, who must have been substituting for Bob Hope. They heckled, sang and
whistled all the way until tee shots looked like five iron pokes and three putts were the rule. And when
they putted out on the 18th the crowd closed in tight.
Standing on a table, Crosby sang several
songs and then told his adoring public that he was sorry he couldn’t stay.
“I’ve got to get a plane to Pittsburgh and
give Hank Greenberg a rubdown.” said Bing….
(Oscar Fraley. (UP), May 29, 1947)
(9:00–9:30 p.m.) Bing’s transcribed Philco Radio Time
show is broadcast by ABC. The guests are Margaret O’Brien and the Charlie
Magnante Quartet. Bob Murphy makes his final appearance as announcer.
Margaret O’Brien, the screen’s youngest celebrity, will make her debut
as a radio singer when she visits Bing Crosby…In addition to joining Bing in a
duet of “You Won’t Be Satisfied Until You Break My Heart,” Margaret will
discuss the qualifications of her host’s four sons as suitors…Accordionist
Charlie Magnante and his quartet, including electric organ, guitar and bass
viol, will play Chopin’s “Minute Waltz.”
(The Birmingham News, 28th May, 1947)
May 29, Thursday. (9.30 to 11:00 a.m.)
Back in New York, records “The Freedom Train” with the Andrews Sisters and Vic
Schoen and his Orchestra. Later, stars in the transcribed fifth anniversary Command
Performance radio show with Jack Benny, Fred Allen, and Judy Garland.
…Hardly had the ink dried on Berlin’s manuscript when Jack Kapp,
Decca’s prexy, decided the tune would be recorded by Bing Crosby and the
Andrews Sisters. Crosby came down out of the Canadian woods, where he was vacationing,
and within one week after the tune was written Decca had it on a master. Decca
is also cooking up special promotional plans in connection with its record.
(Billboard, August 30, 1947)
…While The Billboard does not necessarily believe that “Freedom
Train” will be a great nickel-grabber, the song, nevertheless, is a jingly
melodious tune which was written with the patriotic theme in mind, but Irving
Berlin also had one eye cocked on the general public and with Der Bingle and
the Andrews Sisters doing it, the potential is indeed great. The Decca version
of the tune is selected for possibilities because public-spirited Jack Kapp was
the first to hop on the rattler, and paired off Crosby and the Andrews Sisters
to assure the widest possible coverage.
(Billboard, August 30, 1947)
In early June (sic), the Andrews Sisters joined Bing Crosby again,
this time to record “The Freedom Train” by Irving Berlin—a red, white, and blue
recording session that lacked only Kate Smith and apple pie for completion.
Irving Berlin happened to be at Decca Studios the day Crosby and the sisters
recorded his song. Maxene remembered: “We didn’t get to know him too
well…We talked about the song with him. Then we listened to an hour of him
talking about himself.” Sponsored by the American Heritage Foundation, the
Freedom Train was a museum on wheels of the most important documents of the
United States. The train was scheduled to visit all forty-eight states and give
Americans the chance to view “about 100 documents of American history upon
which the development of democracy and civil rights is based” and to rededicate
themselves to the importance of freedom and the principles of the Constitution.
It was partly a reaction to the threat of post-war communism and other “isms”
perceived as threats to the United States. Berlin assigned all his rights to
the song to the American Heritage Foundation. Other recordings of the song were
made, but the Andrews-Crosby version was the only one to chart, albeit for only
a week, and was used in the soundtracks of the major newsreels promoting the
Freedom Train.
(Harry Nimmo,
The Andrews Sisters: A Biography and Career Record, pages 239-240)
May 31, Saturday. (Starting at 2:30 p.m.) Bing watches the Pirates lose 10-9 to the New York Giants at the Polo
Grounds in upper-Manhattan in front of a crowd of 35,000.
June 2, Monday. Bing is voted favorite male
popular vocalist by Billboard in its annual poll of radio editors.
June 3, Tuesday. Bing plays in a pro-am at
Meadow Brook Golf Club, Long Island with Cary Middlecoff. Bing has a 75 (which
is better than some of the professionals playing) and he and Middlecoff score
70 as a team but are not placed.
June 4, Wednesday. (9:00–9:30 p.m.) Bing’s
transcribed Philco Radio Time show is broadcast by ABC. The guests are
Connee Boswell, Fred Allen, and Skitch Henderson. Glenn Riggs is the announcer.
During the day, Bing records “You Do” and “How Soon” with Carmen Cavallaro in
New York. He may then have gone on to see the Brooklyn Dodgers beat the Pirates
again, this time nine to four. The game starts at 8:30 p.m. “You Do” reaches
the No. 8 spot in the Billboard Best-Seller lists and spends eight weeks
in the charts. “How Soon” enjoys 14 weeks in the charts with a peak reached of
No. 6.
You Do—FT; V. How Soon?—FT; V.
Singing in his usual easy and relaxed ballad style, and with
Carmen Cavallaro’s piano sparking the accompanying rhythm instruments to create
a background of lyrical intimacy, Bing Crosby chants it in simple and
forthright fashion for an effective “You Do” movie ballad from “Mother Wore
Tights,” and a pleasant plattering of sentimentality in “How Soon.”
(Billboard, August 30, 1947)
With Bing at Work - Preparing Recorded Show Is
Different (Headlines)
With all the jocularity of a clambake getting started in barefeet
and shallow water, a crew of performers skylarked through a robust performance,
borrowing, impartially, from vaudeville, burlesque and back porch conversation,
last week before a Radio City audience. Broadcasting was the vehicle. If you
could have been there, the guard to the outer door of Studio 6b would have told
you in an unnecessary whisper that ‘Bing Crosby is cutting’. Inside, radio was
taking its longest and liveliest joshing since some of its vice-presidents
began doubling as comedians, with Bing and Fred Allen, heavily buttering a
script being recorded for delivery on June 5th. Whether all the gags that came
to life without benefit of the script, ultimately will reach the air on the
appointed date is problematical, for, as you probably know, Mr. Crosby’s habit
now, is to record a show from five to twelve minutes overlong and then edit it
into a master disc, running the allotted time for his audience. Fairly certain
of reproduction however, would be Mr. Allen’s insistence that, ‘This had better
be a good show’. He explained that he might find it disquieting a month later,
‘To be in the position of tuning myself out!’
Although a number of potential
sponsors demonstrated their shyness last fall to Bing’s insistence on a
recorded broadcast, the performance of his troupe, last week, indicated that
the procedure induces spontaneity and freshness at the microphone. Lacking were
the tenseness, split second timing and the awed hush in the audience as a ‘live
broadcast’ prepares to go on the air. For instance, the performance for this
recording began at the absurd hour for radio of 7.37 pm. It ended almost forty
minutes later. The recording process, apparently, stimulates more relaxed
performance and freer ad-libbing. According to Bing’s reasoning, whatever is to
be gained thereby can be retained while flat spots can be easily eliminated, in
addition to which portions of the show can be repeated until the desired
delivery is achieved. Yet, perfection isn’t always sought, the delight of the
audience over a garbled line has been proved too frequently, an amusing
‘blow-up’ stays in. Thus, the final recording for broadcast is prepared from a
series of ‘takes’. The uninterrupted performance for the studio audience is not
entirely the version put on the air. As a matter of fact, a fair proportion of
the program usually is ‘canned’ during the rehearsal before the studio show. If
it weren’t for the microphone, to a casual passer-by, Mr. Crosby’s show, last
week, might have been going on in one of the theatres that once advertised
eight acts for a quarter, a Second Avenue tavern or a tent. Certainly there was
nothing more nonchalant or leisurely in radio. Connee Boswell and Fred Allen
who shared the guest spot and Bing bantered generally more times than not
volunteering a line along with each one assigned them in the script.
Presumably, the only dissident to the proceedings, in view of the audience’s reception
of them, might have been a conscientious control engineer trying to carry out
the show on a schedule.
Strikingly unusual was the
spendthrift generosity with which commercials were handed out to outfits other
than the sponsor, out-hawking even those relatively impecunious stations which
find it necessary to cram as many spot announcements as possible into their
broadcasting days. This single performance grandly gave mention to ‘Tums’;
‘Alka-Seltzer’; ‘Hotel Drake’; ‘Harvard University’; ‘Toots Shor’s’; ‘Paramount
Pictures’; ‘Nino & Nella’s’; ‘Tenderleaf Tea’ and ‘the Pittsburgh Pirates’
- Bing’s sponsor is ‘Philco’. Only the rehearsal followed conventional form,
simultaneously scripts were scanned and lines were mumbled. The suitable tempo for
a song was fixed; a telephone bell was kept ringing until it registered
properly for the microphone. Except for those parts of the script which were
recorded as suitable for the master disc, none of the program took life until
the show for the studio audience. Rehearsal faded into a lull during which the
studio audience was seated. The show and Fred Allen, almost immediately took up
the cudgels against certain of radio’s other set, commenting, obliquely on the
situation through Bing’s easygoing broadcasting ways, he admonished, ‘You stay
relaxed like this and your blood pressure will never get any higher than your
Hooper rating!’ If there were principle at all involved in the exhumation of
the situation, in view of ABC’s sage aloofness to it, it would appear to be
whether the now, attenuated gag, retains enough vigor for one more chuckle but
that may very well be another Hooper story. As for Mr. Crosby’s style of
broadcasting, perhaps Mr. Allen summed it up best of all when, as a line fell
flat, he flipped. ‘OK folks, we can wait four weeks for the laughs.’
(New York Times, May 11, 1947)
June 5, Thursday. Another recording
session in New York, this time with Fred Waring and the Glee Club and they
perform the “Whiffenpoof Song” and “Kentucky Babe” together. “Whiffenpoof Song”
spends seven weeks in the Billboard charts reaching a peak position of
#7. Bing leaves early to watch the Brooklyn Dodgers versus Pittsburgh Pirates
baseball game at Ebbets Field starting at 2:00 p.m. The Pirates are beaten
three to nil and Bing leaves before the end of the game.
June 6, Friday. Travels to Cincinnati,
Ohio.
June 7,
Saturday. Bing has stayed
overnight in Cincinnati and is mobbed by a huge crowd as he leaves his
hotel.
Goes on to golf in a National Cancer Fund Rally at Hyde Park Country
Club,
Cincinnati, before a crowd of 5,000. Playing with Toney Penna and Jimmy
Demaret, Bing has a 5-over-par 76. At around 6:30 p.m., Bing takes part
in a
radio program from the course over station WKRC and sings several songs
including “How Are Things in Glocca Morra” and a duet of “Home on the
Range”
with Jimmy Demaret. Later goes to the Turf and Fields Restaurant at
Sixth and
Walnut where Bing is able to place some illicit bets on his horses.
Bing also
visits the Beverly Hills Country Club in Southgate, Kentucky (just two
miles
from Cincinnati) where illegal gambling was available. It is believed
that the
club was run by the Cleveland Crime Syndicate.
Bing Swells Cancer Fund with Clowning
CINCINNATI, June 7—(AP)—Bing Crosby and four “name” golfers
performed for a sell-out crowd of 5,000 in the Cincinnati cancer fund
exhibition tournament today and Johnny Dell, fund chairman, said receipts were
in excess of $10,000.
The radio-motion picture star “clowned” his way
around the Hyde Park Country club course but managed to card a five-overpar
37-39-76. Tony Penna of Cincinnati, and Jimmy Demaret turned in 67’s, four
under par, to lead the field of eight shot makers. Penna had a 36-33-67 and
Demaret a 34-33-67.
‘Red” Strauss, Cincinnati pro, who was the fourth
member of the Crosby - Penna - Demaret foursome shot a 39-40-79. Ben Hogan was
best of the other foursome, which included Byron Nelson, with a
two-under-par 33-36-69. Nelson had 36-36-72.
...Crosby told newsmen he was in the midst of a
series of golf benefits for the National Cancer Foundation and Chicago was his
next stop.
(Associated Press, June 7, 1947)
June 11, Wednesday. (9:00–9:30 p.m.) Bing’s
transcribed Philco Radio Time show is broadcast by ABC. The guests are
Alec Templeton and Ethel Merman.
No less than 19—count ‘em—19 all time hit tunes in whole or in part
will be included in Bing Crosby’s show tonight at 9 o’clock when musical comedy
star Ethel Merman and Alec Templeton, pianist and songster-satirist, visit the
all-star half hour of music and fun. Ethel and Bing are expected to bring the
house down when they join in the duet, “Anything You Can Do I Can Do Better,”
from “Annie Get Your Gun,” seldom heard on the air.
(The Jackson Sun, 11th June, 1947)
June 12, Thursday. (9:00–12 noon) Back in
Hollywood, Bing has a recording session with John Scott Trotter and his
Orchestra. One song— “Suspense”—has been written by Al Rinker. Bing’s version
of “You Took Advantage of Me” is rejected as the performance is substandard.
Buddy Cole is a member of the Orchestra. Press reports indicate that Bing has
agreed to act as Honorary Chairman for the Louis Jordan Testimonial Dinner to
be held on June 30 at the Hotel Pierre.
Suspense (03967) sounds like the old Bing, and the famous Anniversary
Song which is the coupling is also up to standard.
(The Gramophone, October 1948)
June 13, Friday. (7:00–10:30 p.m.) Records
the first part of the drama “The Man Without a Country” with Frank Lovejoy. Victor Young and his
Orchestra provide support.
June 15, Sunday. Bing and Bob Hope have a
featured spot in the transcribed Guest Star program #12 with Denes Agay.
Guest Star programs were instigated by the Treasury Department for the
promotion of US Savings Bonds and were produced and transcribed in New York.
Material was frequently beamed in from Hollywood and other cities.
June 16, Monday. Records
the second part of the drama “The Man Without a Country”
The
characters in this dramatised story by Edward Everett Hale (a classic novelette
which first appeared in the “Atlantic Monthly” in 1863) as adapted in poetic
narrative by Jean Holloway, are shadowy figures to other than US citizens. In
fact the recording was not issued in the UK until 1967. Nevertheless, the “love
of country” theme is universal and requires little imagination for its message
to be applied to any other native land.
Briefly,
the story is of how Lieutenant Philip Nolan, through an association with
political leader Aaron Burr, is accused of treason and in an outburst of fury
declares damnation of the US and a wish that he never again should hear its
name. The Court grants his wish and from 1807 until 1863 he is kept prisoner on
board ships that sail the seas without his ever having sight or sound of his country.
In
the Mediterranean, he meets ladies invited aboard for a ship’s ball and finds
among them his long lost sweetheart but he is stubbed. He lives on for long years
with an unbearably empty heart and when he lies dying his cabin is found to be
a shrine to America: stars and stripes draped around a picture of Washington,
his own painting of a majestic eagle and a map of the US that he had drawn from
memory. His final wishes are to hear about his country (nine Presidents since
1807, momentous historical events and an extract from Lincoln’s Gettysburg address
are related), to be buried at sea and to have a stone set up in his memory. The
wishes were granted and thus, relates Bing, “the man without a country came
home to America”.
All
the actors speak their parts well; interestingly, two of them later found fame
on television, Gale Gordon in Lucille Ball’s show and Jack Webb in the
successful “Dragnet” detective series. Ira Grossel was the real name of Jeff
Chandler who became a leading man in films.
Crosby’s
narration includes some picturesque descriptions of the America that Philip
Nolan would never see again. The background music and effects were composed and
directed by Victor Young.
Hale’s
story was based upon truth. In l804 Aaron Burr, a lawyer, was defeated in a bid
for the Presidency by Alexander Hamilton whom he challenged to a duel for
alleged aspersion to his character. Hamilton was fatally wounded and Burr was
forced to retire from public life. In 1807, he was charged with conspiracy and
treason when it was asserted that he was forming a private army to seize
Mexico: he was tried but acquitted. Philip Nolan, born in Mississippi of Irish
descent, had supported him and was arraigned before a court martial and
sentenced. He
was well treated on the ships where he spent fifty-five years of his life. The
sentence was never rescinded and he died aboard in his eighties. One of the
ships upon which he was confined was “Old Ironsides” including the time of its
battle with HMS Java. The incident related in the recording about the reading
from Scott’s “The Lay of The Last Minstrel” was possibly an elaboration
although it was said to have been reported by one of the ship’s officers. It
would certainly have been impossible for anyone to have read to him the extract
from Lincoln’s address which was not made until six months after Nolan died.
(Fred Reynolds, The Crosby Collection 1926-1977 (part
three), pages 203-4)
June 18, Wednesday. Bing records a plug for
the 20th Century Fox film Mother Wore Tights. (9:00–9:30 p.m.) The
transcribed Philco Radio Time show is broadcast by ABC. This is the
final Philco show of the season. The guests are Bob Hope and Jimmy Demaret.
Bing Crosby-Bob Hope shenanigans on the former’s program, last
Wednesday (18th), were of the usual high grade for some of the most amusing
banter of the season. The program was smartly varied with the two quipsters
gagging, Crosby crooning, then permitting golfer, Jimmy Demaret to sing a tune
(and not badly!). It was a gay show - with one serious flaw. Studio audience
laughter was so heavy and constant (as much, apparently, at the comics’ antics,
as for their gags) that it marred the reception. Several times, Crosby or Hope
were indistinct because of the laughter while at other times, home listeners
might have wondered what brought on the frenzied guffaws. Smarter production on
this disked show would have cut out or toned down a good deal of this studio
audience hilarity to the program’s distinct benefit.
(Variety, June 25, 1947)
June 20, Friday. Bing sets off for the
ranch at Elko with his four sons. Dixie remains in Hollywood. On the way, Bing
golfs with British
film producer, J. Arthur Rank, at the Cypress Point golf course, near
Pebble
Beach. Publicity releases on June 23 state that he signs with Rank to
make a film in
England during the summer of 1948. "Brigadoon" is in mind for Bing with
Sir Harry Lauder co-starring. Similar publicity had been seen earlier
in
the year but the project does not come to fruition.
June 22,
Sunday. En route to Elko, attends early morning mass with two of his
sons at St. Theresa's Catholic Church in Carson City, Nevada. Also Bing
sends a postcard to Bill Morrow from Bijou, California (on the shores
of Lake
Tahoe) stating:
Just checking on various California fishing grounds. Think you
could dunk your cuttyhunk (?) in these waters with some hope. Having lots of
laffs with my companions.
Bing.
From Elko, it is likely that Bing
and his sons go to Hayden Lake, Idaho, for a vacation. During his stay at Elko,
Bing sends another hand-written letter to Morrow.
Dear Bill,
I had your note (?) the other day relative to Philco starting
dates and length of contract. The way I feel now with the tax cut losing out
and one thing and another, I’d just as soon chuck the whole deal and
concentrate on pictures. The money isn’t enough to compensate for the work
everybody puts into it. And if we can’t work at convenient times, what good is
it? I think you better tell them we want 36 weeks. First show to be on October
1st. or we retire. Furthermore I hear nothing from ABC regarding their promise
to give our corporation some stock - a substantial block. They apparently think
I’m thinking about switching network, but I’ll either do that or quit. I wish
you and Jack could get up here around July 4 from Mammoth and we can discuss
this at greater length.
It’s nice up here now. Warm days -
cold nites. The boys, of course, are having a whale of a time. But it’s quite a
chore looking after them. Joe Knowles is up for a couple days with his two kids
and the six of them keep things jumping pretty good. Lots of laughs with them
too, of course. Went fishing the other day up above the ranch and did good.
Nice size but the water is low I don’t know how long it will last. We’re going
on a 2 day trip this weekend with Oldham over on the ??? river. He rode guns up
this week, so it’s virgin water, and very good, by all reports. Wild Horse is
good and Smith caught a 10lb Rainbow in Ruby Valley. Alas the mountain lakes
are contracted. Say hello to Jack.
Bing
July 12, Saturday.
Billboard magazine announces the results of its 9th. annual college
poll of favorite male singers. Frank Sinatra is top with 755 votes followed by Bing (740) and Como (616).
July 26, Saturday. It is announced that Bing is selling his ranch at Independence Valley and buying four ranches including the
PX ranch near North Fork, sixty miles north of Elko, Nevada, from Newt Crumley
(owner of the Commercial Hotel, Elko) for $221,000 cash, cattle at market, and
ten dollars a ton for the hay. The ranches contain 25,000 acres and an unknown
expanse of national forest. They are at an elevation of 6,400 feet and Bing
runs 3,500 head of cattle there. John Eacret, manager of Bing's existing ranch, will manage the new Crosby interests.
August 4, Monday. Bing informally “adopts”
an eleven-year-old Belgian girl, Zulma Scheinowitz, whose father was killed by
the Germans and whose mother and sister are ill in a Belgian sanitarium. Bing
has agreed to care for the girl as a sponsor through a children’s agency in New
York.
August 6, Wednesday. The New York premiere
of Bing’s film Welcome Stranger takes place. In its initial release
period in the USA, the film takes in $6.1 million in rentals.
Welcome Stranger should find the boxoffice path easy
treading. It’s crammed with all the ingredients that make for popular
entertainment. . . Crosby and Fitzgerald take obvious pleasure in their
friendly antagonist roles as young and old doctors, trouping parts to a
fare-thee-well for audience response. . . .
Dialog has a flip flavor
that pleases, punching over gags that are laugh-getters. Tag of many smart
cracks will be lost in audience roars. Songs by Johnny Burke and James Van
Heusen are well spotted and given the Crosby treatment vocally to pay off.
Numbers are “Smile Right Back at the Sun,” “My Heart Is a Hobo,” “Country
Style” and the ballad “As Long as I’m Dreaming.” Square dance sequence gives
“Country Style” best production display to court audience favor.
(Variety, April 30, 1947, following the Los Angeles
tradeshow)
The news most moviegoers must be waiting
to hear about the new Bing Crosby-Barry Fitzgerald picture at the Paramount
Theatre is, “How does it compare with ‘Going My Way’?”
Well, it can be said that “Welcome
Stranger” is as genial as the day is long—just the kind of picture that is nice
to have around, even though it may not prompt one to shout huzzas. While it is
not the intention to sell short this amiable comedy-drama about a pair of
smalltown medical practitioners, the fact is that “Welcome Stranger” misses by
a considerable margin the high mark in entertainment established by its
distinguished predecessor.
Comparisons are, at best, invidious, but
sometimes they are unavoidable. And certainly Paramount invited such when it
consciously determined to capitalize on the phenomenal success of “Going My
Way” by reuniting Crosby and Fitzgerald under circumstances not too dissimilar
in “Welcome Stranger.” This time the boys are joined by Hippocratic allegiance
rather than ecclesiastical bonds, but the film still tells the story of a young
man and his relationship with a crotchety elder.
It is an amusingly contrived story for the
most part and gets off to a humorous start through a series of engaging
misunderstandings between old Doc McRory, planning his first vacation from the
good people of Fallbridge in thirty-five years, and his flashily dressed,
tune-humming replacement. Jim Pearson’s breezy mannerisms and the obvious play
he makes for the pretty school teacher at a barn dance going-away party for Doc
McRory cause the townsfolk to turn on their New England acerbity. And it is not
until circumstances cause him to save the old Doc’s life by performing an
appendectomy with only the “teach” to assist that his medical ability is
recognized.
Despite this blatantly melodramatic device
and the sentimental circumstance wherein Pearson helps McRory to outwit the
Chamber of Commerce president, who would deny him the office of superintendent
of the town’s first hospital, the light bantering spirit of the film is never
lost. Credit for this, no doubt, can be shared by Arthur Sheekman, who wrote
the script, and Elliott Nugent, who directed, but we are inclined to give the
lion’s share to the Messrs. Crosby and Fitzgerald.
Both tower over the script through sheer
personality, and especially is this true in Mr. Crosby’s case, for Mr. Sheekman
has not invested the character of Jim Pearson with much substance. Mr.
Fitzgerald’s Doc McRory is a more rounded individual, and he does have some
quaintly flavorsome dialogue—“blatherskite” is one of his less endearing terms
for the young assistant. Joan Caulfield is lovely and competent as the teacher
and several lesser roles are well turned out, notably Percy Kilbride’s taxi
driver and Elizabeth Patterson’s housekeeper.
(New
York Times, August 7, 1947)
This is certainly not Bing Crosby at his best but he nevertheless
puts over an attractive performance as a young doctor addicted to crooning, who
acts as a locum tenens for a grouchy but kind-hearted old medico. He succeeds
in the end in saving him from being deprived of an important hospital
appointment by jealous rivals. The formula is much the same as Going My Way,
but it lacks that picture’s “heart” and appeal.
(Picturegoer, May 10, 1947)
August 10, Sunday. (3:35–5:35 p.m., 6:12–6:46
p.m.) In NBC Studio B, Hollywood, Bing transcribes his first Philco show of the
season with Gary Cooper and Peggy Lee. Buddy Cole is now a permanent part of
the Orchestra. The show is broadcast on October 1. John T. Mullin of the W. A.
Palmer Co. tapes the shows on two German Magnetophone recorders as an
experiment and the results impress Murdo McKenzie, the producer of the Philco
shows. Mullin is asked to arrange to tape the shows in future. The shows are
taped and edited with the results being transferred to disc for distribution.
Although Mullin can use the Magnetophone machines and the supply of magnetic
tape he had brought back from Germany, he knows that these will quickly wear
out and he contacts the Ampex Company to produce new tape recorders. Tape is
ordered from 3M.
In June 1947, before Ampex really got involved, I was invited to
give another demonstration — this time for Bing Crosby. He had been with NBC
until 1946 doing the live Kraft Music Hall. He’s a very casual person, and he
resented the regimentation imposed by live broadcasts. Some weeks he wasn’t in
the mood and hated doing a broadcast. At other times he was ready to do two or
three at a crack. He didn’t like having to keep an eye on the clock and being
directed to speed things up or draw them out.
The obvious solution was to record the shows. But NBC had told
Crosby flatly that it wouldn’t air a recorded show on the network: It never
had, and it wasn’t about to start. So Crosby took a year off, and when he
returned it was with Philco Radio Time. ABC and Philco had agreed to let him
record. But because the process involved recording and re-recording on discs,
quality did suffer — at times to the point where the sponsor threatened to
cancel the show because, during that first year at ABC, the audience rating was
falling off. Philco blamed the poor audio. Crosby’s voice didn’t always sound
very good after two or three transfers.
During the 1946-47 season ABC’s engineers recorded each show in
its entirety on 16-inch transcription discs at 33 rpm. If everything went perfectly,
there was no problem — they simply would air it as transcribed — but that
seldom happened. Almost invariably, there was editing to be done. That meant
copying some discs onto new ones, making adjustments as they went, maybe
substituting a song that had gone better in rehearsal for the final take. Since
they recorded everything in rehearsal as well as what took place before the
audience, there were plenty of bits and pieces to work with.
Sometimes it was necessary to make what were called predubs. Say
they wanted to use three cuts from three different discs, all within a matter
of a few seconds. That didn’t allow enough time to get each one cued up during
re-recording. So they would make little pre-transfers, or predubs, making
copies until all the cuts were added. The final record, therefore, might be two
or three generations removed from the original.
W. A. Palmer and I had been using tape for soundtrack work (he
already had a going business in the film industry before we joined forces),
where magnetic recordings were far better in quality and more easily edited
than the optical tracks that were standard for films at that time. We were
introduced to Murdo McKenzie, the technical producer of the Crosby show,
through our Hollywood contacts. And after our demonstration we were invited
back to record the first show of the Philco Radio Time season. Crosby’s people
didn’t say, “You have the job.” They only wanted to see how tape would compete
with the disc system they had been using.
When I taped that first broadcast, they asked me to stay right
there after the show and edit the tape, to see if I could make a program out of
it. I did, and they seemed to like what they heard.
Once the Crosby people bought the idea, they had to find a place
for me to work. The American Broadcasting Company had been the Blue Network of
NBC until, a short time before this, the government ordered NBC to sell it. NBC
and ABC were still in the same building at Sunset and Vine in Hollywood.
Crosby broadcast from what had been one of the major NBC studios.
Prior to the breakup, there had been what they called a standby studio,
scarcely larger than a hotel room, with two little control rooms at one end.
One was the Blue control room, the other was for the NBC Red Network. There was
nothing in this studio but a piano, a table, and two microphones. If one of the
networks lost its feed from the East, as they did once in a while, somebody
could dash into the standby studio to play the piano. An engineer would run
into the control room for whichever network was out, and it was on the air
again with local programming.
Once the networks split and ABC had adopted the principle of using
recordings on the air, there was no need for the standby studio. So that’s
where they set me up. I installed my machines, moved in a sofa and a couple of
chairs, and it became a little living room. It was a delightful place to work.
Crosby’s taping schedule was determined by two factors: when he
was available, and when Bill Morrow, the writer, could come up with the
material. Sometimes we went right up to the wire. At other times we would be
two months in advance. We might do three shows in a row — one a day
particularly if we were in San Francisco, where Crosby liked to work because of
the audiences.
Murdo McKenzie was a very meticulous man. It was his
responsibility to make sure that a studio was available, that the musicians
would be there, and that Morrow would have the script. After the show was
recorded, it was Murdo’s responsibility to satisfy Bill that his script had
been handled properly. And if there was anything at all that indicated where I
had made a cut, I would have to rework it until it was inaudible — either that
or abandon it. Sometimes it would take me a whole week to put a show together after
Bing had performed it.
I had two recorders and fifty rolls of tape to work with — just
what I had sent home from Paris. With those fifty rolls I was able to do
twenty-six Crosby shows—splicing, erasing, and recording over the splices.
There were no textbooks on tape editing in 1947, so I had to
develop my own techniques. There was no such thing as actual splicing tape, as
we have it now. I began with a cement very similar to that used in film
editing. The problem with it was that you could hear the splice — a sort of
thump — if there wasn’t complete silence where it occurred. I then switched to
ordinary Scotch mending tape, along with a pair of scissors and a can of talcum
powder.
Mending tape was fine for the first day or so, but before long the
adhesive would begin to bleed, sticking one turn of tape to the next. Then the
tape would break, and we would have a real mess. Before I used a roll, I always
went through it and rubbed powder on the back of every one of those splices.
That would get me by for a while, but soon they would be sticky again. When the
show was finally assembled on tape, it had to be transferred to disc because
nobody — including me — had confidence that this newfangled thing could be
relied on to feed the full network. When someone asked me what would happen if
the tape were to break, I didn’t have an answer. Since each roll ran for
twenty-two minutes (at 30 ips), a half-hour show took two rolls and required
the use of both machines. I would have no backup if the machine that was on the
air failed.
We continued to record all of the material from the afternoon
rehearsals. Crosby didn’t always know his songs very well, and he might start
one and blow it. John Scott Trotter, the music director, would play the tune on
the piano. When Bing got it, we would record two or three takes. In the
evening, Crosby did the whole show before an audience. If he muffed a song
then, the audience loved it — thought it was very funny — but we would have to
take out the show version and put in one of the rehearsal takes. Sometimes, if
Crosby was having fun with a song and not really working at it, we had to make
it up out of two or three parts. This ad-lib way of working is commonplace in
recording studios today, but it was all new to us.
(John T. Mullin, writing in High Fidelity, April, 1976)
August 14, Thursday. (7:00–7:30 p.m.) Bing
acts as host on the Family Theater radio presentation “The Windbag.”
August 15, Friday. (1:53–2:53 p.m., 4:40–5:17
p.m.) In NBC Studio B, Bing transcribes another Philco show with guests Jimmy
Durante and Peggy Lee.
August 21,
Thursday. Bing is reported to be in Walla Walla, Washington with his “press
agent.”
August 22, Friday. Calls in at cafe in Colfax, Washington on his way to Spokane. Bing and Bill Morrow arrive in Spokane late on the Friday
evening and are greeted by Ted Crosby. They spend time at the Athletic
Round Table.
August 23, Saturday.
(9 a.m.) Bing visits his dentist Herb Rotchford in Spokane
and has treatment. Then Bing and Bill Morrow
visit Bing’s boyhood home at E508 Sharp, Spokane before Bing golfs with
Bud Ward, Frank McKevitt and Roy Moe at Spokane County Club. Bing has a
79 and he and Moe lose to McKevitt and Ward. At night, he visits the
Bozanta Tavern at Hayden before going on to
Hayden Lake Country Club where he sings a number of songs accompanied
by
John McReynolds on the piano.
August 25, Monday. Fishes at Lake Pend Oreille in Northern Idaho with Bill Morrow.
August 26, Tuesday. Bing and Bill Morrow arrive at Jasper in Alberta, Canada at night. They stay at Jasper Park Lodge.
August 27, Wednesday. Bing golfs on
the Jasper Park golf course. Playing with Davidson
Herron, they are defeated three up by Leroy Goldsworthy (the local pro)
and Mrs. Herron. Bing has a 75.
August 29, Friday. Bing and Bill Morrow fish for rainbow trout in Tonquin Valley in Jasper National Park.
August 31, Sunday. Bing has a practice round
on the Jasper Park golf course. He has a birdie at the
eighteenth hole and tells his caddy that he will buy him a new suit for each
birdie he achieves at that hole in the Totem Pole golf tournament starting the
next day.
I first spied
Bing Crosby on the sun-lit steps of a small Roman Catholic church in the
Canadian Rocky Mountain resort town of Jasper, Alberta. He was in the company
of two attractive young ladies, summer waitresses at Jasper Park Lodge where he
was staying while preparing to play in the Totem Pole Tournament, one of his
favorite golfing events. It was Sunday morning, August 31, 1947. The qualifying
round of the six-day tournament would begin next day.
I
tried to catch his attention as he and the girls descended the steps, but they
disappeared from sight when mobbed by a small group of locals, all vying to get
close to the great crooner and say something to him, like “hello..Bing, how are
you?,” to which he reciprocated in his cheerful, carefree manner. After
chatting briefly with a few in the crowd, Bing moved towards an empty black
auto parked on the street before the church. The girls and, of course, the
crowd followed. As for me, I was still attempting to catch his
attention.
Bing Crosby had
reached the driver’s side and was opening the door when I shouted something or
other of identification. He spotted me. “Get in,” he called out across the roof
of the car. The waitress in the back seat opened the door and in I climbed. I
peered out the windows at the envious faces peering in and tried to act as
nonchalant as was possible under the circumstance, considering that there was a
pretty young thing in the back seat with me, another up front, and the great
groaner himself, at the wheel. He turned the key, the motor purred, and we
moved off.
“Glad you could
make it,” he said to me and reached back over the seat to shake my hand. Then
he introduced me to the two girls. He suggested I conduct my interview over
lunch and on the putting green where he wanted to sharpen his putting strokes
for the tournament. Then, like a scene out of one of his movies, he started to
sing and urged the girls and me to join him.
“Who wants to do
the harmony?” he asked. The girl up front volunteered. The famous voice, deep
and resonant, and carrying a twinkle, began to fill the automobile. I can still
see the back and side of his head, his hat characteristically perched at a
jaunty angle on his thinning head of hair, and his trademark ears thrust out
defiantly. There we were, two waitresses and one green reporter warbling our
hearts out with the great man. Me, singing with Bing Crosby! But it was such a
natural thing; not contrived or obligatory to please, but a delightful sharing
of friendship among the four of us. And lustily we sang and chattered all the
way to the Lodge, a trip of about half an eternity.
Bing dropped the
girls in the main area of the Lodge, then drove to his cabin where he ordered
in lunch for the three of us — himself, his manager and me. I was of course
enthralled by what was happening to me — a junior league reporter getting the
royal treatment by his idol. Lunch over, Bing and I casually walked to the
putting green where, between his putts, I completed my questioning, such as it
was for a kid of 17. He straightened up to hail the Lodge’s official
photographer strolling by, camera in hand.
“How about a
shot?” Bing asked me. It was something I should have thought of. “How would you
like to set it up?”
“Oh,” I said, “I
think a shot of you putting.” The photographer arrived with his press camera.
“How would you like it Mr. Crosby?”
“Oh, a shot of me
putting,” he said, winking at me, “and one of Mr. Sims and me together.”
I was touched no
end, a true fan. So the photographer shot Bing as he putted and suggested I
move in for a shot of both of us. Along the way I lost the treasured photo, not
that I minded losing it that much, but that my folks lost the opportunity to
brag, with the evidence in their hands, about their son and Bing Crosby! In
about half an hour the interview was over. We shook hands, he kidded me about
something or other, then returned to putting. Walking off, I wheeled to have
another look at the great man. He was hunched over the putter, the pipe
clenched between his teeth, the hat shading his balding noggin. He caught me
glancing over his way, waved and resumed what he was up to.
(John Sims, writing in BING
magazine, spring 2004)
September 1, Monday. Playing with Davidson Herron, Bing has a seventy-four in
the qualifying round of the Jasper Park Totem Pole golf tournament and passes
through to the competition proper.
September 2, Tuesday. In his first round match
of the Totem Pole golf tournament, Bing wins easily.
September 3, Wednesday. Bing beats Matt Berry
of Vancouver in his second round match 5 and 4, shooting a sixty-nine. His caddy gets
another new suit!
September 4, Thursday. In the next round of the
Totem Pole golf tournament, Bing beats Norman Wilkinson of Vancouver.
September 5, Friday. Bing wins his semi-final
match at the Totem Pole golf tournament against Carl Haymond of Tacoma two and
one.
September 6, Saturday. In the final of the
Totem Pole golf tournament, Bing is matched against Gordon Verley, and they are
all square as they play the thirty-sixth hole in front of a crowd of 1,000:
Verley was only about a foot from the pin on his third while
Bing’s second lay beyond the green, at least 30 feet astray of the mark. From
this position Bing couldn’t see the pin. He was under the shade of a massive
Douglas fir. To make matters more despairing a youngster maintained constant
squirming just behind him. The Hollywood ace took his stance then broke it with
a good-humored offer to change places with the lad. This little act cut the
tension for the big gallery, and Bing followed up by almost nonchalantly
chipping the ball into the cup.
(Jasper Tourist News 1965, as reprinted in Jasper Park
Lodge by Cyndi Smith)
Bing later apologizes to Verley for
being so lucky. Also he had promised his caddy a new suit for every birdie on
the eighteenth and every time he breaks 70 and has to pay up on five occasions! Bing then goes off for two
weeks moosehunting in Alberta and is later photographed with his trophies.
September 8, Monday. Leaves on a hunting trip to Alberta with three friends. Gary Crosby (age fourteen) becomes a boarder at Bellarmine Academy, San Jose as does Bill Gargan's son,
Leslie.
September 13, Saturday. Decca has issued a 4-disc 78rpm set called El Bingo and it is reviewed by Billboard magazine on this date.
Packaging eight Latin lullabies which Bing Crosby cut in an
earlier day, it all adds up to a likely El Bingo binge for the fans. A romantic
ranchero, Crosby sings to Xavier Cugat's music for Siboney,
Hasta Manana, You Belong to My Heart and Baia. For the
other two records in the set, it’s the single spirited spin for Alla
En El Rancho Grande with the Foursome adding their vocal
harmonies and John Scott Trotter making the music just as spirited. Trotter
frames the musical back for the pash Amor piping to complete the platter. For
the fourth side, Crosby sings it in Spanish, with Victor Young conducting the
orchestra, for No Te Importe Saber,
recognized as Let Me Love You Tonight, and adds the English lyric for Flores
Negras, best remembered as You’re
the Moment of a Lifetime. Color
photo of the singer wearing a sombrero makes for an attractive cover page, with
personal notes on the piper for the inside page.
September 23, Tuesday. Bing and his hunting party return to Jasper.
JASPER
- Bing Crosby has just returned here, from a two-week hunting trip along the
northern boundary of Jasper National Park.
His trophies included mountain sheep, mountain goat and moose, a growth
of whiskers and a deep tan.
Fresh
from his victory in the annual Totem Pole golf tournament, at Jasper, Bing left
September 8, with three hunter friends from the United States and outfitter
Stan Kitchen.
Their
pack train of 35 horses headed into the hunting country from Brule, wound
through Eagle’s Nest Pass and the Wild Bay River, then to the Muskeg headwaters
and along the Snake Indian to Devon.
Dr
Arnold Stevens of Beverly Hills, Calif., and two hunters from Elko, Nevada,
Newton Crumley and John Oldham, all bagged moose and mountain goat, but Bing
was sole boaster of a mountain sheep trophy, prized Big Horn of the Rockies.
Outfitter Kitchen described the Crosby party
as one of the most congenial he had ever guided, with the crooner’s tireless
good humor setting the pace.
He
recalled the day Bing and he were caught in a sudden high country blizzard
which whipped over the mountain they were climbing and forced them to seek the
questionable shelter of a rock slab.
Dusting
the snow from his collar and rifle, pounding his hands for warmth, Crosby
turned to Kitchen.
Only
one thing I could ask for,” he shouted above the storm," “I’d give up my
chance of a Big Horn if Bob Hope were up here with us.”
Leaving
his trophies in Canada for mounting, Bing is now motoring homeward. The remainder of the party took off from
Jasper airport Wednesday in Mr. Crumley’s Beechcraft to fly direct to Nevada.
(The Vancouver Sun, September 25, 1947)
September 24, Wednesday.
Staying at Radium Hot
Springs, British Columbia, Bing sends a postcard to Bill Morrow. He
goes on to the Elkhorn Guest Ranch at Windermere, British Columbia
Boiling out here after big Jasper post hunt celebration. ??? ???
???, tho lots of snow. See you soon. Bing
September 25, Thursday. En route to Elko, Bing
stays at the Davenport Hotel, Spokane, after three weeks at Jasper where he has
been hunting with Newt Crumley, John Oldham (Bing’s Elko real
estate broker), and Dr. Arnold Stevens. He sends another postcard to Bill
Morrow.
Dear Bill,
Sorry I can’t make the program on October 3rd but this seems much
more important to me and I’m sure you’ll agree. I’ve made arrangements with
John M?? of TWA to fly parties in to case the collection. Having big time in
Spokane. Rutherford and McGrath (?) are sure as hell to ensure Jon Chadst(?)
come along. Bill, see you soon.
Bing.
September 26, Friday. Lunches with Bud Ward and Dr. R. T. Flaherty at the Davenport and then leaves for California during the afternoon.
October 1, Wednesday. Buddy Clark is killed in a plane crash.
(9:00–9:30 p.m.) Bing’s
transcribed Philco Radio Time show is broadcast by ABC. The
guests are Peggy Lee and Gary Cooper. The Rhythmaires become the resident vocal
group. Ken Carpenter and the John Scott Trotter Orchestra continue in their
usual roles. This is the first Philco show of the season and the new recording
method is welcomed because of the better quality. The shows are broadcast on
Wednesday nights until June 2, 1948, and the audience share for the season is
16.8 which enables the program to scrape into twentieth place in the Hooper
ratings. Fred Allen’s show is in top place with 28.7 and the Kraft Music Hall
(with Al Jolson as host) reaches eleventh position with 21.4.
Bing Crosby’s on
tape, from now on.
His
season’s teeoff stanza on ABC tonight (Wed.) was tape-recorded, then tape edited, then transferred to platters. Until
a better process comes along, all future shows will be similarly waxed. It’s
claimed the fidelity of the playback has been improved by the new technique, on
which Crosby Enterprises has been experimenting for months. Main advantage of
the tape at this time, however, is that it greatly simplifies editing and
putting together of the finished show.
Tests were made for Crosby by the Palmer Co. of San
Francisco, which has possession of the only two German-made tape recorders in this
country, as well as a limited supply of German tape. These machines and tape
are being used.
Groaner’s first two shows for the fall, recorded in
August, were cut on both platters and tape. Decision to switch permanently to
the tape was reached following comparative tests by Crosby Enterprises in Hollywood
and by ABC engineers in New York.
(
Variety, October 1, 1947)
Any resemblance between this show as aired last week
(1) and as aired Oct. 16, 1946, is purely coincidental. The preem platter of Crosby’s
brand - new transcribed show last season was flat, tinny, choppy, more novel
than entertaining. Last week’s kickoff of the Groaner's second season on wax
was a socko triumph over the it’ll-never-work boys. Radio headliners tied to a
weekly “live” sked must have greened-up with envy as they listened to this
solidly entertaining crystal-clear airer and recalled that Crosby put the stint
on ice last August.
Show seemed, to this reviewer at least, to have picked
up markedly in quality of the reproduction, even over the final platters of
last season — a fact apparently attributable to a switchover from acetate
records to German-made “magnetaphone” tape recorders to transcribe the program.
Show is now edited on tape, then transferred to
platters. Result, as it came through last week, is the most“live”-like
tones yet fed over network skeins.
Aside from the stanza's achievements in waxed
fidelity, however, it is additionally improved 100% as an entertainment
article. A formula has been arrived at, as an outgrowth of last season's
trial-and-error experimenting, in which El Bingo seems perfectly at home.
Format has none of the rigidity of, say, Bob Hope's show, but rather allows
Crosby to croon and caper through the half-hour in a leisurely, old-hat manner.
Overall effect is a recapturing of that offhand air which made the Groaner’s
Kraft Music Hall inning such a fave.
Preem opened with a couple of janitors sweeping out a
studio “because Crosby's coming back.” “That’s a reason to sweep up?” one of
them cracks. “His baggy pants’ll sweep up the place.” Groaner walks in leading
a live moose he corralled on his summer hunting trip. His brother Everett was
out front “strapped on the fender of the car.” Crosby said. Thus introed, sans
fanfare, the show perked along at a jaunty pace. Crosby’s pipes never sounded
better than when he swims into “My Heart Is a Hobo.” He was in top form too in
a medley of “Mam'selle,” “Chi-Baba” and “Peg O’ My Heart” and in his closing “Who
Knows How Much I Love You.”
Gary Cooper was a natural as a teeoff guest, permitting
Crosby to go into his old cowhand act for a round of cutuppery with Cooper as a
pair of tough hombres of the west.
Gags were fast and fancy, with Cooper obviously
enjoying the fun.
Highspots were their duoing of “El Rancho Grande” and
a ditty about all cowboys being movie stars. Whole sequence was capital stuff.
Peggy Lee, a regular from last season, returned with a
neat chirping of “It Takes a Long, Long Train.” John Scott Trotter's backing
throughout was tops. Ken Carpenter’s Philco plugs are models, pleasantly integrated
or smoothly segued, and wonderously non-irritating.
It’ll be surprising if the Bingle doesn’t make
Hooper's honor roll early this semester and stay there, if he continues to tape
‘em as clicko as this one.
(Variety, October 8, 1947)
When Der Bingle returns to the air each fall it seems that radio
programming takes a jump forward. This year, too, the Groaner’s show promises a
half-hour of lush melody, rhythm and bright chatter, all delivered in that
facile, show manly manner inescapably coupled with Crosby.
The debut show Wednesday was essentially the same
package that made network program history last year, although one difference
was notable—the quality of the initial recordings of last year’s Philco series
was much inferior to the 1947 debut program. The improvement is attributed to
the use of the tape recording technique, which provides greater fidelity.
Wednesday’s show had no noticeable mechanical defects.
Entertainment-wise, Crosby delivered with the old
charm, scoring with a medley of such top pop as Mam’selle, Chi-Baba and Peg
O’ My Heart— tunes which Crosby does as no one else can...
(Paul Ackerman, Billboard, October 11, 1947)
The new method of recording the Bing Crosby Show is far superior
to that used previously. The program came over sharper, clearer and truer than
last year. The singer had a more enjoyable program for another reason—he didn’t
give the impression that he was bored and wishing he were somewhere other than
before the microphone.
(Hollywood Citizen News, October 6, 1947)
October 2, Thursday. (6:00–6:30 p.m.) Al Jolson returns as
host of the Kraft Music Hall show on NBC after thirteen years. Bing is
thought to have returned to Hollywood today.
October 3, Friday. (3:00–5:00 p.m., 6:45–7:20
p.m.) Bing records a Philco show with Dinah Shore which is broadcast on October
15.
October 6, Monday. (2:30–6:30 p.m.) Bing
rehearses for a Screen Guild Players broadcast. (7:30–8:00 p.m.) Bing stars in
another Screen Guild Players radio version of The Bells of St. Mary’s on
CBS with Ingrid Bergman and Joan Carroll. It appears that the same script as
the August 26, 1946 broadcast is used. This is the opening Screen Guild Theater
program of the season and is sponsored by Camel Cigarettes for the first time.
Wilbur Hatch leads the orchestra.
As for the “Screen
Guild” seasonal opener, it had the loaded dice usual for first broadcasts of
guest-star shows. In this case the marquee names were Bing Crosby and Ingrid Bergman,
just about the current ultimate, and the vehicle was a repeat of last season's highly
popular “Bells of St. Mary's,” from the Paramount picture.
It was, of course,
excellent listening, but proved only that “Screen Guild” can periodically come
through with top names and entertainment. For this occasion, Jean Hersholt, president
of the Motion Picture Relief Fund, which benefits from the charity angle of the
series, was present to introduce the stars and thank them at the sign-off.
Commercially, there
was only one notable point, beyond the standard testimonial plug and the
transparent claim about a “survey” showing that “more doctors smoke Camels than
any other cigaret.” The additional factor was the closing spiel which Crosby
had to deliver, about the sponsor's generosity in sending free cartons of
Camels each week to hospitalized— vets. This, surely, is the limit of
commercialized vulgarity.
(Variety, October 8, 1947)
October 8, Wednesday. (9:00–9:30 p.m.) Bing’s
transcribed Philco Radio Time show is broadcast by ABC. The guests are
Jimmy Durante and Peggy Lee. Bing is thought to have made an appearance at a
benefit event staged at the Paramount, downtown Los Angeles, in aid of an East
Side Boys’ Club center. The film Variety Girl is premiered.
October 10, Friday. (2:30–4:30 p.m.,
6:06–6:37 p.m.) In NBC Studio B, Bing records a Philco show with Clifton Webb,
Burl Ives, and Howard Duff which is broadcast on October 22.
October 13, Monday. (2:30–3:50 p.m., 5:37–6:09
p.m.) In NBC Studio B, Bing records a Philco show with Victor Moore and Boris
Karloff which airs on October 29.
October 14, Tuesday. The New York premiere of
the film Variety Girl takes place. It had already been released
elsewhere on August 29.
[The film] emerges a socko entertainment . . . [Hope] and Crosby
click with their “Harmony” routine, a socko number for all its paraphrasing of
the “Friendship” routine out of Du Barry Was a Lady which Bert Lahr and
Ethel Merman made famous.
(Variety, July 16, 1947)
October 15, Wednesday. (9:00–9:30 p.m.) Bing’s
transcribed Philco Radio Time show is broadcast by ABC. The guest is
Dinah Shore.
October 16, Thursday. (11:00 a.m.–2:00 p.m.,
4:30–6:00 p.m.) Rehearses for a Kraft Music Hall broadcast. (6:00–6:30
p.m.) Appears live on the Kraft Music Hall on NBC hosted by Al Jolson
with Oscar Levant and Lou Bring and his Orchestra in support.
Bing Crosby will join Al Jolson on his program Thursday night when he will
be greeted by Oscar Levant and Milena Miller. With the aid of Crosby, Jolson
will sing “For Me and My Gal” and the balance of the show will be devoted to “A
Pretty Girl Is Like a Melody”, “Peg O’ My Heart” and “I Only Have Eyes for You”.
Crosby is paying Jolson back for several guest appearances the famous
black-face singer made on the Crosby program last year.
(Tom O’Connor, The Tampa Tribune,
October 12, 1947)
October 17, Friday. (3:00–5:00 p.m.,
6:25–7:05 p.m.) In NBC Studio B, Bing records a Philco show with Ozzie and
Harriet Nelson which airs on November 5.
October 18, Saturday. James C. Petrillo, chief
of the American Federation of Musicians, announces that none of his members
will ever make another phonograph record or transcription after December 31,
1947. This threatens to have a major impact on Bing who is recording his radio
show as well as making many records.
October 20, Monday. Bing is named in the press
as a charter member of the Hollywood Republican Club.
October 22–December 20. Bing films A Connecticut Yankee
in King Arthur’s Court with Rhonda Fleming, William Bendix, and Sir Cedric
Hardwicke. The director is Tay Garnett with Victor Young as musical conductor
and Joseph J. Lilley in charge of vocal arrangements. The songs written by
Rodgers and Hart for the original stage show cannot be used as royalties would
have to be paid to Warner Brothers. Burke and Van Heusen write new songs for
the film. The picture has a shooting schedule of only forty-eight days.
I have so many happy memories of having the chance to
work with Bing in “A Connecticut Yankee in King Arthur’s Court” - not only
co-starring for the first time with him, but starring above the title since he
never wanted to star alone! What a break for a relative newcomer. Bing and Tay
Garnett, our director, chose me over many girls who had tested for the role of
Princess Alisande - and it began a whole new chapter in my career - going from
black and white character roles to starring in many Technicolor films.
Bing was a delight to work with and did everything he
could to upstage himself and make sure I was being treated well - and to be
able to sing with him was such a thrill, although he had me sing down one whole
octave from my trained soprano voice to be able to sing with him in his key -
that was a challenge.
When I’m asked about my favorite films I always say
“working with Bing Crosby was one of the highlights of my life and my career.”
(Rhonda Fleming, in a letter dated February 4, 2003 addressed to
Kathryn Crosby in connection with Bing’s centenary)
…A sideline musician is the fellow you see in the movie who looks as if
he’s making music, but all the music has been pre-recorded. On the set there
would be a grand piano with no strings in it. Violinists covered the strings
with cellophane, so the bow slid across the strings making no sound. I played a
guitar. I played the proper chords, but my picking hand was swinging about an
inch away from the strings.
Who did this kind of work? Usually the studio musicians couldn’t be
bothered with it, for they made more money recording the original sound track.
Sideline musicians were usually fellows who played in nightclubs, just as I was
doing on Vine Street. …
So here it was Monday morning, and I was in the makeup room. A couple of
other musicians were sitting on little stools with people putting makeup on
them. They gave me a costume and a wig that was fashioned like the hair people
wore in King Arthur’s time. Right away I knew this was going to be a problem
because makeup and wigs are hot, and the Technicolor lights made it even hotter
on the set. Bing always said he hated to wear a wig. He was always trying to
talk a director into working out a scene so he could wear a hat instead.
There were about six of us “court musicians” in the scene that I was in.
They handed each of a strange-looking instrument. A couple of them resembled
square ukuleles. One had the appearance of an ancient viola, and my buddy
played an instrument that looked like a zither with little hammers on it. I
can’t say whether these instruments were authentic.
Sir Cedric Hardwicke, the eminent English actor, played the part
of King Arthur. In this scene he was made with a pale complexion and a red nose
and was seated at a large round table. King Arthur had a perpetual allergy and
was sniffling all the time. Around him were court attendants bowing and
scraping, dancing and juggling. There were big bowls of grapes on the table
which the cast and crew kept stealing when nobody was looking. One day all work
ceased when the head property man grabbed a microphone and intoned, “Now hear
this! Everybody stop eating the grapes! They are on the table for decorative
purposes only. The commissary tells me they’re running out of them.” Two days
later I saw Bing furtively grab a few grapes as he walked by…
The pre-recorded music started, and I began my fake strumming. Then Bing
entered with William Bendix. Bing was dressed in a maroon suit and a pair of
tights. The first thing I noticed was that he had athletic-looking legs. I was
5’10” tall, and Bing must have been an inch or two shorter than I...
In the film Bing notices the orchestra of court musicians sitting up on
a balcony. The music we were “playing” was a kind of fifth century madrigal
with moving parts like a fugue. They faked that a little, because the music
sounded more like 15th century than 5th century. In fact, musical historians
don’t know what music sounded like in the 5th century, but they had to come up
with something credible.
In the picture Bing stops the band and gives each of us a little part to
play, and then we put it all together. It was pre-recorded and very
musical—even had a little jazzy swing. Bing laid a few lines on my buddies,
such as “Do you have your guild cards paid up?” but these were cut from the
finished film. He was always tossing off a funny line. When a knight walked by
wearing something that looked like a long gown, Bing looked down the full
length of his attire and said, “Tell me, Buster, who’s your dressmaker?”
The scene I was in took about two weeks to do. Most people do not
realize how long it takes to make a picture. A scene is started, and if it
lasts a minute and goes well, that’s considered a take. Later on they splice
all the pieces together. Making a film is a dreary, slow business. Most of the
time you have no idea of the meaning of the scene you’re in; you just do a
little bit at a time. When you finally see the movie, you say, “So that’s what
it was all about!”
As I rounded the corner every morning I saw Bing’s little dressing room.
It looked like a big milk wagon with a frame and wheels, so it could be towed
around. Bing would be sitting there, studying his lines or talking to someone
or giving everybody a wave or nod in a friendly fashion…
Keep in mind that our “court musicians “ were really nightclub musicians
who worked until 2 a.m., yet had to report every morning at 7:30 for makeup
and costumes. The first two or three days weren’t too bad, but about the middle
of the week the 18-hour day began to take its toll…
When we finally started a scene, Bing would walk in, and the assistant director
would explain what was happening. He’d say, “Mr. Crosby will walk in from this
door, and Mr. Crosby will come across here. He’ll meet the leading lady over
there, and Mr. Crosby will then move up to the musicians.” The directors and
assistant directors were always very correct and meticulous about the way they
referred to the stars. But to us musicians and other workers he was always
“Bing."
When at long last we started our scene, we stood there with our
instruments while Bing came and stood in front of us with his back to me, about
two feet away. The filming of this scene must have lasted two or three days… I
noticed that Bing was always chewing gum. When it came time for a take, he’d
tuck the gum somewhere in his mouth, but it would reappear when the take was
over. As he chewed, his eyes were checking on everything that went on in the
studio. He didn’t miss a single movement or detail.
When you’ve done a scene several times it gets a little wearying, and
even Bing got impatient. After the fourth or fifth take, as soon as someone
said “Cut,” Bing would shout “Print it! Print it! It’s a take!” The directors,
of course, paid no attention to him.
When a scene started, the pre-recorded music would play, and the dancers
would begin prancing around in their fifth century style. After about four bars
the music faded out completely. We kept playing and the dancers kept dancing
with the help of a string of lights which flashed the rhythm to us.
The mornings were difficult and the days were long, but Bing was always
fresh at that early hour. He was awake when everybody else was half asleep.
Bing always went to bed early. When he was in Spokane he put in so many years
carrying the newspapers in the morning that he got used to arising early and
had no problem with it. If he wasn’t working he’d get up at 5 or 6 in the
morning to play golf.
While lounging around on the set between takes, Bing often broke into a
spontaneous song, usually from some cornball melody that lingered in his mind.
One was a tune from the twenties, “My Ohio Home.” It was a song that didn’t do
much for me in the twenties, or any other time, but every time there was a lull
Bing would sing a few bars of that melody or some other obscure tune from his
Paul Whiteman days.
One day between takes a prop man brought in a stool, and Bing sat down
on it. From out of nowhere appeared a barber with his comb, towel, and
scissors. He approached Bing, who was wearing a wig, and trimmed his hair
around the back of his neck. There really wasn’t much to cut, but here was Bing
Crosby, one of the biggest figures in Hollywood, getting his hair cut like a
little kid sitting in his mother’s kitchen…
The last day of our work, Bing, knowing that all of us court musicians
were about ready to leave him, said, “Hey, you guys, when you get your makeup
and all that jazz taken off, meet me at the Playboy and we’ll have a few
laughs.” So we all ran in the dressing room, rubbed cold cream on our faces,
and threw our wigs in a corner. About six of us walked into the Playboy, and
there was Bing standing at the bar, the picture of cordiality and relaxed
affability.
“Come on, you guys, sit down and order up your favorite poisons,” Bing
urged. There wasn’t anybody else there at the time, so we sat down. The
bartender came along and one by one took our orders. Then he said, “What’ll you
have, Bing?” Bing looked at the ceiling, hesitated, and replied, “I will have
my usual internal poultice.” A great line!
Yes, it was a great experience working with Bing Crosby!
(Don
Eagle, writing in BINGANG, December 1989)
(9:00–9:30
p.m.) Bing’s transcribed Philco Radio Time show is broadcast by ABC. The
guests are Clifton Webb, Burl Ives, and Howard Duff.
Bing Crosby will have his hands full when suave, sophisticated Clifton
Webb and open-hearted, unaffected Burl Ives meet, with surprising consequences,
on Bing’s “Philco Radio Time” program at 9 o’clock tonight…Howard Duff, in his
role as Sam Spade, the Private Detective, will also be on hand to aid in the
hilarious doings on the initial broadcast of this program series on WOMI… The
very formal Mr. Webb finds Bing’s informality quite distressing but when
Balladier Ives arrives on the scene, Webb is completely flabbergasted. Bing and
Burl ease the tension with their duet of “Sweet Betsy from Pike” and
“Clementine.” Webb’s discourse on radio and detective programs leads to his
burlesque of a “private eye,” Clifton Webb, with Bing, Burl and Sam Spade
joining in the comedy antics.
(The
Owensboro Messenger, 22nd October, 1947)
October 24, Friday. (3:30–5:30 p.m.,
6:44–7:13 p.m.) In NBC Studio B, Bing records a Philco show with Peter Lorre
and Kay Thompson and the Williams Brothers which airs on November 12.
October 28, Tuesday. (7:00–7:30 p.m.) Live
guest appearance on Bob Hope’s radio show on NBC alongside Bob’s regulars, Jerry
Colonna and Vera Vague. The show comes from Van Nuys.
October 29, Wednesday. (9:00–9:30 p.m.) Bing’s
transcribed Philco Radio Time show is broadcast by ABC. The guests are
Gale Robbins, Victor Moore, and Boris Karloff.
Bing Crosby surrounds
himself with Boris Karloff, the Horror champ, Victor Moore, the stage and
screen's favorite prankster, and singer, Gale Robbins, for a hilarious
Hallowe'en fun fest on his “Philco Radio Time” program today, from 9 to 9.30 p.
m. over WOMI. The first of Bing's guests to show up will be Victor Moore,
comedian of stage and screen fame, who will give Crosby some inside dope on how
he was the original “beautiful hunk of man Vic” in his youth. Sultry Miss
Robbins joins in the fun and sings “I’ve Got a Right to Sing the Blues.” Boris
Karloff brings a pocket full of surprises for Bing and Victor when they suggest
some Hallowe'en devilment. As a finale to their fun fest the three join in a
special Hallowe’en song, written by Johnny Burke and Jimmy Van Heusen for the
occasion.
(The
Owensboro Messenger, 29th October, 1947)
October 31, Friday. (3:00–5:20 p.m., 6:40–7:20
p.m.) In NBC Studio B, Bing records a Philco show with Dorothy Kirsten and Barry
Fitzgerald which is broadcast on November 19.
It
is difficult to find one word to describe my feelings about this great
performer’s voice: sexy, smooth, suave, and ever so personalized . . . many
have tried to emulate his sound. . . . Bing and I were close friends for quite
a while and enjoyed some good times together. He was a warm person with a gay
and light personality. At one time we actually became quite serious; however,
there were two important careers to consider.
(Dorothy
Kirsten, writing in her book A Time to Sing, page 124)
November 1, Saturday.
Bing and Dixie throw their home open for a festival sponsored by the
Southern California courts of the Catholic Daughters of America.
November 2, Sunday. (1:19–2:38 p.m., 4:00–4:37
p.m.) In NBC Studio B, Bing records a Philco show with Frankie Laine which is
broadcast on November 26. Later, the Friars Club throws a testimonial dinner
for Bob Hope at the Biltmore Hotel. Bing is listed as a speaker but does not
attend, which leads to some comment in the press with Bob Hope reportedly being
upset.
November 5, Wednesday. (12:05–2:50 p.m.,
6:45–7:30 p.m.) Rehearses for an appearance on the Jimmy Durante show.
(7:30–8:00 p.m.) Guests on the Jimmy Durante live radio show on NBC for Rexall
Drug Stores with Arthur Treacher, Candy Candido, and Roy Bargy and his
Orchestra.
The Crosby guest spot on Durante’s show is very good, but pales by
comparison with this Crosby show episode [see December 4, 1946]. On his
November 5, 1947 show, Durante plugs his new MGM film. This
Time for Keeps, starring Esther Williams, “opening this week in theaters
throughout the country,” but he does not sing any of the several songs he did
in that film. Instead he plugs “Chidabee,” Crosby grabbing hold of the tail end
of the song. Bing plugs his new film for Paramount, The Road to Rio.
They join to sing “The Song’s Gotta Come from the Heart,” segueing into “Ochi
Chornya,” which Durante loved to interpolate into other songs, and back again
to “The Song’s Gotta....” Dorothy Lamour is announced as next week’s guest.
(Jimmy Durante - His Show Business Career, page 125)
(9:00–9:30 p.m.) Bing’s transcribed
Philco Radio Time show is broadcast by ABC. The guests are Ozzie and
Harriet Nelson.
Ozzie Nelson and
Harriett Hilliard, the former orchestra leader and singer who carved themselves
a new radio career from their marriage, will visit Bing Crosby, who is quite a
family man himself, during the Crosby show tonight at 9:00. After a frank and humorous
discussion of their children’s troubles, Bing, Harriett and Ozzie will become a
vocal trio to sing “Sunday, Monday or Always” and “Why Don’t You Fall in Love
with Me.”
(The Jackson
Sun, 5th November, 1947)
November 7, Friday. (3:15–5:15 p.m., 6:30–7:07
p.m.) In NBC Studio B, Bing records a Philco show with Al Jolson which is
broadcast on December 3.
November 8,
Saturday. (3:30 to 4:45 p.m.)
Records “Now Is the Hour” and “Silver Threads Among the Gold” in
Hollywood with
the Ken Darby Choir. "Now Is The Hour" goes to the top of the hit
parade where it remains for three weeks during its 23-week stay in the
charts.
Bing has recorded “Now Is the Hour” in a most tasteful performance
with a small choir. This has style and imagination and even if you are sick of
this song Crosby gives it a freshness that is quite disarming. Coupled with
“Silver Threads Among the Gold” 03839 should be a money-spinner.
(The Gramophone, April, 1948)
November 9, Sunday. (4:40–6:00 p.m., 7:38–8:18
p.m.) In NBC Studio B, Bing records a Philco show with Walter O’Keefe which is
broadcast on December 10.
November 11, Tuesday. Bing is named as
America’s most popular actor for the fourth consecutive year in the
All-American Annual Popularity poll carried out by Boxoffice, a weekly
trade journal.
November 12, Wednesday. Records four songs,
including “Pass That Peace Pipe” and “Embraceable You,” accompanied by John
Scott Trotter and his Orchestra. “Pass That Peace Pipe” charts briefly in the
No. 21 spot. (9:00–9:30 p.m.) Bing’s transcribed Philco Radio Time show
is broadcast by ABC. The guests are Peter Lorre and Kay Thompson and the
Williams Brothers.
Peter Lorre, playing as sinister a psychologist as ever made a down
payment on a black couch, will attempt to probe Bing Crosby’s mental processes
during his guest appearance on the WTJS-ABC broadcast of Philco Radio Time
tonight at 9:00. Kay Thompson, new West Coast nightclub comedienne, and the Williams
Brothers Quartet also will be visitors on the show. Lorre’s conclusions, after
a careful examination of the Crosby cranial content, are that Bing is slightly
off balance on account of listening to many radio jingles. Assisted by Miss
Thompson and the Williams Brothers, as well as Bing himself, the screen menace
will sing a few to prove his point.
(The Jackson Sun, 12th November, 1947)
November 13, Thursday. (8:00 to 10:40 a.m.)
Records “But Beautiful” and two other songs in Hollywood with Victor Young and
his Orchestra. “But Beautiful” spends three weeks in the Best-Seller charts,
peaking at No. 20.
November 14, Friday. (3:15–5:15 p.m., 6:30–7:10
p.m.) In NBC Studio B, Bing records a Philco show with Joe Frisco and Ilene
Woods which is broadcast on December 17.
November 16,
Sunday. Jimmie Fidler announces the results of his 10-week poll to find
"The Most Popular Man, Woman or Child in America." Bing is first,
followed by Jackie Robinson, Frank Sinatra and Fulton Lewis Jr. 285,000 votes were cast. (5:10–6:30 p.m., 7:30–8:10
p.m.) In NBC Studio B, Bing records a Philco show with Danny Thomas which airs
on December 31.
In
the evening, Crosby did the whole show before an audience. If he muffed a song
then, the audience loved it—thought it was very funny—but we would have to take
out the show version and put in one of the rehearsal takes. Sometimes, if
Crosby was having fun with a song and not really working at it, we had to make
it up out of two or three parts. This ad-lib way of working is commonplace in
the recording studios today, but it was all new to us.
(John T. Mullin, writing about working with Bing in High
Fidelity, April, 1976)
November 18, Tuesday. (4:30–7:30 p.m.) Bing
records “Ain’t Doin’ Bad Doin’ Nothin’” and “Ida I Do” with Joe Venuti and his
Orchestra.
Ain’t Doin’ Bad Doin’ Nothin’
Crosby
pleasingly balladeers a new Joe Venuti song with the aid of Venuti’s fiddle.
Ida I Do
Der Bingle does a typically pleasing job on the evergreen
(Billboard, September 11, 1948)
“Ain't Doin Bad Doin'
Nothin”— “Ida I Do.” (Decca).
Both sound like they
were made last year, when Crosby didn't care much. But his lazy approach to “Ain’t”
seems just what the tune needs: he develops a mood that seems to fit the song
nicely. His version of the oldie “Ida” doesn’t carry much appeal.
(Variety, August 25, 1948)
November 19, Wednesday. (9:00–9:30 p.m.) Bing’s
transcribed Philco Radio Time show is broadcast by ABC. The guests are
Dorothy Kirsten, Barry Fitzgerald, and the Ken Darby Choir. Reports in the
press indicate that Bing has contracted “makeup poisoning” during the filming
of Connecticut Yankee and that the cameramen are shooting only one side
of his face at present.
The Metropolitan opera soprano, Dorothy Kirsten, joins Barry
Fitzgerald, as Bing Crosby's guests on the variety fun fest “Philco Radio Time”
program Wednesday night at 9 o'clock over station WOMI. The Ken Darby Chorus
will also be on hand to supply spirited harmony. Bing, the Rhythmaires and the
Ken Darby group hop aboard the “Freedom Train” for a stirring opening
selection. Miss Kirsten, who began her musical career on the radio, joins Bing
in a tongue in cheek dissertation on the “radio to opera road versus the opera
to radio ladder to fame.” …Fitzgerald, one of Bing’s favorite film
partners, offers some typical blarney before re-enacting his whimsical meeting
with Bing.
(The Owensboro Messenger,
(Kentucky), 19th November, 1947)
November 21, Friday. (3:15–5:15 p.m.,
6:40–7:15 p.m.) In NBC Studio B, Bing records a Philco show with Walter O’Keefe
and the Lone Ranger (Brace Beemer) which airs on January 7, 1948. During the
day, Bing dictates a letter to his son Gary at Bellarmine Academy, San Jose.
Dear Gary,
Once again I hear very bad news about you and your weight. You are
14 years old now and you should have acquired a little judgment, a little
brains, a little commonsense. I am not going to have you grow up into a fat,
unattractive slob. If there is anything I can do to prevent it, you can be sure
that I will do it…
November 22,
Saturday. Bing sings a long parody with piano accompaniment to raise
funds at the Winter Ball benefit for St. John’s Hospital held in the
Crystal Room at the Beverly Hills Hotel. He finishes with "White
Christmas".
The scoop that comes once—that’s what I got the night
my camera caught Bing Crosby and his wife Dixie stepping out together.
Bing’s murder on news pictures. Once in a while he’ll
let us grab a few shots. But most of the time he ducks or puts all the photogs
who are around on their honor not to aim his way—so he can relax and have fun.
Because this ball, held at the Beverly Hills Hotel,
was a big benefit for St John’s Hospital, the committee decided it would be
better to hire just one man to take pictures. Otherwise, because the cream of
Hollywood was to be there, the place would be mobbed by guys with cameras. It
was my lucky day all round, I guess. I was the photographer they selected.
When I saw Dixie sitting beside Bing I didn’t think I
had a prayer. It is unusual for these two to step out together.
Just the week before when they had gone night-clubbing
together they’d refused absolutely to allow pictures to be taken.
But I figured I had nothing to lose by asking.
“Sure, go ahead,” said Bing. “But let’s not make a big
fuss about it. Just wait your chance and grab them.”
That’s why I can’t tell you why Bing’s laughing his
head off. I was so busy getting him and Dixie in focus I missed the joke.
Later Bing sang a series of parodies on the tunes he’s
done in his pictures. And his performance was so easy and smooth they wouldn’t
let him go. He finally had to finish with “White Christmas.”
And I can tell you that Dixie, like all the rest of
us, never gets tired of hearing him. She clapped as loud and long as anybody
else. And when he came back and sat down beside her, she was all smiles.
(Al
Brack, I Was There, Photoplay, March, 1948)
The
Bing Crosbys, Pat O’Briens and David Butlers were the last to leave the Winter
ball at the Beverly Hills Hotel, They left at 4 a.m., then only because a
waiter, who was about to collapse, said to them, “Have a heart and go home, so I
can go to bed.” It was a great evening. The ball, which was for the benefit of
St. John’s Hospital, enabled Kay Kyser and Leigh Battison (who as co - chairman
worked like galley slaves) to turn $25,000 into the fund to build a wing on St.
John’s… Edgar Bergen, Bing Crosby, Jack Benny and his hillbilly band, Dorothy
Lamour, Betty Garrett, Xavier Cugat, Danny Thomas and George Murphy entertained.
Bing sang a parody, telling the reason for the ball, which Johnny Burke wrote to
a medley of his top tunes. Crosby ended up with “White Christmas,” There is
only one Bing.
(Hedda
Hopper, The Los Angeles Times,
November 27, 1947)
November 24, Monday. (9:30-10:00 p.m.) Bing, Bob
Hope, Pat O’Brien and others participate in a program called
“It’s Up To You” on the ABC network in connection with the National Catholic Welfare Conference being held in Cincinnati.
November 25, Tuesday. (4:30 to 7:00 p.m.)
Records “Apalachicola, FLA” and “You Don’t Have to Know the
Language” with the Andrews Sisters and Vic Schoen and his Orchestra.
November 26, Wednesday. (6:15-6:30 p.m.) Bing and
Dinah Shore broadcast a radio appeal for Christmas Seals on station KHJ.
(9:00–9:30 p.m.) Bing’s transcribed Philco Radio Time show is broadcast
and Bing presents the patriotic piece “The Man Without a Country.” The guest is
Frankie Laine.
Bing Crosby was impressive on his Philco Show, Wednesday night
(26th) on ABC, as the narrator of Jean Holloway’s dramatisation of Edward
Everett Hale’s, ‘The Man Without a Country’. There was one other notable aspect
of the broadcast. That was the impression on the listener, particularly during
the present emphasis on patriotism, of the familiar story of Philip Nolan’s
disgrace. There has always been something disturbing about that notorious
incident but this broadcast suggested, as never before, (not even on several
previous presentations of the same script) that the punishment imposed on Nolan
was inhumanely cruel. It was deliberate and unrelenting and only death brought
relief for the officer who, on thoughtless impulse, wished never to hear of the
United States again. No one could seriously have thought Nolan really have
meant what he had blurted out in a moment of rage. In fact, as Hale’s account
says, Nolan’s epitaph contained the statement that no man ever loved America
more than he. Only the most supremely self-righteous patriot would willingly
face the same strict accountability of his everyday reckless word that Philip
Nolan faced and this broadcast suggested that in the case of ‘The Man Without a
Country’, the intended villain emerged a finer figure than did the zealots who
judged him.
(Variety, December 3, 1947)
November 27, Thursday. (8:00–11:00 a.m.)
Records three songs in Hollywood with John Scott Trotter and his Orchestra and
then records “Galway Bay” with an orchestra led by Victor Young. “Galway Bay”
reaches the No. 3 spot in the Billboard Best-seller lists during a 19-week stay
in the charts.
Pretty Baby
A spritely Crosby rendition of the oldie with good orking in back of him.
Swingin’ Down the Lane
More tongue-in-cheekish singing of an oldie by der Bingle.
(Billboard, December 18, 1948)
Bing Crosby “Pretty Baby”- “Swingin'
Down the Lane” (Decca). Neither is up to Crosby standards of performance,
although jocks will find use for the “Baby” side in opposition to the Doris Day
(Columbia) disking, which is superior, incidentally. John Scott Trotter's
backing is dated (it may be that this side was made some time ago). Reverse, a
reissue of an Isham Jones-Gus Kahn piece, is ineffectively done by the Groaner.
It, too, seems like it was made some years ago.
(Variety, November 10, 1948)
November 28, Friday. (3:10–4:38 p.m., 6:30–7:10
p.m.) In NBC Studio B, Bing records another Philco show, which airs on January
14, 1948. The guests are George Burns and Evelyn Knight.
November 30, Sunday. (4:45–6:25 p.m., 7:30–8:05
p.m.) In NBC Studio B, Bing records a Philco show with Burns and Allen which
airs on January 21, 1948.
December 3, Wednesday. (8:00–10:05 a.m.)
Records four songs with John Scott Trotter and his Orchestra, including
“Ballerina.” The latter song spends eight weeks in the Billboard
charts reaching a peak position of No. 10.
Ballerina
Golden Earrings
Decca 24278 A special Decca
pairing cut this week and available for the stalls Monday (15). Both tunes
are currently moving along at a rapid pace on The Billboard’s popularity charts
and the pairing by Der Bingle should get this platter an immediate and solid
reaction. The Rhythmaires assist Crosby on the “Ballerina” side.
(Billboard, December
13, 1947)
(9:00–9:30 p.m.) Bing’s transcribed Philco
Radio Time show is broadcast by ABC and the guest is Al Jolson.
Al’s last 1947 Crosby show was in December—eight months after the
one before. When the May show ended, Crosby’s agents had tried to sign Al up
for another ten programs that autumn. But the two singers couldn’t agree terms.
One report said that Bing and Al
were at least $1,000 apart on what Jolson’s guest appearance fee should be. . .
. It was to be two years before Al appeared again on the Crosby program
although Bing was to join him on his.
Bing had wondered at the very
beginning of their association how the live studio audiences would take to Al
appearing as himself. He thought they would be too amazed at the difference
between Larry Parks on the screen and Jolson’s real appearance. But it never
seemed to matter. They loved Jolson as he was—and of course the Crosby–Jolson
team.
(Al Jolson, page 234)
December 4, Thursday. (1:30–4:15 p.m.,
5:15–5:30 p.m.) Rehearses for an appearance on the Burns & Allen show.
(5:30–6:00 p.m. & 9:00–9:30 p.m.) Bing guests on The George Burns and
Gracie Allen radio show on NBC with Gale Gordon, Hans Conreid, and Meredith
Willson and the Maxwell House Orchestra. Bing sings “How Soon.” Press reports
indicate that Bing has purchased an interest in the Billings, Montana baseball
club.
Gracie Allen will
try to talk guest Bing Crosby into retiring in favor of George Burns on
tonight’s Burns and Allen show. Bing almost agrees until he hears George sing.
(The Valley Times, December 4, 1947)
December (undated). Bing is interviewed by telephone
from Melbourne by radio station 3XY and he has a conversation with a young lady
named Pam Fenton who has won a contest organized by the radio station.
December 5, Friday. (3:12–4:45 p.m., 6:40–7:20
p.m.) In NBC Studio B, Bing records a Philco show with Esther Williams and Red
Ingle which airs on January 28, 1948.
December 6, Saturday. Bing’s recording of
“White Christmas” makes its annual appearance in the pop charts, peaking at
number three over a five-week period.
December (undated). Bing and Dixie seen out together
at Charley Morrison’s Champagne Room. They are with Bill Morrow and Iris Bynum.
December 8, Monday. Bill Balderston, Group
Executive Vice President at the Philco Corporation writes to Bing:
Dear Bing,
I have intended all Fall to drop you a line and tell you how much
we are enjoying your programs. As Jimmie Carmine says, “They are terrific!” We
are all very happy about the results in the field - - as you probably know,
radio is a complete sellout. Our distributors have no stocks, and we are
pushing all the plants for maximum output!
We have talked about our
visit to Tuscarora many times. It was really the high spot of our Western trip.
The movies we took of you and the boys are really very good, and we have run
them many times for our friends.
Under separate cover we are sending
a very small gift for you and the boys. Hope it arrives safely. Tell Lin he had
better practice up his “mumble-peg” so that the next time we get together he
can win from us all.
Susan and the boys join me in
wishing all of you a happy, joyous Christmas. We are looking forward to seeing
you in New York after the holidays.
Bing passes the letter to Bill
Morrow with the pencilled comments “It’s about time.”
December 10, Wednesday. (9:00–9:30 p.m.) Bing’s
transcribed Philco Radio Time show is broadcast by ABC. The guest is
Walter O’Keefe. During the show, Bing mentions the Hotel Drake in New York and
this produces a letter from Helen E. Jones, the Hotel’s Publicity Director.
Walter O’Keefe and Bing Crosby will wax nostalgic about the time before
sponsors replaced the wolves at their doors and neither of them had anything
but a song for the landlady…Re-enacting the scene of their first meeting in the
waiting room at New York’s Grand Central Terminal, their club room at the time,
the pair will talk over old times and their respective rises in the show
world…Bing will also be heard in one of O’Keefe’s tunes, “Little by Little”…
(The Jackson Sun, 10th December, 1947)
Dear Bing Crosby,
Everyone here at the Drake, from the valet to the manager, thanks
you for your plug on the Drake on last night’s program.
It’s good to know you haven’t
forgotten your stay here and we often speak of your pleasant visit and the fun
it was to hear that familiar voice right in our midst.
I’ve chalked up as my best
remembrance my birthday last May when you sang that song just for me.
It’s the little things like that, and the thought you have of others that makes
it seem like a darned good world. You’ve done more than your share in
establishing that fact.
Say hello for me to Bill
Morrow.
Sincerely
Bing annotates the letter with a
pencilled instruction to his secretary “To Morrow and send Xmas card.”
December 11, Thursday. The production call sheet
for Connecticut Yankee indicates that Bing is required on set 11 (stage
15) at 9:00 a.m. for the ‘slave market’ scene. Bing also starts a heavy
recording schedule as a strike of the Petrillo-led American Federation of
Musicians is scheduled for January 1. Three songs are recorded later that day
with Victor Young and his Orchestra, plus the Ken Darby Choir. “Blue Shadows on
the Trail” charts briefly with a peak position of No. 23.
“Blue Shadows on the Trail,” “A
Fella with an Umbrella” (Decca). A corking coupling and an uncommon buy for the
Crosby addict.
(Variety, May 5, 1948)
Laroo, Laroo Lilli Bolero
Bing with choral backing on top plug item.
The Story of Sorrento
Listenable and tasteful production built around the BMI
version of the Italian folk tune.
(Billboard, April 17, 1948)
“Some performers will do maybe thirty-seven takes and do it better
each time. A lot of guys I knew around then could do maybe five or six takes
and then start to go downhill. Start to come apart. Find that their best take
is about the fourth or fifth. They knew exactly how to gear themselves up for
that. I always heard stories about how my dad was so relaxed and so natural
and, you know, sort of everything. People made it seem as if it came out of the
top of his head. Just as if he woke up and started doing it. I can tell you
from being in the house at the time, that if he was going to a recording date,
the day before, the night before as well as the morning, he always had dubs of
the song with the piano player and usually the songwriter singing it, and these
would be playing in the background all night until he went to bed. In the
morning when he got up, while shaving, showering and getting dressed, it would
be played and played again and again. He would sing it over and over again, so
that my father had it pretty well set for words and melody by the time he got
to the studio. Now when you have already got that down, the arrangement was
simple, run through it a couple of times; when to come in, when to lay out,
where the end is and where the beginning is. He would hit it two or three times
and go. That was best for him. That was the best way to work.”
(Gary Crosby, speaking in an exclusive interview with Gord
Atkinson, subsequently broadcast in Gord Atkinson’s The Crosby Years,
www.whenfm.com)
December 12, Friday. Films further scenes at
the ‘slave market’. (3:40–5:40 p.m., 6:30–7:10 p.m.) In NBC Studio B, records a
Philco show with Jimmy Durante, Dick Haymes, and Mark Hellinger which airs on
February 4, 1948.
December 13, Saturday. The production call
sheet for Connecticut Yankee suggests that more scenes at the ‘slave
market” are to be filmed.
December 15, Monday. The production call sheet
for Connecticut Yankee again shows that more scenes at the ‘slave
market” are to be filmed.
December 16, Tuesday. Scenes in the ‘peasant
hut’ are due to be captured for the Connecticut Yankee movie.
December 17, Wednesday. On the Connecticut
Yankee
set, scenes in the King’s quarters are scheduled to be filmed. Randolph
Churchill visits the set and lunches with Bing and Cedric Hardwicke.
(5:30–8:15
p.m.) Bing records two tracks with the Andrews Sisters and Vic Schoen
and his
Orchestra in Hollywood.
Bing Crosby and the Andrews Sisters (Decca 24481)
At the Flying “W”
Surefire Rhythm novelty featuring a twin box office attraction.
A Hundred and Sixty Acres
Same combine do full justice to a tune that’s not up to the
topside’s standard.
(Billboard, September 11, 1948)
Bing Crosby-Andrews
Sisters “At the Flying W” — “A Hundred and Sixty Acres” (Decca), Two westerns.
Crosby and the trio have a lot of fun with “W” and get out a side that tops all
previous disks on the new pop. Cut at a medium beat, it's real bright under the
treatment. Jukes and jocks will use it. Reverse, also a newie, is a pleasant
companion piece. Vic Schoen's orchestra backs both sides.
(Variety, August 25, 1948)
(9:00–9:30 p.m.) Bing’s transcribed Philco Radio
Time show is broadcast by ABC. The guests are Joe Frisco and Ilene Woods.
Derby-hatted, cigar smoking Joe Frisco, whose wise-cracks are passed
around Broadway like flawless gems at a jewelers exchange. Songstress Ilene
Woods, and Rudolph Schmoehopper, a celebrity known only to Bing Crosby, are the
guests scheduled to appear on the Bing Crosby Show tonight at 9:00 over
WTJS-ABC. Frisco, who so far as anyone knows never has left large cities except
for such country life as is found at a race track, now is devoting his life to
hunting and fishing, according to the stories he will tell Bing. Miss Woods,
who formerly was the featured singer of WTJS-ABC’s “Breakfast Club” will be
heard in “That Old Feeling”…What if anything Rudolph Schmoehopper will do on
tonight’s show is a secret known only to Bing.
(The Jackson Sun, 17th December, 1947)
December 18, Thursday. The production call
sheet for Connecticut Yankee indicates that the scene in Merlin’s
courtyard is to be filmed. Later Bing records “Once and for Always” with Rhonda
Fleming and Victor Young and his Orchestra. There is publicity regarding Bing
and Ampex as ABC orders twelve machines at
$5,200 each. The machines are to be divided equally between New York, Chicago,
and Hollywood. Bing Crosby Enterprises becomes involved in the sale of Ampex
products.
BING
CROSBY SIGNS BIG SAN CARLOS DEAL - Takes Over Full Output of New Recording
Device
SAN CARLOS, Dec. 18.—Announcement of the first contract upon a new
tape recording process that probably will revolutionize the broadcasting
industry was made here today by the Ampex Electric corporation, which said that
the contract has been completed with Crosby Enterprises, Inc., headed-by
radio’s foremost personality, Bing Crosby.
Final completion of the contract was made by Crosby’s
brother and business manager, Everett Crosby, and T. I. Moseley, owner of the
Dalmo-Victor Corporation. Moseley and A. M. Poniatoff are the largest
stockholders in Ampex Corporation.
A quartet of men at the local plant, Forrest Smith,
manager; Charles McSharry, office manager; Harold Lindsay and Myron Stolaroff,
engineers, jointly made the announcement of the perfection of the tape
recording device which will be distributed by Crosby Enterprises with the
entire first year’s output already sold to the American Broadcasting Company.
A demonstration of the new recorder, a shining 900-pound
cabinet with two quietly whirring 35-minute tape reels on its top, left
auditors breathless. Music and voices reproduced on the thin, brown plastic tape
were more real than the sound of music or persons standing in the same room. An
uncanny, almost ghostlike effect in which the actual breathing of musicians and
singers could be detected marks the tremendous almost “open-end” sound range of
the reproduction which also has-hitherto hidden qualities in the
middle-register of sound made electrically, audible for the first time. It is
the highest fidelity ever achieved by electrical engineers. Also new to
recording is the ability of the tape to be reduplicated or “dubbed” without any
loss in fidelity. A re-recording may be made by the machine from its own tape
in an infinite progression of times without any loss whatever, where ordinary
disc recording loses nearly 20 per cent of quality on each successive re-recording.
The tape moves through the recorder so fast that it may be slowed down for
editing, splicing and “dubbing” without the splicing being audible, thus
uncovering a big short cut for all radio transcription.
Crosby’s interest in the new process stems from his own
decision, made over a year ago, to record all of his programs instead of making
“live”’ broadcasts. This object was endangered by quality losses in recording
until last summer when Crosby began to record his shows on German-built tape
machines which had been improved by the W. A. Palmer Company of San Francisco.
These tape recordings were placed upon wax transcriptions for distribution and
use by the American Broadcasting company and its affiliated stations.
Starting in 1948, the entire Crosby show will be recorded
on the far more advanced Ampex recorder. These shows will also be
re-transcribed to wax discs, probably until April, when it is hoped that high
fidelity stations will have sufficient Ampex equipment to allow broadcasts
directly from the tape.
Engineers Lindsay and Stolaroff, who have developed the new
process, say that the effects of the new high fidelity transcription will be
readily apparent on existing radio sets of the AM type and even better on FM
broadcasts. Both said that the average AM home radio is capable of much better
reproduction than present broadcast signals will allow.
Smith said that a chief worry now, here as well as
throughout the entire broadcast industry, is what effect the recording ban set
for January 1 by Caesar Petrillo and his national musicians union will
have upon transcribed broadcasts.
”We don’t know the answer here,” said Smith.
From Los Angeles, however, today comes word that there is
close liaison between Everett Crosby and Petrillo.
The Ampex instruments have been experimentally recording
the Crosby broadcasts since October, it was revealed, and Bing Crosby was said
to have personally ordered the connection between Ampex and Crosby Enterprises.
One of the astonishing effects of the new recordings in
revealing full quality of spoken voices will probably cause top-flight radio
announcers to change their methods of speech. The unctuous, richly furred
voices of the announcers will have to approach more closely the normal since
the exaggerated characteristics developed for present radio sound “over-done
and silly” under the new recording process.
Smith said that the present plans of Ampex will be limited
for the first year to production of high precision recording and play-back
machines with an initial order of 500 of these to be completed. This, he said,
cannot be done under normal mass production methods because of the precision
elements involved. He said that the San Carlos plant will employ about 30
highest type electrical workers on the production.
Meanwhile the Ampex plant here is tapering off on
production of electric motors for airplanes. It has been engaged in this work
since war days when the plant was also busy in making radar parts. Smith
estimates that a switch-over to the recording device manufacturing will start
in about four weeks.
The plant is located at 1155 Howard Street in San Carlos.
Smith said that the research on the recording device has been under way for
more than a year. He also said that production of home recorders on a mass
basis is under consideration but that it will be at least a year before this
field is entered.
(George W. Whitesell, San Mateo Times, December 18,
1947)
December 19, Friday. The production call sheet
for Connecticut Yankee
has reserved this day for pickups and retakes.
Bing records a Philco show with Robert Taylor which airs on February
18, 1948. Robert Taylor receives a fee of $3000 for his services.
December 20, Saturday. The production call sheet
for Connecticut Yankee has also reserved this day for pickups and
retakes. (6:00–7:00 p.m. Pacific) Bing is one of several guests who make brief
appearances on “The Joyful Hour” broadcast on the 413 stations of the Mutual network. Others taking
part include Perry Como, Ann Blyth, Dennis Day and Dick Haymes. The show has
been transcribed and is produced by Father Peyton of the Rosary Crusade.
Many Hollywood
Stars Will Appear on “The Joyful Hour” Planned by Priest
Father
Patrick Peyton. C.S.C., founder and national director of the Family Rosary
Crusade, has completed arrangements for a special Christmas Rosary program,
“The Joyful Hour.” It will be an hour of music, drama and prayer. The Mutual Broadcasting
System has made the time available for a nationwide network over its 413 stations.
The program will likewise be shortwaved over the world through the facilities of
the Armed Forces Radio Service. “The Joyful Hour" is scheduled for Saturday,
Dec. 20, from 8 to 9 p.m.. Oklahoma time.
The
principal parts of the program will be broadcast from Hollywood with the
following stars participating: Ethel Barrymore, Ann Blyth, MacDonald Carey,
Jeanne Crain, Bing Crosby, Dennis Day, Pedro de Cordoba, Dick Haymes, Joan Leslie, Roddy McDowall, Ricardo
Montalban, Maureen O‘Hara and Maureen O'Sullivan.
Perry
Como, Christopher Lynch and the Mullen Sisters, singing Christmas selections,
will join the program in New York where arrangements have been made for a special
orchestra and glee club to provide background music.
In
Hollywood, the Mutual orchestra, will be under the direction of Max Terr, and
the St. Vibiana’s Cathedral Choir under the direction of Father Michael Ryan. The
Ken Darby Glee club will provide the choral background for Bing Crosby, Dennis
Day and Dick Haymes, who will sing traditional Christmas carols throughout the program.
Besides
the music, the program will also include the dramatization of the Christmas
story with special casts that are now in rehearsal. Ethel Barrymore and Pedro
de Cordoba will be the narrators. Throughout the program will be interspersed
the recitation of the prayers of the Rosary as a tribute to Mary, the Mother of
the Infant Jesus.
At
the conclusion of the program, Bing Crosby will introduce Father Peyton who
will say a few words on family prayer and the Family Rosary. Father Peyton’s wish
and hope in arranging and producing this program is that 10,000,000 families in
America will kneel and join the stars to say the Rosary in honor of Our Blessed
Lady.
The
program is written by Mark Kearney and will be directed by David Young.
(The Southwest Courier, December 13,
1947)
December 21, Sunday. (5:00–6:18 p.m.,
7:30–8:30 p.m.) In NBC Studio B, Bing records a Philco show with Peggy Lee,
Oscar Levant, and Joe Venuti which airs on February 11, 1948. (6:15-6:30 p.m.)
Bing guests on the Louella Parsons radio show on ABC.
December 22, Monday. (3:20–4:40 p.m., 6:30–7:10
p.m.) In NBC Studio B, Bing records another Philco show, this time with Peggy
Lee. The show is broadcast on February 25, 1948.
December 24, Wednesday. Records no less than
eight songs with John Scott Trotter and his Orchestra but “Oh, You Crazy Moon”
is not issued. (9:00–9:30 p.m.) Bing’s transcribed Philco Radio Time
show is broadcast by ABC. This is simply a rebroadcast of the December 25, 1946
show.
I’d Love to Live in Loveland – Decca 24471
Being revived now some 40 years after it originally proved to be
one of the biggest pops ever, the Will Rossiter waltz is given a relaxed ride
by Der Bingle with the usual able Trotter background.
(Billboard, July 31, 1948)
December 25, Thursday. The film Road to Rio
is released, taking $4.5 million in rental income in its initial release period
in the USA.
With Bing Crosby and Bob Hope on the tramp
again in “Road to Rio,” recklessly scattering jokes and rescuing perennial girl
friend Dorothy Lamour from dangerous hypnotic trances, there’s fun to be had at
the Paramount. Maybe this is not the funniest picture ever made; maybe it is
not even quite as rewarding as some of those earlier journeys, but there are
patches in this crazy quilt that are as good and, perhaps, even better than
anything the boys have done before. They are traversing more of a rollercoaster
highway than usual this time and so there are some tedious uphill pulls when
the huffing and puffing is excessive and the results negligible. However, when
they reach the top “Road to Rio” is irresistible.
Hope reluctantly doing a highwire bicycle
act and wrecking a carnival in the process, or being unceremoniously hung up as
a side of ham in a ship’s refrigerator, or blowing musical bubbles out of a
trumpet in a Rio de Janeiro night club may sound silly in cold print, but it’s
the kind of stuff that gets laughs on the screen. And, naturally, Crosby, the
smoothest straight man in the business today, is in there all the time getting
situations started and feeding jokes to his pal when he doesn’t actually steal
the play by adding a snapper to a snapper.
This mad caper is climaxed by a wild round
of excitement at an ultra-lavish wedding party, when the boys bravely move in
to rescue the dazed Miss Lamour from being duped into marriage by swindlers
posing as friends. If this synopsis sounds sketchy, it’s only because the story
doesn’t matter anyway. For the script merely serves as a means for getting a pair
of impecunious musicians driven out of one state after another by irate
husbands and boyfriends until they are cornered, forced to stowaway on a Rio
bound steamer and meet up with a beautiful senorita and her problems. All that
matters really is that “Road to Rio” is fairly well loaded with laughs.
(New York Times, February 19, 1948)
This celluloid junket along the Road to Rio should find smooth
riding to sturdy box-office. The pattern established by other Paramount “Road”
pictures is solidly followed by Daniel Dare’s production to keep the laughs
spilling and the paying customers satisfied.
. . . Able song selling is given to “But Beautiful”
and “You Don’t Have to Know the Language” by Crosby. Miss Lamour tosses of
“Experience” for listening pleasure. Two male stars combine on “Apalachicola,
Fla.,” for laughs as song-dance team, while the Andrews Sisters lend their
special touch to “For What?” (Editor’s note: The latter song was not
included in the final print of the film). Score is further abetted by inclusion
of five rhythmical Latin standards...
Star trio is up to all demands and gives extra punch
because of obvious enjoyment of playing roles.
(Variety, November 12, 1947, following tradeshow.)
What a grand way to spend New Year’s Eve—seeing Road to Rio.
I am only repeating myself when I say that it’s the funniest of the Road
pictures and, in my opinion, worthy of inspiring a special Academy Award for
musical comedies. When you laugh so hard you fall out of your seat, you know
this is one you must not miss. I have seen it twice, and I’ll see it again,
because it’s better than any tonic.
(Los Angeles Examiner, January 1, 1948)
The Andrews
Sisters join Crosby for “You Don’t Have to Know the Language,” one of many fine
tunes written for the film by two of Crosby’s favorite songwriters, Johnny
Burke and James Van Heusen. The girls appeared perfectly coifed and outfitted
in sequined dresses. Their makeup was well done, and they had never before
appeared so attractive on screen. This appearance marked the only time that the
girls worked with Crosby in a movie, although they are often erroneously
credited with having appeared in Road to Utopia. Watching Crosby and the
sisters in Road to Rio, it is easy to see how much they enjoyed working with
each other. Crosby is playful with all three sisters at different times during
the performance, even trying to make La Verne laugh just before the song’s last
line. One flaw occurs at the very end of the number when, after completing
their final turn, Patty miscalculates her last step and collides with LaVerne
as she swings out her hip. LaVerne keeps her composure, despite the substantial
bump. The film out-grossed every other theatrical release of 1948, including MGM’s Easter Parade with Judy Garland and Fred
Astaire.
(John Sforza, Swing It! Page 110)
December 26, Friday. (3:00–4:00 p.m., 6:30–7:30
p.m.) In NBC Studio B, Bing records a Philco show with James Stewart
which is broadcast on March 10, 1948. Stewart receives a fee of $3000 for his services. During this show, James Stewart sings
“I’m A Wolf” and Bing arranges for him to have some copies of the performance
on disc. This leads Stewart to send the following telegram to Bing on January
23, 1948:
Dear Bing:
Thank you ever so much for the records of Wolf Creek Pass. I have
offered some of them to several of my friends but my friends refuse to accept
them so I will treasure them all myself for ever.
Best regards,
Jim Stewart
December 27, Saturday. Another recording
session, this time with Victor Young and his Orchestra. Bing records a solo
version of “Once and for Always” and with Sir Cedric Hardwicke and William
Bendix, he sings “Busy Doing Nothing.” All of the songs from the film are issued on a 3-disc 78rpm album set in 1949 and this reaches the No. 5 position in Billboard's best-selling popular record albums chart.
Bing Crosby—“Once And For Always”—”If You Stub Your Toe on the
Moon” (Decca).
Two tunes from Crosby’s Connecticut Yankee pic. “Once” is
nicely done by Crosby and has hit possibilities. On this pairing, however, it’s
the “Stub Your Toe” side that catches the ear, similar to the same writer’s
“Swinging on a Star” the tune carries heavy sales and popularity weight.
Rhythmaires and Victor Young band help focus its values.
(Variety, March 16, 1949)
Once and for Always
Bing does one of his super old-time jobs with a melodic ballad
from his forthcoming “Connecticut Yankee” flick.
If You Stub Your Toe on the Moon
Also from the “Yankee” score, Bing gets off a warm rendition of
the novelty ditty that’s in the same vein as his sock “Swing on a Star” number.
(Billboard, April 2, 1949)
Connecticut Yankee album
Crosby’s in rare
form for this album of tunes from the “Connecticut Yankee” flick. His work on
the top ballad “Once” is more reminiscent of the Bing of the thirties than
anything he’s done in a long while – and the song is a natural. (It’s done
twice here – one by Bing as a solo and again as a reprise with Rhonda Fleming).
Other tune to watch is “Stub,” which could have the makings of another “Swing
on a Star”. Also represented from the
original cast are Murvyn Vye, Bill Bendix and Cedric Hardwicke. If picture is
as big as advance word has it, then album is in.
(Billboard, April 16, 1949)
December 28, Sunday. (4:41–6:21 p.m., 7:33–8:13
p.m.) In NBC Studio B, Bing records another Philco show, this time with
Margaret O’Brien. The show is broadcast on March 17, 1948.
December 29, Monday. (2:00–3:30 p.m., 5:08–5:48
p.m.) In NBC Studio B, Bing tapes another Philco program. This time the guest
is Jack Benny and the show is broadcast on March 3, 1948.
December 30, Tuesday. Records “If You Stub Your
Toe on the Moon” and “Lili Marlene” with the Victor Young Orchestra. Later,
records “Ichabod” and “The Headless Horseman” with Vic Schoen and his
Orchestra. “If You Stub Your Toe on the Moon” charts briefly in the No. 27
spot.
Bing Crosby (Decca 24508)
Lili Marlene
This is a Crosby record just for Crosby’s collectors’ sake; tune
of course is the war-born German item.
A Bluebird Singing in My Heart
More meaningless Bing.
(Billboard, November 6, 1948)
Ichabod
Ditty from the Disney “Ichabod and Mr. Toad” flick gets a manly
try from Bing, but doesn’t register as a potential pop item.
It’s More Fun Than a Picnic
An unballyhooed light waltz novelty from “As the Girls Go” is done
deftly and airily by Cros and a vocal group—but doesn’t wallop.
(Billboard, September 3, 1949)
December 31, Wednesday. Bing records four songs
with John Scott Trotter and his Orchestra including “Haunted Heart” and “Love
Thy Neighbor.” Another song – “A Fella with an Umbrella” – charts briefly in
the No. 23 spot. (9:00–9:30 p.m.) Bing’s transcribed Philco Radio Time
show is broadcast by ABC. The guest is Danny Thomas. Bing continues in the
recording studio until quite late and then accompanied by Dixie, they meet
friends at the Beverly Hills Club where they celebrate the New Year.
Danny Thomas, one of the newest and brightest comedians, who promises
to make 1948 a lot funnier that it would be without him, will be Bing Crosby’s
guest tonight at 9:00. Rudolph Schmoehopper, Crosby’s unknown celebrity guest,
who failed to appear a couple of weeks ago, again is scheduled for New Year’s
Eve. Thomas envious of Crosby’s movie and radio success, will launch into a
lengthy soliloquy in which he pictures himself as a movie mogul who hires Bing
as a bit player. He also will present a series of familiar film play scenes
which he promises will never appear in any of his pictures.
(The Jackson Sun, 31st December, 1947)
Haunted Heart
Bing’s tonsils entwine haunting legit tune, emerging with one top
disking to date on ditty.
(Billboard, April 10, 1948)
During the year, Bing wins the Illustrated Radio Press
Readers Award for 1947. He has had thirteen records that have become chart
hits. Also Decca has issued nine 78rpm albums of Bing's recordings in 1947.
Most of his records made in the second half of 1945 and through
much of 1946 were disappointing. His top notes seemed to come with great
difficulty; his phrasing was not as relaxed and certain as it had been in the
past. . . . There was a clear uncertainty in Bing’s work, and the blame for
that could be laid at the door of his musical collaborators. For a long time
during this so-called decline and fall, Bing was paired with various small
groups on the Decca roster. Missing the sure baton and intelligent aid of John
Scott Trotter, he had floundered between the notes of little units who were
working with him to improve their fortune. The association with Bing was
obviously more than just a shot in the arm for musical outfits on the way up,
but unfortunately, though the collaboration was a hypodermic for their
professional rating, it didn’t help Bing. As he worked more and more with John
Scott Trotter on the Philco show, made a few records with him, and began to
work more regularly as a singer, his voice emerged from the dark clouds of poor
colleagues. It shone again, and in his mid-1947 records, he was clearly an
assured vocalist once more.
(Barry Ulanov, in his 1948 book The Incredible Crosby, page
281)
1948
January 2, Friday. Bing is named top
moneymaking star for the fourth consecutive year in the annual poll of motion
picture theater owners and operators conducted by the Motion Picture Herald
trade publication.
January 5, Monday. (8:15-8:30 p.m.) Bing is interviewed by Joe Hasel
on Hasel's sportscast program on ABC about the forthcoming golf
tournament. They also discuss the outlook for the Pittsburgh Pirates.
January 6, Tuesday. Bing
attends the meeting of the Monterey City Council and is made Honorary
Chief of Police of the city of Monterey as a "thank you" for bringing
his Pro-Am to the area. (9:00–9:30 p.m.) Bing’s
transcribed Philco Radio Time show is broadcast by ABC. The guests are
Walter O’Keefe and the Lone Ranger (Brace Beemer).
The Lone Ranger will tie up Silver at a hitching post in front of the
Philco Radio Time bandstand when he and Walter O’Keefe are Bing Crosby’s guests
over WTJS-ABC tonight at 9:00. The Masked Horseman, as The Lone Ranger also is
known to his millions of fans, will be the central figure in a stirring drama
of the Old West, in which Bing will play Sheriff Creepalong. O’Keefe and announcer
Ken Carpenter will have important roles, too. O’Keefe, who is playing a return
engagement on Philco Radio Time, is coming back because Crosby didn’t let him
sing last time. Making amends, Bing will let Walter join him in a Calypso-style
duet whose lyrics recite the feats which have contributed to the fabulous
career of Al Jolson.
(The Jackson Sun, 7th January, 1948)
January 8, Thursday. Bing attends a party at
Lawson Little’s house at Pebble Beach.
January 9–11,
Friday–Sunday. Plays in the Bing
Crosby Pro-Am Tournament at Pebble Beach with Cam Puget, the local
professional. The professional winner is Lloyd Mangrum. Crosby and
Puget have a best ball score of 216. Ben Hogan and John Dawson
win the pro-am with 197. Others playing include Dennis O'Keefe, Randolph Scott, Forrest Tucker, Van Johnson and John Hodiak.
January 12, Monday. Comes down with a temperature of 103 and 'flu-like symptoms. Has to rest at Cypress Point Country Club.
Singer Bing Crosby
was taking a “few days” rest at Cypress Point Country Club today after his
brother Larry confirmed reports that he was suffering from what he feared was “virus
x” and had played in his own $10,000 pro-am golf tournament yesterday with a
high fever. Golfer Ben Hogan disclosed Bing’s illness at the traditional stag
dinner which ended the tournament. Virus x is the mystery malady which was
prevalent in the Los Angeles area during the Christmas holiday season.
(United Press,
January 12, 1948)
January 14, Wednesday. (9:00–9:30 p.m.) Bing’s
transcribed Philco Radio Time show is broadcast by ABC. The guests are
Evelyn Knight and George Burns.
George
Burns, who must have been told by a Hollywood psychiatrist to give his ego a
suntan by emerging from the sprightly shadow of Gracie Allen’s personality,
will try his solo appearance with wings when he, along with songstress Evelyn
Knight, visits Crosby tonight at 9:00 over WTJS-ABC. George, it seems, having
spent the greater part of his adult life feeding straight lines to his comically
gifted spouse, now would like to become a singer like Crosby. After listening
with sympathetic gravity to George’s entreaties, Bing will enlist the support
of the Rhythmaires and John Scott Trotter’s Orchestra, as he and Gracie’s
husband raise their voices in “It Might As Well Be Spring.” Miss Knight, one of
the trio of stars heard regularly on WTJS-ABC’s Texaco Star Theatre which
follows Bing’s, will sing “Betsy,” a delicately rhythmic ballad of the type
with which she is identified…The non-appearance of Rudolph Schmoehopper, Bing’s
elusive guest, a disappointment to which Philco Time listeners have come to
look forward to eagerly each week will take place as usual.
(The Jackson Sun, 14th January, 1948)
January 15, Thursday. (11:00 a.m.–2:00 p.m.,
4:30–6:00 p.m.) Rehearses for an appearance on the Kraft Music Hall.
(6:00–6:30 p.m.) Appears live on the Kraft Music Hall on NBC hosted by
Al Jolson. Oscar Levant is also present and Lou Bring and his Orchestra provide
support.
Once
again, the “Groaner” and the “Mammy Singer” pair it off for an evening of song and
patter on “Music Hall” over CBO at 9:00 o’clock.
The
last time the two singers got together in October Bing arrived first and took over
the “Music Hall” before Al was able to get to the studio. By the time Jolson
arrived,
Crosby was back at
his old job of singing “Blue of the Night.” It didn’t take Al long to remind
him that he was now the “boss”. If Bing had any doubts he was assured that when
he received his check he would be convinced.
Since
then Bing Crosby has been selected as the number one "draw" at the
box-office among male movie stars during 1947. With this in mind Bing will have
something new to bring up to the “freshman” boss of the hall. He hopes it will
have some influence on his reception.
(Claude
Hammerston, The Ottawa Citizen,
January 15, 1948)
January 17/18,
Saturday/Sunday. Bing is seen with
Douglas Fairbanks Jr. and others at the Ojai Valley Inn in Southern
California. Meanwhile, his 1000-acre ranch at Tuscarora, Nevada is sold.
January 21, Wednesday. (9:00–9:30 p.m.) Bing’s
transcribed Philco Radio Time show is broadcast by ABC. The guests are
Burns and Allen.
George
Burns, whose current ambition is to be a crooner despite an astounding lack of
musical talent, will bring his wife and radio partner, Gracie Allen, along to
the WTJS-ABC broadcast of “The Bing Crosby Show” to help enlist the support of
Bing during his regular appearance tonight at 9 o'clock. Burns, whose musical
nickname is “Sugar Throat,” will demonstrate briefly an archaic singing style
and Gracie’s addled efforts on her husband’s behalf will provide hilarity but
no real help toward getting George out of his present tuneless classification.
(The Jackson Sun, 21st January, 1948)
January 28, Wednesday. (9:00–9:30 p.m.)
Another transcribed Philco Radio Time show is broadcast and Bing’s
guests are Red Ingle and Esther Williams.
In his usual time spot just ahead of “The Tony Martin Show”, the old
groaner Crosby, has Esther Williams and the “Musical Maniac” Red Ingle as
guests at 9:00. Miss Williams, who made her show business debut as a swimmer in
a Billy Rose Aquacade in San Francisco when she was 16, will show what would
happen if her proposed National Civility week becomes a fact when she directs
Crosby and announcer Ken Carpenter, playing a batter and umpire during a
baseball game during the week. A football game dramatization also will be used
to show the benefit of Miss Williams’ proposal. Ingle, who sings dreamy ballads
in a twangy, hillbilly style, will be hard in his version of “You Came to Me
Out of Nowhere.”
(The Jackson Sun, 28th January, 1948)
January 30, Friday.
Bing and Dixie spend time in Salinas while en route with their son Gary
to his school in Santa Clara. They then have a brief vacation at Pebble
Beach.
January 31, Saturday. Bing’s recording of “Now
Is the Hour” enters the pop charts and remains there for 23 weeks.
February 3, Tuesday. Variety reports
that James C. Petrillo of the American Federation of Musicians has agreed to a
continuation of Bing’s Philco show on the understanding that all transcription
discs are returned to Philco in Philadelphia for destruction after the
Wednesday night broadcast. It is stated that Bing is recording three or four
more shows to complete the programs for the season. Bing is apparently paying a
rate one-third higher than the live rate to the musicians in order to gain
their support. Meanwhile, Bing and Dixie arrive in Elko, Nevada, during
the morning in a brief snowstorm. He is to be made Honorary Mayor later in the
week. After meeting several people, Bing and Dixie go on to their North Fork
ranch.
February 4, Wednesday. (9:00–9:30 p.m.) Bing’s
transcribed Philco Radio Time show is broadcast by ABC. The guests are
Dick Haymes, Jimmy Durante, and Mark Hellinger. The show had been taped in
December but Mark Hellinger had died on December 21.
Bing Crosby gave a showman’s epitaph to Mark Hellinger on his
Philco program, last Wednesday (4th). Several weeks before the columnist’s
death, he appeared as one of Crosby’s guest stars and the plattered show was
aired without any revisions, except for one mention by Crosby that, ‘just as
his friends would like it, he’s here with us tonight.’ And because of this it
was one of Crosby’s crackerjack sessions. Hellinger’s memory has a bit of
lustre added to it. Hellinger gave a short plug to his latest film, ‘The Naked
City’, exchanged a few gags with Crosby about the ‘good old days’ and set the
stage for Dick Haymes and Jimmy Durante, in outlining a mythical Broadway,
legit show. For the rest of the show, Hellinger played straight as Crosby,
Durante and Haymes cut some incomparable vocal capers, in a comedy tune about
the passing of vaudeville. Everything and everybody clicked with perfect
precision and it was a fitting farewell to Hellinger that he should have
appeared in this great show.
(Variety, February 11, 1948)
February 5, Thursday. Bing announces that he
will pay for all of the three-dollar tickets for the 360 persons expected to
attend the banquet in his honor on the coming Saturday in Elko. When the news
is flashed to about 100 people waiting in the line to buy tickets, an enormous
cheer is heard. Bing comes into Elko for a meeting and to pick up
supplies.
February 6, Friday. Bing and Dixie pose for
photographers at their ranch.
February 7, Saturday. (2:00 p.m.) At a public
ceremony on the balcony of Ranchinn, Bing is made honorary mayor of Elko, a
position he holds until his death. During his acceptance speech, Bing announces
that he is giving $5,000 towards a new municipal swimming pool for Elko. Bing
visits a number of Elko residents in their places of business during the
afternoon and is photographed sweeping the streets and meeting the acting chief
of police. (7:00 p.m.) Bing, accompanied by Dixie, is honored at a banquet at
the Commercial Hotel and he entertains the crowd with a witty speech followed
by several songs for which he is accompanied by Frank Brandt’s orchestra.
Recorded excerpts from the event are broadcast by station KUTA on February 10.
Four hundred people jammed the lounge of the Commercial Hotel
Saturday night and heard Bing Crosby make his first “promise” for reappointment
as honorary mayor of the city of Elko. This special honor had been conferred
upon the star of radio and screen earlier in the day by Mayor David Dotta.
“I promise,” said Bing, “to close
all the saloons in Elko within the next week.” Then he added, “Before we close
them, we’ll be sure we’re in them.”
Alternating between a serious and
humorous mood, Crosby kept his listeners completely entertained and their
thunderous applause showed their approval of his acceptance of the position of
honorary mayor of Elko. . . . The crooner said that Karl Keppler, an Elko
insurance agent, recently called him and wanted to insure his voice. “How about
the rest of me?” asked Crosby.
“You’ve already collected on that.”
Keppler replied.
In conclusion to his part of the
program, the like of which radio companies pay $5,000, he sang several songs,
one a parody on his activities in Elko, beginning with his first ranch purchase
here. . . . Those who heard him arose and applauded violently.
(Elko Daily Free Press, February 9, 1948)
February 11, Wednesday. (9:00–9:30 p.m.) Bing’s
transcribed Philco Radio Time show is broadcast by ABC. The guests are
Peggy Lee, Oscar Levant, and Joe Venuti. A long Gershwin medley is performed.
A generous assortment of the late George Gershwin’s music will be sung
and played by Bing Crosby and his guests, Oscar Levant, Peggy Lee and Joe
Venuti, a quartet that can’t be topped in popular music during the WJTS-ABC
broadcast of Philco Radio Time tonight at 9:00. Levant will display his
customary lack of modesty, false or otherwise, when he swaps quips with
Bing, but will prove also, his justification for braggadocio when he plays Gershwin’s
“Third Prelude.”…Venuti, one of the country’s hottest fiddlers, will be heard
in the title tune of “Lady Be Good.”
(The Jackson Sun, 11th February, 1948)
Bing’s
guests were the best
of the best—Durante, Jolson,
Jack Benny, Groucho
Marx, Mickey Rooney,
Judy Garland, Dinah Shore, Connie Boswell. In a short
piece about Peggy
around this time, Newsweek described
the circumstances that led
to her hooking up with Bing: “Her
staunch refusal to leave Hollywood
kept her off
several good radio
programs. Then, last fall, Bing Crosby suddenly
needed a good girl singer. He hired Peggy and got a girl
who could sound as good on her own
as she did in duets with him.”
Over the next few years, Lee and
Crosby would pair up on
“It’s a Good Day”
several times; the song jibed well with Crosby’s philosophy of
never complaining. They’d sing countless
other duets,
combining their
extraordinary
talents on any number of stylistic offerings. On one extraordinary show in 1948 they offered
up a handful of Gershwin
songs, duets including ”’S Wonderful,”
“I’ve Got a Crush
on You,” “They Can’t Take That Away from Me,” “I
Got Rhythm,” and “Summertime,” some featuring
the singular jazz violinist Joe
Venuti.
On one of his earliest
shows
with her, Crosby asked
about her new house
on Denslow
and inquired about
Dave’s health-all
very personal, all
very friendly,
all very gentlemanly. It seemed
he was trying
to calm her down. Just before
airtime, she had professed her nervousness. “When you introduce
me,” she
asked, “would
you please
not
leave me out
there on the stage
alone? Would you stand
where I can see
your feet?” On
that show,
and thereafter, Bing made
sure to stay
within her
sight-leaning
on a prop, hovering somewhere
nearby. “Bing
was always finding ways
to help give me confidence,”
she would
write. Professionally,
they were an equally good fit:
Both always arrived at
the studio before
the others for
rehearsals. ”I was
always impressed by his promptness, his
honesty,
and his modesty,” she
explained.
(Fever
– The Life and Music of Miss Peggy Lee, page162)
February 15,
Sunday. Has his second hole in
one, this time at the sixteenth at Cypress Point. Bing was only the
second person
to achieve this feat at the 222-yard hole. The golf ball manager at the United
States Rubber Company later presents Bing with a medal for the
achievement and he is photographed receiving it with press coverage
seen on March 28.
Golfer Bing Crosby was elected to buy champagne at the Cypress
Point clubhouse on Monterey Peninsula, Calif. On the 16th hole – 222 yards,
with a 200-yard carry-over across an inlet of the Pacific – he shot a hole-in-one.
“We were shooting into the sun,” he explained to the press afterward. “So I
just stood up and smacked one blind.”
(Time magazine, February 23, 1948)
February 16, Monday. Bing wins the Most
Popular Male Star award from Photoplay magazine for the fourth
successive year but is criticized for not being present at the Gold Medal
Awards ceremony at the Beverly Hills Hotel.
February 18, Wednesday. (9:00–9:30 p.m.) Bing’s
transcribed Philco Radio Time show is broadcast by ABC. The guest is
Robert Taylor. The film Road to Rio has its New York premiere and goes
on to become the top film for box office takings in 1948 in the U.S.A.
Robert Taylor will expose an unknown side of his personality when he
attempts to establish himself as a cello virtuoso on the Bing Crosby show. The
film star, whose repertoire includes only the “Glow Worm,” operates on the
theory that the audience might laugh when he sits down to play, but they’ll
howl when he begins.
(The Indianapolis Star, 18th February, 1948)
February 22, Sunday. Bing and Dixie are back in Hollywood.
February 23, Monday. Takes three of his sons to see The Freedom Train at Exposition Park.
February 25, Wednesday. (9:00–9:30 p.m.) Bing’s
transcribed Philco Radio Time show is broadcast by ABC. The guest is
Peggy Lee.
The accent will be on music with some fancy ukulele playing tossed in,
when Bing Crosby and his guest Peggy Lee come up with Crosby’s second edition
of the “Flop Parade,” 9 p.m… Several months ago Crosby and Dinah Shore got
laughs for their program of “All Time Flops” and one of the cleverest was
“These Lush Moments” which warrants a repeat on tonight’s performance…
(The Des Moines Register, 25th February, 1948)
Incidental Intelligence: To keep all ABC programs at their regular times when daylight saving
time starts April 25, ABC just bought a dozen of the sensational new tape
recorders which now make the Bing Crosby transcribed show actually better than
a live broadcast The recorders are made by a San Francisco firm, Ampex
Electrical Corp.
(Oakland Tribune, February 26, 1948)
February 26, Thursday. Bing goes into St.
John’s Hospital again for another checkup. Later Bing, Dixie, and the four boys
are seen in the Fox and Hounds.
February 28, Saturday.
Decca has issued a 4-disc 78rpm album called "Bing Crosby Sings with
Lionel Hampton, Eddie Heywood, Louis Jordan" and this is reviewed by Billboard on this date.
This album would be worth a 90 rating but Decca’s pressings,
leave us face it, are loaded with surface noise. This deficiency, seemingly
aggravated of late, may be minor for routine “singles”; in an album the
consumer kickbacks could be important. Apart from bad surface, the material
here consists of all old Bing singles on which he doubled. It’s great stuff in
collection. Outstanding are the Eddie Heywood-Bing pairing on “Who’s Sorry Now”
and Bing with Jordan on “My Baby Said Yes”. (Retail rating 85).
March 2, Tuesday. In Command Performance
show #313 with Dinah Shore.
March 3, Wednesday. Bing
takes part in the Pittsburgh Pirates practice drills at Hollywood Park in front
of many newsreel camera men and magazine photographers. The Pirates are doing
their spring training in Los Angeles. (9:00–9:30 p.m.) Bing’s transcribed Philco
Radio Time show is broadcast by ABC. The guests are Jack Benny and Tom
Breneman.
Crosby Juke Skit
The Bing Crosby show, via American Broadcasting Company, Wednesday
(3) was built largely around juke boxes. Jack Benny and Tom Brenneman (sic)
guested with Der Bingle and music machine situations developed when Benny
dropped a nickel in a juke in Brenneman’s joint to hear a Crosby disk and the
machine stopped playing after the first couple of bars of the disk. Benny then
“went across the street” to the Crosby studio to try to get his nickel back.
(Billboard, March 13, 1948)
March 4, Thursday.
The Pittsburgh Pirates host various baseball journalists at the
Hollywood Brown Derby and Bing and Bill Frawley take part.
March (undated). Records his section of the
soundtrack for the Walt Disney cartoon The Adventures of Ichabod and Mr.
Toad which is released in October 1949. Ken Darby handles the vocal
arrangements.
March (undated).
Bing and Johnny Mercer record a transcription on safe winter driving
for the National Safety Council. It is subsequently played on 678
stations in 36 snow-belt states.
March (undated). In the American Red Cross
1948 Fund Campaign broadcast Services to Veterans.
March 6, Saturday.
Bing and his sons Phillip, Dennis and Lindsay
take part in the Pittsburgh Pirates practice drills at Hollywood Ball Park. Gary is away at school. Decca has issued a 4-disc 78rpm album called "Bing Crosby Sings with
Judy Garland, Mary Martin, Johnny Mercer" and this is reviewed by
Billboard on this date.
Second in series of Decca packages with triple-talent peg
featuring der Bingle’s former vocal wax compatriots. All disks are former
single releases but album as a whole should appeal to all who are Crosby fans
(who ain’t). Particularly valuable and as rhythmically appealing as when they
first came out are the Mercer team-ups with Gallagher-Shean version of “Mr.
Crosby and Mr. Mercer”; “Small Fry,” “On Behalf of the Visiting Firemen.” In
fact whole album sparkles with the xairy, wunnerful Crosby touch.
March 7, Sunday.
Starting at 2:30p.m., Bing takes Phillip, Dennis and Lindsay to see the
Pirates beat the St. Louis Browns 12-11 at Perris Hill Park, San
Bernardino.
March (undated). Bing and Dixie have dinner at
King’s restaurant.
March 10,
Wednesday. Starting at 2:15 p.m., the Pittsburgh Pirates beat the
Chicago White Sox 6-3 in an exhibition game at Gilmore Field.(9:00–9:30 p.m.) Bing’s
transcribed Philco Radio Time show is broadcast by ABC. The guest is
James Stewart.
Hollywood’s
favorite bachelor compares notes with filmdom’s top “family” man when Jimmy
“Wolf” Stewart is guest star on Bing Crosby’s laugh riot “Philco Radio Time”
tonight at 9:00…Extolling single blessedness, Jimmy tells the Groaner some of
his trade secrets on staying single. Bing, however, determines that Jimmy is
missing the best things in life and shows him, via a sketch how easy it is to
get married, with Stewart playing the blushing bride and Bing the groom. When
their signals get crossed, they pull a switch with Bing as the bride and Jimmy,
the groom. As a finale to the sketch, Stewart steps out of character to sing
“I’m the Wolf of Wolf Creek Pass.”
(The Jackson Sun, 10th March, 1948)
March 11, Thursday. Starting at 2:15 p.m., the Pirates lose to the Chicago Cubs 4-3 at Wrigley Field.
March 12, Friday.
Starting at 2:15 p.m., Bing, accompanied by his father and Bill Frawley, watch the Pittsburgh
Pirates beat the Chicago Cubs 6-5 at Gilmore Field. After the game, Bing throws a big party
for the Pittsburgh Pirates team and celebrities such as Pat O'Brien entertain.
March 13, Saturday. The Paramount newsreel
of today includes film of Bing with the Pittsburgh Pirates baseball team.
March 15, Monday. Bing tapes a Philco show with
Fibber McGee and Molly (Jim and Marion Jordan).
March 17, Wednesday. (9:00–9:30 p.m.) Bing’s
transcribed Philco Radio Time show is broadcast by ABC. The guest is
Margaret O’Brien.
Bing Crosby will reel off almost as many Irish names as there are in
the Dublin Telephone Directory when he sings “Dear Old Donegal” during the St.
Patrick’s Day broadcast of Philco Radio Time tonight at 9:00. His guest will be
Margaret O’Brien. Bing and the very young Miss O’Brien will display prime
samples of their ancestral brogue before enacting with the help of announcer
Ken Carpenter and Maestro John Scott Trotter, a specially written version of
the Cinderella story titled “Cinderella Goes to Town.” Gloria Woods, who has
been heard all season as one of the Rhythmaires, will emerge as a personality in
her own right to sing “Saturday Date,” with Bing, whose remaining tunes of the
evening will be “Tumble Down Shack in Athlone” and “Galway Bay.”
(The Jackson Sun, 17th March, 1948)
Crosby Disks Circle New York Clock (Front Page
Headline)
Bing Crosby can be described as the only singer who follows the
New York metropolitan listener, around the clock. Judging from the amount of
time devoted to programs made up exclusively, of his own recordings, there is
hardly a quarter of an hour during the day or night, Monday through Saturday,
that some station in the metropolitan area isn’t broadcasting Bing’s voice.
Excluding the four network stations, the number of quarter hours of aired
Crosby records almost matches the number of quarter hours that the average
metropolitan station consumes in broadcasting. The airing time of the fifteen
non-web stations, in and around New York averages eleven hours a weekday, this
figures out at 44 quarter hours a day, whereas Crosby records have an accurate
schedule of thirty quarter hours. There isn’t one of the nineteen metropolitan
stations that doesn’t play a Crosby disk, during the weekday and even one of
the network keys, WOR has its own program of Crosby recordings - that one comes on
Monday morning. The three heaviest Manhattan pluggers of Crosby platters are
WNEW, WINS and WHN. WINS currently clears 26 quarter hours a week of Crosby
programs and plans to add another hour daily or twenty four quarter-hours a
week which will give that station’s listeners, 50 quarter-hours a week of the
crooner’s output. WHN schedules three daily Crosby shows for a total of four
and a half hours a week and this does not include the airings he gets on
several other record programs aired by this station at other times of the day
and night. WNEW has two Crosby shows of twenty-five minutes each on weekdays
and a forty minute one on Sundays, these add to ten minutes short of six hours
a week. On the Jersey side, WAAT tops the list with two half-hour daily stanzas
which count up to six and a half hours a week and also a fifteen minute round
of Bing on Sundays.
(Variety, March 17, 1948)
March 18, Thursday. (8:15 p.m.) Bing is at
Gilmore Field to see the Pittsburgh Pirates beaten four to one by Bob Hope’s
Cleveland Indians at a specially arranged friendly match in Hollywood. Also,
Bing and Dixie, plus Rita Hayworth are said to have had reservations for the
Burl Ives concert at the Wilshire-Ebell Theater but it is not known whether
they attended.
March 24, Wednesday. (9:00–9:30 p.m.) Bing’s
transcribed Philco Radio Time show is broadcast by ABC. The guests are
Peggy Lee and Wild Bill Elliott.
“Wild Bill” Elliott, Republic Pictures' hard riding cowboy star, will
set off some shootin irons and initiate Bing Crosby in the technique of
producing a cattle rustling horse opera when he and songstress Peggy Lee are
guests of the WTJS-ABC broadcast of Philco Radio Time tonight at 9:00 p.m.
Elliott, who formerly played the title role in the Red Ryder series, recently
finished a picture, complete with stage coaches and pounding hooves, titled
“Old Los Angeles.” During his chatter with Bing, he will explain how a father
should distribute the pop corn when he takes his sons to see a western movie on
Saturday afternoon.
(The Jackson Sun, 24th March, 1948)
March 28, Sunday. (1:30–2:30 p.m.) Bing,
together with many other stars, takes part in The Triumphant Hour,
a
program of the Family Rosary Crusade broadcast on the Mutual Network
for Easter. During the afternoon, Bing and his sons and many friends
take part in a Father vs. Son softball match on the diamond at Beverley
Hills High School.
Rev. Patrick Payton, C.S.C;
Impresario of “The Family Hour,” provided for the faithful on MBS Sunday
afternoon (28) an hour of Easter service that was even better programwise than
his reverential event of last Christmas Eve.
This session was as star-loaded as the previous one, but the music itself
seemed to have a superior tonal and. emotional appeal. Interpolated between
scenes from the “Pageant of the Resurrection” and the recital of “The Rosary”
were solos by Bing Crosby, Dennis Day, Eileen Farrell and Christopher Lynch, the latter
two originating from New York and being the only exceptions to an all-Hollywood
cast.
(Variety, March 31, 1948)
March 31, Wednesday. (9:00–9:30 p.m.)
Another transcribed Philco Radio Time show is broadcast and Bing’s guest
is Dick Powell.
Veteran
moviegoers who recall Dick Powell in his crooning days before he became a
bullet-proof detective will get a reminiscent thrill when Powell, as the guest,
joins Bing Crosby in a duet of six tunes from as many of his former pictures
tonight at 9:00 p.m., over the American Broadcasting Company and WTJS. Bing and
Dick will deliver the medley after Powell has explained the change of his
celluloid character.
(The Jackson Sun, 31st March, 1948)
The
first two Ampexes (modeled on the Magnetophon) finally appeared in April 1948
and were followed immediately by twelve more for ABC. The ABC order had, in
fact, made possible the final financing of the first two-Ampex Model 200,
serial numbers 1 and 2, which were presented to me. They went into service on
the twenty-seventh Crosby show of 1947-48. Still, ABC insisted on broadcasting
from discs until its technical people were sure of their backup capacity and of
the reliability of tape. But we retired my Magnetophons, which were getting
pretty tired by that time.
(John T. Mullin, writing in High Fidelity, April, 1976)
April (undated). The first Ampex tape recorders are
delivered to ABC and the use of transcription discs declines.
April 3, Saturday. Bing is featured in the
Paramount newsreel urging support for the American Cancer Society. Also, Decca has issued a 2-disc 78rpm album called "Selections from Road to Rio" and this is reviewed by
Billboard on this date.
Two
disk album featuring three novelty tunes and one ballad from the latest
Crosby-Hope flicker, "Road to Rio," is directly aimed at the film fan
market, with release date timed to coincide with national showing of pic.
Previously out as single platters, all four tunes enjoyed some success with
Crosby’s “But Beautiful” ballad easily taking top honors. Bing's “Language”
with the Andrews Sisters will probably gain new popularity once public ganders
gals and the groaner sell it on the screen.
April 4, Sunday. (10:00 a.m.–1:00 p.m.)
Rehearses for an appearance on the Jack Benny Show in Palm Springs. (5:00–5:30
p.m.) (10:30-11:00 p.m.) Guests on the Jack Benny radio show on NBC. Bing sings “Haunted Heart”
with Phil Harris and his Orchestra.
April 5, Monday.
Bing and his four sons are heard over the ABC network at various times
in a 15-minute transcribed program discussing the best way of building
a boys club with J. Edgar Hoover.
April 6, Tuesday. (5:00 p.m.) In San Francisco, Bing
receives an award from General Mark Clark
at a retreat parade ceremony as part
of the San Francisco Bay celebration of Army Day. This is a
Presidential
Certificate of Merit for "outstanding fidelity and meritorious conduct
in aid of
the war effort during World War II." Goes on to see the Freddy Martin
opening at the Mural Room in the St. Francis Hotel with Buddy
Cole and Hoagy Carmichael.
April 7, Wednesday. (9:00–9:30 p.m.) Bing’s
transcribed Philco Radio Time show is broadcast by ABC. The guests are
Fred Astaire and Peggy Lee.
Fred Astaire’s reason for changing his mind about retiring from the
movies will be disclosed by the dancer when he, along with Peggy Lee, appears
on the WTJS-ABC broadcast of The Bing Crosby Show tonight at 9:00. Astaire, who
recently completed the film, “Easter Parade,” will tell Bing and all his
listeners, with a frankness rare in show business, exactly what made him return
to the screen…Recalling that Berlin has written tunes about all the legal
holidays, Miss Lee and Crosby will sing a few of the new ones. “Catalogue Day,”
which tells of the arrival of the mail order catalogues and. “Kamehameha Day”
which celebrates the exploits of the first King of Hawaii.
(The Jackson Sun, 7th April, 1948)
April 8, Thursday. Arrives back in Hollywood from San Francisco.
April 9, Friday. Bing has been asked to
record “Nature Boy” in a cappella style with the Jeff Alexander choral group
but refuses to go against the AFM ban. Frank Sinatra had recently recorded the
song in a similar manner.
Reliable outside reports disclosed, however, that Decca had
originally skedded the tune for a week-end session with Bing Crosby and a
choral group. Date was abandoned late Friday when Crosby refused to go against
the ban placed by American Federation of Musicians’ chieftain, James C.
Petrillo. Sources close to Crosby said that Der Bingle wired Petrillo Friday
(9) asking for permission to cut a special disking. When no reply from Petrillo
was forthcoming Friday evening, Crosby dropped the whole idea…It is recalled
that Crosby has enjoyed amiable relations with the AFM since the federation
okayed the singer’s request to continue the transcription of his Philco airer.
(Billboard, April 17, 1948)
April 14, Wednesday. (9:00–9:30 p.m.) Bing’s
transcribed Philco Radio Time show is broadcast by ABC. The guests are
Fibber McGee and Molly (Jim and Marion Jordan). Variety states that Bing
and Dixie have recently left Los Angeles for New York.
Although Paul Whiteman always has been credited with having given Bing
Crosby his first boost up the ladder of success, since Bing first gained
recognition in Pop’s band, McGee, the husband of Molly, will try to grab all
the credit for himself when Fibber McGee and Molly appear as Bing’s guests
during the WTJS-ABC broadcast of The Bing Crosby Show tonight at 9:00 p.m.
McGee will explain to Molly how his ideas and advice were Bing’s sole
inspiration in his early days. Confronting him a little later in the show, Bing
will have a surprise for the boastful McGee.
(The Jackson Sun, 14th April, 1948)
Bing Crosby and J. Arthur Rank, ace
British filmmaker, will work out plans for the Groaner's projected film stint
in England while making the rounds of the Greenbrier golf course at White Sulphur
Springs, Va. Rank heads for Greenbrier today (Wed.) as a guest of Robert R.
Young and Crosby will join him there to play golf and talk production.
Understood that Crosby would like
to play the lead in a filmization of the musical legit hit "Brigadoon"
and that Rank has already sent out feelers as to the price tag for film rights.
While no deal has been closed, if the price is right Rank will go for it. Crosby
is committed to a one-pic" deal.
With Young hosting, the Duke and
Duchess of Windsor and Max (Simon &) Schuster will also be in the party at
Greenbrier with Rank.
(Variety, April 14, 1948)
April
15–18.Thursday–Sunday.
Bing takes part in the lavish reopening celebrations of the
Greenbrier Hotel, White Sulphur Springs, West Virginia, after its use
as an
army hospital during the war. He attends a party for 300 at the hotel
on the
Friday and plays in a pro-am golf tournament teamed with Ben Hogan on
the Saturday and Sunday. Bing and Hogan tie for fourth place with 128. On the
Saturday evening, Bing attends the Diamond Ball and sings
three songs; “Now Is the Hour”, “The Girl Friend” and “The Whiffenpoof
Song”.
Bing shares the center of attention with the Duke and Duchess of
Windsor. Rose
Kennedy is also there with four of her children (John, Patricia,
Kathleen, and
Eunice) as is J. Arthur Rank (a British
industrialist and founder of the Rank Organisation), plus many Astors, Vanderbilts,
and Biddles.
April 18, Sunday. (2:00-2:30 p.m.) Stars in a transcribed NBC
radio program A Question of Pianos with Ann Blyth, Jimmy Durante, Bob Hope, Maureen O'Sullivan and Pat O'Brien for
New York Catholic Charities. Gary and Lindsay Crosby also take part.
April 19, Monday. Bing sings four songs in a transcribed radio program Guest
Star #56 which is heard at various times nationwide. It appears that all of the songs were dubbed from Bing’s Philco
shows. This is a Treasury Department production and is the first in support of
the Security Loan Campaign. Bing goes to the
Pittsburgh Pirates opening game of the season in Cincinnati with Bill Morrow
and sees the Pirates lose four to one to the Reds.
April 20, Tuesday. Bing arrives in
Pittsburgh and goes to the William Penn Hotel. (3:00 p.m.) He is at Forbes Field,
Pittsburgh, for the Pirates game against the Chicago Cubs. A crowd of 38,546
see the Pirates win 3-2.
High in the broadcasting booth overlooking home plate, Rosey Rowswell
was fidgeting like a nervous gnome, his firecracker-type voice describing the
opening game of the season at Forbes Field in Pittsburgh. Down below, the
stands were jam-packed with Pirate fans, tile sun warm on their backs, gloom,
deep in their hearts. The Pirates were trailing the Cubs 1-0 in the fourth
inning.
Into the broadcasting cage slid a man with wide-angle ears. He was
wearing a large grin. He also wore a loud, open-collared sport shirt and on his
head was a jaunty hat with a wide, multi-colored band. At the sight of this
character, old Rosey began to relax. Mister “Good Luck” had shown and
everything was going to be all right for the Pirates.
“Hi, assistant,” Rosey said. “It’s about time!”
The assistant, who goes by the handle of Bing Crosby, took over behind
the microphone and, in a voice that is recognized by millions, said
easily, “The count on Stan Rojek is two and one, Wally Westlake on deck, here’s
the pitch—“
Within a few moments, word spread like wildfire through the ball, park
that Der Bingle was at the mike. The atmosphere cleared. The wild-eyed
Pittsburgh fans remembered opening day last year when Bing went on the air, and
the Pirates replied by slamming out seven runs in one inning! Now, ball
players’ heads popped out of the dugout to snatch a glimpse of their boss,
Bing, up there in the booth and their grins were wonderful to see. And then
they went ahead to win the game, 3-2.
I like to think they won that one for Bing. I do know that whenever Old
Man Crosby is hanging around their home grounds, the Pirates are almost
impossible to beat. Maybe he’s just good luck—and ball players are a
superstitious lot—but, somehow, I believe it’s more than that. I think it has
to do with the way Bing feels about the Pirates and the way they feel about
him.
… The players like to kid broadcaster
Rosey Rowswell, telling him that if he continues to let Crosby relieve him on
the air, Bing is going to get his job.
Crosby never uses a program when he broadcasts. He knows all the data
about every major league player without consulting the book. His talk is spiked
with zingy baseball lingo plus the unmistakable Crosby wit.
(Photoplay
magazine)
April 21,
Wednesday. Golfs with Davidson Herron at Allegheny Country Club in the
morning. (1:30 p.m.) Goes on to Forbes Field to see the Pirates lose 6-3 to the
Cubs. (9:00–9:30 p.m.) Bing’s
transcribed Philco Radio Time show is broadcast by ABC. The guests are
Clifton Webb and Bing’s four sons. The show has an audience rating by Hooper
of 18.5.
Youthful Bounce
It took his four kids to do it but Bing Crosby, missing for some
time from the top fifteen Hooper ranks, bounced back and into the eleventh
place in the latest tallies, just released. The rating was made on the night
Crosby’s four boys appeared on the ABC-plattered Philco show with the advance
build-up it got via the previous Sunday’s Walter Winchell and Louella Parsons
programs, contributing towards the 18.5 rating pay-off.
(Variety, May 5, 1948)
April 22, Thursday. Still in
Pittsburgh, Bing visits the Veterans Hospital at Aspinwall. Later he watches the Pirates beat the Chicago Cubs 3-0.
April 23, Friday. (2:15–4:30 p.m.) Bing has arrived
in New York and broadcasts part of the play-by-play commentary on the Red Sox
versus Yankees baseball game at Yankee Stadium. The Red Sox win four to nil.
Der Bingle Finds a Sideline - Pittsburgh, April
27.
Atlantic
Refining Co. and Reich’s Sealtest Ice Cream, co-sponsors of Pittsburgh Pirates’
baseball broadcasts, practically got their investment back opening three days
of the season when Bing Crosby monopolized the play-by-play mike over WWSW and
a regional network to smack out the biggest local Hooperating in history. Der
Bingle, v.p. of the National League entry, came on for the trio of clashes with
the Chicago Cubs and spent game times in the broadcasting booth with Rosey
Rowswell.
Crosby
called the plays for five innings in the first game, about six in the second
and seven the third. Rowswell wouldn’t let him get off the air, and general
consensus of opinion among the listeners was that Bing could qualify for a job
as an ace broadcaster any time he decides to give up groaning.
In
addition, Crosby gave WWSW a beat by broadcasting a five-minute interview that
was practically a monolog during the pre-opening game ceremonies from Forbes
Field. The inevitable cracks about Hope were howls. Last season Crosby also
came on for Pirates’ opener and likewise did some play-by-paly calling but not
as extensively as this season
(Variety, April 28, 1948)
April 24, Saturday. Bing’s recording of “Now
Is the Hour” is at number one in the charts for three weeks. This turns out to
be Bing’s last number one record.
April 26, Monday. Tapes a Philco show with Henry Fonda at the Ritz Theatre which is broadcast on May 12.
April 28, Wednesday. (9:00–9:30 p.m.) Bing’s
transcribed Philco Radio Time show is broadcast by ABC. The guest is
Claudette Colbert. Variety carries a critical comment from Fred Allen as
Bing had pulled out of a guest appearance on his show at the last moment. Allen
had already recorded a Philco show with Bing and Bing was supposed to
reciprocate. Bing fulfills his obligations on May 23.
Claudette Colbert and Bing Crosby will peer into the future to
speculate on what it will be like to go to the movies in 1955 when Miss Colbert
appears as Bing’s guest during the WTJS-ABC broadcast of the Bing Crosby Show
tonight at 9:00 p. m. The increase in the sale of candies, cigarettes, pipe
tobacco, chewing gum, soft drinks and paper cups in the lobbies of theaters is
what prompts Bing and Miss Colbert to play a movie-going couple seven years
from today. The rare opportunity of hearing Miss Colbert raise her voice in
song also will be afforded listeners to tonight's broadcast when the
movie star joins Bing in the second chorus of “You Are Too Dangerous Cherie”
which the pair will sing in French.
(The Jackson Sun, 28th April, 1948)
April 30, Friday. Starting at 2 p.m., Bing
acts as grand marshal of the Grand Feature Parade of the 21st. Annual
Shenandoah Apple Blossom Festival in Winchester, Virginia. The crowd watching
the event is estimated at 100,000. The proceedings are captured by Paramount
News and featured in their newsreel of May 8. Bing goes on to a reception at
Harry Byrd Jr.’s home at 112 S. Washington St. where he sings with Charles Anderson
(guitar) and Kenneth Windle (piano). He then travels to Front Royal,
Virginia, where he sings on the courthouse steps as part of a concert to help
raise money for a new stadium. Bing is the first contributor to the Front Royal
Recreation Center Building Fund when he donates $1,000. Stays at the home of
State Senator Raymond Guest at Bayard, Warren County, Virginia. Mr. Guest is
the cousin of Bing’s friend, Harvey Shaeffer.
May 1, Saturday.
The funeral of Tom Breneman takes place at Forest Lawn Memorial Park in
Glendale, California. Bing is named as an honorary pallbearer as are
Bob Hope and Jack Benny.
May 2, Sunday. Bing arrives back in New
York. During his time in the city, Bing stays at both the Garden City
Hotel and the Westbury Hotel at various times. He records four Philco shows
whilst in New York. A well-researched and
balanced book called The Incredible Crosby by Barry Ulanov has been
published by Whittlesey House of New York and part one commences as follows:
Few men have so completely captured the American imagination as
Bing Crosby has. And just as few have had their imaginations so completely
captured by America and its people as Bing Crosby has. Without waving a flag,
with a noticeable avoidance of the Fourth of July oration, he has gone right to
the heart of twentieth-century America. In his language, his looks, his dress,
in his sports, his ambling gait, his shifting weight, Bing Crosby bespeaks his
country. In his voice he sings America, and most of America sings with him.
The New York Times reviews the book which has 336
pages and costs $3.50:
There have been many attempts to explain the phenomenon known as
Bing Crosby, including the one so obvious it has the ring of paradox -- that he
may not be bad as an entertainer. Barry Ulanov, biographer of “The Incredible
Crosby,” finds the full true reason quite easy. Bing, he says, is just the
average American and “therein lies his genius.”
...As the editor of Metronome,
the author has a decent respect for singers and musicians. Possibly it is this
respect which at times make the account and his friends read a little like an
account of Dr. Johnson and his circle. Possibly, indeed, an average American
hasn’t as much colour as an unaverage American. Whatever it is and despite the
fact Mr. Ulanov takes up all sides of Bing, his story does not trip along like
a popular ballad. It is painstaking and detailed, but it does not trip...Mr.
Ulanov goes into the movies in detail and when he doesn’t like them he says so.
But he always likes Bing as a person, Bing, the incredible Crosby.
(Lewis Nichols, New York Times, June 20, 1948)
May 3, Monday. Bing is appointed to the
advisory council of Sports America whose principal purpose is to bring more
boys and girls into sport and recreation.
May 4, Tuesday. ABC arrange a birthday
party for Bing at the Chatham Hotel and this is attended by Mark
Woods, Chairman of the American Broadcasting Co. and Harry Wismer, Sports
Director at the American Broadcasting Co.
May 5, Wednesday. Paramount put on a
belated birthday party for Bing at the Rainbow Room in New York to help promote the Emperor Waltz film. Marlene Dietrich,
Veronica Lake, and Florence Pritchett are amongst the guests. (9:00–9:30 p.m.) Bing’s transcribed Philco
Radio Time show is broadcast by ABC. The guest is Barry Fitzgerald.
Barry Fitzgerald and Bing Crosby will present a preview of a mythical
movie, which never will be seen on any screen and which will be known only to
Crosby listeners, when Barry is Bing’s guest during his WTJS-ABC broadcast
tonight at 9:00 p. m. The picture will include Fitzgerald as an aged
plumber and Bing as his young helper. The somewhat reminiscent title of the
film is “Welcome, Plunger.”
(The Jackson Sun, 5th May, 1948)
Paramount
hung up another “first” yesterday. It was a birthday party for Bing Crosby in
the famed Rainbow Room. Not that it was Bing’s first birthday, of course, but
it was the first time a party had been tossed hereabouts for Br'r Crosby and Paramount,
doing the honors, did ‘em royally. And festively. And with a notable array of
industryites in attendance, Vic Damone, Gloria Gibbs, Helen Jepson and Giovanni
Martinelli, with Duke Ellington at the piano, sang the traditional “Happy
Birthday”.
There
was a six-foot birthday cake, decorated with mike, bat, baseball, movie camera,
plaid shirt, slouch hat, golf club, four little boys, piano, and topped with a
statuette in color of Bing in “Emperor Waltz” costume. In that connection, be
it noted Bing sported a Tyrolean hat from the picture, the guests paper
duplicates. The party bids told guests they could bring presents for Bing
provided they did not cost more than 50 cents. You shoulda seen the array,
including books on how to be a comedian and how to sell songs and photos of Bob
Hope.
Paramount
group present was headed by Barney Balaban, Adolph Zukor, Charles Reagan, Paul
Raibourn. Otherwise, it was the “cream of crop,” and too, too many to record.
Included in the activities was a waltz named for Bing’s latest film in which he
is coupled with attractive Marlene Dietrich.
(Film Daily, May 6, 1948)
May (undated). During his time in New York, Bing goes to see the musical High Button Shoes
at the Shubert theatre. The stars are Bing's friends Phil Silvers and
Nanette Fabray. Bing surprises them by walking on from the wings
and singing with the chorus boys,
May 10, Monday. Golfs in a benefit for
North Community Hospital at Piping Rock Golf Club, Locust Valley, Long Island.
He and pro Jimmy Thomson come fourth in the competition. Bing has a 74. The Duke of Windsor and many other celebrities also take part. Later, Bing records a Philco show with Beatrice Lillie.
May 12, Wednesday. (9:00–9:30 p.m.)
Another transcribed Philco Radio Time show and Bing’s guest is Henry
Fonda. The show has been recorded in New York with Kenny Delmar as announcer
and with the Skylarks taking over from the Rhythmaires.
Henry
Fonda and Bing Crosby will invite their radio audience on an imaginary fishing
trip in Maine when Fonda is Bing’s guest during the WTJS-ABC broadcast of the
Bing Crosby Show tonight at 9:00 p m. Before taking the audience on the economical
but laugh-packed junket, Bing will try to impress Hank, who currently is
starring in Master Roberts (sic) on Broadway, with the swank circle in which he
moved at the opening of the Greenbrier Hotel in White Sulphur Spring, West Va.
Although Bing won’t admit it openly, he will imply that the surroundings were
sufficiently awesome to induce him to don a necktie. Kenny Delmar, who is heard
as “Senator Claghorn” on Sundays will fill in for Ken Carpenter while Bing is
broadcasting in New York.
(The Jackson Sun, 12th May, 1948)
May 14, Friday. Bing is in Philadelphia
and is presented with a 17th century hall clock by the editor of Country Gentleman
magazine in recognition of winning “The Country Gentleman Award”, a
poll amongst rural motion picturegoers for the leading male movie
star. This is the third successive year that he has won the award.
May 15, Saturday. Bing is said to have
visited the Philco factory in Philadelphia and played golf at Huntington Valley
Country Club with Philco executives.
May 16, Sunday. Bing plays in the National
Celebrities Golf Tournament at the Columbia Country Club, Washington D.C. in
pouring rain in front of a crowd of 6,000. Playing with Byron Nelson, Gene
Sarazen, and Del Webb, Bing, with a seventy-six, ties with baseball star Dizzy
Dean for the amateur prize. Margaret Truman (daughter of the president) keeps
Bing’s score for nine holes. Film of the event is included in the Paramount
newsreel of May 22. In the evening, Bing appears in a show before 6000
spectators at Uline Arena with Edgar Bergen, Ray Noble, and Henry Morgan. Part
of the show is broadcast on NBC at 8:00 p.m. as The Edgar Bergen Show.
Bing Crosby guested Sunday night (16th) on the Edgar Bergen show
from Washington and supplied the only bright touch. Although the writing for
the guest spot was uninspired, Crosby’s offhand humor was infectious and his
vocal number stand out.
(Variety, May 19, 1948)
A couple of wooden heads and a groaner drew over 6000
Washingtonians last night to the Uline Arena on the afterpiece of the double-barreled
Celebrities program. The wooden heads were Charlie McCarthy and Mortimer Snerd,
pals of one Edgar Bergen; the groaner was Bing Crosby, who got an ovation as
soon as he sneaked his head around a stage drape....Crosby, relaxed and
lackadaisical, tossed his nonchalance all over the place, singing one
song—”Cherie”—and revealing the skullduggery that went on in the locker rooms
before the day’s golf rounds. Charlie, it seems, was offered cash from Bergen
and a snazzy scooter from Bing, for whatever low scores his card could
contrive.
(The Washington Post, May 17, 1948)
May 18, Tuesday. Bing and Fred Allen meet
at Bing’s hotel in New York to discuss Bing’s forthcoming appearance on Allen’s
show.
May 19, Wednesday. (9:00–9:30 p.m.) Bing’s
transcribed Philco Radio Time show is broadcast by ABC. The guest is
Ethel Merman and again the show has been recorded in New York. Ken Carpenter
returns as announcer.
Ethel Merman, the “Annie Get Your Gun” star whose singing voice is so
loud and clear that she should be able to be heard coast-to-coast even by
people without radios, will be Bing Crosby’s guest during the WTJS-ABC
broadcast tonight at 9:00 p. m. Bing and Ethel will present the third edition
of Bing’s “Flop Parade,” a series of tunes which Bing has described as
“Discouraged Ditties.”
(The Jackson Sun, 19th May, 1948)
May 21, Friday. Bing is thought to have
golfed at Meadow Brook on Long Island. Later, he is at Ebbets Field Baseball Park located in the Flatbush section of Brooklyn as part of a crowd of 8803 to see
the Pittsburgh Pirates beat the Brooklyn Dodgers 8-4. The game commences at 2
p.m.
May 22, Saturday (2 p.m. start). Goes to
Ebbets Field again to watch the Pirates beat the Brooklyn Dodgers 3-1. The
crowd totals 12,821. Bing leaves just before the end and later he is at a party
at the home of Brenda and “Shipwreck” Kelly. Elsa Maxwell and Florence
Pritchett attend also.
May 23, Sunday. Starting at 2:30 p.m., Bing
is at the Polo Grounds and sees the New York Giants beat the Pirates 2-1. He
watches the game from a box alongside the Pirates dugout with Del Webb
(Vice-president of the New York Yankees), Frank McKinney and Roy Hamey.
(8:30–9:00 p.m.) Guests on the Fred Allen show on NBC sponsored by The Ford
Dealers of America. The show is subtitled “Fred Wants to Do Bing’s Life Story.”
Kenny Delmar is the announcer. Bing then leaves for Hollywood by train.
When
in New York, besides the Stork Club, Toots Shor’s, and Club 21, there are two
places in the Village that Bing usually hits; Eddie Condon’s and Nino &
Nella’s. Nella knows all the Crosby’s. She’s known Bing since his days with
Whiteman. Her guests are encouraged not to pester Bing when he does come in.
One time, while sitting alone at a table, Bing spotted some photos of himself
hanging on the wall. Bing’s face lit up and he said “hey fellas look, in that
one I still had my own hair!”
(BINGANG,
November, 1948)
May 26, Wednesday. Bing arrives back in
Los Angeles during the morning and in the evening he and Dixie attend the
Hollywood Paramount for the premiere of The Emperor Waltz. Amongst other
personalities thought to be present are Lucille Ball, Eddie Cantor, Gary
Cooper, Joan Crawford, Mona Freeman, Clark Gable, Betty Grable, Rex Harrison,
William Holden, Bob Hope, Van Johnson, Alan Ladd, Hedy Lamarr, Pat O’Brien,
Larry Parks, Edward G. Robinson, Mickey Rooney, Shirley Temple, Gene Tierney
and Esther Williams. Bing and Dixie go on to the party afterwards at the Crystal
Room of the Beverly Hills Hotel where Edward G. Robinson joins the violinists
serenading them. This is the first film premiere to be televised (on KTLA-TV at
8:30 p.m.) and the proceedings are also broadcast on radio station KFWB. The
Paramount newsreel of June 5 includes coverage of the film premiere. The
Emperor Waltz takes $4 million in rentals during its initial release period
in the USA.
A large turnout of Hollywood personalities is guaranteed at the
world premiere of ‘The Emperor Waltz’ tonight at the Hollywood Paramount
Theatre. Bing Crosby, arriving from New York this morning to attend his first
world premiere event. The gala occasion is expected to draw a crowd of several
thousand spectators and extra police will be on duty to handle the overflow
throng on Hollywood Bvd.
(Los Angeles Times, May 26, 1948)
The Emperor Waltz should solve any ticket buyer’s
entertainment problem. That’s the only kind of problem it attempts to resolve,
and the way it goes about it is strictly enjoyable. Such a natural parlay as
Bing Crosby, Johann Strauss melodies, comedy, and gorgeous color, played
against a breath-taking scenic background is earmarked for the niftiest kind of
grosses.
…Picture has a free-and-easy
air that perfectly matches the Crosby style of natural comedy. Costar Joan
Fontaine, better known for heavy, serious roles, demonstrates adaptability that
fits neatly into the lighter demands and she definitely scores with charm and
talent as the Crosby foil.
One complaint likely to be made
by audiences is that Crosby doesn’t sing enough. What the crooner does deliver
registers strongly, as to be expected, and there’s a load of music otherwise to
fill the sharp Victor Young score. Johnny Burke wrote special lyrics for three
Johann Strauss melodies and teamed with James Van Heusen on cleffing one new
tune.
Standouts in the music department
is the Crosby touch on “I Kiss Your Hand Madame,” oldie by Fritz Rotter and
Ralph Erwin; and “Friendly Mountains,” number based on two old Austrian yodel
songs. “Madame” is reprised several times and Crosby reached back into his
groaner past to give it the extra special treatment of “boo-boo-bah-boo”. In
for romantic treatment is “The Kiss in Your Eyes,” old Viennese tune with
lyrics by Burke…
(Variety, May 5, 1948)
(9:00–9:30 p.m.) Bing’s transcribed
Philco Radio Time show is broadcast by ABC. The guests are Alec
Templeton and Beatrice Lillie. The show has been recorded in New York.
Beatrice Lillie and Alec Templeton are the talented twosome who will be
Bing Crosby’s guests during the WTJS-ABC broadcast of the Bing Crosby Show
tonight at 9:00 to 9:30 p. m. Miss Lillie, who recently became the toast of
Broadway in the revue, “Inside U. S. A,” will present a fast moving travelogue
titled “Inside U. S. A. - from the Outside” and sing a flock of memorable tunes
with Bing. Alec, in addition to playing the piano, occasionally will raise his
voice in song…Templeton, Crosby and Miss Lillie also will participate in a few
minutes of rollicking musical nonsense titled the “Alec Templeton Opera House.”
(The Jackson Sun, 26th May, 1948)
May 29, Saturday. In the transcribed Command
Performance show to mark its sixth anniversary, Bing is given the Kilroy
Award for the outstanding male vocalist on the AFN of the AFRS.
May 31, Monday. Starting at 1:00 p.m., Bing stages a golf match
at Lake Merced Country Club, San Francisco, as a benefit for the family of his
friend Benny Coltrin, who had recently passed away after surgery at the age of
forty. A crowd of 16,000 watch Bing (who has a 77) play with Marlene Bauer (age fourteen, who
has an eighty-two), Bud Ward, and Jimmy Thomson. Other stars playing are
Johnny Weissmuller and Dennis Morgan. About $17,500 is raised for the Coltrin
family.
June 2, Wednesday. Starting at 8:00 p.m., Bing watches the Santa Rosa Pirates (a “farm”
club for the Pittsburgh Pirates) lose 9-6 to the Redding Browns at Doyle Park, Santa
Rosa. (9:00–9:30 p.m.) Bing’s
transcribed Philco Radio Time show is broadcast by ABC. The guests are
Fred Allen and Joe Venuti. This is the last Philco show of the season and again
it has been recorded in New York.
Fred Allen will visit Bing Crosby to play the title role of “Forever
Everett,” a film biography of Bing’s brother that never will see a screen and
which when finished will have Fred and Bing worried about being sued by the
older Crosby, during the broadcast of The Bing Crosby Show this evening, 9:00
to 9:30, over WTJS and the American Broadcasting Company. Ham Fisher, creator
of “Joe Palooka”, and Joe Venuti, jazz fiddle virtuoso, will be heard as well…
“Forever Everett” begins back in the days before Bing was born and follows the
career of the elder Crosby down to the present time in which he makes the “21”
restaurant his New York office.
(The Jackson Sun, 2nd June, 1948)
Crosby’s Tape Success Scenes Spurring Networks To More
Recorded Shows
Up in smoke with Bing Crosby’s summer hiatus, which started last
week, goes the last remaining argument of NBC and CBS that transcribed shows
aren’t acceptable to listeners. Aside from copping honors with a 14.6 in the
last Hooper rating, two points higher than his nearest competitor, mechanical
perfection of the Groaner’s tape recorded shows has disproved network arguments
that transcriptions aren’t as good as live shows. Tape has, in the past year,
completely altered not only the operation on top ABC shows but has changed the
thinking of the entire industry regarding recorded programs. When the Crosby
show first went on ABC two years ago, it was strictly a transcription job of
editing and re-editing, editing and re-dubbing and re-editing, often requiring
as many as four days after a show was originally cut on platters, before it was
whipped into broadcasting shape. Then tape was used. At first it was
transferred to platters for broadcast because equipment had not been perfected
for broadcasting directly from tape. This method was still better than the
previous years because there was only one transfer instead of six or seven with
consequent loss of quality in each step. Time necessary for editing the show to
its final broadcast form was reduced to a mere three or four hours when tape
was first used, last fall, following a summer of intensive experimenting by
both ABC and the Crosby office. Continuity editors operating in the same manner
as film directors have now reached the point where they can wrap up the show in
two hours. Programs edited on the original tape are now being aired and retain
the original broadcast quality. It is so good that in a recent demonstration
for engineers from Southern California stations, a live program was recorded
simultaneously on tape and the experts weren’t able to tell which was tape and
which was live, as the control booth engineer switched from live pick-up to
tape pick-up. Since Crosby went recorded, two other shows have followed him,
netwise - Groucho Marx and the Abbott and Costello layout. A number of others
that did live repeats two years ago are now recording repeats. It is expected
that there’ll be more top shows on the ET gravy train in the fall, as a result.
(Variety, June 9, 1948)
June 5/6, Saturday/Sunday.
Plays with Harrison Godwin in the first annual Swallows golf tournament
at Cypress Point and they run out as winners with a score 19 up in the
36-hole match against par.
June 15, Tuesday. Plays with Jimmy Demaret on the official opening day of the Ojai Valley Country Club. Bing has a 69. Meanwhile, Bing purchases the 3000-acre Laing ranch near
Elko from Chester and Lillian Laing, who had retired.
June 16, Wednesday.
Press coverage states that Bing has made a special test run of his
radio show on video with the possibility that the show may be
duplicated on home screens in the fall.
June 17, Thursday. The film The Emperor
Waltz has its New York premiere.
It goes without saying that Bing is the master of the breezy remark,
the flip crack, the practitioner of light romance and a warbler, but it is Miss
Fontaine in a comedy role who equals the shining Crosby quality whenever they
appear together. Paired off this way they delivered extremely well.
Production is lavish. Attention has
been given in the Brackett-Wilder script to optic as well as aural senses and
the effort smoothly unfolded in the latter’s knowing direction is warmly
rewarding and a constant pleasure.
Comedy is not overlooked. The tale
is strewn with clever gags which fit already light sequences. There is
resourceful utilization of sound and this gives Crosby a fine session yodeling
in the Tyrol while the echoes come bouncing back off the mountain walls.
(Film Daily, May 3, 1948)
Imagine our old friend Bing Crosby as a Yankee at
Franz Joseph’s court, peddling a new-fangled phonograph and wooing a countess on
the side, and you have a thumbnail synopsis of Paramount’s “The Emperor Waltz,”
the light-hearted musical farce-romance which came to the Music Hall yesterday.
Picture it all in Technicolor, with the courtiers in flashing uniforms, the
ladies in elegant dresses and Bing in an old straw hat, and you have a fair
comprehension of the prospect and atmosphere. For “The Emperor Waltz” is a
picture which can be characterized in a few words, but which is much more
entertaining if you see it from beginning to end.
Not that there’s anything staggering in the way of
music or plot in this spoof which Charles Brackett and Billy Wilder produced, directed
and wrote. A dash of “The Prisoner of Zenda,” a twist of old Viennese “corn”
and plenty of any “Road”-show nonsense and you have a composite of the plot.
Likewise, three musical numbers are the extent of the score—and only one of
these items is unfamiliar and new.
But, even so, Brackett and Wilder have made up with
casualness and charm—and with a great deal of clever sight-humor—for the
meagerness of the idea. And Bing has provided the substance which the farcical
bubble may lack. As the corn-fed American salesman whose fox terrier dog runs
afoul of the countess’ fancy French poodle—and thereby inspires the romance—our
boy is his usual delightful and completely unceremonious self, baffled by
Hapsburg pomposity and candid in his confidence in love.
Nothing he says is likely to be mistaken for deep
philosophy but it all has the sound of observation which lightens the weariness
of life. If it’s boop-boop-adoing “Santa Lucia” while sculling a Tyrolean lake
boat, with the off-hand explanation, “I used to travel for a Venetian-blind
company,” or merely calling his sweetheart “Honey Countess” in a thoroughly
natural way, Bing has the air of a fellow to whom the artificial is a bore.
And Joan Fontaine as the countess makes a beautiful
counterpart for his open and genial directness. Icy and lofty at the start, she
melts with magnificent acquiescence to his bland importunities of love. Maybe
you wouldn’t think so, but she turns in a sweet job of farce and frets for her
poodle’s torn emotions just as gravely as she does for her own. Likewise,
Richard Haydn is cute as the emperor and Roland Culver makes a suavely snobbish
courtier, while Sig Ruman is grand as the emperor’s vet.
Best of the musical numbers is “Friendly Mountains,”
a yodel song which Bing ripples over his tonsils while walking down an alpine
road, to be answered by magical echoes and a swarm of slap-dancers in the
dells. It’s a charming, melodious ditty and as cute in its staging as a cuckoo
clock. Also amusing is a pick-up of the oldie, “I Kiss Your Hand, Madame,”
which is used to put the bashful canines—and also the countess—in the mood.
Roberta Jonay and Bert Prival skip a lively dance to it, too. And the final
romantic number, which Bing sings, “The Kiss in Your Eyes,” is a pleasantly
sentimental re-write on Heuberger’s “Chambre Separée.”
Set against gorgeous mountain scenery and richly
palatial rooms, “The Emperor Waltz” is a project which should turn the blue
Danube to twinkling gold...
(Bosley Crowther, New York Times, June 13, 1948)
June 21, Monday. At a presentation at
the Waldorf-Astoria in New York, CBS demonstrates the long-playing microgroove
recording playing at thirty-three and a third revolutions per minute.
June 23–July. Bing, Dixie and their sons are at the Elko
ranch.
If there
are any squares left who believe those radio gags
about Bing Crosby being a lazy man, they should see the guy on
his ranch at Elko, Nevada. As one of the lucky characters who has known him for
twenty years and who gets a crack at visiting the ranch every summer, I can
tell you with every creaking bone and aching muscle in my body that I only wish
it were true. Gary, the oldest of the Crosby sons, undoubtedly wishes
it were true, also. Then Gary could get away with a little loafing, a thing he
purely enjoys. The twins, Phillip and Dennis, might pick up better than those
two bucks a day wages they earn, if the old man were actually as dreamy as
supposed. And a guest from the city might be allowed to sleep after five-thirty
a.m. Of course, said guest can do that now, if he doesn’t mind starving to
death — and never expects to be asked back to Elko again. The ranch is like a
new world in the desert — all green. It is only 25,000 acres,
but Bing and company call it home. There are trees and streams, even a
lake — a Crosby-made lake where Bing himself dammed a stream.
It’s a
hay and cattle ranch and like the man who owns it, everything about it is
efficient and there’s no nonsense of wasted effort. There’s a big ranch house,
where the ranch manager, Johnny Eckeart (sic), and his wife live the year
’round, and where the Crosby kids bunk during the summer.
There’s a
barn, nearly big enough to stack the 3500 tons of hay they harvest.
There’s a hydroelectric plant fed by streams coming from the mountains through
twenty-three miles of pipe. There is machinery the like of which no farm ever
saw for sheer efficiency — stuff like a hayrack made out of tubulous steel and
another machine that does the work of eight men in stacking hay. There’s a
complete woodwork shop and then scattered around a plot of green lawn, there
are the guest houses — and the houses for the crew, cowboys, farmhands and
cooks, fifteen in all.
Bing and
Dixie’s house and the guest houses have a big living room with two bedrooms and
a bath between, and are furnished in a comfortable California-Monterey style.
The
routine on the ranch is wonderful. The Chinese cook rings a bell
at five-thirty a.m. which means “get up.” The second bell at six means food’s
on the table. It’s country style, even at dinner, which is at six p.m. The
food’s down when you get there. You pass it around and pitch in. After each
meal, you take your own dishes to the completely modern kitchen, which has
garbage disposal, dish washers and all that. You are in bed at eight-thirty at
the latest.
In between,
you work and play in a very pleasant proportion, a la the owner’s methods.
Nobody ever lolls. Dixie and my wife kept plenty busy, ordering the food and
seeing to everybody’s comfort, and I had my own special task of loading trucks
with sand to be brought to the lake, where some of the hands would take over to
turn that sand into a beach.
Gary’s
job was soaking fence posts in creosote and placing them. When he first hit the
ranch from his school in the East, he weighed 183 pounds. By the time he
returned he was down to a trim 160. The twins, who are fourteen to Gary’s
sixteen, helped with the fence making and haying, drove rakes, etc. for six
weeks. Linny, the comedian, aged nine, did odd chores.
Meanwhile, Bing would be dictating letters and making phone calls,
and then he’d join me on the sand patrol.
The kids
have no concept of their father’s wealth. He impresses on them that he earned
it, so it belongs to him, not them. The idea is, if they want money, they can
earn it, too. He’s a very strict disciplinarian but he’d grin when we would be
going by in the pick-up truck and at a distance, we’d see Gary sitting down at
his fence-staking. Gary would jump up, the moment he heard us coming and get
very busy all of a sudden and Bing would yell, “Get at it, there.”
But Gary
had the laugh on Bing one night, when his father asked all the boys
if they had written their grandmother lately. Kid-fashion they hadn’t, of
course, so the orders were to sit down and attack a post card that moment. They
all did. Gary wrote, “Fishing, hunting and boating up here. Dad’s having a
wonderful time.”
Along
about noon, most of the day’s work is over and the fun begins. They have
barbecues like the one they had the day they wanted to christen the boat for
their lake. Bing said if you were going to christen a boat, you had
to crack a bottle of champagne over it. So we did that little
thing. Bing and I took the boat, via the car, down the highway to the
lake — and first thing we did was blow a tire.
Other
days, we’d go fishing. One day on the way back we got stuck. We were driving a
big truck and we couldn’t make it budge. It was five o’clock in the afternoon.
There was a big pheasant dinner that night, which we were all looking forward
to — and we were twelve miles away. So we started hiking. The first ranch we
came to didn’t have a phone. So we hiked to the next ranch — seven miles. They
did have a phone. Bing called Dixie and told her to go ahead and eat.
We were so close in then, he said, we’d walk the rest of the way. Just another
five miles, that was all. I let a moan out of me. Phil and Dennis were along,
fresh as butter, but I said no dice so far as I was concerned. I’d starve and
sleep under a mesquite bush, if need be, but no more
hiking. Bing howled. I didn’t know that in some double-talk manner
he’d already told Dixie to send a couple of cowhands over after us.
Bing has
steadily improved with success. He always was an intelligent, unaffected,
direct guy but today, with all the demands on his time and patience, he’s even
more unaffected, and has a mighty mellow understanding. My wife tells me Dixie
adores him, and I’ll chime in and say that even a man can see they are both
deeply in love.
(Wally Westmore, writing in Photoplay
magazine, February 1949)
From our home town of Bowling Green, Kentucky, a
friend and I drove to Los Angeles during our 1948 summer college vacation. We
worked at a warehouse in Los Angeles for a couple of months, then
returned home via the “Northern route” - through Nevada.
Since the days of the blue label Decca records, I had
admired Bing Crosby - I bought all his records, saw all his movies, and never
missed the good old radio programs. Like millions of people, I admired Bing as
a person as well as a premiere performer.
Knowing the Crosby ranch was near Elko, Nevada, I
wanted to try meeting Bing, difficult as that might be. I simply made a phone
call from a restaurant in Elko. I believe someone at the eatery helped me with
the listing in the phone book. The housekeeper answered the phone, and after listening
to my story said it would probably be all right to come out. We drove the fifty
or so miles, passed several “No Trespassing” signs, and around noon pulled up
near the front yard of a small white house. Bing Crosby stepped out of the
house. It was evident he had not received our message as he looked rather
stern. The situation was explained (calling him Mr. Crosby) and everything was
O.K.
Can you imagine, Bing asked if we had eaten? We had
not but said we had. (In fact we were extremely low on funds. Since then I have
often thought how nice it would have been to eat at Bing Crosby’s house.) He
must have sensed we were hungry as he went into the house and brought us some
chocolate candy. Can you beat that!! Bing gave each of us a picture with his personal
autograph, dated at Spring Creek Ranch. I recall we talked a little about his
spread. While the house and buildings looked small, I believe the ranch was
immense. One of the ‘cowhands’ joined us for a few minutes with some questions
for Bing. Finally each of us took the other’s picture with Mr. Crosby. We then
left.
I shall never forget the generosity of Bing Crosby to
a couple of absolute strangers. When we first arrived it was “Mr. Crosby.” But
as we left I distinctly recall saying, “Thanks Bing.”
This was a real experience. I had not known what to
expect. Bing Crosby was very kind to us. It was some day, and it wasn’t long
before everyone in our home of Bowling
Green heard of our experience with Crosby!
(Richard
Heman, writing in BINGTALKS magazine, July 1992)
June 25, Friday, Bing opens the Silver State Stampede in Elko.
ELKO – Bing Crosby,
international famous star of radio and screen, opened the Silver State Stampede
rodeo in Elko Friday in short order.
Introduced
by Newton Crumley, Elko hotel owner, the honorary mayor of Elko, said, “I have
never officiated at an opening of a show of this type before, however, when I
was at a recent rodeo the fellow said “Let er buck” Bing was accompanied to
Elko from his ranch in the northern part of Elko county by Mrs Crosby.
With
these words, Elko’s first rodeo in 13 years was opened, and tons of horse flesh
were pitted against some of the world’s best cowboys.
Crosby
led a colourful parade to the Elko county fair grounds where the show will be
held for three days. Outstanding horses
were featured in the parade, while a 75 piece band, organized by Bob Zander of
Elko and the veterans drum and bugle corps added color to the event.
(Nevada State Journal, June 26, 1948)
June 27, Sunday. The gardens of Bing’s home
at 594 South Mapleton Drive, Holmby Hills, are used for a garden party and
bazaar for the Carmelite Nuns of the Carmel of St. Teresa, Alhambra.
June (undated). Bing and Dixie visit Tahoe City and have breakfast at the Honeybunch cafe.
July 30, Friday.
Stops over in Boise, Idaho en route to Hayden Lake. He is accompanied by
Bill Morrow and Lindsay Crosby. Bing looks in on his friend Sib
Kleffner.
August 1, Sunday. Bing
and Lindsay plus Bill Morrow
have arrived at Hayden Lake, Idaho for a 2-week vacation. They stay at a
cottage owned by L. L. Whelen which is next door to one owned by Herb
Rotchford.
August 2, Monday.
Bing and Joe Lynch golf against Herb Rotchford and Tom Eley (the Hayden
Lake pro) in the morning. In the afternoon, Bing visits Dr. E. J.
Fitzgerald at Fitzgerald's home on Coeur d'Alene lake.
August 3, Tuesday. Golfs with Del Webb of the New York Yankees who has flown in using his private plane. Bing wins.
August 4, Wednesday. The local paper reports that Bing has a cold and will not play golf today.
August 5, Thursday. Golfs with Bud Ward, Roy Moe and Frank McKevitt at Spokane Country Club in the afternoon.
August 11, Wednesday (evening). Bing attends a
party at the Clark House at Hayden Lake given jointly by Dr. & Mrs. Joseph
Lynch and Mr. & Mrs. Charles Finucane.
August 12, Thursday. Bing is in Spokane to
see the start of work on the construction of the new engineering building,
Dillon Hall, on the Gonzaga campus. He is photographed with Rev. Arthur
Dussault, Rev. Francis Corkery and a number of students.
August 14, Saturday. (Starting at 3:30 p.m.)
Bing takes part in a golf match at Lewiston Golf and Country Club in Idaho for
the benefit of Lewiston Boys’ Club of America. Bing and Bud Ward take on local
professionals Joe Durgan and Bill Welch. A crowd of 2000 watches the proceedings. Ward and Crosby lose 1 down.
August 21, Saturday. Decca has issued a 4-disc 78rpm set called Blue of the Night and Billboard reviews it on this date.
Another Decca collection of reissued Crosbyana containing
eight standards, including Der Bingle’s “Blue of the Night” theme. To the
simple and effective backing of John Scott Trotter’s ork, Crosby sings as only
Crosby can sing, which is better than most anyone else in the biz can do. Good
album cover.
August 24,
Tuesday. Bing's sister, Mary Rose obtains a divorce in Oakland from
glass company executive William D. Miller on the grounds of
"extreme cruelty". Miller is told to pay $100 per month in respect of
the couple's son William (aged 7). Mary Rose had married Miller in Reno
in 1938.
August (undated). John T. Mullin joins Bing Crosby
Enterprises as chief engineer of its electronics division.
September 4, Saturday. Dressed as a clown, Bing
takes part in the Ringling Brothers circus show on the Pan-Pacific grounds with
many other stars as part of a massive benefit performance for St. John’s
Hospital, Santa Monica. Nearly $250,000 is raised.
…So
it was arranged. The circus came to Los Angeles for the Saturday night benefit.
And the audience that jammed the big tent and circus grounds discovered the
ballyhoo had not exaggerated. Kay Kyser, George Murphy and Ronald Reagan announced
the acts. Harry James led the circus band. Bing Crosby circled
the ring with the circus clowns. Van Johnson was a clown, too. So were Mickey
Rooney, Frank Sinatra and Ronald Colman. Harpo Marx, Boris Karloff and Jack
Norton performed a comedy Frankenstein. And Elizabeth Taylor and Gary Cooper
did a scene from “Robinson Crusoe”.
Betty Grable
and Ann Baxter rode on the floats. So did Mona Freeman, John Hodiak, Janet
Leigh, Bill and “Mousie” Powell, Audrey Totter, Arleen Dahl and Ella Raines.
Horseback feats were performed by Virginia Mayo, Lucille Ball, Ray Milland,
Gene Raymond, Robert Stack Nelson Eddy, Diana Lynn, Ann Blyth and Gloria
DeHaven. And Edmund Gwenn played Santa Claus. Louella O. Parsons rode in the
parade with Rosalind Russell and helped pick the winning prizes…
(Photoplay, December, 1948)
September 6, Monday. Bing records the first
Philco show of the season with Claudette Colbert and his four sons.
September 11, Saturday. Bing records another
Philco show with Judy Garland. He has become a large stockholder in Vacuum
Foods Corporation and has been elected a director. It is announced that Vacuum
Foods will sponsor a new fifteen-minute five times a week daytime radio program
featuring Bing acting as a disc jockey. The company’s Minute Maid quick frozen
concentrated orange juice is to be promoted on the shows.
The program for Minute Maid occasioned some amusement in the press
because of his long standing feud with disk jockeys over saturating the
airwaves with his music. Suddenly he was one of them, playing three or four of
his own records, in a 15–minute format, each morning Monday through Friday.
He had been talked into it by Grillo and
Jock Whitney, a wealthy sportsman he had met in horse racing circles. Whitney
was an original investor in Vacuum Foods, a Florida company freezing foods, a
novelty then. Frozen orange juice was one of those inventions mothered by
necessity for troops who couldn’t get it fresh during the war. They had to
drink it but Vacuum Foods was discovering civilians didn’t. Whitney came up
with the idea of offering Crosby 20,000 shares of stock to educate the public
and stimulate sales.
Between records he and Ken Carpenter
talked of frozen orange juice, as an acceptable alternate, and Minute Maid
became a household word with sales in excess of $100 million within a few
years.
Grillo set up Bing Crosby Entertainment
as producer and had Crosby work for union scale, again a matter of taxation. He
accepted a seat on the board of directors of Vacuum Foods which was purchased a
few years later by The Coca-Cola Company.
(Norman Wolfe, Troubadour: Bing Crosby and the Birth of Pop
Singing)
September 13, Monday. Dennis and Phillip Crosby join
their brother Gary at Bellarmine Academy, San Jose.
September 16, Thursday. Bing is photographed at
the Santa Clara County Fair.
September 18, Saturday. Bing arrives in Portland,
Oregon, and golfs at Portland Golf Club in the afternoon.
September 19, Sunday. Golfs at 1:30 p.m. at
Glendoveer Golf Club, Portland with Hayden Newton against Bob Hope and George
Schneitner. Bing and Hayden win two and one. At 6:30 p.m. Bing and Bob attend a
charity dinner at the Multnomah Hotel, Portland, and afterwards they headline a
show at Multnomah Stadium at 8:30 p.m. which includes Marilyn Maxwell, Buddy
Cole, Joe Venuti, Perry Botkin, and John Scott Trotter. The proceeds of the day
go to the Crosby–Hope Foundation Fund for the benefit of the PGA Junior Golf
Program.
September 20, Monday. Bing and his entourage
arrive at the Great Northern Railway Station in Vancouver, Canada, at 10:30
p.m. Despite the late hour, the acting mayor and other civic officials are
there to greet them supported by a kilted police pipe band. An unruly crowd of
2,300 people causes chaos by mobbing Bing and damaging the civic cars being
used. Bing and his party check in at the Hotel Vancouver. Bing has been
persuaded by boxer Jimmy McLarnin to put on a show in Vancouver to raise funds
for the planned Sunset Memorial Community Center.
Bing, Bill Morrow
and most of his party arrived via Great Northern, on Monday evening, September
20. An advance party composed of Hal Malone of the News-Herald, Fred Bass,
representing the radio station; Charlie Defleux, Public Relations Chairman; and
Stan Thomas of Sunset Memorial Centre, boarded the train at Blaine and briefed
Bing briefly on what to expect at the station.
The scene which
greeted Bing on his arrival on the station platform, however, was not as it had
been planned! Apparently, as the train came to a halt in the station, hundreds
of fans who, a few minutes before were nowhere in sight, ran around behind the
station to the platform and bedlam resulted. Perhaps you, also, heard the radio
broadcast of that portion of the reception!
Acting-Mayor
Miller, Chief Constable Mulligan, Alderman Cornett and Ed. Arnatt were
introduced to Bing before the radio mikes, stationed on the platform. The
ever-growing crowd surged around, trying to catch a glimpse of Der
Bingle. The Police Pipe Band struck up a march, two burly
policemen fell in behind, Bing was flanked by two tall and extremely competent-looking
detectives, and, followed by the Mayor, Chief Mulligan and Stan Thomas, who in
turn were followed by Alderman Cornett, Ed. Arnatt, Stan Thorpe of
Shaughnessy Golf Club, then more police and hundreds of
cheering fans.
They started down
the platform to the station rotunda, preceded by scores of
cameramen—professional and amateur—whose flash-bulbs, particularly those of the
latter group, were set off at times dangerously close to the eyes of our
distinguished guest. As the official party neared the rotunda, the cheering of
thousands of citizens of all ages, rose in a mighty crescendo. Sunset Executive
and Ladies’ Auxiliary members, standing in line at the station entrance caught
a fleeting glimpse of Bing as he was guided into the building,
As Bing entered
the over-crowded rotunda, the cheering reached a mighty roar. Men and women,
particularly the latter, reached out in an effort to touch or grab the King of
the Crooners. The crowd surged through the police lines at the curb as
thousands of happy Vancouverities pressed forward for one quick glimpse of
their idol of stage and radio.
Cries of “There
he is!” “It’s him!” “Hi, Bing!” “I touched him!” and “I pinched him!”
etc., etc. were heard from many lining the aisle through which Bing and his
escort forced their way. After the minute or so which seemed much longer—so
much appeared to have happened from the time Bing entered through
one doorway and made his exit through the other—Bing, Acting-Mayor
Miller and Thomas found themselves in the Mayor’s limousine. Then the fun
began all over again. Hundreds of fans, crowded beyond the sidewalk unto the
roadway in front of the station, and still hoping for at least a peek at Der
Bingle, blocked the roadway ahead of the Mayor’s car. Only the Herculean
efforts of five or six stalwart policemen, who literally pulled the official
car through the milling, cheering crowd, made it possible for the driver to
finally put the car into gear and, preceded by a motorcycle escort, whisk Bing
and the others to the hotel.
Another crowd waited
at the hotel, both outside and inside. But Bing was soon settled comfortably in
his suite where he kidded the other members of his party as they arrived.
(Sunset Review, November
1948)
September 21, Tuesday. Bing’s plan to play golf
at Capilano Golf Course at 8:00 a.m. is canceled due to heavy rain. During the
morning, John Scott Trotter rehearses the local musicians who have been
recruited for the next day’s show. Later at 1:30 p.m., Acting Mayor George
Miller presents Bing with a golden key to the city on the steps of City Hall.
Bing sings along as the Firemen’s Band plays “Where the Blue of the Night.” He
goes on to the site of the proposed Sunset Memorial Recreation Center at 51st
and Prince Edward Avenue, where he speaks to the crowd of 1,000 and sings a
chorus of “Blue Skies” as a joke about the weather. Bing then climbs on to a
bulldozer in pouring rain and turns over the first few yards of soil to
inaugurate work on the center. Later he goes to the Vancouver Sun
newspaper offices where he spends time “editing” the sports pages.
Tuesday was a
busy day for Bing and his party. Most of it has already been amply covered by
the press and radio stations. Rehearsal at the Orpheum in the
morning. The Civic reception, presentation of the golden “Key to
the City” and the slate totem pole by the Acting-Mayor in a driving rain on the
steps of the City Hall.
Bing, singing
most unexpectedly, while accompanied by the Firemen’s Band, his famous
theme-song, “In the Blue of the Night,” (sic) and the crowd there, under their
umbrellas and galoshes, loved every minute of it! Never before, and we
doubt if ever again, will such a distinguished and charming person ever sing on
the steps of our City Hall.
Indicative of the
informality and free-and-easy manner of our star from Hollywood, was his
suggestion that those accompanying him on his trip to turn the first sod at
Sunset, join him over a sandwich at a wayside restaurant. (It they
arrived too early at Sunset, many would be disappointed and Bing was aware of
it.) Needless to say, the waitresses had the thrill of a lifetime. Likewise,
the twenty-odd members of a middle-aged ladies’ club who were dining there at
the time. “Ooohs” and “a-ahs” were all over the place!
Then came the
trip out Fraser Avenue, renamed “BINGSWAY” in Bing’s honor. He was deeply appreciative of
the honor. And on to Sunset, where more than a thousand had braved one of the
wettest days of 1948 to be on hand when Bing operated a large bull-dozer to
officially turn the first sod on the site of Sunset
Memorial Centre. Many of those present had been there two hours and more,
and great was the roar when Der Bingle stepped from his car onto the sodden
field.
At Sunset, as if
throwing a challenge right back into the teeth of old Jupe Pluvius, Bing broke
out in a rich rendition as only Bing can sing, of “Blue Skies.” On the
bull-dozer he was a panic. When Chief Mathias tried to explain the faces on the
twenty-toot totem pole which Sunset Memorial had presented to Bing, the
ever-ready Crosby wanted to know how come so many Hopes on the one pole. Chief
Andy Paull’s daughter Yvonne was on hand to present Bing with a beautiful white
moose-hide shopping bag for Mrs. Crosby. Bing liked it: said he’d keep his
girdle in it.
(Sunset Review, November
1948)
September 22, Wednesday. After a morning
rehearsal at the Orpheum Theatre where, as is usual, the musical numbers are recorded for possible use
in the final version of the show, Bing, William Gargan, Marilyn Maxwell, and
Ray Milland tape a Philco show at the Forum to produce funds for the Sunset
Memorial Center. The show starts at 8:00 p.m. In due course, it is revealed
that $21,000 has been raised. The show is broadcast on October 13. Marilyn
Maxwell is paid a total of $1,500 for this show and a subsequent show in
Spokane.
Harry Lillis Crosby,
the cold eyed little crooner from Spokane whose smiles are as rare as the
million bucks he makes each year, jammed the Exhibition Forum for two hours
Wednesday night. Supported by a talented cast, including local musicians, he
sent the capacity audience home obviously happy after half a dozen songs, and a
line of gags which ran the gamut from pat to patter. Stan Thomas, president of
the Sunset Memorial Community Center, estimates that 8,000 people attended the
performance and that $33,000 was grossed.
In gratitude, the hall in the center will be called
“Bing Crosby Auditorium” center officials announced as the show ended. Other
tokens Crosby collected for his donated services included a life membership in
the Squamish Indian tribe as “Chief Thunder Voice,” a Cowichan Indian sweater,
emblazoned with the title, and a verse-laden wooden tomahawk.
The man who invented crooning some eighteen years ago
celebrated his chieftainship by wrapping himself in a blanket and joining
Squamish Chief Matthias Joe and his braves in a war dance. This gag, like
several others, drew hearty laughter, even from the 1,500 paying customers in
the north end of the Forum who got a fine view of the back of the orchestra,
but hardly a glimpse of what was happening on stage. . . . Once Crosby noticed
the plight of the 1,500 viewless in the north end. The crowd out front shouted
“We can’t hear you.” From the back came a louder roar: “We can’t see you.”
Crosby promised he would “work around” to the viewless. Thirty minutes of the
show was recorded for release on U.S. networks October 13 after unsatisfactory
sections have been substituted.
(Ralph Daly, The Vancouver Sun, Thursday, September 23,
1948)
The great show at
the Forum will go down in the history of Vancouver as the most sparkling
presentation of its kind ever staged here. Records fell like ten-pins!
Largest attendance ever recorded at any similar affair here! Largest
“gross” and “net” for any single performance. The first time the top man
in show business had ever appeared at a public performance in Canada, west of
Toronto. Highest “gross” on first-day ticket sales and, we believe on Wednesday
ticket sales also. The price scale set a new “high” for this city.
The show itself
was superb! The huge audience loved every phase of it, from the Indian Chief
ceremony, right through to the final curtain. Bing and his guests, Ray
Milland, Marilyn Maxwell and Bill Gargan, were at their best. The script was a
scream. The whole show was a dream come true, not only for Sunset
Memorial Centre, but, also, for thousands of Vancouverites who, for the first
time, were seeing their idol in person on a Vancouver stage!
(Sunset Review, November
1948)
September 23, Thursday. Bing has a practice
round at Capilano Golf Club, Vancouver.
September 24, Friday.
Golfs with former Canadian
champion Ken Black, Gordon Bowers, and Bill Mackenzie at Capilano Golf
Club. During his time in Vancouver, Bing is interviewed by Susan
Fletcher on her CBC show.
...An original and
intelligent idea is her method of recording an interview each week with some prominent
personality in show-world. She cuts her disks during frequent trips to
Hollywood and whenever someone important drops into Vancouver, as case with
Bing Crosby on show caught. Crosby once again demonstrated his great showmanship.
Despite some weak questions, he cut some good capers as when he defined “the
true American as one who chases the buck avidly” or when his kids appear on his
program “their mother complains they are getting much too hammy.”
(Variety, October 27, 1948 )
September 25, Saturday. (8:30 a.m.) The train
carrying Bing and his entourage pulls out of the Vancouver station and arrives at Spokane late in the evening.
September 26,
Sunday. Golfs with Dr. Ed Fitzgerald, Herb Rotchford, Joe Lynch and
Frank McKevitt at Spokane Country Club. Later, Bing rehearses another
Philco show with Dan Dailey and Marilyn Maxwell
at the Post Theater.
September 27, Monday. Plays golf at Hayden Lake with Bud Ward.
September 28, Tuesday. Rehearses at the Post Theater during the afternoon. Starting at 8:30 p.m.,
Bing records the Philco show at the Post St. Theater as part of a benefit to
raise funds for the Spokane stadium. The show is broadcast on October 20. After
recording the show, Bing goes to the Natatorium Park Ballroom in Spokane and
sings with the Dutch Groshoff Orchestra. Subsequently he goes on to San
Francisco to record more shows.
Bing’s Entertaining Shows Bring $10,000 to Stadium Fund
Bing
Crosby and a company of talented Hollywood entertainers
played a double bill in Spokane last night, jamming the Post theater to
the roof for the Philco Hour broadcast and playing to more than 4000 persons at
Natatorium park.
A
benefit sponsored by the Athletic Round Table, the two shows netted the Spokane
stadium fund better than $10,000. It was another Crosby gift to Spokane.
The
broadcast will be aired Wednesday night, October 20.
It was
almost a wedding anniversary celebration for Bing and Dixie Lee Crosby are
observing their 18th wedding anniversary today. Mrs. Crosby is in Hollywood.
The show
at the Post was top entertainment, with Bing presenting exactly the type of
program he enjoys most: Songs and a liberal sprinkling of excellent humor.
With an
orchestra made up of Spokane and Hollywood musicians, directed by amiable John
Scott Trotter, the program opened with Bing and William Gargan, Hollywood
motion picture actor, at the microphone. They kidded each other and a lone
youngster in one of the balcony boxes and the audience was with them from the
start.
Others
on the regular broadcast were Marilyn Maxwell, blond Hollywood starlet, who sang
alone and with Bing; Dan Dailey, lanky Broadway and Hollywood dancing star, who
didn’t dance half enough to suit the crowd; Buddy Cole, Bing’s pianist; Joe
Venuti, violinist and Perry Botkin, guitarist.
Settled Into Groove
But with
the half hour broadcast out of the way, Bing and his company really settled
down to entertain Spokane. Featured entertainers included Jim and Mildred
Mulcay, harmonica artists, and a comedy dance team from Ken Murray’s
“Blackouts,” Harris and Shore. The tall male dancer, immaculate in full dress,
and the diminutive young woman who is his partner had the big crowd almost
rolling in the aisles.
A
surprise feature of the program was the appearance of the Gonzaga University
glee club which on a last minute switch in arrangements replaced the Gonzaga
quartet. The gleemen, directed by Lyle W. Moore, sang two numbers with Bing,
the “Whiffenpoof Song” and “I Had a Dream, Dear.”
It
was a program packed with hilarity, good music,
good-natured kidding and really funny gags. Bing sang one request number for
Colleen Rotchford, daughter of Dr. Herb Rotchford, and mentioned numerous
Spokane friends during the course of the evening.
Dutch
Groshoff, who was a schoolmate of Bing’s at Gonzaga high school, was director
of the local musicians and also directed for the dance at Natatorium Park. There wasn’t much dancing. The big crowd thronged
around the bandstand to see and hear Bing and the other entertainers.
Lloyd
Vogel, park manager, said the crowd was the largest of the present season.
At the
close of his program at the Post, Bing made an appeal for further support for
the athletic stadium and for a municipal auditorium, with the prediction that
Spokane would have a quarter million people within 10 years.
(Spokane Daily Chronicle,
September 29, 1948)
September 29, Wednesday. (9:00–9:30 p.m.) Philco Radio Time returns to the airwaves and
attains an audience share of 15.7 for the season. It reaches nineteenth
position in the Hooper ratings. The top evening program is the Lux Radio
Theater with 28.6. Broadcasts of Philco Radio Time
over the ABC network take place on Wednesday evenings until June 1, 1949.
Guests in the opening show are Claudette Colbert and Bing’s four sons. Ken
Carpenter, Jud Conlon’s Rhythmaires, and the John Scott Orchestra continue as
residents.
Back for a third semester, under Philco auspices, the Bing Crosby
Show is still one of radio’s choice half-hours and the pivotal point for ABC’s
sock Wednesday night comedy lay-out which now finds Milton Berle, Groucho Marx
and El Bingo, slotted back to back. If anything, ABC has strengthened its hold
on the Wednesday audience pull and the play off will probably be found in the
‘48/’49 Hooper’s. Transcribed or live the Groaner can do no wrong. The same
glib artistry is once more in evidence, be it his off the cuff banter with Ken
Carpenter, John Scott Trotter or his guest stars. His vocal nifties or the
assorted intros to the comedy patterned commercials (in this instance on behalf
of the new Philco produced long-playing record machines). Play-off of the
initial transcription for the new Crosby season, on the 29th, found the show
grooved to the expected high entertainment level with its tradey by-play on
Hope’s new sponsor and the Philco bank-rolling etc., strictly geared in the
Crosby idiom. Claudette Colbert as the guest star on the initialler, parlayed
her comedic talents with a visitation by the four Crosby boys for a loosely
scripted kicking around of the gong. There were some obviously contrived and
deliberate fluffs on the lines but the whole sequence, though overdrawn was so
naturally patterned to the Crosby technique that it provided far more pleasure
than embarrassment. The qualitative scripting has always been and remains one
of the show’s plus factors and the Trotter Orchestra ‘assist’ rates a deep bow!
(Variety, October 6, 1948)
September 30, Thursday.
Bing, Bill Morrow, Bill Gargan and Bud Ward take part in an angling
competition on Lake Pend Oreille, Idaho. Bing puts his team in the lead
with a 4 and a half pound cutthroat.
October 1, Friday.
At Spokane Country Club, Bing is filmed by Pathe News endorsing the
forthcoming Canada Savings Loan series 3. This is shown in Canadian
cinemas commencing on October 12.
October 4, Monday. Has made a brief stop at his Elko ranch and whilst there goes hunting with Bill Gargan. (6:00–6:30 p.m.) Bing is
featured in a radio special called “The Waking Giant” over the ABC network
celebrating the reactivation of the USO for members of the Armed Services. The
host is Gregory Peck and other stars taking part include Bob Hope, Marlene
Dietrich, Al Jolson, Dinah Shore, George Montgomery, and Jack Benny. Although
it is suggested that Bing is taking part, his only involvement in the
transcribed show is the playing of his record of “Oh What a Beautiful Morning”.
The show is also advertised as the Community Chest National Campaign Variety
Show as in future the USO is to operate under the banner of the Community Chest
in local communities. Press comment is seen about Bing’s newly built mansion
near Carmel, overlooking the Pacific on the thirteenth hole of the Pebble Beach
Golf Club.
October 6, Wednesday. Bing and Bill Gargan
arrive in San Francisco from Elko. (9:00–9:30 p.m.) Bing’s transcribed Philco
Radio Time show is broadcast by ABC. The guest is Judy Garland.
I don’t know when I have ever enjoyed a show more than the broadcast Bing
Crosby did with Judy Garland. They sang so many of the old songs, and when Bing
and Judy sing together it’s something to hear. I’ll be curious to hear how Mr.
Hooper rates Bing’s two shows, both of which have been tops. Speaking of Bing, he’s going to do a benefit
in San Francisco tomorrow night for the boys clubs. When he got off the train
three days ago in San Francisco from his ranch in Elko, instead of luggage, Mr.
C had a big deer he’d just killed. He was proud of himself.
(Louella O. Parsons in her syndicated article, October 8, 1948)
Bing
applies to the Federal Communications Commission for permits to build
television stations in Tacoma, Spokane, and Yakima, Washington.
Crosby to Enter Television Field
Washington,
Oct. 7. Bing Crosby today asked authority to build three new commercial
television stations on the Pacific coast at a total cost of about
$592,000. The radio and motion picture singing star filed his
applications with the communications commission under his legal name
Harry L. Crosby, jr.
He listed his net worth at $1,649,115. He said his gross income last
year amounted to $734,000 which scaled down to $269,000 net after
income taxes. The Crosby income in 1946, according to the petitions,
was $606,000 before taxes and $276,000 after taxes.
The singer proposes to operate television stations in his native city
of Tacoma, Wash., where he was born May 2, 1904, and at Spokane and
Yakima, Wash. The cost of erecting the Tacoma and Spokane outlets were
estimated at about $209, 337 for each station, and $173,000 at Yakima.
Crosby said his only present investment in radio facilities is 185
shares which he owns in standard station KMPC at Los Angeles.
He listed his principle business connections as Bing Crosby Enterprises
and Bing Crosby Producers, both of Hollywood and engaged in producing
movies and radio shows, the Del Mar turf club at Del Mar, Calif., the
Binglin stock farm at Camarillo, Calif., and the Bing Crosby Cattle
co., which operates ranch properties at Elko, Nev.
The applications were filed just a few days after the FCC announced a
temporary freeze on further television grants, pending a review of
current video operating rules.
(Associated Press, October 7, 1948)
October 7,
Thursday. Golfs at Burlingame Country Club in the morning and in the
afternoon watches his son
Gary play football for Bellarmine at San Mateo High School. Bellarmine
win 20-6. Later Bing's car keys and hat are stolen from his car at
Burlingame Country Club. It takes an hour for a locksmith to get the
car running and it makes Bing late for an appointment in San Francisco.
The keys are eventually handed in at San Mateo High School.
October 8, Friday. Goes to the San Francisco Opera House to see Dorothy Kirsten in Madame Butterfly.
October 9,
Saturday. (8:30 p.m.) Heads a major benefit show at the San Francisco
Civic Auditorium with William Powell, William Gargan, and Peggy Lee as
a benefit
for the Boys’ Clubs of the Bay Area and the Bellarmine Preparatory
College
Building Fund. His Philco show is recorded as part of the proceedings
and this is broadcast on October 27.
October 10, Sunday. Golfs at Burlingame Country Club. Sings with a quartet
called “The Watchamacallits” at a benefit at Bellarmine Academy, San Jose,
California.
October (undated). Goes shooting in Northern Alberta,
Canada and then returns to Hollywood via his Elko ranch.
October 13, Wednesday. (9:00–9:30 p.m.) Bing’s
transcribed Philco Radio Time show is broadcast by ABC. The guests are
Joe Venuti, Marilyn Maxwell, and Ray Milland. William Gargan acts as announcer.
The show has been recorded in Vancouver, Canada, and is the only Philco show
hosted by Bing to emanate from outside the U.S.A.
Bing Crosby will have a celebrated show entourage including Ray
Milland, Marilyn Maxwell, William Gargan and Joe Venuti when he presents the
Bing Crosby Show tonight at 9:00 p. m; over the American Broadcasting Company
and WJTS from Vancouver, B. C. Designated “Chief Thundervoice,” Bing will be
welcomed as an honorary member of the Squamish Indian tribe and will “make
thunder with his voice,” in the bouncy cowboy song “Hair of Gold,” following
which he will sing one of the country’s top favorite ballads, “It’s Magic.”… On
the narrative-and-nonsense portion of the program, Milland will give listeners
a hilarious account of his recent trip to England and his fellow guests will
try to match his yarn with a description of their journey to Vancouver. From
there, they will move into a detective sequence when Milland announces that he
long has nourished a wish to become a radio sleuth. In no time at all, his wish
will be granted as he finds himself embroiled in a riotous mystery skit titled
“Ray Milland-Private Mounted Eye.” Gargan will fill in as announcer for Ken
Carpenter and John Scott Trotter and his orchestra will provide the music.
(The Jackson Sun, 13th October, 1948)
October 14, Thursday. (8:00–8:30 p.m.) Stars
in the Screen Guild Theater radio version of Welcome Stranger with Barry
Fitzgerald and Mona Freeman on NBC. The program is sponsored by Camel
Cigarettes and was probably transcribed. Music is provided by the NBC Studio Orchestra.
In the original
story of “Welcome, Stranger” the school kids got sick from smoking behind the
barn. For last Thursday’s (14) Screen Guild version with Bing Crosby, Barry
Fitzgerald and Mona Freeman, the sick-making tobacco was revised into green
apples. Camel cigarets sponsors the Guild.
(Variety, October 20, 1948)
October 18, Monday. Bing writes to Gord Atkinson, President of the Canadian branch of Club Crosby.
Dear
Gord:
Sorry,
I was out of town when Mr. Barron called at the office and left your letter.
Sounds
like the club is really active, and I hope the effort proves interesting to all
members.
Kindest
regards, Sincerely, Bing
October 20, Wednesday. (9:00–9:30 p.m.) Bing’s
transcribed Philco Radio Time show airs and the guests are Dan Dailey
and Marilyn Maxwell. The show was recorded in Spokane and William Gargan again
acts as announcer.
Bing Crosby will bring his songs and suave nonsense to Spokane, Wash.,
his own home town for tonight’s broadcast of the Bing Crosby Show at 9:00 p. m.
over the American Broadcasting Company and WTJS. Dan Dailey, Marilyn Maxwell
and William Gargan, subbing for announcer Ken Carpenter, will join Bing on the
show, during which, for the first time in quite a spell, he will play the drums
in an instrumental version of “Jada.” Dailey, known as “Dynamic Dan” to his
friends in the movie colony, will disclose some inside information on his climb
to cinema fame and imitate Bing singing “Thanks”… In memory of the days when he
used to “Beat the Skins,” Bing’s drumming during the “Jada” number will be
joined by Dailey on the trombone. Perry Botkin, guitarist, Buddy Cole, pianist,
and Joe Venuti and his violin.
(The Jackson Sun, 20th October, 1948)
October 23, Saturday. Decca has issued a 10" LP called "Bing Crosby Sings Cole Porter Songs" and Billboard reviews it on this day.
Crosby singing Porter standards is calculated to be a
sure-fire formula, and this album will doubtless enjoy a good sale. Sides were
all cut in recent years, however, and some of them aren’t top calibre for the
Groaner. However, the incomparable Crosby intelligence and projection are
there, even if the voice sometimes isn’t, and his interpretations are
impressive. This is his second album of Porter tunes, but the selection is
fine, with all the ditties familiar favorites, with the possible exception of
“I Never Realized”. Subdued and competent backgrounds by John Scott Trotter.
Retail rating 80.
“Bing Crosby Sings
Cole Porter” (Decca - 10-inch album). Decca should have little difficulty
pushing the combination of Crosby and Cole Porter into the top-selling album
brackets. Combination of the finest songs and the Groaner in good voice, all
solidly herded by John Scott Trotter’s accompaniments, is a package of
highlight entertainment. Tunes are “Rosalie.” “I’ve Got You Under My Skin,” “Begin
the Beguine,” “Easy to Love,” “Just One of Those Things,.”' “I Love You,” “Night
and Day,” “I Never Realized.” What a catalog!
(Variety, October 6, 1948)
October 24, Sunday. Appears at a benefit in El Cajon, California to raise funds for a new Catholic school.
Bing Crosby drew $40,000 with a
two-day benefit show for a new school at El Cajon.
(Variety, November 3, 1948)
October 26–December. Films Top o’ the Morning
with Barry Fitzgerald, Ann Blyth, and Hume Cronyn at Paramount. The film is
copyrighted by Bing Crosby Enterprises Inc. and distributed by Paramount. The director is David Miller with
the team of Robert Emmett Dolan and Joseph J. Lilley looking after musical
direction and vocal arrangements respectively. The original title was “Diamond
in the Haystack.” Several days shooting are done at the Fox studio as they have
an outdoor set which is ideal.
October 27, Wednesday. (9:00–9:30 p.m.)
Another transcribed Philco Radio Time show is broadcast by ABC. Bing’s
guests are Peggy Lee, William Gargan, and William Powell. Peggy Lee receives $1250 for her appearance. Meanwhile, Bing goes
into St. John’s Hospital for his annual checkup.
Bing Crosby will salute this city’s Gay Nineties period with a
rollicking comedy sketch in which he will be joined by William Powell, Peggy
Lee and William Gargan on tonight’s broadcast of The Bing Crosby Show at 9:00
p.m. over the American Broadcasting Company and WTJS. In the patter portion of
the show, the demise of a deer plays a prominent part - one that Bing and
Gargan shot recently at Elko, Nev. Both men fired their guns at the same
moment, according to the story, and each insists that his shot was the lethal
one. Before the argument is finally settled, a good deal of amusing proof is
advanced by the two demon Nimrods, all of which is pondered by announcer Ken
Carpenter who returns to the program after a brief vacation. Suave actor Powell
discusses the contemporary scene with Bing before the two turn back, in a
comedy sketch, to the events of the Gay Nineties in San Francisco. In the
sketch, Bing and Powell play dashing young blades who have set their minds on
capturing the hand of Miss Lee. Gargan will be heard in the role of Miss Lee’s
hard-hearted father.
(The Jackson Sun, 27th October, 1948)
November 3, Wednesday. Harry S. Truman
defeats the Republican candidate Thomas E. Dewey in the presidential election. (9:00–9:30 p.m.) Bing’s
transcribed Philco Radio Time show is broadcast by ABC. The guest is
Edgar Bergen.
Bing Crosby will make a valiant bid for the Hall of Fame when he tries
to teach Mortimer Snerd how to croon during tonight’s WTJS-ABC broadcast of The
Bing Crosby Show at 9:00 p. m., on which Edgar Bergen and Charlie McCarthy,
naturally, will be guests. The singing lesson, one that is apt to be long
remembered, comes about as a result of a rumored break between Bergen and his
wooden wunderbars, gossip having it that both Charlie and Mortimer intend to go
it alone. It all began, a brooding and dejected Bergen explains, when Charlie
learned to talk by himself, undoubtedly the most improbable feat of this era.
Mortimer heard the rumor, took it seriously, and decided to get into some big
industry like crooning, with Bing as his mentor. Happily, Bing is able to talk
Charlie and Mortimer out of this notion and the rock maple moppets agree to
string along with Bergen, the sound expert…For Mortimer’s singing lesson, Bing
has chosen “Put ‘Em in a Box,” a number selected with some forethought.
(The Jackson Sun, 3rd November, 1948)
November 5, Friday. Bing, through his employee Clay Johnson, pays $13,475 (the
second highest price on record) for a prize steer in an auction for the benefit
of the Children’s Hospital in Oakland. The auction takes place at the Grand
National Livestock Exposition in San Francisco.
November 8, Monday. Records a Philco show with Dorothy Kirsten which is
broadcast on November 24. Mention in the press that
Bing “is denying those yearly reports about his failing health.” Bing is
thought to have moved into his new home at Pebble Beach during the week. There
are rumors about Bing and Dixie having marital problems.
November 10, Wednesday. (9:00–9:30 p.m.) Bing’s
transcribed Philco Radio Time show is broadcast by ABC. The guests are
Peggy Lee, Ziggy Elman, Red Nichols, Joe Venuti, and Oscar Levant.
Bing Crosby will swap sweet unpleasantries with the sardonic tongued
Oscar Levant on tonight’s Bing Crosby Show at 9:00 p. m., over WTJS-ABC during
a program on which Peggy Lee will be a featured guest. In a quiz session with
Levant, Bing inquires about a septuagenarian named Jolson and learns that Al is
a man with exactly no disrespect for a buck, an attitude which causes no
surprise on the part of the interrogator.
(The Jackson Sun, 10th November, 1948)
November 17, Wednesday. (9:00–9:30 p.m.)
Another transcribed Philco Radio Time show is broadcast by ABC. Bing’s
guests are Kay Starr and Adolphe Menjou.
Bing
Crosby will have singer Kay Starr and Adolphe Menjou as his guests on tonight’s
WTJS-ABC broadcast of the Bing Crosby Show at 9:00 p. m. For her first
appearance on the top tune and comedy show, Miss Starr will do a torchy version
of “I’m the Lonesomest Gal in Town” a song for which she has been widely
acclaimed. Possessor of one of the biggest voices in radio, Kay is constantly
the butt of a rumor that she works without a microphone.
According
to a second rumor, Bing invited Menjou to be his guest on the theory that
opposites attract, the latter being noted for one of the most extensive
wardrobes in Hollywood. In any event, he will exchange good-natured banter with Bing on the
subject of what constitutes a well-dressed man, a distinction not commonly
associated with Der Bingle.
Turning
from habiliments to their greatest enemy, the moth, Bing and Menjou discuss
ways of permanently exterminating this menace to the family budget and arrive
at an entirely dubious solution. This leads the pair to a hilarious sketch
built around a monster moth attack which darkens the Sun and destroys
practically all the wearing apparel in the country. Carl Stephenson's famous
short story, “Leiningen Versus the Ants,” provided the basis for the sketch
about the moth attack.
(The Jackson Sun, 17th November 1948)
November 18,
Thursday. Bing walks onto the stage and walks off to a great reception
while Al Jolson sings "Little Girl" at the opening of his live Kraft Music Hall radio show on NBC.
November 22, Monday. It is announced that Bing
is the top film box office star in the U.S.A. for the fifth year in a row; Motion
Picture Herald declares his feat “the all-time box office championship.”
(9:45–10:00 a.m.) Bing starts to present daily transcribed fifteen-minute shows
entitled This is Bing Crosby which use records and continue
intermittently until October 1950. A number of different stations take the show
with a variety of sponsors including Vacuum Foods, owners of the Minute Maid
brand. As part of the deal, Bing has purchased 20,000 shares in Vacuum Foods at
an advantageous price of $2,000 (ten cents each).
Minute Maid’s Man
In
the middle of a round of golf one day last spring, Capitalist John Hay Whitney
and Crooner Bing Crosby began to talk about—of all things—frozen orange juice
concentrate. “Jock” Whitney thought he had hold of a good business proposition,
and by the time they had got to the 19th Bing was all ears. Last week the
Whitney-dominated Vacuum Foods Corp. (Minute Maid frozen orange juice
concentrate) announced the deal they made.
Through a loophole.
Crosby,
no mean businessman himself, became a director of Vacuum Foods, in which he
recently bought 20,000 shares of stock at 10 cents a share. He has agreed, at
an undisclosed salary, to plug the juice on a transcribed song & chatter
program five days a week. (Philco Corp., which has Crosby under exclusive
contract, has agreed to let him be Minute Maid’s man for a daily kind word for
Philco products.)
It looked as if Crosby and Vacuum Foods might have found a tax loophole which
permitted 1) small companies to get big-time radio stars at comparatively small
cost, and 2) big-time stars to keep much more of their income by making it in
stock profits, taxable as a long-term capital gain (maximum 25%) instead of
income (maximum 77%). In effect, if the stock should rise in value—thanks to
Crosby’s radio plugging—and Crosby should sell his shares, the profits were expected
to be taxed as capital gain. (Outsiders were already offering $7 a share for
the stock.)
The immediate paper profit for Crosby was around $138,000. The chances for
long-range profit looked even better, for Jock Whitney has shown a sharp eye
for picking and financing winners. Whitney got into the frozen juice business
through National Research Corp., a war-boomed company that licenses the process
by which Vacuum Foods concentrates and freezes the juice. When mixed with three
parts of water, the frozen juice is the closest thing yet to fresh-squeezed
juice.
Around the Corner.
Minute
Maid (retail price: 29¢ a pint and a half) got into the field first in 1945, at
a new $2,300,000 plant in Plymouth, Fla. With little cash to advertise, it lost
$450,262 the first two years.
Last year it finally turned the corner. Says Vacuum’s President John M. Fox:
“Why, this orange juice thing is the wonder of the grocery world. Ask anybody.”
Anybody in the frozen food industry agreed—and Birds Eye, Snow Crop and others
began to put out their own concentrate. Nevertheless, Vacuum’s sales increased
so much that President Fox announced last week that the net profit for its last
fiscal year was $179,865.
Demand is so great, said Fox, that Vacuum has had to allocate shipments and is
thinking of setting up a California plant. The shortage temporarily takes some
of the bloom off the Crosby deal. But Vacuum hopes to step up output enough to
fill the new orders Crosby will bring in. And in the scramble for the new market,
Vacuum figures that Crosby is just the Pied Piper needed to lure customers away
from the old brand names.
(Time, October 18, 1948)
In a friendly gesture from Philco which sponsors his network show,
Bing Crosby is putting in a friendly plug for Minute Maid Frozen Orange Juice
via this new recorded airer. The fact that Crosby was recently elected a
Director of Vacuum Foods Corp., which makes Minute Maid helps to explain the
parlay. Program is a lazy, inviting one with Bing acting as sort of MC, disk jockey
for a quarter of an hour of light banter and music. The opening program on
Monday (22nd) had Crosby singing a new song and playing one of his old disks
and to show his generosity, as well as good showmanship, playing an Ella
Fitzgerald recording too. Crosby also did his own commercials, valiantly
plugging frozen orange juice and doing a better job of it than announcer, Ken
Carpenter. Met soprano, Dorothy Kirsten, wandered into the program to exchange
a couple of words with Bing but didn’t sing anything, making the whole bit a
bit silly. Otherwise, this is a pleasant ayemer.
(Variety, November 24, 1948)
This Is Bing Crosby
Whether Bing Crosby is as good a salesman as he is a performer may
well be determined via his new platter disk jockey show for Minute Maid quick
frozen orange juice, for in addition to doing the deejay assignment, Ole
Wart-Larynx is also rendering a mighty pitch for Minute Maid. They’re done in
his customary off-the-sleeve style of verbiage, directly at the hausfrauen
calculated to be listening to his daytime effort. In one sense, this may be
almost mandatory, since the program needs every angle possible to differentiate
it from the Crosby-less Crosby platter sessions aired by so many stations.
Irrespective of the sales palaver, tho, the Crosby introductions to the
records, the tunes chosen (he doesn’t limit them to his own) and the inimitable
Groaner style should emerge as a potent daytime session. Ken Carpenter is on
hand with his usual nifty assist and the two combine to do an easy-to-take
selling job on the juice as its edge over the competish.
(Jerry Franken, Billboard, January 22, 1949)
November 24, Wednesday. (9:00–9:30 p.m.)
Bing’s transcribed Philco Radio Time show is broadcast by ABC. The
guests are Dorothy Kirsten and Bert Lahr. Variety states that Bing has
received an offer of £10,000 ($40,000) from London bandleader and producer,
Maurice Winnick, to make eight appearances at the Empress Hall, London in
January / February 1949. Bing does not accept the invitation.
Metropolitan Opera star Dorothy Kirsten and comedian Bert Lahr will aid
Bing Crosby in the music and merriment department on the Bing Crosby Show
tonight at 9:00 p. m. over WTJS-ABC. Reminiscing about old-time “Dutch” comics,
Bing and Bert will roll back the years to the turn of the century to offer a
“Schultz and Rudolph” dialect routine, which will be interrupted by Miss
Kirsten in time to turn the dialogue into a three-way rendition of
“Friendship.” Not one to pass too lightly over Thanksgiving turkey-eating
time, Bing and announcer Ken Carpenter will discuss their hungry plans for the
drumsticks, giblet gravy and cranberry sauce they anticipate on the following
day.
(The Jackson Sun, 24th November 1948)
November 25, Thursday. Makes his only two
records of the year (“Far Away Places” and “Tarra Ta-Lara Ta-Lar”) and has to
use rhythm and vocal accompaniment only from the Ken Darby Choir due to the
continuing Musicians’ Union strike. “Far Away Places” eventually reaches number
two in the charts during a 19-week sojourn.
Bing Crosby quietly sliced his first wax since the inception of
the recording ban. Der Bingle, who early in the 11-month-old ban announced that
he would do no recording during the ban period, sliced two sides, Far Away
Places and Tarra Ta-Larra Ta-lar with the Ken Darby choir and rhythm
(bass, piano and guitar) accompaniment for the Decca label. Sides were sliced
in Hollywood, and it is understood that there were no musicians in the studio
while Crosby cut his records. It is assumed that the rhythm instruments were
either cut earlier on a track or were dubbed in after Crosby had sliced his
lyricizing.
(Billboard, December 11, 1948)
Far Away Places
Bing is effective on this hit song by Kramer and Whitney with
choral aid from the Ken Darby group.
Tarra Ta-Lara Ta-Lar
Crosby’s even better on this fast-moving lullaby, again with the
aid of the Darby group.
(Billboard, January 8, 1949)
November (undated). Records “Many Happy Returns
K.E.L.K.” for use by the Elko-based radio station KELK on its birthday,
November 27.
November 27, Saturday. Decca announces that
Bing’s recording of “White Christmas” has now sold 5 million copies.
November 28, Sunday.
It is announced that Bing and Dixie have sold a residential lot at
10345 Strathmore Drive, Beverly Hills to Mr. & Mrs. Fred Zeder.
December (undated). Records “Silent Night” with the
Bob Mitchell Choir for use with a filmed contribution to a forthcoming
television show.
December 1, Wednesday. Bing's friend Ken Murray weds Betty Lou Walters at the Mission Inn, Riverside. Murray’s first marriage had been
dissolved. Bing has recorded a special song for the wedding. (9:00–9:30 p.m.) Bing’s
transcribed Philco Radio Time show is broadcast by ABC. The guests are
Peggy Lee and Bob and Cathy Crosby.
I met Bing at the Bel Air golf course, and he inquired if the
rumor he had heard about my coming nuptials was true. I assured him it was, and
he jokingly asked, “Do I get to sing again?”
“Oh, no,” I answered, “I’m getting
a whole new cast. I only got a five year run out of the last one!”
Nevertheless, he was very
thoughtful. He found out that my bride-to-be’s favorite song was “You Were
Meant for Me”, and he made a record of it with special lyrics. His wife, Dixie,
presented it to Betty Lou at her shower. It has remained one of her most
cherished possessions. The words were written by Johnny Burke, and it was
played by Buddy Cole on the piano, and Perry Botkin on the guitar.
(Ken Murray, as quoted in his book Life On A Pogo Stick)
Bing Crosby will dig freely into his rich past when his Brother Bob
turns up for a visit during tonight’s WTJS-ABC broadcast of The Bing Crosby
Show at 9:00 p. m. Brother Bob will have company with him in the person of his
nine-year-old daughter, Cathy, a youngster with a remarkably lyrical voice, and
her uncle Bing will also have a vocalist, Peggy Lee, as a guest. On the patter
and good-natured banter portion of the show, Bing and Bob will hark back to
their school days in Spokane, where the two spent their youth, and recall some
of the amusing incidents in which they took part. Following that, the two will
take an amiable look at conditions in the band world: a region with which the
brothers are reasonably familiar. During the latter chatter, Bob’s daughter,
Cathy, will move into the scene with a shrill request to “stop the musical
memories.”
(The Jackson Sun, 1st December 1948)
December 3, Friday. Bing gives a dinner for
the visiting Notre Dame football team.
December 4, Saturday. At Paramount, films a
spot for the Philco Playhouse television program lip-synching to the
“Silent Night” soundtrack he has recently recorded. The show is broadcast on
December 19.
Bing Making Vid Bow
Bing Crosby takes his television bow
this weekend when he faces the cameras singing “Silent Night” with Mitchell
Boys Choir. Musical spot will be kinescoped and flown to New York for inclusion
in Philco’s TV Playhouse telecast of “Christmas Carol” Dec. 19
(Daily Variety, December 2,
1948)
December 5, Sunday. (2:30-3:00 p.m.) Bing receives an Air Force
Association Citation on the CBS radio program "Skyway to the Stars." (9:00–9:30 p.m.) On The
Adventures of Ozzie and Harriet NBC radio show with Lindsay Crosby. Bing
sings “Buttons and Bows.” David and Ricky Nelson make their debut on their
parents’ show.
Bing Crosby will
receive an Air Force association citation of honor from Col. Tommy Lamphier,
Jr., president of the association and the pilot who shot down Admiral Yamamoto’s
plane, today on KWKH’s “Skyway to the Stars,” at 3:30 p.m. The citation, which will be presented in
Hollywood, honors Mr. Crosby for “his outstanding service in easing the burdens
of battle for air men in the far corners of the world during World War II.”
(The Shreveport Times, December 5, 1948)
…And this is how
the whole thing happened. Young Crosby and the two Nelson boys, David and
Rickey play tennis together every week, so the Nelson lads invited Lindsey (sic)
to appear on their parents’ show, knowing that he plans to become an actor.
Lindsey asked his father’s permission, and Bing not only said OK, but added
that he’d join him for the appearance.
(The Capital Times, December 5, 1948)
December (undated). Films a brief contribution to a 16mm film called The
Road to Peace with Ann Blyth at the Twentieth Century Fox studios for
Father Peyton’s Family Theater.
December 7, Tuesday. Bing
signs a new seven-year deal with Paramount calling for 18 pictures, 10
of which will be made by the studio on a salary basis and eight on a
50-50 basis with Crosby Enterprises. First picture under the new
agreement is Top o' the Morning, currently in
production, in which the studio and Bing arrange the financing and Bing
cuts in on the profits. Next will be "Broadway Bill," under the same
deal. Under the dual arrangement the 10 pictures will be made for
$1,300,000 or less. The budgets on the other eight are up to Paramount.
(9:00–9:30 p.m.) Guests
on Bob Hope’s radio show on NBC with Doris Day.
Bob Hope and Bing
Crosby who have not exchanged quips via the airways for some time now, trod the
“road to fun” tonight when the “Groaner” guests with Hope at 8 p.m., WIRE-NBC.
Hope plans to reciprocate the visit by appearing with Crosby later this month,
December 15. Script outlines have not been released but as Hope says, “Bing will
sing a bit, I’ll sing along and then we’ll kid each other. And when that starts
you just never can tell what will happen.”
(The Indianapolis Star, December 7, 1948)
December 8, Wednesday. (9:00–9:30 p.m.) Bing’s
transcribed Philco Radio Time show is broadcast by ABC. The guests are
Kay Starr, Morton Downey, and Joe Venuti.
Failure of radio’s
top singing personalities, notably Bing Crosby and Al Jolson, to land a Top 15 Hooper
berth this season, has occasioned no little comment within the trade. Current
ratings finds Crosby's Wednesday night ABC Philco show faring no better than 45th
place in the Hooper sweepstakes, with an 11.5 rating, while Jolson’s Thursday
night NBC “Kraft Music Hall” is in the 26th spot with a 13.5 tally.
(Variety, December 8, 1948)
Bing Crosby’s reunion with two other Paul Whiteman alumni on
Wednesday’s (8th) Philco show provided a session of entertainment rich in
reminiscences of the Twenties. ‘Pops’ Whiteman probably did not draw an ‘in
absentia’ guest shot fee but he should have. The way Morton Downey and Joe
Venuti and Crosby took Whiteman apart made him an integral part of the display.
Whiteman was alternatively pictured as living the life of an Oriental
potentate, while LeGreeing his hirelings into line. One of this trio, Venuti,
was the only one who played a legitimate instrument. Crosby held a rain catcher
(a French horn) and Downey was given a sax, sans reed. Once, Crosby told, he
was caught blowing some sour oompahs into his instrument, he was next in the
fiddle section, holding a violin with rubber strings.
(Variety, December 15, 1948)
December 11, Saturday. Bing’s recording of
“White Christmas” makes its annual appearance in the pop charts, peaking at
number six over a six-week period.
Irving Berlin’s “White
Christmas” remains, eight years after its initial publication, bigger than in its
first year, because the song didn’t really get, rolling until after “Holiday
Inn,” from which Paramount picture it stemmed, got into distribution. It’s a
seasonal standard, good for 250,000-325,000 copies every fall, and to date has
sold over 10,000,000 recordings. Of these, Bing Crosby's platter sales exceed 2,000,000.
The sheets have gone almost 3,000,000 copies, which incidentally is one of the
keynotes for Paramount's desire to reunite Crosby and Fred Astaire in a picture
with that title song. Berlin, who may close for a deal to do that Al musical
after he gets through with, his current legit musical, “Miss Liberty” (libretto
by Robert S. Sherwood), along with Par figures that the title alone insures a
pre-sold buildup of inestimable value.
(Variety, December
1, 1948)
Crosby’s 5,000,000
Disk Sale on ‘Xmas’
Hollywood, Dec.
14. Bing Crosby's Decca platter "White Christmas," has passed the 5,000,000
sales mark, setting it further ahead as the all-time top-selling recording.
Groaner's “Silent Night” and “Jingle Bells,” latter waxed with the Andrews
Sisters, probably will hit the 4,000,000 mark during the current pre-Yule season.
Dave Kapp, Decca veepee, disclosed here that Crosby's platters are nearing
100,000,000 figure.
(Variety, December
15, 1948)
December 13, Monday. Records a Philco show with The Mills Brothers and Peggy Lee which is broadcast on December 29.
December 14,
Tuesday. The American
Federation of Musicians’ strike ends as a new five-year contract
between the union and the phonograph record companies is signed.
December 15, Wednesday. (9:00–9:30 p.m.) Another transcribed Philco Radio Time show
is broadcast by ABC. Bing’s guests are Peggy Lee and Bob Hope.
Bing Crosby traded gags with guest star, Bob Hope in one of the
best of the Philco shows on the ABC net, last Wednesday night (15th). The
patter was free and easy with Crosby and Hope travelling down that well trod
road of reminiscences and recriminations. The boys bring out the best in each
other and they work together like an old team which can dump a prepared line
for an ad-lib at the proper spot. Although transcribed and presumably, closely
edited, this show had a spontaneous quality rarely felt on the live comedy
airers. One casual crack about Crosby bucking for a CBS Capital Gains deal was
aimed strictly for trade circle hepsters but was left in anyway. Crosby and
Peggy Lee topped off the session with a couple of numbers rendered in their
usual palatable style.
(Variety, December 22, 1948)
December 19, Sunday. (7:15-7:30 p.m.) Bing guests on Louella Parsons’ radio
show. (9:00–10:00 p.m.) Philco Television Playhouse is broadcast on NBC-TV. (9:30-10:30 p.m.) Bing sings "Adeste Fideles" in the
radio show The Joyful Hour on the Mutual Broadcasting System with Ethel
Barrymore, Dennis Day, Maureen O’Sullivan, and Perry Como. The show is arranged
by the Family Rosary Crusade.
The Mutual web and all of the stars who took
part in the second annual “Joyful Hour” deserve a well-stuffed Xmas stocking
for doing a religious program that was both good entertainment and always in
good taste. This year, as last the network worked in collaboration with Rev.
Patrick Peyton of the Family Rosary Crusade.
The all-star cast recreated the story of the
Nativity with a musical background of vocal solos, mixed chorus and orchestras.
Names of the participants were read at beginning and end of the stanza but
otherwise there was no individual identification. However, most of the voices
were recognizable as the story unfolded.
(Variety, December 22, 1948)
Philco Television Playhouse’s presentation of “A Christmas Carol”
on NBC-TV, Sunday night (19th) was a warm, tender and wholly evocative
interpretation of the Charles Dickens classic. As an epilogue, Bing Crosby made
what was advertised as his first appearance on video, via film with a rendition
of “Silent Night” but this highly publicized stint was completely overshadowed
by the preceding dramatization. Film production on the Crosby number which had the
Bob Mitchell Boys’ Choir backing up, was disappointingly flat. There was no
mention of the fact that this section of the show was filmed but viewers
probably guessed it from the faded texture of the screen image.
(Variety, December 22, 1948)
December 22, Wednesday. (9:00–9:30 p.m.) Bing’s
transcribed Philco Radio Time show is broadcast by ABC. The guests are
the Bob Mitchell Boys' Choir.
Bing Crosby will narrate one of the most moving of all Christmas
stories, Charles Tazewell’s “The Small One,” during tonight’s broadcast of The
Bing Crosby Show at 9:00 p.m., over the American Broadcasting Company and WTJS.
The Mitchell Boy Choir, which appeared with him in “Going My Way” and other
films, will be Bing’s special guests on the same program and will be heard with
him singing “Adeste Fidelis,” “Jingle Bells” and “Silent Night.” Several of
Hollywood’s best known actors will join Bing in the narration of “The Small
One.”
(The Jackson Sun, 22nd December 1948)
December 24, Friday. Bing establishes the
Gonzaga Crosby Memorial Library Fund with a donation of $60,000.
December 25, Saturday. Bing sings at the Good
Shepherd Church in Westwood. (2.00-4.00 p.m.) Bing takes part in a two-hour
radio show Christmas Festival at the CBS Radio Playhouse,
1615 North Vine, Hollywood. This is broadcast live on CBS and is hosted by Gene
Autry with Bing featuring as MC. Guests include Lionel Barrymore (as Scrooge in
“A Christmas Carol”), the Andrews Sisters, and Burns and Allen amongst others.
The show is sponsored by the Wm. Wrigley, Jr., Company and Bing receives a fee $10,000 which he passes over to his charity foundation. Also Bing and Bob Hope
are amongst many stars featured in Christmas Command Performance. Andy
Russell is the host.
CROSBY PUTS MUCH NEEDED
ZING IN WRIGLEY SHOW
It took a fancy price to entice Bing
Crosby into the Wrigley fold for the two-hour spree over CBS Christmas day, but
after the results were toted up he proved a Saks value at basement-mark-down…
(Daily Variety, December 27,
1948)…
With a powerhouse
of name values including Lionel Barrymore, Dan Dailey, the Andrews Sisters, Bing
Crosby, Gene Autry, et al, Wrigley Gum unwrapped its seventh annual two-hour,
super deluxe holiday package on CBS Christmas Day (25); Contents, in general, were
high calibred and occasional letdowns can only be attributed to the show’s
sheer length rather than to faulty material or talent…As
host and emcee, respectively, Autry and Crosby helped weld the show
together. Crosby was in there solidly with his vocaling of “White
Christmas”' and joined with the Andrews Sisters on “Jingle Bells,” a top selling recording.
(Variety, December 29, 1948)
December 27, Monday. Bing Crosby and Betty
Grable are selected as the top money-making stars of 1948 in the annual
exhibitors’ poll conducted by the Showman’s Trade Review.
December 29, Wednesday. (9:00–9:30 p.m.) Bing’s
transcribed Philco Radio Time show is broadcast by ABC. The guests are
Peggy Lee and the Mills Brothers.
Bing Crosby will bring some of the nation’s top musical talent to his
microphone tonight when he welcomes the Mills Brothers, Peggy Lee, and Joe
Venuti to The Bing Crosby Show at 9:00 p, m, over WTJS-ABC…One of the first
strictly instrumental numbers in many a month of Philco Shows will be done on
the program by Joe Venuti, Perry Botkin and Phil Stevens - a jivey arrangement
of the hit tune from “No, No Nannette” – “Tea for Two”… Incidentally Crosby and
the cast of his WTJS-ABC show will receive the National Safety Council’s Green
Cross of Merit for the part they played in the successful safe winter-driving
campaign last year. Bing is a member of the NSC’s Motion Picture and Radio Committees
and the award will be presented to the “Groaner” during tonight’s broadcast. Also
included in the presentation telegram which Bing received from Ned H. Dearborn,
president of the National Safety Council, were announcer Ken Carpenter, musical
director John Scott Trotter and The Rhythmaires, all of whom are featured on
Bing’s show.
(The Jackson Sun, 29th December 1948)
During 1948, Bing has had nine records
that have become chart hits and he receives the Down Beat Award for
“Male Vocalist-Single”. He has received $475,634 for his film work from Paramount during the
year. Decca has issued twelve 78rpm albums of Bing's recordings in 1948.
1949
January 2, Sunday. (3:15–4:38 p.m., 6:30–7:10
p.m.) In NBC Studio B, Bing tapes another Philco program. This time the guests
are Ernest Whitman and Hattie McDaniel and the show is broadcast on January 19.
(6:00-6:15 p.m.) Bing appears on Walter Winchell’s first radio show on ABC for
Kaiser-Frazer but only to read the advertisement. While Bing and three other
subsequent guest announcers each receive the minimum $30 fee, the sponsor puts
$4,000 into the Damon Runyon Cancer Fund.
January 3, Monday. Bing films a short segment
for the film Honor Caddie at Riviera Country Club when he sings, “Tomorrow’s My Lucky Day.” He
lip-synchs to the version used in the film Don’t Hook Now (1942).
(3:00–4:40 p.m., 6:30–7:10 p.m.) In NBC Studio B, Bing records a Philco show
with Peggy Lee and Abe Burrows which airs on January 26.
January 4, Tuesday. Records “So in Love” and
“Why Can’t You Behave” with Vic Schoen and his Orchestra in Hollywood.
For the foremost pops in Cole Porter’s Kiss Me Kate score,
at the moment “Love” is stepping fastest and Crosby does it up brown with a
bright musical assist from Vic Schoen’s beguine background. The Bingo forms one
of the best sides he’s made in recent weeks. It’ll be big with jukes and jocks.
“Behave” is done with a rhythm twist. It too, is good but it doesn’t equal the
companion. A male chorus, presumably the band, helps push it along.
(Variety, February 9, 1949)
So in Love
Tho Bing isn’t at peak form here, the combination of Crosby and a
sock Porter ballad should be money in the bank.
Why Can’t You Behave
The Groaner does another pretty “Kiss Me Kate” tune in appealing,
nonchalant style.
(Billboard, February 5, 1949)
January 5, Wednesday. (9:00–9:30 p.m.) Bing’s
transcribed Philco Radio Time show is broadcast by ABC. The guests are
Harry James and Betty Grable.
Bing Crosby will give the new-year something to talk about when he
welcomes Betty Grable and her husband Harry James to his program at 9:00 p. m.
over the American Broadcasting Company and WTJS. In one of her very infrequent
radio appearances Betty will sing a torchy version of “What Did I Do” a number
that lends itself ideally to her type of singing. In the patter portion of the
show, Bing hits upon a broadly nefarious scheme to get rid of a broken down
horse who has been eating his head off in the stable. It is Bing’s idea to sell
him to Miss Grable and Harry James, a couple who have little if any use for any
kind of horse, being solidly addicted to more modern means of transportation,
that fact however is not made known to Bing, until he gets a small lesson in
nefariousness himself.
(The Jackson Sun, 5th January, 1949)
January (undated). Records a message for the Southern
California State Dental Association. Other artists such as Bob Hope and Robert
Taylor do the same and the discs are distributed to schools nationwide. The
accompanying booklet is dated January 25, 1949.
January 10, Monday. Columbia Records and
RCA-Victor make seven-inch microgroove records available for the first time. Meanwhile, freak weather conditions
bring snow to California. Bing has to seek help from a passing motorist when
his car freezes up near Castroville in Monterey County.
January 12, Wednesday. (9:00–9:30 p.m.) Bing’s
transcribed Philco Radio Time show is broadcast by ABC. The guests are
Peggy Lee and Johnny Mercer.
The South will be on the spot tonight at 10
when Bing Crosby welcomes two top entertainers – songstress Peggy Lee and
composer-comedian-singer Johnny Mercer – to his program over WCON-ABC. In the
patter portion of the show, Bing and Johnny will exchange some good-humored
banter about the foibles of the South (from which Mercer hails). Seems the two
don’t see eye-to-eye on certain Southern customs, and Bing will offer a few
pointed suggestions about improvement, while Mercer will counter with a
description of his family’s planation which will put him in the
“stranger-than-fiction” category. Sounds like fun.
(The Atlanta Constitution, 12th January, 1949)
January 13, Thursday, The competitors for Bing
Crosby Pro-Am Tournament assemble at Pebble Beach and there is a
driving contest and golf clinic run by the pros in the afternoon. In
the evening, there is a Calcutta dinner.
January 14–16, Friday–Sunday. Plays in the Bing
Crosby Pro-Am Tournament at Pebble Beach which
is won by Ben Hogan who picks up the prize of
$2,000. Bing is paired with Cam Puget and they have best ball rounds of
seventy-one–sixty-seven–seventy-five. Entertainment at the victory
dinner
includes Jimmy Durante, Kay Starr, Joe Venuti, and Bing himself, who
concludes
the show by singing “Now Is the Hour.” This becomes a traditional
feature of
the tournament. Radio station KVOS broadcasts some of the proceedings
from the
dinner. The event produces $30,000 for charities with the Sister
Kenny Foundation receiving half of this. Show business personalities
playing include Randolph Scott, Forrest Tucker, Leo Durocher, Dennis O'Keefe, Frank Borzage, Buddy Rogers and Richard Arlen.
CBS Has Crosby Surrounded (Front Page Headline)
CBS Chairman, William S Paley from all indications has scored his
most notable coup with Bing Crosby reported as the latest of the stars to latch
on to ‘Paley’s Comet’. Out of the three networks jockeying for Crosby’s
services, that have been operating in high gear for the past week with Paley
and ABC Prexy, Mark Woods, among those on hand to major domo the maneuvers, it
looks like Paley, alone, who is emerging triumphant. Nobody’s talking about it
in any positive fashion, for Hollywood appears to have learnt its lesson on the
penalty of 24 sheeted Capital Gains maneuvers and thus inviting D.C.
repercussions but unimpeachable sources disclose that El Bingo is practically
in Paley’s backyard, as far as Paley and CBS are concerned, this one is his
greatest achievement, for not only is a Crosby radio/television deal involved
but the contractual intricacies extend into Crosby’s Paramount Pictures deal.
In effect it puts CBS in the picture business through its buy-in on the
Crosby-Par set-up. Just how closely this maneuvering encroaches on Capital
Gains appears to be speculative at the moment. A high CBS spokesman made the
‘off the record’ revelation that through the negotiations, Paley is buying into
the multiple showbiz corporations headed up by Crosby (of which there are about
six) but it is entirely exclusive of Crosby’s Decca holdings which won’t be
disturbed. Chiefly, it gives Paley an exclusive on the singer as a
radio/television personality, transferring him from his present Wednesday
night, ABC occupancy into a similar Wednesday time segment on CBS, thus permitting
the capture of a sustained listening habit. CBS is already in negotiation with
Philco, Crosby’s current sponsor for continuance of the same bankrolling
set-up. The purported CBS/Paley ‘understanding’ (nothing’s been signed, as yet)
comes at a time when the Capital Gains fever is running low in the film/radio
Mecca and in the face of denials that Crosby is doing anything more definite
than talk.
(Variety, January 19, 1949)
January 15, Saturday. Decca has issued a 4-disc 78rpm album set called "Auld Lang Syne" and Billboard carries a review of it on this date.
This, the 12th Decca album of Crosby, shows Bing
at his sober sentimental best, doing tunes selected for sacrosanct dignity and
hallowed usage. Most of the sides have had field days as singles, but their group
character is reasonably certain to insure the package of a wide sale. It’s a family
album, with interest for almost anyone who buys pop music, gaffers and
youngsters alike. Bing is especially mellow on the quality standards, “Whiffenpoof,”
“Babe” and “Nellie,” and plenty good enough on the rest.
January 18, Tuesday. Signs with CBS for radio
and television appearances. It is said that CBS has paid $1 million for a 25
percent interest in one of Bing’s corporations as a “sweetener” and also has
guaranteed him $500,000 for a thirty-nine week season.
After
winning Jack Benny, I went after Bing Crosby, whom I had
wanted to get back on CBS for fourteen years. He had left CBS for NBC
and then
switched to ABC in 1946 when ABC was the only network which would allow
him to pre-record his radio programs. He had been the first singing
star to insist
on recording his songs so that only his best renditions would go out
over the
air. NBC and CBS had a policy that everything the listener heard on
radio was
live. But late in 1948, with Crosby available, I changed my mind about
our
pre-recording policy. It seemed to me the public did not care that much
about
the issue. So I sang the praises of a new and dynamic CBS to Bing and
offered
to find him a sponsor who would sign a three-year, non-cancellable
contract.
Then I went to Liggett & Myers, makers of Chesterfield cigarettes,
and
announced that I was coming to them first but that I was in the
position to
sell Crosby, the top crooner in movies and on radio, to the first
advertiser
who would sign him to a three-year, non-cancellable contract at $20,000
a week
for the whole program. They agreed without a squabble, but attached
some
conditions. When I telephoned Crosby with the good news, I was excited
about
getting him a sponsor so quickly. I spelled out the details and then
told him
his new sponsor’s two conditions.
“They insist that you stop knocking cigarettes, Bing,” I said.
“That’s easy enough to do,” said the imperturbable crooner.
“And you have to make it clear that you are associated with
Chesterfields. They want you to carry a pack of Chesterfields with you when you
go out in public.”
“But,” said Bing, after a long pause, “that’ll make a bulge in my
pocket, won’t it?”
“Yeah,” I told him, “and so will the $20,000 a week.”
(William S. Paley, writing in As It Happened.)
January 19, Wednesday. (9:00–9:30 p.m.) Bing’s
transcribed Philco Radio Time show is broadcast by ABC. The guests
include Ernest Whitman and Hattie McDaniel.
Bing Crosby will entertain a band of entertainers when Hattie McDaniel
and the cast of her Beulah radio show visit him on tonight’s broadcast of the
Bing Crosby Show at 9:00 p. m., over the American Broadcasting Company network
and WTJS. Accompanying Hattie will be Ernie Whitman. Ruby Dandridge and Lasses
White, all of whom have won wide popularity for their work in radio. Long one
of Bing’s favorite cinema and radio characters. Miss McDaniel has run up
something of a record of her appearances in these two fields. One of the movie
roles for which she won high praise from the critics was that of Mammy in “Gone
with the Wind.” In the patter portion of the show, Bing will play the part of a
man whose car has broken down, and, in seeking help, runs across Hattie and the
Beulah cast, none of whom is of much assistance. In the end, Bing is forced to
resort to a non-mechanical genius who answers to Crosby…As part of the banter,
Bing will sing a short duet with himself, a reasonably ingenious trick in any
league.
(The Jackson Sun, 19th January, 1949)
Bing Bags Another Million (Headline)
That $13,000,000 said to be laying around in CBS’ coffers,
spoiling to be spent, is now only $12,000,000. Bill Paley, last week, made a $1,000,000
notation on his check book stub after talking long distance to Bing Crosby, up
on the Monterey peninsula, following a few days conference with John O’Melveny,
Bing’s attorney and business intimate. The cool million went for a 25% interest
in one of the two Crosby Corporations which controls his radio and picture
activities. It proved to be the ‘sweetener’ that stirred the deal to a full
boil. Although everyone concerned with the big push by the Paley raiders have
had their lips buttoned, it is fairly well established that Bing’s guarantee by
CBS for a 39 week season is approximately $500,000. This figure is said to be
around $200,000 more than his current Philco-ABC seasonal take. The
differential being in the nature of a bonus arrangement because of Columbia’s
greater collection of high power stations which would necessitate fewer of the
whistle stops which are now supplementing the ABC line-up.
It is also fairly certain that Crosby will hold the
same 9 pm time on Wednesday which both Philco and Crosby are said to have
demanded and which is okey dokey with Paley because it fits so snugly into his
plan to build up another big night. He’s well satisfied with Sunday, Monday and
Thursday. The big argument of Crosby’s that had to be batted down by Paley
before the Groaner would say, “I do” was the type and potency of programs to
precede and follow him. Now it’s up to Paley to make good his promise, so the
pressure is on again with MCA running interference and doing the missionary
work.
(Variety, January 26, 1949)
January 22, Saturday. The mid-season Mardi Gras
at Sydney, Australia’s Manly beach takes place and Bing participates in the opening ceremonies of the
charity event by radio telephone.
January 26, Wednesday. (9:00–9:30 p.m.)
Another transcribed Philco Radio Time show is broadcast by ABC. Bing’s
guests are Peggy Lee and Abe Burrows.
Abe Burrows, who calls himself ‘a singer who can’t sing’, guested
on Bing Crosby’s Philco road show along with vocalist, Peggy Lee, last
Wednesday (26th). It turned out to be one of the season’s highs. High spot of
the show was a Burrows operetta, burlesquing the ‘Oklahoma!’-
type musical with Crosby and Miss Lee giving him an assist. It was sure-fire.
Yocks started with a ‘jolly bandit-type song’, increased with a ‘love-type
ditty’ and reached a crescendo with a grand finale, ‘California’. Burrows said
he’s terrific on television (a lot of the guys in the trade will go along with
him on that). He addended that he’s looking for a bankroller: ‘If I stay out of
work another year, is that a Capital Gain?’
(Variety, February 2, 1949)
February 2, Wednesday. (10:45 a.m.–12.01 p.m.,
7:30–8:10 p.m.) In the NBC studios in Hollywood, Bing records a Philco show
with Kay Starr and Bob Burns which airs on February 16. (9:00–9:30 p.m.) Bing’s
transcribed Philco Radio Time show is broadcast by ABC. The guests are
Jimmy Durante and Gertrude Niesen. The show has been recorded in San Francisco
at the Marine Memorial Theater, and Bing has a heavy cold.
The warmth of Gertrude Niesen’s voice and the shadow cast over the
nation’s gopher holes when Jimmy Durante’s nose intercepts the beam of the
spotlight will be Bing Crosby’s way of staving off “Six more weeks of Winter”
during his Groundhog Day broadcast over WTJS-ABC tonight at 9:00 p. m. As
Bing’s first guest, Durante will get things off to a rollicking start with a
description of his new business in San Francisco, an enterprise that seems
destined, in Bing’s opinion, to be a conspicuous success. That patter will be
interrupted by Miss Niesen, who will sing a torrid arrangement of the popular,
if not exactly timely, “We’re Having a Heat Wave,” after which a humorous
sketch dealing with Bing's new home at Carmel. Cal., will feature Durante in
the role of interior decorator.
(The Jackson Sun, 2nd February, 1949)
February 3, Thursday. Bing visits the Paramount
studios to discuss his next film, Riding High.
February 4, Friday. (8:30–9:00 p.m.) Bing
guests on the Jimmy Durante radio show sponsored by the Rexall Drug Company on
NBC and sings “Sing Soft, Sing Sweet, Sing Gentle” with Durante and Roy Bargy
and his Orchestra. Bing also solos on ‘So Dear to My Heart’. Other guests on
the show include Alan Young and Candy Candido.
Bing Crosby who has been making news stories with his switch from ABC to
CBS this fall, confounds everybody by bobbing up on NBC tonight. It’s for a
guest appearance only, however, for the Groaner has accepted an invite extended
by Jimmy Durante for 7:30 p.m. WIRE
(The Indianapolis Star, February
4, 1949)
February 7, Monday. (3:15–4:27 p.m., 6:40–7:15
p.m.) In the NBC studios, Bing records a Philco show with Peggy Lee and Abe
Burrows which airs on February 23. He also records linking dialogue for a Guest
Star program which is broadcast on May 29.
February 8, Tuesday. Bing, Jimmy McHugh, and Harold
Adamson attend Freddy Martin’s opening at the Mural Room at the St. Francis
Hotel, San Francisco.
February 9, Wednesday. (9:00–9:30 p.m.) Bing’s
transcribed Philco Radio Time show is broadcast by ABC. The guests are
Connie Haines and Groucho Marx. Again, the show has been recorded at the Marine
Memorial Theater in San Francisco. Variety magazine carries an article
about Bing’s future career moves.
Bing Crosby can reasonably expect to be tossed in a blanket of banter
when he welcomes Groucho Marx to his broadcast tonight at 9 p. m., over the
American Broadcasting Company network and WTJS. Singer Connie Haines will be
Bing’s other guest on the show. San Francisco’s sea food will provide the theme
for Bing’s and Groucho’s withering chit-chat over which there will be an
occasional spray of sardonic jest about the town’s hilly terrain. All this
leads somewhat illogicality to Groucho’s discovery that Bing is a sick man and
on a hasty trip to a Quonset hut clinic presided over by the mustachioed
maestro, with Miss Haines playing the part of a nurse. After one of the most
cursory examinations in medical history, Groucho decides that Bing needs his
tonsils out and proceeds to operate using all the technique he picked up during
a week s employment in a Chicago abattoir. By some miracle, Bing comes out
alive.
(The Jackson Sun, 9th February, 1949)
Crosby Formula To Show The Way
Bing Crosby, who recently transferred his future radio and television
allegiance to CBS’s William S. Paley for a $1,000,000, is mulling a two-way
programming operation that may be the answer to radio stars going video, yet
domiciling in Hollywood. The whole problem of shifting their base of operations
to New York, key production centre of television, has become increasingly
vexing to top air personalities who, despite recognizing that sooner or later,
they must embrace TV, are nevertheless reluctant to relinquish Californian
climes. With Hollywood retaining its grip on coast to coast radio production,
the LA to New York problem has been a major factor in stymieing the pacting of
big-time personalities for television.
It was considered inevitable that someone would
evolve a formula that in one fell swoop, would permit to simultaneous radio/TV
video casting to the theme of ‘California Here I Stay’ and if Crosby pioneers
the practice which would involve taping for AM and kinescoping for TV at one
and the same time, it’s considered a certainty that it would spark a succession
of star-studded simul-casts, emanating from the coast. It would also provide
the impetus for the taping (such as Crosby, Groucho Marx etc) of major radio
programming from hereon in, a practice that has already been blessed or had
already been given the blessing of Paley, NBC prexy, Niles Trammell (until this
year was strictly verboten on both sides of the major networks).
Crosby, it is reported is peddling his show for next
season. Philco is now paying him $25,000 a week for his taped AM program on ABC
but the crooner it is understood wants $27,500 for next season - that’s for
radio alone but he wants a simultaneous AM-TV showcasing on Columbia. This
would be feasible by training the video cameras on his program while it’s being
tape recorded (weeks in advance of airing) and kinescoping the stanza for a
date release of the transcribed TV version. Such a parlay would also permit for
separate sponsorship for the video edition with a commercial cut-in to dovetail
with the AM commercial insert.
(Variety, February 9, 1949)
February 14, Monday. Records a Philco show at the Marine Memorial Theater, in San Francisco with Dinah Shore and Burl Ives. The show is broadcast on March 2. Bing is awarded
Photoplay’s Gold Medal award for being the nation’s most enjoyed actor in 1948.
Typically he does not turn up for the ceremony, which is held at the Crystal
Room of the Beverly Hills Hotel.
Photoplay gave the cold shoulder to Bing Crosby
last night. Voted best actor by mag’s readers for fifth consecutive year, the
groaner failed to show up for second consecutive year. This time his name
wasn’t even mentioned in the handout prepped by mag’s staff
(Variety, February 15, 1949)
February 16, Wednesday. (9:00–9:30 p.m.) Bing’s
transcribed Philco Radio Time show is broadcast by ABC. The guests are
Kay Starr and Bob Burns.
Bob Burns, the man who yielded to the overwhelming demand of his
admirers and quit radio for a farm, will tote his battered bazooka all the way
from Arkansas to make a guest appearance on Bing Crosby’s broadcast tonight at
9:00 p.m. over the American Broadcasting Company network and WTJS. Bing also
will have some help from Kay Starr, a girl who knows a great deal about the way
to handle a torchy song. In the patter portion of the show, Bing and Burns dig
into their rich pasts to fetch up a spate of reminiscence, much of which
concerns the rare old, fair old, golden days when the two worked together in
radio and television was hardly more than a gleam in Dr. Allen Dumont’s eye.
From there, the boys go to work, figuratively, of course, on Burns’ farm, a
rocky patch of ground which supports him in a manner endorsed by the more
austere type of hermit. Burns has some relatives around the place and they come
in for a bit of critical attention from him. Finally, he reports that his
livestock are all brooding over the fact that a recording he used to play to
them--one of Bing’s called “Just a Gigolo”--is worn out, a matter that is
solved by having Bing make another with Burns’ help.
(The Jackson Sun, 16th February, 1949)
As
we became more familiar with tape, and as blank tape became available from 3M
and others, we found that we could do all sorts of things that weren’t possible
on disc. One time Bob Burns, the hillbilly comic, was on the show, and he threw
in a few of his folksy farm stories, which of course were not in Bill Morrow’s
script. Today they wouldn’t seem very off-color, but things were different on
radio then. They got enormous laughs, which just went on and on. We couldn’t
use the jokes, but Bill asked us to save the laughs. A couple of weeks later he
had a show that wasn’t very funny, and he insisted that we put in the salvaged
laughs. Thus the laugh-track was born. It brought letters, because those big
guffaws sounded ridiculous after the corny jokes.
We considered the ability to splice in laughs a technical
achievement. We had to trim carefully so that, where we went into or came out
of a laugh, the levels would be the same as those on the laugh we were
replacing. It was pretty tricky; we had no way of fading in or out.
(John T. Mullin, writing in High Fidelity, April, 1976)
Variety announces that CBS has found a
sponsor for Bing’s forthcoming radio series and that it is rumored to be Chesterfield.
This is subsequently confirmed and it seems that Chesterfield is to pay between
$30,000 and $35,000 per show. Bing is guaranteed $8,500 net per show by CBS.
February 21,
Monday. Records a Philco show in the Marine Memorial Theatre in San
Francisco with Louis Armstrong and Jack Teagarden. The show is
broadcast on March 16.
February 23, Wednesday. (9:00–9:30 p.m.) Bing’s
transcribed Philco Radio Time show is broadcast by ABC and the guests
are Peggy Lee and Abe Burrows.
Abe Burrows, author of the song “Darling, Do You Remember the Night We
Didn’t Do Anything” and other unromantic-type tunes, and songstress Peggy Lee
will be Bing Crosby’s guests on tonight’s broadcast at 9:00 p. m., over the
American Broadcasting Company network and WTJS. In the patter portion of the
show, Bing and Burrows will do a typical-romantic-type operetta in which a typical
mythical kingdom is at stake. As the typical wise old counsellor, Burrows urges
Bing to marry the Duchess of Dortendditten pointing out that, since she is
something of a wanton, he has nothing to lose but his money, his reputation and
his peace of mind. When Bing hesitates, Burrows resorts to a strictly low form
of persuasion by singing to him, offering a little number called “Royal
Wedding.” In retaliation, Bing counters with a song title “We Are We,” which
does much to explain that he is he and that Miss Lee is she. In this number, he
will have some help from Miss Lee. The operetta is brought to a typical happy
end with a typical happy ending song called “Happy Happy Happy Days.”
(The Jackson Sun, 23rd February, 1949)
March 2, Wednesday. (9:00–9:30 p.m.)
Another transcribed Philco Radio Time show is broadcast by ABC. Bing’s
guests are Dinah Shore and Burl Ives. The Philco shows broadcast today and for
the rest of March were originally taped at the Marine Memorial Theater, San
Francisco.
Burl Ives, the man mountain of minstrelsy, and Dinah Shore, will be
Bing Crosby’s guests on tonight’s broadcast at 9:00 p. m. over the American
Broadcasting Company network and WTJS… In the good-natured banter, Bing and
Miss Shore swap some salty chatter about the song business with which they are
reasonably familiar, and in the course of their chit-chat they touch upon a
number of fresh anecdotes about the game. As a finale to their suave
persiflage, Miss Shore will sing the bubbly new Cole Porter tune, “True to You
Darling, in My Fashion.” Troubadour Ives, a handy man around a goat, will bring
Bing some news of his ranch at San Fernando Valley, after which both boys take
a somewhat acidulous view of the other’s chances of surviving in television.
After trading a spate of oral wallops, the contest reaches a no-decision
finish. Miss Shore will team up with Bing and Ives to try out a real television
routine offering “Clementine,” following which Ives will chant one of his most
popular numbers, “Lavender Blue.”
(The Jackson Sun, 2nd March, 1949)
March 3, Thursday. As part of the
American Red Cross 1949 Fund Campaign, Bing links a transcribed
15-minute appeal with songs taken from his Philco shows of November 10,
1948 and December 29, 1948.
March 4, Friday. Tapes a
Philco show with Ethel Merman at the Marine Memorial Theater, San
Francisco which is broadcast on March 23. Jimmie Fidler, writing in his syndicated columm, reports that "Dixie Lee Crosby,
under treatment recently in a Santa Monica hospital, has entered a sanatorium for
a rest cure."
March 9, Wednesday. (9:00–9:30 p.m.) Bing’s
transcribed Philco Radio Time show. The guests are Peggy Lee, Phil
Harris, and Elliott Lewis. Bing returns to Hollywood from San Francisco.
Radio
plug campaign on tunes from Paramount's "A Connecticut Yankee" will
be launched next Wed. (9) when Bing Crosby will introduce the
entire score on his program. It's the first time he's introed the entire score of a pic on one film,
and the ballyhoo is part of a $70,000 campaign being launched by the Edwin H.
(Buddy) Morris music combine to sell four new tunes from the film.
Morris’
Mayfair and Melrose pubberies will split the score. Melrose will get “Once and
for Always” and “Busy Doin’ Nothing” and Mayfair will handle “When Is Sometime”
and “Stub Your Toe on the Moon.”
Although
a total of 47 disks were cut on the four tunes (major labels etched several
faces in November 1947) when the wax ban loomed. Morris and Paramount have
succeeded in keeping them from the market thus far. They are now being shipped
to wholesalers. Sheets are being printed against the film’s April 1 bow at
Radio City Music Hall.
(Variety, March 2, 1949)
Phil Harris, a familiar figure in radio and an unfamiliar figure in
public libraries and art galleries, will join Bing Crosby and Peggy Lee on
tonight’s broadcast at 9:00 p. m., over the American Broadcasting Company
network. The two will help Bing introduce some of the songs from Bing’s new
Technicolor movie, “Connecticut Yankee”… In the battle of banter feature of the
show, Harris brings his guitar player Frank Remley, to Bing in quest of a job.
Although out of work, the guitarist is pretty gainfully unemployed according to
Harris since he is living off the maestro. The latter is nothing if not fulsome
in his praise of the guitarist’s talents and Bing is on the point of hiring him
but decides to have his knowledge tested - a chore he calls upon John Scott
Trotter to perform. Trotter does a highly competent job and polishes off the
indigent but well-nourished guitarist in record time.
(The Jackson Sun, 9th March, 1949)
March 9–May. Films Riding High with
Coleen Gray, William Demarest, and Frances Gifford. The film is produced and
directed by Frank Capra and has a fifty-two day shooting schedule with a budget
of $1.92 million of which Bing takes $150,000 in salary. The musical director
is Victor Young with vocal arrangements by Joseph J. Lilley. Location shots are
filmed in ten days at Tanforan Race Track in San Bruno, seven miles north of
San Mateo, California.
The first day of
photography I gave a nine o’clock call to Clarence Muse, Coleen Gray, Skeeter
the banty rooster, Broadway Bill the black stallion, and of course, to the
Bingle.
Nine o’clock—no Bing. I calmly began shooting around him with the other
actors, improvising many new scenes. At ten thirty Bing showed up and found us
busily shooting. I didn’t say a word about time.
“What’s going on?” he asked me.
“Just another little old picture, Bing.”
“I thought you said I was in the first shot.”
“We’ll take your first shot whenever you’re ready.”
Next day, same occurrence. The Cassandras chortled.
[Art] Black shook his head, “Told you he’d drive you nuts, boss.” Again Bing
found me shooting scenes when he came in at ten thirty.
“Frank, if I’m in the first shot, what’re you
shooting before I get here?” he asked.
“Bing, I’ve got some forty days to shoot a
mil-and-a-half picture. That’s at the rate of forty G’s a day, or five G’s per
hour. Only way I can do it is to shoot from nine to six—constantly. So I start
shooting at nine sharp with any actors that are around. If no actors show up, I
invent scenes with dogs, cats, inserts, or actors I pick up on the streets.”
No words, no arguments, no recriminations. Bing was
an actor-business-man; he respected persons who got the job done without fuss
or feathers. Also, he realized that if he didn’t show up on time I would shoot
with other actors.
Next morning Bing was on the set a half-hour earlier.
Then—at nine. No word was said about it. He asked me what time I got on the set
I told him seven thirty. “Why so early?” he asked. “To plan, rewrite, think of
new ‘business,’” He wanted to know when we ran the rushes. I told him the crews
ran them at the studio at seven thirty in the morning, but I ran them alone at
home in my projection room at 6 A.M. On many a subsequent morning Bing would
knock on my front door at 6 A.M. to see the rushes with me. . . .
Bing Crosby is not an easy man to know. In virtually
everything he does—golf, acting, crooning, and, I imagine, necking—he is as
relaxed as a cat stretched out in the sun. But if you let that lazy, old-shoe
casualness fool you into thinking the Bingle doesn’t know what’s going on—you’re
living in a dream world. His wit can devastate you, and what’s more, you can’t
see it coming.
In his coordination Crosby is in a class by himself.
Most actors must stop everything they are doing with their hands, or with
props, in order to deliver an important speech. Crosby can recite the
Gettysburg Address while juggling three balls and listening to Hope crack
toupee jokes.
Crosby is blessed with a photographic mind. He can
learn a two-page speech by reading it twice. And usually whatever he changes or
adds in the speech is better than what is written. For he is the master of the
literary ad-lib.
(Frank Capra, writing in his book The Name above the Title,
page 407)
It’s fun just to think about the wonderful eight weeks I spent
playing opposite Bing Crosby in “Riding High!” And to tell about those happy
days is, in a way to re-live them. I never had an experience like that before;
it’s the high spot, so far, in my career. The good luck of that magic
combination of Bing Crosby and Director Frank Capra doesn’t happen every day,
you know.
Between shots on other pictures
I’ve gone to my dressing-room to study my script, to write letters or to read.
I’d come to work in the morning with the thought that here was a job to be
done. But not on “Riding High!” There I’d be—perhaps the first to arrive every
morning—perched on the edge of my chair waiting for things to start. Even if I
weren’t in the scene I never left the set. I hung on every word for fear I’d
miss something!
And when I remember how nervous I
was on the first day, how frightened of the two Big Names, I could pinch myself
for being so silly. Why, those Big Names were the kindest, the most
considerate, the gentlest men I’ve ever known.
My getting the part in the first
place was completely unexpected. After finishing “Sand” for 20th Century-Fox,
where I’ve been under contract for five years, I went to New York to appear on
the stage in “Leaf and Bough.” Unfortunately, the play bowed and left after one
of the shortest runs on record. After the strain of rehearsals and production,
I was in the midst of a wonderful whirl doing the town with a lot of friends
when my agent phoned long-distance at three o’clock one Wednesday morning. He
told me to take the plane that night for the Coast. I really didn’t want to. I
was having so much fun! But obediently I packed—and caught not only the plane
but a terrible cold. Didn’t get a wink of sleep and arrived more dead
than alive. They told me I was to make the test that afternoon, but I begged
them to wait until I felt a little better.
So they thrust six pages of script
in my hand and I tottered home and to bed, where I slept for forty-eight hours.
Now and then I’d open an eye and try to memorize my lines. By Saturday
afternoon I was ready. I knew I was keeping Bing from his golf game—and that
didn’t help. I wasn’t too sure of the lines—and that didn’t help either. I
knew, too, that many other girls had been tested before me. But the minute I
came on the set, the tension eased. Bing, who knew I’d gone to Hamline
University in St. Paul, began by telling me what a great basketball team
Hamline had and said he was going to see them play that very night at the
Pan-Pacific Auditorium. Imagine that! Bing knowing all about my
basketball team!
After that he talked about my
singing with the college a capella choir one subject lead to another—and before
I knew it, I was chattering along to an old friend. That’s the secret of Crosby
and Capra: they’re so easy, so calm. They get an enormous amount of work done—"Riding
High” was brought in two weeks under schedule—yet, they never seem to hurry or
to force anything. As an example, even in this test we finished in a little
over an hour scenes which ordinarily would have taken half a day. They started
out by saying, “If something goes wrong, don’t worry. It doesn’t matter. We’ll
do it again. So how could a person fail to do well with that
attitude?
The end of the test was a dramatic
and tearful scene; when we’d finished Bing turned and looked at me in the
strangest way. He said slowly, “You’ve worked before, haven’t you?” and that
compliment made me glow all over. After that there was a five days wait. The
choice had narrowed down to another girl and me. I didn’t worry about it
because worry doesn’t get you anything. I didn’t even think about it except to
feel the trip out there would have been wasted if I didn’t get the part.
There’d been two or three offers of plays in New York that I hadn’t wanted to
turn down and I regretted those.
But meantime the test was printed
and the film flown Pebble Beach where Bing was vacationing. He ran it over and
over there, then it had to be flown back and run over and over for the studio
executives. And, too, in those five days I was turned over to a vocal coach but
long before official word came through, two or three sources on the studio
grapevine told me I was in!
I was very nervous when I walked on
the set the first day—and when I saw the five huge bouquets of flowers waiting
for me there I almost burst into tears. It was like an opening night in New
York! But before long the atmosphere of the Crosby-Capra set began to get to
me, I realized I was in a very special place. For one thing, there was no
noise. I never heard Mr. Capra give a command or order about it, but there just
wasn’t any hammering or shouting. And for another thing, Bing put himself
completely in Capra’s hands: they worked together in complete accord.
I’d heard that Bing appeared on the
set when he felt like it and left when he wanted to—but he didn’t on this
picture. He was on time every morning, knew his lines perfectly and was among
the last to leave at night. I’d heard, too, that there were lots of gags and
jokes on a Crosby picture—but there weren’t too many on “Riding High.” Everything
was strictly business, with a good picture the main goal.
Somebody told me that Ann Blyth had
brought Bing a pie she’d baked and that he’d been very pleased. I wanted to do
something, too, so twice a week I brought a big jar—shaped like a cat—full of
my mother’s marvelous Danish cookies. Bing was a little doubtful about the
first one I offered him, took one tentative nibble—then ate six in rapid
succession! After that it was, “Where are the cookies?” and we soon started
having four o’clock tea just so he could eat some more of them!
Bing is a most surprising man. You
think of him as a sportsman, interested only in golf, baseball, race-horses—but
there’s another side you’d never suspect. One day I saw him reading T. S.
Eliot’s “Notes toward the Definition of Culture,” a deep, non-fiction book.
Another time it would be a biography, another a work on world affairs.
Bing’s ad libs are often cleverer
than the script and he seems to enjoy them as much as everyone else. He
transacts a lot of his business on the set, answering phone calls and dictating
letters to a secretary in his trailer between takes. He is always surrounded by
his radio-writers, gag-men and business associates. Often he would go off to
the side of the set to discuss business deals with men who came to the studio
to see him. All in all, I found Bing to be a happy, well-adjusted man. He’s
completely relaxed and simply will not be worried by anything. For instance, in
the musical number we had to do together there was some confusion because the
dance director gave us too many instructions at once. These instructions would
probably have been simple for professional dancers, which Bing and I aren’t. I
was getting rattled and unhappy and could see that Bing was bothered, too. But
did he allow it to upset him? Certainly not. He just said, “Hold on a minute. I
can learn just one thing at a time.” and we proceeded on that basis.
Incidentally, this dance sequence
was the only uncomfortable episode of the picture for me. When you combine
singing, remembering dance steps, ringing a cowbell and giving with the big
smile and relaxing all at the same time, you really have something! But
singing with Bing was a really happy experience. He knows so surely what
he’s doing that it gives you confidence you never knew you had. I always could
sing my little heart out with my college choral group because I was just one
among sixty and I felt safe. I’d never dreamed of daring to sing all by
myself. But with Bing there it was different. He’d watch me and then, putting
his hand on the back of my neck, he’d say, “Wait a minute. You’re all tightened
up. Relax, relax!”
. . . Perhaps we had so much fun
because we worked so hard. In one scene, Bing is supposed to return to me after
having been away for two years. “You’re glad to see him,” Mr. Capra said. “Leap
at him!” So I leaped. I not only knocked off Bing’s hat—but I split every hook
off my own skirt! After that he called me the Durable Dane and pretended to
dodge and defend himself whenever I came around. “Don’t ever make that girl
mad!” he’d warn everybody. “She’ll tear you to pieces!
There was a wonderful big party in
the Paramount commissary for everybody and their best girl and beau when the
picture finished, but it was a sad, sad day for me. Even though I got up and
sang our favorite song, “Ghost Riders in the Sky,” into the microphone, with
Frank Capra strumming the accompaniment on his guitar, there was an undertone
of parting in my heart that made the tears come very close to spilling over.
Bing left the party early so there
weren’t any goodbyes. He waved once across the commissary, but I’ve never had a
chance to tell him in person how grateful I am. How can you thank a guy like that?
(Coleen Gray, writing in an unidentified film magazine in 1949)
March 10, Thursday. Records “Bali Ha’i” and
“Some Enchanted Evening” with John Scott Trotter and his Orchestra in
Hollywood. “Some Enchanted Evening” spends 20 weeks in the Billboard charts
with a peak of #3 while “Bali Ha’i” reaches the No. 12 spot in a seven week
stay.
Stand out tunes from South Pacific score. Crosby does them
in the style to which he’s accustomed which means that they are fine jobs but
neither is the equal of Perry Como’s versions, except that these are in a
better dance tempo. John Scott Trotter backs Crosby lushly.
(Variety, April 6, 1949)
(8:00-8:15 p.m.) Bing appears on the Chesterfield Supper Club radio show on NBC with host Peggy Lee.
March 11, Friday. (6:00–7:00 p.m.) Stars in
a Ford Theater broadcast of Welcome Stranger on CBS with Ann Blyth and
Barry Fitzgerald. Fletcher Markle is the director with Bobby Dolan directing
the musical accompaniment. Bing is reported to receive a fee of $10,000 for his
participation.
Originally
scheduled to star in “Dixie” as guest on CBS; “Theater of the Air” at 9:00
o'clock over CKCO, Bing Crosby will be heard instead in a full-hour version of “Welcome
Stranger,” Paramount’s Crosby - Barry Fitzgerald hit of 1947. Fitzgerald will recreate
his screen role on the broadcast.
Ann Blyth, previously announced as feminine lead in “Dixie”
will be the leading lady of “Welcome Stranger”.
The plot concerns an old New England doctor (Fitzgerald)
who feeling the need of a long vacation, asks a medical agency to send him a doctor
to take over his practice temporarily. He is gravely disappointed and annoyed when
the substitute (Crosby) proves to be a young doctor with dazzling sartorial tastes
and a highly unconcerned attitude. The clash of their personalities and Crosby’s
competition with a stuffy young executive for the attention of a pretty schoolteacher
(Ann Blyth) are the source of the story’s comedy as well as some tense dramatic
moments.
(The Ottawa Citizen, March 11, 1949)
March 12, Saturday. A pre-recording session for the Riding High songs. Decca has issued a 4-disc 78rpm album set called Bing Crosby Sings Songs by George Gershwin and Billboard magazine reviews it on this date.
Crosby singing Gershwin
figures to be a winning parlay any time – and this album sounds like a winner,
sure enough. Sides were made during various recent years, and it’s nice to be
able to report that Cros was in form on each. Every tune here is a 20-carat
imperishable, and plenty of earnest affection is lavished on each by the orks
of Trotter, Malneck and Victor Young.
March 13, Sunday. (2:15 p.m.) Bing goes to watch an
exhibition game between the Pittsburgh Pirates and the Chicago Cubs at Wrigley Field in Los
Angeles. The Pirates win 3-1. (6:15–8:15 p.m.) In NBC Studio B, Bing records a Philco show with Kay
Starr and James Stewart which airs on April 6.
March 14, Monday. Pre-records "Camptown Races" for the Riding High soundtrack with Coleen Gray and Clarence Muse. Later, Bing turns up for the
testimonial dinner for song-plugger Tubby Garron at Lucey’s and he sings too.
March 16, Wednesday. (9:00–9:30 p.m.) Bing’s
transcribed Philco Radio Time show is broadcast by ABC. The guests are
Peggy Lee, Joe Venuti, Jack Teagarden, and Louis Armstrong. During the evening,
Bing goes out to Southgate where his stand-in, Alan Calm, is appearing in a
nightclub. Bing is persuaded to sing a song.
Radio’s
critics maintained that the medium’s musical product
was necessarily inferior to what consumers heard on
records. With new
shows airing every week, hosts and guests couldn’t have
the time to master complicated, more artistic
arrangements; as a result, radio audiences would get simplicity
or repetition or
B-grade pap. But the generalization didn’t always reflect reality. Not when the lineup was inarguably top-of-the-trade. And radio never
got any better—in terms of
music,
sophistication, entertainment,
cool, or daring—than the show Bing Crosby aired from San
Francisco’s Marine Memorial Auditorium in
the summer (sic) of 1949 with guests Peggy Lee and
Louis Armstrong—along with two more of the purest
jazz virtuosos in the
land: trombonist Jack Teagarden and violinist Joe Venuti. By now, Bing was
happily married, and at the very top of his radio
game.
“Now,
Ken” —he nods to announcer Ken
Carpenter as the evening opens— “Miss Peggy Lee
approaches.” Carpenter’s response: “That’s what I call a slick chick.”
As Peg takes the stage, Bing
implores the anonymous
bandleader, “Please drop a downbeat
and get those boys blowing and playing and
stroking and swinging.”
Crosby and Lee
duet on “You Was,” with music by the estimable Sonny Burke
and lyrics by Paul Francis Webster. (A few years later
they would furnish Lee with one of the greatest
jazz vocals of all time.) Warming up, seeming
natural and terrifically simpatico, the two friends come together on the
frothy, sweet bubble of a song with thrilling
results replete with Webster’s trademark rhymes
(the heart is a “spherical lyrical
miracle”) and the coyly
entrancing ungrammatical verbal
hook: The question is who “the sweetest one I
knew was.” The answer: “I’d say you was.”
As Lee
walks off the stage, Bing says to
Ken, “That’s the nicest thing
ever to come out of North Dakota.”
Now enter
Louis Armstrong. Side by side
stand the two men responsible for making jazz rhythm accessible to a nation.
“Three weeks ago,” says Bing, “1 got a big charge out of
seeing a bright satchel-mouthed face beaming from the
cover of Time magazine—the face
of one of my best friends. Tonight I’m just
poppin’ with pride to give a friendly five to the most
sensational horn of them all, Louis
‘Satchmo’ Armstrong.”
Then the
banter begins—a scripted
dialogue, no doubt,
but their few seconds of verbal
riffing provide an interesting window on
an extraordinary
cultural time and place, a moment when mainstream
white America, embodied by its first true superstar, could
overlap with mainstream
black culture, embodied by Louis—its
undisputed king.
Bing: “It’s fine as wine in the
summertime to have you with
us.”
Satchmo:
“I’m pleasurated, pops.”
Bing: “How do you get
those crisp, clear, clean notes?”
Satchmo:
“Every night I
dip my trumpet in Did.”
Bing: “’Did’?
What’s that?”
Satchmo:
“Did’s the stuff that’s already
done what Does is gonna try to Do.”
Next,
Teagarden and Venuti join Armstrong for a
hopping ragtime-New Orleans-funeral “Panama,”
with Teagarden’s trombone holding
its own against Satchmo’s trumpet. The
bliss is transporting as the pair’s artistry silences
bop’s boosters and their jabs at the purity and melody of more
mainstream jazz. Music could get no cooler than this.
Next, slow
down for a duet by Bing and Satchmo, comes “Lazybones,” the
Johnny Mercer-Hoagy Carmichael anthem, made into a hit in the thirties
by Mildred Bailey.
Armstrong, befitting the times, the place—and
his lifelong friendship with Crosby—willingly plays Stepin Fetchit.
“I’ll do the singing,” says Bing, “if you do the mugging.”
It begins with Bing addressing “Lazybones” —Armstrong. How, Bing wants to know, “you ‘spec to get your cornmeal made?” Satchmo’s somnolent reply? “I don’t get no cornmeal
made,” because, “morning til night” he’s sleeping in “that old shade.”
When Bing closes the show, bringing his guests to the stage, the verbal riffs
reach jazzy heights. “I’d like to
tilt my skimmer to Miss Peggy Lee,” says Crosby, “for
buzzing up from
Tinselville to be with us tonight.”
Answers Peggy, with a smile that’s obvious even on the
radio: “It was a crock full of kicks for me, Bing. I really enjoyed hearing the mellow members of the society of hot.”
(Fever – The Life and Music of Miss Peggy Lee, pages
168-170)
March 17, Thursday. (6:00-6:30 p.m.) The Kraft Music Hall broadcast hosted by Al Jolson has been transcribed for the first time.
March 18, Friday. Records “Everywhere You
Go” and “How It Lies, How It Lies, How It Lies” with Evelyn Knight and Vic
Schoen and his Orchestra. Jud Conlon’s Rhythmaires also provide support.
Bing could be very intimidating, and his exterior was sometimes cool,
if not cold. If he liked what was going on in the studio he gave it everything
he had, although he didn’t appear to be making an effort to do so. He had a
remarkable ability to create and improvise in front of a microphone. He
expressed his acceptance by doing the things required of him. If he didn’t like
something, he simply didn’t do it.
(Vic Schoen as quoted in the book Swing It! page 43)
Crosby and Miss Knight could break “Everywhere” for a hit, it’s
been moving nicely due to Guy Lombardo’s and Eddy Howard’s Mercury diskings.
This copy isn’t superior to either but it’s livelier and louder and could do
the trick. Pairing do right well by “Lies” too, a piece that’s likely to get
equal play with “Everywhere” everywhere backed by Vic Schoen’s Orchestra and
Jud Conlon’s Rhythmaires, it rides solidly.
(Variety, April 6, 1949)
Everywhere You Go
Too much production hinders rather than helps the treatment of
this promising and simple song. But the Crosby-Knight combine should be able to
sell plenty of copies just on name power.
How It Lies, How It Lies, How It Lies
The powerful team works together more smartly on this new and fast
moving rhythm ditty. Should be a big winner.
(Billboard, April 30, 1949)
March 21, Monday. Gonzaga University issues
a press release confirming the intention to erect a library at the University.
Building is to commence when funds are adequate. Under a trust agreement, the
funds are to be held by the trustees who are Rev. Francis E. Corkery, Dr.
Herbert Rotchford, Dr. Joseph Lynch, and Bing himself. (4:30–5:30 p.m.,
5:30–7:30 p.m.) In NBC Studio B, Bing records a Philco show with Peggy Lee and
Abe Burrows which airs on April 27.
March 22, Tuesday. (10:30 a.m.–1:00 p.m.)
Records “Riders in the Sky” and “Careless Hands” with Perry Botkin and the Ken
Darby Singers. “Careless Hands” spends ten weeks in the Billboard
Best-Seller charts peaking at No. 12 while “Riders in the Sky” reaches the No.
14 spot during its ten-week spell in the lists.
Bing’s best this month is 04098, “Riders in the Sky,” being also
one of his best for a long time, and one of the best versions of the tune. The
backing is “Careless Hands,” which is good enough.
(The Gramophone, July 1949)
Bing Crosby—“Careless Hands”—“Memories” (Decca).
Good pairing but Crosby’s plenty late on “Hands,” a widely played
melody that so far hasn’t reached solid hit status. It’s possible that he could
provide the impetus. Ken Darby Singers assist on “Memories” a standard that is
not really crack Crosby but it is solid enough for any library or juke.
(Variety, April 27, 1949)
Later, Bing throws a dinner at
Lucey’s for the Gonzaga University Glee Club but fails to turn up at the
function. Press reports state that Bing recently hurried to a hospital where
Buddy Clark was facing surgery for a ruptured ulcer and sat for two hours
waiting to contribute blood if necessary.
March 23, Wednesday. (9:00–9:30 p.m.) Bing’s
transcribed Philco Radio Time show is broadcast by ABC. The guest is
Ethel Merman.
Ethel Merman, the girl with a voice as high as a star, will be Bing
Crosby’s guest on tonight’s broadcast… Miss Merman, who recently finished a
three-year run on Broadway in “Annie, Get Your Gun,” made a special trip to the
west coast to be with Bing on the March 23 broadcast…In the badinage portion of
the show, Miss Merman will tell Bing about her trip to the coast, a pilgrimage
on which she had a small amount of trouble with her car. The subject is one
that Bing knows something about, since he has had some trouble with a small car
of his own. Following this, Miss Merman agrees to join Bing in a new “Flop
Parade,” which is a parody on a popular radio program.
(The Jackson Sun, 23rd March, 1949)
March 24, Thursday. Bing is the guest on Hedda
Hopper's Hollywood, a fifteen minute program on CBS.
March 25, Friday. Jack Kapp (president of
Decca Records, Inc.) dies from a cerebral hemorrhage at his home in New York at
the age of 47.
Earlier in the day, his brother Dave Kapp had signed Bing on a new 7-year
contract in the face of keen competition from Columbia Records. Bing postpones
a recording of his radio show planned for March 28 when Rudy Vallee was to be the guest.
Bing Crosby and Decca Records have been like
bread and butter - they just naturally go together. So, it is with both pride
and pleasure that we are now able to announce that for the next seven years, as
in the past, you’ll be hearing the magic voice of Bing Crosby on Decca records
- exclusively
(Variety, April 13, 1949)
I will never forget the first day I met Bing a little over 17 years ago
in the lobby of the Roosevelt Hotel in Hollywood. He was wearing a crew-neck
sweater and he had the same casualness then that distinguishes him today. He
was pleased with the progress that a couple of his records had made, but he was
not impressed. We were paying him $200 a record at that time.
I remember how I appealed to him to come to New York, and how, a few
months later, he arrived coming East with the money we sent him…his incredulity
about all the excitement he had caused
We increased his fee to $250 a record because he was a “big star now.” I
shared in the excitement. I can still recapture the thrill of those first
records in New York—selections which included such subsequently standard classics
as “Where the Blue of the Night,” “Stardust,” “Dancing in the Dark,” and “Sweet
and Lovely.” I remember the orchestra players who accompanied him under the
direction of Victor Young; the immortal Dorseys, Benny Goodman, Eddie Lang, Joe
Venuti, and many others who later became famous.
Memories flash through my mind as on a brilliant screen: Bing’s first
broadcast, when we came to escort him to the studio and found he had lost his
voice from sheer nervousness—just couldn’t talk—those weeks at the Paramount
Theatre in New York, and the subsequent tour—then the lack of bookings. Then
there was his note from Florida that “the bubble had burst” and that he could
always go back to California and get a job as a golf pro…the pressure exerted
on him not to come with us at Decca because we couldn’t last long…his first
recordings made without a contract—we didn’t have a contract for almost three
years. I’ll never forget the large offer made by a competitor at that time, and
his reply: “I’m not worth it, and you are only doing this to hurt a friend of
mine. He had faith in me when others didn’t believe in me. Nothing doing!”
The beginnings of an organized recording program came with the
recognition that Bing had not only a heaven-sent voice but a true soul—a voice
and a soul which could be understood by all people all over the world. This
combination of the human and the spiritual took him out of the category of a
singer of popular songs. It laid the foundation for the institution that he
became. It wasn’t sudden, and it wasn’t easy.
My first objection to Bing’s early style—I wasn’t as understanding and
as tactful then as I hope I am today—was that he should eliminate the
“boo-boo-boo-boo” manner, and that his accompaniment must really accompany him,
instead of playing what Bing might like to hear. Bing is hep—he comes from a
non-commercial school of musicians, if you know what I mean.
Then began the greatest recording career in the history of the business.
There was no talk of money. During the next five years, in addition to singing
the currently popular songs as well as the hit songs from motion pictures, Bing
became the foremost artist in the most diverse imaginable fields. He became a
peerless interpreter not only sacred songs, but of Hillbilly songs, Hawaiian songs,
Irish songs, Cowboy songs. He sang the songs of America. He stressed the
contribution of our native composers from Stephen Foster to Irving Berlin.
I hope I may continue to deserve Bing’s friendship for the rest of my
life. I am “his obedient servant.”
(Jack
Kapp, writing in Bing Crosby Album, published by Dell in 1949 just prior
to Kapp’s death)
March 28, Monday.
Jack Kapp's funeral takes place in New York. Bing postpones the
recording of his Philco show due today. The golfing short Honor Caddie has its premiere at Riviera Country Club.
March 30, Wednesday. (9:00–9:30 p.m.)
Bing’s transcribed Philco Radio Time show is broadcast by ABC. The guest
is Dennis Day.
Dennis Day, a highly solvent young man with an Irish tenor, and two
radio shows, will be Bing Crosby’s guest on tonight’s broadcast. Bing and
Dennis will sing “Clancy Lowered the Boom,” a recent Day recording which has
become a national best-seller. The version the boys have prepared for the
broadcast departs substantially from the disc, being done in what is the called
the high, wide and hilarious style…In the badinage and banter segment of the
show, Day comes to Bing with a problem of the heart. His girlfriend, played by
Janet Waldo, has fallen in love with Bing in the manner usually described as
“helplessly” and Day figures that Nature will offer some corrective if he can
bring the two principals together. His instinct proves to be a sound one.
(The Jackson Sun, 30th March, 1949)
March 31, Thursday. Loses 1-down to Bob Hope at Bel-Air Country Club.
April 1, Friday. Dixie Lee has a minor foot
operation at St. John's.
April 4, Monday. In NBC Studio B, starting at 2:30 p.m., Bing
rehearses a Philco show with Walter O’Keefe and Rudy Vallee. The actual recording begins at 6:30 p.m. and the show airs on April
20. Vallee is paid $1500 for his appearance.
April 6,
Wednesday. Variety
reports that Dixie is recovering from the operation on her foot.
Elsewhere Phillip Crosby wins an elocution contest at Bellarmine
Preparatory School. His topic is "Taking mother to a football game". He
wins a $10 prize. (9:00–9:30 p.m.) Bing’s
transcribed Philco Radio Time show is broadcast by ABC. The guests are
Kay Starr and James Stewart.
James Stewart, a young man whose unmarried state is gradually assuming
the importance of a national disaster, will share the guest spotlight with Kay
Starr on Bing Crosby’s show tonight… Stewart’s bachelorhood provides the theme
in the badinage and banter portion of the show, being a subject of some
familiarity to most people. In this case, Bing hits upon the idea of having his
guest try his band at baby-sitting on the theory close to the hearts of all
gamblers that beginners are apt to be lucky. The baby is a beginner as Bing
points out and so is Stewart. So the odds on a happy outcome are top heavy.
Never was a man more mistaken, though. As it turns out, Stewart, a man who
knows when he’s licked, walks out on the infant after his (Stewart’s) crooning
brings on some of the loudest wailing ever produced by a radio sound effects
department.
(The Jackson Sun, 6th April, 1949)
April 7, Thursday. The film A
Connecticut Yankee in King Arthur’s Court has its world premiere at Radio
City Music Hall in New York.
The
solid, reliable humors of Mark Twain’s “A Connecticut Yankee in King Arthur’s
Court,” which have already done yeoman service in two films and a Broadway
musical show, have been given another going over—with eminently satisfactory
results—in Paramount’s new film of the same title, which came to the Music Hall
yesterday. And for this we can thank Bing Crosby, primarily and above all,
because it is Bing in the role of the Yankee who gives this film its particular
charm.
As
the bumbling Connecticut blacksmith who gets an untimely bump on the head and
fancies him-self transported, rather rudely, to King Arthur’s ancient court,
Bing picks up this travesty on history and gives it his own characteristic
stamp, just as Will Rogers did the same thing some eighteen years ago.
Not
that he isn’t supported by a competent script and cast. Edmond Beloin has got a
funny screen play out of Mark Twain’s fantastic tale and he has added a good
many touches of contemporary spoof. For instance, the best laugh in the picture
is recorded when King Arthur shouts at his trumpeting herald, “Stop the music!”
There’s one that brings down the house.
And
the people who play the various varlets, knights-in-armor and ladies-in-waiting
around the court chip in unquestioned contributions. Sir Cedric Hardwicke is
particularly droll as a drizzle-faced, rummy-nosed King Arthur who is slightly
deficient in the head, and William Bendix is broadly comic as the lummox
assigned to serve as squire. Murvyn Vye is hugely malevolent as Merlin, the
villain in the court; Rhonda Fleming makes a beauteous cause for romance and
Henry Wilcoxon plays a dark and stormy knight.
Indeed,
even Jimmy Van Heusen and Johnny Burke have contributed some songs which,
although they aren’t up to the classics of Rodgers and Hart, are obviously
suited to be sung. And a fair Technicolored production doesn’t hurt matters in
the least.
But
it is still Bing’s delightful personality, his mild surprises and sweet
serenities, and his casual way of handling dialogue that makes this burlesque a
success. No one in current operation could qualify, we are sure, to play the
Connecticut Yankee the way the old Groaner does.
Whether
it’s snapping fire from matches to show his magical powers or jousting in
cowboy fashion with an armored horseman, he is coolly confident. The old and
familiar Crosby candor is forever on display. “If there were aught I could do
to save thee—,” a friend tells him in the dungeon cell, while the Yankee is
waiting execution. “Well, ain’t there aught?” the indignant Bing replies. And
one episode in which he teaches a sixth-century orchestra how to play is
musically delicious. “Putteth in the brass and taketh out the lead,” he says.
Best
of the musical numbers is “Once and for Always,” which Bing sings, along with
the lovely Miss Fleming. But “Busy Doing Nothing,” kicked around by Bing, Mr.
Bendix and Sir Cedric, is a pleasantly sportive air, and Miss Fleming’s “When
Is Sometime” won’t make anyone mad.
Mr.
Crosby’s “Connecticut Yankee” is that good time to be had by all.
(Bosley Crowther, New York Times, April 8, 1949)
Picture wears the easy casualness that’s a Crosby trademark, goes
about its entertaining at a leisurely pace, and generally comes off
satisfactorily. It’s not high comedy and there’s little swashbuckling.
Crosby does a lot better by the
picture than its costumes do by him. His face and figure are comically
displayed in tights, jerkin and wig without the heroic qualities that more
modern tailoring endows, but such is his personality that he overcomes the handicaps.
It’s his picture and he sparks it.
He has three James Van
Heusen-Johnny Burke tunes and gives them specialized treatment. Best of the lot
for romantic flavor is “Once and For Always.” Opener number is “If You Stub
Your Toe on the Moon” and comedy is emphasized with “Twixt Myself and Me,”
which Crosby does with William Bendix and Sir Cedric Hardwicke (sic – it was
“Busy Doing Nothing”). Rhonda Fleming has the fourth Van Heusen-Burke tune,
“When Is Sometime.”
…Jousting sequence in which Crosby
uses a lariat in his duel with Wilcoxon has good comedy values. The Yankee’s
tricks with watch lens, gunpowder and regular stick match, accompanied by quips
in the Crosby manner, also are good fun.
(Variety, February 23, 1949)
April 8, Friday. Dixie and Bing make one
of their rare appearances together at the King’s Restaurant.
April 13, Wednesday. (9:00–9:30 p.m.) Bing’s
transcribed Philco Radio Time show is broadcast by ABC. The guests are
Peggy Lee and the Gonzaga University Glee Club.
Bing Crosby, alumnus of Gonzaga, the university which hasn’t won a
football game in seven years, will play host to the school’s glee club on
tonight’s broadcast of the Bing Crosby Show at 9:00 p. m…. Peggy Lee also will
be on hand to sing and chat with Bing about the deleterious effects of higher
education…In the rib and jape portion of the show, Bing's career at Gonzaga
undergoes the searching scrutiny of announcer Ken Carpenter, Al (sic) Kantor
and Miss Lee, with Bing emerging from the session in a somewhat battered
condition. Later in the program, the Gonzaga Glee Club will sing, with some
help from Bing, “Gongaza Men,” the school's new official song written by Johnny
Burke and Jimmy Van Heusen. Bing and the 30 members of the club will do “You
Tell Me Your Dreams,” and Miss Lee will join Bing in the popular “Down the Old
Ox Road.” The closing song, sung by the Glee Club, will be the spiritual “Were
You There.”
(The Jackson Sun, 13th April, 1949)
April 14, Thursday. Another recording session for the Riding High songs. (6:00 to 9:00 p.m.)
Records “Be-Bop Spoken Here” and “Weddin’ Day” with the Andrews Sisters and Vic
Schoen and his Orchestra in Hollywood.
Weddin’ Day
Tho Bing isn’t quite his relaxed self, this is a cute recording of
an infectious bounce tune with the Andrews Sisters co-starring.
Be-Bop Spoken Here
Bing and Patti Andrews make an amusing platter out of the satiric
bop novelty. Jocks should dig this one.
(Billboard, June 11, 1949)
… which have the Andrews Sisters in attendance, as has “Wedding
Day” (04355). . .but the reverse is quite the worst Bing I’ve ever heard. It’s
“Be-Bop Spoken Here”, and Bing and Patty Andrews bop-talk their way through one
of the most inane ditties of all time. The singers may find it “easy on the
ear” as they themselves assert, but I don’t, and I think few Bing fans will.
(The Gramophone, December, 1949)
April 15, Friday. Films the “Sunshine Cake”
scene in Riding High. Perry Botkin provides the guitar accompaniment.
In Riding High we did an impromptu number in
the dilapidated tack room of a beat up barn, which included Bing, Clarence
Muse, Coleen Gray, a horse, and a bantam rooster. It was called We Ought to
Bake a Sunshine Cake (by Sammy Cahn and Jimmy Van Heusen). The occasion was
Coleen’s joining the hungry Bing and Clarence to bake them a chicken. Bing
picked up two spoons and played them like two bones in his fingers. Clarence
played the guitar and kicked a large empty box, as the bass drum. Coleen
danced, all three sang a three-part harmony. There was no off-stage background
music, only the music they created for themselves from props that were handy.
The number lasted over four minutes, replete with comedy, posturings, neighs
from the horse, crows from the rooster. It had the prime essence of fun;
impromptu gags and the wonderful charm of sounding as if the whole thing had
been made up right on the spot. Of course, it had to be direct-recording
because we had no way of knowing what we were going to do beforehand.
The music department had objected violently to direct
recording; Bing would never accept it. He had always pre-recorded his
numbers under proper musical directing and coaching. Bing came to me about it,
slightly dubious. I told him not to worry. If he didn’t personally like the
number after we shot it I would agree to pre-recording, but until then I wanted
no piano players, no musicians, no song coaches on the set. He was a bit
worried about playing the spoons as a pair of bones, so we flew in Freeman
Davis from New York (“Mr. Bones” himself), an artist who could make a pair of
polished ebony sticks do everything but talk, to help out Bing with a pair of
spoons off stage.
With the first rehearsal, Bing got into the spirit of
the impromptu fun. Everybody had a ball; so much so, Bing, Clarence, and Coleen
kept breaking each other up. We had five other musical numbers in the picture.
All were recorded directly, even the song “Camptown Races” which Bing,
Clarence, and Coleen sang on the street as they were taking Broadway Bill from
the barn to the race track. I put a pre-recorded band record of “Camptown
Races” on a loudspeaker a block away—as if the music was being played by the
band at the race track—and recorded the actors’ voices and the distant band at
the same time with a two-camera dolly shot that took the actors from the barn
to the race track, followed by a gang of kids who joined in the singing.
(Frank Capra, writing in his book The Name above the Title,
page 409)
April 17,
Sunday. (5:30-6:30 p.m.) Is one of many stars appearing in Father
Peyton's "The Triumphant Hour" on the Mutual network. He sings "O Sanctissima". (7:30–8:30 p.m.)
Guests
on the Welcome Back, Baseball radio program on CBS with his four sons
plus Bob Hope, Dinah Shore, and Claudette Colbert.
Stirring and
compelling was “The Triumphant Hour,” a partially transcribed traditional
airing of the rosary service produced by the Family Rosary of Albany. N.Y. Seldom
has any religious program marshaled such an array of Hollywood talent as did
this full hour, with some 19 film and radio names With no advance announcement
as to the identities of the stars, the naming of those in the cast at the close
provided a surprise twist for those dialers who might not have recognized the Players’
voices. From Bing Crosby’s invitation to listeners to meditate on the glorious
scenes to Jimmy Durante’s finale observation that the price of peace and
happiness is “work and sacrifice.” “The
Triumphant Hour" was a well produced Easter-tide program that likely
appealed, to all faiths although the services were of the Catholic church.
(Variety, April 20, 1949)
Baseball
never had a more auspicious, inaugural than the one
bestowed on it, Sunday night (17th) on CBS when Bing Crosby, Bob Hope,
Dinah
Shore, Claudette Colbert and the Crosby kids parlayed their talents
into one of
the top one shot sixty minute shows of the year. . . . Crosby and Hope
were never in finer fettle. The Groaner was in there pitching for the
full 60 minutes...One of the sock
sequences was a playback of the Claudette Colbert/Crosby four kids
baseball
routine heard earlier in the season on the Groaner’s transcribed Philco
Show.
It was as delightful on the reprise as on the initial hearing. The
Bing/Dinah
dueting of “So In Love,” the latter’s “Forever and Ever,” Crosby’s
“Careless
Hands” and “When Is Sometime” from Connecticut Yankee, the Bing/Bob
parody on “Buttons And Bows” angled on the Pirates-Indians pennant chances, the
Dinah/Hope/Crosby Wheaties commercial, these were but a few of the bang-up good
ingredients in a show that rates General Mills as sponsor, a pennant all its
own.
(Variety, April 20, 1949)
April 18, Monday. (3:15–5:15 p.m., 6:20–7:20
p.m.) In the NBC studios, Bing records a Philco show with Carole Richards and
Alec Templeton which airs on May 4. It has been announced that Bing is to
be awarded the Downyflake Donut Award by the National Dunking Association as
the radio star whose face is most conducive to dunking and this is mentioned on
the show.
April 20, Wednesday. Variety gives details of Bing's latest product. (9:00–9:30 p.m.) Bing’s
transcribed Philco Radio Time show and the guests are Walter O’Keefe and
Rudy Vallee.
Rudy Vallee and Walter O’Keefe visit Bing Crosby tonight at 9 p.m. over
WJTS-ABC to talk about the trio’s early days in show business…One of Walter O’Keefe’s
newest compositions, “Hand Holding Music,” a hill-billy ballad gets the full
introductory treatment as Bing, Rudy Vallee and O’Keefe sing it for the first
time on the air. Rudy Vallee comes in for plenty of kidding from the other two
as they rehash their early vaudeville days…
(The Jackson Sun, April 20, 1949)
The Better Mouse Trap?
Bing Crosby's
face, which has sold practically everything, is now being used, to peddle mouse
traps. Home furnishings stores in New York are featuring posters on which the
warbler is pictured with something called the “Trip Trap,” a complicated- looking
39c device guaranteed to be the better mouse trap. Crosby Foundation, in which the
crooner is principal stockholder, developed the junior-sized guillotine and
owns the patents on it. It’s manufactured for Crosby by a Michigan concern.
(Variety, April 20, 1949)
April 27, Wednesday. (9:00–9:30 p.m.)
Another transcribed Philco Radio Time show is broadcast by ABC. Bing’s
guests are Peggy Lee and Abe Burrows. The Downyflake Donut Award by the National
Dunking Association as the radio star whose face is most conducive to dunking
is duly awarded to Bing.
“I’m-a-Singer”
Abe Burrows will toss in his pom-pom with “I’m-a-Crooner” Bing Crosby to
premiere a college type operetta, titled “Zeta Ate a Theta,” during the comic-type
comedian’s third come-back on the WTJS-ABC broadcast of The Bing Crosby Show
tonight at 9:00 p.m. The song satirist’s original operetta will feature a
long-grin overture. “Upper Peabody Tech,” and “Victory Song” sung by Bing, Abe,
and Peggy Lee, as well as “Delta Delta Tay” and the “High School Song.”
Bing
and Peggy will introduce a new be-bop novelty, and Burrows, who is said to sing
in Nelson Eddy’s key with Andy Devine’s tonal purity and
Archie-of-Duffy’s-Tavern’s diction, will explain be-bop talk. According to
Burrows, the expressions “cool, crazy and that’s the most” are commonly
translated “fine, wonderful and terrific.”…
During
a Bing Crosby rehearsal at ABC, the informality of the session often is
highlighted by the unscheduled arrival of other celebrities of radio and films,
who drop in to exchange hellos with Der Bingle. At a recent rehearsal, for
example, Buddy Clark, Gordon MacRae, Dennis Day and Wingy Manone were
individual guests within the space of two hours.
(The Jackson Sun, 27th April, 1949)
May 2, Monday. Bing records a Philco show with Rhonda Fleming and Johnny Mercer which is broadcast on May 18.
Hollywood, May 3.
Bing Crosby
chipped a bone in his arm while leaping over fence for scene in Frank Capra’s “Riding
High,” and will be out of the shooting for a few days. Arm is heavily bandaged,
but he cut his May 18 Philco airshow Monday (2) with Rhonda Fleming and Johnny
Mercer.
(Variety, May 4. 1949)
May 4, Wednesday. (9:00–9:30 p.m.) The
transcribed Philco Radio Time show and Bing’s guests are Carole Richards
and Alec Templeton.
Alec Templeton, a very deft gent at a piano keyboard, and singer Carol
Richards will be Bing Crosby’s guests on tonight’s broadcast …Miss Richards,
making her first appearance on the show, will fly here from Las Vegas, Nev.,
where she currently is appearing at “El Bingo” Club, a pleasure den connected
neither with Bing nor with the bucolic pastime of the same name. She is well
known to most Hollywoodites for her work at the Oasis, where she has performed
a number of times during the past three years. Templeton and Bing, a couple of
old hands at the badinage business, will trade pleasantries about the world of
music as a prelude to a brand new operetta the two agree to collaborate on. During
the chit-chat, Templeton will do a song and piano solo version of the popular
“I Took My Harp to a Party.” In the second portion of the show, Bing and Miss
Richards will salute the vernal urge with “I Like Kissing,” following which
Templeton and Bing will do “Far Away Places.”
(The Jackson Sun, 4th May, 1949)
May 6, Friday. Records eight hymns for
Decca, with the Ken Darby Choir and organ accompaniment in Hollywood, which are
subsequently issued as a ten inch long playing record called “Beloved Hymns.”
(10:30-11:00 p.m. EDT)
Bing is heard in a special transcribed message to a 30-minute
radio program on CBS called The Run for the Roses - the Story of the
Kentucky Derby, a preview program before the seventy-fifth running of the
Kentucky Derby.
What a Friend We Have In Jesus
Choir and organ support Bing ably as he delivers a beautiful hymn
simply, straightforwardly and with deep warmth.
He Leadeth Me
Bing does this hymn with eminent strength and full affection for
the chore. Should make for big sales in a quiet way for this Decca Faith
disking.
(Billboard, April 8, 1950)
O Lord, I Am Not Worthy
Bing rarely has sung better and with more feeling than he shows on
this hymnal selection.
Mother Dear, O Pray for Me
He contributes still another worthy religious effort to the
label’s surefire Faith series.
(Billboard, April 15, 1950)
All Hail the Power
The arrangement of the hymn is churchy, and Bing is Bing. Should
sell steadily.
Rock of Ages
Another popular hymn rendered robustly by Bing. Another standard
for the Groaner.
(Billboard, June 17, 1950)
May 10, Tuesday. Records four songs with
Victor Young and his Orchestra and the Jeff Alexander Chorus in Hollywood,
including “Sunshine Cake” with Carole Richards. This is followed by a recording
session from 5:00 to 7:30 p.m. with the Andrews Sisters and Vic Schoen and his
Orchestra. On the song “The Twelve Days of Christmas”, each sister soloed on one
of the days.
Sunshine Cake
Another airy novelty number from “Riding High” is
done lightly and gayly by Bing with the aid of thrush Richards.
(Billboard, February 18, 1950)
You’re Wonderful
Pretty picture finds the Groaner in fine form. Pic plugging could
mean some business here.
(Billboard, February 4, 1950)
May 11, Wednesday. Records four songs,
including “The Last Mile Home” and “The Meadows of Heaven” with Victor Young
and his Orchestra plus the Ken Lane Singers. (9:00–9:30 p.m.) Bing’s transcribed
Philco Radio Time show is broadcast by ABC. The show has been recorded
in San Francisco and the guests are Peggy Lee and Alec Templeton.
For the second successive week, Alec Templeton, the talented and
versatile pianist, and singer Peggy Lee will be Bing Crosby’s guests tonight…
The two will travel down from Hollywood, a trip made necessary by the fact that
Bing is here to shoot a number of scenes for his forthcoming movie, “Ridin’
High,” a picture with a race track theme. Templeton has created a new musical
commercial for the San Francisco broadcast, a humorous song-and-piano number
which uses for background music a number of well-known “blues” tunes, He wrote
the piece at Bing’s suggestion, following the enthusiastic response that
greeted a musical commercial he composed for last week’s broadcast, called
“Opera Commercial.”
(The Jackson Sun, 11th May, 1949)
The Last Mile Home
Bing evokes plenty of nostalgia with this warm rendition of a sentimental
tune. Fine production backing.
Imagination
Crosby is at his best in this etching of a wonderful evergreen.
(Billboard, September 3, 1949)
Turning to the male singers, we find four sides by Bing Crosby,
including one of his best of recent times, “The Last Mile Home” (Bruns. 04868),
in which he whistles as in days of yore.
(The Gramophone, March, 1952)
I’ll See You in My Dreams
Relaxed Crosby as he tackles a real old favorite and does it up brown.
The Meadows of Heaven
Crosby and a chorus work over a pretty plug melody for attractive
results.
(Billboard, November 5, 1949)
May 12, Thursday. Louella O. Parsons
reports that the Henry Ginsbergs hosted a small dinner at the Mocambo after the
opera the previous week. “Bing Crosby and Dorothy Kirsten, who were among the
guests, started singing duets, which were out of this world, but naturally,
with those two.”
May 13, Friday. Bing is photographed
arriving at North Western Station in Chicago. He plays 27 holes of golf during his brief stay.
May 14, Saturday. At Forbes Field in Pittsburgh, Bing watches the Pirates lose 4-3 to the Cardinals.
May 15, Sunday.
Plays in an 18-hole exhibition match at Westmoreland Country Club with Johnny
Bulla, Bob Goldwater and Irwin D. Wolf. Bing has a 76 on the par 72
course.
May 16, Monday. Bing, Bob Hope, and many
other stars take part in a transcribed two-hour radio program Opportunity—An American Watchword
which is carried by all four
networks at various times to promote the Savings Bond Drive. Bing and
Bob take part in a
sketch
as two miners panning for gold and also sing a parody of “Road to
Morocco.” Robert Armbruster conducts the orchestra. (8:30 p.m.) In Pittsburgh, Bing
watches a charity game between the Pirates and the Cleveland Indians.
The Pirates again lose 4-3.
May 17, Tuesday.
Golfs at Oakmont Country Club and has a 78. At night, watches the
Pirates beat the Giants 3-2. At each game during his stay in
Pittsburgh, Bing takes part in the radio commentary.
May 18, Wednesday. (9:00–9:30 p.m.) Bing’s
transcribed Philco Radio Time show is broadcast by ABC. The guests are
Rhonda Fleming and Johnny Mercer.
Johnny Mercer, a man who would just as soon write a song as sing one,
and Rhonda Fleming, currently appearing in the movie, “A Connecticut Yankee,”
will be Bing Crosby’s guests on tonight’s broadcast… A pal of Bing's since their
days together with Paul Whiteman, Mercer has turned out half a dozen hit tunes,
including “Lazybones,” “Spring Is in My Heart,” “While We Danced at the Mardi
Gras” and “Pardon My Southern Accent.” Miss Fleming won the job of appearing
opposite Bing in “A Connecticut Yankee” by adlibbing a scene with him in a test
sequence.
(The Jackson Sun, 18th May, 1949)
May 19, Thursday. In Pittsburgh, Bing and A. B. “Happy” Chandler
watch the Boston Braves defeat the Pittsburgh Pirates 3 to 2.
May 20, Friday. Starting at 8:30 pm., sees the Pirates beat the Braves 2-1 at Forbes Field.
May 21, Saturday.
(1:30 p.m. Bing is again at Forbes Field where he is joined by Edgar
Bergen. They watch the Braves beat the Pirates 8-2.
May 22, Sunday.
(1:30 p.m.) Watches the Pirates lose 6-5 to Philadelphia in the first match in a
double-header. Rain prevents the second game taking place. At night,
Bing leaves Pittsburgh for New York.
May 25, Wednesday. (9:00–9:30 p.m.)
Another transcribed Philco Radio Time show is broadcast and Bing’s guest
is Dorothy Kirsten.
We
went down to
NBC to watch and hear Bing Crosby cut his last radio
show for
the season, and what fun. There’s always so much clowning around and
sometimes several songs sung, that never reach radio audiences by the
time the show
is edited to meet the half-hour time limit. We had to laugh, being very
“clothes conscious,” noting that Crosby, as usual, was wearing his
“sloppy
shirt motif, hanging carelessly outside his trousers,” but he obviously
goes to
the trouble of having his droopy drapes monogrammed, yet! Because there
were
his initials, all neatly hand embroidered on the breast-pocket!
Metropolitan
Opera star Dorothy Kirsten was on this show with him, and singing like
a bird.
But, honest, this is what she was wearing! A kelly-green, short-sleeved
cocktail dress of heavy silk shantung, with a high back and plunging
neckline.
A diamond and sapphire necklace (short but lavish with gems), a gold
wrist
watch and other unimportant gold bracelets, a big topaz and gold ring,
and gold
kid pumps! Now there’s a combination of clothes, jewels and shoes to be
studiously avoided!
(Photoplay, September, 1949)
May 29, Sunday. A 15-minute radio show Guest
Star—Bing Crosby #114 is broadcast on behalf of the Treasury Department. It
uses songs taken from earlier Philco shows with fresh linking provided by Bing
to promote the sale of savings bonds.
May 31,
Tuesday. Bing is in New York
where he records two Christmas carol medleys with Simon Rady and his
Orchestra. These are issued as part of a 78rpm album called "Christmas Greetings". The album reaches the No. 4 spot in the Billboard best-selling album charts.
Crosby
single-handed has something of a corner on the Christmas market with his “Merry
Christmas” album and “White Christmas”. This new album should widen that corner
even more, for Bing is at his best and has the benefit of some top-notch
support in the disposition of this collection of a couple of new seasonal pops
and a group of familiar carols. A top-notch seasonal package which should stand
out head-and-shoulders in sales over most any other new Christmas entry.
(Billboard, November 19, 1949)
June 1, Wednesday. (9:00–9:30 p.m.) Bing’s
transcribed Philco Radio Time show is broadcast by ABC. This is his last
broadcast for Philco and Bing sings fifteen songs with support from Buddy Cole,
Gloria Wood, and Loulie Jean Norman.
Bing Crosby’s final Philco Radio Time before summer vacation sets in
finds the Great Groaner offering a solid session of songs, in a recap of the 15
top tunes of the past year. The show, to be heard tonight at 9:00 p.m., will be
minus guests, as Crosby, instead of following the usual format of the program,
segues from one tune to another. This special “All Crosby” show will have
several famous musicians “sitting in” for the occasion. Appearing as regular
sidemen will be Ziggy Elman, Red Nicholls, Joe Venuti and Buddy Cole. Lulie
Jean Norman and Gloria Wood, both pretty members of the Rhythmaires, will get
duet spotlighting on some of the songs.
(The Jackson Sun, 1st June, 1949)
June 3, Friday. Bing arrives in Washington
D.C. Meanwhile, a major fire sweeps the range on part of the Fatjo estate leased by Bing through the Crosby Cattle Co.
June 4, Saturday. Bing takes part in the
National Celebrities Golf Tournament, sponsored by the Washington Post, at the
Army Navy Country Club, Washington, D.C. Bing’s foursome comprises Sam
Snead, General Hoyt Vandenberg, and Baseball Commissioner A. B. “Happy”
Chandler. William Randolph Hearst Jr. acts as scorer for Bing’s foursome. A
crowd of 8,000 is estimated to be in attendance. Bing has a 77 on the first day
and trails Bob Hope, who is playing for the first time and has a 74 to be the
leading amateur. In the evening, Bing and Bob appear in a special show emceed
by Arthur Godfrey at the Armory.
June 5, Sunday. (12 noon) Bing, Bob Hope, Sam
Snead and Lew Worsham assemble on the first tee for the second round of
National Celebrities Golf Tournament and, watched by Jane Russell, sing “Home
on the Range” together before teeing off. Playing in front of a gallery of
5,000, Bing has a 72 against Hope’s 73 and Hope wins the amateur prize by two
shots from Bing. Sam Snead wins the professionals’ prize. Film of the event is
included in the Paramount newsreel of June 18. Bing and
Lew Worsham lose 2 down to Sam Snead and Bob Hope in the match between them.
...The unpredictable Crosby, a serious golfing figure in the first day’s play, let himself go
yesterday, and hyped it up for his admirers with his impish posing and back
talk. Hope too was posturing all over the course, and it was eighteen holes of
high comedy.
Crosby finished perspiring and
soaking wet in the warm afternoon in contrast to the quasi-ebullient Hope who
was still clowning it on the eighteenth green....Beaten out for the amateur
division title by Hope, there was satisfaction for Crosby yesterday, however,
in the 72 he shot on the final 18, a stroke better than Hope’s though his bid
to wipe out the three stroke lead Hope gained on the first day was futile.
(Shirley Povich, The Washington Post, June 6, 1949)
...But the whole tournament was spiced for golfer and nongolfer
alike with fun-making from the tee-off all the way around the course by those
kings of comedy, Bing Crosby and Bob Hope. They had been up till late on
Saturday doing their show at the Armory, but no duo could have been in a
merrier mood when Harry Wismer (who enlivened the tournament with his own line
of banter as he did his announcing stint) called them out at midday Sunday.
The Washington Post is
indebted to Bing Crosby for his self-sacrificing and faithfulness in giving his
time and entertainment year after year to this charity program. This year it
welcomed Bob Hope among the participants. Bing and Bob gave prodigally of their
zany best, neither of them showing the slightest sign of wear and tear, though
they put in a couple of days of very hard work. We salute their sportsmanship
and envy their golf.
(Editorial in The Washington Post, June 7, 1949)
June 6, Monday. Recording date in New York when
Bing sings “The Four Winds and the Seven Seas” and “Make Believe” with Carmen
Cavallaro. During his time in New York, Bing is said to visit the Club 21, Toot
Shor’s, The Colony, Barberry Room and the Copacabana.
Bing Crosby-
Carmen Cavallaro “Four Winds, Seven Seas”-“Make Believe” (Decca). Decca
followed Guy Lombardo’s “Four Winds” with one by Crosby. It’s not an improvement.
Crosby puts less on the disk than he had on the copy before him. Cavallaro’s
piano provides a nice assist. With “Make Believe” he may have something. Old
tune sounds good, and while Crosby could have done better, it’s very playable.
(Variety, July 6,
1949)
The Four Winds and the Seven Seas
Der Bingle bites into the hit song with his usual consummate ease
and with extra good voice. He is nimbly accompanied by Carmen Cavallaro’s
keyboarding rhythm section. Should grab a good portion of the big coin headed
in the direction of this song.
(Billboard, July 2, 1949)
June 10, Friday.
Has departed for a fishing
trip in Gaspe Bay, Newfoundland. En route he and his party (including Bill Morrow) stop at Van
Buren, Maine but the hotel is fully booked. After a meal they set out
for Restigouche, New Brunswick, 90 miles away.
June 12,
Sunday. The fishing trip has been successful with them taking ten fresh
run Atlantic salmon from the Cascapedia River, which is 50 miles north
of Campbelton, New Brunswick. Bing's largest salmon weighs 28 pounds. On
their way back, Bing's party stays overnight at the Halfway House in
Houlton, Maine.
June 13, Monday. Leaving Houlton at 5 a.m. Bing's party calls in at Judson House in Unity, Maine for breakfast. Press reports list Bing’s 1948 salary from
Paramount as $375,638.
June 17, Friday. Back in New York, Bing
records “The Iowa Indian Song” and “Way Back Home” with Fred Waring and his
Pennsylvanians. “Way Back Home” charts briefly at No. 21.
‘Way Back Home
If it hadn’t been for “Mule Train,” this one would have swept at
once. As it is, its success has only been delayed a bit. Song, an oldie, is a
natural, and the Bing-Waring team do it mightily.
The Iowa Indian Song
Bing makes strong medicine, with the Waring council whooping and
tom-toming.
(Billboard, December 3, 1949)
Bing Crosby, who nowadays affects a glissando of which I don’t approve,
has four new songs, “Iowa Indian Song” (which is very well done; it sounds like
a genuine Red Indian melody) and “Way Back Home,” with clever lyrics and easy,
catchy tune.
(The Gramophone, March, 1950)
June 19, Sunday. Bing flies by plane for the
first time since the end of the war to return to Hollywood.
June 20, Monday. Bing films added scenes for
Top O’ the Morning.
June 21, Tuesday. In Hollywood, Bing
records songs from the film Top o’ the Morning amongst others with
Victor Young and his Orchestra and the Jeff Alexander Chorus. The "Top o' the Morning" songs are included in a Decca album
Bing Crosby “You're
In Love With Someone”-”Top of The Morning”; “Oh, Tis Sweet To Think”- “The
Donovans” (Decca). Four tunes from Bing’s forthcoming “Top O’ 'The Morning”
film. Top jock, juke and sales sides are the first two, by Johnny Burke-Van
Heusen. “Someone” is a swell ballad with a sharp chance at hit-dom, and Crosby
does it with rare touch. It stands out. “Morning” is a light rhythm item with
an Irish tang. “Sweet to Think” a slow ballad dueted with an unbilled female,
and “Donovans” one of those infectious Irish tunes. They’re okay. Jeffry
Alexander Chorus and Victor Young’s orchestra accompany.
(Variety, August 24, 1949)
Oh, ‘Tis Sweet to Think
Bing and the fem lead from “Top o’ the Morning” do an art
song—lyrics by Thomas Moore—charmingly. Not for the masses.
The Donovans
More from the score—and as Irish as Barry Fitzgerald’s phiz. Special
stuff—may appeal in the Gaelic nabes.
You’re in Love with Someone
A Burke-Van Heusen pop from “Top o’ the Morning” gets the tender
treatment from Bing.
Top o’ the Morning
Irish and quaint as all get-out is the title tune, a small lesson
in Gaelic a la Berlitz,
(Billboard, September 17, 1949)
The Horse Told Me
Novelty item from Bing’s coming flick, “Riding High,” may score
sales to those seeing the film.
(Billboard, February 18, 1950)
June 23, Thursday. Records the Ichabod
(The Legend of Sleepy Hollow) story for commercial release by Decca. Victor
Young and his Orchestra provide support. Later, Bing and his four sons are
reported to catch the Union Pacific’s “City of Los Angeles” for Salt Lake City
and from there they go to the Elko ranch. Press coverage is seen about an oil
well, partly owned by Bing and Bob Hope, at North Snyder Pool, Scurry County in
West Texas being a “duster” and it is to be plugged and abandoned. It is later
said that Bing and Bob had invested $50,000 each in the venture. They are
persuaded to invest a further $50,000 each in a continued search for oil.
Ichabod
Ditty from the Disney “Ichabod and Mr. Toad” flick gets a manly
try from Bing, but doesn’t register as a potential pop item.
It’s More Fun Than a Picnic
An unballyhooed light waltz novelty from “As the Girls Go” is done
deftly and airily by Cros and a vocal group—but doesn’t wallop.
(Billboard, September 3, 1949)
Album and LP Reviews
Ichabod – Decca DAU-725
Combination of familiar elements should eliminate any
sales-resistance to this package. There’s Bing, Disney, Washington Irving, even
a Victor Young score. As an actual kiddie special, the material doesn’t match
the “Mr. Toad” portion from the same cartoon feature. But for older children,
this breezy, hip adaptation, and Bing’s ditto projection should prove thoroly
winning. Portions of the songs are woven in, and adults too will find plenty of
entertainment here. The package itself is attractive, and pictures together
with portions of the tale are inside the folder. Also available as one side of
an LP disking.
(Billboard, December 24, 1949)
June 24, Friday. Bing, as honorary mayor, officially opens the second annual Silver State Stampede in Elko.
June 24–August 10. Bing is at his Spring Creek ranch
near Elko with his sons and Bill Morrow. During their time there, a camera crew arrives to film a trailer for Top O' the Morning. Bing takes his sons on to Hayden Lake
after the roundup and branding is completed.
Another Elkoan, Louise Botsford (Mrs. Jess), worked as a cook for
the summers of 1949 through 1952 on the Spring Creek Ranch. In the spring of
1949 it was the Crosby ranch’s turn to provide the chuckwagon for roundup and
branding. . . . So Johnny introduced me to Mr. Crosby and Gary, Dennis and
Phillip. Then Johnny told them they’d better get washed up with the rest of the
men. We had a bucket of water from the crick for washing up. I didn’t know what
Crosby would do, but he and the boys took their turn just as nice as you
please. Then they all went through the line and filled their plates. Gary
tended to be heavy and he had to talk his dad into letting him have two hot
rolls with his meal. . . . They all visited with the men, just as common as you
please. . . .”
Jess had a heart attack while
working for Bing and was hospitalized in Elko, unable to work for some time.
Crosby kept him on the payroll, paid all his medical bills and found more
appropriate work for him when he returned to the ranch. Bing also paid all
their expenses for two trips to California to see a heart specialist.
(Bing Crosby and Elko, page 70)
One hunting trip that included Bill Morrow, Bing’s writer, kept
the men out overnight and they all gathered pine boughs for their beds. Morrow
wanted to bed down with the other men and Bing told him, “No you snore. You
have to sleep with the horses.” He snored so loudly that Oldham smacked him
with a pine branch, and Bing complained, “Oh hell! Now he’s just shifted
gears.”
(Bing Crosby and Elko, page 72)
June 30, Thursday. President Truman
tries to calm the anti-Communist hysteria which is sweeping the U.S.A.
July 7, Thursday. Bing writes to Lew
Brott in Gloversville, New York. Mr. Brott had received press coverage because
he was tired of seeing property for rent advertised as “Adults only”. He had
decided to offer his three apartments to families with children only, the more
children the less rent.
Thank you for your letter depicting the rent
situation in Gloversville, and indicating your very broadminded handling of
this condition. You are definitely a man whose approach to the problems of life
deserves universal applause.
I am not surprised to learn that in the old days Sam
Goldwyn was always shy in the ante. Since he’s been in the picture business his
conduct indicates he is definitely a tender man with a dollar.
My warmest regards to yourself, and thank you for the
picture and the letter.
Sincerely yours, Bing Crosby
July 12, Tuesday. Forms Bing Crosby–Jayson
Inc. with F. Jacobson and Sons Inc. (who specialize in shirts, sportswear, and
pajamas). The latter company is to produce and distribute merchandise for the
new corporation. At some stage, Bing prepares a special promotional record for
the new venture’s salesmen to encourage them for their fall season.
July 21, Thursday. Fishes at Clear Lakes, near Buhl, Idaho with Sib Kleffner.
July 26,
Tuesday. (8:00-8:15 p.m. PST) Bing and Ann Blyth take over from Bill
Lawrence and Kay Starr for one show as hosts of the Chesterfield
sponsored radio program The Supper Club. This is probably
Bing’s first appearance for Chesterfield under his new contract and he plugs
his forthcoming series due to start September 21 as well as his film Top O' The Morning..
August 9, Tuesday. An oil well in the North
Snyder Pool, partly owned by Bing and Bob Hope, strikes a gusher capable of
producing one hundred barrels an hour.
August 10, Wednesday.
Bing calls in to see his friend Sib Kleffner in Boise, Idaho en route
to Hayden Lake. He is accompanied by his four sons and Bill Morrow.
They also meet up with Herman Welker.
August 11, Thursday.
Bing and his sons plus Bill Morrow arrive
in Spokane in two cars en route to their vacation at Hayden Lake. He has rented the E. J. Gibson home at Hayden Lake. Bing is
photographed fishing in Garfield Bay on Lake Pend Oreille with Bill
Morrow and Jess Puckett.
August 12, Friday. Golfs with Herb Rotchford.
August 14, Sunday.
Bing and his sons attend the annual "mug hunters" two-ball foursome and
beach party on the shores of Hayden Lake. Singing around the bonfire to
the accompaniment of Bing's ukulele continues until the early hours.
August 15, Monday. (10:30-11:00 p.m. PST) Bing sings “Happy
Birthday” in a radio tribute on ABC to Ethel Barrymore on her seventieth birthday and
her fiftieth year in show business.
August 19, Friday. Starting at 9:06 a.m., plays in the first round of the Esmeralda Golf
Tournament sponsored by Spokane Athletic Round Table with
Buck Bailey (Washington State baseball coach) and Ed (Porky) Oliver at
Hayden Lake Golf Club. Bing comes to grief at the ninth hole in the
sand traps and instructs his caddie to pick up his ball thus
automatically disqualifying him from the tournament.
August 20, Saturday. Dines with friends at the Clark House.
August 21, Sunday. Bing presents the trophies
at the annual junior horse show at Hayden Lake Stables. His son Dennis wins the
Western Horsemanship Class. As he presents the trophy, Bing comments, “For a
Crosby to come in first on a horse is something of a novelty.”
August 23, Tuesday. Golfs with Herb Rotchford at Hayden Lake Golf Club.
August 24, Wednesday. (8:30 p.m.) Bing and his
sons, together with their male friends, the Herb Rotchford family, play in a
benefit softball match at the Memorial Athletic Field, Coeur d’Alene to aid a
school building project. A crowd of 2000 see Bing playing at second base. Gary
Crosby hits a “mighty homer.” A total of $1156 is raised for the cause.
August 26. Friday. Bing is the honor guest at a party given by Spokane Civic Theater at the Clark House.
August 28, Sunday. Golfs with Bud Ward, Roy Moe and Irv Cornell at Shoshone Country Club, Idaho,
in a 9-hole competition sponsored by Wallace Gyro Club for the Civic Auditorium
Athletic Equipment Fund. An estimated 1000 persons watch the proceedings.
August 31, Wednesday. The New York premiere
of Bing’s film Top o’ the Morning takes place.
All
things being considered, especially the memorable success of Paramount’s
“Welcome Stranger” and its incomparable “Going My Way,” it naturally stood to
reason that Bing Crosby and Barry Fitzgerald would eventually drift together in
another sentimental comedy. And it was almost as certain to turn out as one of
Biddy O’Devlin’s prophecies that this highly potential encounter should occur
in an Irish locale. After all, Ireland is a region which no studio can too long
avoid, and Mr. Fitzgerald has a nature which fits rather snugly with that
scene.
Paramount
plainly had no interest in resisting the spur of destiny. “Top o’ the Morning,”
the inevitable, opened at the Paramount Theatre yesterday. And all those band -
wagon Hibernians who like to picture Ireland as a land of eloquent talk and superstitions, bright-eyed
colleens and Mr. Fitzgeralds, plus a great lot of singing and dancing, should
find it entirely to their taste.
For
a couple of Paramount’s wandering minstrels, Edmund Beloin and Richard Breen,
have fashioned a story for it which drops all the elements in place, and a fine
cast of light-hearted people have talked it and played it cheerfully. The story
is that someone has stolen the Blarney Stone and an American insurance
investigator has been sent to find out who. (Obviously this doesn’t stand to
reason, but what’s that got to do with the price of ale?)
In
Ireland, this lightly snooping fellow—who is Mr. Crosby, of course—encounters a
highly suspicious elder member of the Civil Guard, a delightfully foolish old
codger, whom, naturally, Mr. Fitzgerald plays. But, more intriguing to his
romantic interest, he encounters the latter’s daughter and Biddy O’Devlin’s
dark predictions about a stranger who will come from the land’s end and will
first appear at the stream of Donal-a-Durrus with a sword the color of blood.
Well,
let’s allow that the sorcery is a little bit on the sticky side and that it
leads to a helter-skelter climax which is quite as mystifying as some of
Biddy’s brogue. Let’s allow, too, that the pay-off is reached through a
grinding run downhill and that a lot of mangled shamrocks and tarnished
emeralds are left by the way.
Nevertheless,
Mr. Crosby wends a happy and comfortable course through the whole incredible
proceedings, taking complacently in stride the fitful abuse of Mr. Fitzgerald
and the romantic rue of Ann Blyth. As a matter of fact, his disposition toward
the local concern with the occult is the one blithesome factor in the picture
which makes this pretension tolerable. And his natural way with a wise-crack
brightens many a darkening spot.
Likewise,
Mr. Fitzgerald is deliciously humorous in his busy displays of self-importance
and police authority. And of course, he is simply stunning when he comes within
range of a pint of ale. His weaker moments in this picture are when his
countenance shapes a sluice for tears and when he has to slide into the
background as part of the atmosphere. But Miss Blyth’s light and cheerful
person is generally somewhere nearby to help Mr. Crosby keep the picture from
becoming utterly maudlin and banal.
As
the little Blarney-blessed maiden who listens raptly to prediction and love,
Miss Blyth has a happy facility for playing right along with Bing. Her smile
and her demure demeanor turneth away many a mocking laugh, and she pleasantly
feeds the great man openings for highly chucklesome gags. As Mr. Fitzgerald’s
dull assistant, Hume Cronyn is profitable, too, and Eileen Crowe, Jimmy Hunt
and Morgan Farley are pat in other Irish roles.
The
songs—of which, naturally, there are several—run pretty much to the old airs,
with Bing and collaborators warbling “Beautiful Kitty” and “The Donovans” most
aptly. The title song, “Top o’ the Morning,” and “You’re in Love with Someone,” both new, are adequate to the occasion—which is
adequate, in turn, to a lot of fun.
(Bosley Crowther, New York Times, September 1, 1949)
Bing Crosby, after two lush Technicolored musicals, has been
handed a light, frothy and more moderately budgeted picture by Paramount to
cavort in, which should put him once more at the top of that studio’s
breadwinning list.
…Under David Miller’s light-handed
direction, Crosby and the rest of the cast fall right into the spirit of the
story. Groaner, despite his having to play to a gal (Ann Blyth) who is so
obviously younger, is socko. His easy way with a quip, combined with his fine
crooning of some old Irish tunes and a couple of new ones, is solid
showmanship.
…Johnny Burke and James Van Heusen
have cleffed two bright new tunes for the film, both of which, with Crosby to
introduce them, should get plenty of play. “You’re in Love with Someone,” a
ballad, has the edge but the other, “Top O’ the Morning,” has the lilt that
Crosby fans go for. Crooner also gets a chance to dispense a round of
traditional Irish airs, ranging from “Irish Eyes” to the lesser-known but more
sprightly variety.
(Variety, July 20, 1949)
September 1, Thursday. Arrives by car at Jasper Park Lodge in Alberta, Canada with George Coleman.
September 5, Monday. Bing and his friend George
Coleman play in the qualifying round for the Totem Pole golf tournament at
Jasper Park. Coleman wins the qualifying round while Bing
only just manages to qualify for the competition proper with an eighty-two.
September 6, Tuesday. Bing beats Frank Dunn of
Seattle four and three in the first round of the Totem Pole tournament.
Elsewhere, a compilation film Down Memory Lane is released which
features lengthy excerpts from Bing’s film shorts for Mack Sennett. Steve Allen
acts as the link man.
[The film] provides personalities extending from the Keystone Cops
to the then young Bing Crosby. . . . Bulk of this feature is made up of shorts
starring Crosby in his salad days. These shorts have faded more quickly than
the one in which the Keystone Cops roared to the rescue in their 1915 flivvers.
While the early films have a genuine antique flavor, the Crosby shorts of the
early 1930s are just plain old-fashioned. They’re good for some mild laughs
only. Crosby’s vocalizing on a flock of oldies, however, is pleasant to take.
(Variety, September 14, 1949)
September 7, Wednesday. In the second round of
the Totem Pole Golf Tournament, Bing plays F. J. McFarland and wins six and
five. (6:30 p.m.) In front of a crowd of 700, Bing turns the first sod for a
new Memorial Hall to be built under the auspices of the Canadian Legion in
Jasper.
The applause was deafening when Bing Crosby rose to speak, and
there was no doubt in the minds of those present that he was a very welcome
guest. “Here I am again,” said Mr. Crosby, “and that is testimony that I am
happy in Jasper, and who wouldn’t be?”
“Yippee” shouted a small boy perched high on a pine
tree. “Yippee” called back Mr. Crosby. A Philco radio to be raffled for the
building fund and a check for $1,000 was Mr. Crosby’s donation. “It might buy a
wash basin or something” he said.
(Western Signal—Edson Alberta, September 8, 1949)
Bing goes on to the
Legion Smoker at 8:00 p.m. where he is presented with a “Certificate of Merit”
from the Jasper branch of the Canadian Legion.
Bing, in his usually friendly way replied to the presentation,
interweaving a few appropriate stories and ended up singing “An Irish Lullaby”
as only he can sing it. He was accompanied at the piano by William Watson Sr. A
life member of the legion, 81-year-old Jack Dayre presented Bing with a hand
carved cane as a memento of the sod turning. Bing and his party had to leave at
this time and he was given three hearty cheers.
(Western Signal—Edson Alberta, September 15, 1949)
September 8, Thursday. In the Totem Pole
Golf Tournament at Jasper Park, Bing wins his next match against Harold Staff,
one up.
September 9, Friday. In the semi-final of the
Totem Pole Golf Tournament, Bing wins his match against Carl Haymond of Tacoma,
two and one.
September 10, Saturday. George Coleman beats Bing
four and three in the thirty-six hole final of the Totem Pole competition.
September 14, Wednesday. Press coverage indicates
that Bing has purchased the luxurious E. J. Gibson Point house on Hayden
Lake, Idaho. The purchase price is estimated at $75,000. Bing and his sons had
recently spent some time vacationing in the house. Bing departs for Hollywood
on this day with Basil Grillo who had joined him in Coeur d’Alene to complete
the property transaction.
September 18/19, Sunday/Monday. In the CBS Studios
in Hollywood, Bing records two Chesterfield shows with Peggy Lee
and Abe Burrows which air on September 21 and October 12.
September 21, Wednesday. (6:30–7:00 p.m.
Pacific) The new transcribed radio program The Bing Crosby Show for Chesterfield begins on CBS. The guests are Peggy Lee
and Abe Burrows. Ken Carpenter, Jud Conlon’s Rhythmaires, and the John Scott
Trotter Orchestra continue as regulars. Broadcasts take place on Wednesday nights until
May 24, 1950. During the season the audience share is 18.0 which puts Bing in
ninth place overall for evening programs. The top position is held by the Jack
Benny show with a rating of 25.3. The ratings are now collected by the AC
Nielsen company which uses the audiometer, a mechanical black box inserted into
a radio set to record stations being listened.
CBS’s pay-off year in the wake of Bill Paley’s Capital Gains
maneuvers rolled into high gear last Wednesday (21st) when Bing Crosby, now
waving the Chesterfield banner, officially unveiled the transferred ‘Bing’s
Day’ on the Columbia kilocycles. The Bingo’s smooth rolling package is now
sandwiched between Groucho Marx and Burns & Allen’s. A triumvirate that
stacks up as Hooper-happy as anything on the Paley program agenda with the
possible exception of the Jack Benny - Amos ‘n’ Andy - Edgar Bergen - Red
Skelton, Sunday night parlay.
Granted, that to many and possibly
to Crosby himself, judging from his capacity to kid himself on the subject -
the Groaner isn’t groaning in those same superlative keys as of yore. Yet,
Wednesday night 9.30 on CBS is currently as jam-packed with entertainment as
those Thursday night whirls on NBC’s Kraft Music Hall when Crosby was presiding
over its destinies or, Wednesday at 9 on ABC, last semester, when Philco was
picking up the expensive tab. For the Crosby touch is unmistakably there.
If there was a niggardly
contribution in the vocal department, as was apparent on last week’s preem, El
Bingo has the flair to compensate for it in the banter division. He can still
flip off those casual lines as no one else in the business, be it with the
perennial Ken Carpenter to bring some delightful nuances to the otherwise old
hat Paley CBS saga or with guest star, Abe Burrows (latter, incidentally,
demonstrating here as on his own weekly CBS show, that you can parlay
originality and the ‘common touch’ for boff comedy results). Peggy Lee, along
with Burrows, was an added starter for the getaway program and the three way
clowning through a Burrow’s Canadian wood’s type song was grand listening, with
Crosby’s warbling of “Mr. Moon” and Miss Lee’s “Lake Louise” vocal
contributions as the topper. The Crosby/Lee team up for “Maybe” (sic) was a
surefire finale. John Scott Trotter’s music continues as a valuable asset.
(Variety, September 28, 1949)
Bing’s back and all’s right with the airwaves. Sparked by the
crooner’s mellow mike manners and a showmanly assist from guest stars Peggy Lee
and Abe Burrows, the preem show sailed along effortlessly in the warm, relaxed
groove so characteristic of the groaner. Master of the throw-away, Crosby
opened up with a breezy line of chatter and got the most out of a running gag
about his brother Everett running the grease concession during the channel
swimming hullabaloo. He also touched lightly upon his return to the CBS network
after a length sojourn at NBC. “Pure sentiment,” explained Bing. “My first
radio show was on CBS. Mr. Paley made the coffee and I swept out the station.”
High spot of the broadcast, tho,
was Abe Burrows’ tongue-in-cheek take-off on a “Nelson-type Eddy” musical
tagged Salute to the Canadian Rockies. Crosby warbled the “loudmouthed
baritone” role, Burrows played Pierre, a native guide, and Miss Lee turned up
later as a singing “naturegirl.” It was top-drawer satire.
Musically the airer was equally
fine, Crosby ambled thru a ballad, Katrina, and a lyrical Irish ditty
from his latest flicker, Top o’ the Morning, with able backing by the
Rhythmaires. Then he joined the personable Peggy Lee for some smooth dueting on
Maybe It’s Because.
The crooner did all right by new
sponsor, Chesterfield, too. He put in a powerful personal pitch for the cigs
early in the show and chimed in later with a convincing ad lib comment on Ken
Carpenter’s slick commercial (i.e., “It’s my cigarette, too.”)
(June Bundy, Billboard, October 1, 1949)
September 22, Thursday. Bing sends a telegram to disc jockey Jack Eigen at the Copacabana club in New York.
Dear Jack: Good
luck. I just hope you didn’t break any of my platters in making your new move.
Even though I work for Paramount and have just switched to CBS hope this will
not prejudice me when I want to visit you. Bing Crosby
September 24, Saturday. (7:00-7:45 p.m.) In CBS Studio "B", Bing
records another Chesterfield show with Abe Burrows and Peggy Lee which airs on
September 28.
September 25, Sunday. (6:15-6:30 p.m.) Bing appears on the Louella
Parsons radio program.
September 26, Monday. (6:00–7:00 p.m.) Bing
stars in a Lux Radio Theater version of The Emperor Waltz with Ann Blyth, Willard Waterman, Alan Reed and Arthur Q. Bryan
on CBS. Louis Silvers leads the orchestra.
Bing Crosby will
make his first visit to “Radio Theater” in four years, when he recreates his original
screen role in “Emperor Waltz” opposite Ann Blyth at 10 o'clock over CBO. Host William
Keighley will supervise the production while Louis Silvers will arrange and conduct
the musical comedy's diversified score, which includes old favorites such as “I
Kiss Your Hand, Madame,” new hits like “Friendly Mountains,” and a generous helping
of traditional Strauss waltzes. “Emperor Waltz” is a delightful confection which
blends humor, fantasy, and romance. The plot concerns the parallel love stories
of a pair of human beings and a pair of dogs, the female in case an aristocrat,
and the male a commoner.
(The Evening Citizen, Ottawa, Canada,
September 26, 1949)
September 28, Wednesday. (6:30–7:00 p.m.
Pacific) The Bing Crosby Show for Chesterfield is broadcast on CBS. The
show has been recorded and the guests are Peggy Lee and Abe Burrows.
The combined efforts of Bing Crosby, Abe Burrows and recording star
Peggy Lee have produced rare entertainment that should haunt the Bard of Avon.
This week’s Bing Crosby program features Burrows’ “Ham Omelette” with Crosby
and Lee in the romantic lead. Any similarity between the operetta and “Hamlet”
is purely intentional.
(The Tampa Times, 28th
September, 1949)
October 1, Saturday. In the CBS Studios, Bing
records a Chesterfield show with Judy Garland which airs on October 5.
October 5, Wednesday. The Walt Disney cartoon
The Adventures of Ichabod and Mr. Toad is released by RKO Radio
Pictures. Bing narrates and sings the story of Ichabod while Basil Rathbone
reads the story of Mr. Toad.
…The second half
of the film is dominated by Bing Crosby’s sound-track personality. In this
hoked-up version of the Sleepy Hollow legend, Crosby handles all the narration,
plays all the characters and neatly renders a couple of spook-tunes with the
Rhythmaires accompanying, While this cartoon lacks the class of “Mr. Toad.” it
is still firstrate and will probably be the pic’s major b.o. draw, chiefly
because of Crosby. Also, the story is more familiar and the caricature of that
fabulous and frightened schoolmaster, Ichabod Crane, is drawn in a more immediately
recognisable comic vein. The sequence in which Ichabod meets the Headless
Horseman in the forest, incidentally, matches anything Disney has ever done in
the way of terrifying the younger set. The tinting of both yarns is skillfully
keyed to the tone of each yarn. While “Mr. Toad” is drawn in soft pastels, the
Ichabod yarn is swept by full, contrasty colors. In both cases, it pars Disney’s
standard for excellence.
(Variety,
August 24, 1949)
As
a craftsman who had strayed slightly from his chosen field, Walt Disney is to
be congratulated on his return to the realm of pure animation in “The
Adventures of Ichabod and Mr. Toad,” which arrived at the Mayfair on Saturday.
For in this, his latest feature and one in which a supporting cast of “live”
players is refreshingly absent, Mr. Disney, abetted by his staff, such perfect
narrators as Bing Crosby and Basil Rathbone, and a pair of durable literary
works, has fashioned a conclave of cartoon creatures, which, by and large, have
the winsome qualities and charm of such noted creations as “Mickey Mouse,”
“Dumbo,” et al.
This
is not to report that Mr. Disney has reached perfection in “Ichabod.” He is
still short of the mark. The “human” figures in these “adventures” are stilted,
awkward creations and second cousins to Snow White, her Prince and other
“people” in the dossier who were not an especial tribute to Disney and his
animators. But in “Mr. Toad” he has limned a wondrously blithe bucko from
Kenneth Grahame’s “The Wind in the Willows.” And he has surrounded him with a
crew to warm the cockles of the hearts of both the young and the old.
In
unfolding his story, the producer is merely presenting two yarns, the first of
which is “Mr. Toad,” a frog, it may be remembered, whose utter disregard of his
fortune and estate, Toad Hall, is the despair of his boon buddies, the Mole,
Water Rat and Mac Badger Mr. J. Thaddeus Toad epitomizes his “positive mania
for fads” by careening around the countryside in a “yellow gypsy cart” drawn by
Cyril, as whacky a steed as has every galloped into a Disney horizon.
He
follows this antic by buying a hot car through the simple expedient of selling
Toad Hall to a gang of weasels. Although he is jailed, his friend Cyril manages
his escape, and the final denouement, the film’s high point in hilarity, should
even get laughs from cynics and realists well into the age of reason.
Basil
Rathbone’s clipped narration is entirely in keeping with the tone of this fairy
tale of rural England. Water Rat, the epitome of the genteel but stuffy country
“gentleman”; Mac Badger, the irascible but kindly manager of Toad Hall, and
Mole, a timorous, shy and loyal bumpkin, are creations equal to the best in the
Disney zoo.
Although
Mr. Crosby states that the “colonies” also produced a few notable characters in
his introduction to “Old Icky,” the tale of Ichabod Crane lacks the subtlety
and satirical bite of its predecessor. Following the “facts” as relayed by
Diedrich Knickerbocker to Washington Irving, the saga of the lanky, pin-headed
“posturing pedagogue” is related almost literally and in broad splashy
sequences.
A
few scenes, such as Ichabod’s comic courting of Katrina van Tassel, the
beauteous belle of Sleepy Hollow, and the dance at her Dutch farmstead, have
wit and imagination. But that famous scene where the gullible and terrified
Yankee schoolmaster, astride his bony nag, is chased through the Hollow by the
Headless Horseman may be as terrifying to youngsters as any previous Disney
hair-raiser.
The
amiable Mr. Crosby’s narration and the couple of songs he casually tosses in
with the assistance of the Rhythmaires, is smooth and professional. The same
may be said of “The Legend of Sleepy Hollow.” It, too, is smooth and
professional but it lacks the inventiveness and genuine whimsey of “Mr. Toad.”
But
the credits outweigh the debits and Mr. Disney has included enough elements of
entertainment to make his newest film package a solid entertainment.
(New York Times, October 10, 1949)
In the second episode, Bing Crosby introduces the Sleepy Hollow
legend as if it were a new brand of breakfast cereal. And factually true to
Irving though it remains, the resulting narrative is just about as tasteless as
the Crosby prelude. . . . [The] “headless horseman” [is] likely to scare children.
(Newsweek, November 10, 1949)
(6:30–7:00 p.m. Pacific) The Bing Crosby Show for
Chesterfield is broadcast on CBS. The show has been recorded and the guest
is Judy Garland.
Program Profile
Preparations for a
broadcast of the "Bing Crosby Program," are as casual and lacking in
stress and strain as the finished product that you hear on the air. The
groundwork is begun when Bing and his producer-writer, Bill Morrow, have their
first huddle to develop a central idea for a program - and the inspiration may
come when they are on the golf course, swimming, at the races or playing a
sizzling game of gin rummy. The next move is to fit a guest star to the idea,
rather than sign a personality strictly because he or she is particularly
"hot" at the moment. Guests for the first four programs, for
instance, were, Judy Garland and CBS comedian Abe Burrows; and song stylist
Peggy Lee.
The
objective always is to produce a good show rather than provide a showcase for
talent that someone else thinks is ripe for an appearance with Der Bingle. This
rule also applies to regulars who are under contract, such as The Rhythmaires,
vocalists Peggy Lee and Carol Richards. They'll appear when they fit definitely
into the show idea.
With
program idea and guest star settled, Morrow retires to his abode and whips out
a "rough" on his typewriter, keeping constantly in touch with Crosby
as the script develops. Quite frequently, Bing takes the first draft of the
script and inserts some whimsies and flamboyant phrases of his own. During the
actual pre-broadcast taping of a show, Crosby often is moved to wander away
from the prepared dialogue and launch into an eloquent dissertation. However,
he always gets back to the script to give the right cue to a performer who has
the next speech.
The
shows always are rehearsed in segments - no "dress." John Scott
Trotter rehearses his bandmen the day before the taping and the cast has an
informal script-reading session on the day it is transcribed. This is done in a
thoroughly relaxed fashion, around a table in a room offstage. There may be
some clowning but it has to be good, and brief.
All
the songs are then pre-recorded, and Crosby carefully makes his selection from
his platters and those of guest singers. Yet, in the long run, the renditions
made for the tape may prove the most effective.
The
days have long passed when they attempted to create the illusion that there
were no studio visitors. As it is, announcer Ken Carpenter comes on stage
before the show and introduces Bing with a few snide remarks. Crosby bids the
visitors welcome in his own fashion (and in his own careless clothes),
whereupon he tells the "live" audience that they are a part of the
proceedings and that their applause will be welcomed.
Murdo
McKenzie, co-producer, gives the opening cue from the control room and the show
is on the air. From there on in, there rarely is a fluff, but if there is, Bing
makes capital of it for an impromptu gag.
(Radio Best magazine, January 1950, pages 59-60)
October 10, Monday. Bing records a Chesterfield
show in San Francisco with Peggy Lee and Frank Fay. The show airs on
October 19.
October 11, Tuesday. Bing is still in San
Francisco and is photographed with dancers Leo Lincoln and Louise Greco at the
Mark Hopkins Hotel.
October 12, Wednesday.
(6:30–7:00 p.m. Pacific) Another Bing Crosby Show for Chesterfield is
broadcast on CBS. The show has been recorded and Bing’s guest is Peggy Lee.
Bing goes to see Joe Frisco’s opening night in San Francisco.
When Bing Crosby was in town he cut a guest spot with Bill Weaver for “Waitin’
for Weaver” and another with Jim Grady for “This is San Francisco.” Cutting was
done in the afternoon for next day’s release. When El Bingo heard the release
would be at 6:15 and 8:00 ayem, he said he guessed he’d miss hearing himself.
(Radio Daily,
November 4, 1949)
October 18, Tuesday. In the CBS Studios in
Hollywood, Bing records a Chesterfield show with Lum and Abner which airs on
October 26.
No one was smoother on the air than Bing Crosby, but even his
professional nonchalance was put to the test at least once. Writer Hal Kanter
remembers one night in the late 1940s. “We were actually taping the show and
while they were on stage, I was sitting in Bing’s dressing room writing the
tag, the good nights… Finally Ken Carpenter was doing the last commercial when
Bill walked out on stage with the script and carbon copies; he had made a
change in one in pencil and was literally handing copies out to Bing, to the
guest star and whoever else had something to say, and then slipped Ken’s carbon
copy under the copy he was reading. . . . I guess he [Bing] and Ken were about
the only two people I know who could carry a thing like that off and not be
rattled by it.”
(The Great American Broadcast, page 284)
Every performer had enormous respect and affection for our star.
Bing could be an engaging conversationalist, the consummate gentleman, tactful,
witty, easygoing and thoroughly professional in his work. He expected the same
from his employees…
Working conditions with the Crosby
show from the very beginning became the yardstick by which I was to measure all
subsequent assignments, most of which were no match for the pleasant model
Crosby and Morrow set with Bill’s coproducer, Murdo MacKenzie. Murdo was an
audio engineer who helped develop the tape recorder after serving many years in
the broadcast booth. The quiet, handsome Murdo, who married one of Bing’s
favorite singers, Trudy Erwin, always wore a jacket, shirt and tie to work.
Bing never did. His casual wardrobe inspired many remarks like Clifton Webb’s
putdown of Bing’s Hawaiian shirt: "It looks like a tattoo I once had removed
from a maiden aunt of mine.”
It was great fun writing for Bing,
who seldom questioned our material, even when we poked fun at his baseball
team, his family, his race horses, real estate, oil wells, movies or his
rapidly receding hairline.
…Bing was the king of cool. There
is only one instance I recall him losing it [as described above in The Great
American Broadcast]. . . . Later, backstage, Crosby said to me, “Never
do that again. Never.” The look in his blue eyes was the father of the laser
beam. There may still be a hole in the wall behind where I stood.
(Hal Kanter, one of Bing’s scriptwriters, writing in his book So
Far, So Funny)
October 19, Wednesday. (6:30–7:00 p.m.
Pacific) The Bing Crosby Show for Chesterfield is broadcast on CBS. The
show has been recorded in San Francisco and the guests are Peggy Lee and
Frank Fay.
The fragile humor of Frank Fay (if we dared to venture a pun we'd call
it fey humor) will be given one of its all too infrequent airings when the
comedian visits Bing Crosby on his weekly show a t 9:30 tonight, CBS-WGBS. Fay,
of course, is the former vaudeville star and now-and-then radio player who has
had such amazing success as the rabbit's tippling pal in “Harvey”- though
amazing isn't really the word when you consider the adroitness of Fay's
delivery. In his visit tonight, he’ll concentrate on talking apart the lyrics
of Bing's theme song, “When the Blue of the Night,” and other popular airs.
Assisting musically will be Peggy Lee, vocalist, and Les Paul, guitarist,
accompanied by John Scott Trotter's orchestra.
(The Miami Herald, 19th
October, 1949)
October–December. Films Mr. Music with Nancy
Olson, Charles Coburn, Ruth Hussey, and Robert Stack. The director is Richard
Haydn with Van Cleave as musical director. Vocal arrangements are by Joseph J.
Lilley. Bing thinks the title presumptuous.
Joe Lilley, who conducts the recording sessions, has worked with
Bing since 1940 and is as acquainted with his singing habits as anyone in the
music business.
“Bing is the easiest singer in the world to write an
arrangement for,” Joe says. “He has a normal singing range of nearly an octave
and a half, and there isn’t a note that he cannot hit within it. I used to tell
him that with one more octave, he’d be a piano. And Bing is not restricted to any
one singing style. For Mr. Music, I wrote a duet finale for Bing to sing
with Dorothy Kirsten - in operatic baritone range. Under Bing’s part, I simply
wrote, ‘Belt it!’ He almost knocked the soundman off his chair.”
(From an article in Modern Screen magazine, April, 1951)
Although
Bing Crosby and I had not been introduced, I observed him many times on the lot
– walking along dressing room row, entering the commissary, visiting the sets
he worked on. My impression was always the same. He was crystal cool,
surrounded by an entourage of undistinguished cronies who laughed too quickly
at his quips, opened doors for him, moved his chair, and walked a pace and a
half behind him. Bing kept the distance between them with just a glance from
his icy blue eyes.
Although
Mr. Music was a blend of getting to
know a talented and extremely complex man, Bing Crosby, working in an
atmosphere of fun and warmth, and starting a new romance [with Alan Jay Lerner]
in my life. Unfortunately, I was much too young to play opposite Bing, which
contributed negatively to the end result. In fact, everyone treated me as if I
were a charming child whom they were fascinated with as well as very protective
of. Bing surprised me with real warmth – never flirting, only appreciating and
teaching. He was an utter pro. I attended some of the recording sessions for
the songs in the movie, and he seemed to be so at ease and knew exactly how he
wanted each song to be. However, I was not impressed with the songs, but who
was I to have such an opinion? But I think I was right. After many years of
being exposed to the greatest songs written in the twentieth century, my
opinion remains the same.
(Nancy Olson
Livingston, writing in her book A Front
Row Seat: An Intimate Look at Broadway, Hollywood, and the Age of Glamour)
October 24, Monday. Bing and Bob Hope, and many other stars, take
part in a benefit called “The Road to Recovery” at the Hollywood Palladium for
the veterans in Sawtelle Hospital.
Bing Crosby singing and wowing the crowd at the Palladium for the “Road to
Recovery” benefit is followed by Mel Torme who whispers to Bing, “What can I do
now?” Crosby whispers, “Dance a little.”
(Sidney Skolsky, Los Angeles Evening Citizen
News, October 29, 1949)
October 25, Tuesday. In the CBS Studios in
Hollywood, Bing records a Chesterfield show with Ella Fitzgerald and the Mills
Brothers which airs on November 9.
October 26, Wednesday. (8:00–11:00 a.m.)
Records “Mule Train” and “Dear Hearts and Gentle People” with Perry Botkin’s
String Band and Jud Conlon’s Rhythmaires in Hollywood. “Mule
Train” is played by Al Jarvis on KLAC within two hours of the session
ending and is on sale in New York on October 28. It eventually reaches number
four in the charts during a 12 week sojourn. “Dear Hearts and Gentle People”
peaks at No. 2 in the Billboard Best-Seller charts and spends 17 weeks in the
lists in all. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for Chesterfield
is broadcast on CBS. The show has been recorded and the guests are Lum and
Abner.
Mule Train – Dear Hearts and Gentle People (Decca
24798)
There’ll be no getting away from this one. The old master has met
the supreme challenge offered by the great Frankie Laine version, and these two
will be fighting it out for the short, but highly profitable duration of the
tune. And there’s a load of good earthy humor in Bing’s flavorful
interpretation. The flip may be around a little longer, with “Gentle People”
getting a break after the whip-crackers wear weak.
(Billboard, November 5, 1949)
Decca Records has had
an unusual reaction from its recoupling of Bing Crosby’s “Mule Train” and “Dear
Hearts and Gentle People.” Those two sides were backed up when the disk was originally
released, and when “Mule” started to tire, it decided to pull that tune off and
substitute “Make Believe” as the companion piece for '‘Dear Hearts.” When that
was done, “Mule” suddenly' picked up in sales and Decca was forced to continue
to market the original coupling,
Briefly, it has two
platters of “Dear Hearts” on the market, one backed with “Mule” and the other
with “Make Believe.” And the “Mule”-“Dear Hearts” platter is outselling the
other by a fairly wide margin.
(Variety, January 11, 1950)
October 28, Friday. Thought to have recorded a
Bob Hope radio show which is broadcast on November 15. (8:30-9:00 p.m. PT) An appeal for the New
York Foundling Hospital which is led by Eddie Cantor is broadcast on NBC and
includes a contribution by Bing who sings ‘That Lucky Old Sun’.
October 30, Sunday. (9:45-11:30 p.m.) Bing contributes to a broadcast launching the Inter-Faith campaign "Religion in American Life".
October 31, Monday. In CBS Studio A in
Hollywood, Bing tapes a Chesterfield show with Bob Hope which airs on November
2.
About
two years later, Chesterfields had replaced Philco as sponsor of Crosby’s show.
One night Bing had a cold. While doing a commercial with announcer Ken
Carpenter, Bing said, “If you like smoking (cough)” and blew it right there.
The audience laughed. As soon as the show was over, the ad-agency men were in
my control room. In the end, we had to re-record the commercial.
Then there was the time that Crosby was ad-libbing with Bob Hope.
Hope loved to take the script that Morrow had written and throw it out into the
audience, saying, “Let’s go on from here without a script.” Crosby didn’t like
that very much, but they would make a good show of it. On this particular
occasion, Hope said, “It’s a lucky thing for you that ....” Before the show was
over the people from Chesterfields were in demanding, “What can you do about
it?” I didn’t know what they were talking about. “That reference to Lucky
Strike” they explained. We had to replay the tape, find the offending word, and
assure the sponsors that it could be removed.
(John T. Mullin, writing in High Fidelity, April, 1976)
November 2, Wednesday. (6:30–7:00 p.m.
Pacific) The Bing Crosby Show for Chesterfield is broadcast on CBS. The
show has been recorded and the guest is Bob Hope.
Der Bingle finally catches up with “ski-nose” after a series of false
starts. Following several postponements, Bob Hope will be Bing Crosby’s guest
on the Groaner’s CBS show tonight over WJR at 9:30. The famous “feud” has moved
at a fast and insulting pace ever since the pair appeared together on a New
York stage in 1932. Tonight, as always, they will exchange caustic cracks and
querulous quips, interspersed with songs by Bing and the music of John Scott
Trotter’s orchestra.
(Battle Creek Enquirer, 2nd
November, 1949)
November 6, Sunday. Recording date in Hollywood with the
Victor Young Orchestra. Bing sings “Eileen” and “How Can You Buy Killarney.”
Eileen
Der Bingle does a warm job with this lovely ballad which was
penned by Sylvia Fine for her husband, Danny Kaye, some years ago.
How Can You Buy Killarney
Magnificent Crosby etching of a lovely tune which should clean up for St. Patrick’s
Day and wind up a standard item. Could be another “Galway Bay” for Bing.
(Billboard, February 18, 1950)
November 9, Wednesday. (6:30–7:00 p.m.
Pacific) Another Bing Crosby Show for Chesterfield is broadcast. The
show has been recorded and Bing’s guests are Ella Fitzgerald and the Mills
Brothers.
Bing Crosby is doing all right for pop music lovers. On the show
caught he had as guests the Mills Brothers, and singer Ella Fitzgerald. This
was in addition to his crooning talents and the harmonizing abilities of the
Rhythmaires. The result was one musical number after another, or too much of a
good thing. The program might easily have used a change of pace via the
injection of some comedy. The top offering was a version of “Way Back Home”
which gave the entire company a chance to participate. Bing’s commercials
primarily noted the claimed assets of Chesterfield cigarettes - milder, cooler
and better.
(Billboard, November 19, 1949)
November 10, Thursday. In the CBS studios in
Hollywood, Bing records a Chesterfield show with Bob Crosby and Bob’s daughter,
Cathy, which airs on November 16.
November 15, Tuesday. (6:00–6:30 p.m.) Bing
guests on Bob Hope’s radio show on NBC with Ham Fisher, Doris Day, and the Les
Brown Orchestra.
November 16, Wednesday. Bing records three
songs with John Scott Trotter and his Orchestra and the Jud Conlon Singers in
Hollywood. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for Chesterfield
is broadcast on CBS. The show has been recorded and the guests are Bob Crosby
and his daughter, Cathy.
Sorry
Altho the Sinatra and M. Whiting versions of the post-humous Dick
Whiting tune have an early jump, Bing’s in good voice here and should grab a
good share of the play.
(Billboard, February 4, 1950)
Stay Well / The Little Gray House
Bing
Crosby endows this coupling from the B’way musical hit, “Lost in the Stars,”
with one of his better, more relaxed and tonally rich baritonings. Material is
a cut too superior for really big disc-buyer acceptance…
(Variety,
December 20, 1949)
Stay Well
Lively show tune from “Lost in the Stars” is for a special segment of the market, even in Bing’s pleasant
rendition.
The Little Gray House
Simple, touching Maxwell Anderson lyric is Bing’s
special dish. Could stay around and become a standard.
(Billboard, February 4, 1950)
It’s a little known fact that Crosby sang songs from
nearly all the Rodgers and Hammerstein shows, and a lot of other classic
musicals from the R&H era. Jack Kapp had been the pioneer of the original
cast album and so could give Crosby the inside track on a lot of superior songs
from shows like Bloomer Girl and Song of Norway. My particular favorites
are a pair of songs from Kurt Weill and Maxwell Anderson’s Lost in the
Stars, “Stay Well” and “The Little Grey House.” (I wish he had also cut
“Lost in the Stars” and “Thousands of Miles.”) Of all the many lesser known
Crosby performances, particularly from the postwar era, these are the ones that
most deserve to be heard again.
(Will Friedwald, A Biographical Guide to the Great Jazz and Pop Singers,
page 127)
November 17, Thursday. (9:00-10:00 p.m.) Participates
in the “Kids’ Day Salute” broadcast over the ABC network. Others appearing are
Red Skelton, Edgar Bergen, Dinah Shore, Bob Hope and Arthur Godfrey.
During the day, tapes a Chesterfield show with Peggy Lee which is
broadcast on November 23.
Bing was always finding ways to help give me confidence. In fact
everyone connected with him was funny and nice and talented. . . .
Bing and I were always the first to
arrive for rehearsals. I was always impressed by his promptness, his honesty,
and his modesty. I remember him saying, “I wish I could really make something
of my life. . . .” It amazed me that he could feel so humble. I tried, in a
stumbling sort of way, to tell him what the world thought of him, but I don’t
think I convinced him
(Miss Peggy Lee—An Autobiography, pages 103–104)
November 19, Saturday. National Kids Day. Bing
is on the advisory council. Jimmie Fidler is the chairman.
November 23, Wednesday. (6:30–7:00 p.m.
Pacific) The Bing Crosby Show for Chesterfield is broadcast on CBS. The
show has been recorded and the guests are Peggy Lee and Frank Fay.
Frank Fay, of “Harvey” stage fame, pays a return visit to CBS’ “Bing
Crosby Show” to indulge his favorite pastime, dissecting song lyrics over WCBS
at 10:30 o’clock. Fay will take up where he left off in his Oct. 19 visit with
Der Bingle, in his comical assault on the logic of the lyrics of popular songs.
Another returning guest is vocalist Peggy Lee who joins Crosby in the music
department.
(The Ottawa Citizen, 23rd
November, 1949)
November 24, Thursday. Christens the "Candy Cane"
vehicles which are to be put into use by the Los Angeles Transit Lines
by singing "White Christmas". Later in the CBS Studios, Bing
tapes a Chesterfield show with Al Jolson which airs on November 30.
November 25, Friday. (6:00 to 9:00 p.m.) Using
the facilities of Radio Recorders Annex at 7000 Santa Monica Boulevard, Los
Angeles, Bing records “Quicksilver” and “Have I Told You Lately That I Love
You” with the Andrews Sisters and Vic Schoen and his Orchestra.
Have I Told You Lately That I Love You
Ditty’s a sprightly mountain-musiker that had its innings a couple
of years back on straight hillbilly diskings. Bing and the gals are in top form
as they harmonize it to a spanking fare-thee-well.
(Billboard, December 24, 1949)
November 29, Tuesday. Records “Life Is So
Peculiar” with Peggy Lee for the Mr. Music film.
November 30, Wednesday. (6:30–7:00 p.m.
Pacific) The Bing Crosby Show for Chesterfield is broadcast on CBS. The
show has been recorded and the guest is Al Jolson.
It cost CBS’ Bill Paley a lot of out-of-the-network-pocket coin to
tie up Al Jolson to a three year Columbia exclusive as guest star, No. 1, in
circulating the AM and TV air waves but the pay-off was already evident in
Jolie’s first time out, last Wednesday (30th), guesting on Bing Crosby’s
Chesterfield stanza (He’s already committed to a minimum of five with the Groaner)
The team-up was a throwback to ad-lib radio comedy, at its best, paralleling
those of Bob Hope-Crosby ‘dream sequences’ when scripts are tossed out of the
studio window as they slug it out on the banter front. Despite the prevailing
tendency of the comics to go ‘tradey’, Jolie and the Bingle parlayed the
intra-trade stuff into nearly a half hour of delightful listening, punctuated
by some solo and duo vocalizing that was strictly off the $6.60 attraction
shelf. Jolies, “Own Backyard” and Bing’s, “Lucky Old Sun”, with a choral
background, were particular gems.
The frequent by-play on Paley and
Columbia, video’s inroads on radio, (including the Jolie revelation that he’ll
be guesting on some CBS-TV stanzas) with even some borderline suggestions as to
Jolson’s relations with Columbia Pictures (“The Jolson Story”/ “Jolson Sings
Again”) was Tiffany slanted comedy, with Gracie Allen (for the inevitable
boosting of George Burns’ vocal prowess) coming in for the wind up to effect a
neat integration with the Burns & Allen stanza which follows the Crosby
show. And B & A in a resumption of the ‘tradey format’, even went so far as
to simulate a Burns-Harry Ackerman (CBS programming veepee) comedy sequence,
with laugh dividends making CBS the beneficiary of a solid sixty minutes of
Grade A entertainment.
(Variety, December 7, 1949)
December 1, Thursday. Bing records “Early
American” for the soundtrack of a short film being made by Father Keller for the Christophers
Association called You Can Change the World. Leo McCarey is the director. The film is shown on television on February 25, 1950. Later Bing records a Chesterfield show with
Carole Richards and James Stewart which airs on December 14.
December 3, Saturday. In the CBS Studios,
tapes another Chesterfield show which is broadcast on December 7. The guests
are Peggy Lee and Hopalong Cassidy.
December 5, Monday. Back in the Decca Studios
at 5505 Melrose Avenue, Hollywood, Bing records “This Could Be Forever” and
“Helpless” with Russ Morgan and his Orchestra. Louanne Hogan joins Bing on the
first song.
This Could Be Forever
Bing, in duet with Louanne Hogan, warbles an oldie in dance time
setting by Russ Morgan crew. A pretty song.
Helpless
Bing croons a new ballad of no extraordinary substance. Pleasant
treatment with the usual tasty danceable orking by Morgan lends added potential
to the disking.
(Billboard, September 9, 1950)
December 7, Wednesday. (6:30–7:00 p.m.
Pacific) Another Bing Crosby Show for Chesterfield is broadcast. The
show has been recorded and the guests are Peggy Lee and Hopalong Cassidy
(William Boyd).
They’ll be riding the range on CBS’ “Bing Crosby Show” when William
“Hopalong Cassidy” Boyd is guest at 9:30 over WCBS. Vocalist Peggy Lee will be
on hand to help out in the music department. Fearless, faultless hero of the
West and idol of millions of movie fans, “Hopalong Cassidy” will meet up with
“Sagalong Crosby” in a Western sketch.
(The Ottawa Citizen, 7th
December, 1949)
December 8, Thursday. Bing records a
Chesterfield show with Ethel Barrymore which airs on December 21. The Road
to Peace short is shown at College of St. Rose, Albany, where most of it
was filmed.
Crosby’s voice, on miniature film track, naturally does not sound
as smooth as on standard gauge in a theater, and several of the medium-range
shots are not over-flattering, but few viewers probably will notice it.
(Variety, December 14, 1949)
December 12, Monday. (Evening) Sees the Gonzaga Bulldogs basketball team beat San Jose State 51-43 at the Pan-Pacific Auditorium.
December 14, Wednesday. The Gonzaga basketball squad dine with Bing. (6:30–7:00 p.m.
Pacific) The taped Bing Crosby Show for Chesterfield is broadcast on CBS
and Bing’s guests are Carole Richards and James Stewart.
Movie star James Stewart and vocalist Carol Richards will be guests on
CBS’ “Bing Crosby Show” 9:30 over WCBS. Much of the Stewart-Crosby gay repartee
centers on Stewart’s recent marriage. Crosby claims playfully that this event
“made a lot of other women very unhappy. The day he became a groom, James
Stewart fan clubs throughout the nation wore their bobby sox at half mast.”
(The Ottawa Citizen, 14th
December, 1949)
December 15, Thursday. Bing records a
Chesterfield show with Al Jolson which airs on January 4, 1950.
December 17, Saturday. Bing’s recording of
“White Christmas” makes its annual appearance in the pop charts, peaking at
number five over a four-week period.
December 18, Sunday. It is reported that Bing
and Bob Hope are part of a syndicate which is to buy the Los Angeles Rams
football team. Both hold about 10 percent each. (a.m.) Appears on a transcribed
radio show Guest Star #143 with Bob Hope and Alan Ladd. Bing and Bob
sing a parody of “Road to Morocco.” (6:00-7:00p.m. PST) On the third anual broadcast of The Joyful Hour radio
program “How Christmas First Came to the World” on the Mutual Broadcasting
System with Ann Blyth, Licia Albanese, and Macdonald Carey.
December 20, Tuesday. In the CBS Studios, Bing
records a Chesterfield show with Al Jolson which airs on December 28.
(6:00–6:30 p.m.) Bing makes an unbilled guest appearance on Bob Hope’s radio
show on NBC to sing “Silent Night”. Other guests include Rhonda Fleming, Jack Kirkwood and Doris Day.
December 21, Wednesday. (6:30–7:00 p.m.
Pacific) The Bing Crosby Show for Chesterfield is broadcast on CBS. The
show has been recorded and the guest is Ethel Barrymore. (7:00 p.m. to 7:30
p.m. Pacific) Bing is also thought to have been heard in a radio broadcast from
KHJ covering the New York premiere of Cecil B. DeMille’s Samson and Delilah. Bing Crosby Enterprises makes its entry into television and closes a deal to
make ten films for Procter & Gamble’s “Fireside Theatre” series. Each
picture running 26 minutes.
December 22, Thursday. Bing is voted “Best
Popular Male Vocalist”, “Best Master of Ceremonies” and “Film Personality Most
Effective in Radio” in the poll conducted by radio editors of newspapers and
magazines conducted by Motion Picture Daily. (9:28 a.m.–12:27 p.m.) Bing
records “My Own Bit of Land” and “When the Sun Goes Down” with the Ken Darby
Singers in Hollywood.
In a western vein, “Sun” impresses as a solid item rating plenty
of spins.
(Variety, May 3, 1950)
When the Sun Goes Down
Crosby lends a Western flavor to this new ballad. His fans should
find this satisfying fare.
(Billboard, May 20, 1950)
My Own Bit of Land
Bing spreads warmth and a homey flavor in warbling this pleasing
chunk of homespun philosophy. Fine for the family trade.
(The Billboard, May 26, 1951)
December 23, Friday. Another recording session
with Russ Morgan and his Orchestra when Bing sings “The Yodel Blues” and “The
Big Movie Show in the Sky.” In the evening, Bing attends the opening night of
Joe E. Lewis at Ciro’s together with the Joe E. Browns, the Pat O’Briens, and the Van
Heflins.
The Big Movie Show in the Sky
Pretentious production number from “Texas L’il Darlin’” is
performed impressively by Crosby and the Morgan organization.
The Yodel Blues
Bing is especially convincing with this “Texas L’il Darlin’” lilt.
He’s brilliantly supported by Morgan and vocal group. Tune’s a bit classy, but
the performance should draw plenty of action nevertheless.
(Billboard, February 18, 1950)
Bing Crosby-Russ Morgan Orch
“Big Movie Show in the Sky” -“Yodel Blues” (Decca). Whether these two show tunes (“Texas Lil’ Darlin”) have what it takes to hit solidly is a guess. But, Crosby gives both smart b.o. performances. “Movie” side has a
colorful punch on a light up-tempo beat, pushed by the Morganaires and Morgan's band. “Yodel” is even cuter, on a slower beat, also with the Morganaires. Both potentials.
(Variety, January 18, 1950)
December (undated). Bing guests on Louella Parsons’
radio show. Press comment indicates that Bing is to make a film called Partners
with William Boyd (Hopalong Cassidy) with the script being provided by Bill
Morrow. The project reaches quite an advanced stage but does not proceed due,
it is said, to Boyd seeking a fee of $150,000 for his services.
December 24, Saturday. Bing is reported to have left
Hollywood for Pebble Beach today for the holidays. In the evening at 10:00
p.m., he takes part briefly in a program called “Merry
Christmas to You” from
station KHJ with Monica Whelan and Bill Cassidy. He makes an appeal for
the Salvation Army and joins the hosts in a brief chorus of "Merry
Christmas to You" to the tune of "Happy Birthday". Billboard states that Bing’s recording
of “White Christmas” has now sold over 6 million copies.
December 26, Monday. Time magazine
reports that Bing’s 20,000 shares in Minute Maid are now worth $295,000 (they
cost him $2,000).
December 28, Wednesday. (6:30–7:00 p.m.
Pacific) The Bing Crosby Show for Chesterfield is broadcast on CBS. The
show has been recorded and the guest is Al Jolson.
December 31, Saturday. Bing records a
Chesterfield show with Peggy Lee and Groucho Marx which is broadcast on January
11, 1950.
During the year, Bing has had
eleven records that have become chart hits, including two which have reached
the number two spot (“Far Away Places” and “Dear Hearts and Gentle People”).
The Down Beat
poll for 1949 places Bing in a tie for third with Mel
Torme as favorite male vocalists. Decca has embraced the long-playing
vinyl record format and during the year they have issued no less than 17 ten-inch LPs of Crosby material from his back catalog.
In the U.S.A. movie box office
stars listing for 1949, Bing comes second to Bob Hope.