Chapter 8

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Midlife Challenges, 1950–1959

 

 

As the fifties unfolded, Bing was still a top recording artist although the hits were less frequent. Novelty songs and then rock ‘n’ roll pushed the ballad singers into the background. Also Bing had not been helped by the death of his recording “guru,” Jack Kapp, in 1949 as this had resulted in a certain loss of structure and focus in his recording activities. In films, Bing was playing older men and his radio audience, despite still being fairly significant, was steadily declining because of the impact of television. He continued to avoid personal appearances and live shows.

          Bing’s voice could no longer hit the higher notes but the deep tones remained mellow and pleasant. He was, however, said to be losing confidence in his singing. Health problems troubled him and he was laid low for a while with first an operation to remove his appendix and then two separate major operations for kidney problems.

          Bing had apparently reconciled with his wife Dixie Lee in 1951 and her death in 1952 badly affected him both emotionally and financially. A huge tax bill had to be paid following Dixie’s death and then Bing also faced a legal battle following a car crash. His sons started to hit the headlines with various problems and it was not surprising that for a while Bing seemed to be adopting a low profile, although he continued to make films.                                    

          Bing had given two very good dramatic performances on celluloid, first in Little Boy Lost and then The Country Girl for which he was again nominated unsuccessfully for an Academy Award. His film White Christmas was to be a long-running success and the 1956 film High Society, despite his own initial misgivings, was to become a classic of its kind.

          Somewhat reluctantly, Bing had started making television appearances, which were usually filmed in advance. In 1954, his radio show had reduced in status from a major weekly program to a daily fifteen minute show, but after the success of the film High Society and hit records such as “True Love” and “Around the World,” Bing was tempted to become more heavily involved in television. The big breakthrough came in 1957 with the live, award-winning “Edsel Show.” Afterwards, Bing settled into a routine of making at least two television specials each year, but he never really attempted to dominate the sector as he had other media. He eschewed a weekly series while singers such as Perry Como and later, Andy Williams, embraced such exposure enthusiastically with considerable benefits accruing to their record sales and to their long-term images.

          After the death of Dixie Lee, Bing had gone through a lonely spell before being linked with a number of actresses including Grace Kelly, Inger Stevens, Mona Freeman, and Kathryn Grant. After a most unusual on-off romance, Bing married Kathryn Grant in 1957. First a son and then, at long last, a daughter was born with another son following in 1961. Bing admitted that he had found real happiness again. The “old” Bing seemed to reemerge and entertaining long-playing albums of the time such as Bing with a Beat and Fancy Meeting You Here appeared to capture this.

          Bing had safely negotiated some major midlife challenges.

          In 1959, $100 was worth $589 in year 2000 terms.

 

1950

 

January 2, Monday. Bing and his four boys attend the 1950 Rose Bowl football game played between Ohio State University and University of California at the Rose Bowl in Pasadena, California. Ohio State win 17-14. This Rose Bowl Game became the first bowl game to have 100,000 spectators in attendance.

January 3, Tuesday. (6:00–9:00 p.m.) Bing records “Bibbidi-Bobbidi-Boo” and “Chattanoogie Shoe Shine Boy” in Hollywood with Vic Schoen and his Orchestra plus Jud Conlon’s Rhythmaires. The decision to make the “Chattanoogie” record had only been taken at 11 a.m. that morning when Dave Kapp in New York called Sonny Burke in the Hollywood recording studio. By mid-afternoon, Vic Schoen and Jud Conlon had completed separate orchestrations and copied parts. As no lead sheets for “Chattanoogie Shoe Shine Boy” were available, the arrangers had to copy the tune note for note from other recordings. The song reaches the No. 4 position in the Billboard best-sellers list and stays in the charts for 13 weeks. Recent press comment states that Minute Maid has set up a new divisional office in Los Angeles and Bing is named as president of the division.

 

Chattanoogie Shoe Shine Boy

The fast impact of Red Foley’s version of “Chattanoogie,” picked in these columns two weeks ago, encouraged Decca to cut it again with Crosby. He gives it a delightfully relaxed go, with typical Crosby patter for an extra measure of charm. Vic Schoen provides a lively Dixie orking.

(Billboard, January 14, 1950)

 

The same absurdity, [“Bibbidi-Bobbidi-Boo”] which has a really fine march tune, has been slowed down too much in Bing Crosby’s record of it (Bruns. 04580), and the other side, I Cross My Fingers, borders on the dreary.

(The Gramophone, November, 1950)

 

January 4, Wednesday. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for Chesterfield is broadcast by CBS. The show has been recorded and the guest is Al Jolson.

 

Al Jolson was guest and during a sequence he and Bing were batting around badinage about Look mag recently making Crosby its cover subject. Crosby huffed a line and referred to the mag as “Life,” then quickly recovered and mentioned Look several times in atonement.

(Variety, January 5, 1950)

 

January 9, Monday. The Golf Writers Association votes Bing the year’s outstanding contributor to golf for 1949, awarding him the William D. Richardson Memorial Trophy. He receives 440 points from the 162 members of the Golf Writers Association. The points are counted five for first, four for second, three for third, two for fourth and one for fifth.

…Crosby has done a lot for golf, and the award was made to Bing on a basis of what he has done over a period of time just as much as for what was actually accomplished in the space of one year.

Bing’s picture, “Honor Caddie,” was a contributing factor in the vote of the golf writers in his favour. His annual Bing Crosby National Pro-Amateur, all proceeds of which go to charity, is another. This is one tournament in which the host pays all the bills and the guests pick up all the silver and folding green that their score entitles them to take away with them.

No man ever did more for a friend than Bing did last year on behalf of the late Benny Coltrin. The popular Lake Merced professional died last summer, leaving a mortgaged home and plenty of bills that he had expected to pay off. The widow and three children were facing a bleak future until Crosby stepped into the picture.

Bing invited Marlene and Alice Bauer, Johnny Dawson and a few other top stars to San Francisco for exhibition play. Crosby paid all the expenses incurred by the players as well as all costs of putting on the exhibition.

Every cent taken in as gallery fees went to Mrs. Coltrin. The amount was around $18,000. This gesture alone, had he done nothing else, made Crosby the man of the year in golf to us who write about the game. No man ever deserved the honor more, and no man will ever wear the mantle with greater humility.

(Maxwell Stiles, Los Angeles Mirror, January 10, 1950)

Bing writes to Canadian broadcaster Gord Atkinson.

Dear Gord:

Many thanks for the fine ash tray. You were very kind to remember me at Christmas time, and I appreciate it.

Thanks, too, for sending the recordings from the “Top O’ the Morning” broadcast.

Kindest regards to yourself and all the members.

Sincerely, Bing

January 10, Tuesday. (4:30–4:45 p.m., 9:45–10:00 p.m.). Bing is heard in his brother Bob’s Club 15 transcribed broadcast.

January 11, Wednesday. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for Chesterfield is broadcast by CBS. The show has been recorded and the guests are Peggy Lee and Groucho Marx. Variety says that Bing is in the process of taping six of his radio shows in San Francisco.

One more duet recorded by this duo bears mentioning: “Little Jack Frost, Get Lost” was recorded by Crosby and Lee from a live radio show performance. This holiday novelty song featured the Rhythmaires singing background for the pair of lead singers. A clever swing tune, it contained some holiday appeal in the wintry theme as well as in the instrumental interlude bearing the spritely sounds of high woodwinds (piccolos and flutes) and plucked stringed instruments sounding fresh from the spirit of “Sleigh Ride.” This recording preserved a slice of music history not to be missed, and a song quite worthy of reviving.

(Tish Oney, Peggy Lee – A Century of Song, page 74)

January 13-15, Friday–Sunday. The Bing Crosby Pro-Am Tournament at Pebble Beach. Bing partners Cam Puget in the pro-am section and they have rounds of 72 and 71 but they fail to qualify for the final round. The professional competition finishes in a tie between Sam Snead, Dave Douglas, Smiley Quick, and Jack Burke Jr. There is not a play-off. The tournament is broadcast on radio coast-to-coast. The proceeds of the event are divided equally between the Sister Kenny Foundation and the Monterey Peninsula Community Chest.  Celebrities playing include Johnny Weissmuller, Richard Arlen, Forrest Tucker, Lefty O'Doul, Dennis O'Keefe and Randolph Scott.

January 14, Saturday. After his round, Bing takes his four boys to the official opening of the Pacific Grove Recreation Club building.

January 15, Sunday, The 'stag' Award dinner at the Monterey Peninsula Country Club. The Firehouse Five Plus Two provides some of the entertainment and is rewarded with appearances on Bing’s radio show.

January 16, Monday. Bing records a Chesterfield show at the Marines’ Memorial Theatre in San Francisco with Barbara Whiting and Gary Crosby, which is broadcast on January 18. Gary is paid $25, the union rate for a ten-minute appearance.

GARY CROSBY WILL MAKE RADIO DEBUT

Gary Crosby, 16-year-old son of crooner Bing, makes his radio debut tonight.

      “And it’s not because I’m looking ahead to old age,” protested Pop, nearing completion of two decades of popularity. “I’ll keep going for awhile,” the old groaner said, “But I hope Gary’s successful. I could even quit and be his agent.”

      Young Crosby, a student at a San Jose prep school, makes his bow at 6:30pm PST, with his pop and Barbara Whiting. He’ll sing “Dear Hearts and Gentle People,” and “be in and out” the whole half-hour program Crosby said.

      “He hasn’t heard of the big salaries yet,” said the elder Crosby.

      The show is a tape recording, transcribed Monday night on the stage of the Marine Memorial Club in San Francisco. Pop Crosby guessed as how his young one turned in a “pretty darned good” performance.

      “The cast thought he did a good job, too,” he added. The show’s producer, Bill Morrow, here from Hollywood, thought more than that.

      “He’s really got it,” Morrow said. “He’s got the same composure and easy-going qualities as Bing.” Bing said Gary really “didn’t want to go on at first—he thought he’d get razzed by his pals at school.” Crosby the elder said that Gary, oldest of his four boys, was just like the rest of the youngsters in “fooling around with music since they were babies.”

      Bath-time is “pretty noisy” he agreed, and there was plenty of harmony in the Crosby household most of the time. None of the youngsters has had any formal musical or singing instruction. As to any comparison with his dad, “Well, he favors me a little, has my coloring,” the elder admitted. But three other Crosby characteristics —on horses, bright-colored shirts and golf—drew a blank.

      “He’s conservative about shirts—follows his mother,” Bing said. “Horses? He rides ‘em a little, strictly for transportation. Golf, he fools around a little, nothing like his old man yet.”

        (Oakland Tribune, January 18, 1950)

January 18, Wednesday. In the Marines’ Memorial Theatre in San Francisco, Bing records another Chesterfield show for broadcast on January 25. The guests are Peggy Lee, Joe Venuti, Jack Teagarden, and Louis Armstrong. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for Chesterfield is broadcast by CBS. The guests are Barbara Whiting and Gary Crosby. During the day, Bing writes a check for $500 to Morse Gleeson Co as a transportation deposit for his forthcoming European tour.

January 19, Thursday. Bing writes a check for $450 payable to Phil Garnett.  In San Francisco, Bing records a Chesterfield show with Bob Hope for broadcast on February 1. Meanwhile, in Washington DC, Bing is named as honorary chairman for the 13th annual observance of National Wildlife Restoration Week (March 19-25) by The National Wildlife Federation. The Federation said that Bing “has popularized numerous songs reminiscent of nature and wildlife,” adding: “Bing Crosby is not only one of America’s most popular entertainers, but he is also interested in outdoor sports and conservation of the nation’s recreational assets, upon which recreation depends.”

Ten minutes before showtime, all was confusion backstage at the Marine's Memorial Theater yesterday,

They were getting ready to transcribe Bing Crosby’s February 1 radio program with Bob Hope and Peggy Lee as guest stars. But nobody had a script. At least, nobody had a complete, revised script.

Crosby and Hope, perhaps the greatest vaudeville team in history, didn’t care. They let Producer Bill Morrow and two harried script girls do the worrying.

Crosby kept singing. Singing and gargling with an amber colored fluid that could have been medicinal and probably was. Once he started singing for Page 26 of the script.

Hope was singing too. He was singing to Crosby, “Have I Told You Lately That I Love You?” The script called for it.

Between snatches, Hope was greeting friends and some strangers. Each one was treated like a close relative. He took an occasional blow to holler “Hi’ya Honey?” as some beautiful doll glided by the dressing room he shared with Crosby. Any beautiful doll.

Hope and Crosby apparently share almost everything, including the Los Angeles Rams and some Texas oil wells. Crosby wore gray slacks and a sport shirt—a green plaid job with a touch of lavender.

Three minutes before showtime, Crosby was still singing and gargling. Hope was still greeting friends and people. Peggy Lee was finishing off a hamburger. One of the Rhythmaires in the show was using a safety pin on a loose skirt.

Presently with something less than three minutes to go, a girl with an armful of scripts—complete, revised scripts—arrived from Columbia broadcasting. The house was packed and had been for an hour.

An usher refused to believe her story at first, tried to keep her out. She screamed her way backstage and unloaded.

Crosby grabbed a script and dashed on stage. Hope, his arm in a sling from a recent auto accident, grabbed one too and picked out likely spots for ad libbing. The script girls dished out scripts and then just sat and sighed.

Crosby proceeded to make with the audience. And by the time they turned the mikes on, every woman in the place looked ready to climb over the footlights.

Then Hope came on and wrapped the whole thing up. After that, every one had a wonderful time. But especially Crosby and Hope, undoubtedly the greatest vaudeville team in history.

(The San Francisco Examiner, January 20, 1950)

January 20, Friday. Bing writes a check for "Cash" for $500 which he annotates "Expense - Golf  Tourney- San Francisco shows - ??? benefit".

January 21, Saturday. (1:30–2:30 p.m.) Bing is featured in a March of Dimes All Star radio show on NBC hosted by Bob Hope with Jimmy Durante, Phil Harris, Lionel Barrymore and others to mark the opening of the Los Angeles Musicians’ Building. As he is still in San Francisco, he has transcribed a message and is heard singing "Dear Hearts and Gentle People".

Local 47 Tosses Big Fiesta to Celebrate Debut of New Home 

Hollywood, Jan. 24. With 200 musicians dishing out entertainment and with some 15,000 people in attendance, American Federation of Musicians Local 47 tossed a huge clambake here last weekend to celebrate 
opening of their new $1,000,000 Hollywood headquarters. Celebration lasted from 2 p.m. Saturday (21) to 2 a.m. Sunday (22); Bing Crosby, Bob Hope, Jimmy Durante and flock of other top stars, performed. 
Jazz sesh in the basement was presided over by Red Nichols.

(Variety, January 25, 1950)

January 22, Sunday.Bing takes part in the Northern California Baseball Players Golf Tournament for the Babe Ruth Cancer Fund at the Green Hills Country Club at Millbrae. He tees off at 10:00 a.m. with Frank O’Doul, Dick Bartell and George Gnau, one of Green Hills’ low handicap players.

 

CROSBY FLEES LINKS GALLERY

A fellow named Bob Mort, who did some playing for the one-time San Francisco Missions of the Coast League, is the new Northern California Baseball Players Golf Champion today. But don’t try to check with the 4,000 who traveled to the Green Hills Country Club at Millbrae yesterday to watch the Babe Ruth Cancer Fund event for an account of how Mort snared the crown.

      The man clicked off a nifty 77—a half dozen knocks over par —but only a few of the persons on the deck followed anyone but a non-baseballer, Bing Crosby, while he played. They (which means mostly autograph hounds) did such a first-rate job of shoving Bing, part owner of the Pittsburgh Pirates, around that the crooner fled the scene ahead of his scheduled departure time for a Santa Barbara radio date.

      Bing traversed but half the heavy layout, nine holes, shooting a 43, which wasn’t half so bad considering the conditions that prevailed. The kids took over the place, scampering up and down, around and about the fairways, shouting and screaming and being more interested in filling autograph books than watching golf.

      Crosby, his partner George Gnau, the Green Hills champ, Lefty O’Doul and Dick Bartell tried to golf, but while Bing was along it was a tough job. Once The Groaner shoved off at the turn Gnau got to scoring a 73, the best of the day, and O’Doul and Bartell posted creditable 81’s, good enough for third place among the ballplayers.

      Bing was able to muster one smile on the half-round, rolling in a 16 footer for a par on the sixth hole. He shot seven bogies and only one other par, negotiated on the seventh hole. The expected Crosby-O’Doul clash for honors as the events most colorful entrant fizzled out once Bartell, the Alamedan, who coaches for the Detroit Tigers, took the tee. Fiery Richard showed the boys up with this costume —a screaming orange checked cap, glen plaid knickers, yellow stockings and a yellow sweater. O’Doul appeared with a dark green Tyrolean hat with a red feather and expected Bing to wear the same as he did last week in his tournament at Pebble Beach. But Crosby fell into the also-ran class with his plain brown checkered cap.

(Ed Schoenfeld, Oakland Tribune, January 23, 1950)

 

January 23, Monday. Bing arrives in Santa Barbara from the north on the 'Lark' and has breakfast at the Hotel Californian with Mr. and Mrs. John  Eacret.  They join a hunting party that sails to Santa Rosa Island (off Santa Barbara) on the 'Paula', a 72-foot pleasure fishing boat.

January 24, Tuesday. On Santa Rosa Island.

January 25, Wednesday. The hunting party returns  to Stearns Wharf in Santa Barbara in the late afternoon and it is learned that they bagged three elk and one deer. Bing leaves by car for the south. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for Chesterfield is broadcast by CBS. The show has been taped and the guests are Peggy Lee, Joe Venuti, Jack Teagarden, and Louis Armstrong.

January 26, Thursday. In Hollywood, Bing records a Chesterfield show with the Andrews Sisters and the Firehouse Five Plus Two which airs on February 22.

February 1, Wednesday. In San Francisco, Bing records a Chesterfield show with Peggy Lee and Fred Allen for broadcast on February 8. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for Chesterfield is broadcast by CBS. The show has been taped and the guest is Bob Hope.  Variety states that Bing had refused to attend the opening of the new Chesterfield factory in Durham, North Carolina, on January 26 that was featured on a special extended edition of the NBC radio show The Supper Club starring Perry Como, Bob Hope, and Arthur Godfrey. Later reports indicate that Bing was preparing for an appendix operation and hesitated about taking the long trip. Bob Hope offered to stand in for him.

February 2, Thursday. Records a Chesterfield show with Al Jolson in San Francisco which is broadcast on February 15.

Add Free Commercials: No, Bing Crosby’s name won’t appear in this column every day – but this one I want to tell you before we drop him for a while. Shows what kind of guy he is pretty clearly. A few nights ago, he dropped in at Phil Tanner’s Show Club, a small bar on Geary St., and happened to ask Phil “How’s business?” “Pretty slow, Bing. Pretty slow,” sighed Tanner, and Bing smiled: “Well, maybe we can do something about that.” Next day, Crosby with Al Jolson as his guest, recorded his weekly radio show at Marine Memorial. At the end of the program, just before the closing commercial, Bing ad libbed to Jolson: “Okay, Al, now let’s go down to Phil Tanner’s Show Club on Geary and sing a few songs, huh?” In other words, a million dollar plug for a little jernt on Geary. For free. For Friendship.

(Herb Caen, The San Francisco Examiner, February 7, 1950)

February 7, Tuesday. Bing is at the Mark Hopkins Hotel in San Francisco with Buck Edwards for the opening of the Champions dance team show.

February 8, Wednesday. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for Chesterfield is broadcast by CBS. The show has been taped and the guests are Peggy Lee and Fred Allen.

February 9, Thursday. In San Francisco, Bing records a Chesterfield show with his brother Bob for broadcast on March 1. Larry Crosby is reported in good condition following a double hernia operation at St. John’s Hospital, Santa Monica.

February (undated). Bing has to return to Paramount for some final scenes in the film Mr. Music but has to have a tooth extracted first.

February 10, Friday. Bing and Groucho Marx film a song and dance routine for Mr. Music.

February 13, Monday. At San Bernardino for the start of the Pittsburgh Pirates training camp.

At the end of spring training [in San Bernardino], the team would travel the 50 miles south to LA, and Bing would throw a party for us at Chasen’s, emceeing and singing songs with that effortless baritone voice that Louis Armstrong said ‘was like gold being poured into a cup.’ To have such a famous film and recording star do that made us feel special. One parody he’d sing began: ‘Nothing could be finer than to be with Ralphie Kiner on the ballfield.’ It wasn’t ‘White Christmas,’ but each spring, I’d look forward to hearing that. [...]

(Ralph Kiner, Kiner’s Korner)

February 14, Tuesday. (9:00 a.m.–12 noon) Recording session with Bob Haggart and his Orchestra in Hollywood. Bing sings “The Dixieland Band” and “Jamboree Jones” but neither song is released.

February 15, Wednesday. (9:30–11:30 a.m.) Records “Lock, Stock, and Barrel” and “Ask Me No Questions” with the Andrews Sisters and Vic Schoen and his Orchestra. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for Chesterfield is broadcast by CBS. The show has been taped and the guest is Al Jolson.

 

Lock, Stock and Barrel

Smart pop corn ditty could be a bit too sophisticated, tho there’s name power insurance here.

Ask Me No Questions

The meritorious Saxon-Wells opus, in this relaxed harmony version, could score in both pop and country markets.

(Billboard, April 22, 1950)

 

February 19, Sunday. Bing and three of his sons visit the Steinhart Aquarium in Golden Gate Park in San Francisco.

February 22, Wednesday. (6:30–7:00 p.m. Pacific) Another taped Bing Crosby Show for Chesterfield is broadcast by CBS. Bing’s guests are the Firehouse Five Plus Two and the Andrews Sisters.

February 23, Thursday. In San Francisco, Bing records a Chesterfield show with Gary Cooper and Gary Crosby for broadcast on March 8.

February 25, Saturday. The short film You Can Change the World is made available to interested groups free of charge. Father Keller is seen espousing his ideas to a number of celebrities including Jack Benny, Ann Blyth, Paul Douglas, Irene Dunne, William Holden, Bob Hope and Loretta Young. Bing sings "Early American". Leo McCarey has directed the film, which was made at the studios of Hal Roach. Bill Perlberg was the producer.

February 28, Tuesday. Back in Hollywood, Bing records a Chesterfield show with Dennis and Phillip Crosby for broadcast on March 15. Press reports state that Bing is investing in a Palm Springs golf course that Charles Farrell and Ben Hogan are going to build. This was probably what became the Thunderbird Country Club.

March 1, Wednesday. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for Chesterfield is broadcast by CBS. The show has been taped and the guest is Bob Crosby.

March 2, Thursday. In San Francisco, Bing records a Chesterfield show with Ethel Merman and William Boyd, which is broadcast on March 22.

Bing Crosby, Hopalong Cassidy, and Ethel Merman turned Marine's Memorial Theater into a sort of horse opera house yesterday.

The occasion was Crosby’s tenth or twelfth (he wasn’t sure) recorded broadcast this year from San Francisco.

Things loped along with familiar unbuttoned ease.

Der Bingle appeared in a pale yellow silk sport shirt, gray flannels and no tie. So Bill Boyd (he’s Hopalong) gave him a fancy black gabardine riding shirt, edged with whipcord and tasseled with white felt plus pants
and a whopping cowboy hat to match.

“Boy, that’s right off the prairie,” mused Crosby. “If I ever crack that in Elko (site of the big Crosby ranch) it’ll kill ‘em. Wear it? Sure, I’ll wear anything.”

Hopalong, except for his wide brimmed white cowboy hat and riding boots, was the very model of a modern natty businessman. He wore a Navy blue suit, white shirt and a conservative tie.

Miss Merman, a well preserved well girdled eyeful, showed up late to rehearse her songs. She was poured into a black cocktail dress, with a lacy top.  One of the cast eyed her admiringly.

“She hasn’t changed in twenty years,” he whispered. “She’s great.”

For the radio show, to be aired April 12, she became “Mulehide” Merman. Bing was “Squirtalong” Crosby,

About a Hollywood report that he is to have his unruly appendix removed next week, Crosby entered a somewhat unconvincing “don’t know anything about it.”

The report came from the Groaner’s brother, Larry.

(The San Francisco Examiner, March 3, 1950)

March 3, Friday. Still in San Francisco, Bing records a Chesterfield show with Carole Richards and Lindsay Crosby for broadcast on April 19.

March 5, Sunday. Another Guest Star show #154 is broadcast. It is assumed that the songs used were taken from Bing’s Chesterfield shows.

March 6, Monday. Goes in to St. John's Hospital to prepare to have his appendix removed the next day, but changes his mind and says he will return on Thursday.

March 8, Wednesday. (6:30–7:00 p.m. Pacific) Another taped Bing Crosby Show for Chesterfield is broadcast by CBS and the guests are Gary Cooper and Gary Crosby.

March 9, Thursday. Bing fails to return to St. John's Hospital for his operation.

March 12, Sunday. Bing writes a check for $338.87 payable to Thunderbird Ranch. This is annotated "tour expense".

March 13, Monday. Bing has an operation to remove his appendix in St. John’s Hospital, Santa Monica as it had been troubling him for several years. Dr. Arnold Stevens performs the operation. Just prior to this, he had been working out with the Pittsburgh Pirates at a training session in San Bernardino.

March 15, Wednesday. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for Chesterfield is broadcast by CBS. The show has been taped and the guests are Dennis and Phillip Crosby.

March 21, Tuesday. (6:00–6:30 pm. Pacific) The Bob Hope Show with Bing as guest is broadcast on NBC. Bing sings “My Foolish Heart” and the script makes frequent mention of his recent appendectomy. Doris Day and the Les Brown Orchestra are in support. Elsewhere, the first of a series of ten half-hour movies produced especially for television by Bing Crosby Enterprises is shown. They have been filmed at the Hal Roach Studios in Hollywood and are shown under the banner of the Fireside Theater. The first film stars Irene Vernon in The Leather Heart. At the first annual awards dinner of the Academy of Radio and Television Best Arts and Sciences in New York, it is announced that Bing has won the award for top male vocalist. Dinah Shore is top female vocalist.

March 22, Wednesday. At the CBS Studios in Hollywood, Bing and Bob Hope tape the Welcome Back Baseball radio program that is broadcast on three networks for three successive days before the start of the baseball season on April 18. The show is sponsored by General Mills. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for Chesterfield is broadcast by CBS. The show has been taped and the guests are Ethel Merman and William Boyd (Hopalong Cassidy).

March 23, Thursday. In Hollywood, Bing records a Chesterfield show with the Andrews Sisters and the Firehouse Five Plus Two which airs on March 29.

March 24, Friday. (2:30–5:00 p.m.) Records “Life Is So Peculiar” and “High on the List” with the Andrews Sisters and Vic Schoen and his Orchestra in Hollywood.

 

"Life Is So Peculiar"-"High On the List" (Decca). A strong disk with Crosby and Andrews Sisters teaming up again on a couple of Van Heusen-Burke tunes from the Paramount pic, "Mr. Music." "Peculiar" is a fine bounce tune handled brightly by Crosby with the sisters lending additional color.

(Variety, August 30, 1950)

High on the List

Ballad from the coming “Mr. Music” flicker, a Crosby starrer, is done handsomely by Bing and the Andrews. Song’s values stack up for limited appeal.

Life Is So Peculiar

The philosophical rhythm tidbit from the Crosby flicker is handled with ease and beat by Bing and the sisters. It’s a good bid but it’s short of such a predecessor as “Swingin’ on a Star.”

(Billboard, September 16, 1950)

 

March 25, Saturday. Tapes a Chesterfield show with Mildred Bailey and the Firehouse Five Plus Two which is broadcast on April 12.

 

She [Mildred Bailey] seemed to improve, and soon was on her way home. In the meantime, said [Alec] Wilder, Bing Crosby had quietly picked up the mortgage on the farm, so she could live there securely, free of anxiety about money.

Back on her feet, she went to California for an April 12, 1950 appearance on Bing’s network radio show. There’s real affection in the tone of their remarks to one another, and when she sings “Georgia on My Mind,” backed by John Scott Trotter’s orchestra, the years seem to fall away. No illness, no bitterness, no heartbreak: “Bails” is home at last.

Crosby joins her for “I’ve Got the World on a String” - and Trotter’s arrangement secures the common bond between them with a richly scored quotation from Bix’s “In a Mist”. The two singers toss phrases and quips back and forth like two old pals, once again playing catch in the Rinker family back yard.

(Richard Sudhalter, Lost Chords - White Musicians and their contribution to Jazz, page 704)

 

March 27, Monday. Bing has become involved in a charitable enterprise to raise funds for the American Printing House for the Blind and he signs a number of letters to prospective donors. He also writes to entertainer Will Oakland.

Dear Will

Many thanks for the opportunity to hear the interesting record. You really have quite a range.

My radio show is reaching the vacation period, and I am you going tourist until next September.

I believe the folks would be most interested in “seeing” as well as “hearing” you, and note the top television shows have used many old-time stars to good advantage. Suggest you contact Berle and Sullivan.

Best wishes, Bing

March (undated). Attends his bon voyage party in Hollywood, which Dixie avoids, before leaving for the east coast and subsequently, Europe.

March 29, Wednesday. Bing is in Chicago and attends the convention of the National Association of Tobacco Distributors. (9:15-10:30 a.m.) Makes an appearance on Arthur Godfrey's radio show on CBS and sings "I Said My Pajamas (And Put On My Pray'rs)" with Godfrey and Janette Davis. Later, (8:30-9:30 p.m.) records his Chesterfield show in the Civic Opera House with guests Perry Como and Arthur Godfrey before an audience of 3700. The show is broadcast on April 5. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for Chesterfield is broadcast by CBS. The show has been taped and the guests are the Firehouse Five Plus Two and the Andrews Sisters.

Arthur Godfrey, Perry Como and Bing Crosby are in town today to help perk up the National Association of Tobacco Dealers’ convention. Among radio’s most successful and highly paid cigaret pluggers, the trio will record Crosby’s radio show tonight in the Civic Opera House for broadcast next Wednesday at 9:00 p.m. on WBBM. Perish any notion you may have about seeing the broadcast, gentle fan. All the 3,700 tickets are going to conventioneers. Magnanimous special dispensation was granted the press, however. One ticket was delivered to each newspaper by armored car.

(Chicago Tribune, March 29, 1950)

March 31, Friday. (8:55 a.m.) Arrives at Union Station, Washington DC, where he is met by State Senator Raymond Guest. Bing is interviewed for the "People in Town" program on WTOP before being driven to Front Royal, Virginia. (1:15–2:00 p.m.) Bing and Vice President Alben W. Barkley are interviewed on the New York-based Nancy Craig radio program on station WJZ (an ABC station) from the home of Raymond Guest in Front Royal.  Bing goes on to a buffet supper at the Royal Hotel.

April 1, Saturday. Spends the day in Front Royal, Warren County, Virginia, celebrating “Bing Crosby Day.” Starting at 11 a.m., he leads a two hour parade through the streets in front of a crowd of 20,000 to Recreation Park for the dedication of the baseball stadium. The ceremony ends with Bing speaking briefly and leading the audience in singing “America.” During the day, Bing is made an Honorary Colonel by Randolph-Macon Academy and presented with a scabbard and sword by the cadets. He also presents the prize at a cake contest. Later, Bing appears at a special matinee for the film Riding High where he presents a short informal program to an audience of 500 youngsters. At 6:30 p.m., he takes part in the Harry Wismer network sports radio program on ABC. After attending a dinner at Senator Guest’s farm at Bayard, he goes to the Park Theater for the official world premiere of Riding High at 8:30 p.m. where he entertains the audience with several songs.

 

Combining old favorites with new and interspersing them with his inimitable humor and friendly patter, Mr. Crosby presented a program which will be long remembered. . . . He captivated his audience with his genuine friendliness and informality and brought down the house with his allusion to Front Royal when he sang, “I feel like I’m on my own home soil, when I’m down in old Front Roy’l” in his own version of “Dear Hearts and Gentle People.”

(Warren Sentinel, April 6, 1950)

 

During his appearance at the Park Theater, Bing writes out a personal check for $3,595 to bring the gross receipts of the day to $15,000. Bing goes on to a barn dance at Warren County High School where he takes part in the Rayburn and Finch “Night Shift” radio program on ABC between 9:00 and 10:00 p.m. He then attends a square dance at the TWEUA hall. The Paramount newsreel of April 22 includes film of the day’s proceedings.

 

“BINGSDAY” — A GREAT JOB OF PUBLIC RELATIONS

Saturday, April 1, will never be forgotten by Front Royal, a peaceful little Virginia town of some nine thousand inhabitants, where Bing Crosby’s newest Paramount picture, “Riding High,” had its world premiere at the Park Theatre, a benefit showing climaxing a day of festivities that marked the dedication of a new Front Royal athletic field on which is to be built the “Bing Crosby Stadium.”

The dedication and premiere were planned by the State of Virginia and the people of Front Royal in connection with their official designation of April 1 as “Bingsday,” in honor of Crosby not only for his work on the screen and the radio but also for his various humanitarian activities.

From 5 A.M. Saturday morning until well after midnight a holiday atmosphere pervaded the town as more than twenty-five thousand people, drawn from the surrounding rural areas, poured into the community to pay homage to Crosby, whose appearance in person was the cause of the excitement.

The celebration started with a massive parade that was made up of some one hundred and fifty separate units, featuring high school bands, floats of fraternal, veterans and commercial organizations, the fire departments of many towns, and hundreds of school children, each carrying home-made signs hailing and welcoming Crosby.

The center of attraction, of course, was Bing himself, who brought up the rear of the parade perched on top of a fire department jeep.

The terminal point of the parade was the athletic field, where the townspeople, whose hearts Bing had captured with his easy-going, casual manner, gave him a standing ovation so filled with sincerity that it brought a lump to one’s throat. Then they outdid themselves presenting him with a gigantic key to the city and numerous gifts.

After receiving tributes from local and visiting dignitaries, Bing rushed to the Park Theatre where, prior to a special free showing of the picture for children only, he held the stage alone for a full hour entertaining them with gags and songs. It was here that Bing showed that he has a heart as big as they come, for, when he learned that approximately one hundred children had been unable to squeeze into the theatre, he insisted that the only other theatre in town be opened to accommodate them, and then repeated his entire show for them, omitting nothing.

The next stop for Bing was the Warren County High School, where he awarded prizes in a cake-baking contest, thrilling the seventy-five women participants no end as he sampled each cake and complimented them on their culinary skill.

The premiere in the evening was a gala affair. Brilliant searchlights illuminated the sky in the best Hollywood tradition, and adding to the excitement was the arrival at the theatre of such notables as Vice President Barkley and his charming wife, the Governors of Virginia and West Virginia, Senators Harry F. Byrd and A. Willis Robertson, Secretary of the Army Gray, and a host of other important people, who were greeted with sustained ovations by the huge crowds.

In the theatre, Bing, for the third time that day, put on his one-man show of songs and quips, which loudspeakers carried to the throngs outside. Here again Bing showed the stuff he is made of, for at the end of his stint, when it was announced that $11,400 had been realized for the youth fund from the premiere and the day’s different events, he modestly added his own contribution of $3,600 to make it an even $15,000.

He then rushed to a ‘teenagers’ dance at the local high school, where he put on a show for the youngsters and danced with several of the girls.

For his final appearance of the night, he went to a square dance sponsored by the Textile Workers Union, and here again he put on a complete show.

As anyone can judge from a reading of this account, Bing Crosby’s schedule for the day was a back-breaking one, but he entered into the spirit of the day with genuine enthusiasm and sincerity, obviously enjoying every minute of it. He outdid himself in every respect. When the crowd shouted, “Sing, Bing!” he grinned back and said: “I’ll sing until you’re unconscious.” And the crowd loved him for it. Even the more than fifty hardened representatives of the press and radio, who covered the proceedings, were impressed deeply by the way he gave of himself.

“Bingsday” received nation-wide publicity through the press and radio, and from the angle of showmanship it is a great send-off for “Riding High.” But even more important is the fact that what took place at Front Royal stands out as one of the finest examples of good public relations for the motion picture industry. When a company like Paramount sets the world premiere of one of its most important pictures in a small community many people never heard of, and when a star of the caliber of Bing Crosby goes to such a community to participate in the festivities and to help raise funds for the benefit of the local youngsters, it is a public relations job of the first order, one that should do much to take away the bad taste left by the behavior of such personalities as Ingrid Bergman and Rita Hayworth, and by the ravings and rantings of Senator Edwin C. Johnston.

Max E. Youngstein, Paramount’s publicity chief, Jerry Pickman, his aide, and all the others on his alert publicity staff, deserve great credit for their expert handling of this event.

Above all, however, everyone in the motion picture industry may well be proud of Bing Crosby.

(Harrison’s Reports, April 8, 1950)

 

April 2, Sunday. Bing arrives in New York.

April 4, Tuesday. At the CBS Radio Theatre No. 2 on West 45th. St. in New York, Bing records a Chesterfield show with Beatrice Lillie for broadcast on April 26.

April 5, Wednesday. Goes to the racing at the Jamaica racetrack in Queens.  (4:30-4.45 p.m.) At some stage, Bing had been interviewed by Rupert Lucas about a recent trip to Canada and about USA / Canada relations and trade. The interview is inserted into a government sponsored broadcast called "Gisele of Canada" featuring Gisele MacKenzie which is aired on this day. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for Chesterfield is broadcast by CBS. The show has been taped in Chicago and the guests are Arthur Godfrey and Perry Como.

If you’ve been having trouble deciding who’s your favorite crooner you’ll have a chance to compare the qualities of three of them when Bing Crosby welcomes both Perry Como and Arthur Godfrey to his 9:30 show tonight via CBS-WGBS. Chicago’s Civic Opera House is the setting for this special session arranged in connection with the tobacco distributors’ annual convention….The three will team for “Dear Old Girl” - and watch for the harmony on that one! For extra measure they'll do a family skit with Como as a six-year old, Crosby as his father and Godfrey as his mother - of all things.

(Marion Aitchison, The Miami Herald, 5th April, 1950)

April 8, Saturday. Starting at 10:00 a.m., Bing in New York, records “The Dixieland Band” and “Jamboree Jones” again with Bob Haggart and his Orchestra and the Tattlers. Also records “I Didn’t Slip, I Wasn’t Pushed, I Fell” and “So Tall a Tree” with Sy Oliver and his Orchestra and the Aristokats. “I Didn’t Slip” briefly charts in the No. 22 spot.

 

“I Didn’t Slip, I Wasn’t Pushed, I Fell” is a cute rhythm number while “So Tall a Tree” has a good idea which is not fully developed.

(Variety, May 3, 1950)

 

I Didn’t Slip, I Wasn’t Pushed, I Fell

Bing, with neat Sy Oliver orking, projects in his inimitable way on this catchy novelty already under way via Doris Day’s Columbia etching.

(Billboard, June 24, 1950)

 

Jamboree Jones

Wonderfully gay and light-hearted Crosby effort on this collegiate paean of Johnny Mercer’s with superb support from The Tattlers and the Haggart orking.

The Dixieland Band

Another easy-flowing, happy rhythm novelty slicing which falls into the two-beat revival trend. Der Bingle delivers a completely relaxed job to an excellent Haggart backing.

(Billboard, May 13, 1950)

 

April 9, Sunday. (9:00–10:00 p.m.) Bing takes part in The Triumphant Hour, a transcribed radio show broadcast by Mutual, together with Ann Blyth, Mona Freeman, Jimmy Durante, and many others. Bing sings "O Sanctissima". Bing’s film Riding High is previewed at the New York Paramount prior to the film’s formal opening the next day.

April 10, Monday. Records three Chesterfield shows at the CBS Radio Theatre No. 2 in New York with Ella Fitzgerald, Al Jolson and Fred Allen which air May 3, May 17 and May 24. During his eleven-day stay in New York, he tapes five Chesterfield shows in all and also twenty of the fifteen-minute shows for Minute Maid. Later, Bing attends the New York premiere of the film Riding High with Bill Morrow. During its initial release period in the USA, the film takes $2.35 million in rentals.

 

Inspiration is something which strikes rarely in Hollywood—and when it does, it is usually tagged “genius,” out of customary deference to restraint. But whatever you want to call it, it is certainly what hit Frank Capra hard when he thought of recruiting Bing Crosby to play a remake of the oldie, “Broadway Bill.” And it is surely what stuck with Mr. Capra—and rubbed off on Mr. Crosby, too—all through the redoing of that classic into the current “Riding High.” For this Capra-Crosby project, which came to the Paramount yesterday, is a genial and jovial entertainment that ties the original.

Indeed, with respect and affection for the sixteen-year-old “Broadway Bill,” we might even stretch an estimation and say that “Riding High” beats it by a nose—or rather, by Mr. Crosby’s casual and gay personality, which leaps to the front at the barrier and paces the picture all the way. As Dan Brooks, the vagrant horse-trainer whose loyal attachment to a nag inspires him to ditch a millionairess and follow the fortunes of his one-horse racing barn, the old “Bingle” is playing a character that fits him like a glove. Mr. Crosby has not been so fortunate in a role since “Going My Way.”

And the striking thing is that the screen play which Robert Riskin originally wrote from a tangy Mark Hellinger fable has not been perceptibly changed to fit Mr. Crosby’s personality or his natural disposition to star. Except for some clever new dialogue by Melville Shavelson and Jack Rose, it is the same yarn exactly that Warner Baxter and Myrna Loy originally played. And Bing, even limiting his singing to three or four lightly tossed off songs, takes his place like a fair and seasoned trouper in line with a briskly clamoring cast.

As a matter of fact, the warm vitality which Mr. Capra has got into this film derives as much from the others—or almost as much as it does from Bing. For the story is equally compounded, as many remember well, from the rabble of race-track flimflammers and irrepressible hangers-on with whom Dan Brooks comes into contact. And these have their places in the sun. Indeed, Mr. Capra has measured the quantities in the film so well that he has carefully employed a large number of the actors in the original cast.

Raymond Walburn is back, for instance, as the high-binding Colonel Pettigrew (here titled “ex-Professor”) whose pursuits of the elusive buck are quite as vain, though a great deal more elaborate and ostentatious, as those of Dan. And Clarence Muse, who played the stableboy and loyal flunky to Mr. Baxter years ago, is repeating that very important and thoroughly ingratiating role. William Demarest, substituting for the late Lynne Overman, is giving a varsity performance as a horse-park dyspeptic, too—and joins with Mr. Walburn and Mr. Crosby in one of the funniest scenes in the show. To attempt so much as an outline would be to take the spirit out of it.

From the original cast, too, are Douglas Dumbrille as a big-time betting syndicalist, Ward Bond as a henchman, Frankie Darro as a crooked jockey and Paul Harvey as a wealthy racing man. Coleen Gray is entirely captivating as the starry-eyed runner after Dan, and Frances Gifford is prettily haughty as the girl whom he gives the air. Several others deserve more than mention—Charles Bickford as a stuffy tycoon, Oliver Hardy in a bit as a fat horse-player and Jimmy Gleason as a track secretary—but that must do.

The final word goes to “Der Bingle,” whose lovable way with a horse—as well as with music and people—gives that quality of richness to this film that makes it not only amusing but deeply ingratiating, too. Such songs as his gay “The Horse Told Me” or “Let’s Bake a Sunshine Cake” fit in thoroughly with his character as a free-wheeling vagabond. Even though light and familiar, sentimental and even absurd, “Riding High” is his feedbox full of barley. Bing has a stakes winner in Broadway Bill.

(Bosley Crowther, New York Times, April 11, 1950)

 

Big yen by the Hollywood film factories recently for remaking past hits is bound to get another hypo when this one gets around. Frank Capra has taken Mark Hellinger’s yarn, “Broadway Bill,” which he produced and directed for Columbia in 1934, and turned it into one of the best Bing Crosby starrers that’s come along for a considerable time.

      …This time he has even more to work with, however, for the role of the guy who must choose between the gal he’s engaged to and the racehorse he loves, is just tailored for Crosby. Add to that a flock of top tunes supplied for The Groaner by Johnny Burke and Jimmy Van Heusen and the top b.o. potential is evident.

      Racetrack pix have been traditionally tough to sell because they seem to lack femme appeal. That’s certainly not the story with this entry, however, for while a large part of the action takes place around a gee-gee oval, the combo of Hellinger and Capra has imbued the yarn with such humor, good-natured pathos and real heart that the track angle is strictly incidental to the bigger human angles involved.

(Variety, January 11, 1950)

 

Just when folk were wondering when Bing Crosby’s lean season was due to end along comes Frank Capra with a tailor-made story worthy of Bing’s considerable talents. Here he is all set to marry Frances Gifford and continue the management of a factory for his wealthy and crusty father-in-law-to-be until he realizes that as the owner of a handsome colt of classic pretensions he just can’t forgo his liking for the excitements of the turf. . . . Full of high spirits, as fresh as a newly-cut sward, and deliciously humorous, this is without question the best Crosby film for years.

(Photoplay, April, 1950)

 

Riding High, Bing Crosby’s new Paramount movie, is, as someone has wisely analyzed it, a Frank Capra film not a Bing Crosby picture. A remake of Broadway Bill, it is concerned largely with horses and humor, both Crosby specialties, but only incidentally with music, with which Bing also has some small connection. At the outset it seems safe to sigh with relief that Bing is once again today’s Bing, after watching him struggle with the Irish in Top 0’ the Morning, with Mark Twain in Connecticut Yankee, and with Austria in The Emperor Waltz. As time goes on—and it goes on for a lengthy and wordy one hour and fifty-two minutes—there’s less and less of the Crosby personality and more and more of the Capra hokum. Three of the four new songs by Burke and Van Heusen are fluffed off casually, especially a pretty ballad called Sure Thing; the fourth, the usual Pollyanna job called Sunshine Cake in this instance, starts out a gay pot-and-pan production involving Bing and heroine Coleen Gray but drags on much too long. Coleen is cute; Raymond Walburn, William Demarest and Jimmy Gleason are funny; Bing is charming; but long before the tearful climax you’ll long to call ‘time.’ —B. H.

(Metronome, March 1950)

 

A musical remake by Frank Capra of his 1934 movie Broadway Bill. Capra kept very close to the original Robert Riskin screenplay of Mark Hellinger’s racehorse story, even reusing a few of the old long shots, while adding some new dialogue by Melville Shavelson and Jack Rose, and songs by Johnny Burke and Jimmy Van Heusen (“Sunshine Cake” scored most strongly) for Bing Crosby. The latter was more easygoing and enjoyable than Bill’s Warner Baxter as the business man with greater interest in raising horses than making money; he did both with a no-hoper which finally repaid his devotion by winning the big race, but died in the attempt. . . . It was, despite a descent into sentimental glop during the horse’s funeral, pleasing entertainment with double box-office insurance in Crosby and Capra, one of the handful of director’s names that meant something to the crowds.

(The Paramount Story, page 196)

 

April 11, Tuesday. Records “Accidents Will Happen” and “Milady” with Dorothy Kirsten and Jay Blackton and his Orchestra in New York.

April 12, Wednesday. The 1950 Census had begun on April 1st and the official responsible for the Crosby home area started work on April 12. Bing and Dixie and the four sons plus the chauffeur Frank Gildiam are all listed as being at Living Unit 326 at the Los Angeles Country Club. The address was no doubt used for security purposes rather than the Crosby home at 594 South Mapleton Drive. Bing's age is correctly given as 49.

Maenwhile in New York, Bing records “Home Cookin’” with Perry Botkin’s String Band and the Jud Conlon Rhythmaires.

 

“Home Cookin’” from the Paramount pic Fancy Pants has a light bounce that Crosby rides to a big potential. (Variety, May 3, 1950)

 

HOME COOKIN’ Bing Crosby, Decca 1042 Tune, refreshing homespun fare cleffed by the Livingston-Evans team for Bob Hope’s “Fancy Pants” flick, has the flavor of their “Buttons and Bows”. Crosby is at his light and lilting best, zestfully abetted by Jud Conlon’s Rhythmaires and the Perry Botkin combo.

(Billboard, May 27, 1950)

 

(6:30–7:00 p.m. Pacific) The Bing Crosby Show for Chesterfield is broadcast by CBS. The show has been taped and the guests are the Firehouse Five Plus Two and Mildred Bailey.

April 13, Thursday. At the CBS Radio Theatre No. 2 on West 45th. St. in New York, Bing records a Chesterfield show with Mary Martin for broadcast on May 10. (10:00-10:30 p.m.) Has a guest spot on Perry Como’s radio show The Supper Club for NBC. Douglas Fairbanks Jr. and the Fontane Sisters are also on the show. Bing is entertained at the Stork Club by the president of Paramount Pictures. Others present are Dorothy Kirsten, Ethel Merman, Gloria Swanson and Herb Polesie.

“A foul ball makes good” is the fascinating title of the skit to be aired tonight at 10 over WBEN by Perry Como and Douglas Fairbanks Jr. as a salute to the opening of the 1950 baseball season. An added guest is that of ol’ left-fielder, Bing Crosby, who will kibitz as the other two present their dramatic talents, Doug will play the role of a team psychiatrist working on “Yogi Como”, a rookie trying out for the team.

(Jim Tranter, Buffalo Evening News, April 13, 1950)

April 14, Friday. Bing writes to accept honorary membership on the Board of Directors of the Little League Baseball Unit. Leaves New York shortly after midnight on the liner “Queen Elizabeth” for France with Bill Morrow, George Coleman, John Mullin, and Morrow’s secretary. Prior to departure, Bing is quoted as saying that his wife, Dixie, was a “little mad” because he had left her at home.

April 15, Saturday. Bing, Bob Hope, and Dorothy Lamour star in a 30-minute radio program on CBS and other networks titled Welcome Back Baseball with Pittsburgh Pirates baseball player Ralph Kiner. The program is broadcast on three networks for three successive days before the start of the baseball season on April 18. The show had been recorded on March 22 in Hollywood, not long after Bing’s appendix operation, and is sponsored by Wheaties (General Mills).

Bing Crosby and Bob Hope will “bid” for Ralph Kiner on the “Welcome Back, Baseball” show at 10 p.m. over KNX and tomorrow at 8:30 p.m. over KFI. The Pittsburgh slugger will be present to speak for himself. These stockholder in the Pirates and the Indians before or after their act, will sing “If I Knew You Were Coming I’d Have Baked a Cake,” not the printed version. Dorothy Lamour will join them in “Have I Told You Lately That I Love You?”  Ken Carpenter, Jud Conlon and the Rhythmaires and John Scott Trotter’s orchestra will also be on this sponsored show written and produced by Bill Morrow and Murdo MacKenzie.

(Zuma Palmer, Los Angeles Evening Citizen News, April 15, 1950)

April 19, Wednesday. The Queen Elizabeth docks at Cherbourg, France. Bing has an extended visit to Paris, staying first at the Hotel Ritz and then at the Hotel Lancaster before renting a flat. He and Bill Morrow go to Brussels in Belgium during their time in Europe and stay at the Plaza Hotel. Bing is also understood to have visited Rome. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for Chesterfield is broadcast by CBS. The show has been taped and the guests are Carole Richards and Lindsay Crosby.

April 20, Thursday. (7:30-8.00 p.m.) A transcribed radio program called the Catholic Charities Show is broadcast in New York featuring Bing, Bob Hope, Ann Blyth, Fred Allen, and Jimmy Durante.

April 22, Saturday. (5:30-5.45 p.m.) A transcribed radio program featuring Radie Harris interviewing Bing is broadcast over the Mutual network. Meanwhile in Paris, Bing walks along the Champs Elysees and decides to stretch out on the grass with a newspaper under his head. Three gendarmes are said to disturb him and they only let Bing go when he purports to be an American policeman on holiday and shows them a medal from the Professional Golfers Association which they take to be a police badge. The police commissioner for the district is skeptical about the story and suggests that the gendarmes must have been impostors.

April 23, Sunday. Bing is at the Ritz hotel and he is shadowed by a British Daily Express reporter for the day who duly reports what happens.

‘Boy, Am I Having Fun!’ Says Crosby The Golfer

From R. M. MacColl: Paris, Sunday.

A lean sunburnt arm stretched out towards the bedside telephone in suite 132 of the Ritz Hotel a few minutes after nine o'clock yesterday morning. The melodious voice of Bing Crosby uttered two words which he regarded as highly important - “Breakfast, please.”

“With me,” explained Crosby, “breakfast is a serious matter.” When breakfast was trundled in by two smiling waiters you could see what he meant.

First there was orange juice, made from frozen concentrate of Florida oranges. Crosby brought along a big supply from the United States. Next came a big plate of porridge. Then a dish of ham, several fried eggs, and a heap of fried potatoes. Several croissants—dainty French rolls rich in butter—filled in the gaps. The whole was irrigated with coffee.

Crosby smiled happily. “I know what you are thinking,” he said. “But as it happens my weight stays almost exactly constant—around 175lb.” (l2st. 7Ib.)

He was wearing a “sunburst” pattern suit of pyjamas. He ambled into the dressing-room. Later he reappeared in a smart blue suit, tan silk shirt, and a grey and blue tie. He gave a burst of happy whistling.

“Now I must write some letters,” he said. He sat down at a desk and started writing with a ball-point pen. He wrote quickly.

“You know, a fellow with my size family has his letter-writing problems,” said Crosby. “There are mother and father, five brothers, two sisters, and my wife and four sons.”

He went on writing. Then… “Now let's have a look at the news.” He stared at a couple of French newspapers.

“This is a little hard to figure out,” he murmured. .. But I aim to learn quite a bit of French while I am here.” He glanced at a portable, self-change gramophone.

“Hey,” he said enthusiastically, “I've got a whole lot of the latest American jazz records. I aim to give them away to the kids in London as I hear American jazz is pretty popular in England right now.”

He donned a camel-hair coat and grey trilby. Then he set out, sauntering through the spring sunshine in the Place Vendome. There was another burst of whistling. He went to a shirt-makers. Afterwards he met his friend George Coleman, who travelled with him from America.

“This fellow is a real serious golfer,” said Crosby. And he added: “I'll get a terrific kick out of playing in the British Amateur Championship. It’s my cherished desire, but it’s a big privilege that they are letting me do it. But I’ve got no illusions—it’ll be one-round Crosby.”

He· went to lunch in a famous restaurant on the Left Bank. He ordered a ham sandwich, a cup of weak tea, and an eclair. The serious business of the day followed—golf practice.

“I never practise singing. But I mean to practise golf at least two hours a day up to the time of that British Amateur.” said Crosby.

He changed into tan, yellow, and brown golfing clothes. Then off in a car to the St. Cloud course. Practice over, he went back to the Ritz to change his clothes. Five invitations to cocktail parties awaited him. He accepted one in the Auteuil district. He went to it in the car. Crosby whispered something to the waiter, who went out and returned with a glass of Scotch whisky and plain water.

“Best cocktail in the world, Scotch and water,” said Crosby. Later came dinner with five friends at Maxims. His meal consisted of lobster cocktail, veal and kidneys, asparagus, rolls and butter, and a raspberry ice.

At 11.30 he and his party went to a nightspot to hear a singing and miming act. Crosby loved it. The customers loved Crosby. Champagne—at £2 a bottle—was ordered for Crosby's friends, but Bing stuck to whisky.

One o'clock came and Crosby headed back to his hotel.

“I shall read a bit before I hit the hay—a chapter or so of a thriller. Boy, am I having fun,” he said.

(R. M. MacColl, Daily Express, April 24, 1950)

April 25, Tuesday. Bing golfs at St. Cloud, near Paris with his friend George Coleman.

April 26, Wednesday. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for Chesterfield is broadcast by CBS. The show has been taped in New York (as have the next four shows) and the guest is Beatrice Lillie.

May 3, Wednesday. (6:30–7:00 p.m. Pacific) Another taped Bing Crosby Show for Chesterfield is broadcast by CBS and Bing’s guests are Ella Fitzgerald and Al Jolson.

     May 4, Thursday. Bing is guest of honor at a luncheon at the American Club. He is photographed with Brigadier-General Joseph James O’Hare, while leaving the Cercle interallié.

    May 7, Sunday. Bing at Longchamps Racecourse, Paris, with a young singer named Marilyn Gerson and the Count and Countess of Segonzac. That evening Bing is seen at Maxim’s dancing with fashion stylist Ghislaine de Polignac.

May 8, Monday. In Hollywood, attorney John O’Melveny and Bing’s brother Larry admit publicly that Bing’s marriage is “strained.” Bing is still in Paris.

May 9, Tuesday. Bing denies that there are any problems with the marriage and Dixie, still in Los Angeles, confirms this.

May 10, Wednesday. Bing dines at Maxim's with the writer, Viola Ilma.  (6:30–7:00 p.m. Pacific) The Bing Crosby Show for Chesterfield is broadcast by CBS. The show has been taped and the guest is Mary Martin.

May 11, Thursday. The Security-First National Bank of Los Angeles files suit against Bing Crosby Productions Inc. and others asking for foreclosure to satisfy an unpaid loan on the film Abie’s Irish Rose. The original production loan was $370,000 and the unpaid balance is $150,615, which was due to have been paid on December 1, 1949.

May 13, Saturday. Press reports state that Bing has been backstage at the Folies Bergère to tape some radio shows. He is said to have made twenty-one recordings so far in places such as golf courses and racetracks. During his time in Paris, he is reported to have been to see Edith Piaf sing and visited Notre Dame, the Louvre, and been up the Eiffel Tower.

…Monsieur Vaudable gave a big party for Bingo at Maxims. Later, the groaner and some of the guests went on to Carrers, where he gave an impromptu song program. Carrers night club was made fashionable when Princess Elizabeth and the Duke of Edinburgh visited there and it’s one of the really chic Parisian spots.

(Louella O. Parsons, The San Francisco Examiner, May 17, 1950)

Bing Crosby and Bill Morrow were the weekend guests of Lady Mendl who, by the way, is getting better every day. They were also in a party at the Tour d’Argent where Merle Oberon, who is completely herself again, was dining. Bing spoke to Merle, sat at her table and she told him she was feeling more like herself. So fascinated is Bing with Paris that he and Bill have rented a house. It’s lovely in summer, especially in Versailles, Saint-Cloud and Fontainebleau.  Lady Mendle’s house is in Versailles, a delightful suburb.  I imagine, however, Bing and Bill will have taken one of those old but charming houses right in Paris for the rest of their stay. Meanwhile, Bing has taken a flyer to Scotland, where he will play a little golf before returning to Paris.

(Louella O. Parsons, The San Francisco Examiner, May 22, 1950)

...Bill Morrow and Bing Crosby were entertained by Rita Hayworth and Ali Khan in Paris, and they report that Rita looked very happy.

(Louella O. Parsons, The San Francisco Examiner, June 21, 1950)

May 15, Monday. (10:30-11.00 p.m.) Is heard in the Treasury Bond Show broadcast on all networks.

Bing Crosby scored handily in a taped warbling of “Dear Hearts and Gentle People.” Selection was good in that it pointed up the friendly quality of Americans.

(Variety, May 17, 1950)

May 17, Wednesday. Variety reports that Bing recently met Hildegarde at a cocktail party at the American Embassy. In addition, he is said to be giving a little time to an ECA short on Paris being filmed by Gilbert Comte. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for Chesterfield is broadcast by CBS. The show has been taped and the guest is Fred Allen.

May 20, Saturday. Bing arrives in Dover, England, from Calais, aboard the steamer Invicta and is driven to London. Goes on by train to Edinburgh.

May 21, Sunday. At about 7:30 a.m., calls in at the North British Railway Hotel in Edinburgh for breakfast. Leaves at 9:55 a.m. to go to the morning service at St. Mary's Cathedral before motoring to St. Andrews. Plays golf in the afternoon on the Eden course at St. Andrews with two French entrants for the British Amateur Golf championship, before meeting his opponent for the next day, James K. (“J. K.”) Wilson, local golfer, at J. McAndrews Golf School at 7:00 p.m. where photographs are taken. A crowd of several hundred follows him during his round of golf.

 

Two thousand film fans mobbed Bing Crosby when he played a practice round for the British Open golf championship on St. Andrew’s Eden course yesterday. He came by taxi from Edinburgh, and when he went out for his game he had to plead for elbow room on the first green.

Bing was clad in two pairs of trousers - one gabardine and one cotton - crocodile shoes, and knitted tam-o-shanter, which he explained, was the nearest thing he had to a Scottish bonnet, and which had been given to him by an Indian tribe at Vancouver. The first ball Bing drove was ‘souvenired’ by the crowd, and his second was trodden on. After he managed to drive off a police car attempted to control the crowd, but girls jostled each other to walk alongside Bing between shots. Continually hemmed in and scarcely able to move, Bing remained good-natured, chatting and wisecracking with the youngsters. One girl posed with Bing’s arm around her while her boyfriend took a picture. He maintained an atmosphere of gaiety throughout the 18-hole practice, and did a high step-dance before playing his last shot, which laid the ball three yards from the pin, for a hole-out in three.

Bobby-soxers clamoured for autographs and a song, and, to the horror of hardy Scots green keepers, scrambled through bunkers and over greens in an attempt to get close enough to touch Bing.

Crosby’s more ardent followers surrounded him between shots and tried to link arms with him. Bing’s score, in his own words, was “about 100.” Commenting on his admirers, Crosby said: “I don’t mind crowds - if only they wouldn’t lay on me.”

He said he had no illusions about winning - “by tomorrow night I’ll be known as ‘one-round Crosby’” - and that he had made provisional plans to return to the Continent on Monday if beaten. Crosby’s first round opponent is a St. Andrew’s stonemason, J. K. Wilson

(Unidentified paper, May 22, 1950)

 

May 22, Monday. Starting at 9:55 a.m., Bing plays in the British Amateur Open Golf Tournament on the Old Course at St. Andrews in front of a crowd of 3,000. He is eliminated in the first round, losing three and two to Scotsman “J. K.” Wilson. The proceedings are captured by newsreel cameras with Pathe showing the footage in their edition of May 25 in the UK and Paramount in the USA including it in theirs of June 17. After the match, Bing travels to the Gleneagles Hotel and, after dinner, boards the London train.

 

...Crosby’s gallery, which included many women, today braved misty rain and cold for hours to watch him hit off. Crosby drew most of the crowd, although the field included many noted players. He had a minor rival for the crowd in the British radio singer Donald Peers. More than 50 newspaper and newsreel cameramen photographed Bing and Wilson as they started on the first tee today.

      Bing was dressed in a tattered red jumper, with polo-necked yellow sweater, light trousers, and checked cap. He had birdies at the first three holes, and then took a six at each of the next two holes to be two up. Near the second tee he was sitting at the bridge crossing the famous Swilkin Burn waiting to hit off when another player’s ball whizzed past his shoulder. Bing jumped to his feet, waved in mock anger, and then said: “that nearly ended St. Andrews for me.”

      At the fourth he hit his third shot towards the wrong green, and Wilson apologised to him for not indicating the right direction. Wilson then squared, led at the 11th, and made it two up at the 13th hole. He missed at the 14th, but went to two up again at the 15th hole. The match ended at the 16th hole in pouring rain.

(Daily Telegraph, May 23, 1950)

 

The news that he would be appearing in the championship sent a wave of excitement through Scotland, a land in which he was a great favorite, and the morning that he teed off on his opening round, against J. K. Wilson, a carpenter from St. Andrews, dozens of buses and numberless private cars converged on that speck of eastern Fife, and approximately twenty thousand fans were soon packed along the borders of the course. Crosby did not let them down: He birdied two of the first three holes. I saw only the first birdie, and it was a beauty. . . . He eventually lost the match, 3 and 2, but I have an idea that he did not want to create such a crowd scene again—he hadn’t expected anything like it—and intentionally let a few holes slip away as the round wore on.

      I think I will always remember how well Crosby played the first hole of that championship—particularly that classic approach shot. It was a remarkable exhibition under the circumstances, but this was a rather remarkable man—a very nice man who gravitated to high standards and who kept on growing all his life.

(Herbert Warren Wind, writing in The New Yorker, May 8, 1978)

 

May 24, Wednesday. Gives an “extempore performance” at the Dorchester at the Daily Mail National Film Awards supper party which starts at 9:45 p.m..

 

Bing Crosby, in grey flannel trousers and a blue sweater, with a green monogram over the left breast-pocket, walked into the Dorchester last night to seek his “celibate couch.” He passed unrecognised through the swing doors, saw a “white tie” audience, and asked “What’s cooking?” He was told it was the Daily Mail film award party. He was brought in by Lady Rothermere and “Silver Star” winner Jean Simmons—and introduced by Leslie Mitchell—took the party by storm. “Without his hair”—as he said—Bing began to sing. He sang “Music, Music, Music.” Then a song whose words he did not know. His audience cheered. Said a hard-bitten critic: “Now let anybody try to follow that.” Said the publicity director of an Anglo-American film corporation behind his hand: “Boy, Bing would never have done a thing like this in Hollywood.”

(Daily Mail, May 25, 1950)

 

His performance leads the controller of BBC Television to write to Bing asking if he will appear on British television but nothing comes of the invitation.  Bing also declines an invitation to take part in the BBC radio program In Town Tonight. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for Chesterfield is broadcast by CBS. The show mainly consists of excerpts from earlier programs and the guests heard are Perry Como, Arthur Godfrey, and Bob Hope. This is the final show of the series. It is announced in the press that Dixie will appear on Bing’s radio show to offset the rumors about their marriage. She eventually appears on the 1950 Christmas show.

May (undated). Bing sails back to Europe on the SS Royal Albert which docks at Brussels in Belgium. On board, he meets the Glasgow Celtic football team and shares a beer with them before giving his rendition of “I Belong to Glasgow.”

May 27, Saturday. Bing and Bill Morrow tape a Minute Maid show in Belgium.

May 29, Monday. (8:45 - 9:15 p.m.) The BBC broadcast a special program introduced by Bing on their Light Programme that features his records. He accepts a nominal fee of five guineas.

June 9, Friday. Boards the Queen Elizabeth liner at Cherbourg for the return trip to U.S.A. En route, sings “Play a Simple Melody” with Irving Berlin at a cocktail party with the captain.

 

It was a day I would never forget. The phone rang and I grabbed the receiver and the appointment book. I instantly recognized the distinctive husky voice of Bing Crosby at the other end. He asked for a steam bath and massage. Could we fit him in? We would have moved heaven and earth to fit him in! Rather stupidly I asked who was calling. “Bing Crosby here,” came back the reply. He then said that he would like a bath and massage with no other passengers around and that he would like to stay for several hours. Now that really was a problem. He wanted to come in the late afternoon so we made a few telephone calls to change some booked appointments, which wasn’t easy.

Bing was due to arrive at 4.30. Can you imagine the excitement! I was about to meet the man who had been my favorite singer for more than thirty years. I had avidly collected his records and been to see almost every film. I hovered around the entrance until he arrived. I had carried a picture of him in my mind since before I went to sea in 1934 and I was surprised to find that he wasn’t very tall.

“What’s the procedure, boy?” he drawled in his deep husky voice.

I ushered him to a cubicle at the far end of the bath, took his dressing gown and handed him a towel. As I led him through to the Turkish bath he noticed our beer on the telephone table.

“Is that part of the treatment down here?” He asked.

“We get very dry in here and we find beer more suitable than the water we give our passengers but you can have one if you like.”

“OK, it’s my shout,” he said. “Order a few and I’ll try one.”

We settled Bing in the first room of the Turkish bath known as the Tepiderium, the one which is not so hot. Within minutes the beer arrived and Tommy took a pint over to him. Over the next quarter of an hour Bing progressed from room to room. The steam room was last—our guest emerged for his shower carrying an empty pint pot.

“You must have enjoyed that beer Sir.”

“It wasn’t bad but I prefer my beer to be ice cold. Have you tried our American beers?”

We all had, of course, but we preferred the English brews. . . .

Bing started to hum and as he plunged into the shower he burst into song.     

“My name is McNamara . . .” The rest of the song consisted of rather colorful lyrics which only he knew but we all tried to join in. Then came “Moonlight Becomes You,” “Now Is the Hour” and a number of others. The Turkish bath had the acoustics of a recording studio and the sound was wonderful. Tommy dried him off so that he could go back to his cubicle and relax for a while.       

(John Dempsey, masseur on the “Queen Elizabeth” liner, writing in his book I’ve Seen Them All Naked)

 

Speaking of taxis, for many years Groucho and I have harmonized the old songs at parties and restaurants and even in cabs. Our two favorites are circa 1914. One is called “Night Time in Little Italy” (author unknown but I believe Berlin), the other, “Play a Simple Melody,” which I’m sure is by Berlin. Crossing from Europe in the summer of 1950 on the Queen Elizabeth, I was invited to take cocktails with the captain along with Irving Berlin, Mischa Elman, the violinist, and others. In such a group the conversation naturally got around to music and songs and I told Irving how much Groucho and I enjoyed “A Simple Melody.” I knew of course that Elman is an authority on classical music, but I didn’t know that he also knows considerable about popular music. However, he said that he didn’t remember ever hearing “A Simple Melody.” With that opening Irving and I sang it for Mr. Elman and the rest of the assemblage, our rendering being heavily laced with harmonic decorative effects. Someone remarked what a wonderful duet-tune it was, and when I returned home, the same thought struck me and I recorded the number with my son Gary, as his first venture as a recording artist, more of which later.

(Call Me Lucky, pages 279-280)

       

June 12, Monday. Still on board the Queen Elizabeth, Bing watches a boxing match on the shuffle board deck. He sends a hand-written letter to the Editor of the Club Crosby magazine.

 

Well, we’re homeward bound after a delightful experience abroad. Everywhere we went we were treated with great kindness and courtesy. The French people are particularly noteworthy in this respect. They just seem to love doing things for travelers. We took a flat in Paris the last month we were there. A flat complete with cook, maid, concierge, a fat cat and numerous little 6 and 7 year old boys and girls who came around the garden gate every once in a while for a bit of candy. We had brought a half a dozen cartons of Baby Ruth bars and, as you can imagine, they were much appreciated. Our cook was a nice old girl with great ability in the kitchen. She was actually hurt and honestly disappointed when we dined out, and the more guests we had in for dinner the better she liked it. It was a wrench to leave Paris but we surely intend to return next year.

We’ll just be in New York a day or so, before going to the Coast, so probably won’t see any of you. Perhaps next time.

Give my best to all the Group,

Yours, Bing

 

June 14, Wednesday. The Queen Elizabeth arrives at the West 50th Street dock in New York at 7:00 a.m. and Paramount arranges for Bing to host a news conference on board ship. The Paramount newsreel of July 5 shows Bing disembarking and talking to Irving Berlin. While in New York, Bing goes to the New York Giants–Pittsburgh Pirates baseball game with Groucho Marx, but it is rained out.

June 20, Tuesday. Returns to Los Angeles aboard the Union Pacific’s “City of Los Angeles.” Goes home to Holmby Hills with press reports noting that Dixie had not been at the station to meet him.

June 21, Wednesday. (10:00 a.m.–1:00 p.m.) Records four songs from the film Mr. Music in Hollywood with Victor Young and his Orchestra and the Ken Lane Singers. The songs are included in a Decca album which charts briefly in 10th position in Billboard's best-selling popular albums chart. He also visits Paramount to discuss future film work.

 

Accidents Will Happen

Decca 27241—A classy ballad from Bing’s coming “Mr. Music” flicker is warbled richly by Crosby in his best crooning fashion.

And You’ll Be Home

Another high-grade “Mr. Music” ballad with a greater degree of commercial value is treated warmly by Bing and a vocal group. Disking should have added values when the flicker shows around Christmas.

(Billboard, November 4, 1950)

Album review

Seven numbers from the Paramount pic, "Mr. Music," scored by Johnny Burke and Van Heusen, are included in this strong Decca set. Crosby delivers them all, teaming up with Andrews Sisters on "High on the List." and "Life Is So Peculiar" and with Dorothy Kirsten on "Accidents Will Happen" and "Milady."

(Variety, December 13, 1950)

 

June 22, Thursday. (3:00 p.m.–6:00 p.m.) Records four songs supported by orchestras led first by Victor Young, then John Scott Trotter, and finally Axel Stordahl. Several of the songs reach the Billboard chart: “La Vie en Rose” peaks at 13; “I Cross My Fingers” reaches No. 18 and “Rudolph” gets to the No. 14 position in December 1950.

 

La Vie en Rose

I Cross My Fingers

Bing’s at his crooning best in handling rock-solid coverage of a pair of strong ballad threats. Disking’s particularly effective juke op merchandise.

(Billboard, July 15, 1950)

Bing Crosby: “I Cross My Fingers”-“La Vie En Rose” (Decca).

Two good, but not standout sides by Crosby. ‘‘Fingers” gets a lush treatment with Crosby’s individual style virtually buried under the background. Crosby handles “La Vie En Rose” far more impressively without the choral support. Axel Stordahl batons on both sides.

(Variety, July 5, 1950)

 

Rudolph, the Red-Nosed Reindeer

Available both as a pop single and kidisk package, this should be another of Bing’s hefty seasonal standards. He does a gay, light-hearted job with the bouncy item which last year was all Gene Autry’s.

The Teddy Bear’s Picnic

Coupling is another delightful item which has found kid favor in various, but not outstanding, etchings. Bing’s is the best to date and could very well be the strong side of this disking.

(Billboard, September 9, 1950)

 

Bing Crosby: “The Teddy Bears’ Picnic”-“Rudolph the Red-Nosed Reindeer” (Decca). 

Crosby is no stranger to children’s tunes, and usually ends up capturing more of an adult than a children’s audience with them. These two sides should be no exception. “Picnic” is a delightful melody, set to a march tempo. 
Crosby, together with fine choral work by Jud Conlon’s Rhythmaires and Victor Young’s backing, does an excellent job with it; “Rudolph” looks to become a standard Christmas item, and Crosby turns out a fine cut of it.

 (Variety, August 23, 1950)

The irony is that he did not like many versions of his well-known songs even if they sold very well. But his asset was as a writer, not a performer, and it was always the public that decided which songs they liked and which they did not. However, sometimes his taste and the public agreed! Of all the hundreds of performers of his songs down the years, the one he admired most was Bing Crosby. Bing was the most influential singer of his time, perhaps of any time – the king of the crooners – and sold more records in the 1930s, 40s and 1950s than anyone else. He made 12 recordings of Jimmy Kennedy songs, more than any other major artist. He made 3 different versions of South of the Border (one was for the film Pepe) and recorded The Teddy Bears’ Picnic twice.  But why did Kennedy rate Crosby so much as an interpreter? ‘That’s easy,’ he once said on an Irish radio programme, ‘I think he is the best interpreter of my songs because he sang them the way I wanted them sung. I think other writers would say the same thing. He was a wonderful song man. He sang a song the way you wrote it. He didn’t try any fancy tricks or alter it or change the tempo or mess about with it like so many other performers. He didn’t inject himself into the song. He had so much style, he didn’t have to do that. He sang the song like you’d like to sing it yourself.’ Apart from Bing’s skill as a singer, he had a tremendous knowledge of song writing, something he revealed when they met for the first time in Dublin in the early 1970s. Recalling the occasion (which had been arranged by Dublin producer George O’Reilly), my father said: ‘He knew all about my songs. He knew them all. In fact, he knew about all the writers – he could tell you who wrote this and who wrote that.’

(J. J. Kennedy, The Man Who Wrote the Teddy Bears’ Picnic:  How Irish-Born Lyricist and Composer Jimmy Kennedy Became One of the Twentieth Century's Finest Songwriters, page 244)

 

June 23, Friday. (9:30 a.m.–12:30 p.m.) Bing records three songs with Victor Young and his Orchestra plus the Jeff Alexander Chorus. “All My Love” has 12 weeks in the Billboard charts peaking at No. 11. (2:00 p.m.–5:00 p.m.) He goes on to record “Sam’s Song” and “Play a Simple Melody” with Gary Crosby and Matty Matlock’s All-Stars. The first song becomes Bing’s twenty-first gold record and both become the first ever double-sided gold record. At night, there is a family dinner with Bing’s parents, Dixie and the four boys.

 

Friendly Islands, The

Ballad from the coming “My Blue Heaven” flicker lends itself for an ingratiating croon job by der Bingle on class material.

All My Love

Superb Victor Young orking and Jeff Alexander choral support enhance a rich Crosby warbling job on this beautiful French import. Could be the disking that might establish the song here.

(Billboard, August 19, 1950)

The Friendly Islands. "Islands," from the pic, "My Blue Heaven," is a good show number neatly vocalled by Crosby, but its pop qualities are questionable. Elaborate production on this side, almost burying the tune, doesn't help either.

(Variety, August 2, 1950

 

Bing’s eldest son, Gary, makes his disk debut in duet with his old man and makes a most impressive thing of it on both sides of this charming disking. Should prove to be a big family trade item with its universal father-son appeal. To boot, the rendition of “Sam’s Song” could shove that promising ditty into the top money.

(Billboard, July 8, 1950)

 

Gary and Bing Crosby: “Play a Simple Melody”-“Sam’s Song-’ (Decca)

An unusually strong disk with Crosby dueling with his 15-year old son, Gary. Youngster takes the lead on both sides with a beat and vocal quality patterned after his father. Teaming together, they produce a couple of happy, free-wheeling, rhythmic sides slated for big jock play. Matty Matlock’s All Stars back up with snappy dixie arrangements.

(Variety, July 5, 1950)

Finally that part of the session was over. The backup singers and most of the musicians waved good-bye to the old man. Then, after a short break, Matty Matlock, Manny Klein, Nick Fatool and four or five other good Dixieland players came back in and began rehearsing the chart of “Sam’s Song.” While they were getting it together, Dad took me off to one side, and each time they ran it down he took me through the song again, adding little details and changing the routine to make it play better. Originally he was slated to do the part with all the tricky patter, but after trying it out he decided to switch with me and sing the straight melody. “Jesus Christ, that’s too many words,” he laughed, handing me his part. “Here. You sing that. You talk fast anyhow. Don’t worry. You’ll be all right.” He kept working in close with me like that while the engineers set up the balance, so by the time the producer was ready for a take I’d been through it enough to know where I was going and could start to loosen up and enjoy myself.

      The hour and a half it took to record the two sides were one of the best times we ever had together. . . . As long as he was Bing Crosby, it wasn’t the end of the world if I made a mistake. And he was such a strong singer and laid in such a solid foundation for me to work off of that it was almost impossible not to do right. He was giving to me and that made me good enough to be able to give back to him, and the momentum of the give-and-take carried us along as if we were both riding the same wave. We were working together as a team, and for once in my life with him that made me feel useful.

(Gary Crosby writing in Going My Own Way, page 141)

 

It got tougher to keep them on an even keel later. Dixie and I were never very anxious to get our boys too deeply enmeshed in show business. Dixie insisted they get their education first, and it was with considerable trepidation that I asked Gary to make a record with me, as a kind of change of pace. What if the thing were a big hit? What if it catapulted Gary into the spotlight? What if it made him a bobby-sox favorite? How would we ever be able to control him if it did?

All these things are just what happened. The songs we recorded were “Sam’s Song” and “A Simple Melody.” The label read, “Cary Crosby and friend.” I never dreamed it would hit with such impact. But as luck would have it, the record caught on in the juke boxes and landed Gary on the cover of a national magazine, to say nothing of the money that rolled in.

The “Sam” in “Sam’s Song” is really Sam Weiss, a music publisher and an old-time friend of mine. After I heard the test pressings, I said to Sam, “Get a barrel! Gary’ll need one for the loot that’ll be coming his way.” I was right. He needed one to pick up his royalties.

(Call Me Lucky, pages 300-301)

 

June 24, Saturday. Bing drives his sons to the ranch at Elko for their summer holiday. Dixie remains in Hollywood.

June 26, Monday. The United States goes to the defense of South Korea and the Korean War begins.

July 11, Tuesday. Bing and his son Phillip visit the Sonoma Inn in Winnemucca, Nevada.

July 17, Monday. (2:30-2:45 p.m.) Bing describes Chantilly Racetrack, Paris, in a radio program on station KNX in Los Angeles. The broadcast is said to come from Bing’s ranch at Elko but it is possible that Bing taped these impressions while in Paris. Similar programs are transmitted daily on Mondays through Fridays.

 

Bing Crosby Takes Us On Tour

I don’t know how many of you have been catching “This Is Bing Crosby”, a 15-minute transcribed daytime show, dedicated to the proposition that every man, woman and child ought to drink more Minute Maid Orange Juice. Anyhow, Mr. Crosby has been devoting much of the quarter hour to a recital of his adventures in Europe with wit, charm and a surprising perceptiveness.

If you can’t fit Europe into your schedule this summer, the Crosby travel diary is about the best vicarious trip around. Even if you do manage to work in Europe this summer, you probably won’t be invited, as was Mr. Crosby, to take pot luck with Prince Ali Khan and Princess Rita at their splendiferous little abode outside Paris.

Pot luck with the Ali Khans, Mr. Crosby explained drily, was a production number out of Ziegfeld by Escoffier. Makes one wonder what a really formal dinner at their highness’ is like.

The other day, Mr. Crosby took us all to the Paris version of Annie Get Your Gun, which, he explained, Ethel Merman wouldn’t even recognize. The French-style Annie Get Your Gun, said Mr. Crosby, contains a Buffalo Bill who looks like Monsieur Beaucaire.

Sitting Bull, he said, resembled a French pastry cook who had fallen into flour barrel. The show also employed horses, mules and even elephants. Mr. Crosby’s eye for the odd anecdote, the irrelevant incident is very sharp indeed. If the voice ever wears out, I suspect he wouldn’t have much trouble landing a job as a commentator.

Anyway, this sort of thing is a welcome relief from the usual dreary flow of Hollywood trivia—the jokes about Bob Hope’s waistline, for example—and it leads to the suspicion that Europe, given the proper build-up on the air, might conceivably be as interesting as the glamour citadel itself.

(John Crosby, syndicated article, July 24, 1950)

 

July 18, Tuesday. Bing is at the Spring Creek Ranch and he writes to the Editor of the Club Crosby magazine.

 

Kindest regards to all members on the 14th anniversary of our club, which must make ours the - if not, one of the - oldest clubs, and it is quite a record!

You asked for an article for “Bingang”, but after our visits in New York and because the orange juice program has been a running account of my travels to date, I am at a loss to know what to write about.

At present the boys and I are pitching hay at the ranch near Elko, Nevada. We are up at 6 a.m. daily, and very happy to get to bed by 8:30. The boys are working real hard, developing some new muscles and, I hope, acquiring good experience. We are getting in a little fishing and hunting on the side. A sizeable creek runs through our property, and the main stream from a good lake is not far distant. There are trout of all size up to some weighing several pounds in the lake. There are deer all over the place. We don’t hunt them; however, there are plenty of sage hens for good eating.

About the first of August I will take the boys up to Hayden Lake, Idaho, for a little vacationing.

About the first of September I plan to make my annual trek for the golf tournament at Jasper Park, Alberta, Canada, taking along several golf pals from Monterey and the East.

Best wishes to all.

Sincerely, Bing

 

July 22, Saturday. (2:30-2:45 p.m.) Another broadcast by Bing on KNX is said to have come from Elko.

July 25, Tuesday (afternoon). Bing is made a member of the Western Shoshone-Paiute tribe on the Owyhee reservation, near Elko. His Indian name is “Sond-Hoo-Vi-A-Gund” (the man of many songs). This is the first time that a white man has been adopted into the tribe as a member. Bing responds with a short speech and sings briefly for the crowd of 500. The tribe later tries to have the White Horse Lake on the Owynee River in Elko County named for Bing but this is refused by the Board of National Geographic Names as it prohibits the naming of Federal landmarks for living persons.

 

Ceremony at Owyhee Is Wild But Orderly

Bing Crosby yesterday became the first white man “brother” of the one-time fierce and warlike Shoshone-Paiute tribe in a wild but orderly ceremony on the Indian reservation at Owyhee.

More than 1,000 members of the tribal council voted unanimously to take Crosby into the fold as an honorary member and, according to tribal custom changed his name to “Sond-hoo-vie-a-gund . . . man of many songs.”

Gus Garity the colorful “chief” of the western council of the tribe, honored the crooner for ‘being himself, always, all over the world.’ He dedicated the tribe in similar fashion by foregoing the usual paint and eagle feathers for everyday “American dress.” Crosby, who accepted the tribute for himself and his family, was given the “eternal right” to hunt and fish the year-round on the reservation. His extensive ranch holdings in Elko County have made him a friendly neighbor of the Shoshone-Paiutes for several years.

Unaccompanied, and without Hollywood fanfare, Crosby sang “Home on the Range” and “Blue of the Night.”

The honor was the first of its kind ever accorded a white man. Once one of the most feared tribes of the West, the Indians sought refuge at Owyhee after suffering bloody defeats in battle with the US Army almost a century ago. They fought their last major engagement at Yakima, Wash, in 1872.

Squaws and braves went into the rugged Nevada hills to gather eagle feathers used on the ornate war bonnet presented Crosby. A parchment scroll, bound in white deer hide, officially made the singer “white brother” for the concern he has shown in Indian welfare.

(United Press)

 

July 29, Saturday. (5:00 p.m.) Bing, accompanied by his son, Lindsay, arrives in Boise, Idaho by car to take part in a benefit golf match. He is formally welcomed by State Senator Herman Welker at Old City Hall in front of a crowd of 4,000. His old Gonzaga friend Sib Kleffner encourages him to sing a few bars of “Here We Have Idaho.” Bing goes out to the Plantation Golf Course to practice.

July 30, Sunday. During the morning, Bing visits Elks State Convalescent Home in Boise and talks to the patients. (1:00 p.m.) Bing and Bud Ward take on the local pair of Roy Owen and Myron Tucker in a benefit golf match on the Plantation course for the Elks Crippled Children’s Hospital. Bing has a 75 as he and his partner win 3 and 2 in front of 2300 spectators. Around $5000 is raised for the hospital.

July 31, Monday. Bing and his four sons arrive at Hayden Lake, Idaho for a vacation. Dixie remains at Holmby Hills.

August 2, Wednesday. Bing hosts a lunch for Herman Welker, the Republican candidate, at the Penguin Room of the Athletic Round Table in the Desert Hotel, Coeur d’Alene. He tells the audience of 65 that his sponsorship of Mr. Welker is a “gesture of friendship but I won’t be dismayed if you take the action as an indication of my political philosophy.”

August 6, Sunday. Press coverage of the Idaho primary campaign confirms that Bing is supporting the Republican candidate Mr. Welker. During his recent visit to Boise for an exhibition golf match, Bing is said to have handed out literature for his pheasant-hunting companion saying, “A vote for Welker and there’ll be a pheasant in every pot.”

August 13, Sunday. (5:15 - 5:30 p.m.) Radio station KUNI in Coeur d’Alene broadcasts a recently recorded interview with Bing in which he says why he chose to make a home in North Idaho.

August 14, Monday. Bob Crosby and his children join Bing at Hayden Lake. Later, starting at 8 p.m., Bing plays on a softball team with his sons in a benefit match for the Gonzaga Building Fund held at Ferris Field, Spokane. Over 6000 people attend. Bing's Hayden Hellcats lose 7-6 to Empire Furniture Junior Legion.

Everything, including some fine softball, was on display at Ferris field. Six photographers and one-home movies cameraman jammed the plate every time Bing stepped up to bat. With wide pitches being called strikes, Pappy was an easy out that first inning. In the third he beat out a bunt despite the fact that the pitcher had served up a golf ball. The blow batted in two runs.

In the fifth Der Bingle smacked himself a legitimate double to right center, but the years held it to a single. The last inning saw a jeep in service to ferry the crooner in from right field. Between fly balls to right field—and he handled two neatly—Bing relaxed on a shooting stick.

Bing’s prime pest of the evening was not the little dog which scampered happily around the outfield, but a tattered, placarded, rotund individual. This character’s sign read “Scouting for the Cleveland Indians—Sent by Bob Hope.”

    (The Semi-Weekly Spokesman Review, August 15, 1950)

August 20, Sunday. (8:15-8:30 p.m.) A radio program The Miracle of America is broadcast by CBS and Bing and son Gary make a contribution as do Jack Benny, Bob Crosby, Dinah Shore, and many others. The program is produced in co-operation with The Advertising Council, urging listeners to send for the booklet of the same name. Bing gives advice to his son Gary about girls and dating.

August 24, Thursday. (2:30-2:45 p.m.) The program from station KNX features Bing and Lindsay Crosby talking about magpies.

August 31, Thursday. Starting at about 10:00 p.m., Bing and his son Gary take part in a radio broadcast from station KREM as part of the fund drive for the Spokane Memorial Stadium.

September 2, Monday. Bing and his sons leave Hayden Lake for Hollywood.

September 5, Tuesday. (10:00 a.m.–2:30 p.m.) Back in Hollywood, Bing records “Harbor Lights” and other songs with Lyn Murray and his orchestra. “Harbor Lights” reaches No. 8 in the Billboard Best-selling Records list and spends 13 weeks in the charts in all.

 

"Harbor Lights" "Beyond the Reef" (Decca). On the current Hawaiian kick, "Lights," a late 1930's tune, is getting a lot of wax put on it. This cut has strong commercial impact, with Crosby always tops on these island type items.

(Variety, September 20th, 1950)

Harbor Lights

This lovely oldie, being revived via strong Sammy Kaye etching, is treated to one of Bing’s warmest croon jobs in some time. Should give the Kaye slicing a run for the money.

Beyond the Reef

Coupling is a smart Hawaiian flavored ballad, which is handled beautifully by Crosby, who is supported by a soft but lovely strings and vocal background.

(Billboard, September 23, 1950)

 

September 6, Wednesday. (9:00 a.m.–12:30 p.m., 1:13–2:55 p.m.) Another recording date in Hollywood when Bing and his four sons record A Crosby Christmas with John Scott Trotter and his Orchestra plus the Jeff Alexander Chorus. The disc briefly charts in the No. 22 spot.

 

A Crosby Christmas

This one’s a natural to sweep in the upcoming Christmas disk season. Bing and his kids cavort thru an original collection of Burke-Van Heusen material doing a thoroly delightful job which should find its way into plenty of homes enamored of the American which Crosby represents.

(Billboard, November 4, 1950)

 

The fourth disc is described as A Crosby Christmas, with all four young Crosbys singing new numbers. Lindsay Crosby, the youngest, has the most self-assurance; the twins are not so good, being out of tune.

(The Gramophone, January 1951)

 

That Christmas Feeling

A new Burke-Van Heusen seasonal ballad has a sentimental warmth which is richly brought out by Bing doing one of his finer ballad turns.

(Billboard, October 28, 1950)

 

September 7, Thursday. (9:00 a.m.–12:00 noon) Records three songs, including “Autumn Leaves” with Axel Stordahl and his Orchestra. (2:00–5:30 p.m.) Records three songs, including “Poppa Santa Claus” and “Mele Kalikimaka” with the Andrews Sisters and Vic Schoen and his Orchestra.

 

      Poppa Santa Claus

Bing and the Andrews Sisters do a new seasonal rhythm novelty which has spirit but slight retentive qualities.

Mele Kilikimaka (sic)

In Hawaiian this title means “Merry Xmas”. Seasonal ditty with a switch dealing with the sun of Hawaii instead of the usual snow etc; done with a buoyant bounce by Bing and the Girls. Novel idea could pick up some coin.

(Billboard, October 28, 1950)

Bing Crosby- Andrews Sisters: "Poppa Santa Claus”-“Mele Kilikimaka” (sic) (Decca). “Santa Claus” is one of the better Xmas tunes brightly projected by Crosby and the Andrews Sisters. Side is tailored for the holiday season
 and could catch on big. Flipover is an Hawaiian Xmas number with a catchy beat and lyric. Vic Schoen orch accomps.

 (Variety, October 4, 1950)

Hollywood, Oct. 10.

In the interests of the tourist trade, Gov. Ingram Stainback of Hawaii is turning songplugger for “Mele Kalikimaka,” Hawaiian Christmas tune recently waxed by Bing Crosby and the Andrews Sisters for Decca. The governor is mailing out 2,000 disk copies of the tune to U. S. disk jockeys, urging them to spin the platter in behalf of the Hawaiian people. Rights to the number, which was written and published by R. Alex Anderson in Hawaii, were picked up last week by Leeds Music.

(Variety, October 11, 1950)

I’ve Never Been in Love Before

Decca 27230—Bing turns in ballad turn on the “Guys and Dolls” song. It’s an unspectacular but understanding reading

If I Were a Bell

Remarkably light and happy treatment of a cleverly carved rhythm item from “Guys and Dolls” should bring in heavy returns. Patti and Bing’s adroit sense of humor make this one of high spot diskings of the day.

(Billboard, November 4, 1950)

Bing Crosby-Patti Andrews: “If I Were a Bell / I‘ve Never Been in Love Before” (Decca). Two more tunes from Frank Loesser’s musical, “Guys and Dolls,” in contrasting moods. “Bell,” with its bright beat and smart lyric, 
is a surefire hit and this free-wheeling Crosby-Andrews duet should send it winging… On the Decca flipover, Crosby solos a conventional ballad. Axel Stordahl’s orch accomps.

(Variety, October 11, 1950)

 

Autumn Leaves

Decca 27231—Bing turns in one of his finest ballad efforts of recent years with this extreme lovely and likely ballad. Could be a winner if the song is merchandised.

This Is the Time

Another beautiful ballad, this one more complex than “Leaves,” is handled deftly by Crosby for maximum yardage.

(Billboard, November 4, 1950)

 

…Another Sinatra co-star, and a far more substantial one at that, helped Crosby achieve one of his most beautiful ballad renderings, the 1950 “Autumn Leaves.” Axel Stordahl had been the Voice’s musical director throughout the forties, and here Crosby gets the benefit of the arranger’s impressionistic string textures. Since it’s Crosby, the beat is a bit more pronounced than in the Sinatra-Stordahl sides, although he drifts ever so slightly out of tempo for a stunningly moving second chorus— hear the way he slides into “old winter’s song” before an equally fitting, typically “small” Stordahl ending.

(Will Friedwald, A Biographical Guide to the Great Jazz and Pop Singers, page 127)

 

September 8, Friday. (9:00 a.m.–1:00 p.m.) Records “Silver Bells” (with Carole Richards) and John Scott Trotter and his Orchestra. Goes on to record two other Christmas songs with Sonny Burke and his Orchestra and the Lee Gordon Singers. “Silver Bells” reaches the No. 20 spot in the Billboard chart in December 1952. “A Marshmallow World” briefly charts in the No. 24 position in January 1951.

 

It’s a Marshmallow World

Fluffy, infectious bounce ditty with a seasonal gaiety could catch on with potent publisher aid for a group of strong recordings. Bing’s is light and breezy like the Bing of old…Bing’s coupling is another airy winter tune tabbed “Looks Like a Cold, Cold Winter.”

(Billboard, October 21, 1950)

Bing Crosby: “A Marshmallow World / Looks Like a Cold, Cold Winter”; 

“Autumn Leaves”-“This Is the Time” (Decca). 

More firstrate sides by Crosby who is delivering in his best relaxed style. “Marshmallow World,” is solid winter-season novelty, should bounce into the hit lists with this cut. “Winter” gets its best treatment on this side and should stir some noise. Sonny Burke orch and Lee Gordon Singers accomp. 

“Autumn Leaves” is a lovely ballad with a big potential. ‘Time” also rates strongly. Axel Stordahl’s orch accomps.  

(Variety, October 11, 1950)

 

Silver Bells

A seasonal ditty from the “Lemon Drop Kid” flicker has a charming folksy flavor which could catch big. Bing and Miss Richards turn it out simply and unaffectedly. Could score.

(Billboard, October 28, 1950)

 

 In 1950, the songwriting team of Ray Evans and Jay Livingston were under contract to Paramount Studios in Hollywood, where they found themselves under the gun to write a Christmas song for a movie in the making, The Lemon Drop Kid, starring Bob Hope.

The fact that both men had already won two Oscars for writing Buttons and Bows and Mona Lisa carried no weight when they pleaded with the studio to be excused from the assignment. “We were certain that it was impossible to write a hit Christmas song,” Livingston said “so we asked for permission to write something else—something that would have hit possibilities.”

The producer, director and studio executives were adamant. The film took place at Christmas and they wanted a Christmas song.

So, the team set about writing the song they did not want to write. They worked to make the song as different as possible. “We put it in ¾ time” explained Livingston, “because White Christmas and most of the other Christmas songs were in 4/4.” They christened their creation Tinkle Bell.

That night, Livingston told his wife he was working on “a song called Tinkle Bell.”

“Are you out of your mind? ‘Tinkle’ has another meaning!” his wife responded.

Livingston told Evans the next day and they threw away Tinkle Bell. They liked the melody and the words so much—if only they could dream up a new name.

They changed the title and gave the song to Paramount. Even though the director, Stanley Lanfield, insisted the song be written, he didn’t have an idea about how to use it in the film. He waited until the picture was finished, then put the whole cast on risers like a choir, had them stare into the camera and sing the song. The songwriters were sure at this point that the song would be cut out of the film because it was staged so awkwardly.

The producer, Bob Welch, thought the song deserved better. They hired Frank Tashlin to write a special scene for it, and shot it on Paramount’s back lot. The result is cinema history—Bob Hope and Marilyn Maxwell shopping on a busy street, snow falling and all the Christmas trimmings.

Still, the song might have stopped there if Livingston hadn’t been eating lunch in the studio commissary when Bing Crosby sat down beside him. Crosby asked if he and Evans had any new songs. Livingston sang the song in the dressing room of Crosby who recorded and made it an instant holiday hit.

Now, it’s hard to find a Christmas album without this song the writers didn’t want to write, that spent time in the trash, and that nearly wound up on the cutting room floor.

The song is Silver Bells. As of Christmas 1991, it has sold 140 million records.

(Pat Luboff, The Christmas Song That Nearly Wasn’t)

 

…Crosby agreed that “Silver Bells” was best presented as a duet. He contacted a radio singer named Carol Richards and offered her a chance to record it with him. His choice of Richards was ironic, as the Illinois native had been brought to Hollywood upon winning a talent search hosted by Bob Hope. Crosby had Hope’s talent discovery in a studio to record a song written for Hope. The marriage of Crosby and Richards’ voices made for a powerful record. Released in October 1950, the song became Crosby’s third-most popular holiday hit. The single’s success prompted Paramount Studios to take another look at the way “Silver Bells” had been filmed in The Lemon Drop Kid. Hope and Maxwell were called back to the studio six months after their film had wrapped, and the duet was reshot with a much more elaborate backdrop. Although the movie was released three months after Christmas, publicity emphasized that “Silver Bells” was included in the musical score.

(Ace Collins, Stories Behind the Greatest Hits of Christmas, page 89)

 

September 11, Monday. Bing writes to Ruth Ness, the President of Club Crosby.

 

Sounds like you had quite a vacation tour, covering all the big towns in the Northeast, and I am sure you must have enjoyed visiting Virginia Keegan and the rest of those nice people.

The contribution to the Cerebral Palsy Association was very nice and will help a great cause.

We have no plans for television; in fact it is still a problem, being contrary in many departments to the fundamentals of show business.

We were very happy that Gary was so well received, but we do not plan on working him too hard at present, hoping he will concentrate on school and athletics.

You may be interested to know that we made another record for Christmas release using all the boys on a combination of songs titled “That Christmas Feeling”, I’d Like to Hitch a Ride with Santa Claus”, and “The Snow Man”.

Regards to all.

Sincerely, Bing

 

September 19, Tuesday. (7:15–9:30 p.m.) Bing records a Bob Hope show with Dinah Shore for broadcast on October 3.

September 20, Wednesday. Records a Chesterfield Show in CBS Studio B in Hollywood with Bob Hope and Judy Garland that is scheduled to be broadcast on October 4.

 

Apart from the records they had cut together, she [Judy Garland] had been a guest on his show from time to time. To demonstrate his faith in her, he not only invited her to be on the first show of the season, but in the second too, and another later in the season:

      “He called me up one morning. Bless him–he was cute. ‘Judy,’ he said, ‘I know how busy you are’ (busy ME! That was a laugh!) ‘and I was wondering if I could get you for three shows’. . . . He could get me for thirty shows, or three hundred. That moment I felt the whole world change. It was real friendship. I needed that job more than I needed money. I could always borrow money: you can’t borrow a job, you can’t borrow the chance to put faith back in yourself. Somebody else has to have faith in you first. Well, Bing had faith in me—and thank God, I didn’t let him down.”

(Judy Garland, page 261)

 

Some performers knew how to make the people in the radio studio their partners. Hal Kanter will never forget one night on the Bing Crosby show when Judy Garland was the guest star. “Judy had had a lot of bad publicity and had gone through a rough time. When she finally came out of the hospital and was going to make her first public appearance on the show, at the last minute she got stage fright and got scared to death. She said, ‘They’re going to hate me; they won’t be listening to me, they’re going to look for scars on my wrists. . . .’ She was an emotional mess, and Bing went in to reassure her. Then when he walked out on stage as usual, he said, ‘We have an old friend here tonight. She’s been away for a while, but she’s come back, and I know that you missed her because we sure did. Give her a nice welcome; make her feel—make her feel loved.’ Something like that, then ‘Ladies and gentlemen, Judy Garland.’ She walked out on the stage and that audience just put their arms around her and hugged her and kissed her . . . relaxed her. And she did a show that was wonderful. But it was Bing’s sensitivity that dictated that. I don’t know too many people who would have done that.”

(The Great American Broadcast, page 199)

 

    (9:00-9:30 p.m.) Bing makes a recorded contribution to the National Kids Day Foundation radio program.

September 21, Thursday. (3:00–6:00 p.m.) Records “Marrying for Love” and “The Best Thing for You” with Sonny Burke and his Orchestra. (6:30–9:30 p.m.) Records another Bob Hope show with Dinah Shore for transmission on October 10.

 

MARRYING FOR LOVE Perry Como Victor 20-3922 Bing Crosby Decca (no number available) Tune’s a ballad gem from the forthcoming “Call Me Madam” by Berlin, of course. Both Como and Crosby sell it mightily, and their versions and the tune itself should be around for quite a while.

THE BEST THING FOR YOU

Another heart-warming ballad from “Call Me Madam”, done to a turn by Bing and Perry.

(Billboard, October 14, 1950)

 

September 25, Monday. Bing tapes another Chesterfield show with Bob Hope and Judy Garland in San Francisco. This is broadcast on October 18. Nelson Riddle and Billy May contribute arrangements.

 DIAL TONE: This will be Bob Hope’s hottest year.

Nothing can slow him down – not even bad scripts.  Somewhere, during the summer he must have stopped for an overall repair job.  His spark plugs are clean, his brakes relined, generator humming, bumpers polished, wheels tightened and timing improved.  Particularly the timing.

He proved it to some 700 localites, Monday night when he and Judy Garland guested on Bing Crosby’s airwaver, to be CBSed October 11.

How this opus will sound on the air no man alive knows except balding Bill Morrow, Crosby’s smart producer, who will trim the forty-one minutes of tape to a neat half-hour radio package.

Bing’s return to the Marines Memorial Theater was like the first crisp, biting breeze of autumn after a dull and dusty summer.

They were all back again – John Scott Trotter juggling his tonnage on the podium, Buddy Cole chewing gum to the rhythm of his piano, Ken Carpenter beaming in the announcer’s spotlight, Jud Conlon and his pretty Rhythmaires, Co-Producer Murdo McKenzie impeccably dressed, and Bing, tanned and healthy, “back from a gastronomic tour of France,” admitting he had “a little less hair, but more um pah pah around the middle.”

All of these – and Judy Garland!

Judy, here to earn $5,000 – for a half hour’s work, was nervous and uncertain.  And she won the greatest ovation I’ve heard since Al Jolson’s appearance with Bing last spring.

She muffed lines, tripped on words, lost her cues, but when she unloosed that tingling, heart-warming throaty voice it was “Dorothy” again from “Wizard of Oz” and “Meet Me in St. Louis,” and “Easter Parade,” and the accumulated years, fears and tears tumbled from a gifted voice.

Judy was great – because of Bing and Bob.

When she blew a line, they blew six lines seven feet farther.  Bob brought the house down, rebuilt it, and knocked it over again, time after time.

Bob, deliberately choking a joke, said: “I thought I could have my nails done, while they were laughing.  What the hell happened?”  Several times he walked off stage in mock disgust.  Once he confessed: “I don’t want any money for this” and Bing asked him to put it on paper.

The comedy capers brought Judy back to her golden stride, swinging and singing like she used to do.  When it was over, she and Bob Hope walked off stage, arm in arm – a job well done.

But Bob came back for a bonus aftershow.

He had to retape a sequence for his own show of October 3, and he borrowed Bing’s engineers and equipment.  His handling the audience was a work of laughing art.

“Don’t try to be a jury,” he said.  “Be happy. Or I’ll have to go to San Jose to do it.”

His mugging and eye-rolling gave a triple punch to one punch line.

He had a line featuring the Victory Clothing Company.  No laughs.  Bob created a whopper:

“That’s a store in Los Angeles.  You wouldn’t know about it here.”

And through it all, Bing, the “Mr Music” who sells cigarets, calmly puffed his pipe.

(Dwight Newton, Day and Night, The San Francisco Examiner, September 27, 1950)

Rhythmaires: Loulie Jane Norman wanted to slip out of her slip, so Jud Conlon and I slipped out to the cocktail bar. Loulie Jane, the sweetest thing this side of a peppermint drop, is the dark-haired lovely who hits the highest notes for Crosby’s “Rhythmaires” and Jud is “Mr. Rhythmaire” himself.

The “Rhythmaires” have been in business for seven years and how five people can live, work and sing together that long is a tribute to slim, trim, nervously energetic Jud Conlon.

“I know I’m a hard guy to get along with,” he admitted as we sipped a soother half an hour before Bing recorded the Hope-Garland show last week. “I’m a hard writer and a hard leader.”

Mack McLean, the quintette’s bottom voice, nodded agreement.  “When Loulie Jane and I sing Jud’s arrangements we clash like alley cats on a back fence. But when the other voices are added we get a wonderful chord effect.”

That’s what Bing thinks, too, and that’s why the “Rhythmaires” have been with him for five years.

It takes a disciplined ear and a disciplined voice to sing Jud’s intricate harmonies, but Mack and Loulie Jane, along with blonde Gloria Wood and flame-tressed Diane Pendleton have what it takes. This summer they made so many records, Jud couldn’t remember half of them.

“Can you recall the first record you made?”

 “Of course. It was in 1942 (sic) with – hey, what do you know!” he exclaimed, “It was ‘Atchison, Topeka and Santa Fe’ with Bing Crosby.

“Boy, was I nervous. Once during the recording, Bing said: “I’m not singing it in the way you wrote it. How should it go here?”

“I was too excited to say anything but ‘duhh,’”

“Can you remember your second recording?” I asked.

“Sure, it was ‘Embraceable You’ with – How do you like that!” Jud interrupted himself again.

Because the girl with whom he made that second record, eight years ago, was standing near us, ready to go downstairs and sing with Bing. Judy Garland!

(Dwight Newton, The San Francisco Examiner, October 4, 1950)

September 29, Friday. Bing plays golf with Canadian Amateur Champion Bill Mawhinney. (8:30 p.m.) The opening of the Sunset Memorial Community Center in Vancouver and Bing officially opens it by a long-distance telephone call from San Francisco which is broadcast over the loudspeakers to an overflow audience. A time capsule has been buried under the Center and this is opened in 2008 when a new center is built. The day happens to be Bing’s twentieth wedding anniversary and he is reported to have sent Dixie a necklace with a heart shaped pendant, set with rubies and diamonds. (10:00-11:00 p.m.) Takes part in the all-network radio show "The Red Feather Roundup", a show opening the annual campaign of the Community Chests of America.

 

Show was built around skits involving the various stars, all with the theme of canvassing for the Community Chest behind them. Stars had their own writers work on the scripts and their own directors pacing the sketches, and they turned out some solid comedy material. Dennis Day, working as a canvasser, visited Ronald and Benita Colman, and the conversation, naturally, got around to Jack Benny. Material revolving about Benny’s apparent refusal to contribute was good, and everyone was happy when it’s learned that he’s a canvasser himself. Bob Hope, also cast as a campaigner, visited Bing Crosby, and between gags, Crosby sang “Mona Lisa.” Hope then visited Lucille Ball, and together with Jack Kirkwood, they contributed an excellent comedy turn with a trio rendition of “Home Cookin’.”

 (Variety, October 4, 1950)

We opened the time capsule today.  It included some Bing memorabilia inside, including a few new photos of Bing at City Hall receiving the gold key to the City of Vancouver and a few photos from his Vancouver radio show performance.  There was also two film reels inside the time capsule.  One was a 16mm home movie on the construction of Sunset without anything on Bing.  The second one is a 35mm film which has footage of Bing Crosby around Vancouver in 1948.  He’s golfing and preparing for his radio show and there is a clip of him wearing the Indian costume.

Our national broadcaster ran a small clip from the event on the local 12 noon news.

Attached is a letter from our founding President, Stan Thomas.  Stan was the man who convinced Bing Crosby to come to Vancouver.  I thought you might find his letter from 1949 interesting.

Walter Schultz (2008)

 

To you who open the “Time Capsule”

In this container are several items which portray, to some extent, some of the many projects which contributed toward the raising of funds with which to build and equip Sunset Memorial centre.

The enclosed photographs tell their own story, but that of Bing Crosby does not tell all that that great American has done for the people of this community.

Bing and his party of twenty-one artists, musicians and technicians, travelled from Hollywood to Vancouver by train a 48-hour journey in 1948, in order to stage a benefit, show on our behalf in the Vancouver Forum (Hastings Park.) The record-breaking show was held on September 22nd.1948 and was subsequently broadcast coast-to-coast over the ABC (American Broadcasting Company) network. A transcription of the Bing Crosby Show is in the Archives of the City of Vancouver.

The show at the Forum grossed $32,000.00 and enriched our Building Fund by approximately $26.000.00. Bing would accept nothing for his services, nor to cover cost of transportation.

It has been said of Bing Crosby, that he has brought more pleasure to more people than any other living person - a fitting tribute! It is our belief that Bing’s voice may be enjoyed by those of you who open this capsule, as he is undoubtedly the most popular vocalist of our time.

Some people today, refer to this as the start of the “Atomic Age” You who open this, will know whether or not our scientists, after successfully splitting the atom, developed Atomic Power for the benefit of all mankind or - Heaven forbid - permitted its use in the destruction of present-day civilizations.

Stan Thomas, President, Sunset Community Association, December 11, 1949

 

September 30 / October 1, Saturday / Sunday. Thought to have been watching the Morse Cup matches at Cypress Point between amateur golfers from California and the Pacific Northwest. Bing is a member of the Entertainment's committee for the event. The Cup is won by the Californian golfers.

October 3, Tuesday. (9:00–9:30 p.m.) Bob Hope’s radio show is broadcast on NBC and Bing guests with Dinah Shore.

 

Bob Hope wasn’t his usual sharp self in his “opening try” for Chesterfield. The writers didn’t give him too much to work with and he had to press most of the way—even with Bing Crosby and Dinah Shore in the guest corner. The heralded new format either failed to develop or was scrapped for the old one, which has been good enough for 14 years.

(Variety, October 4, 1950)

 

October 4, Wednesday. The California Highway Patrol stops Bing’s car as he returns from Pebble Beach to tell him that his father has suffered a heart attack at his Toluca Lake home. Bing hurries to his father’s side but arrives forty minutes too late as his father dies at 2:30 p.m. Harry Lowe Crosby was seventy-nine and had been suffering from arteriosclerosis. His health had been failing for a year. Bing asks CBS not to broadcast his radio program that night and the show that had been scheduled with guest stars Bob Hope and Judy Garland is postponed until the following week. CBS fills in with an audience participation program called “A Dollar a Minute.”

CBS was faced with an $11,000 time rebate to Chesterfield last week when Bing Crosby cancelled the premiere of his Wednesday night radio show following the death of his father. Harry Lowe Crosby. However, the ciggie company and the network effected an arrangement whereby the lost week would be recaptured at the tail end of the season. (Although Crosby transcribes his shows in advance, the singer held up the preem out of respect to his father. Latter had been active in the management of Crosby Business Enterprises. He died at 79 of a heart ailment.) CBS substituted a sustainer, “Dollar a Minute.” Bob Crosby’s “Club 15” did not go off the air, with Jo Stafford pinch-hitting in a revised program.

(Variety, October 11, 1950)

Class Will Tell

CBS grabbed itself some authentic data on AM-TV listening habits last Wednesday night (4) when the sudden cancellation of the Bing Crosby radio premiere, due to the death of the singer’s father, resulted in the web’s N. Y. switchboards being inundated with telephone calls. Although there was an announcement at sign-on time, practically all the callers tipped that they had missed it; that they had just switched over from TV. (Preceding hour on video featured Arthur Godfrey on CBS; Ed Wynn on NBC). To the web execs, it indicated that top radio shows will still invite TV tuneouts and that audiences won’t necessarily stick with tele if there’s a particular radio show they want to hear!

(Variety, October 11, 1950)

October 6, Friday. A Rosary is held at the Oswald Funeral Home, North Hollywood, for Bing’s late father.

October 7, Saturday. Harry L. Crosby Sr. is buried at Holy Cross Catholic Cemetery following a requiem mass at St. Charles Catholic Church.

October 9, Monday (possibly). A handwritten letter from Bing on his Pebble Beach notepaper to Dr. Larsen is received on October 10 and reads as follows:

Will you phone me any morning soon between 9 and 11 a. m. Carmel 7-3808? Also can you give Phillip anything for his facial skin eruption? Something internally to cleanse the blood perhaps. Regards.

Plans to transcribe a Bing Crosby Show at the Marines Memorial Theater on this day in San Francisco are cancelled.

October 10, Tuesday. (9:00–9:30 p.m.) Another guest appearance by Bing on the Bob Hope radio show on NBC is broadcast. Dinah Shore is again the other guest star.

...That brought on Bing Crosby, his guest for the first two weeks, and it so happens that the reverse is true on the Groaner’s show. The by-now old insult routine got a whopping going-byer, with no one or no holds barred. If it didn’t snap with the accustomed gusto and lagged in spots it was because it wasn’t on paper. Not even a Hope or Crosby can put a zing into a zag. The business of getting Hope a job with Chesterfield, which threatens to run for at least two weeks, was the main premise and bogged to a dubious payoff. Jack Kirkwood, straighting as Crosby's brother-manager Everett, could offer him only the job as an orange squeezer for Crosby’s Minute Maid. The bit squirted chuckles but didn’t pour laughs. Neither seemed their old sharp selves and the old finesse was missed. Dinah Shore was cut in for a song and enough, of the by-play to break up. Her gliding notes were a delight to the ear. Crosby chose “La Vie En Rose,” not too well suited to his lush styling. The dueting of “Home Cooking” was well coated with amusing nonsense and Les Brown’s crew paddled along with the rippling tide.

(Variety, October 11, 1950)

October 11, Wednesday. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for Chesterfield is broadcast by CBS. The show has been taped and the guests are Judy Garland and Bob Hope. Ken Carpenter, Jud Conlon’s Rhythmaires, and the John Scott Trotter Orchestra remain as regulars. The audience share for the season is only 10.0 and the show does not figure in the top 20 ratings as assessed by Nielsen. The top radio show for the season is the Lux Radio Theater with a rating of only 21.0 reflecting the impact of television. The Chesterfield shows are broadcast each week on Wednesday nights until June 27, 1951.

 

Those two boys - Bing Crosby and Bob Hope - with a big, rollicking assist from Judy Garland must have made this parlay pay off big on the Nielsen meters. For a getaway with Hope now picking up a little cigarette money with the Groaner, Arthur Godfrey and Perry Como, it didn’t miss far being a dream show. Every line served up by Bill Morrow, Hal Kanter and assorted aides was one long howl and the music was on the same delectable level. From the tradey prologue down to the rousing finale of the trio taking turns at parodying ‘Goodnight, Irene’ it was sock and go all the way. Even a harmless little throwaway line like, ‘Me too’ was built into high voltage humor and the usual insults generated their own yocks. As for instance, when Hope said to Crosby, ‘Men have gotten Oscars for less - didn’t you?’

         Young Gary Crosby came in for his share of the exchange, now that he is following in his father’s footsteps. Out in the provinces they must have taken the opening spot with bewildered amusement - Kanter as CBS veep, Hubbell Ackerman Jr. gave Crosby a dressing down for appearing on another network. ‘We want you to be more of a company man’, he was told, ‘Hope had his chance to come over to our network’. That nonsense out of the way, Crosby and Miss Garland dueted ‘Sam’s Song’, each took a couple of turns solo and Hope came on to kick the script around, though not as much as in the past. The only break-up was by Miss Garland who can do it better than most singers. The cigarette girl ‘bit’ was one solid round of laughs that never let up until Crosby broke into song. The ‘Irene’ parody at the close gave the show a walloping finish and sent the series away on a high note of promise. If radio is to be saved such shows as this will turn the trick. Ken Carpenter was on hand to pound the ‘smell milder, smoke milder’ slogan but he had plenty of help from the main men. If Crosby can keep banging it in, in the weeks to come as he did on the tee-off, it’s going to take some doing by the others to keep him out of the first ten.

(Variety, October 18, 1950)

 

October 12, Thursday. Bing is appointed as honorary chairman of the American Legion's “Tide of Toys” program for European children.

October 15, Sunday. The whole Crosby clan sits down for dinner together at the request of Bing’s mother. Afterwards she leaves with Bing and Dixie for Bing’s home at Pebble Beach.

 

In the early years of the Crosby family, nearly every Sunday evening found the family circle complete in an atmosphere of play, and banter, and music. After the supper dishes had been cleared away, perhaps one of the youngsters would start up the phonograph . . . that early model with the long horn, an extravagance that Dad blithely claimed someone had given him, fully-aware that none of us believed him. Or Dad would play his mandolin or guitar, warming up with a nonsensical ditty we knew only as “Sing-Song Polly Catch a Ky-mee-oh.” And soon everyone would be singing.

         And now, after the family had been scattered for many years, they were all together again, closing ranks, as they assembled at Everett’s home for Sunday dinner. Here were Mother, Larry and Elaine and their children, Molly and Jack and Jack’s wife Bea; Everett and Florence; Ted; Bing and Dixie and their four sons, Gary, Phillip, Dennis and Lindsay; Catherine and Eddie Mullin; Mary Rose, Bob and June and their Cathy; Florence’s father, George Guthrie, and Father Sugrue.

         As usual, there was much banter and kidding during the dinner and as usual, Everett and Mary Rose were generally on the receiving end, and they held their own, as of old. Someone suggested a song and the show was on, with Mother beating time much in the fashion she uses her racing program to bring in her horse.

         First Bing and Gary sang a duet. . . someone brought out a ukulele ... and a Crosby Sunday evening was in full swing as various members of the family and their children took turns at song. Phillip and Dennis sang a duet and Linny, after some coaxing, gave out with a solo with Bing backing him up. Cathy sang “Dear Hearts and Gentle People” and Bob joined in. Larry did a parody on “You Wore a Tulip,” and Mary Rose, after being teased with a chorus of “Anchors Aweigh” (in honor of her seafaring husband), joined Bing in a number. Dixie dug up “Has Anybody Seen My Gal,” Jack and Bea jitterbugged.

         Then, after dessert, when everyone moved into the playroom, Florence sat at the piano and delighted with several songs. The gathering broke up as Bing took Gary, Phillip and Dennis, and Ted and Eddie Mullin, to catch a northbound train.

         It was the kind of a Sunday evening Dad liked best... good food, music, and laughter with his family gathered around him, for he would have echoed the sentiments of the poet who wrote:

 

         “No funeral gloom, my dears, when I am gone                                                

  Corpse-gazings, tears, blackraiment, graveyard grimness;

        Think of me as withdrawn into the dimness,

        Yours still, you mine; remember all the best

        Of our past moments; and forget the rest;

        And so, to where I wait, come gently on.”

 

     Yes, there were banter and songs, but underneath and each to himself, some serious thoughts and good resolutions. To help us keep these, we have an advance man loaded with spiritual bouquets, thousands of masses, more than he needs. He will spare a few, even if he must get along with a bum string or two on his harp.

(Larry Crosby, from a private essay he wrote for the family.)

 

October 16, Monday. Bing records a Chesterfield show in San Francisco with Claudette Colbert for broadcast on October 25. Bing and Claudette and their party dine at the Paris Louvre after the show.

PHENOMENA:   Claudette Colbert performed a local miracle Monday evening. She was here to help Bing Crosby tape his October 25 show at the Marines Memorial Theatre. A normal Crosby recording makes Olsen and Johnson’s antics seem anemic.  Sometimes it takes an hour to do a thirty minute show. This time the back-stage mood was as dignified as a “Theatre Guild” rehearsal. Credit goes to Miss Colbert.  Her presence brought an unfamiliar decorum to the proceedings.  Yet it resulted in one of Bing’s funniest shows.

Miss Colbert rejected Bing’s offer to play in his next picture with Bob Hope. She listed the stars she has been featured with (Gable, Cooper, MacMurray, Ryan, Grant, etc.) then explained:  “When one is used to champagne, one doesn’t like to switch to Seven Up.” Her appearance was a pleasant interlude in a stormy series, but normal chaos should return next Tuesday when Bing plans to host Al Jolson.

 (Dwight Newton, Day and Night, The San Francisco Examiner, October 19, 1950)

October 18, Wednesday. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for Chesterfield is broadcast by CBS. The show has been taped and the guests are Judy Garland and Bob Hope.

October 23, Monday. Al Jolson dies in the St. Francis Hotel, San Francisco, while waiting to appear on Bing’s Chesterfield show the following day.

On the show to have been taped with Bing Crosby tonight (Tues.), Al Jolson was to have been paid high tribute for his recent Korean trip. Jolson was to have dueted with Crosby in a medley of Jolson hits with Jolie also to have soloed “Japanese Sandman.” Tonight’s taping was cancelled by Crosby and will be done Friday or Saturday instead. Writer and co-producer Bill Morrow said a tribute would be paid to Jolson and it’s likely that the musical portion will comprise songs identified with the mammy singer.

(Variety, October 25, 1950)

October 24, Tuesday. In view of Jolson’s death, the taping of the Chesterfield show is postponed until later in the week when Dorothy Kirsten is the star guest. A new ending about next week’s guests is recorded and spliced into the show being broadcast on October 25. Bing goes to see Toni Arden perform at the Mark Hopkins Hotel and offers her a guest shot on his radio show.

October 25, Wednesday. Bing records a Chesterfield show in San Francisco with Dorothy Kirsten for broadcast on November 1. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for Chesterfield is broadcast by CBS. The show has been taped and the guest is Claudette Colbert.

October 27, Friday. The long-running Minute Maid morning shows in which Bing presented records ends.

October 30, Monday. Bing records a Chesterfield show in San Francisco with Dick Powell for broadcast on November 8.

November 1, Wednesday. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for Chesterfield is broadcast by CBS. The show has been taped and the guest is Dorothy Kirsten.

November 6, Monday. Bing records a Chesterfield show at the Marines’ Memorial Theater in San Francisco with Toni Arden and Bob Crosby for broadcast on November 15.

November 7, Tuesday. Calls in at the Sinaloa Mexican restaurant to see Luz Garcia's Mexi-show. Gives the singer, Carlos Hilar, a $50 tip.

November 8, Wednesday. (6:30–7:00 p.m. Pacific) Another taped Bing Crosby Show for Chesterfield is broadcast and Bing’s guest is Dick Powell.

November 9, Thursday. Bing records a Chesterfield show in San Francisco with the Firehouse Five Plus Two and Ella Fitzgerald for broadcast on November 29.

November 13, Monday. Bing records a Chesterfield show in San Francisco with Paul Douglas for broadcast on November 22.

Squelching the divorce rumors, Bing Crosby, wife Dixie, and the kids plan a happy Thanksgiving together in L. A.

(Earl Wilson, San Francisco Examiner, November 14, 1950)

November 15, Wednesday. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for Chesterfield is broadcast by CBS. The show has been taped and the guests are Toni Arden and Bob Crosby.

November 18, Saturday. (2:00 p.m. kickoff) Bing and Bob Hope are at the Stanford Stadium to see the Stanford Indians football team lose 7-0 to the Army Cadets football team in pouring rain.

November 22, Wednesday. (6:30–7:00 p.m. Pacific) Another taped Bing Crosby Show for Chesterfield is broadcast and Bing’s guest is Paul Douglas.

November 25, Saturday. At CBS Studio B in Hollywood, Bing tapes a Chesterfield show with his wife, Dixie, and their four sons for transmission on December 20.

November 29, Wednesday. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for Chesterfield is broadcast by CBS. The guests on the taped show are the Firehouse Five Plus Two and Ella Fitzgerald.

 

Some of the brightest portions of Bing’s current season’s schedule have been the appearances of the Firehouse Five Plus Two, a highly individual jazz band made up of Walt Disney artists and writers who began playing jazz music as a hobby. Bing discovered this group last year, when the boys were invited by brother Larry to play for the Victory dinner at Bing’s Pebble Beach Golf Tournament. The Firehouse Five have since appeared on the radio show five times.

         Bing’s singing with the group has drawn a tremendous flood of fan mail, most of which makes the point that he sounds more youthful with them. According to Ward Kimball, Firechief and trombone player, this is actually the case.

         “We play in a higher key than most of Bing’s current arrangements,” he explains, “so he sings like he used to long ago.”

(From an article in Modern Screen magazine, April, 1951)

 

November 30, Thursday. It is announced that Harry Lowe Crosby's will dated May 27, 1942 leaves everything to his widow. The estate is valued at more than $10,000.

December 1, Friday.  Bing writes to film reviewer Milton Shulman in England who had not been impressed by Mr. Music.

 

I hope the film has a good reception in England. My last three or four efforts haven’t been too successful over there, or over here for that matter.

I’m beginning to wonder if the public is getting wise to me, or weary of me, or if the stories had been susceptible to criticism or what. Possibly a combination of all these factors. After all, I’ve made 40-some pictures, I believe, and my talents are limited and it’s pretty difficult to come up with anything original or new when faced with me as a leading man.

But we’ll keep trying, and maybe we’ll be able to develop another story, such as Going My Way, before they cast me aside entirely.

 

December 2, Saturday. Jimmie Fidler reports that Bing was hospitalized earlier in the week for his yearly physical check-up. He passed with flying colors. At the Vine St. Playhouse in Hollywood, Bing records a Chesterfield show with Judy Garland that airs on December 6.

December 3, Sunday. Bing and Bob Hope supply a transcribed insert on behalf of Chesterfield to The Big Show a 90-minute NBC radio program hosted by Tallulah Bankhead. During the series, Bing is heard frequently as a spokesman for Chesterfield who sponsors the show.

December 4, Monday. Bing is at Paramount studios.

Bing Crosby was serenaded on the Paramount set of Frank Capra’s “Here Comes the Groom” by a choir of 40 boys from France. The choir “Les Petits Chanteurs a la Croix de Bois” are now on their fourth transcontinental American tour. Crosby joined the choir in an English rendition of “Silent Night.”

(Valley Times, December 5, 1950)

December 6, Wednesday. (6:30–7:00 p.m. Pacific) Another taped Bing Crosby Show for Chesterfield is broadcast and Bing’s guest is Judy Garland.

Judy Garland will join Bing Crosby in a duet version of “Rudolph the Red-Nosed Reindeer” tonight at 9:30 over WDAE. This is Miss Garland’s third visit of the season to the “Bing Crosby Show.” She and Bing will sing a special set of “Rudolph” lyrics written by Bill Morrow, producer and head writer of the show.

(Tampa Bay Times, 6th December, 1950)

December 9, Saturday. At the Vine St. Playhouse in Hollywood, Bing records a Chesterfield show with Peggy Lee and Hopalong Cassidy, which airs on December 13.

December 12, Tuesday. (7:15–9:15 p.m.) Bing tapes a guest appearance on the Bob Hope show for broadcast on December 26.

December 13, Wednesday. (3:00–6:00 p.m.) Records “A Perfect Day” and “May the Good Lord Bless and Keep You” in Hollywood with Ken Darby and his Orchestra.

 

A Perfect Day – Decca 27404—Der Bingle’s at his warmest for this mellow mood slicing of the Carrie Jacobs Bond classic.

May the Good Lord Bless and Keep You Crosby delivers one of his finest chants of recent times on this glowing Meredith Willson theme. Should be a big current and standard item for the crooner.

(Billboard, January 13, 1951)

Bing Crosby: “May the Good Lord Bless and Keep You”- A Perfect Day” (Decca). Signoff theme of the NBC’s “The Big Show,” “Bless You” is garnering lots of wax in the continuing religioso trend. Crosby delivers it 
with appropriate sincerity with choral backing by the Ken Darby Singers. On the Decca reverse, Crosby gives a relaxed rendition of the Carrie Jacobs Bond standard. 

(Variety, January 10, 1951)

 

[Bing] is on Bruns. 04657 in a pleasant record of “A Perfect Day,” but on the reverse, “May the Good Lord Bless and Keep You,” while doubtless sincere, is rather too sugary.

(The Gramophone, April, 1951)

 

(6:30–7:00 p.m. Pacific) The Bing Crosby Show for Chesterfield is broadcast by CBS. The show has been taped and the guests are Peggy Lee and Hopalong Cassidy (William Boyd).

December (undated). Records “Talking Christmas Cards” for the Armed Forces Radio Service.

December (undated). On the Paramount lot, Bing improvises an Italian song for a Voice of America broadcast called "The Curtain Rises" planned to be transmitted to Italy on December 30.

December 14, Thursday. In CBS Studio B in Hollywood, Bing records a Chesterfield show with Dinah Shore, Louis Armstrong, and Jack Teagarden, which airs on December 27.

December 14–February 1951. Films Here Comes the Groom with Franchot Tone, Jane Wyman, and Alexis Smith. The film is produced and directed by Frank Capra who comes in $61,000 over budget with total expenditure of $2.1 million. Musical direction is by Joseph J. Lilley. Ray Evans and Jay Livingston provide most of the song material instead of the usual arrangement with Burke and Van Heusen. The switch is said to be for “budget consciousness rather than displeasure with Burke and Van Heusen.”

 

“You could do things with Crosby that you couldn’t do with anyone else; coordination, my goodness, he could juggle balls and play scenes at the same time—unlike most actors who can only do one thing at a time. He was the most un-actorish actor. One must never underestimate that it took great talent to do what he was doing. A tremendously talented man in singing, acting, performing—he was truly irreplaceable. He was so easy and wonderful to get along with, so able. Everybody knew he was the best popular singer ever, but he was also an outstanding actor—he could make you cry, make you laugh.”

(Frank Capra, as quoted in Gord Atkinson’s Showbill, page 52)

 

A secret war plant couldn’t be guarded more closely than the nearby Here Comes the Groom set. I find myself watching “The Groaner,” Bing Crosby, working on dance steps. He and Jane Wyman are about to complete a complicated routine in a lavish office belonging to Jane’s boss, Franchot Tone. It is night and he is absent.

Der Bingle says he is ready and I note that director Frank Capra gives the go-ahead sign to THREE cameras. One is focused on their entrance, a second on the closeups and the last on the overall picture. Capra is crouched under the central camera. At his side is a tiny figure—his son. This is too good to miss.

The cameras role and a record starts playing “In the Cool, Cool, Cool of the Evening.” This is a real rhythm number written by Johnny Mercer and Hoagy Carmichael. Bing and Jane, out of camera sight, start to feel the beat and as her cue sounds, they bound into the set. Jane gracefully twirls to the far side of the desk and Bing, believe it or not, leaps through the air in swanlike fashion and lands squarely on the soles of his feet.

Jane picks up a large pair of shears and clamps the handles on her nostrils. She looks like she’s sporting a lorgnette and at the same time sings in a nasal and corny tone. Bing uses a fireplace shovel as a banjo and accompanies her lyrics with harmonizing “plunk-a—plunk-a-plunks.” Bing leans back in a huge revolving desk chair. As he does so, the chair whirls backward and Bing falls to the floor. This is NOT in the script. Capra shouts, “Cut!”

Crosby is momentarily stunned by the fall and is absolutely speechless. Barney Dean breaks up the deathly silence and yells: “Bing, next time stay down for a count of nine.” Bingle makes a quick inventory of his bones—all is okay and they prepare for another take. This time all goes well.

Jane puffs by and tells me, “We’ll all be cripples before this picture’s finished. I was lucky, I didn’t break anything.”

Crosby also seeks refuge in his dressing room. “I guess I’m a lousy hoofer,” he says, “but at least I’ve got the beat.” He glances at Jane and wryly comments: "Hmmmmm, so you’re tired of dramas.”

(Harrison Carroll, Los Angeles Evening Herald Express, January, 6, 1951)

 

I thought Here Comes the Groom, made in 1951, was a funny picture. Frank Capra, who directed it, starts with a good script, but if he feels like it, he varies it as he goes along. If an inventive mood strikes him, he’s quite likely to think up something better, as he did in It Happened One Night.

He has an unusual feeling about the music in his films. He won’t allow any of it in one unless it comes in naturally. He says that in real life people don’t carry orchestras around with them. To his audiences it appears that a character in a Capra picture actually makes any music they hear on the sound track. If Frank wanted me to sing a song while I was riding a horse, he’d have me playing a guitar or banjo or an accordion and accompanying myself, or he’d have somebody ride beside me playing. For this reason, he’s had many fights with music departments and with song writers who like to hear their songs supported by a big string orchestra. Me, I take a neutral position. But it seems to me that if it’s O.K. to score a picture for music, it should also be permissible to use an unseen orchestra when somebody’s singing. On the other hand, the way Capra staged the song, “In the Cool, Cool, Cool of the Evening,” written by Hoagy Carmichael and Johnny Mercer for the film Here Comes the Groom, helped it win the Academy Award as the best song sung in a motion picture in 1951.
(Call Me Lucky, page 181)

 

December 16, Saturday. Bing’s recording of “White Christmas” makes its annual appearance in the pop charts, peaking at number thirteen over a four-week period.

December 19, Tuesday. While in Hollywood, Bing is interviewed by Martin Block in New York by telephone. The interview is used in a two hour “Salute to Bing” tribute on station WNEW on December 20

December 20, Wednesday. Bing’s film Mr. Music has its New York premiere at the Paramount Theater. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for Chesterfield is broadcast by CBS. The show has been taped and the guests are Bing’s wife Dixie Lee (for the first and only time) and the four Crosby boys. It is Dixie’s first professional appearance since 1936. (8:00-10:00 p.m.) Radio station WNEW broadcasts its “Salute to Bing” tribute live from the Paramount Theater, New York. Those taking part include Martin Block, Guy Lombardo, Ella Fitzgerald, Jimmy Dorsey and Dorothy Kirsten.

 

     There’s a pleasant surprise in store for Bing Crosby fans on his KNX at 6:30 show tonight. Yesterday we ran a picture of the Old Groaner and his four sons as costars of the show. At that time we didn’t know about the surprise. It seems Mrs. Bing Crosby, the former Dixie Lee, will also be on hand playing her role as Mother Crosby. Mary Jane Croft had originally been set for the part on the radio show but Dixie decided to break her retirement from public life and requested the role herself. So it will be a happy occasion when Bing, Dixie and their four sons celebrate an early Christmas at home tonight.

(Walter Ames, The Los Angeles Times, 20th December, 1950)

Despite a contrived story, the ingredients are sufficiently well mixed to make “Mr. Music” a box office winner.

      …The crooner-star does a good job in a role wherein he fits in easily, and might well have been a truly convincing characterization if not snarled by the cliché elements. By and large, however, Crosby makes the part breathe.

      The Burke-Van Heusen songs aren’t of that at-first catchy quality but have greater durability and come through pleasingly under the easy-singing Crosby style of thrushing. “Life Is So Peculiar,” “High on the List,” “Then You’ll Be Home,” along with “Accidents,” get solid airing.

(Variety, August 30, 1950)

 

To brighten the Christmas season, our old friend, Bing Crosby, is in town in a role (and an entertainment) that fits him—and he it—like a glove. In Paramount’s “Mr. Music,” which came to the Paramount yesterday, Der Bingle (which rhymes with Kris Kringle, we trust you will incidentally note) plays an easy-going song-writer who is coaxed into composing a musical score by a provokingly persistent young lady hired particularly for this job. And with newcomer Nancy Olson spreading much charm in the latter role; with Tom Ewell, Ida Moore, Charles Coburn and even Groucho Marx and Dorothy Kirsten lending assists and with one of the nicest sets of new songs that Jimmy Van Heusen and Johnny Burke have ever turned out, this “Mr. Music” is certainly one of the cheeriest and brightest of current films.

There’s no point in being coy about it: Bing has not been too fortunate in the general characteristics of his roles in his past three or four films. But in this light, romantic entertainment, based on Samson Raphaelson’s play, “Accent on Youth,” he acts the sort of droll, informal fellow that he himself happens to be. And since Bing’s genial songsmith in this story takes more joyously to golfing than to work, it’s the sort of job that our hero can well wrap his golf clubs around.

Fortunately, Arthur Sheekman has turned Mr. Raphaelson’s play into a lively exercise with words and music that ambles gaily across the screen. True, there are times when the action, confined largely to a penthouse drawing-room (where Mr. Crosby toys with his golf clubs just as happily as he does on the course) tends to lag slightly and grow feeble. Even with Miss Olson as vis-a-vis, the sparring of boss and slave-driver drags just a bit now and then.

But regularly Mr. Sheekman catches up the lag with a nice bit of comic invention that Director Richard Haydn grabs upon and uses to keep the whole show going in a generally sophisticated style. It is notable that little condescension to the so-called juvenile taste is evident here. And the songs are adroitly integrated into the natural flow of the script so that Bing and the cast can get into them without pointing when they do the most good.

Best of the lot, for our taste, is a lightly philosophic rhapsody, “Life Is So Peculiar,” which is done in several different ways. Bing and Peggy Lee sing it one time at a pent-house jamboree, at which the elastic young Champions, Marge and Gower, dance it spinningly. The Merry Macs also sing it in the ultimate musical show, put on as the songwriter’s triumph, and Bing does it in a skit with Groucho Marx. This latter, incidentally, is a winning but strangely skimpy highlight of the film.

Next best is a smoothly melodious song of wistful love, “Accidents Will Happen,” which Bing, after tinkering throughout, sings in a pleasing duet with Dorothy Kirsten. And “High on the List” is that, too. Otherwise “Wouldn’t It Be Funny,” “You’ll Be Home” and “Wasn’t I There” are in the category of wholly agreeable tunes.

Miss Olson, who will be remembered as the young lady in “Sunset Boulevard,” here demonstrates a thorough ability to handle a fragile romantic lead, and Charles Coburn is familiarly amusing as a harassed producer of musical shows. Ida Moore is chirpily comic as a starry-eyed chaperone, while Mr. Haydn, the commendable young director, is very funny in an asthmatic bit.

“Mr. Music” may not stack up with the best of the Crosby films, but it is certainly a contemporary achievement that the master may lean happily upon.

(Bosley Crowther, New York Times, December 21, 1950)

 

Just before Christmastime, audiences caught one of their last glimpses of the Barbours together. Bing Crosby had thrilled Lee by recommending her for a cameo in his latest film. Mr Music. At a penthouse party, surrounded by revelers, she and Crosby, accompanied by Dave’s combo, sing Johnny Burke and Jimmy Van Heusen’s homespun slice of philosophy, “Life Is So Peculiar.” Lee had grown in confidence since her nervous appearances in The Powers Girl and Stage Door Canteen, and she and Crosby prove a perfect match—a rising minimalist alongside the king of nonchalance.

(James Gavin, Is That All There Is? The Strange Life of Peggy Lee, page 121)

 

In 1950 Lee made a cameo appearance in the Paramount film Mr. Music, starring Bing Crosby. Lee and Crosby sang the charming duet “Life Is So Peculiar” in a party scene during which their voices intermingled in a comedic and seemingly effortless conversation. Their evenly matched singing talents combined to create an unforgettable performance that entertained through the overlapping and turn-taking of a friendly discussion set to music and choreography. The pitch-perfect delivery of a jumping, lightly swinging melody and the improvisational, casual playfulness of this delightful duo shone brightly in this pivotal moment in film history when two of the finest singers in the world met for a swinging, joyful romp.

(Tish Oney, Peggy Lee – A Century of Song, page 88)

I’m just like the Mr. Averages in the audience who watch the glamour boys on the screen and listen to the little woman at their side sighing like a furnace.

That was why the title Mr. Music, which Paramount gave to a picture I made in 1950 with Nancy Olson, made me uncomfortable. The picture didn’t do too well at the box office, and I’ve always thought it was because its title was unfortunate. Any time you name anybody Mr. So-and-So, you’re in trouble. It sounds as if the one named is claiming more than he’s entitled to. I fought against that Mr. Music title because I thought it would put me in a position of claiming to be a leading figure in the music world. But the studio thought otherwise. In fact, that “leading figure in the music world” angle was the one their ads and their exploitation played up.

I think it soured a lot of people on me. Pin a name on a stage or screen actor like America’s Boy Friend or The Orchid Man, or Mr. Music on a singer, and he’s behind the eight-ball. People go to see him with a “he’s-gotta-show-me” attitude. It’s easy to turn such a label into a gibe. It can bounce. That Mr. Music title took in too much territory for anybody, especially me, since I know relatively little about music.

(Call Me Lucky, page 147)

 

December 22, Friday. Bing and Jane Wyman rehearse a scene in "Emmadel's Office" on Stage 17 involving a dance routine.

December 23, Saturday. The Here Comes the Groom production shuts down for the Christmas holiday.

December 24, Sunday. Bing guests on Louella Parsons’ transcribed ABC radio show and sings “Silent Night.” Hopalong Cassidy also appears. During the day, Bing records a Chesterfield show with Fred Astaire that airs on January 3, 1951.

 

“We used to do jokes about Bing’s lack of hair or his quickly receding hairline. Very seldom did Bing ever say anything about a script or ever complain. But we had Fred Astaire as a guest on one show, and we had a joke. Fred said to Bing, ‘You used to be taller,” and Bing said, “Yeah, well, I used to comb mine up.” And Fred evidently didn’t care for the joke; he did not want to admit that he wore a piece, whereas [to] Bing it didn’t make any difference.”

(Hal Kanter, as quoted in The Great American Broadcast, page 177)

December 26, Tuesday. (9:00–9:30 p.m.) Guests on the Bob Hope radio show on NBC with Carole Richards and Jack Kirkwood.

Bing Crosby saunters in on Bob Hope’s show (KFI 9). The Groaner and the Nose will discuss their Christmas shopping problems. They will also harmonise in a friendship-type song, guaranteed to top all friendship-type songs.

(Paul Price, Daily News, December 26, 1950)

December 27, Wednesday. Bing and Jane Wyman sing “In the Cool, Cool, Cool of the Evening” on the Paramount set of Here Comes the Groom accompanied by a full orchestra on the scoring stage. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for Chesterfield is broadcast by CBS. The show has been taped and the guests are Jack Teagarden, Dinah Shore, and Louis Armstrong.

Here Comes the Groom was noteworthy to me because of a song, the launching of a fourteen-year-old Italian girl’s career, and the charming chemistry that developed from the performances of Bing Crosby and Jane Wyman. First, the song.

Much to my delight I discovered that Jane Wyman—short nose, long legs, big heart, and all talent—had a rarely used flair for singing and dancing (in films she started in the chorus line, second row). I had to have a great song for Jane to do with Bing. But you don’t just find great songs lying around on shelves. Oh, no? We did.

Joe Sistrom (one of my earlier “fiddlers three”) said: “Frank, got just the song you want. Been in Paramount’s dead letter files for years. Johnny Mercer and Hoagy Carmichael wrote it for a Betty Hutton picture I was going to make about Mabel Normand, till it got the Balaban ax. I’ll dig it up for you.”

Back he came to my office and put a small try-out record on my record player. A gravelly voice scratched out: “This is Johnny Mercer singing ‘Cool, Cool, Cool of the Evening,’ lyrics by Mercer and music by Hoagy Carmichael.” Then Hoagy played the piano intro and Mercer sang: “In the cool, cool, cool of the evening, / Tell ‘em we’ll be there . . .”

That was it! Bing liked it, Asher liked it. It would be our big gag-comedy number. I hired my pal, dance director Charlie O’Curran (Patti Page’s worse half), to work out a wild dance routine.

The news about “Cool, Cool” (it won the Academy Award for Best Song) was not that we recorded, simultaneously, the orchestra in the music stage and Bing and Jane on the live sets (with tiny radios in their ears to pick up the orchestra from antenna loops on the floor)—although Film Daily said we set a precedent: “Marking a first, Paramount’s full orchestra yesterday recorded on the scoring stage while Bing Crosby and Jane Wyman simultaneously recorded Johnny Mercer’s ‘Cool, Cool, Cool of the Evening’ blocks away on Frank Capra’s shooting set. . .”

Nor was the news about the song the intricate technical job of photographing and recording Bing and Jane as they started their song and dance in a plush upstairs office, then, without a break, clowned and sang down a corridor, to the elevator, out the main lobby to the lighted street, and down the street to Jane’s car. All in one take. All on one sound track—cameras and mikes in the office, the corridor, the elevator, the lobby, and the street, picking up actors as they came into view a la TV coverage—a distinctive bit of staging the actors and crews were deservedly proud of.

No, the news about the song was Jane Wyman—the way she traded in her crying towel for a glamour-girl’s raiment, and became a dish to behold!

(Frank Capra, writing in his book, The Name above the Title, page 420)

December 30, Saturday. Bing and many other stars are featured in a special "Voice of America" broadcast heard throughout Italy as a special New Year greeting. The Here Comes the Groom production shuts down as Bing records a Chesterfield show with Louis Armstrong, Jack Teagarden, and Toni Arden, which airs on January 17, 1951. Billboard announces a major marketing drive.

20 Years-and Boom for Bing!

NEW YORK, Dec. 23. — One of the most extensive promotions in show business history is being readied for the month of January to herald Bing Crosby's 20th anniversary and to push Der Bingle’s new film, Mr. Music. The anniversary marks Crosby’s first appearance as a single entity in show business, tho his actual tenure in the field dates back even further to his days as a member of Paul Whiteman Rhythm Boys. The promotion is a five-way deal between Decca Records, Paramount Pictures, the Columbia Broadcasting System, Chesterfield Cigarettes and Famous-Paramount Music Publishers…Hub of the Decca drive will be the largest single of Crosby disks – 8 new albums – to be marketed at one time. Albums will cover songs Bing has done in his pictures…The diskery will also issue 12 new 45 r.p.m. albums, 10 of which have appeared on 78 and LP and two completely new – a collection of current Broadway show tunes  and an Irish songs album. Diskery will gift Bing with a platinum record of his White Christmas which has sold over 7,000,000 copies.

(Billboard, December 30, 1950. Pages 20 and 27.)

Bing comes third in the U.S.A. movie box office stars poll. John Wayne is first. During the year, Bing has had eleven records that have become chart hits.

At some stage in the year, Bing appears in a tobacco industry short film called Tobaccoland On Parade with Bob Hope, Perry Como and Arthur Godfrey.

 

1951

 

January 1, Monday. Attends the Rose Bowl game between the Michigan Wolverines and California Golden Bears at Pasadena. Michigan wins 14-6. The Here Comes the Groom production has shut down for the day.

January 2, Tuesday. Another scene for Here Comes the Groom is filmed in "Emmadel's Office".

January 3, Wednesday. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for Chesterfield is broadcast by CBS. The show has been taped and the guest is Fred Astaire. Louella O. Parsons' syndicated column of this date includes the following.

Dixie and Bing Crosby’s holiday party was a western dinner in honor of Kitty Sexton, who has bought a ranch near them in Elko. Everett Crosby, who recently kissed and made up with Dixie, wore the biggest western sombrero there. Among the few western movie guests were, of course, Sue and Alan Ladd, Lana and Bob Topping, Pat Dane and Bill Morrow, and, of course, the Bob Crosby’s were among those who had a good time. Gary, who is his dad’s greatest competition, sang.  In fact, all the Crosby’s entertained.

January 7, Sunday. Bing is heard being interviewed on radio station KMPC’s transcribed “Salute to Bing Crosby” which is transmitted over the Liberty Broadcasting System at several times over the coming days. Also, Bing records four songs with Tommy Dorsey and his Orchestra in Hollywood.

 

Bing Crosby - Tommy Orch: “Then You’ve Never Been Blue”-“You Gotta Show Me” (Decca). Teaming of Crosby’s pipes with Dorsey’s slidehorn on a couple of oldies was a good idea although these sides probably aren’t destined for more than middling play. Crosby rides both tunes with a mellow voice and good beat while Dorsey’s band supplies smooth swing backgrounds.

(Variety, February 21, 1951)

You Gotta Show Me

Decca 27461—A light rhythm piece benefits tremendously from the blend of a relaxed Crosby with the beat-ful inclinations of T. D. Surefire deejay fare and likely, if only for the name power.

Then You’ve Never Been Blue

Bing croons a fine oldie, T. D. blows a bit of it on his horn; result is a nice disking for dancers. A pleasant, tho unspectacular, coupling.

(Billboard, March 3, 1951)

 

Without a Word of Warning

Decca 27801—Crosby here has put to wax one of his finest croon jobs in recent years on a fine ballad oldie by Gordon and Revel. T.D. contributes a taste of his own tram style and furnishes a simple dance setting for the disking.

The Girl Friend

Bing, backed by a bright Dorsey dance orking, does a winning job with a brilliant sample of Rodgers and Hart.

(Billboard, November 3, 1951)

I was frankly disappointed by Bing Crosby (Bruns 04704), even when assisted by Tommy Dorsey’s Orchestra, for “Then You’ve Never Been Blue” sounds too much like a “borrow” from “A Nightingale Sang in Berkeley Square.”

(The Gramophone, June, 1951)

 

January 8, Monday. (Starting at 6:30 p.m.). Bing records a Chesterfield show with Bob Hope and Bob Crosby in CBS Studio B. The show airs on January 10.

January 9, Tuesday.(7:00–7:30 p.m. Pacific) Is honored in “A Salute to Bing Crosby,” a transcribed CBS tribute to his twenty years (as a single) in show business.

 

With an all-star talent lineup, CBS must have drawn a hefty audience for this special one-shot, designed as a tribute to Bing Crosby and his 20th anni in show business. But the web certainly missed the boat as far as any production credits were concerned, except for the basic necessity of transcribing the artists from both coasts and integrating them into the half-hour production. With Art Linkletter as emcee, the guests merely stood up and performed their specialties.

There was no attempt made to integrate any of them into a script, and the result was a hodge-podge of variety entertainment.

As a peg on which the guests could hang their talents, producers Bill Morrow and Murdo MacKenzie had most of them explain how they were associated with the Groaner during his career. When no association could be found though, the performer merely sang or played the number that was “one of Bing’s favorites.” CBS board chairman William S. Paley was also on hand to receive credit as the first network exec to give Crosby a coast-to-coast show. Strangely missing from the lineup were Mack Sennett, in whose two-reel comedies the crooner first shone, and Paul Whiteman, with whose orch Crosby launched his singing career.

Guests, all top names in the business, were fine when they stuck to their specialties, but when they attempted to read some praise of Crosby, the lines sounded like in-sincere platitudes. Crosby’s mother was brought on as a “surprise” guest and Crosby himself scored in his now-standard dueling with Bob Hope and his singing of one of his best oldies, “1 Surrender, Dear.”

(Variety, January 17, 1951)

The Groaner’s 20th anniversary as a single entity in show business, being widely heralded by Paramount Pictures and Decca Records, was handed its send-off by CBS in a fully packed, half-hour, all-star salute. It was one of those shapeless, back-slapping presentations which could invoke nausea of heard more frequently than once every 20 years. Certainly, this particular tribute was breezier, tastefully handled and even entertaining to a certain degree above and beyond the usual run of this sort of thing. Transcribed, pasted together and run off for a studio audience with Art Linkletter serving as the emcee, the show turned up a host of talents linked at one time or another with Crosby. These included Mary Martin, Ella Fitzgerald, Louis Armstrong, Jack Teagarden, Amos ‘n’ Andy, Edgar Bergen and Charlie McCarthy, Dorothy Kirsten, Judy Garland and Bob Hope. CBS Chairman of the board, William S. Paley made a brief appearance to deliver the web’s best as well as take a bow as Bing’s “discoverer.”  The tribute, appropriately enough, was topped off with the initial radio appearance of the singer’s mother, Mrs. H. L. Crosby Sr.

(Hal Webman, Billboard, January 20, 1951)

 

January 10, Wednesday. This has been designated “Bing’s Day” by the media and Bing is at a luncheon at Paramount Studios at which disc jockeys and radio editors see him presented with a plaque from ASCAP. Dorothy Lamour is also present. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for Chesterfield is broadcast by CBS. The show has been taped and the guests are Bob Crosby and Bob Hope. (9:45 10:00p.m.) Bing appears on Bob Crosby’s Club 15 radio program on CBS.

January 11, Thursday. Bing guests on Bob Hope's radio show, which is taped at Fort Ord. Jimmy Demaret and Jack Kirkwood also appear. The show is broadcast on January 23.

Fort Ord—Bob Hope, affectionately dubbed “The Soldier in Greasepaint” by American soldiers stationed at outposts and camps throughout the world, rocked ‘em in their seats again Thursday night when he presented a star-studded, rollicking stage show in the Fort Ord Soldiers’ club. Leading the list of luminaries who appeared with him on the first show were the Ol’ Groaner, Bing Crosby. Crosby’s appearance was a surprise. Both he and Hope are on the Monterey peninsula for the Bing Crosby invitational golf tournament, an annual charity event.

(The Californian, January 13, 1951)

January 12-14, Friday–Sunday. Phil Harris and professional E. J. (Dutch) Harrison win the pro-am best-ball section at the Bing Crosby golf tournament. The professional winner is Byron Nelson. Bing does not play as he says that Paramount will not allow this while he is working on a picture. Celebrities playing include Dennis O'Keefe, Bob Hope, Bill Boyd, Bob Crosby, Ben Gage and Johnny Weissmuller. On the Friday, Bing’s film Mr. Music is shown at the Carmel Theatre and Bing is thought to have made a personal appearance. The grand climax of the tournament is the stag party at the Monterey-Peninsula Country Club on the Sunday night. About $45,000 is raised for the Monterey Chamber of Commerce Youth Fund benefit.

 

The more a fellow thinks about Crosby’s golf tournament on the Monterey Peninsula, the more it is realized that here is a big league operation. There isn’t a bushy feature to the entire show - and the Sunday night stag dinner for tournament officials, players, and press is a fitting climax to an outstanding event.

         The entertainment numbers at the stag dinner are something which must be seen to be believed. Crosby as an emcee, with his hair figuratively down and no radio microphone but only a loud speaker in front of him, is excruciatingly funny. And amazingly clever. No script either. All ad lib.

         At that, two professional golfers came close to stealing the show. Dutch Harrison, whose normal conversation is more hill-billy than Lil’ Abner’s, threw the 350 spectators into an uproar with his droll observations on golf in general, Crosby in particular. Jimmy Demaret, who has a rare sense of humor and an excellent singing voice, was another unscheduled star. Demaret gagged with Crosby, later sang “Home, Home on The Range” with old Silver Pipes. With a bit of training Demaret could get by as a professional warbler; He’s good.

         If the real hit of the program had to be picked by this writer the choice would settle on the Firehouse Five, the hottest, most melodious, toe-tapping, spine-tingling band in the country. And who comprises the Firehouse Five, you ask? Actually there are seven instead of five. The original five are employed by Walt Disney, all high salaried animators or officials. They play only for fun. A sixth musician is with the Los Angeles police department, the seventh, a resident of Santa Monica introduced by Bing Crosby as “a high class beachcomber”.

         No wonder every professional golfer in the country, and almost every amateur, seeks an invitation to the Bing Crosby tournament. There is nothing like it in the country, in the world. For the information of those who have dreams of receiving invitations to next year’s stag dinner, it should be explained that bids to the soiree are tougher to obtain than a formal presentation to the King and Queen of England. The dinner, it can be added, is much more fun than being presented to the King and Queen. And you don’t have to dress formally either.

(Alan Ward, Oakland Tribune, January 17, 1951)

                 

January 13, Saturday. Bing tapes his Chesterfield show at Fort Ord (northeast of Monterey) before an audience of army personnel at the U.S. Army Infantry Training Center. The venue is close to Pebble Beach and Bing’s annual golf tournament. Bing’s guests are Toni Arden and the Firehouse Five Plus Two. The show is broadcast on January 31.

Fort Ord—Roof on the Soldier’s club was raised at least a couple of feet Saturday night when Bing Crosby presented a show for Fort Ord servicemen. Included were Crystal White, dancer; Phil Harris, singing “The Thing”; Songstress Toni Arden and the Firehouse Five Plus Two, one of the top Dixieland bands.

(The Californian, January 15, 1951)

January 17, Wednesday. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for Chesterfield is broadcast by CBS. The show has been taped and the guests are Toni Arden, Jack Teagarden, and Louis Armstrong.

January 18, Thursday. (7:00–8:00 p.m. Pacific) Stars in the Screen Guild Players radio version of The Birth of the Blues with Dinah Shore and Phil Harris on ABC. Music is supplied by Red Nichols and his Five Pennies.

America’s queen of song, Dinah Shore, will be Bing Crosby’s leading lady when The Groaner stars in a radio revival of the cinema jazz classic, “Birth of the Blues,” on Screen Guild Players tonight on ABC.  Crosby will take time out from the filming schedule at Paramount of “Here Comes the Groom,” to play the lead in the one-hour production and as usual his performance will be contributed to the Motion Picture Relief Fund, beneficiary of the star-studded program featuring 60-minute dramatizations of hit screen plays.

ABC’s west coast musical director Basil Adlam will direct a special orchestra for the show and Red Nichols and his Five Pennies will be on hand to provide special jazz arrangements. Phil Harris, radio and film star, will star in one of the supporting roles.

“Birth of the Blues” is regarded as a film classic on jazz. It traces the conception of this native American music in New Orleans, and is generally regarded as one of the all-time great musicals produced by Hollywood. (7:00-KCNA)

(Tucson Daily Citizen, January 18, 1951)

January 20, Saturday. Billy Rowe's Notebook in the Pittsburgh Courier alleges that Bing refused to let a colored golfer named Teddy Rhodes play in his pro-am. Larry Crosby responds (see April 10, 1951). Bing records a Chesterfield show with James Stewart and Toni Arden that airs on January 24. At night, Frank Sinatra has a transcribed conversation with Bing on Frank’s television show and the setting is the lobby of a theater displaying Mr. Music on its marquee.

January 22, Monday. Press reports indicate that Bing has recently moved back into his Holmby Hills home with Dixie. He had been spending much of his time at his home at Pebble Beach.

January 23, Tuesday. (9:00–9:30 p.m.) The Bob Hope radio show is transmitted by NBC and Bing guests with Jimmy Demaret and Connie Moore. This has been recorded at Fort Ord.

January 24, Wednesday. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for Chesterfield is broadcast by CBS. The show has been taped and the guests are Toni Arden and James Stewart. During the day, Bing writes to Tom Johnson, a minority shareholder in the Pittsburgh Pirates and a senior lawyer at Kirkpatrick, Pomeroy, Lockhart and Johnson in Pittsburgh.

Dear Tom

I am much indebted to you for your long thoughtful letter disclosing what has transpired in recent months in the Pirates’ picture. Your letter cleared up many questions which have been in my mind, and which I was going to postpone putting to you until I saw you in the spring, but I believe now I am pretty well briefed on the entire situation.

Newspapermen and radio commentators are constantly jumping me out and trying to get some form of statement from me about Branch Rickey, about his reported stock purchase, and about his salary and his plans, and about the contractual details of his arrangement with the team. Naturally I vague up on all this stuff, because my experience has taught me that if I make no comment to the newspaperman there is very little he can do about it. If you say something, he’ll twist it around to suit his own purpose anyhow, so the best and only sanctuary is complete clam-up. Tom Harmon, the ex-Michigan football star, is a close friend of mine, and he is trying to get somewhere here in the sports commentating field, and I did help him out by taping a little interview about the Pirate picture, but what I had to say was mostly noncommittal and shouldn’t produce any earth-shaking conjectures in the sports world.

I am glad the future indicates we will soon have a working agreement with Hollywood, principally because most of my interests are here, and also because of Bob Cobb. He is not only a close personal friend of mine, but he is a fine man and is very popular in this town, and I presume he’s equally popular wherever he has interests.

Unquestionably, Branch has the right idea about the scouting system – building that up and developing young players. Of course I thought that’s what we were doing all along, but I believe we were stymied by Indianapolis.

We have a couple of guys we are currently working on that I think are going to be great prospects. One is a boy named O’Keefe, who went to school with my kid. He graduates in February. He is a first-baseman, weighs about 195 pounds, and is fast and has lots of power. He’s being sought after by every major league club in the business, but I think though his friendship with Gary we have an inside track on his services. This kid has done nothing but think and eat baseball since he was old enough to walk. And he’s a finished performer. If we miss out on getting him I’ll be bitterly disappointed. And there are some others out here, details concerning whom I won’t bother you at this time.

Certainly hope you can come to San Bernardino and we can discuss all these things more at leisure and in greater detail.

Am currently working on a picture which should finish in several weeks, then I go back to Pebble Beach to stay for a while, doing my broadcasting from San Francisco, but I’ll be around here for the spring training period, you may be sure, and I certainly intend to make opening day in Pittsburgh.

My very best to your family, and to the staff at Forbes Field.

Sincerely yours, Bing

January 27, Saturday. Tapes another Chesterfield show in Hollywood with Judy Garland. This is broadcast on February 7.

January 29, Monday. Bing sends a telegram to General Eisenhower at Columbia University in New York.

 

March of Time importuning me make short film subject covering my visit abroad last spring and pointing up benefits E.C.A. and Marshall plan. I don’t wish to become involved politically but would abide by your opinion as to the continuing merits of these operations confidential and in some haste

Bing Crosby 9028 Sunset Blvd

 

The General’s assistant replies on February 5.

 

General Eisenhower, although he has now returned to Columbia from Washington, continues immersed in a series of conferences and meetings that leaves him no leisure whatsoever. However, this morning, he did get a chance to read your telegram. He directed me to write immediately, thanking you for the compliment implicit in it and assuring you of his favorable opinion on the continuing merits of the two operations you named.

 

January 31, Wednesday. (6:30–7:00 p.m. Pacific) Another taped Bing Crosby Show for Chesterfield is broadcast and Bing’s guests are Toni Arden and the Firehouse Five Plus Two.

February 1, Thursday. (9:00 a.m.–12:25 p.m.) Records two tracks with the Andrews Sisters and Vic Schoen and his Orchestra in Hollywood. In the afternoon, Bing records two Irish songs with Matty Matlock’s Orchestra and The Mellomen.

 

St. Patrick’s Day Parade

Bing, in high spirits, turns on his winning Irish brogue for a sparkling etching of a new St Patty’s ditty of superior quality. Add another solid standard item to the lengthy Crosby list.

With My Shillelagh Under My Arm

Performance-wise, the same level of spirit and vigor is accomplished here but the song isn’t quite as strong as topside’s.

(Billboard, March 24, 1951)

 

The Yodelling Ghost

Decca 27631—A plodding item focussed around some echo effects resists the highgrade talents of himself and the girls.

Black Ball Ferry Line

This collaboration on the sea-going trolley song is pleasant, but doesn’t have the flash of the earlier cutting by Percy Faith.

(Billboard, June 30, 1951)

 

February 2, Friday. Records “Silver Moon” and “Sentimental Music” with John Scott Trotter and his Orchestra.  A 26-minute tobacco industry Technicolor film called Tobaccoland On Parade with appearances by Bing, Bob Hope, Perry Como and Arthur Godfrey is shown at a Junior Chamber of Commerce meeting in Wichita. It is also shown throughout the USA at the meetings of various other organisations during the year.

 

Crosby comes through with one of his standout vocals on “Sentimental Music,” slating it for heavy jock and juke spins

(Variety, February 28, 1951)

 

Sentimental Music Relaxed slicing of a fine ballad which has been threatening to bust out but hasn’t quite made it so far. This is Bing, the old crooner, at work.

(Billboard, March 17, 1951)

 

Silver Moon

Another rich Crosby go on the fine old Romberg standard.

(Billboard, April 7, 1951)

 

Bing Crosby, usually so fine, gets out of his depth with some low notes in “Silver Moon” (Bruns. 05062) and does better in “Betsy” verso though the Andrews Sisters are quite unnecessary.

(The Gramophone, April 1953)

 

February 3, Saturday. (Starting at 5:45 p.m.) Tapes another Chesterfield show at the CBS Radio Playhouse, 1615 North Vine, Hollywood.

February 4, Sunday. (6:15-6:30 p.m. Pacific time) Bing takes part in a celebration on ABC commemorating Louella Parsons’ twentieth anniversary in radio. Among the many other celebrities paying tribute to her are Marion Davies, Mary Pickford, Claudette Colbert, Dick Powell, and Jack Benny.

February 5, Monday. Bing records four Latin American songs, including “Granada” and “Quizas, Quizas, Quizas” with the Bando Da Lua.

 

Bing Crosby turns in two neat Latin American tunes, “Quizas, Quizas, Quizas” and “Maria Bonita,” for Decca.

(Variety, April 11, 1951)

 

Bing Crosby: “Granada” “It Had To Be You” (Decca). The oldie “Granada” is one of Crosby’s best efforts in some time. He gives the Latino fave a lilt that could kick off a revival. Pairing of Crosby’s crooning and Red Nichols’ corneting breathes new life into “It Had to Be You.”

(Variety, August 5, 1953)

 

Quizas, Quizas, Quizas

Decca 27536—This lovely Latin piece draws Bing’s finest effort in moons; the Bando Da Lua contributes that extra spark which could send this slice soaring.

Maria Bonita

More relaxed, charming, crooning Crosby on a pretty Latin ballad. But the side hasn’t the punch of “Quizas.”

(Billboard, April 21, 1951)

 

“Quizas, Quizas, Quizas” – “Here Ends the Rainbow” (Brunswick 04749)

The latter-day accompaniments on Bing Crosby’s recordings have been singularly uneventful. A happy exception to the general rule is provided by the instrumental backing to “Quizas” (perhaps better known as “Perhaps”). Here, the Bando Da Lua, heard on so many sides by Carmen Miranda, has been employed with telling effect. The lightly rhythmical support this group gives to Crosby’s relaxed vocal is altogether delightful. In fact, I would nominate this as one of the best Bings I have heard in recent years. “Here Ends the Rainbow,” which is given mild Hawaiian treatment, contains none of the vocal or instrumental distinction that mark the reverse performance.

(Laurie Henshaw, Melody Maker, September 8, 1951)

 

Granada

Decca 27951—The Latin standard is beautifully treated by Der Bingle, in sock voice here, with a scintillating backing from the Bando Da Lua, Carmen Miranda’s great combo associates.

Copacabana

Another Latin standard of more than passing merit is handed a thoroughbred go by Crosby and the Bando Da Lua. Bing’s real relaxed as he unloads a real croon job.

(Billboard, February 9, 1952)

 

February 7, Wednesday. Another recording session with John Scott Trotter and his Orchestra at which Bing sings five songs. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for Chesterfield is broadcast by CBS. The show has been taped and the guest is Judy Garland.

 

Any Town Is Paris When You’re Young

Lovely new ballad, rich ork-choral backing and a crooning Crosby makes up a lovely waxing which should do at least a substantial fan business.

(Billboard, March 17, 1951)

 

Bing Crosby hits nicely on "More I Cannot Wish You," from the "Guys and Dolls" score.

(Variety, March 21, 1951)

More I Cannot Wish You

Decca 27568—One of the lesser known items from “Guys and Dolls” —and one of the prettiest—is sung warmly, tho deliberately by Crosby.

(Billboard, April 7, 1951)

 

The Loneliness of Evening

Decca 27768—Bing spreads warmth and mood as he croons a pretty Rodgers-Hammerstein ballad, which is kin to their “Bali H’ai.” Pretty ork-chorus setting rounds out an altogether lovely etching.

I Will Remember You

Bing does another pretty ballad and again sings in his wonderfully relaxed crooning style. Should please his collectors no end.

(Billboard, September 22, 1951)

 

Bing Crosby is well on form in Indian Summer (Bruns. 04947) but rather misses fire as an old-time vaudeville comedian in Row, Row, Row verso;

(The Gramophone, August 1952)

 

February 8, Thursday. Records two tracks with the Andrews Sisters and Vic Schoen and his Orchestra in Hollywood. “Sparrow in the Tree Top” hits the No. 8 spot in the Billboard list and stays in the charts for 15 weeks. Bing then tapes a Chesterfield show with the Andrews Sisters and Nat “King” Cole, which is broadcast on February 28.

 

Sparrow in the Tree Top Bing Crosby-Andrews Sisters Decca 27477

Bing and the girls, with Patti stepping out for some solo chores, ring up a buoyant treatment of a promising folksy ditty.

(Billboard, February 24, 1951)

 

Forsaking All Others

Country waltz takes on pop potential via the slick Crosby-Andrews waxings. String backing makes it country material, too.

(Billboard, March 17, 1951)

Bing Crosby- Andrews Sisters: “Sparrow in the Tree Top”-“Forsaking All Others” (Decca), Two big sides by a top vocal combo. “Sparrow,” a standout tavern-style item, is given a commercially sock treatment with Crosby at his mellowest and the Andrews Sisters at their snappiest. Surefire for jocks and jukes. On the Decca reverse, Crosby and the girls pour out sweet cider on a hillbilly ballad that could be as big as “Sparrow.” Vic Schoen orch supplies a fine framework.

(Variety, February 14, 1951)

 

February 9, Friday. Bing records three songs, including “Here Ends the Rainbow” with Lyn Murray and his Orchestra. Betty Mullin sings on two of the tracks.

 

Bing Crosby - Betty Mullin “With This Ring I Thee Wed "- “Here Ends the Rainbow" (Decca). “I Thee Wed” is a tasteful adaptation of the marriage ritual phrase, with Crosby and Miss Mullin handling the lyrics in simple and effective style. It's a good idea that could take off. Reverse is another wedding song, derived from an Hawaiian tune and also rendered suitably. Lyn Murray orch backs neatly.

 (Variety, May 23, 1951)

 

With This Ring I Thee Wed

Decca 27595—A beautifully glowing reading of a recent ballad which will probably end up a standard of its type. And this will probably be the standard waxing of it. A new thrush named Betty Mullin harmonizes sweetly with Bing on the second chorus.

Here Ends the Rainbow

This is an Americanized version of a Hawaiian wedding song. Bing and Miss Mullin do a warm job with it. Makes the coupling a strong catalog bet.

(The Billboard, May 26, 1951)

February 10, Saturday. Starting at 5:45 p.m., he records another Chesterfield show at the CBS Radio Playhouse, North Vine, Hollywood, this time with Tallulah Bankhead and Peggy Lee, which airs on February 21. (11:00-11:30 p.m.) Bing narrates “Land of the Free,” in the second of the American Legion four-program dramatization series If Fight We Must on NBC. Later, Bing enters St. John's Hospital.

February 12, Monday. Bing has major surgery at St. John’s in Santa Monica for a kidney ailment. Dr. Frederick Schlumberger performs the operation. Dixie visits him every day at the hospital.

 

Bing Crosby rested comfortably in St. John’s Hospital Tuesday after an operation Monday for a kidney ailment. His physician, Dr. F. C. Schlumberger, said the crooner should be out of hospital in about 10 days. The singer tried to keep the operation a secret. Among the members of his family, only his wife, Dixie, knew that it was going to be performed. The news leaked out after Crosby entered the hospital.

(Fort Worth Star-Telegram, February 13, 1951)

While Crosby was not a hypochondriac, he had reason to be concerned about his health. He suffered with gall stones and during attacks he would turn angrily on anyone who was close by, especially his sons. Everyone was relieved when he finally decided to have an operation. He was on the operating table and about to be anesthetized, when he sat up, got off the table, dressed, and walked out of the hospital. Two years later, with the pain becoming unbearable, he finally had the surgery.

(Sheilah Graham, writing in her book My Hollywood, page 45)

 

February 14, Wednesday. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for Chesterfield is broadcast by CBS. The show has been taped and the guest is Dorothy Kirsten.

February 21, Wednesday. Bing leaves hospital. (6:30–7:00 p.m. Pacific) Another taped Bing Crosby Show for Chesterfield is broadcast and the guests are Peggy Lee and Tallulah Bankhead.

Bing Crosby, fully recuperated from surgery, is out in the open again and hankering for the feel of his clubs against a golf ball. The crooner had an operation Feb. 12 for a kidney ailment. Dr. F. C. Schlumberger said Bing is feeling fine again and thoroughly enjoyed the rest from the demands of his career. He left hospital Wednesday.

(Fort Worth Star-Telegram, February 22, 1951)

February 27, Tuesday. (10:30-11:00 p.m. Eastern). Bing makes a filmed contribution to the television show “American Red Cross Fund Campaign” which is also broadcast on radio at the same time. No doubt, the filming had been done before Bing’s recent hospitalization. Others taking part include Bob Hope, Judy Garland and Perry Como.

 

For the performers—the talented men and women who put their careers, their reputations and their egos on the line every single time they reach out to an audience—the switch from radio to television was, in a word, terrifying. “Only one thing seems consistently apparent to me, and that is you just have to be twice as good on television as on any other medium.”

         The man who wrote me that in a letter in 1949 was perhaps the best-known, most beloved star of radio and the motion pictures at the time: Bing Crosby. He had signed up to return to CBS radio and I had written to him in California proposing that he consider a television variety series. His reply made the point: Anytime you let down (on TV) for an instant you’ve lost your audience’s interest, and it’s a struggle to recapture it again.” He turned down my offer, but said that he might “take a fling at it” in another year or so. He was sure he could do a good show, he said, but it would take a lot of work.

         What bothered Crosby and many other stars was that in those days most television was live. Unlike the movies, one couldn’t cover mistakes by retakes or choose between good, better, and best performances on successive takes. Bing had always preferred to use recordings for his radio performances. From any performer’s point of view, live telecasts were akin to walking on a high wire without a net. And videotape would not be introduced until the mid-fifties.

         Crosby was right to hedge at the start. A series is a weekly grind with a high risk of failure. Failure would diminish his drawing power in both movies and personal appearances. Nevertheless, I pursued him on the subject and Bing took his “fling,” making his television debut on CBS in February 1951. But it was only a one-shot appearance. Not until 1964 did he consent to a weekly series, and that was as an actor in a domestic situation comedy on ABC, which lasted only one season. Thereafter, he confined his television performances to guest appearances and hosting “specials” which were videotaped.

(William S. Paley, writing in As It Happened)

 

February 28, Wednesday. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for Chesterfield is broadcast by CBS. The show has been taped and the guests are the Andrews Sisters and Nat King Cole.

March 1, Thursday. Dixie flies to New York en route for a three-month tour of Europe with Dr. and Mrs. George Hummer plus Georgina Hardwicke.

March 2, Friday. Larry Crosby testifies against four men accused of operating a song-publishing racket which defrauded ambitious amateur songwriters of an estimated $200,000. The four used pictures of Bing on sheet music and advertisements without permission.

March 4, Sunday. (9.00-10.00 p.m.) A TV tribute to Richard Rodgers on his 25th anniversary as a composer is transmitted from New York by NBC and Bing makes an audio contribution from the Coast.

 

America Applauds – An Evening for Richard Rodgers

…Bing’s delightful chat (by audio from Hollywood) with Celeste Holm (charmingly visible and audible) on the topic of Rodgers—men and tunes. Bing’s remarks were characteristically pertinent, breezy and touching, winding up with his singing Easy to Remember.

(Jerry Wexler, Billboard, March 17, 1951)

 

March 5, Monday. Bing records a Chesterfield show with Judy Garland that airs on March 7.

March 6, Tuesday. Bing writes to Eugenie Baird in New York.

Dear Eugenie:

Surprised to hear from you after so long a time, and I got a big kick out of the clipping indicating that our Pittsburgh Pirates have signed your young brother for one of our farm clubs. According to the clipping, he goes down to the Bartlesville Club in Oklahoma. I shall watch his progress there with much interest, and certainly hope he makes the grade for us. We need a good catcher very badly, and inasmuch he’s your brother it would be particularly gratifying to me if he came through.

You have my deep sympathy over the loss of your father. I too sustained a similar loss this fall when our Dad passed away. We certainly miss him, and I’m sure you feel the same way about your Dad.

What have you been doing with yourself professionally lately? Probably married and raising a family by now. In whatever activity, I hope you’re happy and successful.

Nice hearing from you again. Warmest personal regards,

Sincerely Bing

P.S. Are your defences still impregnable?

March 7, Wednesday. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for Chesterfield is broadcast by CBS. The show has been taped and the guest is Judy Garland.

March 10, Saturday. Records another Chesterfield show in Los Angeles with Judy Garland who has been paid $2500 for her appearance. The show airs on March 14. "Billy Rowe's Notebook" in the Pittsburgh Courier again accuses Bing of bias against the colored golfer Teddy Rhodes.

March 11, Sunday. Sees the Pittsburgh Pirates beat the St. Louis Browns 8-5 in an exhibition match at Burbank.

March 14, Wednesday. (2:00 p.m.) Bing is in San Bernardino to see the Pittsburgh Pirates lose 10-6 in an exhibition match with the Cleveland Indians. (6:30–7:00 p.m. Pacific) Another taped Bing Crosby Show for Chesterfield is broadcast and the guests are Judy Garland and Jack Pepper.

March 17, Saturday. Bing records a Chesterfield show in Hollywood with Judy Garland, Les Paul, and Mary Ford. The show airs on March 21.

March 18, Sunday. Starting at 1:30 p.m., watches the Chicago White Sox beat the St. Louis Browns 9-7 at Burbank Memorial Stadium.

March 21, Wednesday. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for Chesterfield is broadcast by CBS. Bing’s guests are Judy Garland, Les Paul, and Mary Ford.

March 22, Thursday. Recording session in Hollywood. Bing sings two duets with Gary Crosby (“Moonlight Bay” and “When You and I Were Young Maggie, Blues”) supported by Matty Matlock and his All Stars. The disc peaks at No. 8 in the Billboard chart, spending ten weeks in the charts in all.

 

Bing & Gary Crosby: “When You and I Were Young Maggie Blues”- “Moonlight Bay” (Decca). Crosby and his eldest son have come up with a solid sequel to their “Sam’s Song” click of last year. Crosby in fact, seems to be working with more zing in these family waxing sessions…

(Variety, April 4, 1951)

 

Gary and friend are back with a super side in “Moonlight,” complete with patter in a relaxed, beguiling performance. Flip, with two lines going simultaneously, should get plenty of turnover action.

 (Billboard, April 7, 1951)

 

March 23, Friday. Takes three of his sons to Wrigley Field, Los Angeles to see the Pirates beat the Chicago Cubs 6-2 in a game starting at 2:15 p.m.

March 24, Saturday. Another Chesterfield show is transcribed and the guest is Judy Garland. The program is broadcast on March 28.

March 28, Wednesday. (6:30–7:00 p.m. Pacific) Another taped Bing Crosby Show for Chesterfield is broadcast and the guest is again Judy Garland.

March 31, Saturday. Tapes a Chesterfield show at the Plaza Theater in Palm Springs with Dinah Shore and Hopalong Cassidy. The show is broadcast on April 4.

Crosby Show Delights Crowd at Plaza Theater

Bing Crosby, his guests, Dinah Shore, Bill Boyd (Hopalong Cassidy), Happy Peters and all of Bing’s cast on his Chesterfield show, delighted a packed house at the Plaza theatre last Saturday night when they taped their show for recording Wednesday night.

It was a happy informal gathering with plenty of music and a lot of good gags. The show was recorded here for presentation later on a coast to coast hook-up. In the course of the evening Crosby introduced Ziggy Elman, famed trumpet man, who played his well known “And the Angels Sing” as a solo. The band was John Scott Trotter’s and has been with Crosby for years.

Consensus of Villagers who see a lot of broadcasts was that “it was one of the best yet.”

(The Desert Sun, April 6, 1951)

April 3, Tuesday. Having not been allowed to play golf until recently, following his operation, Bing shoots a seventy-one at the Thunderbird course in Palm Springs.

April 4, Wednesday. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for Chesterfield is broadcast by CBS. The show has been taped at Palm Springs, probably to tie in with Bing’s convalescence following his operation in February. The guests are Dinah Shore and Hopalong Cassidy (William Boyd).

April 6, Friday. Sings at William Moncrief's patio supper in Palm Springs.

April 7, Saturday. Tapes a Chesterfield Show at the Plaza Theater in Palm Springs with Louis Armstrong, Marilyn Maxwell and Lindsay Crosby. The show is broadcast on April 11.

I dropped in on Bing Crosby’s taping session for his Wednesday evening show to watch Der Bingle give his youngest son, 12 year-old Lindsay, another lesson in microphone technique. I think Bing lost the bout, however. Everything was done in the typical casual air of Palm Springs. Bing was attired in his familiar off-the-hips sport shirt, which was topped by the casuals worn by announcer, Ken Carpenter and musical director, John Scott Trotter. Lindsay staggered onto the stage in cowboy boots obviously, a couple of sizes too large for him. He was the hit of the show for the audience standpoint with a duet of “Moonlight Bay” with his famed dad. You can hear the show on Wednesday, at 6.30 on KNX.

(Walter Ames, Los Angeles Times, April 10, 1951)

April 9, Monday. (10:00 a.m. to 12:45 p.m.) Records four songs from the musical The King and I with Victor Young and his Orchestra in Hollywood.

 

Bing Crosby: “I Whistle a Happy Tune” “Getting to Know You” “Hello Young Lovers” “Something Wonderful” (Decca). Four tunes from the Rodgers & Hammerstein score of “The King and I” delivered by Crosby in his best relaxed style. “Happy Tune” is the most commercial side…

(Variety, May 2, 1951)

 

Something Wonderful

Decca 27588—Fine, warm Crosby on one of the striking Rodgers-Hammerstein ballads from “The King and I” score. Victor Young’s orking is effectively plain.

Hello, Young Lovers

The “King and I” ballad most likely to succeed is wrapped up handsomely in the mellow Crosby manner to assure Bing of a big share if the song catches.

I Whistle a Happy Tune

Decca 27589—The airy lilt from “The King and I” is warbled and whispered with an appropriate lightness by der Bingle. A most effective slicing which could stir pop action for the Disney-ish song.

Getting to Know You

Another catchy bouncer from the same show score is done lightly and in straight-forward fashion by Crosby.

(Billboard, May 12, 1951)

 

In 1951, Crosby and Victor Young commemorated their twentieth year of occasionally working together with a winning quartet of tunes from the current Rodgers and Hammerstein smash, The King and I. Crosby proves that “Getting to Know You” was wasted on all those stiff-upper-lipped British babes who’ve sung it in the show’s various incarnations. Rather, he approaches it so easily and so convincingly that it’s not difficult for us to believe that it is precisely his cup of tea.

(Will Friedwald, A Biographical Guide to the Great Jazz and Pop Singers, page 127.)

 

April 10, Tuesday. Articles in the Pittsburgh Courier on January 20 and March 10 had alleged that Bing refused to let a colored golfer named Teddy Rhodes play in his pro-am. Larry Crosby writes an impassioned defense of his brother making it clear that Rhodes did not enter for the tournament and that Bing would not have been consulted anyway as Larry deals with such matters. Larry sends a copy of his letter, dated April 10, to J. Edgar Hoover, director of the FBI.

April 11, Wednesday. General MacArthur is dismissed from all of his posts by President Truman. In Hollywood, Bing records a Chesterfield show with Gary Crosby which airs on April 18. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for Chesterfield is broadcast by CBS. The show had been taped on April 6 and the guests are Marilyn Maxwell, Lindsay Crosby, and Louis Armstrong.

April (undated). Bing films a cameo appearance in The Fifth Freedom, an advertising film made by Chesterfield Cigarettes and sings, “You’re a Grand Old Flag.” Bob Hope, Perry Como and Arthur Godfrey are also featured in the film.

April 18, Wednesday. Records a Chesterfield show with Bert Wheeler and Walter O’Keefe. The show is broadcast on May 2. (6:30–7:00 p.m. Pacific) Another taped Bing Crosby Show for Chesterfield is broadcast and the guest is Gary Crosby.

April 19, Thursday. Bing tapes a Chesterfield show in Hollywood with Louis Armstrong that is subsequently broadcast on April 25. He sings “Old Soldiers Never Die” as a tribute to General MacArthur. Records “Gone Fishin’” with Louis Armstrong and John Scott Trotter and his Orchestra for Decca prior to the radio taping. The record briefly charts, peaking at No. 19.

 

Gone Fishin’

A pop tune, which didn’t make it a year or so back, gets a brand new lease on life in a happy gab-fest treatment by Croz and Satch.

(Billboard, May 26, 1951)

 

Then there is Bing Crosby “Gone Fishin’” with Louis Armstrong. This is gentle humor, all too rare these days, and there is a fine family affair between Bing and his son Gary on the other side, a modernised ‘Moonlight Bay’ (Bruns. 04781).

(The Gramophone, November 1951)

 

Old Soldiers Never Die

Taken off one of his broadcasts, Bing uses the “wiffenpoof” (sic) approach to the Macarthur-inspired ballad revival. Should get a big share of whatever action the song stirs.

(The Billboard, May 26, 1951)

 

April 21, Saturday. Bing records a Chesterfield show with Fred Astaire and Teresa Brewer which airs on May 9.

April 25, Wednesday. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for Chesterfield is broadcast by CBS. The show has been taped and the guests are Rose Marie and Louis Armstrong.

April 26, Thursday. Records a Chesterfield show with Burl Ives and the Cass County Boys at the Marine Memorial Auditorium in San Francisco.

Bing Crosby, down pounds since his operation, put on a show as wonderfully entertaining as ever, with the usual flub dubs and miscues that always delight a studio audience.  Once, while singing “Too Late Now,” he stopped to rehearse with his pianist, finally gave up and adlibbed his own words.

“It’s too late now to learn this song.

Besides, I don’t feel very strong.

“It’s too late now.”

Of course, the final version, to be aired May 16, will be spotlessly perfect.  During the two hour rehearsal Bing records every number.  The best version is used, but not necessarily the one heard by the studio audience.

Bing records again tonight, hosting Louis Armstrong, Teresa Brewer and Jack Teagarden.

(Dwight Newton, The San Francisco Examiner, April 30, 1951)

April 28, Saturday. (5:00-5:30 p.m.) Guests on the Hedda Hopper radio show with Lionel Barrymore and Florence Bates.

April 30, Monday. Tapes a Chesterfield show in San Francisco with Teresa Brewer, Louis Armstrong and Jack Teagarden. This is broadcast on May 23.

May 2, Wednesday. Bing visits his sons at Bellarmine Academy in San Jose. Dixie celebrates Bing’s “fiftieth” birthday in southern France. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for Chesterfield is broadcast by CBS. The show has been taped and the guests are Walter O’Keefe and Bert Wheeler.

May 5, Saturday. In Hollywood, Bing records a Chesterfield show with Helen O’Connell which airs on May 30.

May (undated). Bing sends a hand-written letter to his sister Mary Rose from his Pebble Beach home.

Dear Mary Rose

Thought you might like some tickets for yourself or some of your friends to our shows being done in S. F. during the next week or so - Thursday and Monday, to be exact, guests unselected as yet, but hope to have someone clever.

Mother seems pleased with her new teeth and is trying to keep them in as much as possible. Her health remains as good as can be expected at her age.

Dixie is touring Europe on a broad scale - in Switzerland now.

Love, Bing

May 9, Wednesday. (6:30–7:00 p.m. Pacific) Another taped Bing Crosby Show for Chesterfield is broadcast and Bing’s guests are Fred Astaire and Teresa Brewer.

May 10, Thursday. Records a Chesterfield show at the Marine Memorial Auditorium in San Francisco.

May 11, Friday. (5:00-5:30 p.m.) Bing again guests on the Hedda Hopper radio show. Possibly a transcribed broadcast. Bing sends Bob Hope a clipping about Danny Kaye being the uncrowned king of British vaudeville following a recent appearance at the London Palladium. Hope is about to undertake a European tour and play in the British Amateur Golf Championship. The hand-written letter accompanying the clipping reads as follows:

 

Dear Flab

Don’t come home until you’ve won the title back from this upstart. Do I have to send Oscar Lorraine over to top him? Or Council Berneirci? Or Fradkin or Taradash? Good luck in the Tourney, old boy. Hope you win some matches – Stay out of Paris – that’s my town!

Love to all, Bing

      May 14, Monday. Records another Chesterfield show at the Marine Memorial Auditorium in San Francisco.
     May 16, Wednesday. Bing has been made an honorary Erie Railroad engineer in honor of the line's 100th anniversary. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for Chesterfield is broadcast and the guests are Burl Ives and the Cass County Boys. The show had been taped in San Francisco at the Marine Memorial Auditorium.
    

American folk songs and ballads highlight the variety-spiced musical session on tonight's Bing Crosby Show (WDAE, 9:30 p.m.) It is real old-fashioned songfest as Bing welcomes balladeer Burl Ives and the Cass County Boys, singing instrumentalists featured regularly on the Saturday night Gene Autry Show. Crosby injects a bit of early Americana into the show by acknowledging his appointment as an honorary engineer of the Erie Railroad on its 100th anniversary and citing a few historical railroading notes.

(The Tampa Times, 16th May, 1951)

     May 17, Thursday. Bing is seen at the Wort Hotel in Jackson, Wyoming, He has been fishing at Jackson Lake. Elsewhere, the annual poll by Woman's Home Magazine has Clark Gable as the favorite star of the American housewife. Bing is second after having held the top position for five years.
     May 19-20, Saturday-Sunday. Bing and his party spend the weekend at the Sportsman's Lodge, Ennis, Montana, fishing on the Madison River. Included in the party are Bill Morrow and John Eacret.

May 21, Monday. Bing, Bill Morrow and John Eacret drive to the Flathead Lake Lodge in Montana for more fishing.

May 22, Tuesday. Fishing on Flathead Lake from Irv Ohmsted's cruiser.

May 23, Wednesday. (6:30–7:00 p.m. Pacific) Another taped Bing Crosby Show for Chesterfield is broadcast and the guests are Jack Teagarden, Louis Armstrong, and Teresa Brewer. The show had been taped at the Marine Memorial Auditorium in San Francisco. Bing arrives at his Hayden Lake home and goes fishing on Lake Pend Oreille.

May 26, Saturday. Bing drives into Spokane with Dr. and Mrs. Herb Rotchford to speak at the Gonzaga Alumni buffet luncheon in the Gonzaga canteen. During his time in Idaho, Bing records a special record to be played at a stag dinner for Jimmy Demaret, which is to take place at Toot Shor's in New York City on June 5.

May 27, Sunday. Attends the 9 a.m. mass in the university chapel at Gonzaga. Leaves Hayden Lake for Seattle in the afternoon.

May 28, Monday. Bing and Bill Morrow have driven on to Vancouver, Canada, and as Bing is unshaven and wearing a leather jacket with dungarees and boots, he is initially turned away by the hotel night room clerk at the Hotel Vancouver at 7:00 p.m.. Fortunately, the bellhop notices this and stops Bing from driving away. The bellhop takes Bing and Bill Morrow up the freight elevator to the seventh floor and allocates them two rooms. Bob Hope later hires the hotel night room clerk for a bit part in his film Son of Paleface.

 

All a Mistake: Art Cameron, night clerk at the Hotel Vancouver in Vancouver, B.C., gave a brush-off to a “bum” who sauntered in wearing a leather jacket, dungarees, boots, and “no shave.”

“Fix me up with a couple of singles with baths, will ya, boy?” the man asked. Cameron gave him an icy stare and said the hotel was hooked solid. But a bellhop, Ray Morrison, recognized the “bum” as Bing Crosby and quickly installed him in twin suites, with his producer, Bill Morrow. “I thought they were a couple of bums or Indians from up north,” Cameron explained. “It was all a mistake.” Crosby, who had driven to Canada with Morrow on a fishing trip, said: “It’s the first hotel I ever got kicked out of before I got in.” His clothes, he added, would have been “all right for a full-dress affair at home.”

(Newsweek, June 11, 1951)

 

En route up and down and around and about, I’ve had a few misadventures—but I have taken no more of a jerking around by hotel people and the constabulary than most people who travel a lot. However I have jounced over a few such thank-you-marms which the press has thought newsworthy. Why they thought so, I don’t know.

On a visit to Vancouver a room clerk at a hotel didn’t want to let me in, and it was blown up into a front page story. I’d been fishing in the Rockies with Bill Morrow. We reached Vancouver with a substantial stubble on our faces. We had on clothes we’d worn for three or four days and we must have looked like a couple of loggers coming to town lonely and loaded, seeking a skid-row flop.

The Vancouver Hotel is a fine hotel and it does such a big business it’s generally hard to get a room there. But I thought it was so late in the season that we wouldn’t have much trouble. We drove up, got out of our car, went into the lobby, approached the clerk at the desk, and asked for a room. He looked us over with halibut eyes and asked incredulously, “You want a room here?”

“That’s why we’re here,” we said.

“I don’t think we have anything available,” he said.

I began to steam a little. I said, “There should be no doubt in your mind. Either you have something or you haven’t.”

“We run a very exclusive hotel here, you know,” he said.

I said to Morrow, “Let’s blow.”

Walking out we passed a bellboy at the door who had been there when we’d stayed there the year before. Remembering Morrow and how lavishly he’d tipped, he was loath to see us leave, so while we walked to our car, he ran quickly to the manager’s office. Apparently he told him that a human Comstock Lode was making his departure, for the manager came out with the bellboy, apologized, and took us back and got us a room.

That was all there was to it, but when the newspapers and the press associations got through with it, it took on the proportions of an international incident. You couldn’t tell who had insulted whom or why, but,it all blew over without the U.N. taking it up.

(Call Me Lucky, page 281-282)

May 29, Tuesday. (4:00 p.m.) Bing goes to the Sunset Memorial Community Centre in Vancouver where he sings an unaccompanied chorus and verse of “Blue Skies” to an audience of 1,000 teenagers. The mayor had apparently sent a car for him but Bing makes his own way to the centre, which causes some confusion to the civic party. At night, watches a lacrosse game at Kerrisdale Arena and sees the North Shore Indians beat the Vancouver Combines 9-7.

May 30, Wednesday. Bing goes to Horseshoe Bay for a fishing trip to Long Bay in Home Sound with Danny Sewell and Bill Morrow. At night, Bing dines in Chinatown. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for Chesterfield is broadcast by CBS. The show has been taped and the guests are Charles Durand, Guy Brion, and Helen O’Connell.

May 31, Thursday.  Bing and Bill Morrow leave Vancouver and drive to Seattle where they stay at the Olympic Hotel.

June 1, Friday.  Bing is in Seattle where he interviews four Seattle University stars with a view to signing them for the Pittsburgh Pirates. Bing and Bill Morrow then start the long drive back to California where they go to Rising River for more fishing.  Elsewhere, Dixie returns to Los Angeles from her European holiday and is greeted by her son Lindsay at the airport.

June 4, Monday. At the Marine Memorial Auditorium in San Francisco, Bing tapes a Chesterfield show with George Jessel and Martha Tilton that is broadcast on June 6.

June 6, Wednesday. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for Chesterfield is broadcast by CBS. The show has been taped and the guests are George Jessel and Martha Tilton.

June (undated). Films a brief guest appearance in Angels in the Outfield, a baseball film featuring Paul Douglas and Janet Leigh, which is shot at the Pittsburgh Pirates ballpark. Bing’s spot comes from a golf course.

June 8, Friday. Recording date in Hollywood with Dave Barbour and his Orchestra when Bing sings “Shanghai” and “I’ve Got to Fall in Love Again.” The disc charts only briefly in the No. 21 spot. Decca Records masters “Row, Row, Row” which Bing had recorded for his radio show.

 

Bing Crosby: “Shanghai”-“I’ve Got to Fall in Love Again” (Decca). Crosby has one of his better recent sides in “Shanghai,” a bounce number with a clever lyric. It’s a relaxed vocal in a rhythmic vein which could hit big for Crosby.

(Variety, June 20, 1951)

 

Shanghai

Decca 27653—Fast and strong coverage on the bounce ditty. Der Bingle hands it a neat, relaxed reading.

I’ve Got to Fall in Love Again

Bing sounds fine on an excellent bounce ditty from the Burke and Van Heusen pens.

(Billboard, July 7, 1951)

 

...on 04764 he essays Shanghai and sounds as young as ever, pairing it with Black Ball Ferry Line, with the Andrews Sisters. It’s quite a good performance but I feel the point of much of it will be lost on British audiences.

(The Gramophone, October 1951)

 

Row, Row, Row

Bing belts thru a delightfully simple and rhythmic treatment of the good oldie.

(Billboard, July 28, 1951)

 

June 9, Saturday. Bing and Dixie attend Gary’s graduation at Bellarmine Academy, San Jose. Bing gives Gary a car (“a brand-new shiny white ’51 Mercury”) and later says that it is the biggest mistake he has made.

 

The summer couldn’t have started out better.

The first thing to happen was that I got my own car. Mom and Dad came up to San Jose for my high school graduation, and when I met them back at the room, after dropping off my cap and gown, Dad threw me half a smile and said, “Okay, Gary, I have a little surprise for you.” I knew that parents usually gave their kids some kind of gift for making it through high school, but 1 wasn’t expecting much, not after the big blowout earlier that year. A few months afterwards Mom had asked me what I wanted for a graduation present, and I had told her, “Gee, I know there’s not much chance of getting it, but I sure would like a car.” When she backed off with an “Uh-huh, well, we’ll have to see,” I figured that was that and forgot about it. But now Dad pulled a set of keys from his pocket, placed it in my hand and told me to have a look outside.

I took the dormitory stairs four at a time, burst out the front door and there it was, parked by the curb, a brand-new, shiny white ‘51 Mercury, all molded and low and round, just aching to be thrown into gear. For the moment the anger still lurking in my heart was overwhelmed by gratitude, and 1 thanked him profusely, then hunted up a couple of the guys and whipped them off for a shakedown cruise around the block. It wasn’t too much longer before Dad began using the car as a weapon by threatening to take it away if I didn’t knuckle under, but right then that little white devil was my passport to freedom.

(Gary Crosby, writing in Going My Own Way, page 153.)

 

June 13, Wednesday. Bing records a Chesterfield show with Tommy Dorsey, Joe Venuti, and Teresa Brewer, which airs on June 20. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for Chesterfield is broadcast by CBS. The show has been taped and the guests are Teresa Brewer and Bert Wheeler. Elsewhere, Gary Crosby has reconstruction surgery on his shoulder in St. John's, Santa Monica following a shoulder dislocation.

June 15, Friday. Lindsay Crosby graduates from the Beverly Hills Catholic School.

June 16, Saturday. Bing tapes a Chesterfield show with Ken Murray and Burl Ives. The show is broadcast on June 27.

June (undated). Bing Crosby Enterprises Electronics Division opens a laboratory to develop a videotape recorder. The project is under the control of John T. Mullin.

June (undated). Bing and Bob Hope film a cameo appearance in Cecil B. DeMille’s The Greatest Show on Earth.

June 20, Wednesday. (9:00–11:45 a.m.) In Hollywood, Bing records “In the Cool, Cool, Cool of the Evening” with Jane Wyman plus other songs from the film Here Comes the Groom. Musical support is shared by Matty Matlock and his All-Stars and also by John Scott Trotter and his Orchestra. The disc reaches No. 11 in the Best-sellers list and spends 6 weeks in the charts in all. During the day, Bing tapes 24 spots for various charities, the gratis blurbs plugging everything from the Iowa State Fair to a Canadian charity drive. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for Chesterfield is broadcast by CBS. The show has been taped and the guests are Joe Venuti, Teresa Brewer, and Tommy Dorsey.

 

In late June, she went into a recording studio with Bing Crosby and the duo cut their first record. Accompanied by Matty Matlock’s All Stars and the singing group Six Hits and A Miss, Jane and Bing recreated “In the Cool Cool Cool of the Evening.”  Bing recorded “Misto Cristofo Columbo,” also from the film.

Here Comes the Groom was soon released and with this picture Jane Wyman had finally found another blockbuster. It was an even bigger hit than had been anticipated at a time when few movies were registering really big grosses. And there was a further dividend—after fifteen years Jane Wyman was suddenly discovered to be “a singer”! “Cool Cool Cool of the Evening” became a hit record throughout the country.

Jane’s reviews for the picture were excellent. The fact that she could hold her own with Crosby as a singer astonished everyone. Suddenly, singing offers poured in. The London Palladium wanted to sign Wyman for a personal appearance. Jane even signed a recording contract with Decca.

(Joe Morella and Edward Z. Epstein, Jane Wyman – A Biography)

 

“In the Cool, Cool, Cool of the Evening”

This one is a bright and happy ditty which Der Bingle and Miss Wyman do in their forthcoming motion picture “Here Comes the Groom”. Cleffed by Hoagy Carmichael and Johnny Mercer, the tune sports a clever lyric and an infectious melody.

(Billboard, July 7, 1951)

 

Misto Cristofo Columbo

The co-stars turn in another fine go on a material ditty from the flick. Song’s not as effective as that on the topside

(Billboard, July 14, 1951)

 

Bonne Nuit

Decca 27679—Bing croons this quite attractive and pleasant ballad from his coming flicker with his casual warmth. A pretty effort which could score if the song does.

Your Own Little House

Another neat ballad entry from the Crosby flicker is done with characteristic charm by Bing.

(Billboard, July 14, 1951)

 

June (undated). Bing and three of his sons leave Hollywood for Elko. Gary Crosby remains in Hollywood to convalesce following his shoulder operation and then goes with his mother to the bungalow at Lake Tahoe.

June 22, Friday. Bing, together with his sons Phillip and Dennis, is seen dining at Amelio's in San Francisco at night.

June 23, Saturday. Bing and his three sons arrive in Elko and drive on to the ranch in the northern part of the county.

June 27, Wednesday. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for Chesterfield is broadcast and the guests are Laurie Anders, Ken Murray, and Burl Ives. This is the final Chesterfield show of the season.

June 30, Saturday (afternoon). At Elko, Bing takes part in the second day of the Silver State Stampede and members of the Elko Silver State Stampede present him with a special tuxedo made by Levi Strauss so that he is not turned away by a hotel again. Inside the coat is a leather patch signed by the president of the American Hotel Association as follows:

 

Notice to Hotel Men Everywhere

This label entitles the wearer to be duly received and registered with cordial hospitality at any time and under any conditions.

 

Bing donates an engraved silver trophy to be given annually to the outstanding cowboy of the Silver State Stampede.

 

The largest second day crowd in the history of the four-year-old Stampede was on hand to see Der Bingle receive the suit which has received nationwide publicity. . . .When Bing got his suit he said “Hell’s fire, ain’t that a whizzard.” Then he sang a song for the crowd, to the tune of “On Top of Old Smoky.” It went: “Way up in Elko they know what to wear. The next time I come here I’ll have to bring my hair.” He tipped his cowboy hat to the crowd, showed his bald pate and received a tremendous hand. . . . Crosby was watched by three of his sons from an official box, Lindsay, Phillip and Dennis being present. Gary was unable to be here.

(Elko Daily Free Press, June 30, 1951)

 

July 1, Sunday. (8:30-9:00 p.m.) Bing takes part in the radio program “Freedom Under God” with other stars observing the 175th anniversary of Independence Day.

July 29, Sunday. More than one-hundred press, radio, screen, and political dignitaries start descending on Elko for the world premiere there of Bing’s film Here Comes the Groom. The first planeload arrives at 7:50 p.m. and is welcomed by Dorothy Lamour and Mayor David Dotta on behalf of the organizing committee. A crowd of over 3,500 is present.

July 30, Monday. The many official guests are entertained by travel tours, fishing, and riding. At 7:30 p.m., a street show commences outside the Hunter Theater and the stars start arriving in front of a crowd of 3,000. Ted Husing is the master of ceremonies for a radio show that is being recorded and he greets the stars as they arrive. The proceedings are broadcast by CBS nationally on July 31. Bing, accompanied by his sons Phillip, Dennis, and Lindsay, drives through the city on a buggy. At 8:00 p.m., a stage show starts at the Hunter Theater with Bing acting as MC and introducing Dorothy Lamour, Connee Boswell, Cass Daley, songwriters Jay Livingston and Ray Evans, Joe Venuti, Perry Botkin, and the Cass County Boys. Bing sings, “Home on the Range”. Following this at 8:45 p.m., the premiere of Bing’s film Here Comes the Groom commences. The stage show then moves across to the nearby Rainbo Theater where Here Comes the Groom is also shown. After the showing of the film, the guests are entertained at a cocktail party and buffet supper in the lounge of the Commercial Hotel.

July 31, Tuesday. During the afternoon and evening, the guests attend a real ranch-style barbecue at the Orvis Stock ranch twenty-eight miles south of Elko and Bing, Cass Daley, Dorothy Lamour, Alexis Smith, and the Cass County Boys entertain. Bing donates a 1200-pound steer, which is raffled. He leads a softball team of Hollywood stars and they lose to a team of visiting newspapermen by twenty-two to twenty-three in three hilarious innings played in a pasture. The various events in Elko over the three-day period raise $10,000 for the hospital building fund. The Paramount newsreel of August 22 includes film of the proceedings.

 

I remember the 1951 premiere of “Here Comes the Groom” very well, not specific details but in all the “once-in-a-lifetime” factors.

It was the first and only engagement I ever did with Bing, also the first and only time I saw Elko and enjoyed the real Far West quality of the life, something I never previously experienced. The people in Elko were enthusiastic and friendly. The “just-folks” atmosphere of the casinos had me feeling I was at a neighborhood social, rather than a gambling house.

I can’t recall details of all events or how we spent our time, except for one affair. Part of the celebration was having a softball game on a field remembered as being a sort of cow pasture not meant for softball. I think Bing pitched and his sons, who were there (they were good athletes) all played. To me this was a chance to shine and “make a name for myself.”  Being an avid softball player and in good shape, I decided to give my ego full play! Imagine my embarrassment when one of the publicity men in charge whispered not to try so hard as this was all in fun; just part of the hoopla and not a contest to determine Olympic ability. So, I cooled down and participated only for fun.

People left the premiere showing humming, “In the Cool, Cool, Cool of the Evening,” which won the Oscar that year for best song. Unfortunately we did not write it! We composed all the other songs for the picture. ”In The Cool” was a song that Paramount owned, originally written for a Betty Hutton movie which never was filmed. Somehow it got into the score of this movie and turned out to be the hit. However, we were happy with our songs, “Bonne Nuit” (the title was Bing’s idea), “Your Own Little House” and “Mister Cristofo Columbo” even though they weren’t big hits. But we had our “Oscar” and our “hits” by being able to work with Bing Crosby and Frank Capra, and to have participated in that wonderful premiere junket to Elko, Nevada.

(Ray Evans, writing in BINGTALKS magazine, April 1992)

 

Bing was named Honorary Mayor of Elko, and I was tabbed Honorary Governor of Nevada, for 48 hours. Connee Boswell sang, and Bing and Jane Wyman reprised their “In the Cool, Cool, Cool of the Evening” (which copped an Oscar for Best Song that year), even though in those days he never liked to get up on stage. As I look back, I think he was a very shy, insecure man. The world looked upon him as one of the great talents, he just never saw himself in that light.

(Dorothy Lamour, My Side of the Road, page 182)

 

August 1, Wednesday. With two associates (George L. Coleman and Kenyon Brown), Bing purchases FM radio station KSNI in Salinas, California, for conversion into a television broadcasting outlet. Bing and his associates already own the nearby radio station KMBY. Meanwhile, Bing, Phillip, Dennis and Lindsay have left Elko and they arrive at the Hayden Lake, Idaho home at night where they are to be joined by Dixie and Gary. Bing's mother is already at the Hayden Lake property.

August 6, Monday. Golfs with Herb Rotchford and Boyd Walker at Hayden Lake golf club.

August 7, Tuesday. Dixie and Gary arrive at Hayden Lake.

August 9, Thursday. (7:15-8:00 p.m.) A special tribute to station KCBS in San Francisco as it increases its power to 50,000 watts is broadcast and includes a taped message from Bing.

August (undated).  Bing has been considering the script for a forthcoming film to be called Famous. (The name of the film is later changed to "Just for You"). He sends a handwritten note to the producer - Pat Duggan - at Paramount. Ultimately, Jane Wyman fulfils the role.

Note: Important To Pat Duggan –

Dear Pat,

How about a dame called Rosemary Clooney? Sings a good song - and is purportedly personable. Or Vivian Blaine? I’m more concerned than ever that this girl, Caroline, should be a legitimate song and dance gal. One who can belt a number with conviction. They say Clooney can. Blaine is probably not available, but even so, she had a good shot at Fox a few years ago, and couldn't excite the people. I have read the script again, and it seems to me that the casting of the dame is going to determine which way the picture is to be done. Either an out and out musical with staged numbers and Technicolor, or a dramatic yarn with the music incidental or part of the action. I don’t know but what the forthright musical might be best, and if the drama plays - alrite.

I spent a few nites up here trying to get into Show Boat, and when I did get in I found it a simple unabashed old fashioned musical with every conceivable license employed. Of course it’s a great name and the music is matchless because Kern is Kern. But it’s a demonstrated indication of what the audiences want and why quarrel with it? We all extract greater satisfaction, I am sure out of a serious honest picture. But it’s got to be a hell of a good one to succeed. And I doubt if I'm a good enough actor to do a good one. The just don’t believe me. I think we’ve got a good script and I think we can have a good picture but the delicacy of this female casting problem can’t be overestimated. I’ll be interested in learning from you what turn this has taken.

Yours

August 22, Wednesday. The Coeur d’Alene newspaper gives details of a radio appeal on station KVNI made by Bing on behalf of the Red Cross Drive for Flood Relief. There have been severe floods in Kansas.

August 23, Thursday. Bing is in the Davenport Hotel in Spokane.

August 30, Thursday. Bing has a 73 as he qualifies for the Inland Empire Golf Tournament at Hayden Lake Golf Club.

September 1, Saturday. Bing is eliminated in the first round of the Inland Empire Golf Tournament at Hayden Lake Golf Club by Buddy Moe who has a 64 and wins 6 and 5 despite Bing's par golf.

September 6, Thursday. Having driven up to Seattle from Hayden Lake, Bing and Bill Morrow take the C.P.R boat to Vancouver Island. They lunch at the Empress Hotel on Vancouver Island, British Columbia and stay overnight. They are en route to a fishing trip on the Campbell River.

September 9, Sunday. Attends the 9:30 a.m. mass at St. Peter's Church, Nanaimo. Bing's Pebble Beach home is advertised for sale at $230,000. His sister Mary Rose is shown as one of the realtors.

September 10, Monday. Bing's fishing trip with Bill Morrow has brought him to Comox Bay on Vancouver Island, British Columbia. While there, he joins the Tyee Salmon Club. Press reports indicate that he catches a 48 lb. Tyee salmon in the waters of Comox Bay after a 30-minute battle.

September 11, Tuesday. Bing and Bill Morrow sail from Nanaimo on the Princess Elaine and check in again at the Hotel Vancouver in Vancouver, British Columbia. This time they are greeted by a brace of bellboys and whisked to their fourth floor suite.

September (undated). Lindsay Crosby enrolls at Loyola High School, Los Angeles.

September 20, Thursday. Gary Crosby starts his studies at Stanford University, located between San Francisco and San Jose in California. The film Here Comes the Groom has its New York premiere at the Astor Theater and goes on to take $2.55 million in rentals during its initial release period in the USA. Bing is nominated for a Golden Globe Award for an “actor in a leading role - musical or comedy” but does not win.

 

Paramount has a topnotch piece of comedy diversion in Here Comes the Groom. It is the sock picture both Bing Crosby and Frank Capra have needed and tops all of their more recent entries. The boxoffice response should be as hearty as its laughs, particularly after strong word-of-mouth potential gets going.

      …Crosby is at his casual best, nonchalantly tossing his quips for the most effect. Miss Wyman is a wow as the girlfriend who makes him really work to win her. The two join on the Hit Parade tune, “In the Cool, Cool, Cool of the Evening,” by Johnny Mercer and Hoagy Carmichael, in a socko song-and-dance session.

      …Score includes three Jay Livingston-Ray Evans songs, all likeable. They are “Your Own Little House,” “Misto Cristofo Columbo” and “Bonne Nuit,” latter a lullaby sung to the orphans by Crosby. “Columbo” is a novelty number done on the States-bound plane from France by Crosby, the kids and such guest stars as Dorothy Lamour, Frank Fontaine, Louis Armstrong, Phil Harris and Cass Daley.

(Variety, July 11, 1951, following tradeshow)

 

Again the calculated coincidence of Frank Capra and Bing Crosby combined to produce and direct a picture and star in it, respectively, has resulted in a light, breezy item, nicely marked with the genial Capra touch and adorned with the cheerful disposition and the casual vocalizing of Bing. There isn’t a great deal of substance to the gentlemen’s “Here Comes the Groom,” which they jointly turned over to Paramount for delivery to the Astor yesterday. As a matter of fact, a fair-sized zephyr or a few harsh words might blow it away, and it barely survives the burlesque antics that occur in it from time to time. But the idea of it is amusing and the writing is clever and glib. Mr. Capra and Mr. Crosby have both worked harder and done worse.

Being a Crosby picture in this certain day and age, it has to have children in it—and children mean sentiment. The children in this particular instance are a couple of orphaned French tots whom Mr. Crosby, as a roving reporter, culls from a batch of same. And the sentiment is that he finds them so essential to his life, and he to theirs, that he brings them to America with him. A complicating factor, this.

For in order to hang onto the children, Mr. Crosby must be married within five days, and the girl with whom he thinks this most convenient is about to be wed to someone else. Indeed, she is about to be married to a fine Boston millionaire who is more handsome, more wise, more athletic but not more charming or clever than Bing. And so the main purpose of the picture is to show how Bing maneuvers and connives to break up the prearranged marriage and snag the lady just in time—which he does.

Somehow, we have a feeling that we have seen all of this before—or so many things so much like it that it has a familiar look. But, even so, clever Mr. Capra has kept it moving along so well and he has got so many likely people in it, other than Bing and the kids, that it rolls.

Bing, of course, is the big thing, and there’s no use describing him—except to note that he looks a little thinner and a little wearier under the weight of the years. Pretty soon Mr. Crosby will have to stop playing carefree scamps and he’ll have to side-step such frisky numbers as “In the Cool Cool, Cool of the Evening,” which he plugs here. He’ll have to stick to the less exhausting efforts such as “Your Own Little House” or “Bonne Nuit.” Hopping around and play-acting sort of takes the wind out of him.

But Jane Wyman still can scamper, and she does plenty of it here, as does Alexis Smith as her rival—and wrestling opponent—for the millionaire. The latter is suavely developed by a slyly smiling Franchot Tone into something nice and entertaining in the stuffy Bostonian line. James Barton and Connie Gilchrist as the parents of Miss Wyman are fetching, too, and Jacky Gencel and Beverly Washburn are appealing as the French kids.

Additional music is provided by Anna Maria Alberghetti, an Italian miss who sings the “Caro Nome” from “Rigoletto” and then quietly slips away, and also by Louis Armstrong, Phil Harris, Cass Dailey and Dorothy Lamour, who assist Mr. Crosby in delivering “Misto Cristofo Columbo” while fellow-passengers of his in a plane. With all due respect to these worthies, they are obvious “ringers” in this film. It could get along just as well without them.

And it’s better than television, as someone says.

 (Bosley Crowther, New York Times, September 21, 1951)

 

As a comedy team, Jane Wyman and Bing Crosby are sensational in Frank Capra’s warmly human, screwball movie, Here Comes the Groom. The picture, which opened yesterday at the Paramount Hollywood and Downtown theaters, is Crosby’s best in ages and is dedicated to only one goal—glowing entertainment. Bing’s casual charm never was shown off to better advantage than as the globe-trotting reporter here of the current story. Jane is a delight as the girl back home who waits and waits for him and then finally gets mad and accepts the proposal of Franchot Tone, heir to $40,000,000. Just before the wedding, Bing returns home from Europe with two French war orphans whom he has adopted but can’t keep unless he gets married within five days.

(Harrison Carroll, Los Angeles Evening Herald Express, September 7, 1951)

 

September 21, Friday. Tapes a Chesterfield show at the Marines' Memorial Theater in San Francisco with Jane Wyman, which is broadcast on October 10. (Starting at 9:45 p.m.) At Santa Clara's Townsend Field, Bing watches his sons Phillip and Dennis play for Bellarmine Bells against Monterey High. Bellarmine win 19-2. Gary Crosby also watches the game.

September 23, Sunday.  Bing records another Chesterfield show, this time at the U.S. Naval Air Station at Alameda. Jane Wyman and Hoagy Carmichael are the guests and the show is broadcast on October 3.

September 24, Monday. (6:00-7:00 p.m. Pacific) Bing takes part in the transcribed Lux Radio Theater program “Movietime USA” on CBS and presents an extract from the film Here Comes the Groom with Jane Wyman. They sing "In the Cool, Cool, Cool of the Evening". Scenes from six other pictures are also included.

September 25, Tuesday. Bing plus Gary, Phillip and Dennis record a radio program in San Francisco called "Youth Crusade with the Crosbys". They are photographed signing a Freedom Scroll.

September 27, Thursday. Starting at 7:00 p.m. records a Bob Hope show at Long Beach Naval Base, which is broadcast on October 2.

Terminal Island naval personnel and other members of the armed forces in the port area will be offered a special entertainment treat tonight at Naval Station theatre.

The Bob Hope radio show, first of the new fall season, will be transcribed at 7 o’clock. Guest stars will be Bing Crosby and Jane Russell.

Ava Gardner was originally listed as the female guest star, but was taken off the program when she developed a virus infection, a Terminal Island spokesman reported today.

The show is designed primarily for Terminal Island navy men, but all men in uniform will be admitted free until there is a full house. Gates will be opened at 6:20.

(News-Pilot, September 27, 1951)

September 28, Friday. (11:00-11:30 a.m. EDT, repeated at different times) Bing and his four sons are featured in a nation-wide half-hour radio program on NBC entitled “Youth Crusade with the Crosbys.” The show was a combination entertainment and solicitation program. Bing asked his youthful listeners, “Are you willing to give up three pieces of bubble gum?” He explained that “three cents will buy one brick for a new Radio Free Europe station to carry the truth behind the Iron Curtain.” He urged them to sign the Freedom Scrolls, which had been sent to schools throughout the country, and to contribute a few cents to the Crusade for Freedom. A young Czech boy living in Munich, Germany, was interviewed for broadcasting in the Crosby show. The show closes with Bing singing "America the Beautiful". The program is re-broadcast in schools on October 3 as this has been designated "Youth Crusade Day".

 

…this show did a firstrate job of turning a heavy anti-Russian propaganda message into dramatic and understandable terms for the kids. That was due partly to the carefully scripting but, most of all, to the showmanship of Bing Crosby's sons, notably Gary who was given the heaviest assignment…The message was projected via a question-and-answer routine between the younger Crosbys and Gary with Bing also stepping in occasionally to add a word…With the Crosby clan out in force, some vocalising was inevitable and Bing, Gary and Dennis delivered three numbers. The vocals of such tunes as “Simple Melody” and “On Moonlight Bay,” seemed curiously out of place on a show that was describing a living nightmare. The sugar-coating wasn’t necessary.

(Variety, October 3, 1951)

…The choice of the Crosby family to get over the message of Democracy is most fortunate. Crosby himself has become a symbol of Americanism, is loved by the general populace. Further, he and the Crosby youngsters, make the show an entertaining half-hour—entertaining, that is, while still delivering with impact the program’s story…Nobody in the broadcasting field is quite as adept as Der Bingel in establishing and rapid and close accord with a radio audience. He does this on “Crusade,” creating an atmosphere of urgency and charm.

(Billboard, October 6, 1951)

 

September 29, Saturday. Takes Dixie to the Cocoanut Grove for their twenty-first wedding anniversary. He gives her nine custom-made gowns as an anniversary present.

September 30, Sunday. (7:30-8:00 p.m. Pacific) Bing is featured on a recorded radio show "Give Your Best" to launch the 1951 United Red Feather Campaign of America for the Community Chest with Jane Wyman, Dinah Shore, Jimmy Durante, and many other stars.

October 1, Monday. Records “Christmas in Killarney” and “It’s Beginning to Look Like Christmas” in Hollywood with John Scott Trotter and his Orchestra.

 

Christmas in Killarney

Decca 27831—one of the promising late entries of last season is dished up again in a Bing-fully warm, holiday style.

It’s Beginning to Look Like Christmas

A delightful Christmas tune by Meredith Willson offers something for the entire family. Bing does it in great spirit.

(Billboard, October 27, 1951)

 

One can rely on Bing Crosby for some Christmas cheer, and on Bruns. 04838 he sings “Christmas in Killarney” and “It’s Beginning to Look Like Christmas.” Both these are Bing’s style entirely, and so for that matter are “My Own Bit of Land”, a nostalgic, homey song of great appeal, and “With This Ring I Thee Wed”, quite delightful.

(The Gramophone, January, 1952)

 

October 2, Tuesday. (9:00–9:30 p.m.) Bing guests on Bob Hope’s transcribed radio show on NBC with Jane Russell and they take part in several sketches including one called “The Road to New Orleans”. Bing sings “In the Cool, Cool, Cool of the Evening”. Les Brown and his Band of Renown provide the music. The program was taped at Long Beach Naval Base on September 27.

 

Hope seemed more at home when Bing Crosby came on as guest star, and he berated brother Bing for his miserliness, his obesity etc, But Crosby was at a loss in this exchange, most likely because he was given virtually no material. The groaner’s version of “In the Cool, Cool, Cool of the Evening” reminded that the Crosby pipes aren’t what they used to be, but Crosby pushed it over by resorting to his personality in vocalizing. Yesteryear’s Crosby would have found this number a pushover.

(Variety, October 10, 1951)

 

October 3, Wednesday. Forms Bing’s Things Inc. to sell a score of items ranging from toys to clothing. (Starting at 6 p.m.) Bing tapes a Chesterfield show at the CBS Radio Playhouse at 1615 North Vine, Hollywood. The guests are thought to have been Bob Hope and Martha Tilton. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for Chesterfield is broadcast by CBS. The show has been taped at the U.S. Naval Air Station at Alameda, and the guests are Jane Wyman and Hoagy Carmichael. Ken Carpenter, Jud Conlon’s Rhythmaires, and the John Scott Trotter Orchestra remain as regulars. The shows continue on Wednesday nights until June 25, 1952, and Bing receives $16,000 per show out of the budgeted $30,000. The show does not reach the top 20 Nielsen ratings and the most highly rated radio show for the season is the Amos ‘N’ Andy program with 17.0.

 

Bing Crosby is probably one of the most affable performers in radio. Year in and year out, he’s held a commanding position on the air by virtue of warm, easy verbiage and a song style that’s made him the number one pop-singer. His return to the airways after a summer hiatus indicates that Crosby will maintain his audiences. It’s a delightful show, easy on the ears, in a program that provides a maximum of relaxation. Crosby indicated that he is still to warm up to his assignment. He hasn’t hit his stride, as yet but there’s no doubt that his Wednesday night stanza will be strong enough to give listeners the kind of show they want.

         The guest stars, Jane Wyman and songwriter, Hoagy Carmichael lent themselves, admirably to Crosby’s scheme of entertainment. With Miss Wyman, Crosby did an unusual amount of kidding, putting in a few ribs of Louella Parsons and winding up with ‘Cool of the Evening’. Carmichael, in addition to the usual line of banter, did his own composition, ‘Buttermilk Sky’. The Groaner’s other assignments included renditions of ‘Row, Row, Row’ and ‘There Was a Girl’ (sic). Ken Carpenter also worked as a foil for Crosby and John Scott Trotter handled the music department excellently. The Chesterfield ‘Sound Off’ commercial is a catchy rhythmic item. As always Bill Morrow and Murdo MacKenzie have produced an excellent show even though the initial session had the proceedings formularised a bit too rigidly. Morrow’s writings are order-built for the Groaner’s effortless delivery.

(Variety, October 10, 1951)

 

October 4, Thursday. Bing records “When the World Was Young” and “Domino” with John Scott Trotter and his Orchestra in Hollywood. “Domino” charts for six weeks, peaking at No. 15.

 

Bing Crosby: “Domino”- “When the World Was Young” A ballad import from France, “Domino” is given a standout Crosby slice which looks good to reestablish Der Bingle among the top bestsellers It's a big song in waltz tempo and Crosby projects with the right feeling…On the Decca reverse. Crosby delivers another French item, a good special-material number but with doubtful commercial chances.

(Variety, October 17, 1951)

 

Domino

Decca 27830—Bing should ring the bell with his rendition of a striking waltz import with a Gallic-gypsy feel. The competition is heavy but Bing, singing at top form, should be in there with the big winners.

When the World Was Young

Bing does splendidly by an unusual Frenchie, adapted to English poetically by Johnny Mercer. The recitatif verses make this a toughie commercially. But, this splendid rendition could pick up some action.

(Billboard, October 27, 1951)

 

October 5, Friday. (Starting at 3:15 p.m.) Watches his twin sons play for the Bellarmine football team against Alameda High at Thompson Field, Alameda. Bellarmine lose 6-0.

October 10, Wednesday. Bing tapes a Chesterfield show in Hollywood which is broadcast on October 24. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for Chesterfield is broadcast by CBS. The show has been taped in San Francisco and the guests are Bill Thompson and Jane Wyman.

 

…Current Crosby series wisely features more music than ever, with el Bingo warbling five numbers, including “Come-On-A-My House,” “Shanghai,” “How High the Moon,” “Because of You” and “In the Cool, Cool, Cool of the Evening.” On latter he teamed up with movie actress Jane Wyman, his “Groom” co-star. The airer’s spontaneous sounding pace hit a snag on their mike patter, tho, with the supposedly “gay” banter about Paramount and Bob Hope coming over as contrived and awkward scripting. Crosby was much better solo when he ribbed TV at the beginning of the show. Chesterfield commercials featured the cig’s outfit “Sound Off” parody and Crosby’s usual personal plug.

(June Bundy, Billboard, October 20, 1951)

 

October 11, Thursday. Lindsay Crosby makes two solo records for Decca accompanied by John Scott Trotter and his Orchestra. The song “That’s What I Want for Christmas” (Decca 27812) is said to sell over 200,000 copies but this may well have been publicity talk. The other side of the record was “Dear Mr. Santa Claus”.

 

“Dear Mister Santa Claus” (Decca). The youngest of the Bing Crosby clan registers with a pleasing simplicity on these Xmas tunes. The immaturity of his pipes blends well with the tunes, particularly “That’s What I Want for Christmas,” which was originally written for a Shirley Temple pic.

(Variety, October 31, 1951)

 

That’s What I Want for Christmas

Decca 27812—Bing’s youngest son is the major attraction of this seasonal disking. His presence alone should assure this waxing of plenty of action, tho it is not a particularly sterling etching. Tune’s perfectly suited to the youngster.

Dear Mister Santa Claus

Same story for this side, tho the material is a shade less appealing.

(Billboard, November 10, 1951)

 

October 17, Wednesday. (Starting at 6 p.m.) Bing tapes a Chesterfield show at the CBS Radio Playhouse at 1615 North Vine, Hollywood. (6:30–7:00 p.m. Pacific) Another taped Bing Crosby Show for Chesterfield is broadcast and the guests are Martha Tilton and Bob Hope.

October 19, Friday. Records “I Still See Elisa” and “A Weaver of Dreams” in Hollywood with John Scott Trotter and his Orchestra. (9:00–9:30 p.m.) Guests on the Dean Martin and Jerry Lewis radio show on NBC with Sheldon Leonard. Music is provided by Dick Stabile.

 

Bing Crosby is in for a rough time tonight. He’s guesting with the zany Dean Martin and Jerry Lewis on their new radio show heard at 9 tonight. Bing’s due to duet with Dean on “Sam’s Song.” Wonder if he’ll get out of the studio alive?

(The Los Angeles Times, 19th October, 1951)

I Still See Elisa,

Decca 27852—Bing sings this “Paint Your Wagon” ballad free and easy in his croon style. It’s a tough ballad and doesn’t figure to catch more than a limited trade.

Weaver of Dreams, A

A lovely new Victor Young ballad loses some of its effectiveness at the rapid beguine tempo in which Bing sings it. The Ned Washington lyric is pleasurably off the beaten track.

(Billboard, November 17, 1951)

 

Bing also sings “I Still See Elisa” (Bruns. 05048) from Paint Your Wagon and “Any Town Is Paris When You’re Young” in his slow pensive style that no one has yet successfully imitated.

(The Gramophone, March 1953)

 

October 22–December 20. Films Just for You with Jane Wyman, Natalie Wood, Bob Arthur, and Ethel Barrymore. The director is Elliott Nugent with Emil Newman as musical director. The film is originally titled “Famous.” It is said that Judy Garland had originally been sent a script as she was being considered for the female lead, but she apparently decided not to proceed with the project. Location scenes are filmed at Lake Arrowhead, near San Bernardino, California and at Big Bear Lake in the San Bernardino National Forest.

 

Crosby had similarly high standards on the set. “What was really surprising about Bing Crosby to me was that he really was a very, very, bright man. He knew everybody’s lines and knew everything about the camera. He always came across as this relaxed performer but he was far from relaxed.”

(Bob Arthur as quoted in Natasha: The Biography of Natalie Wood, page 94)

 

You know I worked with Bing Crosby when I was a kid, about 13. It was a movie filmed in the mountains, at Lake Arrowhead. I was very nervous acting with him and he was sort of retiring. He didn’t say very much and I was so nervous. He kept to himself between scenes. I don’t remember him singing at all, which would have been nice. But he was real kind to me, relaxed, did everything pretty much on one take. I wish I would have gotten to know him, but I was so scared and he was such a big, big star that I didn’t have much to say.

(Natalie Wood, interviewed on The Merv Griffin Show)

 

I noticed that when Ethel (Barrymore) was rehearsing her scenes for our picture, apparently she was not concerned with her lines, the business, or the props. But when the director finally said, “Let’s take it,” her first take was perfect. Past experience with other actresses hadn’t prepared the director for such perfection, and he asked for another take as a matter of course. The more the scene was shot the worse Ethel became. Like any true champion, she’d built herself for one major effort, and that was it. She was amazed that the director insisted on taking the scene over and over.

“Is he making a collection of these things?” she asked me with some puzzlement.

(Call Me Lucky, page 185)

 

October 24, Wednesday. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for Chesterfield is broadcast by CBS. The show has been taped and the guests are Paul Douglas and Anna Maria Alberghetti. Bing writes to Canadian broadcaster Gord Atkinson.

Dear Gord:

Upon my return to town recently I came across the fine cuff links you sent for my birthday, and am wondering if I acknowledged these at the time. However, want you to know they are very much appreciated.

Hoping you and your wife are enjoying matrimonial bliss, and with kindest regards to you both - Sincerely, Bing

October 27, Saturday. June Crosby (Bob’s wife) gives birth to a daughter, Junie Malia.

October 31, Wednesday. (Starting at 6 p.m.) Bing tapes another Chesterfield show at the CBS Radio Playhouse in Hollywood. (6:30–7:00 p.m. Pacific) Another taped Bing Crosby Show for Chesterfield is broadcast and Bing’s guest is Dinah Shore.

November 7, Wednesday. (Starting at 6 p.m.) Bing tapes another Chesterfield show, again at the CBS Radio Playhouse in Hollywood, with James Stewart and Anna Maria Alberghetti, which is broadcast on November 14. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for Chesterfield is broadcast by CBS. The show has been taped and the guests are Dean Martin and Jerry Lewis.

November 9, Friday. John T. Mullin and Wayne R. Johnson of Bing Crosby Enterprises demonstrate a primitive video recorder.

Crosby Ent. Previews New Magnetic Recording Device; Cost Slash Seen For Films

In a preview of things to come, The Reporter Friday afternoon witnessed the first tape-recorded images seen through the use of a newly developed magnetic recording system which threatens to revolutionize methods of televising, and the making and distributing of motion pictures.

A new “magnetic recording head,” capable of absorbing pictures, sound and color on a single plastic tape, took pictures off a home television receiver of a motion picture film being televised over one of the local channels and faithfully transmitted the sequences onto a quarter-inch tape for rebroadcast later.

(The Hollywood Reporter, November 12, 1951)

November 14, Wednesday. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for Chesterfield is broadcast and the guests are Anna Maria Alberghetti and James Stewart.

November 21, Wednesday. (6:30–7:00 p.m. Pacific) Another taped Bing Crosby Show for Chesterfield is broadcast by CBS. Bing’s guests are Bert Wheeler and Alexis Smith.

November 27, Tuesday. Bing is thought to have recorded a Chesterfield show with Ella Fitzgerald and Louis Armstrong which is broadcast on November 28.

November 28, Wednesday. Bing records a Chesterfield show with James Stewart that airs on December 5. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for Chesterfield is broadcast and the guests are Ella Fitzgerald and Louis Armstrong.

November 29, Thursday. Dixie executes her last will. It was reported that she was losing weight at the time and that her abdomen was distended.

December 3, Monday. (11:15-11:30 p.m.) Bing makes an appeal for UNICEF greetings cards in the 15-minute radio program The United Nations Today.

December 5, Wednesday. Bing tapes a Chesterfield show for broadcast on December 12. The guests are Alexis Smith and Bert Wheeler. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for Chesterfield is broadcast by CBS. The show has been taped and the guests are Toni Arden and James Stewart.

December (undated). Takes Gary’s car away from him because of his son’s poor grades at Stanford. Gary buckles down to his studies and when his grades improve, Bing lets him have the car again.

 

The biggest mistake I’ve ever made with my boys was giving Gary a car as a high school graduation present. It did him no good at Stanford. I guess it’s too much to expect of a college freshman that he’ll hit the books when there’s a car outside the dormitory and opportunity to use it up and down a shore highway. Gary had eight years of grade school with the sisters and four years of high school with the Jesuit fathers. A considerable amount of restraint is a part of both these educational systems. They go in for supervised study at night, and no freedom except on Saturdays and Sundays—even then only until ten p. m.

But when Gary reached Stanford with an automobile at his beck and call, he fell apart. Like any other university, Stanford expects its students to be self-reliant and to face up to responsibilities when they enter college. Sooner or later a fellow has to accept the restrictions of maturity, and he might as well start when he’s a college freshman. A good way to begin is to realize that nobody’s going to take him by the ear and make him study.

I didn’t know how serious Gary’s situation was until he came home at Thanksgiving and I heard him telling one of his pals how easy it was at Stanford; nobody cared whether you went to class or not, and everything was a cinch. That wasn’t what I’d heard about Stanford. I began to worry, and after he went back to Palo Alto, I took a week end off and went up to talk to his professors—particularly to the Dean of Men—to find out what was going on.

When I asked the Dean how Gary was doing, he said, “You won’t have to worry about him, because he won’t be here after Christmas.”

“Where’ll he be?” I asked.

“I don’t know,” the Dean said, “but he won’t be here.”

I got hold of Gary, and had a talk with him. I pointed out the seriousness of the situation, took his car away from him, put it in a garage and went home to talk to his mother. Quite naturally, Dixie was upset. “I think we ought to write him a strong letter,” she said.

“You write him a letter,” I suggested.

She did. She told him that if he hadn’t made up his grades by Christmas, that if he was bounced by Stanford, we’d arrange for him to work digging ditches for the city when he came home. It was no empty, blustering, parental threat. When it came to discipline, Dixie didn’t fool, and Gary knew it. She added that she didn’t think he’d have to dig ditches very long, for she was sure the Army would reach out and tag him shortly after he left Palo Alto.

Her letter must have carried impact. He knuckled down, survived the weeding out of the lamer brains after Christmas, and made a really good showing in the spring quarter.

(Call Me Lucky, pages 298-299)

 

December 11, Tuesday. Bing lunches with Jane Wyman and journalist Leo Lerman at the Paramount commissary.

December 12, Wednesday. Mildred Bailey dies. Elsewhere, Bing records a Chesterfield show with Bob Hope and Dorothy Lamour that airs on December 26. At the recording, the show runs for just over an hour and it has to be extensively edited. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for Chesterfield is broadcast and the guests are Bert Wheeler and Alexis Smith.

December 16, Sunday. Tapes a Chesterfield show with Trudy Erwin and Lindsay Crosby which is broadcast on December 19.

December 17, Monday. Bing writes a check for $20 to California Kamloops in order to take up life membership in the organisation. Later, takes part with Bob Hope and Frank Sinatra in the Long Beach Press-Telegram's annual Christmas show for patients at the Veterans Administration Hospital. Part of the proceedings is taped and broadcast on December 25 as the Bob Hope Show.

There was a great show in town last night.  Its headliners were Hope, Crosby and Sinatra, and it would have taken an adding machine to keep count of the gags. Les Brown was there with his orchestra, and a parade of shapely Hollywood beauties wore out the whistles of the males in the audience.

All of that—a million dollars of talent—and it didn’t cost the spectators a copper.

For it was the Press-Telegram’s Christmas show for patients at the Long Beach Veterans Administration Hospital, the second annual affair of the kind since the VA Hospital moved down here from Birmingham.

 It was a huge success, and we at the P-T are mighty pleased.

An hour of the uproarious doings was taped and you can hear it on KFI on Christmas night – Tuesday – starting at 9 o’clock, as the Bob Hope Show. But it went on for two or three hours beyond that to give the men and women of the hospital a terrific evening, topped off with refreshments of ice cream, cookies and coffee before they returned to the wards of the big institution at Seventh and BellFlower.

The radio show was, of course, from script, but the rest of it was ad libbed and highly informal, and the stars were at their best then. The gang got a real bang out of Crosby getting help from the audience on his lyrics, Hope knocking over a Christmas tree and Sinatra asking Brown to change the pitch.

That made a party of it.

…Before the show, Hope, Crosby and Sinatra, as well as the girls from the Paramount “golden circle” toured the hospital wards and visited with the patients.

(Malcolm Epley, Long Beach Press-Telegram, December 18, 1951)

December 18, Tuesday. Plays Santa Claus at the Hollywood Women’s Press Club luncheon at the Beverly Hills Hotel and presents the Golden Apple Awards to Anne Baxter,  William Holden and John Derek. (9.00-9:30 p.m.) Guests on Bob Hope’s radio show on NBC with Vera Vague and Jo Ann Greer.

…Crosby popped up in the hirsute role of Santa Claus and handed out the awards given annually by the lady writers covering movieland….But the big applause came when Santa, concluding the presentation, whipped off his red and white foliage——and revealed the bald dome of El Bingo. He had driven over from his studio during lunch hour—eating a hamburger en route. The same Women’s Press Club eight years ago sent Crosby a stuffed shirt for his uncooperative attitude.

(The San Bernardino County Sun, December 19, 1951)

December 19, Wednesday. Records “At Last! At Last!” and “The Isle of Innisfree” with John Scott Trotter and his Orchestra in Hollywood. Also records a Chesterfield show with Monica Lewis and Hopalong Cassidy that airs on January 2, 1952. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for Chesterfield is broadcast and the guests are Trudy Erwin and Lindsay Crosby.

Bing Crosby: “At Last! At Last”-“The Isle of Innisfree”; “Granada”-“Copacabana” (Decca).

“At Last” is the most likely of Crosby's latest four sides. It’s a lilting tune and Crosby gives it an adequate, if not particularly strong, rendition. “Innisfree” ’ a fair ballad with a wordy lyric. Crosby's workover of “Granada’* is smoothly handled as is the chile rhythm item “Copacabana.”

(Variety, January 30, 1952)

December 22, Saturday. Bing’s recording of “White Christmas” makes its annual appearance in the pop charts, peaking at number thirteen over a three week period.

December 23, Sunday. (6:00-7:00 p.m.) Appears on The Joyful Hour radio program on Mutual with Ann Blyth, Pat O’Brien, Jimmy Durante, and Licia Albanese. (6:00-6:15 p.m.) Also appears on Louella Parsons’ radio show, which is her last for her sponsor, Jergens Woodbury.

December 25, Tuesday. (9:00–9:30 p.m.) Guests on the Bob Hope radio show on NBC with Jack Kirkwood, Benny Rubin, and Frank Sinatra. The show has been recorded at the Long Beach California Veterans Administration Hospital.

 

…In view of Hope’s sock talent line-up, this show was a disappointment. Hope and Crosby indulged in their usual insult routine about latter’s excess profits and poundage, but the gags were pretty stale. With the exception of Crosby’s vocals, the rest of the show was equally dull. Billed as a “surprise visitor,” Sinatra didn’t show up until the last three minutes of the broadcast, and then he didn’t have anything to do.

(Billboard, January 12, 1952)

 

December 26, Wednesday. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for Chesterfield is broadcast by CBS. The show has been taped and the guests are Dorothy Lamour and Bob Hope.  

December 31, Monday. (12:05-12:45 p.m.) Guests on Kate Smith’s radio show. Bing enters hospital for a check-up.

Bing is fifth in the U.S.A. movie box office stars poll for 1951. John Wayne is again at number one. During the year, Bing has had eight records that have become chart hits.

 

1952

 

January 2, Wednesday. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for Chesterfield is broadcast by CBS. The show has been taped and the guests are Monica Lewis and Hopalong Cassidy (William Boyd).

January 4, Friday. Leaves hospital after a 5-day check-up. His kidney stones have been affecting him.

January 5, Saturday. Writes a check for $45 for a nurse at St. John's. Starting at 6 p.m., Bing tapes another Chesterfield show at the CBS Radio Playhouse at 1615 North Vine, Hollywood.

January 8, Tuesday.  Bing writes a check for $400 payable to cash and which is annotated "Expense P. B. tournament S. F. shows." Leo Lynn signs the check on the reverse,

January 9, Wednesday. Bing is seen golfing with his son Lindsay on the Monterey Peninsula course. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for Chesterfield is broadcast and there are no guests as Bing sings nine popular songs from 1951.

January 10, Thursday. The film The Greatest Show on Earth is released.

 

Among the entertaining gimmicks inserted by DeMille are the frequent closeups of the circus audience, among them the celebs of the Paramount lot. There’s a sock laugh when two intent, peanut-eating bleacherites prove to be Bing Crosby and Bob Hope.

(Variety, January 2, 1952)

 

January 11-13, Friday–Sunday. The Bing Crosby Pro-Am Tournament at Pebble Beach. Bing does not play. The weather is so bad on the Monterey Peninsula Country Club course that the second day’s round has to be called off, restricting the tournament to thirty-six holes. The professional winner is Jimmy Demaret and he and Bob Hope finish in third place in the pro-am section. Other celebrities taking part include Bob Crosby, Phil Harris, William Boyd, Johnny Weissmuller, Gordon MacRae, Dick Arlen, Dennis O’Keefe, Buddy Rogers, Ben Gage and Lefty O’Doul. On the Friday, Bing writes checks for $825 payable to Bob Crosby and $619.33 payable to Phil Garnet which he annotates "Calcutta  Pool P.B. Tournament". See What is a Calcutta in Golf? Golfing Terms Explained For Everyone (golfspan.com)

…Then last Friday off we went into the blinding rain for Bing Crosby’s Pro-Amateur centering around fashionable scenic Monterey and Carmel. The press was quartered at Monterey’s San Carlos Hotel and as each writer entered, a large bottle was pressed under his arm. Yes, this sports writing business can be awfully rrrough.

Seriously, Crosby’s tournament is one of sports’ finest events, both in entertainment and purpose. Probably only the East-West Shrine game is more worthy. All proceeds, after taxes, are given to charities with Der Bingo paying all the bills. At the completion of the meet, Bing was host to his annual dinner party Sunday night, and he brought before the players enough talent for an Ed Sullivan TV show…

(Jim Scott, The Berkeley Gazette, January 15, 1952)

January 11, Friday. Bing is a guest on Bob Hope's radio show, which is taped at Fort Ord and broadcast on January 15.

Overflow crowd of more 2,000 members of the Army, Navy and air force enjoyed two and one-half hours of rollicking entertainment by Bob Hope and top names in the entertainment field at Fort Ord’s soldiers’ club last night. The ski-nosed comedian and his entourage first presented Hope’s radio show and then gave an after-show that had the military audience cheering and doubling over with laughter. Among Hope’s guests were Bing Crosby, Golf-Pro Jimmy Demaret, Comedian Jerry Colonna, Singing Star Gordon MacRae, Actresses Virginia Hall and Susan Morrow…

(The Californian, January 12, 1952)

January 12, Saturday. Bing tapes his Chesterfield show at Fort Ord in the afternoon and evening. The guests are Bob Hope and Monica Lewis. The show is broadcast on January 16.  Bing and Bob Hope plus Hoagy Carmichael and Red Nichols go on to entertain at Bob and Virginia Stanton's party at their house in the Carmel valley.

 

For Fort Ord Clambake Bing Crosby, in addition to John Scott Trotter’s orch, has assembled a crack Dixie combo for the show he is staging for Army trainees at Fort Ord Saturday night and the dinner program following the annual Bing Crosby Invitational Golf Tournament at Monterey Peninsula Country Club Sunday evening.

(Variety, January 9, 1952)

Bing Crosby did all right by the GI’s at Fort Ord. He taped a half hour radio show, then proceeded to give the lads a three-hour additional show, backed up by Bob Hope, Monica Lewis and a dozen vaudeville acts.

(Hedda Hopper, The Berkeley Gazette, January 18, 1952)

…After a delicious curry dinner, Bing Crosby and Bob Hope arrived from their show, which they had just put on at Fort Ord, and with them were Hoagy Carmichael and Red Nichols and his five “Hot Pennies.” From then on, everyone was spellbound, as Bing, Bob and Hoagy all took turns singing impromptu songs and reducing the crowd to laughter with their at-the-moment jokes.

(Susan Smith, The San Francisco Examiner, January 22, 1952)

 

January 13, Sunday. The Victory dinner takes place at Monterey Peninsula Country Club.

January 15, Tuesday. (9:00-9:30 p.m.) The Bob Hope radio show is broadcast on NBC and Bing guests with Jimmy Demaret and Jerry Colonna. The show has been recorded at Fort Ord. Bing sings “Slowpoke” before dueting with Bob on “Undecided”.

January 16, Wednesday. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for Chesterfield is broadcast by CBS. The show has been taped at Fort Ord and the guests are Bob Hope and Monica Lewis.

January 23, Wednesday. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for Chesterfield is broadcast and the guests are Helen O’Connell and Paul Douglas.

January (undated). Golfs at Cypress Point on several occasions using caddies to play with him.

January 27, Sunday. Bing records a Chesterfield show in Hollywood with Bob Burns and Patti Page that airs on January 30.

January (undated). Goes with Bob Hope and Phil Harris to sse Buddy Hackett at Billy Gray's Band Box, 123 North Fairfax at Beverly.

January 30, Wednesday. (Starting at 6 p.m.) Tapes a Chesterfield show at the CBS Radio Playhouse, 1618 North Vine, Hollywood, for transmission on February 6. The guest is Fred Astaire. (6:30–7:00 p.m. Pacific) Another taped Bing Crosby Show for Chesterfield is broadcast by CBS and Bing’s guests are Patti Page and Bob Burns.

January 31, Thursday. (10:35–11.00 p.m.) Contributes to Eddie Cantor’s birthday show on NBC-radio. This is part of a 60th birthday celebration dinner for Cantor at the Hotel Commodore in New York. The occasion is also part of a testimonial linked to the campaign to sell Israel bonds.

February 2, Saturday. Bing records a Chesterfield show with Humphrey Bogart and Lauren Bacall that airs on February 13.

February 3, Sunday. Writes a check for $400 payable to cash and which he annotates "S.F. Bdst Expense". Leo Lynn signs it on the back.

February 6, Wednesday. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for Chesterfield is broadcast and the guest is Fred Astaire.

February 7, Thursday. Bing records another Chesterfield show with Patti Page and the Mills Brothers, which airs on February 20.

February (undated). Takes Dixie and Lindsay to Palm Desert for a break. They stay at the Firecliff Lodge.

February 8, Friday, Plays in the first round of the Thunderbird Country Club four-ball match-play championship but he and his partner, Clive Roberts, are knocked out, losing two and one.

February 10, Sunday. Golfs on the Thunderbird course in Palm Springs with Ben Hogan, Bob Hope and W. A. Moncrief.

February 13, Wednesday. Records a Chesterfield show in Hollywood with the Bell Sisters (Cynthia aged 16, and Kay aged 11). The show is broadcast on February 27 by CBS. (6:30–7:00 p.m. Pacific). The Chesterfield show with Humphrey Bogart and Lauren Bacall is broadcast. It had been recorded on February 2.

February 14, Thursday. Bing records “Just for You” and “A Flight of Fancy” with Camarata and his Orchestra in Hollywood.

 

Bing Crosby: “Just For You” “Flight of Fancy” (Decca). Bing Crosby’s decline as a factor on disks is traceable to the switch of tastes away from the practitioners of the relaxed vocals and, equally important, to the failure of the material...

(Variety, June 11, 1952)

 

Just For You

Decca 28217—The Groaner just isn’t up to par on this light new tune from the flick of the same name. Ork backing by Camarata is good.

A Flight of Fancy

Bing comes thru, with a smooth performance on this appealing item from the movie “Just for You,” over attractive ork support. Deejays can use.

(Billboard, June 21, 1952)

 

February 16, Saturday. Thought to have taped a radio program for New York Catholic Charities with Bob Hope, Ann Blyth, Jimmy Durante and Ruth Hussey.

February 17, Sunday. (6:00-6:15 p.m.) Bing is the guest host on the Walter Winchell Time radio program on ABC in Winchell’s absence due to ill health. Bing manages to plug his Chesterfield show. The program has been recorded in advance and may have used some recordings made for Bing’s radio show.

February 19, Tuesday. Records three songs in Hollywood with Perry Botkin’s String Band and the King’s Men.

 

“Two Shillelagh O’Sullivan” - "That Tumbledown Shack in Athlone” (Decca).

A coupling of Irish tunes which should earn spins on and before St. Patrick’s Day. O’Sullivan” is a snappy Gaelic entry which Crosby projects with folksy verve. This rates plenty of juke spins. Reverse is projected in a slower tempo with a nostalgic back-to-the-old-sod pitch.

(Variety, March 12, 1952)

 

Rosaleen

Decca 28061—The groaner is effective and warm on this sweet ditty about a coleen from the Emerald Isle. Also a good d. j. item

Don’t Ever Be Afraid to Go Home

Bing turns in a good vocal on this lively item with its own folksy moral. The Kings Men and the ork back the warbler well. Deejays will spin.

(Billboard, April 5, 1952)

 

Bing Crosby (Bruns. 04921) also tries some impressions — Irish, of course, in Two Shillelagh O’Sullivan and That Tumbledown Shack in Athlone. The former is probably funny if you like that sort of fun, and the latter is as much of a wallow deep in nostalgia as it looks.

(The Gramophone)

 

February 20, Wednesday. Bing records a Chesterfield show for transmission on March 5 with Bob and Cathy Crosby. Increasingly, takes from earlier shows are being reused. (6:30–7:00 p.m. Pacific.) A taped Chesterfield show with the Mills Brothers and Patti Page airs on CBS.

February 21, Thursday. (8:10–11:45 a.m.) Records “I’ll Si-Si Ya in Bahia” and “The Live Oak Tree” with the Andrews Sisters and John Scott Trotter and his Orchestra in Hollywood. The tracks are included in the Decca album "Just for You".

 

Bing Crosby - Andrews Sisters: “I’ll Si-Si Ya In Bahia”- “The Live Oak Tree" (Decca). Bing Crosby-Andrews Sisters tandem produces results on a pair of tunes from forthcoming paramount, pic, “Just For You.” “Bahia” is a slick Latino flavored novelty to which Crosby and the Andrew femmes bring enough sparkle to keep it in with the jocks and jukes. Superior voice blending on the record is more outstanding than the material. John Scott Trotter backs fully.

(Variety, July 23, 1952)

  

I’ll Si Si Ya in Bahia Decca 28256 — To a mambo tempo the Andrews Sisters and the Groaner tell about Bahia. Tune is from the flick “Just for You,” and the singers give it a good whirl. The ork backing is top flight.

The Live Oak Tree

Another item from “Just for You” receives an adequate vocal from Mr. C and the gals. Novelty tune is pleasant.

    (Billboard, August 2, 1952)

Review of album

With the title flicker still to open and run what promises to be a long course, this album of ditties featured in the film figures to do right well over the counter. Crosby and Miss Wyman, of course, star in the pic. While the Andrews Sisters do not appear in the movie, their efforts on this disk add plus values… Liner carries a synopsis of the film and fairly detailed biographies of the artists featured on the disk.

(Billboard. October 4, 1952)

 

February 27, Wednesday. Tapes another Chesterfield show in Hollywood and the guests are Humphrey Bogart and Lauren Bacall. "Miss Kangaroo Contest" presents Bing with a baby kangaroo. The show is broadcast on March 12. (6:30–7:00 p.m. Pacific.) The Chesterfield Show broadcast today features The Bell Sisters as guests.

February 29, Friday. Bing plays in the Founder's Day Championship at Tamarisk Country Club in Palm Springs. Others playing are Bob Hope, Phil Harris, Groucho Marx, Harpo Marx, Dennis Morgan and Ralph Kiner.

March 1, Saturday. The second round of the Founder's Day Championship. Bing writes a check for $194.75 payable to Pinecliff Lodge, which he annotates Hope host, Crosby host. Bing Crosby Enterprises introduces “Bing Crosby Ice Cream.” This is a special interest of Everett Crosby and it licenses the use of Bing’s name in national advertising of ice cream.

March 2, Sunday. Bing and Bob Hope are filmed at Palm Springs by Paramount News plugging the current drive for the Braille Institute. Starting at 8:00 pm., Bing takes part in a recording of Bob Hope’s radio show at the Plaza Theater, which is subsequently broadcast on March 11. The show forms part of a benefit for the Sister Kenny Foundation and more than $5000 is raised.

Sunday (2) Crosby appeared as guest star for Bob Hope’s taped show, also at Plaza Theatre, as did Palm Springs Mayor Charles Farrell. Show also benefit for Sister Kenny Foundation. Appearing were Jack Benny, Phil Harris, who earlier in the day taped Benny show at War Memorial Bldg.

(Variety, March 12, 1952)

   

With Bing Crosby as special guest, Bob introduced such other personalities as Danny Kaye, Frank Sinatra and Martha Stewart.  The show was taped for a delayed airing in the near future; however, the follow-up show for the Sister Kenny Fund enjoyed a complete sell-out.

(Tom E. Danson, Long Beach Press Telegram, March 7, 1952)

...That evening, Sunday, Bob Hope, Bing Crosby, Phil Harris, Charlie Farrell, Orchestra leader Les Brown, Marilyn Maxwell, Chief of Police (Palm Springs) Gus Kettman, Jack Benny and others staged a benefit for the Sister Kenny Polio Foundation. What a ball! Here was a line-up of Champions. Scripts had been written for the affair but they proved to be mere rough outlines as the off-the-cuff wisecracks were scattered around that stage.

(Dick Hyland, The Los Angeles Times, March 4, 1952)

      March 3, Monday. Bing is in San Bernardino and attends the Pittsburgh Pirates training session. An AP wire photo pictures him with Ralph Kiner. Meanwhile at the Sherry-Netherland Hotel in New York, an exhbition opens displaying the many inventions of "Bing's Thngs."

March 4, Tuesday. Press reports state that a recently concluded deal involving over $4 million has made Bing Crosby Enterprises the largest producer of films for television in the country. A new subsidiary known as Lancer Productions has been formed.

March 5, Wednesday. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for Chesterfield is broadcast by CBS. The show has been taped and the guests are Bob Crosby and his daughter Cathy. The Paramount newsreel used that day shows Bing working out with the Pittsburgh Pirates.

March 6, Thursday. Bing records a Chesterfield show in Palm Springs at the Plaza Theater with James Stewart and Fran Warren, which airs on March 19.

Bing Crosby taped show at Plaza Theatre Thursday (6). Guests included Jimmy Stewart, who is vacationing with Mrs. Stewart, and former Bendix Trophy winner Joe de Bona and Mrs. de Bona.

(Variety, March 12, 1952)

March 8, Saturday. Starting at 1:00 p.m., Bing and his son Lindsay attend a Pittsburgh Pirates vs. St. Louis Browns spring training match at the City of Burbank Municipal Stadium. The Browns win 7-4.

March 11, Tuesday. (9:00-9:30 p.m.) Bing makes a guest appearance on Bob Hope’s radio show on NBC that was recorded in Palm Springs on March 2. Other guests are Marilyn Maxwell and Charles Farrell. Bing sings “Anytime.”

March 12, Wednesday. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for Chesterfield is broadcast by CBS. The show has been taped and the guests are Lauren Bacall and Humphrey Bogart.

March 17, Monday. Bing has been at his Spring Creek ranch near Elko and he sends a hand-written letter to Art MacKay (? bit illegible) in Fossil, Oregon.

Dear Art

It’s good job you got out when you did. We’ve had a foot and a half of snow since you left. I just got out today. Some of our neighbors in bad straits, and we moved 900 head up to our hay about 6 miles from headquarters. They belong to our herd next door and would have been in a bad way in a couple more days.

Johnny will call you when it goes down some and he can book these cattle. He wants to get them there before the 1st.

Yours, Bing Crosby

March 18, Tuesday. Bing checks in at the Palace Hotel in San Francisco.

March 19, Wednesday. (6:30–7:00 p.m. Pacific) Another taped Bing Crosby Show for Chesterfield is broadcast and the guests are James Stewart and Fran Warren.

March 20, Thursday. At the Academy Awards ceremony at the RKO Pantages Theater, Danny Kaye and Jane Wyman sing “In the Cool, Cool, Cool of the Evening”; the song by Hoagy Carmichael and Johnny Mercer from the film Here Comes the Groom wins an Oscar. Robert Riskin and Liam O’Brien have been nominated for “Best Motion Picture Story” for their work on Here Comes the Groom but they lose to Paul Dehn and James Bernard for Seven Days to Noon.

 

“Crosby” Kaye joining Jane Wyman in a socko selling on “In the Cool, Cool, Cool of the Evening”. Kaye’s Bing Crosby takeoff was solid.

(Variety, March 21, 1952)

…in 1951 I won the Oscar, with Johnny Mercer, for a song called “In the Cool Cool Cool of the Evening”. Bing Crosby sang it in the picture Here Comes the Groom. The betting and studio pressure play had been for “A Kiss to Build a Dream On” by Harry Ruby and Oscar Hammerstein, II. Advertising and press agent gall doesn’t make an Oscar race pure as the driven snow. But we had planted our song not once but several times in the picture, and I carried home, fairly won, the golden nude statue with the sword. Many are cynical about Hollywood awards, and rightly so. There is too much jockeying and lunch buying, gift giving and ad taking. But I didn’t do anything but sit back and wait after writing the music—a creative item often overlooked in that busy place. My good friend Jane Wyman was in the picture with Bing and sang “Cool Cool” better than I thought she knew how to sing. She and Danny Kaye did the song at the Awards dinner and in very good style.”
(Hoagy Carmichael with Stephen Longstreet, Sometimes I Wonder)

 

    March 21, Saturday. Bing records a Chesterfield show with Marilyn Maxwell and Anna Maria Alberghetti, which is broadcast on March 26. The show is taped before an audience of service personnel from the US Naval Training Station at Treasure Island, San Francisco.

March 22, Saturday. (7:30-8:00 p.m.) Bing is heard in the "All Star Show for Catholic Charities" on WNBC in New York. Elsewhere, snow continues to be a problem at Elko and the Reno Evening Gazette reports:

…An example of the situation was Bing Crosby’s Elko ranch. Snowdrifts up to 35 feet covered the crooner’s haystacks. Hay was abundant on his ranch but approximately 300 head of his cattle were stranded because they could not be reached by accessible roads…

March 26, Wednesday. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for Chesterfield is broadcast by CBS. The show has been taped in San Francisco and the guests are Marilyn Maxwell and Anna Maria Alberghetti. Miss Maxwell is paid $1000 for her services.

It now looks virtually certain that Jack Benny, Bob Hope and Bing Crosby — the three top-budgeted personality shows in radio — will lose their sponsors at the end of the current season. From here on in, the $8,500-$10,000 bracket will be tops in AM, as reflected in the Chesterfield purchase (at 10G a week) of Dean Martin & Jerry Lewis for next season. On the other hand, Chesterfield is calling it quits on the Hope and Crosby stanzas, each of which carries a nut in excess of $30,000 a week. If Hope and/or Crosby return to the AM kilocycles next season, it’s a foregone conclusion that it’ll be at a considerably reduced price, with trimmed productional accoutrements.

(Variety, March 26, 1952)

March 27, Thursday. Cashes a check for $500. He annotates it as "Exp. 2 S.F. Broadcasts".

March 28, Friday. Tapes a Chesterfield show in San Francisco with the Bell Sisters and Gary Crosby.

April 1, Tuesday. Writes a check for $107 payable to Wallace Robinson, which he annotates "Paint - Repairs Pebble Beach".

April (undated). Signs to make the film Little Boy Lost.

April 2, Wednesday. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for Chesterfield is broadcast and the guests are the Bell Sisters and Gary Crosby.

 

Four months after Dad blew up at me he came back up north to transcribe his radio show in San Francisco and brought me on as a guest. When I read through the script the day before the broadcast I was appalled. It made me uncomfortable enough to see the jokes that cast me as some kind of teenage heartthrob. I’d cut two more duets with him by now -“Moonlight Bay” and “Maggie Blues”- and they’d done all right, but I sure as hell wasn’t a heartthrob to any teenagers I knew. It was Dad’s fans who were buying the records, and if I did have a few of my own, they certainly weren’t enough to justify the heavy hype. The main thing that got me, though, was the fact that the script made my humiliation at Stanford public. “Oh, Christ,” I groaned when I saw the dialogue, “now he’s gonna be broadcasting over national radio that I’m damn near flunking out of college so everyone in the country can hear about it.” But I did what he wanted and read my lines as written.

(Gary Crosby, writing in Going My Own Way, page 167)

 

April 5, Saturday. (Starting at 2:00 p.m.) Bing, who has been staying at the Rogers ranch in Palm Springs, puts on a two-hour benefit show at the Polo Grounds in Palm Springs with Bob Hope, Kay Starr and the Bell Sisters as part of the annual Desert Circus celebrations. Some of the proceedings are used as a Chesterfield Show that is broadcast on April 9 but the Bell Sisters’ segment is not used.

April 6, Sunday. Gives an informal dinner at the Thunderbird Country Club. Lindsay Crosby accompanies him.

April 8, Tuesday. A federal judge in San Francisco orders Bing’s appearance as a witness in the Henry Von Morpurgo trial. Bing was supposed to have appeared that day and an order for his arrest is prepared if he does not appear on April 10.

April 9, Wednesday. Back in Hollywood, Bing records a Chesterfield show with Helen O’Connell and the Bell Sisters, which airs on April 16. Later, Bing cashes a check for $300 and he annotates it as "Exp Von Morpurgo trial." Leo Lynn signs it on the reverse. Bing and Larry Crosby then depart for San Francisco by train. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for Chesterfield is broadcast and the guests are Kay Starr and Bob Hope.

April 10, Thursday. Arriving at the Federal Court in the post office building at Seventh and Mission at 10:00 a.m., Bing testifies for about an hour as a government witness at the mail fraud trial in San Francisco of Henry Von Morpurgo who is charged with diverting $93,000 from the Sister Kenny Foundation for his own use. Bing had acted as fund-raising chairman for the Sister Kenny charity in 1945 and 1946 and his name has been used without his authority in a number of telegrams designed to raise funds in Northern California. It emerges that while Bing had performed entertainment activities to raise money for the charity, all lower echelon administration matters had been handled by Larry Crosby. Von Morpurgo is found guilty. Bing omits to collect his court expenses of $74.80.

April 14, Monday. Bing and Dixie sign a promissory note for $655,000 to Citizens National Trust and Savings Bank.

April 16, Wednesday. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for Chesterfield is broadcast and the guests are the Bell Sisters and Helen O’Connell.

April 20, Sunday. (4:00-4:45 p.m.) Bing records a Chesterfield show in CBS Playhouse No. 2 at 6126 Hollywood Boulevard, Hollywood with Kay Starr and the Bell Sisters. The show airs on April 23.

April 21–July. Films Road to Bali with Bob Hope and Dorothy Lamour. The director is Hal Walker with Joseph J. Lilley as musical director.

 

There are other pleasant things about owning part of a picture. In The Road to Bali there was a beach scene for which tons of beautiful white sand had been trucked in from Pebble Beach. I had just put in a one-hole golf course at my house on Moorpark Street in North Hollywood. I had four sand traps standing empty, with nothing in them in which my friends could leave their hoof prints. When I saw that sand a light switched on in my head.

“We own two-thirds of this sand, don’t we?” I asked.

“Sure,” Bing said. “Why?”

“Well,” I replied, “I’d like some of it for my course at home.”

When he said, “Why not?” I called the prop man and said, “Take ten truck-loads of this sand out to my house when we’re done with it.”

“No dice,” he said. “This is Paramount’s sand.”

Bing and I had another talk with the boys in the front office. As a result, part of The Road to Bali is in my back yard.

(Bob Hope, This Is On Me, page 124)

 

April 22, Tuesday. A pre-recording session for the Road to Bali songs.

April 23, Wednesday. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for Chesterfield is broadcast and Bing’s guests are the Bell Sisters and Kay Starr.

April 24, Thursday. Bing overdubs “Till the End of the World” and “Just a Little Lovin’” on to tracks previously prepared by Grady Martin and his Slew Foot Five in Nashville. “Till the End of the World” charts for six weeks and peaks at No. 16.

 

Just a Little Lovin’

Decca 28265—Crosby hands the ballad a neat reading replete with whistling variations mid-disk. Backing by the Western band is dandy.

Till the End of the World

The Groaner is in fine voice as he reads the bouncing ditty with appealing spirit. Support by the Martin combo is bouncy. Crosby fans will like.

(Billboard, June 28, 1952)

 

Though Bing by himself (04970) is still Bing, albeit accompanied by the most horrible alto saxophone this side of the average village-hall band of thirty years ago, Bing’s whistle in “Just a Little Lovin’” redeems the side, and the melody of “Till the End of the World” is very attractive. But oh! that accompaniment!

(The Gramophone, September 1952)

 

April 30, Wednesday. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for Chesterfield is broadcast. The guest is Donald O’Connor.

May 1, Thursday. Bob Hope and Bing are photographed on the set of Road to Bali as Bob lights the "Beacon of Hope" to launch the United Cerebral Palsy campaign.

May 2, Friday. Dixie gives a surprise birthday party for Bing at their home with 175 guests and he is visibly moved on his arrival home from the studio that evening.

 

When I left for the studio that morning, all was as usual. Linny was getting ready for school, Dixie was at breakfast, the rest of the household bustling about their usual tasks.

When I got home at seven that evening, the Crosby manse had been transformed into a veritable tropical garden. A great marquee stretched from the back patio to the far end of the lawn. There were tables under the marquee, each bearing candles in a red and white tropical floral centerpiece. Palm trees had been temporarily planted around the patio, which had been made into a huge dance floor. At the far end of the garden was a bandstand with Les Brown and full orchestra aboard, playing “Happy Birthday to You.”

As I stepped into the foyer, this was the sight that greeted me, along with about one hundred seventy-five guests, who had come to wish me well. As Dixie came up to me and put her arms around me, I am not ashamed to admit that my eyes were swimming.

(Call Me Lucky, page 326)

 

May 7, Wednesday. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for Chesterfield is broadcast. The guest is Marlene Dietrich.

May 8, Thursday. Records more songs from the film Just for You in Hollywood with an orchestra directed by Nathan Van Cleave. Ben Lessy joins him on “On the 10:10 from Ten-Ten-Tennessee” while Jane Wyman duets “Zing a Little Zong.” “Zing” reaches the No. 18 spot in the Best-sellers list and remains in the charts for six weeks. Leo Robin wrote an opening verse which was not used in the film or the commercial recording but it does help to set the scene and explain the use of the last letter of the alphabet.

Let’s imagine we’re in Holland and we’re underneath the moon,

Let’s walk a little, talk a little, kiss a little,

Cling a little, sigh a little, sing a little tune…

Zing a Little Zong

Bing Crosby and Jane Wyman team up for a sock waxing of this cute novelty ditty from their flick “Just for You”. Bing sounds more relaxed than he has in a long time and the thrush carries her part in fine fashion. The Jud Conlon Rhythmaires help out spiritedly. Side should get a lot of plays and spins due to impact of movie.

(Billboard, July 19, 1952)

Bing Crosby-Jane Wyman: “Zing A Little Zong’’-”The Maiden of Guadalupe” (Decca). Bing Crosby and Jane Wyman, on “Zong,” one of the brightest novelty items to hit the market in some time, should make this side a click commercial bet this summer. Tune, from the forthcoming Paramount pic, “Just For You,” has a light rhythmic beat and a cute lyric. Both Miss Wyman and Crosby deliver for top impact. Miss Wyman solos the reverse, a mild novelty attempt, but even her okay warbling effort never brings it to life.

(Variety, July 9, 1952)

 

May 11, Sunday. Tapes a Chesterfield show with Teresa Brewer and David Niven. This is broadcast on May 14.

May 14, Wednesday. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for Chesterfield is broadcast by CBS. The show has been taped and the guests are David Niven and Teresa Brewer.

May 16, Friday. (11:30 a.m. to 1:30 p.m.) Records “The Moon Came up with a Great Idea Last Night” and “Watermelon Weather” with Peggy Lee and Vic Schoen and his Orchestra in Hollywood. “Watermelon Weather” briefly charts in the No. 28 position.

 

Bing Crosby-Peggy Lee: “Watermelon Weather’ -“The Moon Came Up With A Great Idea Last Night (Decca).

“Watermelon” gets another appealing etching by this Decca tandem of artists. Peggy Lee, in her first duet since switching from Capitol, is in top voice with Crosby in usual good form. Reverse has a neat idea and gets a good ride via this cut. Vic Schoen orch backing up.

 (Variety, June 4, 1952)

BING CROSBY-PEGGY LEE WATERMELON WEATHER DECCA 28238— Bing Crosby and Peggy Lee team up on this light, summery ballad and turn in a smooth, quiet reading making it a listenable item. If the Perry Como-Eddie Fisher waxing goes anywhere this one will share in the loot, altho the Crosby-Lee names will create action on their own among the deejays.

THE MOON CAME UP WITH A GREAT IDEA LAST NIGHT Another frothy, novelty tune receives a slick, quiet warble from the pair. Not exciting, but pleasant. Deejays should use.

(Billboard, June 14, 1952)

 

“Watermelon Weather,” taped with Peggy Lee, weighs in as Crosby’s most remarkable duet of the late Decca period. Crosby and Lee had sung together dozens of times on the radio but, thanks to competitive label affiliations, had not gotten the chance to do so commercially until 1952. Laid back as an old hound dog, these countrified cadenzas could be described as “Gone Fishin’” spelled sideways. Crosby and Lee sing it so vividly you can practically taste the watermelon juice as it drips.

(Will Friedwald, A Biographical Guide to the Great Jazz and Pop Singers, page 127)

In addition to the masters that later were collected into the Lover album in 1952 Lee recorded a couple of duets with her Decca colleague Bing Crosby. These included her third hit for the label, “Watermelon Weather.” A cute, slowly swinging tune, the song allowed an easygoing pairing of two of the finest voices in America. Matching adorable, almost-rhyming lyrics (“meander,” “veranda,” and “hand her”) in an every-other-line passing back-and-forth manner marked this nostalgic duet that resonated with the postwar fascination for music that soothed and comforted the heart. This heartwarming duet peaked at number twenty-eight on the popular music charts during the summer of 1952. In order to promote this single, Lee sang it on the radio as a guest in Crosby’s Chesterfield Presents the Bing Crosby Show, which aired on June 18.

For the next week’s episode, the pair tantalized listeners with the other duet recorded at the same Decca session, “The Moon Came Up with a Great Idea Last Night,” which featured one singer at a time singing lead, while the other sang a response in a backup manner throughout the first verse. In the second chorus, the two sang together in charming harmony. Whenever these two stars were paired, a worthwhile listening treat resulted from their collaboration. Both of these songs, although obscure today, reward repeated listening.

(Tish Oney, Peggy Lee – A Century of Song, page 73)

May 18, Sunday. Tapes material for three Chesterfield shows with Judy Garland, which are broadcast on May 21, May 28, and June 4.

May 20, Tuesday. Another recording session for the Road to Bali songs at Paramount.  Joseph Lilley directs the orchestra,

May 21, Wednesday. Bob Crosby films his guest spot in Road to Bali at Paramount. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for Chesterfield is broadcast and the guest is Judy Garland.

 

Bob Crosby checked in at Paramount yesterday to make a “surprise” guest appearance with brother Bing, Bob Hope and Dorothy Lamour in “Road To Bali.” He’ll play himself in a gag sequence set in a jungle. It’s first time the brothers have worked together in a pic.

(Variety, May 22, 1952)

The voice of Judy Garland, which rekindled vaudeville in recent months will be heard on radio tonight when she visits the Bing Crosby Show at 8:30 o’clock over WFBM-CBS. This marks Judy’s first radio appearance since her triumphant engagement at New York’s Palace Theater…Judy will also appear on the May 28 and June 4 Crosby shows.

(Georgia Gianokas, The Indianapolis News, 21st May, 1952)

 

May 24, Saturday. Bing writes a check for $1000 payable to the United Cerebral Palsy campaign

May 26, Monday. Records a Chesterfield show with Rosemary Clooney, which airs on June 11. Rosemary receives a fee of $1000.

May 28, Wednesday. (6:30–7:00 p.m. Pacific) Another taped Bing Crosby Show for Chesterfield is broadcast and Bing’s guest is again Judy Garland.

Harmony and witty remarks were mixed when Judy Garland visited the Bing Crosby Show last week in the first of three appearances. The two join forces again tonight at 8:30 o’clock over WFBM-CBS… Taking the prize among the collection of quips last week was: “We’re all proud of you Judy… you’re the gal who’s responsible for bringing back vaudeville, that’s why I asked you here tonight,” said Crosby. Judy asked, “Why?” The reply: “I thought you might bring back radio!”

(The Indianapolis News, 28th May, 1952)

May 29, Friday. Bing and Dorothy Lamour host a birthday party for Bob Hope on the set of Road to Bali.

May 31, Saturday. Bing golfs in the Beat Ben Hogan National Golf Day tourney and has a 74-5-69. Hogan has a 71 and is beaten by 7511 golfers nationwide.  (9:30-10:00 p.m. Pacific) Bing makes a short guest appearance on the NBC radio program Silver Plus Five to pay a tribute to Red Nichols who is celebrating thirty years in show business.

June (undated). Bing meets the Manchester United football team on the Road to Bali set.

June 1, Sunday.  Writes a check for $250 for cash, which is later signed on the back by Leo Lynn. Bing annotates the check "Exp K. M. B. G. Trip".

June 2, Monday. Tapes a Chesterfield show with Peggy Lee that is broadcast on June 18.

June 3, Tuesday. Bing sponsors a dance at the Burlingame Club for Dennis and Phillip Crosby who are about to graduate from Bellarmine. 120 couples are invited including all members of the senior class.

June 4, Wednesday. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for Chesterfield is broadcast by CBS. The show has been taped and the guest is again Judy Garland.

June 7, Saturday. Bing and Dixie see Dennis and Phillip Crosby graduate from Bellarmine College Preparatory, San Jose.

June 11, Wednesday (6:30–7:00 p.m. Pacific). Another taped Bing Crosby Show for Chesterfield is broadcast and the guests are Joe Venuti and Rosemary Clooney.

June 15, Sunday. Bing records a Chesterfield show with Peggy Lee that airs on June 25.

June 17, Tuesday. (6:00-9:00 p.m.) Records “You Don’t Know What Lonesome Is” and “Open Up Your Heart” with a group led by Perry Botkin, the Cass County Boys and the King’s Men in Hollywood. The disc briefly charts, peaking at No. 22.

 

Bing Crosby: “Open Up Your Heart” — “You Don’t Know What Lonesome Is” (Decca). The swift country beat of “Open Up Your Heart” serves as excellent material for a Crosby workover. Tune is grooved for current pop market tastes and Crosby should cash in on the vogue with this waxing. The Crosby contingent as well as the cornball fans should go for it in a big way. Crosby slows up on the reverse, "You Don’t Know What Lonesome Is.” Tune is a neatly constructed cowboy’s lament but its impact, despite Crosby’s warm delivery, probably will be felt west of the Mississippi only.

(Variety, December 17, 1952)

You Don’t Know What Lonesome Is

Decca 28470—This is a rather unusual item, telling of a lonely reflective cowpoke, and his solitary life on the plains. Bing hands it a meaningful reading, and the backing retains the lonesome and melodic mood. Jocks should hand it spins.

Open Up Your Heart

The Groaner turns in a happy vocal on this fast-tempo effort, with the chorus and ork backing him neatly. Side is not extraordinary, but may catch some spins.

(Billboard, December 27, 1952)

 

June 18, Wednesday. Dixie has exploratory abdominal surgery at St. John's Hospital, Santa Monica. The surgeon is Dr. Arnold Stevens. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for Chesterfield is broadcast by CBS. The show has been taped and the guests are Joe Venuti and Peggy Lee.

June 20, Friday. Bing records “To See You Is to Love You” with Axel Stordahl and his Orchestra.

 

Even the presence of MD Axel Stordahl fails to make “To See You”—a Road to Bali song—stimulating listening.

(Laurie Henshaw, Melody Maker, January 3, 1953)

 

June 21, Saturday. Bing writes a check for $250 payable to cash. He annotates it "Cash Expense Travel - Ranch". Leo Lynn signs it on the reverse. (8:00 p.m.–10:30 a.m. on June 22) Bing joins Bob Hope to host a fourteen-hour telethon broadcast jointly on the NBC and CBS television channels to help finance the American Olympic team. This is Bing’s first live television appearance and the show comes from the El Capitan Theatre in Hollywood, with stars such as Frank Sinatra, Dorothy Lamour, Dean Martin, and Jerry Lewis taking part. Over $1M is pledged but ultimately only about $200,000 is collected.

 

It was an occasion for some major TV “firsts,” including foremost the long-awaited debut of Crosby as a video personality. He demonstrated (toupee and all, a la the pix Crosby as distinct from the hat-toting, sports-attired, pipe-smoking Bingle of the radio studio audience) that he’s a natural and “sure bet” in the transition to TV, adding an affirmative addenda to the current wholesale jockeying among the top bankrollers in TV to latch on to his services for the upcoming semester.

(Variety, June 25, 1952)

 

The Bob Hope-Bing Crosby “telethon” to raise funds for the United States Olympic Fund, which probably kept a good part of the nation up for most of Saturday night and Sunday morning, was quite a financial feat. A total of $1,000,020 was contributed or pledged over a fourteen and one-half hour period, which is a formidable achievement now that these marathon performances occur so frequently on TV.

         Theatrically, the chief news of the “telethon” was that it marked the video debut of Bing Crosby. If there ever was any doubt about it, the word is that the groaner can make the medium his own whenever he chooses. Still youthful as ever in appearance and in good voice, Bing’s relaxed style and easy-going ways were made to order for home viewing. The Bing is in.

         Otherwise, however, the long show was something of a disappointment. Perhaps the “telethon” stunt is just becoming too familiar, but much of yesterday’s program was far from exciting and more akin to a succession of personal appearances than a real show. Viewers must have been particularly disappointed that Bing was so sparing with his vocal wares. During the ten hours that this department watched he did only one complete song.

         The “telethon” was staged at El Capitan Theatre in Los Angeles and was carried by both the Columbia Broadcasting System and the National Broadcasting Company television. From the outset Bob and Bing made it clear that for the night they would be intent on the business of raising the needed funds to transport the American team to Helsinki. Accordingly, their participation consisted chiefly of reading figures and the names of contributors, a chore in which they had the help of Dorothy Lamour. This inevitably made for considerable repetition and, while some of their byplay was fun, the show as a whole moved pretty slowly.

         Part of the program’s lack of pace could be attributed to the staging, which was more in the style of radio than television. The guest artists were forced to work in front of a microphone, which is the old-fashioned way of doing things now, and this imposed severe limitation on the variety of acts.   The emphasis was mostly on singing and instrumental solos, with hardly any representation of dancing or sketches.

         In the early morning hours the madcap team of Dean Martin and Jerry Lewis injected some life into the proceedings and the studio audience really came alive. Unfortunately, Jerry somewhat overstayed his welcome, but Bing’s attitude of superiority toward the comedy duo was a mite surprising.

         Another star making his TV debut during the “telethon” was Phil Harris, the veteran of the Jack Benny program. He showed to good advantage in two lively numbers and his vitality came over very effectively on TV. Frank Fontaine and his son, Bobby, also had an amusing comedy act during the morning portion of the show.

         Bob and Bing deserve the country’s thanks for pitching in at the last moment to assure adequate finances for the Olympic team, and it must be hoped that those who made pledges will keep them. With past “telethons” the actual cash finally received was only a small part of the total pledged and many of the “contributions” turned out to be just cheap and thoughtless bids for free publicity. It’s probably just as well that Bob and Bing rescued the Olympic Committee from its financial plight before the “telethon” format is worn out.

(Jack Gould, New York Times, June 23, 1952)

 

Bing Crosby, Bob Hope and scores of other personalities went to bat for the 1952 U.S. Olympic team yesterday and smashed a sizzling home run – worth more than $1,000,000.

The two stars sang and joked their way through a 14 1/2 hour television marathon which was beamed to a nationwide audience estimated at 50,000,000. And their efforts – plus those of hundreds of other persons responsible for the show – raised the Olympic fund well over its goal.

Two television networks – NBC and CBS – carried the show by microwave to 68 stations in 48 cities from coast to coast. The telethon, staged at NBC studios in the El Capitan Theater, began at 8 p.m. Saturday and ended for the tired performers at 10:30 a.m. yesterday after switching to New York for appearances by several noted sports figures.

Crosby, who teamed with Hope to answer hundreds of telephone calls and introduce the more than 250 actors, dancers and singers on the program, was making his television debut on the record-breaking telethon.

He and Hope deserted the cameras for three or four hours early yesterday morning to freshen up but were back on the stage for the finale and exchange comments with the New York end of the show.

Avery Brundage, president of the U.S. Olympic committee, opened the program Saturday night with an announcement that the Olympic fund was still nearly $500,000 short of the money it needs to send the nation’s athletes to Helsinki this summer. Fourteen and a half hours later, just three minutes before the show ended, contributions donated and pledges across the nation as a result of the program were announced as $1,000,020.

Officials said this figure, however, probably will be swelled by many thousands of dollars this week as mail contributions are received ….

Hope and Crosby, obviously weary after their long stint before the cameras, were still joking as they posed with Miss Lamour after the show.

“Well, Bob, ready for a fast 18 holes. Where’ll it be? Lakeside or Riviera?” Crosby cracked.

(Los Angeles Times, June 23, 1952)

 

It took Bing Crosby a long time to get around to making his personal appearance on television but, once there, he settled down for a straight 14½ hours. Last week the aging (48) groaner co-starred with TV Veteran Bob Hope on an all-night show to raise the $500,000 still needed to send the U.S. Olympic team to this summer’s games at Helsinki, Finland. Conceived by Sport Writer Vincent Flaherty of the Los Angeles Examiner, and obviously patterned after the annual Milton Berle TV marathon for the Cancer Fund, the Hope & Crosby show was a mixture of guest stars (Ezio Pinza, Phil Harris, Martin & Lewis), appeals for money, and the reading of interminable lists of contributors.

Crosby, complete with his Hollywood toupee, was as pleasantly relaxed and as glibly polysyllabic on TV as he is on radio and in the movies. He traded familiar insults with Bob Hope; exchanged small talk with Guest Dorothy Lamour; moaned in true TV-Comic fashion whenever the studio audience seemed lukewarm, and crooned such songs as Home on the Range. When the Telethon ended its allnight, two-network (CBS and NBC), stand, Hope, Crosby and friends had collected pledges for more than $1,000,000. Crosby also seems assured of a lively and profitable TV career whenever he wants it. Said Bing: “Well, I guess I’m off on the road to vaudeville—again.”

(Time magazine, June 30, 1952)

 

For all that, he was certainly encouraged in his hunger for affection: He and Dean made a cameo appearance in Road to Bali that winter, popping up in a dream sequence—necking, even!—in order to return a (contractually agreed) favor Hope and Crosby had done them earlier by appearing in a similar cameo in Scared Stiff.

…It’s telling, by the way, that Hope and Crosby never actually appeared on screen with Dean and Jerry. In June 1952 Hope and Crosby hosted a U.S. Olympic team telethon on NBC and had Martin and Lewis as guests; Dean and Jerry came out so full of piss, vinegar, and anarchic energy that they literally drove Hope and Crosby off the stage—Hope in a joking, confident fashion, Crosby quite literally, out of fear, Jerry later learned, that these insane upstarts would strip him of his toupee.

(Shawn Levy, King of Comedy, The Life and Art of Jerry Lewis, page 153)

 

June 23, Monday. Records “Hoot Mon” and “Chicago Style” with Bob Hope and Joe Lilley and his Orchestra in Hollywood.

June 24, Tuesday. A recording session for Bing and Bob Hope as they duet “The Road to Bali” and also join in “The Merry-Go-Run-Around” with Peggy Lee. Both songs are from the film Road to Bali. Sonny Burke and his Orchestra provide the accompaniment. Decca issues a 10" LP containing the songs.

 

The Merry-go-run-around – The Road to Bali

More attractive is “Merry-go-run-around,” a musical triangle of some appeal. This, like the reverse, comes from The Road to Bali. Both songs, however, probably sound more effective in their filmic context. Unfortunately, all four of these Brunswick sides are marred by an excess of surface noise.

(Laurie Henshaw, Melody Maker, January 3, 1953)

 

June 25, Wednesday. Dixie goes home from hospital. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for Chesterfield is broadcast by CBS. The show has been taped and the guest is Peggy Lee. This is the final Chesterfield broadcast as Bing has been dropped by the sponsor. The General Electric Company becomes Bing’s sponsor in the autumn.

 

Bing Crosby and his writer, Bill Morrow, thought they’d have a little fun by playfully baiting a sponsor for next Fall. The humor of it didn’t appeal to the client, however, and three pages of script were ordered deleted.

(Variety, June 26, 1952)

 

June (undated). Filming of Road to Bali is completed. Around this time, Bing and Bob Hope film a scene for the Martin & Lewis film Scared Stiff.

June 26, Thursday. Bing purchases a 12-acre site on the west shore of Hayden Lake for a reported $11,000. It is located at English Point in a secluded area about three miles from his existing home. He plans to build a new house upon it.

June 27, Friday. Bing and his sons have travelled to Elko, Nevada. Dixie remains at home recuperating. Bing attends the opening of the Silver State Stampede in Elko. Later, he gives a party to celebrate Gary Crosby's birthday at the Ranch Inn.

June 28, Saturday. Bing is photographed with Miss America (Colleen Kay Hutchins) at the Silver State Stampede.

June 30, Monday. Writes to Irv Kupcinet of the Chicago Sun Times.

Dear Kup:

Thanks for your complimentary comment on the Telethon. It was a lot of fun and the success of the function of course is directly attributable to the organization work of Mr. Hope’s outfit, plus the wonderful assistance we received from so many generous and talented people.

Something over a million dollars was pledged, but people experienced in these affairs tell me that you can anticipate about a 20% shrink. If this is true, the balance would not be any more than enough to take care of this year’s Olympic team’s necessities. There is of course a possibility that the response by mail will be considerable and if so this would more than make up for the shrink, in which case your suggestion that we donate the surplus to some worthy charity is a good one. I believe it would create a good feeling among the American people for the Olympic committee and the sponsors of the Olympic Games. I am going to relay your suggestion on to Jack Hope, who has been more or less my contact in connection with the arrangements for the Telethon.

I am dictating this letter from up in the vastnesses of Elko, Nevada, where we are currently spending six or seven weeks teaching the boys the value of a buck and the importance of manual labor. I don’t know how successful we are, but I am confident it provides a defining contrast to the fleshpots of Beverly Hills, and maybe some little germ of an idea will be implanted in their subconscious which will serve them in good stead when they grow up and become citizens. It’s healthy for them anyhow. It was 28° here this morning when I got up and here it is almost 1st of July. In fact tomorrow will be 1st of July.

From what I hear over the radio, it’s been a little warm back in Chicago.  I hope you get some relief before the Convention. I should like to be there because from all indications the Republican caucus is going to be an exciting affair, but this is more important right now to me.  

Will be looking forward to seeing you possibly in the fall. Say hello to Frankie Harmon and Society Kid Hogan if you see them.

As ever, your friend, Bing

July 9, Wednesday. General Electric close a deal with CBS to sponsor Bing for radio the upcoming season. The deal calls for 39 weeks of AM plus options on whatever TV Crosby is willing to perform. (Variety, July 11, 1952). Other prospective sponsors were U. S. Rubber and Coca-Cola.

Deal for Coca-Cola to sponsor Bing Crosby on radio and TV next season for CBS has fallen through at the last minute, and General Electric has moved into the picture as a prospective bankroller for the Groaner. While all parties concerned are keeping tight wraps around the maneuverings, it’s understood that underneath the collapse of the Coke deal is a plan Crosby has to enter the ice-cream manufacturing business with his four sons. What GE has to do with that plan is still unclear, but it would mean that Crosby could benefit via a capital gains tax setup on his radio-TV earnings, whereas his deal with Coke would have given him only a straight tax setup.

(Variety, July 9, 1952)

July 12, Saturday. Margaret Crosby (nee Mattes, Ted’s second wife following his divorce) gives birth to a son, Howard Mattes, at Deaconess Hospital in Spokane.

July (undated). Helen Delores Crosby (Ted’s daughter, also known as ‘Dixie’) enters Holy Names as Sister M. Catherine Joan.

July 21, Monday. Dixie undergoes another abdominal operation at St. John's, Santa Monica. Bing has flown down from Elko to be with her. This is thought to be the first time he has flown since WW2.

      July 28, Monday. Bing writes checks for $91 each to Julia Taylor and to Dorothy M. Smith and annotates them "Mrs. Crosby's nurse".
     August 4, Monday. Dixie comes home from hospital. She soon tells Bing to take the boys to Hayden Lake.
     August 8, Friday. Bing has returned to Elko and he and his sons leave to drive to Hayden Lake, staying at Winnemucca, Nevada overnight.
     August 9, Saturday. Bing arrives at Hayden Lake with Phillip, Dennis and Lindsay. Pete Martin visits Bing during his stay at Hayden Lake and work commences on Bing’s life story, which is to be published in the Saturday Evening Post. Bing ultimately receives $75,000 for the autobiography, Call Me Lucky. His words about television are apposite:

 

I need no crystal ball to tell me that television looms big in my future, as it does in the future of any entertainer. The principal reason I haven’t had a go at it is that radio, recordings, picture-making and the other businesses in which I’m involved take up so much of my time and mean so many trips away from home that the time to do it right just isn’t available. Then, too, there are a lot of things I like to do aside from business, like golfing, and fishing, and hunting, and if I did TV, when would I so indulge myself?

TV is here to stay, and it will be here when I get ready to go into it. There’s a question in my mind as to what TV format would be best for me. I’m investigating the possibility of a filmed half-hour show, employing motion-picture techniques the way a big studio films a short subject. But the expense would be tremendous. It might cost so much to make that it wouldn’t be practical. I’m not sure I could find a sponsor who could get up the large bundle of coin such a show would cost. But given the right format, television doesn’t frighten me. I should be able to get by, doing what I’ve done in pictures, in camp shows, and in vaudeville—entertain.

I do think this: anybody who goes into TV should be sparing in how much work he does. No entertainer who’s in everyone’s home once a week can survive very long. His welcome can’t be stretched that far. If a new motion picture of mine were released each week for fifty-two weeks—or even for thirty-nine weeks—I soon wouldn’t have many friends coming to the theaters to see me. And they’d drop the flap on me at home, too. They’d weary of my mannerisms, my voice, my face.

Three years ago the price for my complete radio package was twenty-seven thousand five hundred dollars a broadcast. This included my salary of seven thousand five hundred dollars a week. For my 1951-52 (sic) radio broadcasting season I made a package deal with General Electric at sixteen thousand dollars a week. This same contract stipulates that so long as I’m doing a radio show for G.E. I will not do a TV show of my own - except for General Electric. I have no agreement on price with G.E. but there are indications that a big show on television would be worth up to fifty thousand per week.

In view of this, it may be cause for wonderment on the part of some that I don’t succumb to the lure. Naturally, I am toying with the idea—who wouldn’t at such prices—but I’m content to take my time. After all, I’m doing reasonably well now, and I don’t have to work at all if I don’t want to. The reason I don’t quit is that I’ve stayed in the entertainment business so long I’ve become a squirrel on a treadmill. I can see no end to my road, so I can’t jump off.

(Bing Crosby, writing in Call Me Lucky, pages 328-329)

 

Bing Crosby is the luckiest thing that ever happened to me. My writing life has been divided into two periods: Before Crosby and After Crosby. I was bucketing along, writing pretty much anything anybody suggested, from Jefferson’s home in Monticello to Leary’s secondhand bookstore in Philadelphia, when Bing’s life meshed with mine.

It was not Bing’s idea. My editor, Ben Hibbs, announced one day at a meeting of the Post editorial staff that he was low on multi part nonfiction series and would we please all go back to our cells, put on our thinking caps and see what we could come up with. I went back to my desk and sat there asking myself, who’s the best liked and the best known personality in the entertainment field we haven’t already done?

It wasn’t very skull-stretching. The answer popped to the top of my mind like a cork: Bing Crosby. The only problem was to get Bing to hold still for it. Bob Fuoss, the managing editor, talked to him on the phone. Price was no problem, although the amount we suggested seemed a sizable one to me.

The sum agreed upon was $75,000. In Bing’s income bracket that meant he netted about $7,500—which he later blew on a Mercedes-Benz in Germany. Within a week after he brought the Mercedes home to California, he collided with a carload of Mexicans coming home from a wedding. It was the end of the Mercedes.

But back to the conversation Fuoss had with Bing.

Bing objected that millions of words had been written about him, that there was nothing left to say. Fuoss countered with two notions (and I couldn’t have agreed with him more): First, a personality’s story hasn’t been told unless he’s told it himself. Second, it hasn’t been told unless it has appeared in the Saturday Evening Post.

These ideas gave Bing cause for thought. Finally he agreed to give it a whirl.

Not long afterward I found myself in the golf club at Hayden Lake, Idaho. Bing was spending the summer there. Bill Morrow, Bing’s radio and TV writer, was talking to me when I gradually became aware that a pair of speculative blue eyes had been studying me from across the room. Those eyes were trying to figure out whether I had an angle to shoot, an ax to grind, whether I was a right guy or a wrong guy. Finally they made up their mind.

Bing walked over, sat down and talked to me.

We made a date to go to work the following afternoon. We worked every day for two hours from then on—even in the stateroom on the Liberte when Bing was headed for England—until we were finished.

There is this about Bing. Once he makes up his mind you’re a right guy it’s hard to change his point of view. He’s been a friend of mine ever since.

(Pete Martin, writing in Pete Martin Calls On)

 

August 10, Sunday. Press reports state that Dixie is feeling much better and she has "shooed Bing and the boys back to their Hayden Lake vacationing."

August 12, Tuesday. Golfs at Hayden Lake and then plays host to 60 boys from Grosse Point, Michigan High School who are on a western tour.

August 13, Wednesday. (7:00–7:30 p.m.) Bing is the host for “Action Was Limited,” a Family Theater drama broadcast over the Mutual network. Kathryn Grandstaff, the runner-up in the "Miss Texas" beauty contest, has a screen test at Paramount Pictures and is signed on a 7-year contract. In 1954, she changes to her name to Kathryn Grant and marries Bing in 1957.

August (undated). Dixie, who is still recuperating from her operation, flies to Hayden Lake, Idaho (near Spokane), in a specially chartered plane.

 

When she flew up to Hayden Lake in a chartered plane in the middle of August, she hadn’t seemed any worse than usual. She was terribly thin - you could see the bones sticking through her hands and shoulders, and the skin around her face was drawn tight - but she’d looked like that for a while now. I was used to her being a semi-invalid. Even before the operation she hardly ever got out of her bathrobe or left the house, and her routine now was just about the same. As always, she moved very slowly, with her back hunched over, yet with a certain grace. About the only difference was that she didn’t seem to be drinking, and even that wasn’t all that extraordinary. Over the years I’d seen her stay off the booze for weeks and even months at a time, only to climb right back in the jug again once the pressure got to be more than she could handle.

(Gary Crosby, writing in Going My Own Way, page 170)

 

August 16, Saturday. Bing writes a check for $91 payable to Dorothy Smith. He annotates it as "Nurse Mrs. Crosby".

August 17, Sunday. Writes a check for $98 payable to M. McKenzie, which he annotates "Nurse Mrs Crosby".

August 23, Saturday. Bing withdraws his entry for the Canadian Amateur Golf Championship, which is due to commence on August 27 at the Capilano Golf Club, Vancouver, because of other commitments. No doubt, this was because of Dixie’s health problems.

August 24, Sunday. Bing again writes a check for $91 payable to Dorothy Smith. This is marked as "Nurse Mrs Crosby".

August 27, Wednesday. Golfs with Senator Herman Welker, Virgil McGee and J. R. Simplot at Hayden Lake Country Club. (7:35-8:00p.m.) Bing contributes to a radio program "Portrait of a City" about Spokane that is broadcast by KFI.

August 28, Thursday. Bing, with a round of 70, again qualifies for the Inland Empire Golf Tournament at Hayden Lake Golf Club.

August 30, Saturday. Plays in the first round of the Inland Empire Golf Tournament at Hayden Lake Golf Club and beats Bill Moore 7 & 6. He writes a check for $150 payable to Robert Thompson, which he annotates "Help Hayden Lake".

August 31, Sunday. Bing loses one down to Buddy Moe in the second round of the Inland Empire Golf Tournament. Bing is scheduled to go to Paris to film Little Boy Lost but delays his departure until September 12 because of Dixie’s illness.

September 1, Monday. Bing is seen in the Spokane Chronicle receiving the first Red Feather following his opening pledge for the 1953 United Red Feather campaign. Bing drives his sons back to Hollywood from Hayden Lake. Press reports indicate that Dixie is up and around again after her operation and Bing feels able to fulfil his filming commitment in France.

September 3, Wednesday. Bing records material for his first two General Electric shows with Jane Wyman, Helen O’Connell, and the Bell Sisters, which air on CBS on October 9 and 16.

 

Bob Phillips also provided a fascinating look at the behind-the-scenes activities concerning Bing’s radio programs from the late 1940s to the mid-1960s. After leaving the Kraft Music Hall in 1946, Bing steadily transitioned from live radio broadcasts, to live performances that were simultaneously recorded for subsequent editing and later transmission, and eventually to performances that were completely pre-recorded under studio conditions and were significantly edited before being aired. In fact, according to Bob Phillips, many of Bing’s Chesterfield and General Electric programs that were heard by the radio audience never actually took place at all. Instead, marathon recording sessions at times lasting from early morning to late at night would separately create Bing’s musical selections for many programs, the separate songs and dialog with Bing’s guests, and even the various audience reactions (laughter, applause, etc.). Then a team of engineers, including at one time Bob Phillips, under the direction of Murdo MacKenzie would work to “create” the actual broadcasts through a complicated editing process. Bob said that it often took a full week of work by the editors to perfect a single 30-minute radio program. In response to a question, Bob replied that Bing did not personally participate in the editing process. Bing left all of that to Murdo MacKenzie and his team while he was off and running to other activities.

Another aspect of this process was that the musical pre-recordings for Bing’s radio shows, first with John Scott Trotter and later with Buddy Cole, were made under the same studio conditions as his commercial recording sessions for Decca Records. Thus these radio recordings were of the same high quality as those released from Bing’s regular studio sessions.

(F. B. Wiggins, reporting on a lecture by Bob Phillips, in BING magazine, winter 2011)

 

Bob (Phillips) said that Jack Mullin was a fantastic editor. He was a stickler for quality and top class equipment was used throughout the process. Bob would be used as an additional tape editor on occasion and this was during 1952/53. Every 6 weeks or so, depending on Bing’s schedule, a recording session would be held which might run from 6 a.m. until 11 p.m. when Bing and the guest stars would record songs and dialogue. An audience would come in for a section of the session although the show done with the audience would never be heard on the air. Mullin had put together 42 different audience reactions, which could be added later, and sometimes there would be big arguments about what reaction was appropriate. Murdo Mackenzie was the show’s producer and he would sit on a stool during the editing process and use a French taxi cab’s horn he had brought back from Paris to stop the arguing!

Sometimes it might be necessary to update dialogue that had already been recorded and Bing would tape this wherever he was, be it at Elko or elsewhere. This usually was merged with the dialogue of the guest star or announcer. Often different studios with varying acoustics might be used. The editors could create medleys by taking parts of different songs. These might be in different keys and the keys would have to be matched by speeding the tape up or down. It took a long time to edit the shows to the required time. Murdo Mackenzie would supervise the editing and there would be bits of tapes hung up on a string in the studio. Mackenzie would have to use a spreadsheet setting out the different parts of show in order to pull it all together. A big library of music was held with artists and songs all appropriately catalogued.

I asked about the shows which purported to come from Paris in 1953 and Bob confirmed that they were taped in California before Bing’s departure although it was possible that some updated dialogue might have been flown back from Europe later. The editing for the radio shows was done in LA weekly; however, there were shows aired that were done in Paris at the end of the trip. Bob had wanted to go with Bing to Paris but he was told firmly by Mullin that he had been recruited to work on the video recorder and he had to remain in Los Angeles with Mullin.

Bob Phillips told me that Bing was “technical” and took a real interest in the editing and all the other processes. Bob said of Bing, “He was great, a very nice person. He was very easy to work with and he had a good sense of humour.” Bob first met him at the BCE Christmas party in 1951 when everyone had to take a present and Bob drew out Bing’s. Bob was about the same age as some of Bing’s sons; so he remembered Bob for being like his sons.

A list was maintained of people to whom Bing wanted to be helpful and this included Judy Garland, Rosemary Clooney, Louis Armstrong and Les Paul. One Saturday morning a phone call was received from Bing saying that Judy Garland wanted to record her contribution to the show that afternoon at a downtown theatre. Everything was immediately dropped to fulfil the request. I marvelled at this and wondered how John Scott Trotter could have coped with the short notice. JST was under contract to BCE and while he had some key musicians, he would call in session players to fill out the orchestra. Bob said that it was a bittersweet moment when the half-hour show ended.

(Article by Malcolm Macfarlane in BING magazine, winter 2011)

 

September 5, Friday. (8:30 a.m.–12:10 p.m.) In Hollywood, Bing records with the Andrews Sisters for the last time singing “Cool Water” and “South Rampart Street Parade.” Matty Matlock and his Orchestra provide support.

 

Bing Crosby / Andrews Sisters: “South Rampart Street Parade” Bing and the Andrews Sisters team up on a snappy slice of a Dixieland number which should get juke spins. It’s a mid-hit possibility.

(Variety, October 15, 1952)

 

SOUTH RAMPART STREET PARADE . . . Bing Crosby-Andrews Sisters .. Decca 28419 The Groaner and the Andrews Sisters come thru with a sock rendition of the Dixieland oldie, over a driving backing by the Matty Matlock crew. TV star, Steve Allen, penned the lyrics for the fine side.

(Billboard, October 25, 1952)

 

South Rampart Street Parade

Decca 28419—The dixieland oldie, with a fresh set of lyrics, is socked thru powerfully by Crosby and the fem combo. They generate plenty of aural excitement and the platter could well become a winner. Deejays, especially, will appreciate.

Cool Water

The fine evergreen is given a persuasive performance by Bing and the Andrews Sisters. Tune and beat are haunting and the side could easily step out.

(Billboard, October 25, 1952)

 

The more I listen to modern popular vocalists, the more I am convinced that they are moulded to a set pattern. This, of course, does not apply to Bing Crosby, whose “Cool Water” (Bruns. 05019) is right up his street, and even the Andrews Sisters do not obtrude, though I could have enjoyed “South Rampart Street Parade” verso much more without them.

(The Gramophone, March 1953)

 

In October, Decca released the last recording, Bing Crosby and the Andrews Sisters would make together, “South Rampart Street Parade” and “Cool Water”. Variety gave it a lukewarm review. Predictably, Metronome did not like the sisters’ part of the record and offered one of its most vitriolic of the trio:

I’m sorry but I just can’t take those sisters. I know they hate me for it, but there’s something about concentrated, unshaded shouting that will always strike me as being completely unmusical. It’s a shame that they had to interfere here, because musically speaking, Bing and Matty Malneck’s (sic) jumping Dixieland band had a fine side going as they strode down the street together. But those kibitzers from the side lines! And there was a nice warm mood going on Cool until the gals started polluting that water. That’s not music, that’s all.

I disagree with Metronome and think “South Rampart Street Parade” is one of the enduring songs of the Andrews-Crosby collaborations. The sisters’ seasoned brassy voices become loud instruments within the equally loud, brassy Matty Matlock Dixieland jazz band. Perhaps more than any other song they recorded, their performance illustrates their early claim that they wanted their voices to sound like three trumpets. Indeed their raucous rendition backed by the Matlock band almost blasts Crosby out of the record. Steve Allen, who wrote the lyrics of the song, said the Crosby-Andrews recording was “the biggest thrill” of his songwriting career.  “South Rampart Street Parade” never made the charts, but it is still good Dixieland listening.

(H. Arlo Nimmo, The Andrews Sisters: A Biography and Career Record, page 296)

 

September 6, Saturday. Bing tapes material for a General Electric show with Connee Boswell. They sing, “That’s a Plenty” together. The show is eventually broadcast on November 27. Bing also records a GE show with James Stewart for transmission on October 23.

September 11, Thursday. Bing arrives at the Grand Central terminal in New York with a cinder-inflamed eye and he receives medical treatment for this.

September 12, Friday. Bing is on the liner “Liberte” which sails for Europe at noon from the dock at West 48th Street.

September 13, Saturday. Dennis and Phillip Crosby enter Washington State College at Pullman.

September 18, Thursday. The “Liberte” arrives at Plymouth, England in the early hours. Bing has been working on his life story with Pete Martin during the voyage. Goes straight to Temple Golf Club, Maidenhead, where he plays with James Perkins, managing director of Paramount Pictures in Great Britain. Bing has a 76, four over par including two birdies.  He goes on to his hotel in London where he is interviewed by the press. Meanwhile Bill Morrow flies out to meet Bing in Paris with a story treatment for a proposed film Road to the Moon.

September 19, Friday. Golfs with Bob Hope, Charles Graves, and Bob Foster on the Red course at the Berkshire Golf Club as practice for a charity match on September 21. Bing has a 74.

September 20, Saturday. (7:15–7:45 p.m.) Appears on the In Town Tonight BBC Home Service radio program with Bob Hope. They sing a parody of “Road to Morocco” promoting their golf match due the following day. Bing asks that his nominal fee of £6 be given to charity and it is passed to the National Playing Fields Association.

 

Once Bing Crosby walked into the IN TOWN TONIGHT studio alone and unannounced. I was rehearsing, and it was some time before I spotted the blue-blazered, balding man quietly smoking a pipe in the corner by the piano. Usually when a star walks into the studio surrounded by the theatre’s Press representative, his own personal publicity officer, agent, manager, secretary, plus an assorted corps of hangers-on, the effect is that of a charabanc of trippers descending on a peaceful country pub. As intended, the entrance causes a stir.

      I stopped what I was doing and went over to Bing. We had not prepared a script, because I knew his ability as a comedian quite equalled his reputation as a singer. In an American studio I saw a leading comedian refuse to do an ad-lib interview with him, because he was quite aware that in an easy, effortless throwaway manner, Bing would chop the heads off his best gags with faultless precision-timing.

      “What would you like to do for us?” I asked.

      “Peter Boy,” he replied, putting a hand on my shoulder, “this is your show, you are the producer. You tell me what to do, and I’ll do it.”

      It takes a great artist to show such courtesy, and great artistes are those who pay the same meticulous attention to a three-minute broadcast as to an hour’s performance at the top of the bill. I knew that Bing would have the whole routine worked out in his mind, so contented myself with explaining that as I had asked his father to join in the broadcast, would he please try and be polite to the old gentleman.

      I was fixed with a withering stare. “Young man, you are not referring to my father, but my grandfather.” Bing nodded towards the studio door where Bob Hope was entering in the normal manner, scarcely visible among his escorts. “You see, he can’t even be let out alone.”

      It was the day before their famous charity golf match with Donald Peers and Ted Ray. While the rest of the program proceeded, Bing and Bob sat in the corner scribbling some words on the back of old envelopes. They finished just in time to come to the microphone for their interview, and at first I wondered if the envelopes had anything to do with the broadcast. Then they began to sing the tune “We’re off on the Road to Morocco” but the words, read with much pantomiming from the scraps of paper, were a skit about the golf match, which they put over with all the verve of a couple of youngsters fooling about at a piano.

(Peter Duncan, In Show Business Tonight)

 

September 21, Sunday. Golfs at Temple Golf Club, Maidenhead, with Bob Hope, Ted Ray, and Donald Peers to raise money for the National Playing Fields Association. Huge crowds mean that the match has to be cut short. Newsreel cameras capture the proceedings and Pathé include footage in their September 25 edition in the UK.

 

In September of 1952 we played a match against two English opponents, Donald Peers and Ted Ray, at the Temple Golf Club in Maidenhead, England. The contest raised seven thousand and six hundred pounds for the English Playing Fields Fund.

After three or four holes the match turned into quite a block party. Maybe Hope reminded them of the loins of pork or the roasts of beef they don’t see so much of these days, for when ten thousand or twelve thousand spectators planted themselves in front of us and we asked them, “How about giving us a little elbow-room; we’d like to shoot down your way,” they yelled, “We don’t want you to shoot! We want to look at you!”

As we ducked under and around the crush, and when we could get our breath and some attention, Hope and I essayed an occasional jocosity, but the most amusing remark of the day was made by one of our opponents, Ted Ray. Ray is an English comedian with a ready wit. At the sixth hole the gallery left us an alley only fifteen feet wide down which to drive. None of us were very expert and that sea of faces leaning over the ropes, peering down at the tee and watching us didn’t make us feel more accurate.

Ray addressed his ball, waggled his club a few times and looked down the narrow lane of bodies. “Either stand back a little,” he hollered, “or shut your mouths! I’ve had four balls swallowed today.”

A London journalist, Charles Graves, wrote what seemed to me a funny story about our match. He treated it as if we were a party shooting grouse on the moors. “Hope got three,” he wrote. "Crosby got a brace, but one of Crosby’s was winged on the rise, which is a really sporting shot."

We did wing a few people, but, luckily, nobody was hurt. For one thing, we didn’t hit the ball hard enough to injure anyone. Besides, it was a chilly day and almost everybody had on extra garments. You could fire a squirrel gun into the kind of coat called a British warm and never pink the wearer.

I think we got in eight or nine holes over a three-hour stretch, although the players were seldom simultaneously on the same hole. At the conclusion of the confusion it grieves me to record that Peers and Ray were one up, and the annual rout of the British Walker Cup team was partially avenged. My handmaiden and I want them again, though, alone and at Lakeside.

It did give me a warm feeling to know that such a great, good-natured crowd of well-wishers would journey far into the country to cheer and applaud actors from another land. Of course they say an Englishman will do practically anything to get out into the country.

(Call Me Lucky, pages 227-229)

 

Crosby I found to be a kind and very gentle man. He was “three” handicap and as we walked arm in arm down the fairway, I noticed that he had his signature inscribed on all of his clubs. “Don’t tell me you actually manufacture golf clubs, Bing,” I said. “Oh yes,” he replied with a grin, “I’ll do anything for money . . . steal even.”

      What a lovely bloke he turned out to be, and what a fine golfer. Unfortunately he like myself, was getting worried about the encroachment of the spectators. The stewards just couldn’t control them. They were breathing down our necks and you couldn’t take a backswing for a short putt!! As we played the tenth hole where we were “all square” it was decided that we should pack it in. Someone sent for a car and we piled in and drove off to the eighteenth tee. Eleven thousand people hared after us, but we managed to drive off and Peers got a four to decide the match.

(Ted Ray, Golf–My Slice of Life)

 

That night, at around 10:30 p.m., Bing makes an unbilled guest appearance in “Sunday with the Stars,” a Variety Club benefit in aid of Camberwell’s Clubland and the Midwife Teachers’ Training College, at the Stoll Theater, London. He walks on unannounced while Bob Hope is talking to the audience and there is a tremendous spontaneous ovation. Bing ad-libs with Hope for a while and then, although unprepared and unrehearsed, has a short solo spot.

 

When Crosby found himself alone on the stage at the end, his impish grin faded. . . . The crowd gave the nonplussed Bing plenty of advice: “Sing ‘Please,’ ‘White Christmas,’ ‘Blue of the Night.’” The most practical help came from Pat Dodd who, at the stage piano, was a relic from Hope’s act. He started playing. It was the intro to “It Had to Be You,” we hoped he’d picked the right key. . . .

      Bing got through the first set of couplets, then found himself groping for the others. But he merely grinned and explained, in song and rhyme, that he’d forgotten the words. Pat Dodd prompted him with “Pennies from Heaven,” “Thanks,” “Love in Bloom,” and “Don’t Fence Me In.” We heard a snatch of each. The Crosby memory is definitely not in the Pelman class. He did better with “Blue Skies” and “Somebody Loves Me” and I fancy that he enjoyed doing these the most. He certainly didn’t give out much in the others. His last number was “White Christmas.”

(Melody Maker, September 27, 1952)

 

The Coliseum performance was a fully rehearsed show, but Jack [Buchanan] sometimes found himself ad libbing in charity shows where a previous run through was impossible. One such occasion was at the Stoll Theatre on 21 September 1952, when the Variety Club of Great Britain presented Sunday with the Stars. Bob Hope - who was appearing at the Palladium - organised the cast which included Pat Kirkwood, Jerry Desmonde, Donald Peers, Peter Sellers and ‘additional surprise stars’.

         As Bing Crosby was in Britain at the time, there was speculation as to whether he might be one of the guests. When the curtain went up, however, the first surprise of the evening was revealed as Jack strolled on to the stage. Prevented from wearing ‘stage costume’ by Sunday theatre regulations, Jack was in a lounge suit and bow tie as he began his work as compere for the evening. His reception was warm - the usual Buchanan welcome - made all the friendlier by the audience’s knowledge that he had literally popped in from Hollywood between tests and the start of shooting of The Band Wagon.

         Jack introduced the turns with his usual charm but there was a feeling of anticipation which made it hard for the earlier turns - great artists though they were - to distract the audience’s mind from the obvious question - when would Bob Hope appear and would Bing Crosby be with him?

       As the orchestra struck up ‘Thanks for the Memory’ Bob Hope made his expected appearance. He and Jack began to trade the wisecracks and insults which had worked well in their radio and television programmes. But it soon became clear that their ad libbing had an almost frenzied purpose in keeping the show going until Bing could be found. The Old Groaner had agreed to appear but, typically, had been delayed on the golf course.

         As the show went on until, by now, a late hour, the audience appreciated to the full Jack and Bob’s ability to keep them entertained without a script or prior rehearsal long after their loosely planned routine was due to end. Finally, to the strains of ‘Where the Blue of Night meets the Gold of the Day’, Bing appeared. Casually dressed in blazer and flannels, he had not bothered with his toupee and offered his left side to Jack, Bob and the photographers with ‘I’ve got more hair there’.

         It was planned that Bing would simply appear to take a bow at the final curtain. The audience, by now, was in no mood to let the three Kings of comedy, song and dance leave without performing for them. There were hurried consultations; what number, if any, did all three and the orchestra know well enough to tackle ‘cold’? Eventually, Jack announced that ‘Carolina in the Morning’ would now be rendered - perhaps literally - and ‘everyone should feel free to leave!’

         No one showed the slightest interest in doing so and - for the first and last time on any stage - Bing, Bob and Jack went into their song and dance routine. The singing was easy enough but the dance routine depended heavily on Jack with flashes of Bob’s early ‘buck and wing’ training and Bing’s total faking. At the end of the number, the two greatest all round American entertainers showed their appreciation to link man Jack with a kiss from each side which, happily, the photographers were there to catch.

Recalling this occasion at his home in California in 1976, Bing Crosby said:

That night at the Stoll certainly was off the cuff. I never got to see either of the others until I arrived at the theatre. We didn’t even have a few minutes together in the wings. All of a sudden I was on. There were a lot of things Bob and I had been doing in the army camps but it is always very difficult to go on cold. That was where Jack was so clever. Hope and I knew each other’s work pretty well but Jack just fitted in with the wise-cracks and the song and dance as though we had all been working together for years. I was in awe of Jack. He was such a distinguished looking fellow and he had such a variety of talents. It was like Laurence Olivier today. That was what he represented to me. He was very crisp and spruce. I just liked his style. He was my idea of a great English actor.

 Bob Hope, too, has the happiest memories of working with Jack. This - as we have seen - was not confined to charity shows but to radio and television work in Britain and the United States. Still the supreme variety artist himself, early in 1977 Bob Hope summed up his impressions of Jack:

 He had a great and immense talent with a comedy and musical style all his own and he had a great sense of humour. Those spots with Jack and Crosby at the Stoll in 1952 were genuinely ad lib and there were a lot of unprogrammed activities going on, but working with two people like that, I felt pretty secure out on stage.

(Top Hat and Tails - The Story of Jack Buchanan, pages 221/222)

 

…That night we pulled another fifteen thousand pounds into the Playing Fields Fund with a show in a London theater. The theater deal was Hope’s venture, but I did a guest appearance for him, sang a few songs and “hopped the buck” a little. Taken all in all, we thought it a pretty satisfactory day’s work for a worthy cause. Every time I’ve even been in England, which is three, I’ve had a royal time, and the friendliness of the English people, their eagerness to let you know how glad they are to see you, is a very heart-warming thing to me.

(Call Me Lucky, page 229)

 

September 22, Monday. Bing and Bob Hope golf at Sunningdale with a friend. The friend takes them along to the wedding of US Army Lieutenant and Mrs. Thomas Boardman at Sunningdale Church much to the surprise of the bride and groom. Later, Bing then flies to Paris to film Little Boy Lost with Nicole Maurey, Claude Dauphin, and Christian Fourcade. The director is George Seaton with Victor Young handling the music score. Location work is filmed at Montfort-L’Amaury. The Paramount newsreel of October 20 shows Bing selling lottery tickets in Paris to assist with the restoration of the Palace of Versailles.

 

It’s always a wonderful experience to awake in Paris and look out of the window at postal card views in every direction. But Paris, on this occasion, was to be secondary, because we were awaiting a message from Bing’s agent about where he’d be shooting scenes for the movie. Hardly had we had our tea and crumpets when the telephone rang and we were told to meet Bing at the Pont Saint-Michel bridge.

         When we arrived, no one was in sight! Now, we thought, where would one find Bing in the entire city of Paris? Presently a car pulled up near the bridge, and Bing alighted. He waved a greeting, and walked over to us. He wore a grey hat, light brown raincoat and matching brown suit, and he wore the thick screen makeup. Bing, as you may know, is an excellent subject to interview. We didn’t have to ask him questions, because he fired inquiries at us in a steady stream. He asked about movie making in England, what stars are popular, what American films have been drawing good audiences, what the rank and file of the English population thinks about Hollywood, and how his latest film, Just for You, had been doing at the box-office.

         Then Nicole Maurey, the pretty French girl who plays his wife in Little Boy Lost, arrived and the director called to them to start the scene. It took place on the boulevard opposite the bridge, and Bing and Nicole got into the car and drove down the avenue. Suddenly the car stopped and Nicole rushed out, with Bing following her, calling her name. When he reached her, she stopped and they broke into an argument. As they quarrelled, they failed to notice a priest nearby, until he touched Nicole’s arm and shook his finger at her. This ended the spat, and arm in arm Nicole and Bing returned to the car.

         The scene was done five or six times, and then the company broke for lunch. We made short work of eating, and Bing announced, “Next station is the Boulevard Haussman, so come along with me and ride in my car.” On the way over, Bing asked about the reception given The Emperor Waltz, and he sang a few bars from the well-known “Blue Danube.” Since the death of Mrs. Crosby, Bing has been closer than ever to his sons. We asked him if he had a picture of the boys. He said, almost sadly, “Too bad I don’t have them with me today. Yesterday I was carrying a whole batch of the kids’ pictures. It would have been nice to show them to you.”

         Bing doesn’t speak any German, but he has a wonderful command of French. When we mentioned how agreeably surprised we were, he laughed, “You don’t believe everything you read in the papers, do you?”

        The scene at the Boulevard Haussman was a short one, with Bing and the small boy who meets him outside a glove store. Next we went to Montmartre, where Nicole, Bing, Claude Dauphin and a French girl worked in a picture-snapping scene. Bing had several golf balls which he autographed. Presenting them to us, he said, “Here’s a souvenir of the day, and if I shouldn’t see you again, goodbye and auf wiedersehen. Give my regards to everyone in London.”

         But, luckily, we did see him again two days later when Bing was shooting at Montfort-l’Amaury. We drove out to Montfort, a dreamy little spot in the country. We didn’t have to search long for Bing, because there was only one square in the town and a noisy fair was going on. It was near luncheon time, so we sat at a sidewalk cafe, watching the activity while we nibbled sandwiches and coffee. Soon Bing came along and stopped at our table, and a sudden thought struck him. Since we were reporting on his weekend of acting, he said, “Why don’t you do this thing up right and do bit parts as people at the fair? Then, when the movie shows in your neighborhood you can ask the theatre manager to put your name on the marquee as ‘Also Starring Angie Gurlitt.’”

         When Bing finished the final take on the scene he came and paid us, explaining, “Now you can’t sue me for unpaid services.” Since nothing had been said about pay of any kind, it was like found money and we decided we’d simply frame the francs as another memento of the weekend.     

         I’d been told that Bing was a difficult man to interview, simply because it was an impossibility to set a date with him. Our weekend of cooperation from him certainly disproved this. That a star of his stature would have devoted so much time to a visitor, including her in his plans for several days running, even giving her a small spot of acting in his film, was most unusual. I had heard, too, that Bing tended to be a nonconformist, and yet the only proof I saw of this was in the clothes he wore He couldn’t have been more agreeable or patient on the set, doing scenes over and over, and talking with everyone from bit players and crew members to bystanders watching him work.

         Finally, my mental picture of Bing has always included a pipe in his mouth and yet during the weekend, I saw him smoke a pipe only once, and then only for a short time. All of which brings to mind a rephrasing of a quote from Bing: “You shouldn’t believe everything you read, nor should you believe everything you see!

(Angie Gurlitt, writing in an unidentified European magazine)

 

…But it is undoubtedly Bing Crosby who proved to be the co-star who most marked Christian Fourcade and helped shape his life. When I finally managed to establish contact with Christian, who had the kindness to reply to my query and invited me to meet with him in Normandy, where he lives with his wife and son Paul. I was surprised to learn that upon retirement from the screen, he had chosen to move away from Paris and settle in Normandy to raise race horses.

Certainly Bing played a role in his career choice, as Christian very proudly showed me the correspondence he had kept up with Bing until his death. In the letters, Bing regularly inquired about Christian’s stable, indeed sent him a subscription to a horse-raising periodical which he recommended. Then, too, every Christmas without fail there was a gift for Christian that arrived in the mail.

As for the making of Little Boy Lost, Christian has very happy memories of working with Bing. He describes him as a simple and kind man who ended up becoming as much of a father to Christian in real life as he does in the film.

Christian also told me about the several months he spent living in Los Angeles, where much of the film was shot on Paramount’s back lot, where the Montfort-Mere train station had been partially reconstructed. Christian remembers how his mother, who plays a brief role in the film, refused to let him live in a hotel room for fear that he would take on the bad habits of the local American boys whom she had seen on drug store floors reading comic books. She also wanted to ensure he would eat properly and not grow fat on hamburgers, the American dish that had not yet arrived in France.

Even with his mother’s home cooking, Christian ended up putting on a bit of weight, so much so that the film’s make-up specialist had trouble making him look as thin as the sickly 1948 postwar orphan he was supposed to portray. As for the train station, Christian told me that it was in Montfort, in front of the real train station, that Bing received the telegram from his doctor announcing to him his wife’s terminal cancer. It explains why Bing seems to be authentically moved in one of the final scenes of the film, when he awaits the train to Paris, having concluded that Christian was not his child. If Bing looks so pained at being unable to decide whether Jean is in fact his son, it is in large part because of the pain caused upon learning of impending death of his real-life spouse.

Christian also introduced me to another of his co-stars, Binkie, his toy dog - today a bit moth-eaten - who plays a central part in the film. It is Christian’s recognition of Binkie in the closing moments of the film that makes Bing realize that Jean is indeed his true son and that he need not return to Paris and America empty-handed.

Christian also helped me locate another of the movie’s principal actors, Nicole Maurey. I’d spent months unsuccessfully attempting to locate Nicole in Hollywood, where she had spent much of the 1950s not only starring in Little Boy Lost but being directed by the likes of Blake Edwards. She had also spent some time in England, where she had a successful career as a television actress.

After I told Christian about my discouragement over not having been able to locate Nicole, he took out his address book, pointed to her name, and noted that she lived in the same village I did, Marly-le-Roi, a suburb of Paris with a population of 17,000. As it turned out, she lived only a couple of streets away in a house in front of which I’d run regularly during my nightly jogging jaunts.

I later had the chance to meet Nicole, whom I’d already noticed without knowing who she was, in the street and at some of the local stores. Today, almost 50 years since she portrayed Lisa, Nicole is as beautiful and lively as she was in Little Boy Lost, the film where I first spotted her at the age of five. I’ve never forgotten some of those scenes. Most importantly, she proved to be my very first contact with le femme francaise.

Nicole, who continues to play small roles in French made-for- TV movies, revealed something to me that I don’t believe she has ever told anybody else: the role she was originally supposed to play was that of Nelly, the sexy vamp-like niece of the Montfort-Amaury hotel owner, played in the movie by Colette Dereal. When Nicole showed up at Paramount’s Paris offices for casting, however, it was decided she would play the role of Bill Wainwright’s wife, the mother of Jean. To this day, Nicole says she doesn’t really understand why she was given the more important role, and anybody who has seen Nicole in her subsequent films will certainly agree that she would perhaps have been better suited to the role played by Colette Dereal. It is Colette, a professional singer who died in Marseilles in 1988, whose voice you hear when Nicole sings her duet with Bing at the opening of the film.

(Paul R. Michaud, writing in BINGANG magazine, winter 2001-02)

     

September 25, Thursday. In Paris staying at the Hotel Ritz. Later receives a letter stating that Dixie has terminal ovarian cancer although she has not been told.

 

The crunch came, director Seaton revealed, during the shooting of a minor scene: “It was just simply Bing walking from a small-town bus to the railroad station. We were lining up for the shot and someone came out from the hotel with a letter for him. Bing sat and read it, and I said to him, ‘Sorry Bing, we’re ready now—the light’s right.’

      He put the letter in his pocket and the shot was to be merely him getting off the bus carrying a suitcase, having left this child he wasn’t going to adopt because he was convinced it wasn’t his. The walk wasn’t more than thirty yards. But the way he carried that suitcase. He had the whole weight of the world on his shoulders. When he got to the platform I yelled ‘cut’ and looked around to find half the crew were crying.

      It was so beautifully done, I went up to him, put my arms around him and said, ‘Bing, that’s the most magnificent moment of film that I’ve seen in years.’ And he took the letter out of his pocket. It was from his wife’s doctor. He’d just found out that Dixie had cancer.”

(Bing, The Authorized Biography, page 170)

 

October 8, Wednesday. The film Just for You has its New York premiere at the Capitol Theater.

 

Just For You, a Bing Crosby-Jane Wyman musical which Paramount has set for national release in September, should prove a stout factor in bringing back that “lost audience.” For this Technicolor film has a rousing, melodic score and a logical story well acted by a fine cast. With such basic ingredients, the picture will not only satisfy the “under 35” trade but will recapture some of the older public who have temporarily lost the film-going habit.

      …Musical sequences run the gamut from “Zing a Zong,” duetted by Crosby and Miss Wyman on the modest stage of an Air Force base in Alaska, to “I’ll Si-Si Ya in Bahia,” an opulent production number. Particularly effective is “The Live Oak Tree,” a novelty tune warbled by Crosby in an outdoor campfire setting in company with a flock of young teen-age girls.

       With fine material to work with, Crosby socks across one of his best portrayals.

(Variety, August 6, 1952, following New York preview)

 

Bing Crosby’s well-known reputation as an amiable father of boys may have no bearing whatsoever on his new picture, “Just For You,” but it is notable that, in this song-plugged fable, he plays a father who has trouble with his son.

Solemnly, anxiously, benignly, the greying Bingle appears as a widower dad who is torn between sparking Jane Wyman and squaring himself with his 18-year-old lad—who also turns out, as the story develops, to be interested in Jane. And by the time it is ended, the genial papa is not only jake with his son, but he is locked in the arms of Miss Wyman and has got his ‘teen-age daughter into a fancy finishing school.

Whether the line of procedure arranged by the writer of the script of this new Paramount picture at the Capitol would be approved by the real Crosby Pere is open to question, however—and we seriously doubt that it would. For the real Bing, they say, is realistic—and this little story is not.

The son, played by Robert Arthur, is supposed to be 18, but his mental processes and behavior are those of an adolescent boy. He gushes, he pouts, he fumbles feebly and painfully with words and he acts toward the debonair Miss Wyman as though she were his teacher in the sixth grade at school. And Bing, who is usually imperturbable and takes childish matters in his stride, worries and ponders over this one in the most unpaternalistic way. Indeed, he actually ducks the whole problem, by courtesy of Robert Carson, who wrote the script. In the showdown, it is the Air forces that make a man of the boy.

Meanwhile, as casually and lightly as he is solemn with respect to the lad, the old fellow arranges matters for his daughter to enter the finishing school. And this he does by soft-talking the headmistress, Ethel Barrymore, and enchanting an alumnae tea-party by singing “On the 10:10 from Ten-Ten-Tennessee.” As for his romance with Miss Wyman, that works out naturally. After all, the two were thoroughly warmed up in last year’s “Here Comes the Groom.”

Put this one down as an endeavor in a generous cause that fails to come off entirely because it lacks sharp direction—and a script. Elliott Nugent’s staging and pacing is as rigid and uninspired as the stiff and conventional plotting in Mr. Carson’s script. And the songs and song numbers, while pleasant, are nothing to set the screen on fire.

Best of the lot is that favorite of the disk jockeys, “Zing a Little Zong,” which Mr. Crosby and Miss Wyman handle in a gentlemanly and ladylike way. And a big dance production number, done to a Spanish serenade, has strong visual style and vitality in the Technicolor in which the picture is made. For the most part, however, the ideas are worked out in pretty tedious talk, which we rather image Mr. Crosby, as a practicing papa, would eschew.

 (Bosley Crowther, New York Times, October 9, 1952)

 

As the comparative mildness of the forties (which, despite its faults, had given us some of the best songs and most creative singers the music profession has ever known) reluctantly gave way to the prevailing gimmickry of the fifties, Bing Crosby’s image began to change almost imperceptibly from a romantic singing leading man into something resembling a favourite uncle—but a very swinging uncle nonetheless. He was now nudging fifty and this fact was reflected, quite fetchingly, in his 1952 film Just For You in which he was cast as a middle-aged theatre producer with greying temples and sporting a receding toupee. The role fitted him well and while it didn’t exactly tax his acting ability, he made the transition quite painlessly. He was again fortunate in having Jane Wyman as his leading lady. The film’s score, by Leo Robin and Harry Warren, was excellent in every way except one—it did not yield any outstanding hits, except for the cleverly conceived ‘Zing a Little Zong’ which the writers had originally intended as a throw-away item. While it did not reach quite the heights of acceptance that the previous year’s ‘Cool, Cool, Cool of the Evening’ had achieved, it still notched up considerable sales as a single—thanks once again to a well-staged on-screen treatment by Bing and Miss Wyman.

(Ken Barnes, The Crosby Years, pages 90-91)

 

 October 9, Thursday. (6:30–7:00 p.m. Pacific). Bing’s new transcribed radio program for General Electric commences, still on CBS, but now on Thursdays. The shows continue until July 2, 1953, and the audience share for the season is 6.5, which enables the program to scrape in to twentieth position in the Nielsen ratings. The top show is Amos ‘N’ Andy with 14.2. Bing is said to be paid $16,000 per week that makes it one of the most expensive shows on radio. This figure also has to cover the cost of staff and guests. Guests in the opening show are Jane Wyman and Joe Venuti. Ken Carpenter, Jud Conlon’s Rhythmaires, and the John Scott Trotter Orchestra continue in support. The show is produced by Bill Morrow and Murdo MacKenzie.

 

Bing Crosby is back for another semester in radio and this time, flying the General Electric colors. Chesterfield gave him the go-by at the wind up of last season, along with Bob Hope, considering the weekly tab too high. The Hollywood and Vine reports have it that, as with Jack Benny before him, the production, accoutrements and bankroll on Bing’s showcase have been trimmed in keeping with the ‘radio re-appraisal’, if so, GE has grabbed itself a good deal. For there is no perceptible change - so far as the listener is concerned - either in Crosby or his entourage. If the opening stanza lacked some of the sharpness and the brittleness of the Crosby romps in the past, the track record is sufficient warranty that in another couple of weeks the Thursday night 9.30 to 10.00 slot on CBS will be rockin’ to the customary Crosby mastery. Not that one needed too much reassurance on his first time out, last week. His brief encounter with Joe Venuti (leading up to fiddlin’ virtuosity), his by-play with announcer, Ken Carpenter; his soloing on ‘Auf Wiedersehn’ and his dueting with Jane Wyman on, ‘Zing A Little Zong’ (on reprise from their Par film click ‘Just For You’) were all grooved to the Crosby touch and manner, even though some of the dialogue spark was lacking. Significantly, The Groaner tipped on his GE preem that he’ll be TV bound, (presumably under the same sponsorship auspices) when he winds up a film chore in Europe. The only despondent note in the show was the heavy handed and trip-hammered GE plugs with both Crosby and Carpenter equally guilty.

(Variety, October 15, 1952)

 

October 16, Thursday. Bing sails from Cherbourg on the Queen Mary liner bound for New York. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for General Electric is broadcast by CBS. The show has been taped and the guests are the Bell Sisters and Helen O’Connell.

October 19, Sunday. Bing is featured in Guest Star #291, a transcribed radio show. It is assumed that the songs were dubbed from Bing’s radio shows.

October 20, Monday. On board the Queen Mary liner, Bing cashes a check for $300, which he annotates "Exp Little Boy Lost".

October 21, Tuesday. (Noon) Bing arrives back at Pier 90, North River, at 50th St. in New York on board the Queen Mary liner.

October 23,Thursday. Bing writes a check for $250 payable to Ambassador Hotel and he annotates it "Exp Little Boy Lost". (6:30–7:00 p.m. Pacific) The Bing Crosby Show for General Electric is broadcast and the guest is James Stewart.

October 25, Saturday. Bing returns to Los Angeles and Dixie is there to greet him at Union Station. Apparently, Dixie has disobeyed the orders of her physician, Dr. John Davis, in order to meet Bing.

October 26, Sunday. Dixie suffers a relapse.

October 27, Monday. Dixie is received into the Roman Catholic Church by the Rt. Msgr. Patrick Concannon, pastor of the Church of the Good Shepherd.

October 28, Tuesday. Dixie goes into a coma. Bing’s four sons are brought back from their studies to be at the family home.

 

The sound of his voice spooked me immediately. It was full of emotion, wavering around the edges as if he were about to burst into tears. I’d never heard him so vulnerable, so overwhelmed by human feeling, and didn’t know what to make of it.

“Gary, listen, I got bad news for you,” he said. “Your mom is dying. It’s cancer. She’s in a coma, and the doctors don’t think she’s gonna pull out of it. You better come home right away.”

And then he started to cry.

I put down the phone, walked out to the car and drove straight to the nearest bar. I stayed there, getting myself good and whacked until I ran out of money, then climbed back in and headed south.

The old man’s news came as a complete shock. I had no idea Mom was sick with cancer, much less that she was so far gone. Three months ago, just a few weeks after I’d finished my first year at Stanford, she’d been taken to St. John’s Hospital in Santa Monica for stomach surgery, but it hadn’t sounded all that serious. When Dad told us about it at the ranch, he just casually mentioned out of the side of his mouth, “Well, your mother went to the hospital today for a little operation, but don’t worry about it. It’ll be all right. She’ll be up at Hayden Lake at the end of the summer…

It had been decided that my brothers and I weren’t to see Mom in the coma, so we were kept out of her bedroom. We were hardly kids anymore but were still looked on as babies. For the next three days we drifted aimlessly around the house, waiting for the inevitable to happen as she gradually slid downhill into the arms of God.

Every few hours Georgie or Dad or the doctor would walk downstairs and issue a report on her progress. Often there were tears running down Dad’s face, and he didn’t seem to care who saw them. The display of emotion coming out of the old man was so totally foreign that it put me on edge. I didn’t know how to handle it. Over the years I’d come to think about him tough and hard and deal with him tough and hard like a convict does with the warden, and now suddenly the warden was doing something so human that I wanted to put my arms around him - and that scared me. I didn’t trust the feeling, didn’t dare lower my guard, so I held myself in check and made sure I stayed as mean and hostile as ever.

“Well, what do you know,” I thought to myself, “So he cries just like the rest of us. He feels things. He must have really loved this woman all this time. Why the hell couldn’t he show it? Why couldn’t he act like it?”

(Gary Crosby writing in Going My Own Way, page 169-173)

 

And when Dad takes himself to task for failing us, I can’t go along with him at all. He’s given us too much. The way I see it, the best performance he ever gave didn’t win him an Academy Award. It was the months he kept the act going and held our family together when Mom was dying.

Dad carried the weight of knowing this all alone. We didn’t know anything about it until right at the last. He never let Mom know he knew, and Mom never let Dad know she was on.  And I’ll never forget how they used to kid back and forth all the time. And when our father says he couldn’t ever find the right words to say to us, I’ll never forget how gently he broke this to us. Steadying our world the best way he could to keep half of it from crumbling apart. Not telling us all at once even then, but just gently preparing us for the day Mom died.

(Lindsay Crosby, as quoted in an unidentified magazine in 1959)

 

October 30, Thursday. Judy Garland takes Bing’s place as host on the General Electric show.

With Bing Crosby bowing out of his scheduled CBS Radio show last Thursday night (30) because of the critical illness of his wife, the web’s Coast office put Judy Garland in as a last-minute sub. Miss Garland failed completely to live up to expectations, to the point where it was difficult to imagine a singer with her known ability hitting so many clinkers in a single half-hour. There are a number of mitigating factors, of course, such as the short rehearsal time she had, her impending motherhood, etc., but even so, she was a far cry from the Judy who wowed ’em at the Broadway Palace last winter. Miss Garland worked with Crosby's regular crew, including the John Scott Trotter orch, the Modernaires (sic), announcer Ken Carpenter, etc. Show itself was nothing to rave about since, with little time for preparation, the web merely had Miss Garland lead a half-hour songalog. That would have been okay if she had been up to par but, sans her anticipated sock, it was almost embarrassing to listen to. Her numbers were well selected, ranging from “Alexander's Ragtime Band” through “Carolina in the Morning” and “Wish You Were Here,” but only seldom did she sound like the Garland of old.

 (Variety, November 5, 1952)

October 31, Friday. Bing is heard in a public service announcement urging people to vote in the forthcoming Presidential election.

November 1, Saturday. Dixie Lee Crosby dies at 9:50 a.m. More than 12,000 messages of condolence are received over the following days.

 

Mother [Bing’s sister, Mary Rose] decided she wanted to be with Bing and the boys, too, and so she travelled to Los Angeles. She later told me that when the doctor at last advised Bing that Dixie was slipping away, he was devastated, absolutely wiped out. The priests administered the last rites while Bing sat, inconsolable, at her bedside.

      He regarded his wife’s still form for a long time, and then went to a jewelry box on a nearby vanity table and took from it the simple gold band that he had married Dixie with more than two decades before, back when they were young and starting out. He returned to her bedside and removed the glittering gold and diamond wedding ring that he had given her to replace that much simpler token, after he had established his successful career and could afford a more substantial representation of his love.

      Uncle Bing knelt down and replaced that more lavish ring with the band he had originally slipped onto her finger, and said over and over, “Why didn’t I understand? Why didn’t I understand?”

      And then Dixie was gone.

(Carolyn Schneider [Bing’s niece], writing in Me and Uncle Bing, page 150)

 

November 3, Monday. Dixie is interred in the Crosby plot at Holy Cross Cemetery after a Requiem High Mass at the Church of the Good Shepherd in Beverly Hills. There are 600 mourners at the service including Mr. and Mrs. Bob Hope, Dorothy Lamour, Johnny Mercer, William Gargan, Nick Stuart, and John Scott Trotter. Honorary pallbearers are Bob Crosby, Johnny Burke, John O’Melveny, Dr. George Hummer, Brant Metzler, and Joe Venuti. The funeral sermon is delivered by Dr. Frank Corkery, president of Gonzaga University. The funeral is upset by the media. Bing’s mother subsequently moves in to take over at the home in Holmby Hills.

 

Mother sent for me to attend her funeral, which was in a very large church, filled to capacity and surrounded by fans, onlookers and the media. Mother and I sat with the rest of the family in the first few pews.

         It was difficult even to glance at Uncle Bing. He looked terrible, his happy-go-lucky demeanor obliterated. He was pale and morose, a broken man who had literally lost the love of his life. One of the most poignant moments in the service was when the priest ended his homily by turning to my uncle and saying, “Don’t forget, Bing, that where the blue of the night meets the gold of the day, someone waits for you.”

         Bing’s fans followed us in the procession to the cemetery, and I was surprised, dismayed, to be more accurate, at how some people behaved, like this was a show of some kind. There were women in hair curlers, pulling along children, people eating their lunches, or talking, some excitedly. It was surreal. The press, no surprise, behaved little better.

         My cousin Gary remembered the scene at the graveyard as a circus, not a service, with the entire Crosby clan jostled and shouted at. Cries of “How do you feel?” pierced the air. At one point, the photographers pressed in close, and Uncle Bing was really shaken. I remember as he began to cry, one of the shutterbugs moved forward, getting down on one knee, carefully aiming his camera and trying to get a photograph of that tear falling down Bing’s face. It was so heartbreaking, and so very, very rude. A gravedigger had left a shovel laying nearby, and my Uncle Everett, surely on some mission from God, picked up the shovel and hit that photographer and cried, “For Godsake, leave the man alone!”

(Carolyn Schneider [Bing’s niece], writing in Me and Uncle Bing, page 151)

 

November 5, Wednesday. Dwight D. Eisenhower is elected president of the United States, defeating Democrat Adlai Stevenson.

November 6, Thursday. James Stewart is host on the General Electric show in the continued absence of Bing.

November 9, Sunday. Bing records material for two General Electric shows with Dinah Shore that air on November 13 and 20.

November (undated)-December 5. Bing returns to the Little Boy Lost set in Hollywood.

 

Three days after Dixie was gone, Bing was back on the set, welcoming the distraction of work. Both Bing and director George Seaton believe in shooting a picture in continuity, to sustain characterizations. By a sad irony, the next scene called for Bing, as a war correspondent, to broadcast the news of his wife’s death, “This man” Seaton says “can feel an audience better than anybody - and he felt all the depressed reverence around him, and he soon let everybody know, “we can’t go on this way”.

Seaton decided to approach the problem forthrightly, “Look Bing, I can’t avoid the lines in the script here - speaking about a wife who’s dead. But we can change the shooting sequence, any way you want to handle it”. “I understand,” Bing told him, “Nothing you say or don’t choose to say is going to change matters. Let’s make a picture!”   

Taking their cue from Bing, saying nothing, they all rallied around him, helping. Even the “Little Boy Lost”, Christian Fourcade, was always clinging to him, walking hand in hand with him, haunting eyes ever watching him. “He idolized Bing,” a friend remembers. “He would unconsciously imitate him. We could hear them laughing together sometimes - and that was a very good thing.”

Eventually, Bing had to face an even more grueling scene, the most important in the picture. The war correspondent, who had never in his own heart accepted the fact that his wife was dead, would be forced to listen to the official, brutal account of her death, read by her friend. He had to realize that to go on living and to love the living a man must bury his dead.

“Bing,” Seaton explained, “you’ve got to let yourself go in this scene. You can’t be holding back. You’ve got to make the audience understand how you feel here - how it’s going to be?”

“You’re talking about any actor. I’m a crooner.”

“Not in my book you’re not.”

When the cameras stopped turning, Seaton came up to Crosby. “You had tears in your eyes.”

“I did not,” Bing said.

“You’ll see.”

They ran the rushes. “If that’s a crooner,” Seaton said quietly, “then I don’t want actors.” That may have been the first time that Bing fully revealed himself before the cameras. But there was an earlier occasion when, far from Hollywood, he unconsciously let others look into the depths unsuspected during his crooner days. He was touring the muddy battle fronts of France, entertaining the weary troops of the third army, vainly trying to duck the always-requested “White Christmas”. Bing sang for the boys in the “Hopeless Tents” with all his heart - and with the prayer that his eyes weren’t giving him away. Afterwards he said to a fellow-member of his troupe, a little dazedly, “You know - I don’t even remember doing that show. Did I do okay?”

This was the Bing Crosby that Seaton wanted to capture on the film. The Director still insists, “The scene was one of the finest moments I’ve ever seen on the screen. Bing is one of the most talented men this industry has ever known. He has a tremendous wealth of talent as an actor, which hasn’t been tapped until recently.”

(Photoplay magazine, June 1955. page 110)

 

November 10, Monday. (9:30–9:45 a.m.) Bob Hope’s new morning radio show premieres on NBC. Bing is thought to have made a brief appearance.

November 12, Wednesday. Bing records “Keep It a Secret” and “Sleigh Bell Serenade” with John Scott Trotter and his Orchestra and Jud Conlon’s Rhythmaires in Hollywood. “Keep It a Secret” briefly charts at a lowly No. 28 despite Bing promoting it on six occasions on his GE show.

 

BING CROSBY Keep It a Secret— Decca 28511— The tune has started off fast and looks big enough to handle a number of versions, This one, by Bing, is his best effort in some time.

(Billboard, December 6, 1952)

 

Keep It a Secret

Decca 28511—A beautiful recording in all respects. Der Bingle is in great form and his tender reading is his best in some time. Quiet and lovely arrangement by the Trotter ork plus a nice job by the Rhythmaires adds to the attractiveness of tune. Tune looks big, and this version should come in for a good slice.

Sleigh Bell Serenade

Tune is a fine vehicle to show the effortless of Crosby’s singing. It’s a pleasant winter tune.

(Billboard, December 6, 1952)

 

Keep It a Secret - This is not the best Bing; he sounds much happier in Pass That Peace Pipe verso.

(The Gramophone, February, 1953)

 

November 13, Thursday. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for General Electric is broadcast by CBS. The show has been taped and the guests are Joe Venuti and Dinah Shore.

November 17, Monday. Tapes additional material for the General Electric show due for transmission on November 27. Meanwhile, Decca masters several radio tracks by Bing for commercial release including “Sleigh Ride” and “Little Jack Frost Get Lost”.

 

Bing Crosby has an excellent slice of “Sleigh Ride” (Decca).

(Variety, November 19, 1952)

 

Bing Crosby is very cheerful and seasonable in “Sleigh Ride” (with some singable lyrics added) and ‘Little Jack Frost Get Lost”, in which he is aided by Peggy Lee (Bruns. 05014); this is one of Bing’s best.

(The Gramophone, January 1953)

 

Sleigh Ride

Bing solos on this one and his reading of the Leroy Anderson opus makes for enjoyable listening. Moderate action in all categories is in store.

Little Jack Frost Get Lost

Peggy Lee is paired with the Groaner in this cute seasonal ballad and they sound fine together. Should do okay as a cold-weather item.

(Billboard, November 29, 1952)

 

November 19, Wednesday. Bing’s film Road to Bali is released.  The New York premiere takes place on January 29, 1953.

 

Bing Crosby, Bob Hope and Dorothy Lamour are back again in another of Paramount’s highway sagas, this time in Technicolor, with nonsensical amusement it’s only destination. That end is reached eventually, but the road isn’t a smooth highway and the entertainment occasionally falters. Overall, however, it serves its intended purpose satisfactorily and the grossing prospects are okay.

      …Hal Walker’s direction is geared to the free-wheeling spirit that dominates the script and does well by it, as do the three stars and the featured cast. With such a trio to vocal them, the tunes by Johnny Burke and James Van Heusen listen well.

(Variety, November 19, 1952)

 

November 20, Thursday. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for General Electric is broadcast by CBS. The show has been taped and the guests are Dinah Shore and Joe Venuti.

November 23, Sunday. Bing records material for two General Electric shows with Rosemary Clooney which air on December 4 and 11.

November 25, Tuesday. Dixie’s will is filed and in it, she leaves one fifth of her estate to Bing plus her share in their houses at Pebble Beach, Holmby Hills, and at Hayden Lake, Idaho. One-tenth of her estate is left to her parents and one-tenth to Bing’s mother. Her four sons are left the remaining three fifths and all of this goes into trust funds.

November 27, Thursday. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for General Electric is broadcast and the guest is Connee Boswell.

November 30, Sunday. Bing records songs for three General Electric shows, two with Ella Fitzgerald plus his Christmas show with son Gary. The shows air on December 18 and 25 and on January 1, 1953. (various times) Bing is also heard on Sammy Kaye’s transcribed program Sunday Serenade on NBC.

December 4, Thursday. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for General Electric is broadcast by CBS. The show has been taped and the guests are Rosemary Clooney and Christian Fourcade.

December (undated). Bing and Bob Hope film seven TV commercials for Paramount to promote Road to Bali.

December 10, Wednesday. Bing and his son Lindsay are in Pendleton, Oregon en route to join the twins Phillip and Dennis Crosby on their animal husbandry course at Washington State College, Pullman. Arriving at Pullman later in the day, they attend a basketball game between the Cougars and Whitworth. The score is 54-48 in favour of Whitworth.

 

Bing Crosby fans in Pendleton got a thrill Dec. 10, 1952, when the crooner stopped in Pendleton for lunch at the Hotel Pendleton with his son Lindsay and his ranch manager, on his way to Pullman, Wash. Crosby was registered to attend a Washington State college (now university) short course for stockmen. He joined his twin 18-year-old sons, Dennis and Philip, who were attending WSC earning degrees in animal husbandry.

Fellow diners and the restaurant’s waitresses were reluctant to approach Crosby, who pretended to ignore the stares and whispered comments until it was time to pay the bill. Crosby then joked with staff and signed autographs, and eventually posed for an East Oregonian photographer who was lurking nearby. Comments were to the effect that “if someone didn’t lead the photographer astray, perhaps he had a chance to grab himself some publicity.”

Crosby, who was heading to Spokane after his visit to Pullman to look into his television interests there, said he had been through Pendleton several times but had not yet had the chance to see the Round-Up, though he had heard it was a “great show” and was looking forward to attending some day.

(East Oregonian, December 14, 2013)

It wasn’t purely a longing for snow that brought Bing Crosby into the Northwest not so long ago but appropriately and happily it snowed while he was in Pullman on the Washington State College campus on a short ag course. The Crosby twins, Dennis and Philip, are freshmen at W.S.C and pledges of Sigma Nu fraternity over which Michael McNamara (better known as Mike) of Walla Walla presides as president.

Mike reports the twins fit into the scheme of things collegiate just like any other freshmen. “They’re not identical twins and they’re completely different as to personality and temperament.” Mike says. “One’s an introvert, very quiet, the other’s a typical extrovert…but they certainly show evidence of having been reared well.”

Bing was very much in demand during his brief stay on the campus but he declined invitations to sing or entertain He seemed to get a lot of pleasure out of viewing the fraternity house, and incidentally, took part in a snowball fight between the Sigma Nus and the Phi Delts who live across the street.

(Walla Walla Union Bulletin, December 28, 1952)

 December 11, Thursday.  Bing attends the opening of the annual short course in animal husbandry at Washington State College. (6:30–7:00 p.m. Pacific) Another taped Bing Crosby Show for General Electric is broadcast and Bing’s guests are Joe Venuti and Rosemary Clooney.

December (undated). With his autobiography Call Me Lucky at the publisher, Bing writes an additional chapter that eulogizes Dixie.

 

I don’t plan to talk about my grief at losing her. I believe that grief is the most private emotion a human being can have, and I’m going to keep mine that way. But in the years that lie ahead I’m going to sorely miss her love, her steadfast and constructive support. She was the most completely honest person I’ve ever known, and as the last events in her life demonstrated, one of the most courageous. Two weeks before her death, she took daily transfusions to build up her strength so she could come to the station and meet the train which brought me home. And she was there, just as she’d always been: beautifully dressed, gay, and smiling. I don’t want anything more in life than the memory of all she did for me.

(Bing Crosby, Call Me Lucky, page 326)

 

That was how in 1952 I happened to collaborate with Bing on a book titled Call Me Lucky. In its magazine version, its hardcover edition and its softcover edition (the latter two published by Simon and Schuster), its Readers Digest Book Condensation and a clutch of foreign editions. I’ve never been able to estimate how many copies of it reached readers. All I know is, it’s been nine years since we wrote it, and once in a while I still get a small royalty check like $10.90.

I flew the Call Me Lucky manuscript out to Hayden Lake for Bing to O.K. it. It was deep winter. It was cold at Hayden Lake. It was cold inside Bing, too. His wife, Dixie Lee, had just died. He was visibly shaken. But he got out his pencils, and he spent two days going over our manuscript. He added sentences and paragraphs, even whole pages; he cut as well. Whenever he touched it, he improved on his original taped material.

A lot of personalities I’ve worked with have told me, “I always wanted to be a writer.” Bing never said that - but he is a writer and a good one, too. If you see the first album ever cut for Pat Suzuki, read the liner notes. Bing wrote them. Even if I hadn’t told you, you’d know it. The words are pure Bingese.

(Pete Martin, writing in Pete Martin Calls On)

 

December 13/14, Saturday/Sunday. Staying at a motel in Colfax (15 miles from Pullman), Bing hunts geese over the weekend.

December 15, Monday. Arrives at Hayden Lake, Idaho. Records “Mother Darlin’” and “Hush-a-Bye” with Fred Waring and his Pennsylvanians. Waring had earlier recorded his part in New York and Bing overdubs his vocals, allegedly at a golf course. “Hush-a-Bye” briefly charts in the No. 24 spot.

 

Hush-a-Bye

A very warm reading by Bing, his best in recent months, that could re-kindle consumer interest. Waring ork and chorus add a lush background. Tune is from the film “The Jazz Singer,” Flip is “Mother Darlin’.”

(Billboard, January 31, 1953)

 

Hush-a-Bye

Decca 28581—Crosby has one of his finest wax efforts in many moons here. His tender warble brings out all the sweet sentiment of the familiar melody and he receives unusually sensitive support from the Fred Waring ork and chorus. Ditty is from the flick “The Jazz Singer.” Solid prospect here.

Mother Darlin’

Another sentimental tune, this cleffed by Meredith Willson, is sung with warmth and charm. Deejays may twirl, especially come Mother’s Day.

(Billboard, February 14, 1953)

 

Bing Crosby enthusiasts (and their name is legion) will be unable to deny themselves his new record of “I Love My Baby” and “Mother Darlin’” in which he is at the very top of his form (Bruns. 05136).

(The Gramophone, August, 1953)

 

December 16, Tuesday. Bing goes to Gonzaga University to examine the blueprints for the proposed new library with Father Corkery and Father Carroll. He drives to the campus from Hayden Lake, Idaho by himself and arrives inconspicuously attired in sports clothes, light brown overcoat, yellow muffler and brown hat. Although he looks tired, he has a cheery greeting and smile for the students and faculty who had heard of his arrival via the fast-moving grapevine. As he leaves he calls out “Merry Christmas everybody” and a special horn on his car plays “Jingle Bells”.

December 17, Wednesday. While in Spokane, Bing calls into the Spokesman-Review office and is interviewed by Margaret Bean. Her article about him is printed in the paper on December 18 and she follows up with a supplementary article on December 28.

 

More aftermath on the Bing Crosby interview which appeared in The Spokesman-Review on December 18…

After he walked into my office and closed the door, this Wednesday afternoon, news of his arrival seemed to go like wildfire throughout the building. How? I don’t know, I didn’t know he was coming. Two anonymous phone calls came to my desk during the hour he was with me asking if he was actually in my office. Other people began phoning the managing editor’s secretary, just outside my door, to enquire if Bing was with me. Other phone calls came in from various Review departments to ask if she would notify them as soon the door opened and he emerged.

After the story appeared, I had phone calls asking for more news about him. People stopped me on the street to talk about the interview. At luncheon spots, waitresses wanted to know more about him, I began to feel as though some of the Crosby glamour had rubbed off on me…

After hearing Bing tell of the way crowds pursued him, I could understand why he shut my office door as he entered. It also interested me as to how he left his handsome camel’s hair coat in a corner of the office, but brought his hat to lay it on my desk where it could be reached in a hurry. Everybody knows that his hair has thinned out on top to leave a shiny spot but, being in the show business, illusion plays its necessary part and Bing’s hat, which he always wears when possible, keeps him looking young.

As I observed him during the interview, it seemed amazing that anyone possessed of such simplicity and naturalness could be the world’s most beloved entertainer. I couldn’t sense that he had the slightest ego. Nor could I discover that any of the terrible stress and strain of his life had frayed even a single nerve. He is as completely natural and apparently carefree as “the barefoot boy with a face of tan.” I have never seen anyone so relaxed.

(Margaret Bean, The Spokesman-Review, December 28, 1952)

 

December 18, Thursday. Bing and Lindsay visit the site of the KXLY-TV tower and transmitter on Mount Spokane. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for General Electric is broadcast by CBS. The show has been taped and the guests are Ella Fitzgerald and Joe Venuti.

December 19, Friday. Leaves Hayden Lake for Pullman to pick up his twin sons for the trip back to Hollywood.

December 20, Saturday. Bing returns to Hollywood.

December 21, Sunday. (7:00-8:00 a.m.) Sings in Father Peyton's "Church of the Air" radio show on CBS. Other guests are Marina Koshetz, Jeff Chandler and Ann Blyth.

December 22, Monday. At Paramount for a recording and dubbing session for Little Boy Lost.

December 24, Wednesday. Bing sends a telegram in French via western Union to Schiaperelli model Ghislaine de Boysson in Paris wishing her a merry Chrismas and a big career in the next year.

December 25, Thursday. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for General Electric is broadcast and the guest is Gary Crosby.

 

When I came home for the Thanksgiving vacation, the old man took me to the studio to transcribe his Christmas show. On the drive over he seemed kind of sad and down but once he stepped in front of the microphone he perked right up and was back to being his old, warm, charming, breezy self again. There was no mention of Mom’s death. Someone who had passed the last weeks living in a cave would never have known it had happened. Like a lot of performers, Dad felt the audience wasn’t interested in your personal problems. All they wanted was the show and that’s what he gave them. With the help of his script-writers, I dusted off my own wise-cracking persona and we went at each other with the standard, good-natured give-and-take.

(Gary Crosby, as quoted in Going My Own Way, page 177)

 

December 27, Saturday. It is announced by Larry Crosby that a cooperative nonprofit organization to aid cancer research is being formed and is to be known as the Dixie Lee Crosby Memorial Foundation.

Bing is fourth in the U.S.A. movie box office stars poll for 1952. Martin and Lewis are top. During the year, Bing has had five records that have become chart hits.

 

1953

 

January 1, Thursday. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for General Electric is broadcast by CBS. The show has been taped and the guests are Ella Fitzgerald and Joe Venuti.

January 3, Saturday. Bing records a General Electric show with Rosemary Clooney, which airs on January 8. A Billboard reporter tells of seeing a demonstration of a video tape recorder developed by Bing Crosby Enterprises that is “truly one of the scientific wonders of our day.”

January 4, Sunday. Bing has written to his office staff.

Dear Friends

I want to thank you all for the handsome toilet case you sent me for Christmas. Very useful item for a man like myself who is on the road so much.

Love to you all, from your seldom-seen but always-thinking-of-you boss

Bing

(8:00–9:00 p.m.) Bing makes a surprise guest appearance on the Colgate Comedy Hour television show on NBC with Bob Hope, Jack Buchanan, Marilyn Maxwell, and Don Cherry. Bing and Bob promote their film Road to Bali.

 

Hope took over from the start and the tempo whisked from his opening monolog to the Road to Bali scene, which brought on Bing Crosby, as a surprise guest making his debut on commercial television. . . . Hope reserved the closing minutes for Crosby’s entry and a long pitch for their Paramount picture Road to Bali, in which each has a financial participation stake. By actual count, “Bali” was mentioned twelve times and the Groaner walked off with a neon sign that spelled out “Road to Bali”. . . . For a closer, Bing, Bob and Buchanan did a song-and-dance and then came on with ukes, which they didn’t have time to play.

(Daily Variety, January 5, 1953)

 

After the show, Bing and Bob Hope go on to the wedding of Peggy Lee and Brad Dexter in the back garden of Peggy’s property in Denslow Avenue, Westwood. The marriage founders before the end of the year.

January 8, Thursday. Bing guests on Bob Hope's radio show as it is taped at Fort Ord. Terry Moore and Phil Harris also appear.  The show is broadcast on January 14. Press reports state that Bing was seen dining with Mona Freeman recently on Sunset Boulevard. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for General Electric is broadcast by CBS. The show has been taped and the guests are Rosemary Clooney and Joe Venuti.

January 9-11, Friday–Sunday. Attends but does not play at his thirteenth (or twelfth as it is incorrectly described) annual golf tournament which is won by Lloyd Mangrum. Celebrities taking part include Bob Hope, Phil Harris, Bob Crosby, Don Cherry, Gordon MacRae, Johnny Weissmuller, Max Baer, Buddy Rogers and Hoagy Carmichael. During the day on January 9, Bing visits the US Naval Post-Graduate School at Monterey where he is thought to have made a charitable donation. The clambake dinner on the Sunday night features Rosemary Clooney, Phil Harris, Jimmy Demaret, Don Cherry, and a jazz group led by John Scott Trotter together with a few solos by Bing. The jazz group comprises Perry Botkin, Red Nichols, Matty Matlock, Buddy Cole, Dave Harris, Ted Vesley, Don Whittaker and Nick Fatool.

      January 10, Saturday. Tapes a General Electric show at Fort Ord, again to tie in with the pro-am. The guests are Bob Hope and Rosemary Clooney and the show is broadcast on January 15.

Rafters in Fort Ord’s Soldiers’ club will shake again tonight when Bing Crosby and his “road” partner, Bob Hope, entertain servicemen for the second time in three days. Thursday evening the two Hollywood entertainers and a host of stars took the spotlight at Fort Ord with more than two hours of jokes, songs and dances.

(The Californian, January 10, 1953)

January 14, Wednesday. (7:00-7:30 p.m.) Bing’s guest appearance on the Bob Hope radio show is broadcast on NBC. Terry Moore also guests. The show has been taped at Fort Ord and Bing sings “To See You Is to Love You.” Meanwhile, Bing records a General Electric show with Rosemary Clooney, which airs on January 22. He then goes on to Palm Springs.

Bob Hope will have Bing Crosby, his “Road” partner, on the second broadcast of his new nightime series, 8 tonight, KTAR. Hope and Crosby, with the aid of Terry Moore, film lovely, will do a take-off on “Road to Bali”.

(Ralph Mahoney, The Arizona Republic, January 14, 1953)

January 15, Thursday. (6:30–7:00 p.m. Pacific) Another Bing Crosby Show for General Electric is broadcast by CBS. The show has been taped at Fort Ord and the guests are Bob Hope, Joe Venuti, and Rosemary Clooney.

January 16, Friday. Bing, Bob Hope and Ruth Hussey are among celebrities taping a radio show for NY Catholic Charities at NBC. The show is aired in April.

January 19/20, Monday / Tuesday. Bing plays in a pro-member competition with Jimmy Demaret and two other club members as part of the Thunderbird Country Club Invitational in Palm Springs. Bing’s son Lindsay, Bob Hope, Phil Harris and Dean Martin also play. Bing's team's final score of 126 was well out of the reckoning. Jimmy Demaret wins the professional prize.

January (undated). Attends a stag party thrown by Jimmy Demaret at the El Mirador in Palm Springs.

January 21, Wednesday. Dines at the Doll’s House Restaurant in Palm Springs with Mona Freeman.

January 22, Thursday. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for General Electric is broadcast and the guests are Joe Venuti and Rosemary Clooney.

January 24, Saturday. Bing records a General Electric show at the Plaza Theater in Palm Springs with Kay Starr and Joe Venuti which airs on January 29. Bing, Kay Starr and Mona Freeman go on to Howard Manor.

January 28, Wednesday. More press coverage seen about Bing dating Mona Freeman as they have been out to dinner twice during the last month. Mona was separated from her husband Pat Nerney, an auto dealer (their divorce was finalized on September 30, 1953). The press reports ignore the fact that Bing’s son, Lindsay, was usually with them. Bing has also been seen golfing with Mary Murphy at Palm Springs and been linked with Audrey Hepburn as he had escorted her to a party. Reports state that he has, in addition, dined at Bob Hope’s home.

January 29, Thursday. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for General Electric is broadcast and Bing’s guests are Joe Venuti and Kay Starr. The General Electric shows come from Palm Springs for the next fourteen weeks with one exception. The New York premiere of the film Road to Bali takes place at the Astor Theater.

 

It has been a long time since Bing Crosby, Bob Hope and Dorothy Lamour have been cornered and kept together long enough on the Paramount lot for a corps of frenzied slave-drivers to get a picture out of them. Not since their “Road to Rio,” some five years ago, in fact, had this free-wheeling team of comedians been seen together in a film. And now that they’re back in “Road to Bali,” which reached the Astor yesterday, the outrage of their collective absence is just beginning to sink in.

For, all of a sudden, it is apparent that this veteran and camera-scarred team is the neatest, smoothest combo of comics now working the fun side of the screen. Apart, they may be very funny or clever or quaint or what you will, according to where you are sitting and what sort of picture they’re in. But together, and in a “Road” picture, with the consequent freedom of style and reckless impulse that goes with it, they are pretty nigh nonpareil.

At least, that’s the word of this reviewer who spent a small part of yesterday falling out of a seat at the Astor while desperately clutching his sides. The reason? Quite simply, “Road to Bali” is a whoopingly hilarious film, full of pure crazy situations and deliciously discourteous gags, all played with evident relish and split-second timing by the team.

Of course, it is vain to endeavor even a brief explanation of what goes on in this mélange of Marxian (Brothers) clowning, satire and travesty. As dictated by tradition, Mr. Crosby and Mr. Hope appear as a pair of vaudevillians just one jump ahead of the hook. And, of course, Miss Lamour is the princess, decked out in pink flowers and sarongs, whom they meet on an exotic island, the like of which is nowhere in this world. The population appears to be a mixture of Apache Indians. Hollywood stars and chorus girls. An evil prince, bent on sunken treasure, is the tangible nemesis.

But story, as such, doesn’t matter. The substance is in the flock of gag and comical situations that a stable of writers has contrived, with Producer Harry Tugend and Director Hal Walker riding herd. And the character is in the flip derision of the attitude that prevails between the rival companions, especially when it comes to handling girls. “That Lalah!” sighs Mr. Hope, blissfully, “she intoxicates me!” “Could be,” replies Mr. Crosby, with a wisp of a sniff, “she’s half Scotch.” (Mr. Crosby, by his own admission, is just an all-round all-American boy with an excess of charm.)

Girls aren’t the sole hitch, however. There are monstrous gorillas in the trees and a giant squid as gutta-percha guardian of the underseas treasure the boys seek. There’s a jungle, from which Bob Crosby nonchalantly steps, at one point, and casually fires a rifle because his brother promised him “one shot.” And there’s a swamp, through which Humphrey Bogart is witnessed hauling a boat, in a manner highly reminiscent of his toil in “The African Queen.”

There is also a magical basket, out of which, with the aid of a flute, Mr. Hope is surprisingly able to coax luscious dancing girls —and eventually luscious Jane Russell, which is just about what you’d expect. And, in somebody’s dreams, Dean Martin and Jerry Lewis grotesquely appear. To be sure, there are songs in the picture, but the time that is given to them is just about enough to hold the franchise—and that’s about all they deserve. Mr. Hope speaks the best opinion when Mr. Crosby gargles at one point. “He’s going to sing, folks, now’s the time to go out and get the popcorn,” he says.

And so it goes through the picture. Mr. Crosby, Mr. Hope and Miss Lamour may have looked lovelier but never better in their happy excursions down the “Roads.”

(Bosley Crowther, New York Times, January 30, 1953)

 

January 31, Saturday. Bing records two General Electric shows in Palm Springs with first Jack Benny and then Joanne Gilbert, which air on February 12 and 19 respectively.

February 4, Wednesday. Guests on the Jack Benny radio show which is taped in the World War Memorial Hall in Palm Springs. Judy Garland and her husband Sid Luft, are in the audience. The show airs on February 15.

The World War Memorial Hall was filled to capacity Wednesday night as Jack Benny made his second Palm Springs broadcast of the season, with Bing Crosby as guest star. Regular members of the troupe appearing with Jack Benny and Mary Livingston were Announcer Don Wilson, Rochester, Mel Blankley (sic) (voice of “Bugs Bunny”), Benny Rubin and Bob Crosby.

Crosby was wearing a Thunderbird jacket, and many of the gags in the broadcast centered about Palm Springs, Thunderbird and El Mirador.  An episode in the broadcast concerned the life story of Bing Crosby, a take-off of the one which is to appear in Saturday Evening Post, and the two Crosbys, Bing and Bob, sang together.

(The Desert Sun, February 9, 1953)

February (undated). At the Thunderbird Country Club in Palm Springs, Bing, Bob Hope, Ben Hogan, Phil Harris and Ralph Kiner take part in the filming of Faith, Hope and Hogan. This is produced by Father Keller and televised on his Sunday religious program. Bing sings a chorus of “One Little Candle” accompanied by Perry Botkin.

 

Golfer Ben Hogan will have the title role and Bing Crosby, Bob Hope, Phil Harris and Ralph Kiner will be his supporting stars in a half-hour TV movie called “Faith, Hope and Hogan.”

The movie has been made on the golf course at Palm Springs, Cal., by a Catholic priest, Rev. James Keller, and the Christophers group. They believe the story of how Hogan, nearly killed in a 1949 auto crash, came back to the top of the golfing world, will give courage to millions of handicapped people.

All the actors, including the millionaire movie producer William Perlberg who acts as Hogan’s caddy, donated their talents. The film is to be shown by 75 TV stations across the nation late in March.

(Sexson Humphreys, The Indianapolis News, February 20, 1953)

A couple of years ago I went to Palm Springs to relax. My phone rang and a voice said, “This is Father Keller.” Father Keller is the big mind behind the Christopher Movement. The Christophers are trying to spread religion in general. They don’t make any special effort to spread the Catholic Religion, they just try to spread good to the whole world. . . .

      “I’m making a little movie short for the Christophers with Ben Hogan,” he said, “I’d like to have you come over and say a few words. . . .”

      The next day Bing and I joined him there [at the golf club]. The “few words” wound up as an hour and a half of dialogue between golf shots. The entire country must have seen this film by now because every time Hogan wins a tournament, they run it on television.

(Bob Hope, Have Tux, Will Travel, page 272)

February 5, Thursday. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for General Electric is broadcast and the guests are Kay Starr and Joe Venuti (who becomes a regular for the rest of the season).

February 7, Saturday. Tapes material for two General Electric shows at the Plaza Theater in Palm Springs with first Peggy Lee and then Jimmy Boyd, which are broadcast on February 26 and March 5 respectively.

Jimmy Boyd, the freckle-faced moppet whose song, “I Saw Mommy Kissing Santa Claus,” made record sale history over the past holidays, gets his greatest boost to stardom within the next few weeks by guesting with Bing Crosby. I dropped in on Palm Springs’ Plaza theatre Saturday night to watch the Groaner taping one of his Thursday night KNX shows and Jimmy’s nasal tones came close to breaking up the old Groaner when they did a duet together. Jimmy was an added attraction at the taping session and his part will be spliced into a show some time after Feb. 26.

(Walter Ames, Los Angeles Times, February 10, 1953)

February 8, Sunday. (Starting at 1:30 p.m.) Golfs with Bob Hope at Fox Hills Country Club against Dean Martin and Jerry Lewis in front of a crowd of 2000 delirious spectators. Bing and Bob win the nine-hole match one up. The event has been sponsored by the Southern California PGA for charity.

The merciless ribbing the contestants inflicted on partner and opponent alike kept the gallery in constant laughter during the two-hour show. The merriment began before the match started when Martin and Lewis engaged in a comedy warm-up routine on the first tee while waiting for Crosby and Hope to appear.

(George Wilson, Daily News, February 9, 1953)

February 9, Monday. Recording session in Hollywood with John Scott Trotter and his Orchestra plus Jud Conlon’s Rhythmaires at which four songs are recorded. One track—“The Magic Window”—is not released.

 

Bing Crosby: “A Quiet Girl” “Ohio” (Decca). From the legit musical, “Wonderful Town,” these two tunes furnish Bing Crosby with some of his most attractive material in a long time. “Quiet Girl” is a lovely ballad…

(Variety, February 25, 1953)

 

A Quiet Girl DECCA 28610 — Gentle ballad from “Wonderful Town,” new Broadway musical is chanted tenderly by Crosby. Ditty has much quiet charm and could stir action with enough exposure.

Ohio

Nostalgic opus about the state, also from the same Broadway show. Crosby warbles his way thru the sentimental ditty in his warmest manner. His fans will welcome the platter

(Billboard, March 7, 1953)

 

Bing Crosby: “There’s Music in You”-“I Love My Baby” (Decca).

The Rodgers & Hammerstein tune for the Metro pic, “Main Street to Broadway,” “There's Music in You” rests pleasantly on the ear via this Crosby etching. It’s doubtful, however, if it’ll mean much in the commercial sweeps.

(Variety, May 13, 1953)

There’s Music in You

Decca 28683—Rodgers – Hammerstein ballad from “Main Street to Broadway” is appealing. The Groaner is still the Groaner and undoubtedly still has his fans.

I Love My Baby

Backed by John Scott Trotter and Jud Conlon group, Crosby tackles a fine old ditty for a neat bounce side.

(Billboard, May 23, 1953)

 

February 10, Tuesday. Bing records “Tenderfoot” and “Walk Me by the River” with Perry Botkin and his Guitars in Hollywood. Botkin composed “Tenderfoot” with help from Bob Bowen and from a certain Bill Brill, who was in fact Bing using a pseudonym. The Brill Building in New York was home to many music publishers and this is thought to be the reason Bing selected the name.

 

Walk Me by the River DECCA 28733— Bing’s fans and most everybody will like this side. It’s a lovely ballad and it receives a sensitive performance. Deejays will spin this one

Tenderfoot - Cleverly written novelty. Bing gives it a smart performance.

(Billboard, June 27, 1953)

 

The latterday Crosby recordings have been singularly disappointing; “Tenderfoot,” a fine song with a philosophical turn, is an outstanding exception to the general rule. This is more like the Crosby of old. The accompaniment, directed by guitarist Perry Botkin, is brilliantly devised and executed. Note particularly the clip-clop effect of horses’ hooves—this, which could have sounded banal, is handled with a subtlety that should be an education to some of our ham-handed MDs.

(Laurie Henshaw, Melody Maker, September 19, 1953)

    February 11, Wednesday. Variety magazine carries an item about the script Norman Krasna has written for the forthcoming film White Christmas. Both Bing and Fred Astaire had balked at it because the roles made them too young, Astaire still thinks so and it is suggested that Donald O'Connor may take Astaire's part.

    February (undated). Bing and Lindsay record a contribution to an episode of "The American Trail" which is broadcast on April 1. “The American Trail” radio show was a 13-part radio series based on the important events on the history of the United States. It aired on 1953, and featured the story of brave men and women who fought and worked hard for their great nation, which became forever known as the “Land of Opportunity.” With The VFW Ladies Auxiliary as its main sponsor, "American Trail" aired for 15 minutes each episode. It was particularly dedicated to middle schoolers.

February 12, Thursday. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for General Electric is broadcast by CBS. The show has been taped and the guest is Jack Benny. Later, Bing acts as host for the Family Theater radio production “Foreign Exchange” on the Mutual Network.

February 13, Friday. Press comment states that Bing has invested in a Broadway musical called Carnival in Flanders being produced by Paula Stone and Michael Sloane. The songs are being written by Burke and Van Heusen and the show is expected to open in September.

February 14, Saturday. First of eight parts of Bing’s autobiography Call Me Lucky is serialized in the Saturday Evening Post. Bing golfs at Tamarisk in Palm Springs and has a 96 leading to some press comment.

February 15, Sunday. Bing tapes material for two GE shows in Palm Springs with James Stewart and Dinah Shore, which are broadcast on March 12 and 19 respectively. (4:00-4:30 p.m.) Bing is also heard as a guest on the Jack Benny radio show sponsored by Lucky Strike Cigarettes on CBS with regulars Bob Crosby, Don Wilson, and Rochester. The serialization of his autobiography in the Saturday Evening Post is heavily promoted. The show had been recorded on February 4.

February 16, Monday. Attends a reception for Dan Thornton, the Governor of Colorado at The Town House, Los Angeles hosted by Ed Crowley.

February 17, Tuesday. (10:15-10:30 p.m.) Bing speaks for the Metropolitan Opera in a fifteen-minute program aired on radio station WJZ in New York.

February 18, Wednesday. (2:00-4:30 p.m.) Is heard on Johnny Grant's radio show on KMPC having been interviewed recently in Palm Springs.

February (undated). Records more General Electric radio shows in Palm Springs.

February 19, Thursday. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for General Electric is broadcast and the guest is Joanne Gilbert. The show had been taped in Palm Springs.

February 23, Monday. Films the final interior scenes at Paramount to complete Little Boy Lost and meets Kathryn Grandstaff, age nineteen.

 

Bing Crosby was standing in the doorway of his dressing room chatting with Barney Dean. I knew Barney was some special kind of writer called a gag man. Bing had just returned from Paris where he’d been on location for Little Boy Lost. I’d never met him.

“Howdy, Tex. What’s your rush?”

“No rush, really,” I said, skidding to a stop. “Hi, Barney, how are you?” I turned toward the man who had called me Tex and received full voltage from those robin’s-egg-blue eyes. “No rush at all.” I stood on one foot, dropped the tennis racket ... picked it up. Two petticoats slid off my arm and were hastily retrieved.

“You look as if you needed to sit down for a spell. We’re taking a little breather here while the company moves to another stage. Y’all shouldn’t hurry so.”

What was this? Was he teasing me about the Texas accent I was working so hard to lose? I looked again into those eyes—it didn’t matter.

(Kathryn Crosby, Bing and Other Things, page 38)

 

February 25, Wednesday. (8:00-8:30 p.m.) Makes a walk-on guest appearance on the I Married Joan television show, starring Joan Davis and Jim Backus, on NBC. The episode is entitled “The Opera” and it had been filmed in advance.

 

In the Crosby self-kidding tradition, the script took note of the Groaner’s reluctance to plunge into TV. As he sauntered onstage, Joan Davis gasped: “You’re not . . . Oh, no, he wouldn’t be on television. Too fat for it. Too slow.”

(Newsweek, January 4, 1954)

 

February 26, Thursday. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for General Electric is broadcast by CBS. The show has been taped and the guest is Peggy Lee.

February 27, Friday. Attends the City of Hope Dinner at the Racquet Club in Palm Springs. Bing does not attend a Friars Club testimonial dinner in New York at the Waldorf-Astoria Hotel for Bob Hope as he is still in California.

March 1, Sunday. Jimmy McHugh and Bing are photographed explaining the entry requirements to entrants for the Miss Universe contest at El Mirador.

March 2, Monday. Bing hosts a dinner party at the opening of the new Don the Beachcomber's restaurant in Palm Springs.

March 5, Thursday. (6:30–7:00 p.m. Pacific) Another taped Bing Crosby Show for General Electric is broadcast and Bing’s guest is Jimmy Boyd.

March 10, Tuesday. Is given a major bon voyage party in the South Pacific Room of the El Mirador in Palm Springs. Those attending include the Bill Gargans, the Jack Bennys, Lindsay Crosby, the William Perlbergs, Greer Garson and her husband, the Bill Powells, Phil Harris and Alice Faye.

March 12, Thursday. Records four songs from the film Little Boy Lost with John Scott Trotter and his Orchestra in Hollywood, including another version of “The Magic Window.” These were the last songs written by Jimmy Van Heusen and Johnny Burke for a Crosby film. They had first combined on Road to Zanzibar in 1941. None of the songs in Little Boy Lost were hit material but they fitted in well with the action on screen. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for General Electric is broadcast and the guest is James Stewart.

 

The Magic Window - Decca 28805 — Picture tune from Bing’s new Paramount flick, ‘”Little Boy Lost”, has charm but also the limited appeal of so many special material songs. The backing here is by Bing’s long time associate, John Scott Trotter

Cela M’Est Egal— If It’s All the Same to You. Bing sings this flick tune, from “Little Boy Lost” with considerable elan. John Scott Trotter backing is neat

(Billboard, September 19, 1953)

 

March 14, Saturday. In Hollywood, Bing records material for two General Electric shows with first the Bell Sisters and then with Jimmy Boyd. The shows air on April 30 and May 14 respectively.

March (undated). Takes Lindsay out of school early to accompany him to Paris and they stop off in Chicago on their way to New York. They play eleven holes of golf at Chicago’s Beverly Hills Country Club with the professional Charley Penna. There was some criticism in the press of Bing's decision to take Lindsay out of school.

 

Hollywood – A Hollywood columnist has taken potshots at Bing Crosby because the celebrated crooner and actor has withdrawn his 15-year-old son, Lindsay, from school in order to take the boy on a trip to Europe. The columnist, assuming a superlative brand of wisdom, demanded: “What kind of business is this, when Crosby can take his son flitting across the world, when other kids have to keep at their school work?”

I’m afraid that columnist was more concerned with creating gossip than with ordinary facts. Young Lindsay, who is the most emotional of the four Crosby boys, has been seriously broken up over the death of his mother, He needs, at this moment, the closet possible association with his father. Getting away from Hollywood, and being with Bing constantly on a visit to foreign lands, can be of greater psychological importance to Lindsay’s life than school books could ever be. Furthermore, most schools regard travel as highly educational.

But there is another point in Bing’s favour. Crosby is wealthy, He can pick up a tutor in Europe to make sure that Lindsay does not lose step with his schoolmates. Many thousands who travel are doing this for their children. What’s wrong in Bing’s travel plan?

Obviously, the columnist who criticized Crosby, wrote without thinking—which is always fatal. There is no camouflage about Crosby and his love for his family—and there never has been any. He is one of the most responsible parents in Hollywood. He knows better than anyone else what is best for his son.

(Jimmie Fidler, writing in his syndicated column, March 14, 1953)

And I can’t understand why Dad worries whether or not he gave us enough of his time.  It was typical of him to give up everything to stick close to us that first year after Mom died.  My brothers went back to college and Dad took me to Palm Springs right away, and he kept me busy all the time. He played golf with me every day. I had always been interested in art, and so Dad talked me into taking up painting again.  He decided we’d go to Europe and he had me take French lessons so I’d be able to know the people and the country better over there. At the time, Dad said he wanted to get away, and he could tape his radio show abroad just as well―but I knew later that he planned the whole trip to give me a change of scenery, and make things easier for me.

We had an apartment in Paris, and Dad kept me busy to the point where I never had a minute to get depressed or moody or anything. I helped him tape 20 radio shows, and when we weren’t working, we went sight-seeing together everywhere. We toured the art museums, and we spent a lot of time near the Seine looking at the artists, and sitting in the sidewalk cafes and little bistros watching the people pass, and talking to them. We had a wonderful time together over there. We went to Germany and then to Spain, where we took in all the fiestas and the bullfights and just about everything.

It’s aches and pains for Dad to get out in public too, because of people recognizing him everywhere he goes, but he wanted to keep me busy every minute.

And when we went home four months later and walked back into the house in Holmby Hills, I knew Dad had gone to Europe for one reason: to keep me away until time could help me come back to a home without Mom there. When my brothers got out of school we left again and all vacationed together. Dad gave up just about everything else that year; he wouldn’t leave us alone at all. We found out he turned down two or three big pictures, and he kept the radio show mostly just to keep me busy.

(Lindsay Crosby, as quoted in an unidentified magazine in 1959)

 

March 19, Thursday. Bing and Lindsay arrive at Grand Central station, New York on the 20th Century Limited.  During their time in New York, Bing and Lindsay go to see the revival of the Gershwin musical Porgy and Bess which had opened at the Ziegfeld Theatre on March 10. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for General Electric is broadcast and the guest is Dinah Shore.

 

Bing Crosby and Dinah Shore will utilize Mattfeld’s ‘Variety Music Cavalcade’ as a springboard for their songalog, originating (taped) from Palm Springs. Crosby and his writer/producer, Bill Morrow, have proved partial to the ‘Variety’ anthology of songs (as compiled by CBS musicologist Dr. Mattfeld) on previous occasions, and this past Thursday night’s show, over CBS made the Southern California country and local color the musical theme of their chatter and chirpings. It permitted Crosby some droll opportunities with some impossible song titles in between his easy styled vocal references to the ‘Ramona’ country, ‘Capistrano’, ‘Avalon’ and the like. He did a ‘newie’, ‘Avalon Town’ in more spritely rhythm than Miss Shore’s reprise of the Buddy DeSylva-Al Jolson ‘oldie’, ‘Avalon’. The former should par the latter in future durability. It has strong potentials, especially if already waxed by Crosby. On the subject of Bing, one of his favorite musical aides, Perry Botkin did a stint with WMGM’s Henry Morgan, one post-midnight which was distinguished by the guitarist’s literal style at the mike as he professed complete ignorance of any new Crosbyana. Botkin kept reiterating, ‘It’s all in The Saturday Evening Post; why I’ve learnt more about Crosby from Pete Martin’s book (Call Me Lucky) than in all my years with Bing’.

(Variety, March 25, 1953)

 

Later, at the first televised Academy Awards celebration, Bing’s song “Zing a Little Zong” from Just for You is beaten by “High Noon (Do Not Forsake Me Oh My Darlin’)” for the Oscar for Best Song of 1952.

March 21, Saturday. (11:30 a.m.) Bing, Bill Morrow, John Scott Trotter and Lindsay Crosby sail from Pier 90 at the West 50th Street dock, New York, on the Cunard liner Queen Elizabeth bound for France. Other celebrities on board are David Niven, Charles Boyer and Binnie Barnes.

March 23, Monday. (7:00-7.15 p.m.) Bing makes a guest appearance on Dinah Shore’s radio show on NBC. The show had been recorded in advance.

 

To make the takeoff all the more impressive, she had Bing Crosby drop in for a chat, a song and a cup of flour. The script by Tom Adair had them neighbors at Palm Springs with the Groaner whipping up a crawfish pie.

(Daily Variety, March 24, 1953)

Stanza got an added shot via Bing Crosby’s guest stint. Crooner’s patter was brief and breezy and the duo got off a brisk treatment of “You’ll Never Get Away.” Crosby’s Decca etching of “HushA-Bye” got a spin and a-solid plug. It was a cheerful and tuneful stanza and the beginning of another winning series for chevvy.

(Variety, March 25, 1953)

 

March 26, Wednesday. The Queen Elizabeth arrives in Cherbourg and during their time in France, Bing and Lindsay stay at the Trianon Palace Hotel, Versailles. Bing hand-writes an airmail letter to his sister Mary Rose shortly after his arrival. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for General Electric is broadcast by CBS. The show has been taped and the guest is Rosemary Clooney.

 

Dear Mary Rose,

I’m writing rather than cabling because it’s almost as fast and a cable of this length would cost considerable. I confess your query leaves me in a dilemma. Does Sam Morse mean he’ll hold still for the rental or not? Does your inference that Basil disapproves of the trade done mean that he wouldn’t recommend it? I feel we could sell the acreage, and surely rent or sell the Lafayette house. How old is the Lafayette house? Let me summarize in this manner. If you can close deal for the trade, get out from under the rental deal entirely safe legally, checking every aspect of this with O’Melveny’s office, getting Basil’s and Todd’s approval taxwise, you may proceed on this basis to close the deal, altho’ I feel $100,000 is a high valuation on the property. You’d have a hard time selling at this figure. Send me more details on the Lafayette house, location, condition, age, traffic, etc.

Had a smooth crossing and are relaxing here. I hope all goes well.

Address – next 2 weeks Trianon Palace, Versailles.

Love Bing.

 

March 29, Sunday. A transcribed radio program "The 1953 All-Star Revue" is broadcast to launch the 1953 Cancer Crusade. Bing, Bob Hope and Judy Garland take part. The show is heard in various parts of the USA during April.

March 30, Monday. Press reports indicate that Bing, in Paris, has shrugged off rumors that he will be marrying Mona Freeman.

April 1, Wednesday. Golfs with Lindsay in Paris.

April 2, Thursday. (2:15-2:30 p.m.) Back in the USA, Bing and Lindsay are heard in Chapter IX of "The American Trail". Their contribution had been recorded in February. (6:30–7:00 p.m. Pacific) Another taped Bing Crosby Show for General Electric is broadcast and the guest is Rosemary Clooney.

April 9, Thursday. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for General Electric is broadcast and the guest is again Rosemary Clooney.

April 11, Saturday. (9:00-9:30 p.m.) Bing is heard in the Catholic Charities All Star show on WNBC together with Bob Hope, Jimmy Durante, Ann Blyth and Ruth Hussey. The show had been taped in January.

April 16, Thursday. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for General Electric is broadcast by CBS. The show has been taped and the guests are George Kainapau and his Island Serenaders.

April (undated). Bing and Lindsay are in Amsterdam, Holland. During their time in Europe, they also visit West Germany.

April (undated). Bing and Lindsay go to Rome for an audience with Pope Pius XII. While in Italy, Bing plays golf with Clark Gable.

April 23, Thursday. (6:30–7:00 p.m. Pacific) Another taped Bing Crosby Show for General Electric is broadcast and the guest is Rosemary Clooney.

April (undated). Bing and Lindsay are in St.-Jean-de-Luz and then Biarritz where they stay with French comedienne Gabrielle Dorziat. They go on to Spain visiting Madrid, Seville (where they attend services at Seville Cathedral, visit the Seville Fair and meet up with Father Peyton), Granada (where they stay at the Washington Irving Hotel), Barcelona, and Valencia. En route they attend bullfights.

Gary Cooper, was huzzahed all over the place and won a great press as a ‘'gentleman— not like Bing Crosby, who doesn’t know how to dress”. This chiding of the crooner’s penchant for highly informal personal garb is a little more deep-seated. The Spanish press couldn’t understand his Garboesque hideaways, including a disappointment at a railroad station by getting off two stations prior thereto. It resulted in Paramount and/or Crosby sending a letter of apology to the sensitive local press that this was essentially a holiday with his son, Lindsay. Cooper who was joined by daughter and his wife here, didn’t act as elusive, so the comparison was heightened.

(Variety, July 22, 1953)

April 30, Thursday. John Mullin outlines the advantages of video recorders at the National Association of Radio and Television Broadcasters conference at the Philharmonic Auditorium. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for General Electric is broadcast and Bing’s guests are the Bell Sisters.

May 2, Saturday. Bing celebrates his birthday with a dozen friends including Gary Cooper and Errol Flynn at Antibes on the French Riviera. There is a big birthday cake with 49 candles (Bing had thought that he was born in 1904). Errol Flynn is photographed kissing Bing’s balding head. Bing and Lindsay also visit Cannes and Nice during their time in the area. While visiting the casino in Monte Carlo, Bing is asked not to smoke his pipe.

May 7, Thursday. Herman Welker causes two articles by Bing, which have been published in a Catholic publication The Star and in Freedom Club News, to be entered in the congressional record. Bing is described as a distinguished member of the Freedom Club’s National Advisory Committee. The articles concern the state of the world “on peace and clear thinking” and are described “as told to Larry Crosby.” The director of the FBI writes to Bing on May 27 congratulating him on the matter. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for General Electric is broadcast and the guests are again George Kainapau and his Island Serenaders.

May 13, Wednesday. Bing withdraws from the British Amateur Golf Championship due to start on May 25 at Hoylake. There had been critical comments in the British press about his qualifications to take part. Bing's handicap is three.

May 14, Thursday. Bing records a contribution in Paris to the BBC radio program Star-Spangled Salute subsequently broadcast in the Home Service (10:15-11:15 p.m.) on June 4. He sings “Dear Hearts and Gentle People” accompanied by John Scott Trotter on the piano. He is said to be paid a fee in French francs and directs that this should be given to a French charity. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for General Electric is broadcast by CBS. The show has been taped and the guest is Jimmy Boyd.

May 16, Saturday. Records the Le Bing album with Paul Durand et son Grand Orchestre in Paris. All of the eight songs are sung in French. In addition, two of the songs are recorded in English for release as a single.

 

…That the French touch is a good one is proven by Bing Crosby, whose latest release from Decca is a new set Le Bing— Song Hits of Paris. Le Bing sings such French favorites as “Mademoiselle de Paris,” “Embrasse-Moi Bien,” “La Seine,” “La Mer” and “La Vie en Rose,” all in French and all very nice, too. This set could move well.

(Billboard, December 5, 1953)

 

Bing Crosby: “Embrasse-Moi Bien”-“MadamoiseIle de Paree”

(Decca. Bing Crosby has rarely shown better form in recent years than on this disk. Both sides were sliced in France. “Embrasse” is a lovely romantic ballad while the standard “Mademoiselle” is handled expertly in lighter mood.

 (Variety, September 2, 1953)

 

Embrasse Moi Bien – Decca 28814. The old “Groaner” warmly breathes the pretty love ballad, a French import.

Mademoiselle De Paree - Clever story ditty about the attractive French Miss is sung smoothly by Crosby. Both sides of this disc were cut in France.

(Billboard, September 19, 1953)

 

LE BING-Decca (US), Brunswick (UK), 10 inch LP-8 titles including ‘La vie en Rose’, ‘La Mer’, ‘Mademoiselle de Paree’, etc, all sung in French.

According to the discographical information, this remarkable album was recorded in a single day. The orchestrations and conducting are uncredited (although it sounds like John Scott Trotter’s work). Unfortunately, the string sound is a little thin and the intonation of the violins is somewhat insecure on one or two tracks - notably on ’Embrasse-moi bien’. But the same can never be said of Mr Crosby whose pitching is unerringly accurate throughout all eight titles. Of his French accent, Bing remarked at the time that any complaints should be sent ‘to the back door of the United Nations’. As it stands, however, his accent is above A-Level standard and probably sounds to the French ear as charming as Chevalier’s accent did to the English ear. Vocally, Bing is at his most effective in ‘La Seine’ (as, too, is the orchestra) and especially in the subtle ‘Tu ne peux pas te figurer’. Apart from recording this entire album in one day (16 May 1953), he also found time to record English versions of two of the songs - ’Mademoiselle de Paree’ and ‘Embrasse’ (‘Hold me close’).

(Ken Barnes, The Crosby Years, pages 91-92)

 

The 10” LP Le Bing: Song Hits of Paris is Bing Crosby’s first 33-1/3 rpm LP to be recorded as such. It was cut in Paris and consists of eight songs sung in French, including the Edith Piaf standard “La Vie en Rose” and “La Mer,” later known as “Beyond the Sea” when it was given an English lyric. Crosby is a competent singer in French, though he certainly wouldn’t fool a native speaker. Just as in his long period of cutting singles for Decca Records, he is game to try his hand at nearly any style of pop music, and his name alone should be enough to sell this pleasant collection, particularly in France itself, even if the French are notoriously judgmental about foreigners trying to speak (or sing) their language.

(William Ruhlmann, Allmusic)

 

 May 20, Wednesday. Bing entertains at the 25th "Bal des Petits Lits Blancs" (the Ball of the Little White Beds), organised by the novelist Guy des Cars. The prestigious charity ball takes place at the Moulin Rouge in Paris in the presence of the French President, Vincent Auriol. The evening attracts 1,200 artistes and stars from around the world, including Josephine Baker who sings “J'ai deux amours”.  Bing is photographed with Lily Pons. Others present include Gary Cooper, the Aga Khan  and Charlie Chaplin.

 

…Bing Crosby got a terrific reception when he bounced to the podium to do two numbers in English and - one in French…

(Variety, May 27, 1953)

 

May 21, Thursday. (6:30–7:00 p.m. Pacific) Another taped Bing Crosby Show for General Electric is broadcast by CBS. The show purports to come from Paris for the next seven weeks but the bulk of the shows were recorded in Palm Springs with only additional linking dialogue being taped in Paris. Lindsay Crosby and Joe Venuti are featured in each of the shows.

May (undated). Bing visits the Mercedes factory at Untertürkheim, Stuttgart, West Germany. He is accompanied by German singer Marcel Wittrisch.

May 27, Wednesday. Bing golfs at Frankfurt in West Germany.

 

FRANKFURT, May 27 (S&S) — Der Bingle visited the Frankfurt golf course today. Coming from Stuttgart after picking up his new $8,250 Mercedes-Benz convertible, Bing Crosby stopped off at Frankfurt course for a quick round. Cloudy skies and scattered rain showers held Bing to 12 holes, but he gave the gallery of 500 spectators a thrill. Possessor of a three handicap on his home course in California, Bing lived up to his reputation on the Frankfurt links. He had never seen the course before, he was besieged by autograph seekers and camera bugs both between and during shots, and at times couldn’t see where he was driving because of crowds between him and the green, but Crosby still managed to come in with a two-over-par 38 for nine holes.

         Bing played in a foursome with Glenn Peeples, two-time Stuttgart District champion; Vie Janusch, Frankfurt ace, and Jack Ellis, sports editor of The Stars and Stripes. The rain drove Bing and his partners back to the clubhouse where the radio and film star sang several songs. After staying overnight in Frankfurt, Bing will head for Brussels, and from there back to Paris. He’s slated to play in the French Amateur golf tourney June 4 at Chantilly, outside Paris, and has already received a bye into the second round. He will meet Pierre Bochayer, of France, in his first match.

         Bing, who learned his game from MacDonald Smith, a famous old-time pro, said he thought Jimmy Demaret was potentially the best golfer around today. He said that if Demaret paid a little more attention to his golf and took the game more seriously, he would be higher on the moneywinning list.

         Bing stopped off for lunch at The Stars and Stripes Press Club in Darmstadt.

(The Stars & Stripes, European edition, May 28, 1953)

 

May 28, Thursday. Bing drives to Brussels in Belgium after staying overnight in Frankfurt. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for General Electric is broadcast by CBS.

May 29, Friday. Bing’s autobiography Call Me Lucky is published by Simon and Schuster.

 

That droll and resonant world figure, Harry Lillis “Bing” Crosby (unnumbered millions on either side of the Iron Curtain regard him as The Voice of America), has talked his autobiography to Pete Martin. In this golden age of the ghost writer, when it sometimes seems as if only Sir Winston Churchill were speaking his own piece, the book reviewer must be wary of discussing an “author’s” style. In this case, however, I think we may waive the customary caution. If Pete Martin’s redaction of Bing Crosby’s talk is not appropriate in tone, then twenty-odd years of Bing’s own public palaver have falsified the man.

         ...In Call Me Lucky, there is a great deal to be gathered about Crosby’s public life and business affairs, but the essence of the book is its suggestion of high and warm times with his family and cronies. He is clearly a man with a great talent for friendship nourished on a high calorie sense of the absurd...In Crosby we have a democrat, an artist and a delight.

(Wilder Hobson, New York Times, June 28, 1953)

 

A more revealing portrait of Crosby became possible in 1953 when Simon and Schuster published his autobiography “Call Me Lucky” and The Saturday Evening Post serialized it in eight installments that winter.

“Call Me Lucky” is an extraordinary book for its time in that Crosby is candid beyond what might have been expected of a movie star in that era. The structure is rambling and anecdotal, full of racetrack and golf escapades, but skies darken when he chooses to be serious. He is defensive about criticism he left Dixie alone too much during their marriage saying: “Neither of us went on the theory that marriage is a trap. So long as it was right, fair and honest, we did what we pleased.”

He is all but reverential about Whiteman, Kapp and O’Melveny but fires salvos at ASCAP and Abe Frank, the latter an indication he was still fretting about what happened to The Rhythm Boys at The Cocoanut Grove two decades earlier.

While the book is billed as an “as told to” collaboration with Pete Martin, the verbiage and thinking are unquestionably Crosby’s and Martin avoids getting between The Singer and what he wanted to say, narrative application of the scriptwriting approach Carroll Carroll perfected on The Kraft Music Hall.

It sometimes reads like a diary and much of it is recounted in his customary tone of self-deprecation. “I guess what I’ve disclosed reveals me as a fellow without much class,” he writes in summary but few discerning readers would agree. There is a sincere attempt to evaluate his past as a performer and a realistic guess at what retirement will be like. He concedes developing problems with his sons.

He is not always consistent with facts and there are times when his memory is inaccurate, nothing more dramatic than would be the case with anyone trying to recall a lifetime. What depth of research Martin did to verify data is not clear but it would seem to be little beyond accepting Crosby’s version, which likely was his assignment in any case. Crosby glosses over some things but there is an absence of the self-serving: “Call Me Lucky” is not a promotional vehicle.

The Look magazine writer who called him someone few know might have done well to study Crosby’s observations about what gave him the most satisfaction in life for he off-handedly opens the windows on his soul. He writes not of fame and fortune, love, honors or family but of hours spent hunting and fishing.

Things a man does alone.

(Norman Wolfe, Troubadour, page 349-350)

June 2, Tuesday. The coronation of Queen Elizabeth II.

June 4, Thursday. Bing wins his opening match against Pierre Bouchayer four and three in the second round of the French Amateur Golf Championship at Chantilly, having had a bye in the first round. (6:30–7:00 p.m. Pacific) Another taped Bing Crosby Show for General Electric is broadcast by CBS.

June 5, Friday. Is eliminated from the championship in the third round by Leonard Crawley, a former English Walker Cup player, seven and five. Later, Bing flies into London with Lindsay and stays at the Savoy. Irish fan George O’Reilly visits Bing at the Savoy during the week.

June 8, Monday. Golfs at Addington Golf Club in Surrey and cards a seventy-four. Attends a private party with American polo players.

June (undated). Bing golfs with Gregory Peck while in London.

June 10, Wednesday. Bing and Lindsay golf at Sunningdale. In the evening, Bing gives a dinner for Dean Martin and Jerry Lewis before going on to the Players Theater in Charing Cross to see The Boy Friend. Back in the USA, Phillip Crosby has an operation on his knee at St. John's Hospital to correct an old football injury.

June 11, Thursday. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for General Electric is broadcast by CBS. Elsewhere, Bing and Lindsay go to Northolt airport to fly to Paris but in view of the heavy rain, they decide to travel back to France by ferry from Folkestone, landing at Calais.

June 13, Saturday. Back in Paris, Bing is filmed singing "White Christmas" for a TV special honouring the Ford Automobile Fiftieth Anniversary.

June 15, Monday. (9:00–11:00 p.m. EDT) Bing makes a filmed contribution to the televised Ford Automobile Fiftieth Anniversary Celebration. He is seen interacting with a “live” Rudy Vallee and singing “White Christmas” with just a guitar accompaniment. The program is broadcast simultaneously by CBS and NBC.

Last Friday Wickliffe Crider, vice president for radio and television at the Kenyon and Eckhardt Advertising agency, hopped a plane for Paris, arrived Saturday and hustled Bing Crosby to a studio to make a film of him singing “White Christmas” and several short takes showing Crosby introducing various segments of the program. Crider flew back Sunday and the film was processed immediately for tonight’s show.

(Jack Gaver, The Press Democrat, June 15, 1953)

June 18, Thursday. (6:30–7:00 p.m. Pacific) Another taped Bing Crosby Show for General Electric is broadcast by CBS.

    June 25, Thursday. (6:30–7:00 p.m. Pacific) The Bing Crosby Show for General Electric is broadcast by CBS. Around this time, Bing is photographed at a reception in Paris promoting Cinzano with tennis star Raymond Rodel. It may be the same reception when, speaking French, he presents French singer Line Renaud with the "Médaille de la Courtoisie française".

June 26, Friday. Decca masters eight of Bing’s radio songs and subsequently issues them in 1954 as a 10” LP called “Some Fine Old Chestnuts”.

 

Another record taken from an actual performance is Bing Crosby’s Some Fine Old Chestnuts, songs of the ‘twenties, accompanied by the Buddy Cole Trio. These are on Bruns LA8673. 

(The Gramophone, September, 1954)

 

The eight-song, 10” LP Some Fine Old Chestnuts, released in 1953, was one of Bing Crosby’s first albums to be recorded as such, consisting entirely of previously unreleased material. That said, it is also true that the recordings were not made specifically to create an album for Decca Records. Rather, Crosby had prerecorded the songs for use on his weekly radio program and then offered them to Decca for release on disc. The selections included pop standards like “Dinah” and “I Can’t Give You Anything But Love,” which Crosby sang over only a piano trio accompaniment. The circumstances surrounding the appearance of the LP reflect the reduced significance of recording to the singer; as he aged into his fifties, he cut back somewhat on his professional activities, notably recording. (Meanwhile, radio went into fast decline, and he did not jump into television in any big way.) Nevertheless, the actual performances are comfortable and confident, as the singer takes a slightly jazzy approach to the familiar material.

(William Ruhlmann, Allmusic)

 

But if individual hit-parade entries were in short supply, Bing and many other singers of similar stature were appeased by the growing popularity of the long-playing record. Indeed, it was the advent of the LP that was the salvation of Frank Sinatra’s career and was largely responsible for his re-acceptance as a great recording star. Thus, the record market of the fifties split itself into two diametrically opposed factions. On the one side, the callow mass-market of the hyped-up pop single, and on the other the more discerning (and more expensive) LP market with its encouraging emphasis on quality repertoire and generally gimmick-free talent. This meant that singers like Crosby, Sinatra, Nat King Cole, Peggy Lee and Ella Fitzgerald found their commercial outlet not in the cheap juke-box fodder of the period, but in the sophisticated and jazz-tinged songs of Cole Porter, Rodgers and Hart, Gershwin, Harold Arlen and Johnny Mercer. And while it was not unheard of for quality album artists to enjoy an occasional hit single there were actually very few of the accepted pop-single artists who were capable of crashing into the then-rarefied and highly exclusive LP market.

Under these conditions Bing Crosby should have taken over the market, or at least a substantial share of it, in a big way. But unlike Sinatra, who threw himself passionately into the new medium, Crosby was content to have his record company compile albums from his old singles. When he did get around to recording completely new albums—and such occasions were few and far between—the competition from other singers was hard to contend with.

(Ken Barnes, The Crosby Years, page 91)

 

SOME FINE OLD CHESTNUTS-Decca (US), Brunswick (UK), 10 inch LP-8 titles.

Here is another release that was conceived purely as an album, although all the titles were originally recorded for insertion into Bing’s CBS radio series of the early fifties. The album was mastered on 26 June 1953, but the actual recording dates are unknown. The songs are all great standards - some of which he had never previously recorded (like ‘Sleepy Time Gal’ and ‘I Can’t Give You Anything But Love’) plus some which were associated with him (like ‘Dinah’ and ‘Do You Ever Think of Me’). Bing is in excellent voice - thanks to an intelligent choice of keys - and accompanied only by the Buddy Cole Trio (piano, bass and drums). The recording quality is truly superb. The only criticism is an alarming sameness in the presentation of each song (first chorus slow, second chorus fast - or, at least, moderately bright). But perhaps this is being churlish when the standard of performance is so high. Apart from Bing’s glorious vocals (his performance of ‘Sleepy Time Gal’ is absolutely definitive), there is Buddy Cole’s dazzling piano work.

(Ken Barnes, The Crosby Years, page 92)

 

June 30, Tuesday. Bing and Lindsay depart from Paris for their journey home to California. They board the French liner S.S. Liberte at Le Havre. Other celebrities on board are Abe Burrows and Ruth Draper.

 

I once spent five interesting days with Bing on an ocean liner. This was in 1953. Carin and I had flown to London for the opening of the London company of Guys and Dolls. The show was a big hit there; we were feeling good and we decided not to rush back to New York on a plane. We booked passage on the beautiful Liberte of the French Line. Neither of us had ever sailed the Atlantic before. Carin was raised in Seattle and her voyages were limited to the ferry that crossed Puget Sound. My experience consisted of an occasional voyage on the Staten Island Ferry and once in a while, a long trip on the Hudson River Day Line, to Bear Mountain for picnics.

So when we boarded this great ship we were excited, and a few moments later we became even more excited when we ran into Crosby. Bing and his son Lindsay - he was fifteen, Bing’s youngest - were coming back from a European trip.

Carin and I hurried to finish our chores. Unpacking, noticing that the stateroom was smaller than the photograph we had seen (we loved it anyway), trying to open the portholes (they wouldn’t budge), rushing down to the dining room to reserve a table (something you had to do quickly or you’d get stuck with the wrong people for five days and fifteen meals). We arranged to sit with Bing and Lindsay for the whole trip.

Then we just strolled on the deck like people we had seen in the movies. And as we strolled I began to think about the Ship’s Gala. Friends in London had told me about the tradition of the Ship’s Gala, which is a big party on the last night of the voyage. This one was especially important to the crew because it was held for the benefit of the Sailors’ Fund. Any performer who happens to be on the ship is asked to appear in the show. My friends warned me to be prepared.

Many performers feel a need to complain a bit when they are asked to do this. They grumble that they are on the, ship for “a rest,” or say, “I don’t have any accompanist with me,” or make some other lame excuse. However, all of us admit that we’d feel terrible if we weren’t asked, and one hour after we sailed I started worrying. The Gala was four days off but I was already wondering whether they’d want me to perform. An hour later, the ship’s purser, a pleasant young Frenchman, came to me on the deck and asked if I would honor them by being the master of ceremonies. I was relieved and delighted, but I quietly, almost shyly, said, “Well, I guess I can if you want me to.” Then the purser said, “I know you’re a friend of Mr. Crosby’s. Do you suppose he would do something in the show?” He evidently was nervous about approaching Bing directly. I knew that part of his eagerness to have me as the MC was my connection with Bing, but that didn’t trouble me. I was eager to be included. I agreed to talk to Bing about it.

That night I casually asked Bing if he would come on the show and sing a couple of songs. He looked at me with a very cool look and said, “No way. I’m on this ship to take it easy.” I told him it was for the benefit of the sailors and that I was going to be the MC. He just shook his head. He said to me, “You’re like Bob Hope. He’ll go anywhere where there’s a benefit. I’ll come to the Gala but only as a member of the audience.” I didn’t press him, although I began to feel depressed. I couldn’t imagine performing at a show while Bing Crosby is sitting at a table and just watching.

I decided I wouldn’t let this spoil our trip. We didn’t talk about the Gala again, and we all had a very pleasant time. Crosby was relaxed and charming company. Carin and I and Bing and Lindsay (we called him Linnie) took all our meals together, and what meals they were. It’s the last time I remember getting all the caviar I could possibly stuff down. On the Liberte, caviar was considered an ordinary part of the menu; all you had to do was ask for it. Of course, if you were a celebrity or a friend of that celebrity, you got a lot more of it.

We shared our table with one other couple. They were from California and Bing knew them slightly. One thing I remember about the man was the unusual tie he wore with his dinner jacket. In those days passengers dressed for dinner every night except the first night out. However, instead of the conventional black bow tie this man wore a long black four-in-hand. He continually stroked it, as though he were very pleased with it and was waiting for some comment. The first time I saw that tie I whispered to Bing, “I never saw anybody wear a four-in-hand with a tux.” Bing whispered back to me, “Don’t say anything. Don’t ask him about that tie because what he’ll say is ‘Where have you been? This is the new In thing.’” For the rest of the trip we never mentioned the tie and the poor guy just sat there stroking it and waiting for comment.

As we neared the night of the Gala, I began to get more and more nervous. The purser had corralled one more performer besides me. The great Ruth Draper, who was famous for her one-woman show, was on the ship. Miss Draper had agreed to do a few of her fantastic sketches. So the entire show would consist of Ruth Draper and me, with Bing Crosby sitting out front enjoying himself.

The day before the Gala I was walking on the deck thinking and worrying when Linnie Crosby came up to join me. His manner seemed very furtive and he quickly whispered to me, “Abe, I know you’ve been worried but it’s going to be all right. He’s just teasing you. He’s going to do the show. Don’t tell him I told you.” And he fled before I could say anything. I’ll always be grateful to Linnie for that.

About an hour later Bing came over to me and said, “I decided to do that dumb thing with you. I don’t want you making a fool of yourself all alone.”

I wasn’t going to squeal on Linnie and I put on a very surprised and grateful act. “Hey Bing, that’s great. Makes me feel a lot better.” He said, “Forget it. Let’s get that piano player from the ship’s band and we’ll rehearse tomorrow afternoon.” Now that he was going on, he became completely professional. And he was damned well going to rehearse.

I went to my cabin and wrote a song for us to do together, a parody of “The Sunny Side of the Street.” It was based on the fact that for days the ship had sailed in fog. Very little sunshine. The name of the captain of the Liberte was Commodore LeVecque, which fortunately rhymed with “deck.” That led me to “Please, dear Commodore LeVecque, where’s the sunny side of the deck?”

The next day we all met in the lounge. Bing, Carin, Linnie, the purser and the pianist. Bing liked the song I had written, and when we finished singing it together he said, “Burrows, if the ship’s foghorn ever busted, we’d always have you.”

He ran through the songs he was going to do, including one of my favorites, “When the World Was Young,” the lovely song that starts out “Ah, the apple trees … “We were all having a good time when a strange thing happened.

Young Linnie was also a pretty good singer. He had just made a hit record in London. The purser suddenly remembered this and he said, “Maybe young Mr. Crosby should sing something at our Gala.” Bing said, “Great idea.” I saw Linnie grow pale. He was only fifteen and had never performed before a live audience. And I’m sure he wasn’t wild about performing with his father watching. He shook his head shyly and said he’d rather not do it. Bing then said something like “Aw c’mon, Linnie, it’ll be fun.” Lindsay Crosby just shook his head. Bing began to kid him and then started to press him. The boy kept shaking his head. Suddenly the atmosphere began to get tense. Then I opened my mouth and started to say something like “Bing, if Lindsay really doesn’t want to, maybe … “I stopped talking when Bing said sharply to his son, “Linnie, you’re going to do that song. If you don’t, you can’t come to the Gala and you’ll spend the night by yourself in your cabin.” He wasn’t teasing now. He sounded like a tough military officer. Lindsay responded like a tough private. “Okay, then I won’t come to the Gala.” And he ran out of the lounge. The rest of us were all quiet for a moment. Carin and I looked at each other. She was unhappy about this because she had grown very fond of Lindsay; but we both knew there was nothing we could or should do. Bing looked thoughtful for a moment and then he went on rehearsing.

The next night we performed at the Gala and it went very well. Carin was watching the show from a table in back of the room when she suddenly heard a whispered “Pssst.” She turned around and there was Lindsay, crouching behind her chair. He had sneaked in to see part of the show. He hid behind Carin for a while, and then just before the show ended he quickly sneaked out. The next day Bing and Lindsay were strolling the deck together as though the whole thing hadn’t happened. Bing loved his sons but he had definite standards of discipline for himself and for the people he loved.

(Abe Burrows, writing in his book Honest, Abe – Is There Really No Business Like Show Business?)

 

July 2, Thursday. (6:30–7:00 p.m. Pacific) The final General Electric show of the season is broadcast. The guests are again Joe Venuti and Lindsay Crosby.

July 6, Monday. (8:00 a.m.) Bing and Lindsay arrive back in New York on the Liberte at Pier 88 on the West 48th. Street dock and catch a train to Chicago where they play golf.

July 16, Thursday. Bing is at his Elko ranch.

July 23, Thursday. Bing begins selling his sixty-five racehorses at Hollywood Park to help raise what is said to be nearly $1 million for taxes on Dixie’s estate. Fifty-eight are sold but raise only $85,000, which has to be split equally with Lindsay Howard. Bing puts his Pebble Beach house on the market for $250,000 and also his Holmby Hills home is up for sale for $300,000 in order to raise cash to meet the tax bill. Bing has already sold some stocks and bonds. Larry Crosby is quoted as saying that Dixie was not properly insured.

July 24, Friday. Further sale of racehorses at the stables at Suburban Moor Park.

July 27, Monday. An armistice is signed to end the Korean War.

July 31, Friday. Bing leaves Elko for Hayden Lake, Idaho.

August 1, Saturday. Arrives at Hayden Lake where he vacations with his four sons and buys 12 acres in the Hayden Lake area. Lindsay wins a junior golf tournament during their stay in Idaho.

August 2, Sunday. Is scheduled to golf with Herb Rotchford but Bing cries off as he is nursing a bad cold.

August 15, Saturday. (8:15 p.m.) Bing and his sons are thought to have attended a show featuring Spike Jones called “Musical Insanities of 1954” at North Idaho Junior College, Coeur d’Alene.

August 16, Sunday. Bing, wearing tartan shorts, plays in an exhibition golf match in Wenatchee, Washington to raise funds for a new municipal golf course to be called Three Lakes. He partners Jack Westland against Bruce Cudd and Eddie Draper but they lose the match 2 and 1. Bing has an eagle at the third hole when he chips in from 100 yards. He has a round of 79.

August 18, Tuesday. Kathryn Grandstaff (later “Grant”) has her contract renewed by Paramount for a further six months.

August 19, Wednesday. Variety magazine reports that Donald O'Connor has had to withdraw from the forthcoming White Christmas film because of illness. Danny Kaye is brought in to replace him.

August 20, Thursday. Bing has been reluctant to return to a weekly radio show but it is reported that he has eventually signed for GE again.

 

Bing Crosby will be “fined” $500 a week by his radio sponsor, General Electric, for not doing television. In signing for a resumption of his radio series on CBS, he agreed to accept the penalty for every week he doesn’t do TV. This knocks his weekly radio take down to $15,500.

(Variety, August 20, 1953)

 

August 24, Monday. Visits the "Operation Palette", the navy combat art exhibit at the Davenport Hotel, Spokane. Also meets Father Corkery at Gonzaga University and approves plans for the proposed new library.

August 25, Tuesday. Molly Crosby (19), daughter of Larry Crosby, dies in St. John’s Hospital from complications of a throat infection.

August 28, Friday. Bing and his four sons plus producer William Perlberg slip into the Fox State Orpheum cinema in Spokane to watch a preview of Little Boy Lost.

August 31, Monday. (11:00 a.m.–12 noon) Bing is in Spokane to sign copies of his book Call Me Lucky at the John W. Graham store at W707 Sprague. 330 copies are sold.

September 2, Wednesday. A letter from Mona Freeman to newspaper columnists about her friendship with Bing is published. She categorically denies any romance. Meanwhile, Bing writes to Eugenie Baird.

 

I did receive your letter and records at the ranch, and I thought I had made a reply thereto. Evidently in my increasing senility my memory is playing tricks on me, because I guess if you didn’t receive a letter I couldn’t have written one. I thought I had, and I seek your forgiveness.

I can’t plead press of other duties or occupation with too many things, as I haven’t been doing anything since March when I went to Europe, and although we did 8 or 20 transcriptions over there, there was very little real work involved. Since returning in the middle of July I haven’t done anything but ride herd on these four little monsters who bear my name.

I am presently at Hayden Lake with them, from which point we return to Hollywood on September 6 or 7 to start work on ‘White Christmas’—a new picture involving Danny Kaye, Clooney, Vera-Ellen and myself. So if you come to California in September we will be there and eager to see you. My home phone number is 57665 and the office—which is probably the best place to locate me—is Crestview 11171.

By the way, the records which I played at the ranch sounded very good, and your delivery and voice-handling most impressive. I can tell you more in detail about my reaction when I see you.

Hope you come to California—I think you’ve been away from that part of the country too long. Surely you must be sick of the effete East by now.

As ever—Your friend,

 

September 7–November 25, Monday–Friday. Bing films White Christmas with Danny Kaye, Rosemary Clooney, Vera-Ellen, and Dean Jagger. The director is Michael Curtiz and Joseph J. Lilley is the musical director. External scenes on a station location are filmed at Twentieth Century Fox.

 

Even though Curtiz was a celebrated director—Casablanca—and even though Danny Kaye had his own agenda and a very strong ego, Bing was always in charge. Sometimes he’d just disappear. He’d say, “I’m going over the wall.” Nobody would know where he went, and nobody would ask. We’d already shot the finale of the picture, a lavish production number done on two stages, but on the day the king and queen of Greece came by, Curtiz announced that we’d do it again. “We will not film it, but Binkie and Danny and Vera and Rosemary will pretend to film it for their majesties, the king and queen of Greece.”

      Bing leaned over to me. “Cover for me. I’m going over the wall.” So we did the scene without him, lip-synching to the playback, trying to pretend that Bing wasn’t supposed to appear in the number, even though his voice, singing “White Christmas,” was coming out of my mouth.    

      Bing had a hard time being direct with people; if he wanted to pay a compliment, he’d do it by going “around the horn,” saying it to someone else. Even when he tried to make a joke of it, he’d do it secondhand. The minstrel show number contained this bit of banter for me and Danny.

      “Mr. Bones, Mr. Bones, how do you feel, Mr. Bones?

      “Rattling!”

      “Mr. Bones feels rattling! Ah, that’s a good one!” The move was for me to put my hand over my left breast. Then all the dancers behind us burst out laughing; Bing had stage-whispered to them, “And the other one’s not bad, either.”

      I know that Bing could be very aloof, his eyes not sky-blue, but steel-blue. He had a way of appearing friendly–“Hiya, pardner,” he’d say, but then he’d just keep moving. Dinah Shore once told me that Bing lived behind a “privacy curtain,” and I couldn’t see behind it, as close as he and I were.

(Rosemary Clooney, writing in her book Girl Singer, page 111)

 

Tony remembered “Mr. Crosby”, as they were taught to refer to him, as always being friendly, kind and congenial to each and every boy at all times, always making a point to do extra “kidding” with whoever was the littlest and youngest boy in the choir.

 Kathy asked Tony what he observed about Bing’s “process” or “preparation” for acting and singing but Tony indicated that it was so long ago that it was hard to remember specific instances. However he does recollect that Bing was always prepared for whatever he had to do and would always be open to try a song with a little twist to it. For instance on the film set, he would scat along to the playback and it would always be musically acceptable. Bing would often sit in the choir loft at The Good Shepherd Church in order to avoid attention and Tony remembers his always being genial on such occasions. 

Turning to White Christmas specifically, Tony said that by the time the choir was hired to work on the film, he had done so many movies, recordings and television shows, and had seen Bing Crosby almost every Sunday when they sang at his church, it was simply regarded as just another movie. However, Tony, as an adolescent boy, was particularly pleased when he realized he was going to be working “with those beautiful gals Rosemary and Vera.” The boys from the choir spent three days working on the film, one day on the soundstage and two days filming the finale.  The older members of the choir were left out of the filming as they were too tall and the remaining choir members plus several child actors all lip synched to the recording of the choir’s voices. Tony remembered being measured for the costumes which were designed to be seen only from the front – there were pins in the back. Bob Mitchell wouldn’t even let the boys sit down during breaks in the actual filming for fear they would wrinkle the costumes. Tony is one of ten boys in that final scene and he remembers that there were problems with the tracking of one of the cameras. He recalls playing with the artificial snow too.

The Mitchell Boys Choir voices were the young voices on the recording of the song alongside those of the four principals (Trudy Stevens provided the voice for Vera-Ellen). Tony said that the choir was very well prepared and disciplined on the sound stage. The boys were not allowed to ask for autographs or to have photographs taken with the stars although, by chance, Tony did have a photo taken with Rosemary Clooney. Tony said that “in rehearsals and at costume fittings the production assistants were going crazy with all of the unpreparedness, fits and egos of the other child actors and dancers, who acted like they were the stars of the film.” The little ballerina kept performing the scene in her own way but this was not how the Director wanted it done.

Tony remembers that Danny Kaye was always trying to keep everyone on the set relaxed especially during a “tantrum” by the little ballerina, by impersonating her, usually behind her back but where the rest of the boys could see him and laugh to themselves.

Kathy queried whether the film had an impact on Tony and his career but he said doing the movie was just another day at the office. Even though his family was happy that they could tell all of their friends that he was in the movie, most of the choirboys had by then been in so many movies it was “old hat” to them. He did not see the film until some years later but when he sees the movie now he gets a good feeling remembering the camaraderie of Bing, Danny Kaye, Rosemary Clooney and Vera-Ellen and how nice they all treated the little choirboys.

(Tony Butala, a member of the Bob Mitchell Boys Choir from 1951 to 1954, later of The Lettermen, in an interview with Kathy Brown in 2011)

 

September 8, Tuesday. The musical Carnival in Flanders in which Bing has invested opens at the New Century Theatre in New York. It closes on September 12 after only 6 performances.

 

Harold Arlen was approached to write the score, but the task ultimately fell to Van Heusen and Burke. Bing Crosby was providing much of the financing for the production and had great faith in the songwriting team, who had written several of his hits, despite the fact that their previous theatrical collaboration, Nellie Bly (1946), had been a critical and commercial flop. George Oppenheimer, one of the book’s original co-writers, withdrew from the project during pre-Broadway tryouts in Philadelphia, and Dorothy Fields joined her brother Herbert to help with rewrites. Eventually all their work was discarded by Sturges, who replaced Bretaigne Windust as director and completely reworked the book before the show reached California for a series of stagings by light opera companies prior to the New York City opening. Choreographer Jack Cole was replaced by Helen Tamiris, and several cast changes were made before the troubled production finally opened on Broadway.

Carnival in Flanders opened on September 8, 1953 at the New Century Theatre, where it ran for only six performances. The cast included John Raitt, Dolores Gray, and Roy Roberts. Critics were enchanted by Oliver Smith’s sets and Lucinda Ballard’s costumes, inspired by Brueghel paintings, and Gray’s lively performance, but universally panned every other aspect of the production. In his review for The New York Times, Brooks Atkinson wrote “As an actress she [Dolores Gray] is authoritative enough to bring down the house with some of the maudlin songs...In the version prepared for the stage by Preston Sturges it is laborious and banal... As usual, the theatre has lavished a lot of wealth and talent on this hokum. Lucinda Ballard has dressed everybody to the nines... Although Oliver Smith’s scenery is cluttered and rather desperate, there is certainly a lot of it.”

If remembered at all, it is primarily as the source of the Van Heusen-Burke standard “Here’s That Rainy Day”. Dolores Gray won the Tony Award for Best Actress in a Musical. It remains the shortest-lived Tony-honored performance ever.

(Wikipedia)

 

September 15, Tuesday. Bing records material for two General Electric shows with Gary Crosby which air on CBS on September 27 and October 4.

September 20, Sunday. Tapes songs for two General Electric shows with Rosemary Clooney which air on October 11 and 18.

September 21, Monday. The film Little Boy Lost has its New York premiere at the Rivoli as a benefit for the Overseas Press Club.

 

A considerable departure for Bing Crosby from the sort of picture and the type of role that he has been accustomed to playing is made by him in “Little Boy Lost,” a Paramount offering that was put on for the benefit of the Overseas Press Club in its première last night at the Rivoli. For here Mr. Crosby is playing a straight dramatic role in a picture of deep emotional content and genuinely tragic, overtones. Except for two or three song numbers that are worked in consistently, there are few other points of contact with the bright and chipper Bingle of old.

And yet it must be said for Mr. Crosby that he manages to convey a strong sense of real emotional torment in a tragically wracked character and that he serves as a credible buffer in a candidly heart-socking film. As an American radio reporter who returns to France after World War II to seek the child of his briefly blissful union with a French girl, later killed with the Underground, he makes the agony of this man in trying to fathom the identity of a nameless French boy both perceptible and understandable, in human, uncomplicated terms.

Filmed in France

From the moment Mr. Crosby lands in the heart of France, where most of the picture was filmed, incidentally, and begins his touching search, the pathos and heartache of his mission increasingly intrude. And as soon as he meets and starts to study the little lad who is suspected as being the reporter’s son, the emotional surge becomes intense. For George Seaton, who wrote and directed the picture, and William Perlberg, who produced, have got a youngster to play the orphan who seems the absolute and undeniable thing.

This little chap—an 8-year-old named Christian Fourcade—has the eyes, the expression and the voice that would tear the heart out of a heathen idol and a sure sense of the drama he plays. In the scenes wherein he cautiously reaches for intimacy with the man who is equally cautious in making contact with him, the lad is unerringly true. And in his moments of private anxiety and disturbance, he is nigh superb.

Seaton’s Direction Praised

For this we can thank Mr. Seaton, quite as much, you may be sure, as the boy, for the job of directing a youngster in such a delicate role is exceedingly tough. And Mr. Seaton’s command is equally evident in the performance Mr. Crosby gives and in the exquisite acting of Gabrielle Dorziat as the Mother Superior of the French orphanage. Required to be stern and objective, yet revealing of feelings underneath, Mlle. Dorziat is subtle, the most subtle and brilliant of all the performers in the film.

Claude Dauphin as a friend of Mr. Crosby who assists him in the search and eventually reveals the dilemma on which the man actually hangs is adequate. The misfortune of Mr. Dauphin—and, indeed, the one misfortune of the film—is that the problem of the searcher cannot be sooner and more artfully revealed.

As the lovely French wife of the reporter, Nicole Maurey is attractive in her few brief scenes, and Colette Dereal is pretty and fetching as a momentarily passing coquette.

 (Bosley Crowther, New York Times, September 22, 1953)

 

A direct play on paternal instincts is made in this film treatment of Little Boy Lost, resulting in a picture with an obvious pitch at family audiences, among whom it will enjoy its best reception. The Bing Crosby name should help generally.

      …Crosby fans should like the Groaner’s work, even though his song stints are incidental and held to a minimum.

      Based on the Marghanita Laski story of a father’s search for the young son from whom he had become separated because of the war, the film doesn’t come off with the tremendous heart impact of the original, or of the television version seen only a season or two back, although it does have sufficient moving moments to be satisfactory family filmfare.

      …Three Johnny Burke-James Van Heusen tunes are heard during the picture and listen well. They are “The Magic Window,” which the Crosby pipes makes something special; “Cela M’Est Egal (“If It’s All the Same to You”), and “A Propos De Rien.”

(Variety, July 8, 1953)

…The father is played by Bing Crosby; and I hope nobody still regards Mr. Crosby as a simple grizzler over White Christmases and Empty Saddles in the Old Corral. As an actor he is among the most cunning manipulators of timing and toning we have in the cinema, and here, though one or two songs have been sneaked in for custom's sake, it is as an actor that he scores, conveying with seeming ease the father's disappointments and anxieties and his bursts of exasperation with the uncomprehending child.

(Dilys Powell, The Sunday Times, August 16, 1953)

 

It is possibly a mistake to imagine that things come easily to Mr. Bing Crosby, but that is the impression he often gives. His swing at golf is easy to a point of laziness, and that same deceptive laziness informs his acting and his singing. It is an agreeable laziness, a restful laziness, and it is blessedly impossible to think of Mr. Crosby cross or of Mr. Crosby in a hurry. Nevertheless, that air of casual assurance may well be the result of long and careful application, and it is not at all impossible that Mr. Crosby put some hard work into Little Boy Lost, which is now to be seen at the Plaza cinema. If so, it was hard work that triumphantly justifies itself.

(The Times, August 17, 1953)

 

What do you associate with Bing? Songs and sentiment, amiable gentleness and the family touch? Well, they’re all here and something else, too. The something else is a spot of originality in the story and its settings. And it’s my guess that the tender, human theme will go down well with Bing followers—and picture goers everywhere. To the role of an American journalist and broadcaster in Paris, Bing brings conviction. . . .  Frankly, I was moved by this simple little story—Bing’s Little Boy Lost is certainly one to watch for.

(Picturegoer, September, 1953)

 

“Tear-jerker” was the dismissive epithet used by most critics in their Little Boy Lost reviews. But this was a persuasive exercise in movie sentiment, astutely crafted by director-writer George Seaton from a story by Marghanita Laski, and it opened up an expected development in Bing Crosby’s career. In his first completely dramatic role Crosby played, very convincingly, an American news reporter who returns to France after the war to find a son he has never seen. .  . .The William Perlberg production, made in France, may not have drawn such crowds as Crosby’s musicals did, but it pleased a lot of people.

(The Paramount Story, page 208)

 

September 25, Friday. (7:00–8:00 p.m.) Bing narrates This Game of Baseball, a sixty minute recorded program broadcast on CBS Radio.

With Pitt Pirate stockholder Der Bingle virtually singing his script and operating as the focal point throughout, the illusion of personal interview, with delivery in light documentary style, was an absorbing lesson in the ‘how to’ of such diffusions. Der Bingle bingled to centre immediately with an overall pitch (he’s also a hurler who knows his mixed metaphors) on the pastime and quickly got down to chapter and verse, leading tuner-inners up from the sandlots in easy stages through the big leagues, with color bits and sound effects added.

(Variety, September 30, 1953)

September 27, Sunday. Larry Crosby is arrested on a drunk driving charge and he is fined $500 at his trial the following week. It was his first offence. (9:00–9:30 p.m. PDT) The General Electric show returns on Sunday nights for this season. “Where the Blue of the Night” is replaced as a theme song by an untitled orchestral piece written by Victor Young. Gary Crosby is the guest on the opening show with Ken Carpenter and the John Scott Trotter Orchestra remaining as fixtures. The shows are produced by Bill Morrow and Murdo MacKenzie and continue until May 30, 1954. The audience share is 6.0 for the season which earns the show seventh place in the Nielsen ratings. The game show People Are Funny takes top position with a rating of 8.4 and it is clear that the public has deserted radio for television.

 

Sunday is now Bingsday on CBS Radio and no matter where you move him, the loyal will find him. His voice and personality have the magic of the Pied Piper and even without his long-time “themer” (“Blue of the Night”) he’ll be fished out of the receiver. To many, the crooner may have given the impression that he’s easing off and letting another generation carry on but that’s his style. If it doesn’t fit snugly into his range, he’s let it alone. From the swingy “Down by the Riverside” down through ballad, whimsy and romance, he lilted his larynx in approved Crosby style which is still good enough to warm ears and excite the senses.

In the guest slot was son, Gary, who sounds and acts like out of the same pod as père Crosby. In duet their voices were so well matched, they couldn’t be told apart. The youngster also had a good sense of timing and should carry the name long after El Bingo has retired to Fort Knox. The comedy was on the short side, the usual sharp wit of Bill Morrow being held to a minimum. The patter that passed between Bing and Ken Carpenter and the humorous lead-ins provided the only light touches. John Scott’s filigreeing orchestration shone brightly in “Dancing in the Dark” and coproduction of Morrow and Murdo MacKenzie was grooved to the Crosby lining. General Electric preferred to have cross talk about people, rather than "move merchandise". For an encore the singing Crosbys appear again next week.

(Variety, September 30, 1953)

 

Bing Crosby returned to the air this week in good voice and a gay old mood. There was a time a few years ago when Crosby was developing an unfortunate habit of slurring his ballads, as in “Golden Earrings.”  But there was no trace of that this week. His “Vaya Con Dios,” while somewhat slower than the Les Paul-Mary Ford version, was as clear as his best record hits. His guest this week—and again next week was his son, Gary, who seems to sound more like Crosby every time he’s heard. He gave out with a snappy “Gambler’s Guitar,” and then joined his dad in a cute duet. John Scott Trotter’s ork got its turn with a plush “Dancing in the Dark.” In a season in which Crosby is due to bow on TV on a somewhat regular basis, it’s worth noting that his current radio show is strictly a radio show, consisting of songs and pleasant chatter. While his zillions of fans would no doubt flock to see him do no more than that, it is nevertheless to be hoped that Bing will pay some attention to develop a really televisable format.

(Gene Plotnik, Billboard, October 10, 1953)

 

October (undated). Kathryn Grant interviews Bing for her weekly column "Texas Gal in Hollywood" which is included in 20 Citizen papers. Bing invites her for tea at Lucy's.

October 4, Sunday. In the CBS Studio in Hollywood, Bing records songs for two General Electric shows with Gary Crosby, which air on November 1 and 8. (9:00–9:30 p.m.) The Bing Crosby Show for General Electric is broadcast by CBS. The show has been taped and the guest is again Gary Crosby.

October 10, Saturday. Press reports again link Bing with Mary Murphy. (7:45 p.m.) Bing leaves his Holmby Hills home and drives to pick up Moa Freeman from her home. They go to a dinner party at the home of William Goetz, the film producer, at 300 Delefern Road, Holmby Hills. Dinner is served at 10:30 p.m.

October 11, Sunday. (5:30 a.m.) Returning from his evening out with Mona Freeman, Bing has an automobile accident at the junction of Wilshire and Sepulveda Boulevards in his Mercedes Benz sports car and has a “severely wrenched back.” He is taken to his home by two Los Angeles police officers and has to miss several days of filming. (9:00–9:30 p.m.) The Bing Crosby Show for General Electric is broadcast and the guest is Rosemary Clooney.

 

Crosby Escapes Injury in Crash

Hollywood, Calif. (UP)

Crooner Bing Crosby was reported unhurt today following an auto collision which injured three other persons and bashed in the front of the singer’s $12,000 Mercedes-Benz sports car.

Crosby reportedly complained of a sore back when he stepped from his cream-colored roadster following the crash early Sunday morning. But the crooner’s brother, Larry, said later Bing was “shaken up, that’s all.”

Bing was not available for comment.

The driver of the second auto, Los Angeles fireman Frank Verdugo, 32, was hospitalized with head injuries. His wife, Lucy, 28, received a possible broken nose, and a passenger, Eulalio Perea, 25, suffered minor bruises.

 Crosby’s plush auto, purchased in Germany last summer, had fenders, radiator and lights crumpled.

Crosby told highway patrolmen he stopped at the intersection, saw no cars and started across.

“There was a crash and I lost control,” he said. “That’s all I know.”

(The Waukesha County Freeman, October 12, 1953)

Bing Crosby will be in sad shape for several weeks due to a cracked vertebra. They can shoot around him for a couple of days and the last number has been postponed until the film’s final week

(Daily Variety, October 13, 1953)

 

October 14, Wednesday. Bing reports back to Paramount to continue with the filming of White Christmas with his cracked vertebrae taped up.

October 18, Sunday. Tapes a General Electric show for transmission on October 25. The guest is Jane Morgan. (9:00–9:30 p.m.) Another taped Bing Crosby Show for General Electric is broadcast by CBS and the guest is again Rosemary Clooney.

October 20, Tuesday. Again, there is press speculation about Bing’s private life and this time he is said to be cabling to Schiaperelli model, Ghislaine de Boysson, in France.

October 21, Wednesday. Bing records a contribution to a radio tribute to Fred Ahlert, former ASCAP president and composer of “Where the Blue of the Night” who died on October 20. The tribute is narrated by Ben Grauer and broadcast on NBC on October 25 (12:00-12:30 p.m.) and the 1945 recording of "old blue" is played..

...It was a warm sentimental half-hour, excepting for the Crosby tie-in which, possibly because of the mechanical interpolation via disking, seemed too matter-of-fact and aloof and out of spirit with the warmth of the event.

(Variety, October 28, 1953)

October 23, Friday. Bing is sued by Frank Verdugo and the occupants of the other car in the accident on October 11 for $1,051,400. Bing is accused of “driving his car at a wanton, reckless rate of speed in violation of traffic controls and while under the influence of intoxicating liquors.”

October 25, Sunday. (9:00–9:30 p.m.) The Bing Crosby Show for General Electric is broadcast and the guest is Jane Morgan.

October 26, Monday. Representatives of the State Highway Patrol say that Bing “showed no signs of being drunk and that there was no indication that Mr. Crosby was driving recklessly” when involved in the accident on October 11.

October 29, Thursday. Bing lunches with the stand-ins for his female costars in White Christmas at Paramount and is said to have “smashed the Hollywood caste system.”

October 30, Friday. (12:30-1:15 p.m.). Autographs copies of "Call Me Lucky" in the book department of the Broadway Crenshaw.

November 1, Sunday. (9:00–9:30 p.m.)The Bing Crosby Show for General Electric is broadcast by CBS. The show has been taped and the guest is Gary Crosby.

November 2, Monday. Press comment states that Bing is a frequent visitor to the Sabrina Fair movie set and that he talks to Audrey Hepburn in French.

November 4, Wednesday. Decca masters two radio recordings by Bing and Gary Crosby for commercial release. “Down by the Riverside” briefly charts in the No. 28 spot.

 

Bing & Gary Crosby: “Down By the Riverside”-“What A Little Moonlight Can Do” (Decca) The Crosbys, pere et fils, have a surefire moneymaker in “Down By the Riverside.” It should repeat their “Sam’s Song” click of a few years back. Side is packed with a lively beat and tiptop harmony from start.

(Variety, November 18, 1953)

 

What a Little Moonlight Can Do DECCA 28955 — Bing and Gary, together again after almost two years, may have another “Sam’s Song” here with this bright waxing. The duo hands the evergreen a potent vocal, over a happy arrangement by the John Scott Trotter crew. Name power and performance should help this one get a lot of action and loot.

Down By the Riverside - The duo tackles another oldie here with good results, with Bing and Gary alternating on the refrain, and adding some clever patter as they sing away. Flip side has a little more sparkle but this side makes a good pairing for the father and son combo. Two potent sides.

(Billboard, November 28, 1953)

 November 5, Thursday. Thought to have filmed several TV spots for the Crusade for Freedom and Radio Free Europe. During the day, Bing is questioned by Edgar Simon, the lawyer representing the three people suing him over the recent car crash. At Simon’s office at 629 S. Hill Street, Los Angeles, he answers most questions but on the advice of his counsel (Walter Schell, Homer Mitchell, and John O’Melveny), he declines to tell with whom he talked and dined at film producer William Goetz’s party. A few days later, Mona Freeman is pressed by interviewers about her relationship with Bing.

 

“Speaking in generalizations—not particularly applying to Mr. Crosby—I certainly would like one day to marry again,” said Miss Freeman, mother of a five-year-old daughter whose custody she’d won in the divorce proceedings.

      “But I’m a Catholic. And I am divorced. I never could get an annulment of my first marriage because I have no grounds for an annulment. If I marry again, and I repeat, this is a general statement, I’d have to give up my religion. Therefore I’d have to give any marriage a lot of thought.”

      Since Crosby was a Catholic as well, the marriage was not given much of a chance to occur by thinking people, since the Church doesn’t sanction matrimony among divorced Catholics. For the time being, Mona said, she and Bing were “very good friends and I hope we always will be.” Twisting her fingers nervously, Mona added this observation:

      “I see him now and then, we go to dinner parties. I’m sure he goes out with other girls, but I don’t know who. Really, you just don’t ask your date those things.”

(The Fabulous Life of Bing Crosby, page 130)

 

November 7, Saturday. Bing takes Mona Freeman to Rocky Cooper's party.

November 8, Sunday. Bing records material for two General Electric shows with Peggy Lee which air on November 15 and 29. (9:00–9:30 p.m.) Another taped Bing Crosby Show for General Electric is broadcast and the guest is again Gary Crosby.

November 14, Saturday. Records “Y’All Come” and “Changing Partners” with Perry Botkin and his Orchestra. “Changing Partners” spends three weeks in the charts and peaks at No. 13. It also reaches the hit parade in the UK peaking at No. 9.

 

Bing Crosby: “Changing Partners’’- “Y’All Come”; “Ida. Sweet As Apple Cider”-” I Can’t Believe That You’re In Love With Me” (Decca). Bing Crosby may pull a surprise on “Partners.” and come out on top. He’s in excellent voice and gets first rate backing from the Jud Conlon Singers. "Y’All Come” is a bright country-styled item okay for the genre. Crosby is un-impressive on the oldie. “Ida." but comes through nicely on the flip standard. “1 Can't Believe.

 (Variety, November 25, 1953)

Changing Partners DECCA 28969— Warm and intimate, the Groaner’s version of the big new ballad will be welcomed by many. Looks like the gals have the click wax on the item, but Crosby can come thru with many more than his usual sales allotment here. Fine wax.

Y’All Come – Effort is a really attractive bundle of corn, with Bing singing out the happy opus pleasantly. Folk backing, with back country fiddles and all, add to the pleasure. Good contrast to flip, with the package one of the chanter’s strongest in some time.

(Billboard, December 5, 1953)

 

The worthy Bing, however, who was crooning before Vallee and is still doing better at the game than anyone else has ever done, offers a merry new number typifying American hospitality on Bruns. 05244, “Y’all Come,” coupled with “Changing Partners” which suits the singer perfectly–even if a few of his lower notes are a little rusty.

(The Gramophone. March, 1954)

 

November 15, Sunday. Tapes songs for two General Electric shows, the first with Rosemary Clooney and the second with Ella Fitzgerald, which are broadcast on December 6 and 13 respectively. (9:00–9:30 p.m.) The Bing Crosby Show for General Electric is broadcast by CBS. The show has been taped and the guest is Peggy Lee.

November 16, Monday. Bing meets Dame Flora McLeod (chief of Clan McLeod) on the set of White Christmas. Meanwhile Bing writes to Ken Murray.

 

Of course, you may use any film of mine which you can pry out of the Paramount Film Library and I will so advise Miss Marshall in the library today via the telephone.

I hope what you find is of some use to you and I also hope that the venture in which you are engaged proves to be successful and profitable to both you and Bergin.

I’m just about to finish “White Christmas” over here at Paramount. It’s been a long tough chore with another couple of weeks to go. Then I expect to get at my golf again and after a few days practice I will be ready for you. Right now I think you could give me about 3 aside and bring me in pretty crisp.

Have been involved quite a bit lately with Alice. It’s a pitiful case and while I feel deep sympathy for her and her situation, it really seems like it would be unwise to meddle in view of medica1 evidence which is available. I would like to talk to you about it sometime.

My best to Betty Lou.

As ever – Your friend

Bing

 

November 22, Sunday. Records material for another General Electric show with Ella Fitzgerald, which is broadcast by December 27. (5:00-6:00 p.m.) Bing is heard in one of Father Peyton’s Family Theatre Thanksgiving Hour radio programs on the Mutual Broadcasting System.  (9:00–9:30 p.m.) The Bing Crosby Show for General Electric is broadcast and the guest is Rosemary Clooney.

November 25, Wednesday. Completes filming of White Christmas. Goes to Palm Springs and during his stay a sandstorm ruins the windshield of his Mercedes-Benz car.

November 28, Saturday. Goes to a birthday celebration for Mrs. Perlberg (Bobbe Brox) at the Perlbergs' home with his sons Lindsay and Denny. Later, he is thought to have attended a reception organized by the Telemeter and Paramount executives at the Racquet Club in Palm Springs after the world premiere of "Forever Female" over the new Telemeter closed circuit at the Plaza Theatre. Many other stars such as Bob Hope, Jack Benny, and Eddie Cantor also attend.

November 29, Sunday. (9:00–9:30 p.m.) The Bing Crosby Show for General Electric is broadcast by CBS. The show has been taped and the guest is Peggy Lee.

December 6, Sunday. (9:00–9:30 p.m.) Another taped Bing Crosby Show for General Electric is broadcast and Bing’s guest is Rosemary Clooney.

December 9, Wednesday. (11:00 a.m.) Red Nichols and his Five Pennies give a clambake in the Gonzaga University gym in front of 1900 students. The event has been sponsored by Bing.

December 12, Saturday. Billboard magazine reports on a demonstration of a video recorder by RCA and it appears that this could be superior to the one being developed by Bing Crosby Enterprises.

December 13, Sunday. Affidavits are lodged by Bing and Mrs. Bob Hope regarding their efforts to disassociate themselves from the National Kids Foundation. The foundation sent out requests for donations using the names of Bing and Mrs. Bob Hope and raised $2.9 million in 1952 but spent only 10 percent of this on children. (9:00–9:30 p.m.) The Bing Crosby Show for General Electric is broadcast by CBS. The show has been taped and the guest is Ella Fitzgerald.

December 14, Monday. Press reports state that Bing has sold his interest in two Spokane television stations for $1.75M. He is said to be off to Palm Springs for golf. In addition, it is reported that he has reduced the asking price for his Pebble Beach house by $50,000 to $200,000.

December 18, Friday. Starts filming his first television special for CBS-TV on Stage Three of the General Service Studios in Hollywood. 

December 20, Sunday. Bing records material for two GE shows with Connie Russell, which are broadcast on January 3 and 31, 1954. (9:00–9:30 p.m.) The Bing Crosby Show for General Electric is broadcast and the guests are Jud Conlon’s Rhythmaires.

December 26, Saturday. Having been unplaced the previous year, Bing’s recording of “White Christmas” returns to the pop charts, peaking at number twenty-one over a two-week period.

December 27, Sunday. (9:00–9:30 p.m.) Another taped Bing Crosby Show for General Electric is broadcast by CBS and the guest is Ella Fitzgerald.

December 30, Wednesday. Records “If There’s Anybody Here” and “Back in the Old Routine” with Donald O’Connor and Matty Matlock’s All-Stars in Hollywood.

 

Bing Crosby-Donald O'Connor: “If There’s Anybody Here”-“Back In The Old Routine” (Decca). Bing Crosby teams with Donald O’Connor in a couple of freewheeling sides with an oldfashioned vaude touch. “Anybody Here” is a snappy rhythm tune while “Old Routine” is pegged on a show biz theme. Crosby and O’Connor blend nicely against the two-beat backgrounds

(Variety, April 7, 1954)

If There’s Anybody Here

The two movie personalities project their famous smiles and friendly good humor into this vaudeville-styled material neatly. A warm novelty that ought to get some reaction.

Back in the Old Routine

In this material, whose lyric and arrangement nostalgically recall the ‘20’s, Crosby and O’Connor have an unusually attractive vehicle. The New Orleans backing which furnishes so much of the bounce and sparkle to this opus is supplied by Matty Matlock’s All- Stars. A soft-shoe tempo might have been more appropriate.

(Billboard, April 17, 1954)

 

December 31, Thursday. Further recording session in Hollywood with Matty Matlock’s All Stars. Bing and Gary Crosby sing “Cornbelt Symphony” and “The Call of the South.” On the same day, Decca masters a number of Bing’s recordings originally made for his radio show and many of them are included in a 10” LP “Bing Sings the Hits”. Later, Bing dates Mona Freeman.

 

Cornbelt Symphony DECCA 29147 — Another bouncy vocal duo by the famous father-son team. The tune, which has been around some time, has a jaunty beat. Should get plenty of spins from deejays and jukes.

The Call of the South – same comment.

(Billboard, June 19, 1954)

 

Bing Crosby himself, and his son Garry, (sic) join forces again in two old-style new numbers, Cornbelt Symphony and a quaint Irving Berlin song, Call of the South (Bruns. 05315). There is some fine interplay between father and son with Swanee River on this one.

(The Gramophone, October, 1954)

 

Outstanding among the 45s is Bing Crosby’s “Sleepy Time Gal” with the Buddy Cole Trio backed by a dull “No Other Love” with our old friend John Scott Trotter who includes a nice piano solo in his accompaniment. An American correspondent tells me that Crosby is constantly heard on radio in these stylish performances which seldom reach record. One or two of them are reaching us over here and we could do with more.

(The Gramophone, July 1956)

 

Secret Love

Decca 29024—The singer covers the current hit tune with a version that will please many, tho it is too late to dislodge the hit version. Crosby is relaxed and works up to the emotional climax of the song with feeling.

My Love, My Love

This is a cover of another successful tune, which is also ideally suited for the crooner’s voice and traditional style. It’s a lovely song and forcefully projected.

(Billboard, February 20, 1954)

 

Bing Sings the Hits

Decca DL 5520. Many of Bing’s fans will be interested in this collection of top hits of the day, sung by the “Groaner” with his usual light-hearted, but sincere air. Backing is by the John Scott Trotter ork in most cases. Collection includes “Vaya Con Dios,” “Stranger in Paradise,” “Secret Love,” “I Love Paris,” “Y’All Come” and others. Should be a brisk seller.

(Billboard, April 3, 1954)

 

In the U.S.A. movie box office stars poll for 1953, Bing comes in at number five. His friend Gary Cooper is number one.

During the year, Bing has had only four records that have become chart hits.

 

1954

 

January 3, Sunday. Bing records material for four General Electric shows that air on January 17, 24, 31, and on February 7. Much use is made of material from earlier shows and recordings. (9:00–9:30 p.m.). The Bing Crosby Show for General Electric is broadcast on radio by CBS. The show has been taped and the guest is Connie Russell. (9:00–9:30 p.m.) The Bing Crosby Show, a television special, airs on CBS-TV. The show had been filmed in advance and the guests are Jack Benny and Sheree North. Fred de Cordova is the director and Buddy Cole, plus John Scott Trotter and his Orchestra provide musical support.

 

Bing banged over a whopping first show on TV for General Electric, with the New Year only three days old as Crosby ushered in his video debut with his own series, sporadic though they’ll be, it automatically gave an aura of shining expectancy to the ’54 outlook. For years it has been axiomatic in radio that BC can do no wrong. On the basis of the GE Sunday night bow (in the usual Fred Waring spot on CBS TV), it goes in spades. It can be argued that the decision to ‘go film’ instead of live, stripped the half-hour show of a certain spontaneity element (This reviewer, for one, would have preferred a ‘live’ Crosby). At this stage of the game it might seem totally unnecessary and unreal for the Groaner to dandify himself to look twenty-five again and it can be argued that the singer has yet to achieve an on camera TV stance, more appropriate to his demeanor than casualness.

           It can also be argued that there was no reason for Bing to permit his initial showcase to fall from grace and its high qualitative level by introducing a stripper (Sheree North). The fact remains that none of it really mattered - for if there is a more natural, sure and at ease performer in showbiz, he’s still being kept under wraps. Whatever the minor flaws of chapter one on the Crosby GE TV agenda and they were apparent, they will probably be taken care of, now that Mr. Big has finally succumbed to video’s blandishments.

           What is important are the positive factors about Bing’s first show - that he’s got himself a format without really requiring a format (which, of course, means nothing more than a relaxed, informed, thirty minute, sequencing of songs and the inevitable banter with a guest star - particularly when the guest is Jack Benny). As it turned out this was one of those dream talent parlays, a visual throwback to ex-radio semesters of the Hope-Crosby by-play, which set some kind of a high mark in comedics, on the listening only circuit. The Benny-Crosby interlude was a little gem in itself. It was so good that the introduction of a third party in the person of Miss North didn’t hurt it but it didn’t help it, either. What is important too, in the Groaner’s first time up, was the clincher that all the surrounding Crosby show components, (John Scott Trotter’s musical backgrounding, Ken Carpenter and more notably, Bill Morrow’s solid contribs as writer/producer have made the AM to TV transition, with the same grace and ease). Chalk up as a plus factor too, the directorial assist from Frederick de Cordova who does the Burns & Allen CBS show. Bing bodes some happy video semesters for ‘54.

(Variety, January 13, 1954)

 

That old charmer, head of the Crosby clan, finally showed his face around television. On his own show, that is. The millions who made up the vast welcoming committee must’ve shared the same thought - he was well worth sticking around for. One word description of his coming out party: Socko!

The trepidation and fear of the new medium no longer can be a mental block with the Groaner. He came off his first show, dashing and debonair, as sure of himself as in a Decca recording studio. Only trace of nervousness was in his closing walk-off, he seemed slightly bewildered but that extra bow is not in BC’s makeup. He’ll do another one for General Electric in March and probably, six next season. The first one out of the way, he’ll be old Mr. Confidence himself.

What Crosby and Bill Morrow put together for the grand entry was a pleasantly persuasive dish that must have been devoured avidly by the onlookers. His themer for so many years and dropped this season, ‘Blue of the Night’ brought him on as a standup comic, a monologist of the Bob Hope stripe. Morrow supplied him with some breezy chatter, such as, ‘Reason I haven’t been on TV before is that I was waiting for color. GE came up with green so, I grabbed it’ Hope, he compared to ‘a stricken steer’. Bing need have no worries on this score, either. He can time and punch a line with the best of them and has the added plus of spreading his charm with the friendliness of an old shopkeeper.

Unlike other singers with their own shows, he warmed his pipes with only four numbers: his current Decca sides, ‘Y’All Come’ and ‘Change Partners’, ‘It Had To Be You’, with Buddy Cole’s piano accompaniment, and ‘I Love Paris’. To most Crosby fans that would have been the show in itself, the lush lilt of the Crosby styling. He was given a production backup for ‘Y’All’ and ‘Paris’, with the Cass County Boys and instrumentals giving the country beat an oatuneful background. It was impressive and warming, with Bing wearing a cowboy hat as his only rural effect. In the ‘Paris’ number, Bing must have titillated the distaffers when he planted a long kiss on Barbara Logan.

Jack Benny’s guesting, along with Sheree North, a bosomy blonde, clad in a clinging jersey, was a riotous romp with the laughs rolling in waves. Benny tried to unsell Bing on TV, working on his nerves to unsteady him but to no avail. The fright gripped Benny instead and he leapt on Bing’s shoulders like a femme frightened by a mouse. It was amicable repartee that passed between them, Bing remarking about Benny’s coziness with a buck and how he took his lunch at the Cocoanut Grove and was ordered out. Shot back Benny, ‘I can remember when you were thrown out of the Grove for another reason’. That was strictly a trade gag.

The North dance speciality created somewhat of a crisis but it gave the show a zippy pick-up. The Dulcy type, she’s a rare find and could, conceivably, give some competition to Marilyn Monroe or Marie Wilson. She’s the perfect foil for the flip-lipped comic and worked the scene with Benny to most of the hilarious highs. Morrow’s production and Frederick De Cordova’s direction were stellar.

Bing’s in and all the way, a stroke of good fortune for GE.  

(Daily Variety, January 4, 1954)

 

Crosby opened his first GE TV show with switch on Jack Benny’s old vaude intro—“Here I Am.” It’s difficult to believe that the show was produced by the same men responsible for his delightfully informal radio airers. Benny provided the brightest spot on the program via his attempt to persuade the imperturbable Bing that that he really suffered from opening night nerves. Benny also introduced Sheree North, a pretty comedienne with a sensational figure. Crosby warbled four numbers—“Ya All Come,” “I Love Paris,” “Change Partners” and “It Had to Be You.” The last-named number, which simply planted Crosby by pianist Buddy Cole and let him sing, was by far the most effective. It is to be hoped that he’ll do more of the same on the rest of the series.

(Billboard, January 16, 1954)

 

He has strong objections to too-frequent appearances. “I’ve always felt television is just like movies, but it’s in the home. I wouldn’t want to be in anybody’s home too often, and you wouldn’t want to see a movie starring the same person every week.” He feels performers should limit their TV appearances to no more than six or seven times a year. Of his own plans, he is vague. One thing is certain, nonetheless: He will film his second TV show in March, for Easter release.

(Newsweek, January 4, 1954)

 

January 10, Sunday. (12:00–12:15 p.m.). Bing appears with Dennis Day on a Christophers program broadcast on WPIX-TV in New York. (9:00–9:30 p.m.) The Bing Crosby Show for General Electric is broadcast by CBS radio. The show has been taped and the guest is Gary Crosby.

January 11, Monday. Bing writes to Eugenie Baird whose brother Eugene had been killed in an auto crash on December 19 in Pittsburgh.

 

I am so sorry to hear of your recent tragic loss. I feel the deepest sympathy for you and for the rest of your family.

I finished ‘White Christmas’ around the first week in December and it turned into quite an epic. I don’t know if it will be any good or not, but it cost a fortune and a lot of blood, sweat and tears went into it. I had a great time with Danny Kaye. He’s wonderful to work with - very cooperative and industrious and agreeable in every respect.

Nothing to do now but radio shows until March. Take care of yourself, Eugenie.

Warmest regards

 

January 15-17, Friday–Sunday. The Bing Crosby Pro-Am Golf Tournament at Pebble Beach. The event raises $50,000 for charity. Mona Freeman attends with Bing. Other celebrities playing include General Omar Bradley, Randolph Scott, Dean Martin, Bob Hope, Don Cherry, Gordon MacRae, Van Johnson, Johnny Weissmuller and Ralph Kiner. Prior publicity states that Bing is to be televised presenting the winner (who turns out to be E. J. (Dutch) Harrison) with the cup on January 17 as the second part of the Colgate Comedy Hour on NBC-TV, but by the time the television coverage commences at around 5:30 p.m. the presentation is over and Bing is not seen at all.

 

Colgate Comedy Hour hit a pretty mediocre level last Sunday (17th), over NBC TV. In a mish mash of video and sports, it looked like a carbon of ‘Toast of the Town’, without any of the latter’s class. Some names were there with inferior material, only Frank Sinatra’s special guesting in the final quarter of an hour lent the show some distinction. Advance publicity had played up promise of scenes from the Bing Crosby Golf Tourney at Pebble Beach, Cal., with El Bingo and various stars, to participate in the climax of the event and what resulted was pretty flat. For fifteen long, dull minutes, the camera floated round the clubhouse after the event was over, as Ben Gage picked up some golf and baseball players as well as Dean Martin and Phil Harris (but no Crosby!), in a few chatty inanities that seemed to please the participants, hugely. Alan Young opened the studio part of the show with a few gags and passes at a bagpipe. It picked up quite a bit thereafter, when Chicquita and Johnson came on for their sure-fire class acro act and then segued back to a routine level with a skit showing Stan Freberg, in a recording studio, disking a take-off on, ‘C’Est Si Bon”’ Although this sketch had its moments, it didn’t completely, come off. Then Young was back in a skit about buying a suit which was corny vaudeville in Joe Laurie’s day. Sinatra looking fuller and fit had some sneak gagging that included ribs at his own radio program and offered, a neat solo rendition of ‘Young At Heart’ and a somewhat overproduced blues number with a dancing chorus.

(Variety, January 20, 1954)

I got to know Crosby really well in the winters when we played a lot of golf and I started playing in his tournament. I discovered that he was a pleasant man to be around when he wasn’t moody. He could be as affable as you would want and then for no apparent reason become very quiet and reserved. He was different from [Bob] Hope in that he was extremely introspective and usually preferred being alone and reading a book to being in front of an audience.

(Ralph Kiner, Kiner’s Korner)

 

January 17, Sunday. The Pro-Am Victory Dinner takes place at the Monterey Peninsula Country Club. (9:00–9:30 p.m.) The Bing Crosby Show for General Electric is broadcast on CBS and the guest is Helen O’Connell.

January 19, Tuesday. Bing and Mona Freeman return to Hollywood.

January 22, Friday. Bing films an appearance on the Jack Benny television show at General Service Studios, which is shown on March 21.

Filming of the Jack Benny show, with Bob Hope, Bing Crosby and George Burns as guests was a side-splitting affair, I am told. One of the funniest cracks came from Bing after the quartet had finished a dance routine in record time. Mopping his brow, Bing mumbled, “What a life. If I took time out to go to the restroom, they’d shoot around me.”

(Walter Ames, Los Angeles Times, January 29, 1954)

January 24, Sunday. Bing’s first date with Kathryn Grant. They go to Chasen’s in Beverly Hills for dinner where they meet Phil Silvers and Danny Kaye. (9:00–9:30 p.m.) Another taped Bing Crosby Show for General Electric is broadcast and the guest is Gary Crosby.

 

By the time we’d finished the filet de boeuf, I became possessed of a new feeling, a new perception. Not infatuation, and certainly not love at first sight, but something different: a startling realization that this was a man - a man who knew a lot, understood more, and had accomplished much. No matter what I might do, it would be nothing beside his achievements. Yet he wasn’t at all self-satisfied. Always he remained a man of imagination and sly good humor. I choked on my after-dinner coffee thinking of all this, and the choking was just one more thing to laugh about.

On the drive home, the rain had ceased; the stars vied with the lights of Beverley Hills and Westwood. Bing hummed a few bars, then started, “Sometimes I’m happy ...” I threw in some harmony, and our first duet was sung. Then he took my hand and sang, “You’d Be So Easy to Love,” and my toes went numb. That was new, too. Curiously, I’d never had numb toes before. When we arrived at the Zibell’s, he didn’t come in. He took me to the door, looked at me a minute with those blue eyes, and said good-night.

(Kathryn Crosby, Bing and Other Things, page 44)

 

January 27, Wednesday. Bing records a General Electric show with Ella Fitzgerald that airs on February 14.

January 28/29, Thursday/Friday. Bing teams up with Jimmy Demaret while Bob Hope plays with Lew Worsham in the Pro-Am competition at the Thunderbird Country Club in Palm Springs. Bing and Demaret score 125 for the two rounds whilst Hope and Worsham score 123. Both teams are well out of the prizes. Around this time. Bing is interviewed by Jimmy Demaret in color for Demaret’s 15-minute TV show series. The series consists of 13 quarter-hour shows.

…Beginnings, about half the quarter-hour, comprise the general audience appeal by the appearance of such celebs as Bob Hope, Bing Crosby, Ted Williams, Sammy Snead, Bobby Jones, etc. On two shows caught (Hope and Crosby), there was a little too much talk and no action, plus the fact that the mutual admiration business was a little overdone. Appearance of these gents, however, should extend the appeal of the show to more general audiences.

(Variety, June 16, 1954)

January 29, Friday. Records “Young at Heart” and “Oh Baby Mine (I Get So Lonely)” using tracks previously recorded by Guy Lombardo and his Royal Canadians in New York. “Young at Heart” charts briefly, reaching the No. 24 position.

 

Bing Crosby - Guy Lombardo Orch.: “I Get So Lonely”-“Young At Heart” (Decca). Although this mating of Crosby and Lombardo can be tagged “cover” sides, each slice is potent enough to make a dent. “Lonely” has the better chance to step out. Tune is just beginning to break nationally and the jaunty Crosby-Lombardo treatment could push it to the top. “Heart” is given a slick dance-tempoed workover by Lombardo and Crosby croons it effectively.

(Variety, February 17, 1954)

Decca Record stalwarts Bing Crosby and Guy Lombardo are back together again on wax for the first time in 20 years. A new disk just released features the two perennials in “Young at Heart” and “I Get So Lonely”.  The voice and orchestra are undoubtedly Bing’s and Guy’s, the artists collaborated over a distance of some 3000 miles. Crosby dubbed his voice on a band track cut by Lombardo in New York.

(Billboard, February 20, 1954)

 

I Get So Lonely

Decca 29054—Bing and Guy mark their first dual appearance on wax in about 20 years with a happy job that will appeal to the many fans of both artists.

Young at Heart

Beautiful ballad already big via Frank Sinatra is covered neatly by Crosby and Lombardo. Jockeys ought to spin frequently.

(Billboard, February 27, 1954)

 

I suppose a case can be made out for the assertion that the tearful vocalists of the present are in direct lineal descent from Bing Crosby, who started crooning before some of today’s aspirants were born, and is still much better than any of them. If you doubt this, listen to “I Get So Lonely” on Bruns. 05277. Listen to that tongue-in-cheek style, that innate sense of rhythm and timing, and even listen carefully to the accompaniment. Although it’s by Guy Lombardo’s Royal Canadians, they really get down to a man-size job of work. The other side, “Young at Heart” is also good; it sums Bing up perfectly.

(The Gramophone, May 1954)

 

January 31, Sunday. (9:00–9:30 p.m.) The Bing Crosby Show for General Electric is broadcast by CBS. The show has been taped and the guest is Connie Russell.

February 1, Monday. Dines with Pete Petito at the Don the Beachcomber restaurant in Palm Springs.

February 7, Sunday. (9:00–9:30 p.m.) Another taped Bing Crosby Show for General Electric is broadcast and Bing’s guest is Helen O’Connell.

February 9, Tuesday. The San Diego County Fair directors obtain Bing’s permission to name the largest exhibit building at Del Mar after him as a gesture of their appreciation for all that he did to develop the Del Mar racetrack.

February 12, Friday.  Kathryn Grant learns that Paramount are releasing her from her contarct and that the Citizen newspapers no longer wish to carry her weekly column. Bing helps her obtain a part in a TV series called "Where Were You?". She signs a contract for Columbia Pictures later in the year.

February 13, Saturday. Kathryn Grant comes to Bing’s house at Holmby Hills for dinner and meets Bing’s son, Lindsay.

    February 14, Sunday. Bing, Grace Kelly and William Holden assemble in a church hall in Palm Springs to rehearse for "The Country Girl". Later that week they dine at Don the Beachcomber's restaurant. Mona Freeman, Pete Petito and William Perlberg join the party.

Joan Crawford was a very good friend of mine. Once, after a night out on the town with her, I said, “Joan, You’re such a great star - you’ve won the Academy Award, you’ve worked at MGM, Warners, RKO, but you have never worked at Paramount. How come?”

“Well, they never asked me. But there is a property at Paramount that I’m interested in - Clifford Odet’s play The Country Girl - and maybe you can arrange the female lead for me. I think the actor part would be ideal for your friend, Bing, and the director could be played by William Holden.” I had heard of the play but had not seen it.

When I came to work the following morning, I went to see the head of the studio, Y. Frank Freeman, and mentioned Joan’s idea. He called the production and legal departments and discovered that the studio had originally acquired the rights of the property from Odets for William Wyler. When Wyler left the studio, Paramount retained the rights. It was assigned to the production team of William Perlberg and George Seaton and was placed on their agenda. The team had just made Little Boy Lost with Bing. Freeman, who was a reactionary, cautioned, “We wouldn’t want to make a movie based on a play by that “Red” Clifford Odets.” It just so happened that Perlberg and Seaton’s offices were right across the alley from Freeman’s office. I asked, “Mr. Freeman, Do you mind if I talk to them?” “No, Jerry, Go ahead.”

I went to see them and recounted Joan’s suggestion. George, who was a gentle, gracious, lovely man, responded, “Great idea!” However, Perlberg, who was a tough, agent type, didn’t seem too excited about it. “The idea is good, Jerry, but it just isn’t feasible for Bing to play a drunk.” I said, “Why don’t you let Bing decide that. Do you mind if I call him.” They said, “No.” I called Bing, and he quickly said, “Yeah, it sounds like a good idea to me. If the boys would like it, I’d be happy to talk to them.”

Well, that removed any obstacles. George and Bill signed Bing and also Holden. And then they announced Jennifer Jones. They never called Crawford - never! I think she would have been great - she would have captured the driving, pushy nature of the part. Anyway, the picture is about to start on a Monday and the studio is notified by Jones’ agent that she was pregnant. He invoked a force majeure clause in her contract stating that she could break the contract by virtue of an act of God. She was absolved of any liability for not showing up for work.

We had a big problem. There was a lot of money riding on the movie, and we didn’t have the female star! Perlberg and Seaton said, “Hey - we just did a picture with Bill Holden and Grace Kelly - The Bridges at Toko-Ri. She’d be great! Let’s try to get Kelly.” MCA, which represented Kelly and was close to Paramount, said, “It makes sense - let’s do it.”

They notified MGM, which was her home studio. MGM said, “No. She cannot go to work for Paramount. Next week, we’re going to put her in a picture of our own. We will preempt her contractually from making the film.” When Kelly heard of the preempt threat, she responded, “If I don’t make The Country Girl, I will go back to Philadelphia and never work again.” MGM caved. Kelly went to work and made the picture. Although without Crawford there would have been no picture. It probably would be still sitting there!

(Jerome Pickman, of Paramount Pictures, introducing the film at the Film Society of Lincoln Center Tribute to Bing in New York in 2005)

(4:30-5:00 p.m.) Bing makes a contribution to a dramatized version of the careers of Freedom Gosden and Charles Correll (Amos ‘n’ Andy) on CBS Radio. (7:00 - 7:30 p.m.) Bing is host on “My Most Unforgettable Child,” a radio program for UNICEF broadcast on the ABC network. Others featured are Kirk Douglas, Greer Garson, Shirley Booth, and Audrey Hepburn.

 

Bing Crosby, as usual, did an affable job of hosting.

(Variety, February 17, 1954)

 

(9:00–9:30 p.m.) The Bing Crosby Show for General Electric is broadcast by CBS. The show has been taped and the guest is Ella Fitzgerald.

February 17, Wednesday. Bing records material for two General Electric shows with the Four Aces which air on February 21 and 28.

February 18, Thursday. Bing records “The Search Is Through” for the soundtrack of The Country Girl.

February 19, Friday. Records songs for radio and television use.

February 21, Sunday. (9:00–9:30 p.m.) The Bing Crosby Show for General Electric is broadcast by CBS. The show has been taped and the guests are The Four Aces.

February 22. Monday. At General Service Studios, Bing films his second television show, which is broadcast on April 25. After completing the filming, Bing says that it will be his last television show “unless I lose my job in movies.”

 

New York. Feb 27 —The report in Hollywood that Bing Crosby had decided he was thru with TV came as distinct shock to General Electric officials here. The sponsor of his radio and TV shows had concluded a verbal agreement with Crosby to do seven filmed shows next season. It is believed that the crooner’s gripe came as a result of the trouble he had with his second film program, production of which was finished this week. But informed opinion here is that if Crosby doesn’t change his mind and become more active in TV next season, GE may decide to part company with him in radio. He is currently being paid $17,000 weekly on CBS-radio by the sponsor, high stakes in today’s radio market. But GE is paying him that figure in the hope that benefits will be reaped in TV. Should he walk out on the medium, the probability is that his radio client will take a walk too, but it won’t be in the same direction.

(Billboard, March 6, 1954)

 

February 22–April. Filming of The Country Girl commences with Grace Kelly and William Holden. The director is George Seaton with Victor Young handling the music score.

 

“I knew at the time – and it was no secret in Hollywood – that Bing wanted Jennifer Jones as his leading lady, and he almost withdrew from the picture when he heard that I was going to play the part. ‘She’s too pretty,’ he told the producers about me. ‘She’s no experience…she’s too glamorous for the part of Georgie…she won’t take direction.’ Endless objections! Those first days of rehearsal were pretty rough, but Mr. Perlberg and Mr. Seaton were my champions.” They did not have to defend Grace for long. Prep was concluded, the first scenes were filmed quickly and economically, and Crosby – to his credit – changed his tune. “I’ll never open my big mouth about a casting problem again,” he told the producers and the press.  “I’m sorry I had any reservations about this girl – she’s great.”

      Crosby’s praise for Grace became more personal over the next two months, when he tried to court her – but Grace politely discouraged his intentions.

(High Society: The Life of Grace Kelly by Donald Spoto, page 154)

 

Fifty years old, remorseful, and seeking to make a new start, Bing Crosby found himself drawn to Grace’s combination of strength and tenderness. He had already started looking for a new young wife, and it seemed to him that Grace would fit the bill nicely. He made tentative and respectable advances, which were all the more respectable for his being a widower and a Catholic. “He would take us to church on Sunday,” remembered sister Lizanne. “Then we’d go to Alan Ladd’s for brunch and swimming.”

      Grace responded to the courtship. . . . Bing Crosby’s attentions were not unwelcome, and the couple started dating in a decorous fashion. . . . The couple started being seen together more and more about town—Scandia, a restaurant on Sunset Boulevard, not far from Sweetzer Avenue, was a rendezvous that Crosby particularly favored—and since both Grace and the singer were single, the columnists did not hesitate to report on the relationship and speculate on its prospects.

    (Grace, page 159)

February 23, Tuesday. Talk in the press of Bing having to enter the hospital for a “serious operation”.

 

The radio-tv status of Bing Crosby, which seems to change day by day, yesterday resolved itself into these semi-official factors: He will make no television commitments until after his second kidney operation in September.

(Daily Variety, March 3, 1954)

 

February 28, Sunday. Tapes material for two General Electric shows that air on March 7 and 14. (9:00–9:30 p.m.)  Another taped Bing Crosby Show for General Electric is broadcast and the guests are again The Four Aces.

March 2, Tuesday. Bing is awarded a citation on the occasion of the Atlantic City Centennial Birthday Dinner Party.

March 7, Sunday. (9:00–9:30 p.m.) The Bing Crosby Show for General Electric is broadcast by CBS. The show has been taped and the guest is Jana Mason. Meanwhile, Nat King Cole appears on Ed Sullivan’s Toast of the Town show and Bing writes to him about this.

 

Caught you on Ed’s show and I think it’s one of the best singing spots I’ve ever seen on TV. The selection of songs, of course, was great, and Ray Bloch’s musical support was fine. Hope you have a very successful tour in England. I know you will because you are a big favorite there. A friend of mine in Ireland, George O’Reilly, has a little record store at 5 Tara Street, in Dublin. He wrote me recently when he learned that you were likely to play there. Asking if it would be possible for you to come over and autograph some records some day, for a half-hour or so. If he contacts you, at least tell him I wrote and I’m sure if you can’t make it, he’ll understand and so will I.

As ever, Bing

 

Nat King Cole does subsequently call at Mr. O’Reilly’s store in Dublin and opens it formally.

March 8, Monday. On The Country Girl set, Bing records a discussion about the White Christmas movie.

March 14, Sunday. Bing records two General Electric shows with Frank Sinatra which air on March 21 and 28. The shows feature Sinatra’s nomination as “Best Supporting Actor” in From Here to Eternity and possibly alternative scripts were used for the show to be broadcast after the Awards ceremony depending on whether Frank was to win or lose (he won!). If not, extra dialogue must have been recorded after the Awards ceremony took place. (9:00–9:30 p.m.) The Bing Crosby Show for General Electric is broadcast and the guest is Peggy King. Peggy recalled her appearance on Bing’s show in an interview with Greg Van Beek in 2012.

 

Peggy King: This is my favorite Bing Crosby story. When I think of it, I fall down laughing. Everyone that knows me, knows this story. The Johnny Mercer TV show was going on at this time, but I also had my days free, and I got a phone call around Noon, and someone said, “This is the Bing Crosby show, Bing wants to know if you can come right over, someone got ill and had to leave, and he wants to know if you can come over and do the show. Bring two orchestrations with you.” My first thought was this is a joke. But the man sounded absolutely sincere, and it was only about six blocks from here so I thought what have I got to lose?

Greg Van Beek: Did you have any idea who it was that called you?

PK: No, it was just someone that worked for Bing Crosby. So I put some clothes on, grabbed a couple of arrangements of mine, and off I went. I got there about 12:30, so most people were out to lunch, but there was this one man just standing there and I thought he was the janitor. So I went up to him and said, “Pardon me, could you tell me where Mr. Crosby is?” And this man turned around to face me and said, “I am Mr. Crosby!” Well, I probably must’ve looked like I was going to faint, and Bing started to laugh and said, “It’s alright, Peggy, let’s go in here and start working on these songs of yours.”

GVB: Bing generally always dressed casual for his radio shows

PK: Well this was a little more than casual, this was downright funky!

GVB: And he never wore his toupee, sometimes not even a hat.

PK: No, he didn’t have a hat on, and so I wasn’t used to him with very little hair. So I really didn’t have any idea who it was. And from what I heard, he told that story to everyone he knew. He thought it was hilarious! Then he decided that we were going to sing a duet as well as my solo. We sang “That’s Amore”, and there I am, in the morning never even thinking of such a thing, and here I am at 12:30 rehearsing “That’s Amore” with Bing Crosby! Not that I hadn’t been around a lot of stars, I had, I was at Metro (MGM) for over a year and also did other work around town, I worked at the Mocambo and things like that, but I had not met and worked with a star of his stature. Who is in his stature, really? I mean there’s Bing Crosby and everyone else. I had always wanted to sing with him, because I loved his singing. Always have. When we started singing together, it was like we had been singing together for years. No problems. He did that wonderful ‘off-talk’ that was his persona. It turned out that our voices were perfect together. Perfectly matched. From the first three notes I knew it was going to be okay. And he was grinning, he was really grinning.

GVB: It’s likely that Bing had some of your records, or heard you on the radio and, as he would do especially while driving, began singing along with you and found that your voices and styles were quite similar.

PK: That’s very possible. I wouldn’t doubt that at all. I mean otherwise why would he take a chance on a newcomer like me?

GVB: Did you ever find out who was supposed to be the guest star on the show who became ill and had to go home?

PK: It was Rosemary Clooney. That was some pretty heavy shoes to step into! I was very thrilled as you can imagine.

GVB: This show was recorded at CBS?

PK: Yes, at CBS radio

GVB: The show was recorded on February 28, 1954 and aired March 14. Bing also recorded the March 7th show that day with his guest Jana Mason.

PK: Have you heard of her? I haven’t heard of her.

GVB: No, I hadn’t

PK: I don’t know who she is

GVB: I was wondering if you knew there were two shows taped that day, and how Bing managed to get both of them done in one day?

PK: No, we did the show in the early afternoon and there must’ve been another one at night then. We did our show very shortly after I got there. We ran through the songs and the orchestra came back and I gave them my other arrangement, which worked out really well, it was “Rock A Bye Your Baby”, and you know Bing just adored Al Jolson so that worked out really well. Before we knew what hit us, we were on. It was just one of those really fast things.

GVB: Now this was at the very tail end of Bing’s weekly variety radio show, which ended in May of 1954, so this was about two months prior to that. I had even heard that by this time, there was no studio audience at the tapings, that canned laughter and applause was edited in later.

PK: I thought there was an audience, but I did so many things, so I can’t really make a positive statement one way or the other. I was so excited and nervous and it was such a long time ago. What was I, 19 or 20! I remember the orchestra was there. It was a huge band, and that’s probably all I really cared about. If the applause was put in later, then it was beautifully done. It’s extremely well done. It’s funny, now that I’m talking with you I’m remembering things that I just couldn’t remember. You know what, you’re absolutely right, I had brought a change of clothes along but just did the show in the clothes I was wearing because I didn’t need the dress. There was no audience. It’s just that there was this big band and it seemed like an audience!

GVB: Sure, the John Scott Trotter orchestra, that was quite an ensemble!

PK: Oh my yes!

GVB: Bing typically recorded the rehearsal of the show, and then the final taping, so that if something went wrong during the final taping, a portion of the rehearsal show could be edited in. Do you recall if you ran through the show twice with Bing?

PK: No, we only did it one time. I absolutely know that. Because I had to leave to get to the Johnny Mercer TV show afterwards. So I know I was out of there early. Everybody said Bing did not like to rehearse. As a matter of fact someone that worked on a film with him told me he didn’t like to rehearse for a film either. You had to arrive knowing exactly what you were doing.

GVB: Were you able to do your duet of “That’s Amore” with Bing in one take?

PK: I think so, I think we just zapped it off in one take. Bing didn’t like to do it more than once. His philosophy was if it’s worth doing, it’s worth doing right the first time. Someone else had told me that about Bing. And I’m pretty good about that anyhow.

 

March 17, Wednesday. Bing records “The Land Around Us” and “Dissertation on the State of Bliss” for the soundtrack of The Country Girl. At the conclusion of filming, the crew presents a plaque to Bing reading:

Bing – this plaque is with deep affection from the entire crew so please take good care of it. It cost a pretty penny.

From your crew

“The Country Girl”

March 21, Sunday. Tapes material for two General Electric shows with Gary and Lindsay Crosby which air on April 4 and 11. (7:00–7:30 p.m.) Bing guests on the Jack Benny television show on CBS with George Burns and sings “Gypsy in My Soul.” The show has been filmed in advance and it was produced and directed by Ralph Levy.

 

The show had its high points, of sufficient laugh voltage to carry many another comedy stanza. Those three B boys - Bing, Benny and Burns - did a song and dance turn that dripped with nostalgia of the old vaudeville days. Decked out in blue coats, white pants and straw sailors, they sang and soft-shoed like when they ‘killed ‘em in Scranton’. Each encored solo, with Bing singing ‘Mother’ and Benny reciting the lyrics in mock dejection while the others hung their heads, sadly. Burns took to hoofing for his turn after the fashion of a latter-day Pat Rooney. All three then came out with ukuleles but played not a note. The applause was deafening but this was TV, not vaudeville and time of the essence.

Bing, paying back for Benny’s guesting on his first TV show, got across another song in his easy and relaxed style from a sitting position.

(Daily Variety, March 22, 1954)

 

(9:00–9:30 p.m.)  The Bing Crosby Show for General Electric is broadcast on radio by CBS. The show has been taped and the guest is Frank Sinatra.

Frank Sinatra will visit Bing Crosby at 7 p.m. over KRLD to trade sharps, flats, quips and anecdotes. It is the first time the famous baritones have broadcast together since “command performance” programs during World War II.

(Fort Worth Star-Telegram, 21st March, 1954)

March 28, Sunday. Bing records material for two General Electric shows with first Rosemary Clooney and then Toni Arden which air on April 18 and 25, respectively. (9:00–9:30 p.m.) Another taped Bing Crosby Show for General Electric is broadcast and the guest is again Frank Sinatra.

Frank Sinatra in Return Visit to Bing Crosby Show

Frank Sinatra and Bing Crosby get together for a second musical session on Bing’s show, tonight at 7:00 o’clock over CBS Radio and KWKH.

The two famous baritones join up in a medley which includes such favorites as “Till We Meet Again,” “Meet Me in Dreamland,” and “Long, Long Trail.”

Sinatra solos with “Take a Chance,” and Bing offers a few of his own specialties, with John Scott Trotter’s orchestra providing musical accompaniment.

(The Shreveport Times, March 28, 1954)

March 31, Wednesday. (11:00 a.m. - 2:00 p.m.) Records four songs in Hollywood with John Scott Trotter and his Orchestra, including “Tobermory Bay” and “Liebchen.” It was intended to be a longer session but it is curtailed as Bing has a sore throat. One song – “The River” – was a 1952 hit in Italy for Sergio Bruni under the title of “Sciummo” (which does mean “River”). Robert Mellin wrote the English lyrics. 

 

Tobermory Bay

Decca 29376—An evocation of a lovely Scottish landscape that was home to the singer. Crosby is a master with nostalgic material of this kind, and should arouse the sentiments of his fans with little trouble.

The River

Here Crosby sings a melancholy tale of lost love and happiness with customary taste and style. The material itself is weak and difficult to sell, however.

(Billboard, January 1, 1955)

 

Liebchen

Bing Crosby isn’t at his best on this ballad. Only for diehard fans. (Billboard, May 29, 1954)

 

April 4, Sunday. In the CBS studio in Hollywood, Bing records material for two General Electric shows with first Rosemary Clooney and then with Gary and Lindsay Crosby which air on May 2 and 9. (9:00–9:30 p.m.)  The Bing Crosby Show for General Electric is broadcast by CBS. The show has been taped and the guests are Gary and Lindsay Crosby.

April 7, Wednesday. Tapes material for two more General Electric shows with first Toni Arden and then Rosemary Clooney, which are broadcast on May 16 and 23, respectively.

April 9, Friday. Has to vacate his bungalow at Paramount Studios as his contract expires. Takes Kathryn Grant to Romanoff’s for supper.

April 10, Saturday. Records songs from the film White Christmas with Danny Kaye, Peggy Lee, and Trudy Stevens for a long-playing album. Musical support is furnished by Joseph J. Lilley and his Orchestra.

 

Bing Crosby-Danny Kaye-Peggy Lee: “White Christmas” (Decca).

Another sock talent parlay adds up to another click pic score package. Because Rosemary Clooney is under contract to Columbia, Decca could not get the soundtrack rights to the Paramount pic, “White Christmas,” but Bing Crosby and Danny Kaye, from the pic cast, carry the bulk of the Irving Berlin tunes in this set anyway. Crosby and Kaye work together on “Gee, I Wish I Was Back in the Army,” “Blue Skies,” “Mandy,” “Snow” and “White Christmas,” latter two together with Peggy Lee and Trudy Stevens. Miss Lee handles “Sisters” and “Love, You Didn’t, Do Right By Me” solo. Kaye delivers “The Best Things Happen While You’re Dancing” and “Choreography” with the Skylarks, while Crosby solos on “Count Your Blessings” and “What Can You Do With a General,” Joseph J. Lilley maestros this set capably.

(Variety, October 13, 1954)

 

BING CROSBY, DANNY KAYE, PEGGY LEE, TRUDY STEVENS White Christmas, 76 DECCA 29342 — A group vocal on the title tune from Crosby’s new movie. Both sides of this disk are from Decca’s album. The platter will get its share of spins and sales, but it’s doubtful if it will top those of Crosby’s old waxing of the song.

Snow

Another tune from the movie, with an OK vocal group treatment. However, flip should get most of the plays.

(Billboard, November 27, 1954)

 

April 11, Sunday. (9:00–9:30 p.m.) The Bing Crosby Show for General Electric is broadcast by CBS. The show has been taped and the guests are Gary and Lindsay Crosby.

April 12, Monday. Bill Haley records “Rock Around the Clock.” Bing dictates a letter to interior designer Harold Grieve regarding his plans for a new home at Hayden Lake and then drives down to Palm Springs.

A few notes, Harold, relative to the plans for the place at Hayden Lake.

I would like a pretty good size porch, partially roofed; would like a single room cottage in the back for a servant’s room, with twin beds and bath - somewhere in the back of the property.

Rooms in the house would be a combination living and dining room with a swing door into the kitchen. The master bedroom should be in the end opposite to the kitchen. There should be three bedrooms in the house - one guest room with a shower, one boys’ room with bunks and shower, one master bedroom with bath and shower - or maybe just bath. The hoys' and the master bedrooms should have good-sized cedar wardrobe closets.

There should be good sized bay windows facing on the lake in the combination living and dining room and kitchen. The kitchen should be of good size - at least size enough for a worktable in the middle for a cook and where probably we will take a lot of meals when we don't have servants there.

The master bedroom I want away from the morning sun so it will stay dark late in the morning and be conducive to late sleeping - in other words in the back of the building somehow.

I would like good storm windows throughout the house; also good flooring - not necessarily expensive hardwood, but substantial material. If necessary to save space the master bedroom and the guest room could share the same bath and shower. If possible, I would like a small store room near the kitchen for canned goods, deep freeze, etc. and for kitchen shelves and pantry, built-in nooks for refrigerator and other equipment where this can be arranged. In the living room the dining element or table should be near the bay windows.

I want the house well insulated against heat and cold, and placed probably about in the middle of the lot - not too close to the road, but fairly well back from the Lake. Possibly a small half-basement if Dennison doesn’t think it would be subject to too much seepage would be a good idea for storage.

I think there should be one good fireplace in the living room, and that would be all that would be necessary. Electric heat throughout, if this is the most simple up there in regard to facilities available.

I think the front porch should be a few feet above the ground - two or three feet at least. I think if it can be arranged it should be a single story dwelling - otherwise it will stick up too high out there on the Point as it is and be too conspicuous.

The bath which connects with the master bedroom should be close to that bedroom so that there is not too long a walk from the bedroom to the bath during the night.

I don't want a big house, Harold, outside of the living room, dining room and kitchen. It seems to me all the other rooms which are used for sleeping only should be fairly small, with good closets. At a place such as this lake is, there is very little time spent in the sleeping rooms, believe me. Hardly any, in fact, and it isn’t necessary to have large expansive quarters for this purpose.

I will call you the middle of the week to get some ideas from you

Just how you think the thing should go. I originally planned keeping the cost down around $40,000 or $50,000 if this could be done. Building up there is a little cheaper than down here, and although it takes longer, I think the quality is just as good.

That is all for just now. Regards to Jetta.

As ever, Bing.

April 14, Wednesday. Bing records a General Electric Show with Gary and Lindsay Crosby, which is broadcast on May 30.

April 17, Saturday. Bing and Lindsay attend a party at William Perlberg’s home in Palm Springs that celebrates film director George Seaton’s birthday.

April 18, Sunday. (9:00–9:30 p.m.) Another taped Bing Crosby Show for General Electric is broadcast and the guest is Rosemary Clooney.

April 19, Monday. Bing is at the Kiva Room of the El Mirador in Palm Springs for an evening out with Kay Spreckels, Liz Whitney, Ray Ryan and Ginny Simms.

April 21, Wednesday. Bing starts rerecording some of his early hits with Buddy Cole and his Trio for a special five-disc album Bing–A Musical Autobiography. He comments on each song in the set, which also uses many of his actual recordings from 1940 onward. The recordings are done at Legion Hall, Palm Springs.

April 22, Thursday. Kathryn Grant goes to Palm Springs to spend the weekend with Bing at his house above the Thunderbird Country Club with Bill Morrow and his girlfriend.

April 23, Friday. (Starting at 7:00 p.m.) Bing and Kathryn attend the Desert Circus Big Top Ball at the El Mirador in Palm Springs. Alice Faye is crowned as the 1954 Desert Circus Queen while Phil Harris acts as MC.

April 24, Saturday. Makes further recordings for the Musical Autobiography album set with Buddy Cole and his Trio.

April 25, Sunday. (9:00–9:30 p.m.) The Bing Crosby Show for General Electric is broadcast on radio by CBS. The show has been taped and the guest is Toni Arden. (9:00–9:30 p.m.) A filmed program The Bing Crosby Show is broadcast by CBS-TV. The guests are Joanne Gilbert and the Wiere Brothers. Leslie Goodwins is the director and Buddy Cole plus John Scott Trotter and his Orchestra provide the musical accompaniment.

 

Bing Crosby's second outing for General Electric on Sunday (25) over CBS-TV was six points better than the total network opposition, rating a 32.6 Trendex. 

(Variety, April 28, 1954)

Bing Crosby obviously has a casual attitude toward TV. Almost before he stood up to be counted for his second General Electric filmed foray on Sunday (25) over CBS, he was delivering a whale of a plug for Decca Records. And he did it in such a manner as to give the impression that the blurb was more important than the fact that this was his first video outing since last January. About midway the Groaner came through with the second ballyhoo for his waxworks, when he and pianist Buddy Cole squared off on “After You’ve Gone.” Up front, Crosby one-two’d on “Dear Hearts and Gentle People” and “Young At Heart” in deadening “standup” style. After he gave Joanne Gilbert the buildup boffo, she proceeded to give a tame treatment to “Singin’ in the Rain.” There was a bit of needed spark in the fiddle-faddling, vocals and hoofing of the Wiere Bros. (3), but here’s an act that cries out for live telecasting. Crosby, wound it up with “Secret Love.” With possible exception of the highly visual Wieres, it was probably a cracker-jack radio show.

(Variety, April 28, 1954)

 

There’ll be as much critical controversy over this second telefilm by Crosby as over his first one with Sheree North. The issue here is clean-cut. Can Bing just stand up and sing without any production or props and get away with it? Aside from a song by Joanne Gilbert and some monkeyshines from the three Wiere Brothers, it was all Crosby in front of a drop and mostly in close-up, flexing his pipes.

The Crosby fans will be pleasantly serenaded (‘he’s singing to me’) but the critical clan may show their claws. They might contend that it’s little more than radio with a framed picture of Bing sitting atop the set. The Crosby camp claims that such simplified production was the result of a study made of hundreds of letters, most of them asking only that, ‘Bing sing’. That he does and in as good voice as in the relaxed calm of his fatherly days.

Decked out in a sports jacket with an emblem, he gives out with ‘Dear Hearts and Gentle People’ and ‘Young At Heart’, and all the time with hands in pockets. Miss Gilbert then comes on to thrush, ‘Singin’ in the Rain’ with the softness of morning dew. Changing to a business suit (‘for the first time, I’ve been left off the list of the five worst dressers’), Crosby saunters over to a piano where Buddy Cole is benched and with complete detachment raises his voice (‘from a bag of old chestnuts’) and pipes ‘After You’ve Gone’. He closes out the musicale with ‘Secret Love’ and signs off with ‘good night’ and not ‘goodbye’. Bing has been quoted as saying, ‘This is my last’.

(Daily Variety, April 26, 1954)

 

April 28, Wednesday.  (8:30-9:00p.m.) Bing hosts the Family Theater radio production “The Losers,” featuring Dan O’Herlihy.

      April 29, Thursday. Attends a party at the Perlbergs' home in Palm Springs. Press reports indicate that Bing has invested in a new trailer park to be built on a site near the Thunderbird Country Club in Palm Springs. Pete Petito, formerly associated with the Rogers Ranch, is to be manager. 

May 2, Sunday. (9:00–9:30 p.m.) The Bing Crosby Show for General Electric is broadcast by CBS. The show has been taped and the guest is Rosemary Clooney. (7:00 p.m.) Bing arrives and celebrates his birthday at Kathryn Grant’s cottage with Kathryn’s “Aunt” Mary and “Uncle” Guil.

 

Bing Crosby celebrated his fiftieth (sic) birthday on his Sunday (2nd) CBS show with Rosemary Clooney as guest. Program was in the casual Crosby vein, heavily spotted with song deliveries by both artists. Relaxed banter included a few yocks with some seriousness interjected via a discourse on communism. Easygoing Crosby songstyling was evidenced in his vocaling of four tunes, “I Can’t Give You Anything But Love”; “From the Vine Came the Grape”; “Wanted” and “You Took Advantage of Me”. He also dueted with Miss Clooney for a pleasant rendition of “Woman” and “Man”. Femme also registered nicely with her chirping of “You Make Me Feel So Young.”

(Variety, May 5, 1954)

 

May 3, Monday. Records further songs for the Musical Autobiography with Buddy Cole and his Trio in Hollywood.

May 4, Tuesday. Records two more songs from the film White Christmas with Joseph J. Lilley and his Orchestra in Hollywood. One song, “Count Your Blessings,” charts briefly, reaching No. 27, and it also becomes a minor hit in England. Eddie Fisher has the major success with the song in the USA.

 

Bing Crosby: “Count Your Blessings Instead of Sheep”-“What Can You Do With A General?” (Decca).

From the Irving Berlin score of the Paramount pic, “White Christmas,” Bing. Crosby, one of film’s stars, has come up with a pleasant coupling of new tunes. “Count Your Blessings” is a lullaby-type of ballad which Crosby projects simply and effectively. “What Can You Do With A General?” is a piece of special material with lyrics about the fate of our military leaders.

 (Variety, September 8, 1954)

Count Your Blessings Instead of Sheep DECCA 29251— Could be that when the Berlin “White Christmas” film gets around, this will break thru. It’s a fine ballad and Crosby sings it as well as he usually does.

What Can You Do With a General?

In the film “White Christmas” this could have plenty of meaning. On wax, it’s good for spins.

(Billboard, September 18, 1954)

 

May 6, Thursday. Bing is at the Mocambo with Grace Kelly and her sister, Mrs. Peggy Davis. He becomes annoyed with photographers who capture him dancing with Grace, as he is not wearing his toupee.

Lot 5

KELLY, GRACE Four autograph letters to Oleg Cassini.

…The Hollywood letters are undated but the letter headed “Monday” is likely chronologically first as it describes the plane flight out, being on a liquid diet, and arriving to roses from “Alma and Hitch” (being Alfred Hitchcock and during this period Kelly would star Dial M For Murder, Rear Window and To Catch a Thief). In the letter headed “Thursday night” Kelly is pleased to have received flowers from Cassini and even though “we are watching Charles Boyer on television - and as much as I love him I can only think of you.” Kelly continues to report of the successful reviews of Country Girl, then in previews, and that “I should be able to see it in a few weeks.” The letter closes with the statement “I think I’d rather have a ring instead of an automobile. I love you.” But in the final, unsigned letter headed “Sunday,” Kelly's tone drastically changes:

“Darling,

You have upset me so that I could die. I just don’t understand your attitude. It is incredible to me that having dinner with Lizanne and the Crosbys can make you behave like a school boy – if I went out with Bing alone – you would be absolutely right – and I would never do that to begin with – because I have no interest in anyone but you – but this I shouldn’t have to explain.

Bing is a wonderful person and a very dear friend. I have great respect for him and I hope he will be our friend for many years.

I told you he said he was in love with me — but there are many people that he feels that way about and after the emotional strain of playing Country Girl this was only natural. But Bing would never try to do anything about it — unless he thought I wanted it that way.

 I have very few friends here — please don’t ask me to give up their friendships.” 

(Sales catalog from Doyle, New York, for auction of Oleg Cassini estate June 27, 2019).

May 8, Saturday. It is announced that Bing has recently been presented with 19 Gold Discs by Decca, together with a plaque containing a miniature of each one.

 

Crosby gets 19 Gold Disks

New York. May 8 – Gold records are the traditional bade of achievement manufacturers award to any of their artists who click with a million-seller. But Decca last week handed out 19 at once.

Bing Crosby was the recipient; the occasion his 50^th birthday. He’s had 19 million-sellers in his long career and a miniature of each was mounted on the plaque given him.

(The Billboard, May 15, 1954, p14)

Bing Crosby may have reached the 100,000,000 mark in record sales. Statisticians are trying to work out the details now, but there’s some confusion since a lot of the early figures are lacking. Meanwhile, Crosby has been presented a plaque marking sales of around 36,000,000 records on just 19 releases.

(Variety, May 12, 1954)

 

May 9, Sunday. (9:00–9:30 p.m.) The Bing Crosby Show for General Electric is broadcast by CBS. The show has been taped and the guests are Gary and Lindsay Crosby.

May 10-13, Monday-Thursday. Bing is at Hayden Lake. He has sold his summer home at Hayden Lake for $55,000 and he confers with building contractor Frank Dennison regarding the erection of a new property on 12 acres of land at English Point he owns. He golfs on May 13 at Spokane Country Club.

May (undated).Thought to have called in at Washington State College in Pullman to see Dennis and Phillip Crosby who are studying there, on his way to Elko.

May 16, Sunday. (9:00–9:30 p.m.) Another taped Bing Crosby Show for General Electric is broadcast and the guest is Toni Arden.

May 18, Tuesday. Bing is at his Elko ranch. Kathryn Grant arrives on May 19 with her “Aunt” Mary and “Uncle” Guil.

May 21, Friday. Decca masters four of Bing’s radio songs – "If You Love Me", "Oh Tell Me Why", “Liza” and “In the Good Old Summertime” for commercial release. "If You Love Me” had been recorded for his radio show on March 14. Kay Starr’s version had entered the charts on April 24 so Decca must have decided to issue Bing's version as competition. The song is based on the French “Hymne à l’amour” which was made famous by Edith Piaf.  “Oh, Tell Me Why” had been recorded for his radio show on April 7 and it was an interesting experiment for Bing as he overdubs his voice to give a pseudo multitrack effect in the second chorus.

 

If You Love Me

Decca 29144—Crosby brings his traditional lets-not-get-excited air to this cover slicing. It won’t crowd the Kay Starr version but should get a satisfactory play from jocks.

(Billboard, May 29, 1954)

 

In the Good Old Summertime

Decca 9-29212—A typical Crosby vocal treatment of the standard with bright backing by John Scott Trotter.

(Billboard, July 24, 1954)

Oh, Tell Me Why

A semi-sacred item, with Crosby and vocal group warbling soft and sweet.

(Billboard, July 24, 1954)

 

Just to remind us that there are other things than Christmas in the calendar, Bing Crosby fairly belts out In the Good Old Summertime on Bruns. 05760*, and backs it with that attractive ballad Love in a Home…

(The Gramophone, December 1958)

 

May 23, Sunday. (9:00–9:30 p.m.) The Bing Crosby Show for General Electric is broadcast and the guest is Rosemary Clooney.

May 24, Monday. Gary Crosby has a motor accident near San Jose and a Mexican laborer called Felix Olivares (age 24) is killed. Gary is treated for a lacerated nose and an injured knee. Fortunately, Gary had not been drinking but the Mexicans had been. Bing was however, the recipient of suits totaling $155,000 as Gary was a minor. No charges were filed though and County officials said neither driver was at fault. Bing travels from Elko to be with his son.

May 30, Sunday. (9:00–9:30 p.m.) The final Bing Crosby Show for General Electric is broadcast by CBS. The show has been taped and the guests are Gary and Lindsay Crosby. It was planned that Gary Crosby would take over with his own show on the following Sunday but because of his injuries, Gary’s debut had to be postponed until June 13.

June 4, Friday. Back in Hollywood, Bing takes Kathryn Grant to a luau with Phil Harris, Alice Faye, Francis Brown, and Winona Love.

June 5, Saturday. Bing visits Kathryn Grant at her cottage and she cooks dinner for him.  The same day he writes to Ghislaine de Boysson in Paris.

Dear Ghislaine

A very dear friend of mine, Winona Love, is going to Paris sometime early in July, and I have taken the liberty of giving her your phone number and address. She is a former Hawaiian singer and dancer and is now married to a very dear golfing friend of mine, Francis Brown.

She has good humor and is very amiable and pleasant, and she’s the kind of person I think you would enjoy very much. She is going over with Helen Parnell. Parnell is the managing director of the Palladium Theater there in London.

I know they would like to take you to lunch or dinner, so if you are going to be in Paris at the time that they ae there, doubtless you will be able to get together with them.

I wrote you the other day with most of the news, so this is just a short note to tell you about the impending visit of these people.

Much love, Bing

June 9, Wednesday. Bing (handicap 7) and Dean Martin (handicap 10), playing as a twosome, have a net 60 in the qualifying round of the Bel-Air Invitational, leaving them in fourth place.

June 13, Sunday. (9:00–9:30 p.m.) Gary Crosby’s radio program replaces Bing’s on CBS for the summer period of thirteen weeks before Gary begins his third year at Stanford. Guests on the opening show include Jane Russell and Rhonda Fleming. Ken Carpenter is the announcer, John Scott Trotter furnishes the musical support, and Bill Morrow is the writer. Murdo MacKenzie directs the show.

 

In launching his first show of his own, 21-year-old Gary Crosby had all the cards stacked in his favor: His name is Crosby, he sounds like Crosby and the show is slotted in the time usually occupied by Crosby. And young Gary carried off the first stanza in the well-known and well-liked suave and frisky Crosby manner. As his first guest he had the famous and well-shaped religioso quartet of Jane Russell, Rhonda Fleming, Connie Haines and Beryl Davis. The four gals gave out with three of the Coral recorded spirituals, winding up with help from Gary on “Do Lord.”  Because of who they are, the girls gave the show a lot of sparkle. But the best of the show’s music came from the regular staff. Young Crosby was at his best on the new “Angelamia.”

(Gene Plotnik, Billboard, June 26, 1954)

 

And to top off the talent, Gary had his father coaching him from the sidelines. Bing according to Morrow, “is overseeing—not as a stage mother, but as an interested, proud parent who wants everything proper and in good taste. He doesn’t tell Gary what to do, but he suggests things or changes, and Gary and I had better do it! . . . Bing throws out everything he feels is too sexy for Gary,” says Morrow, and the father does not even want the son’s dialogue “too flip or too hep.”

(Time magazine, review of opening show)

 

The CBS press release proclaimed that this was my first venture into show business strictly on my own, but about the only thing I did strictly on my own was open my mouth. The shows followed exactly the same format as the old man’s and were put together by the same bunch of top people. Bill Morrow and Tom Adair still did the writing, Murdo McKenzie directed, Bill Thompson looked after the vocals, and Ken Carpenter was the announcer and straight man. The guys had been working with Dad forever and had the thing down pat, so it was like slipping into the old man’s rocking chair for the summer. All I had to do was go along with the routine - sing the songs they handed me and say the lines - and if I did get something wrong we could always stop the tape and start over again. I had a lot of help, especially from Bill Thompson, who showed me how to sing from the diaphragm, the right way to support a note and all the other basic techniques you’re supposed to know before you get to the point of headlining your own series.

There was no way for me to lose unless I failed to show up or started a fight with someone, and I wasn’t about to do that. I had known Murdo and Morrow and the others since I was a kid. They were like my uncles, and I could see how they were knocking themselves out to give me the support I needed. When you feel that kind of goodness coming at you, you’d have to be a complete idiot not to give it back.

(Gary Crosby, writing in Going My Own Way, page 197)

 

June 16, Wednesday. Bing records more songs for his Musical Autobiography album set with Buddy Cole and his Trio in Hollywood.

June 17, Thursday. Bing and Dean Martin play in the first and second rounds of the Bel-Air Invitational with Johnny Dawson and Jo Ross Clark. Crosby and Martin have a score of 129. They do not appear to be placed in the third and fourth rounds.

June 19, Saturday. The final session for Bing’s Musical Autobiography album set takes place in Hollywood.

 

Decca is celebrating its 20th anniversary this year, and tradewise is signalizing the event with an album sales push. If it had nothing else to dramatize the event, its $27.50 musical autobiography of “Bing” (DX 151) would be more than sufficient unto the purpose thereof.

It’s an inspired production, by an inspired performer, as Bing Crosby uncorks almost 4 1/2 hours of palatable ‘‘groaning” and polysyllabic Small-talk of the calibre which has long distinguished him, vocally and as a personality. It quickly belies the modest insistence of his “call-me-lucky” life’s summation because, by the very nature of this cavalcade of the cream of the crop of American music, does he give evidence, in plenty, why Crosby has remained on top for so long. He is a canny performer period.

He knows how to spread the wealth, with credits for all, and long since after his colleagues, and even the title of his celluloid credits, have become dim in memory and chiefly for the archives, The Crosby vocal style has given new virility to the song excerpts therefrom.

And what a medley! He quickly proves why and how he has become “the most listened to voice in the world.”

The wealth of song material is synonymous with the days of our years, and more than half of the album comprises specially waxed excerpts from the late 1920s and ’30s— with the Cole Trio-and are updated with actual recordings in solo or in association with Jolson, Mary Martin, et al.

Crosby’s small talk is pleasant palaver and a nostalgic refresher course on the early days of sound-pix and radio. The plenitude of names from both media, interlarded with Crosby’s affection for the Petrillo clansmen, sounds like a yesteryear directory of SAG, AFRA, (this was before AFTRA) and AFM personnel. He namedrops like a phone book, but it is all pithy, pungent and pertinent to the proceedings. There are casual anecdotes about songs and song-writers and song situations which are startlingly informative, such as the disclosure that Barris and Clifford wrote "It Must Be True” as a countermelody or obligato to “If I Could Be With You (One Hour Tonight),” and thus a hit was born. He salutes Paul Whiteman for giving him the first opportunity, and credits anybody and everybody with whom he was associated professionally and socially. :

It’s not all Tin Pan Alley product. He does hymns and folk songs, Irish and Hawaiian and Maori ballads, along with the galaxy of songs that constitute the alltime Hit Parade of the past quarter-of-a-century.

Decca’s poet laureate and musical editor Louis Untermeyer produced an impressive 24-page brochure that goes with this elaborate package which is further distinguished by a wooden case, with miniature padlock (prop key enclosed), and an impressionistic multi-color cover of Bing. The booklet also includes an elaborate breakdown of the Crosby discography, by singles and albums.

It’s a timeless item of long durability, a signal salute to "Bing" and the diskery with which he’s been identified from the start of Decca’s birth 20 years ago. This album is living proof why “the voice of Bing Crosby has been heard by more people than the voice of any other human being.”

(Abel Green, Variety, August 18, 1954)

Here’s the Crosby compendium Decca has been assembling for some months, packaged ornately and selling for $25. It’s almost a mass hit parade of the last 30 years or so. Bing re-recorded many of the earlier songs mostly with the Buddy Cole trio, but some of the famous later ones are the original versions. Some of the greats he’s sung with are here, including Louis Armstrong, Mary Martin, Jack Teagarden, Johnny Mercer, et al. This is a must buy for all Crosby fans and for those interested in an excellent cross-section of America’s musical tastes in the last couple of decades. Bing’s accompanying narration is splendid.

(Down Beat, September 22, 1954)

 

In almost thirty years of casual singing, Bing Crosby, has left his inimitable mark on more songs than any of his crooning colleagues, past or present. Summing up his recording career is, consequently, no simple matter. Decca has taken five 12” LPs to accomplish this...It’s an absorbing and impressively varied repertory....The first half of the program in which Crosby talks about his early days and sings his early hits is an unalloyed joy, a field day for nostalgians. In view of complaints that have been made off and on for the past fifteen years that the Crosby voice was gone, that he no longer had the old touch, it is a particular pleasure to hear these early songs recorded within the past year, sung with all the old Crosby ease and charm...This is an exceptional collection of recordings, the summation of a landmark in American popular music and well worth the asking price.

(John S. Wilson, New York Times, September 19, 1954)

 

…There can be no doubt of Crosby’s wide appeal to people of every age and stature. There can also be no doubt that this is a most attractive disk package. It’s a milestone in the singer’s career and a credit to the record company and the many people involved in putting the package together.

(Billboard, August 28, 1954)

 

Bing Sings–An Autobiography

There can be few candidates for the privilege of an album containing five twelve-inch records, and if these could be counted on the fingers of one hand, it would not be unreasonable to suppose that Bing Crosby would head any poll. And here, indeed, are some five hours of the Old Groaner himself. . . . The appreciation of the artist is also very well done, particularly in its assessment of Crosby as a phenomenon of contemporary life. The assessment is borne out by the records, and particularly by Mr. Crosby’s modest introduction and his linking of the songs with pertinent comment. The personality of the man is strongly put over, and it is a very likable personality that emerges. . . . Any anthology has its omissions, and everybody will lament the absence of some favorite. “Brother, Can You Spare a Dime,” for instance, is not here, and that was a song of some social significance. Nevertheless, the whole project has been quite superbly carried out, and there can be no doubt that this album will find a place in any history of our times.

(The Gramophone, March 1955)

 

June 21, Monday. Records “All She’d Say Was Umh-Hum” and “She Is the Sunshine of Virginia” in Hollywood with Les Brown and his Band of Renown.

 

All She’d Say Was Umh-Hum

Bing’s and Les’s fans will go for this well recorded oldie with its old-timey flavor.

She Is the Sunshine of Virginia

Same comment.

(Billboard, August 13, 1955)

 

June 24, Thursday. The suits against Bing following Gary’s motor accident on May 24 are dismissed by the Superior Court as the Mexicans were not American citizens and could not sue.

June 25, Friday. Gary Crosby takes his trust fund of $220,000 when he turns twenty-one.

June 30, Wednesday. Bing has a checkup in St. John's Hospital for his old kidney ailment. His physician says that no operation is planned. Subsequent press reports suggest that a kidney-stone operation does take place.

July 3, Saturday. Bing goes home from hospital. Press reports indicate that Bing is staying close to home and keeping a weather eye on Gary's radio show before setting off for Elko. It may be that Bing was convalescing after his hospital treatment. Phillip, Dennis and Lindsay Crosby may have already gone to Elko.

July 15, Thursday. Bing is in Tacoma, Washington staying at a motel just outside of town. He golfs at Fircrest Golf Club with his friend Doug Dyckman and has a 75.  He goes on to the Broadmoor Country Club at Seattle.

July 18, Sunday. (Starting at 2 p.m.) Bing and Johnny Dawson beat Jack Benny and Dale Morey 2 and 1 at Broadmoor Golf Club, Seattle in an exhibition match. 6000 spectators jam the fairways. Before play commences, Bing and Jack Benny are presented with a large Puget Sound salmon by the Tacoma Junior Chamber of Commerce.

July 19, Monday. Bing, Phil Harris, and Jack Benny take part in the Western Amateur Golf Tournament at Broadmoor Golf Club. Bing, playing with Dale Morey, has a 78.  Phil Harris has an 87: Jack Benny has a 96.

July 20, Tuesday. The second round of the Western Amateur Golf Tournament. Bing has an 81 and his total of 159 means that he does not qualify for the match-play section. Phil Harris and Jack Benny do not qualify either.

July (undated). Fishes with Phil Harris at Neah Bay, Clallam County, Washington and catches a 36lb salmon.

July 25, Sunday. Bing passes through Butte, Montana en route to the Gang ranch in Frazier River Valley, 145 miles from Vancouver in Canada.

July 28, Wednesday. Bing arrives at Hayden Lake, Idaho from Seattle. He has sold his old summer home at Hayden Lake and is having a new home built. Rents a property from Everett Kirkpatrick.

July 29, Thursday. Meets three of his sons at Coeur d'Alene airport as they fly in from Elko. Gary is still in Los Angeles working on his radio show. Bing golfs with Herb Rotchford at Spokane Country Club and has a 74 on the par-72 course.

July 30, Friday. Plays in the Inland Empire Golf Sweepstakes at Manito Golf and Country Club in Spokane. His partners are Dr. Mel Aspray, Clive Roberts and Hayden Lake pro Bud Hofmeister. Has an 80 but does not turn in his card.

August–September. Bing at his Hayden Lake home with his three youngest sons.

August 2, Monday. Bing writes to Crosby fan George O’Reilly in Dublin, Ireland. Bing had asked Nat King Cole to visit George’s shop in Dublin while he was on tour there.

 

Really, I feel quite remiss after receiving your letter for not having answered you before now, telling you of the receipt of your various letters and of the receipt also of the shamrock and the cables describing the visit of Nat Cole to your shop, and enclosing pictures of the event. Actually, I have been away from Hollywood a great deal this spring, and my correspondence has fallen into arrears considerably as a result. I do want to acknowledge receipt of the gifts, and to thank you for them.

I also appreciate very much the stationery which you send me now with the Crosby crest emblazoned thereon. Very effective!

I had dinner with Nat Cole a month or so ago at Jimmy Van Heusen’s house, and he gave me all the details concerning his visit to your shop. He averred that he really enjoyed himself thoroughly, and that you treated him with great consideration and made the whole event a memorable occasion during his trip to Dublin. Nat is a great fellow I believe, and certainly one of our greatest popular artists.

I don’t know when I will get to Ireland, as several things have happened recently which prevented my annual trip abroad. Might make it sometime in the fall or early next year if I can work out a suitable schedule, but I can’t guarantee anything just now. I solemnly swear that if I do, this time the trip will include a visit to Ireland, a pleasure which has been too long deferred. When I do I will look forward to seeing you and visiting your shop.

In the meantime, please accept my very warmest regards to you and your family.

As ever — your friend, Bing

 

August 4, Wednesday. Bing, at Hayden Lake, writes to John Scott Trotter with suggestions for Gary’s radio show.

 

Dear John,

I have been listening to the last few programs that Gary has done, and I wanted to get a note off to you saying how much I enjoyed them. The arrangements seemed very clever and interesting, and I am sure that they are kicking up a lot of interest throughout the country.

He still has a very definite problem with the delivery of a ballad. I don’t know whether experience is going to overcome it or not. I have got him vocalising - or at least he avers that he is acceding to my demands in this regard and has been working out at the piano daily. This will stretch his chords a little and give him some ease and freedom which he now lacks when he sings a ballad.

It occurred to me that it might possibly be a remedy if you could pick out some songs that are ballads but run along in tempo, like “Rosalie” and “You Were Meant for Me” and others of this type. The tempo can be fairly bright, but still the delivery is in a ballad style and might be something that he could handle better. There is a song Alice Faye sang in a Universal picture, I believe Tommy Dorsey was in the picture. The name of this song eludes me just now, but it is a perfect example of the kind of song I mean. It’s a ballad, but it’s easy to sing and it can be done in a fairly brisk tempo. There are any number of such type songs - most of them in years past because they don’t seem to write them like that anymore, but they were all good hits and I think they are things that he can sing and he won’t appear to disadvantage in singing them. Maybe you can look up some of these and give one or two of them a whirl and see what ensues.

Actually, I am fully appreciative of the many problems which present themselves in connection with Gary. When you stop to think about it, you must admit that he hasn’t had what we would call a great deal of experience. He has sung occasionally with me on the show, and on several records, and outside of that he’s never done any singing whatever professionally. He doesn’t do any at school or anywhere else like I did when I was his age. And even when I was younger I had sung many times, and sometimes for weeks on end, with a little orchestra. He’s never done this, and he’s just got to sing and sing until he gets freedom and ease and then he’ll be able to handle ballads.

I think if he can’t handle ballads he is going to be in bad shape, because there isn’t much of a future in just singing “Gambler’s Guitar” and stuff like that.   I suppose he would have better success with the ballads he is doing now if he did them real intimate - in fact almost talked them. That’s generally the history of singers. I know when I first started out I was a real whisperer, and later I gained confidence and the voice gets more flexible and then you can stand back and belt it a little. I notice he did something like this on “I Understand” and it sounded quite good.

Well, those are just a few random thoughts, John, dictated from Hayden Lake. Very lovely up here. Cool, and lots of golf and swimming and water skiing going on. I endeavor mightily to keep some sort of order, but it’s a hopeless task. Bed check every night, of course, and trying to get somebody to mow the lawn and pick up the clothes and a million and one other things. I can’t wait until they are all 21 and I’ll be relieved of this onerous responsibility. But then I suppose I will be lonesome without them. It’s a genuine quandary.

Rosemary has my phone number in case you want to call me about anything, and I’ll be here for most of the month of August, I imagine.

As ever,

Bing

(As reproduced in BING magazine #116, summer 1997)

 

August 19, Thursday. Bob Crosby and his wife visit Bing at Hayden Lake.

August 22, Sunday. At the Downriver golf course to watch Bud Ward win the Esmeralda Open Championship.

August 26, Thursday. Golfs with Phil Harris, Lindsay Crosby and Ed Crowley at Spokane Country Club.

August 27, Friday. Bing is fishing at Lake Pend Oreille with Phil Harris and Ed Crowley. Bing catches a 25-pound Dolly Varden trout to tie for the largest fish taken there during the season. He is photographed holding the fish with his companions in front of a sign for Talache Lodge.

August 29, Sunday. Golfs at Hayden Lake Golf Club.

August 31, Tuesday. Bing has a 67 at Hayden Lake Golf Club to lead the first round qualifiers for the Inland Empire golf tournament. Lindsay Crosby has a 76. Elsewhere, Bing’s friend, Barney Dean, dies of cancer in St. John’s hospital at the age of 50.

 

The court jester for Bing Crosby and Bob Hope died of cancer at St. John’s Hospital. Dean was more than a laugh-it-up guy for Hope and Crosby. Above all, he was their friend. As one intimate put it yesterday, Dean lived only for sports, playing cards and Crosby and Hope. He was known as a fast guy with a gag or answer.

(Daily Variety, September 1, 1954)

 

September 3, Saturday. Bing beats Jerry Camp Jr. 3 and 1 to reach the quarter finals of the Inland Empire golf tournament.

September 5, Sunday. Starting at 8:55 a.m., Bing beats Frank Sontag 3 and 2 to reach the semi-finals of the Inland Empire golf tournament.  He then loses 5 and 4 to Rodney Funseth in the semi-final.

September 6, Monday. At his Hayden Lake home, Bing sends a hand-written letter to his friend Bette Uitti (a dancer and choreographer who later changed her name to Utey). Later in the letter, Bing writes about a big golf tournament that he is in and that he won the first two matches but lost his third to a good player. He goes on to tell Betty that he has to film a song or two to run on the Ed Sullivan Show to plug White Christmas, which is to be released in October.  He says that his address the following week will be c/o Jane Conklin in Cassel, Shasta County, California.

 

Dearest Bette,

How’s my peripatetic ballerina? You have got yourself in for a lot of work, didn’t you? Well, you’re young, strong and eager so it won’t hurt you. As long as you get some rest, when you can. I called your home on Sunday, but was told you are already in Vegas. I hope you get your Paramount stint out of the way in a few days, and then the commuting will be over.

Things go smoothly up here. Boys behaving reasonably well and the weather glorious. A little cold mornings and evenings, but clear and sunny…

 

September (undated). Decides not to return to his weekly radio series as he has lost confidence in his voice and his enthusiasm for show business has diminished. In a letter to John Scott Trotter dated September 9, he writes:

 

Dear John,                                                           

Please excuse the long delay between receipt of your letter of August 24 and my reply thereto. Too many golf tournaments and too much fishing up here, I guess, for one to pay the proper attention to one’s correspondence.

First, in connection with Gary, I think that he did make remarkable progress in the 13-week period just concluded. A lot of people don’t realize just how little experience he had in the past. Outside of the appearances with me and the three or four records he made, he had absolutely no experience in front of the public or recording or on the radio. In school, contrary to what most kids with a little talent are accustomed to do - he didn’t participate at all in amateur theatricals or the university productions. This I deplore of course, but there seems to be little I can do about it.   He tells me that the boys around the fraternity house consider anybody a square who in any way indulges in campus activities or assumes student offices. A whole new philosophy seems to have developed since I went to school. In order to be attractive now, apparently, a kid must be a complete clod. Of course if a boy gets very good marks and likes to study and shows an interest in the course that he is taking, he is utterly loathsome.

I think your suggestion about him working a little on tone production and singing to a tape machine is a very good one. Ampex owes me just such a machine, and I may grab it and have it sent up to him this fall. I don’t know whether he’d ever plug it in or not, but it’s an experiment that’s worth a try. Doubtless the fraternity would pick up his pin if he ever demonstrated such unique interest in the career he intended to pursue when he got out of college. Of course I am determined that he should complete his college course, if it takes two years. Getting him into Stanford was quite a chore, and keeping him there has been an even more onerous assignment, and I certainly am not about to let him blow it with only a year or so to go. It’s my belief that he can still keep in the public eye and keep in action through the medium of phonograph records, if they go at all.

I of course, John, feel pretty sad about not going back on the radio this season. I have given many reasons for this decision to many different people, but I feel I can tell you the truth and that you will believe and understand me. John, I don’t sing anywhere as good as I used to, and I feel sincerely that it’s getting worse. I don’t see any purpose in trying to stretch something out that was once acceptable and that now is merely adequate, if that. I don’t know what the reason for this condition is, unless it’s apathy. I just don’t have the interest in singing. I am not keen about it any more. Songs all sound alike to me, and some of them so shoddy and trivial. I don’t mean I didn’t sing some cheap songs in the old days, but I had such a tremendous interest in singing and was so wrapped up in the work that it didn’t matter. . . . The sycophants that hang about, the press, the photographers, the song publishers and pluggers and the pests of all descriptions that grab me every time I step outside my front door weary me indescribably. Succinctly, John, I seem to have had it. Maybe a year or so away will make me feel differently, and my interest will revive.

I certainly hate to see the wonderful organization we have break up, and it gives me a wrench to be an instrument in its dissolution. I shall never forget all the good years you and I had together, and all the wonderful unselfish things you did for me and my interests. You had a great deal to put up with at times, and your patience and forbearance was always incredible. You must know how grateful I am to you for everything that you have done. And I don’t mean just professionally either. Much of the same goes to Murdo. There’s a great boy, and I think the radio industry should prepare some sort of a plaque or citation for him for just putting up with Morrow through the years, if putting up with me wasn’t enough. I’ll be back in Pebble Beach after the 21st of the month, John, and probably will stay around there for a couple of weeks, and then will be on into Hollywood. If you are in the Carmel area be sure and give me a ring and we can get together. My very best to you.

As ever,

Bing

(As reproduced in BING magazine #116, Summer 1997)

 

September 13-18, Monday-Saturday. Bing is in Cassel, Shasta County, California. Possibly fishing. He sends a postcard to Betty Uitti in Las Vegas saying that he is keeping early hours and goes to bed when she wakes up.

September 19, Sunday. Press reports state that a video recorder developed by Bing Crosby Enterprises Inc. has received orders. Meanwhile, Bing is in San Francisco at the Fairmont's Cirque Room.

September 22, Wednesday. Bing arrives at his Pebble Beach home for a two-week stay.

September 23, Thursday. (7:00-10:00 p.m.) Bing records “Who Gave You the Roses?” and “The Song from Desiree (We Meet Again)” with Alfred Newman and his Orchestra. (It may be that the tracks were recorded by the orchestra with Bing adding his vocals later as he was said to be in Pebble Beach at this time.) Desirée was a 1954 film telling the fictionalised story of Desirée Clary and her relationship with Napoleon. It starred Marlon Brando and Jean Simmons and it had its premiere in San Francisco in November 1954. 

 

Who Gave You the Roses?

Another leisurely paced ballad sung with Crosby’s usual sincerity and appeal.

The Song from Desiree (We Meet Again)

Crosby croons a slow, subtle version of the lovely waltz theme from the new movie. Should get plenty of spins, particularly in spots where the picture is playing.

(Billboard, December 4, 1954)

 

September 26, Sunday. (3:30-5:00p.m.) Bing’s Musical Autobiography set is extensively plugged in a two-hour tribute to him on the NBC radio network. The 5-disc album reaches the Billboard LP charts and peaks at No. 9.

October 2, Saturday. (Starting at 2 p.m.) Bing sees the Stanford Indians beat Illinois 12-2 at the Stanford stadium.

October 4, Monday. (8:00-9:00 p.m.) NBC's "Best of All" radio program salutes Irving Berlin and his new film White Christmas. A telephone call from Bing to Irving Berlin is included in the tribute.

October 6, Wednesday. From his Pebble Beach home, Bing sends another hand-written letter to Bette Uitti who is at the Vegas Biltmore.

 

Dear Bette,

How’s my best girl? Not forgetting my admonitions regarding rest, smoking too much etc? Figure me for becoming stuffy. Things go along apace up here. Went to S. F. and caught Stanford and Illinois. A good game. Saw Patti Moore and Benny Lessy at the Italian Village with Margaret Whiting. She's doing a rather dull act, but Moore and Lessy were a riot. Particularly with me, because I'm a pushover for Benny. Did you ever catch them? Just song and dance stuff, and rather corny too but they have some very good humor, and their enthusiasm is infectious. I've been watching quite a lot of T.V. lately and they have certainly spread out. Lots of dancing and spectaculars...

In the second part of the letter, Bing talks about going to Hollywood and that it's sinful to leave Pebble Beach when the weather is so beautiful. He also says that he wants to get to Las Vegas to see Bette's work before she becomes jaded and disinterested in her work.

October (undated). Films a contribution to a forthcoming Ed Sullivan TV show.

Major studios’ romance with Ed Sullivan is continuing, now by way of a tieup with Paramount. Sullivan and a Par camera crew spent two days at Bing Crosby’s Monterey, Cal., home last week filming a 12-minute short for exposure on Sullivan’s “Toast of the Town” CBS TV program next Sunday (17). Briefly pic focuses on Crosby as he sings three tunes from “White Christmas” and engages in conversation with Sullivan. Set to appear “live” on the show is Irving Berlin, who provided the full score for “Christmas.”

(Variety, October 13, 1954)

October 11, Monday. Still at Pebble Beach, Bing writes to Judy Garland.

My Dear Judy

I didn't get to hear the dedicatory program which NBC had on the radio a couple of Sundays back because it was at 3 p.m. on Sunday afternoon, and you know where I am likely to be at that time on that day - generally somewhere around the 11th hole, trying to convert a high faded tee shot into a par 4.

But the people at NBC were kind enough to send me a record of the whole affair, and I played it the other day at my leisure and listened to it carefully. I was touched by the nice things you said about me and about the album and I just wanted you to know how deeply I appreciate it.

As ever, your friend, Bing

October 14, Thursday. The film White Christmas is released together with previews of Bing’s next movie The Country Girl. White Christmas becomes the top film of 1954 in the U.S.A. at the box office taking $12 million in rental income in its initial release period.

 

White Christmas should be a natural at the boxoffice, introducing as it does Paramount’s new VistaVision system with such a hot combination as Bing Crosby, Danny Kaye and an Irving Berlin score. The debut of the new photographic process is a plus factor complementing the already solidly established draw of Crosby and Kaye.

      …Crosby and Kaye, along with VV, keep the entertainment going in this fancifully staged Robert Emmett Dolan production, clicking so well the teaming should call for a repeat. Both Crosby and Kaye are long in the talent department and provide a lift and importance to the material scripted by Norman Krasna, Norman Panama and Melvin Frank.

      The full Crosby flavor is heard on “What Can you Do With a General?” and “Count Your Blessings,” latter reprised by Miss Clooney.

      …Crosby wraps up his portion of the show with deceptive ease, selling the songs with the Crosby sock, shuffling a mean hoof in the dances and generally acquitting himself like a champion. Certainly he has never had a more facile partner than Kaye against whom to bounce his misleading nonchalance.

(Variety, September 1, 1954)

 

It was twelve years ago that Bing Crosby was in a place and a film called “Holiday Inn,” wherein he sang a little number tagged “White Christmas,” written—as was all the music in that picture—by Irving Berlin. The occasion was happily historic, for a reason we scarcely need recall: “White Christmas” and Mr. Crosby became like “God Bless America” and Kate Smith—so much so, indeed, that the notion of starring Mr. Crosby in a film that would have the title “White Christmas” was broached as long as six years ago.

Various obstructions beset it, but the purpose was ultimately achieved. “White Christmas,” with Mr. Crosby, opened yesterday at the Music Hall. What’s more, it is in Technicolor and VistaVision, which is Paramount’s new wide-screen device, and it has Danny Kaye, Rosemary Clooney and Vera-Ellen in addition to its focal star. A new batch of Irving Berlin numbers comprises its musical score. Paramount, to put it simply, has done “White Christmas” up brown.

But, oddly enough, the confection is not so tasty as one might suppose. The flavoring is largely in the line-up and not in the output of the cooks. Everyone works hard at the business of singing, dancing and cracking jokes, but the stuff that they work with is minor. It doesn’t have the old inspiration and spark.

For one thing, the credited scriptwriters—Norman Krasna, Norman Panama and Melvin Frank—have shown very little imagination in putting together what is sometimes called the “book.” They have hacked out a way of getting two teams of entertainers—a pair of celebrated male hoofers and a singing sister act—to a ski lodge in New England (reminiscent of the Holiday Inn) which happens to be run by the good old general of the outfit the fellows Were in during the war. And to show their appreciation of the good old general and the difficult circumstances he appears to be in, they provide free entertainment and call in a big rally of comrades for the Christmas holidays.

It is a routine accumulation of standard romance and sentiment, blessed by a few funny set-ups that are usually grabbed with most effect by Mr. Kaye. And the music of Mr. Berlin is a good bit less than inspired outside of the old “White Christmas,” which is sung at the beginning and the end, there are only a couple of numbers that have a measure of charm. One of these is “Count Your Blessings,” a song of reassurance that Mr. Crosby and Miss Clooney chant, and another is “The Best Things Happen While You’re Dancing,” which Mr. Kaye sings and to which he and Vera-Ellen cavort.

Three numbers are given over to the admiration of generals and Army life, which seems not alone an extravagance but a reckless audacity. Even the sweetness of Dean Jagger as the old general does not justify the expense. Someone’s nostalgia for the war years and the U. S. O. tours has taken the show awry.

Fortunately, the use of VistaVision, which is another process of projecting on a wide, flat screen, has made it possible to endow “White Christmas” with a fine pictorial quality. The colors on the big screen are rich and luminous, the images are clear and sharp, and rapid movements are got without blurring—or very little—such as sometimes is seen on other large screens. Director Michael Curtiz has made his picture look good. It is too bad that it doesn’t hit the eardrums and the funnybone with equal force.

(Bosley Crowther, New York Times, October 15, 1954)

 

White Christmas (Paramount) is a sentimental recollection of the 1942 musical Holiday Inn, in which Bing Crosby first sang the song ‘White Christmas’. From the first scene (Christmas 1944) to the last (Christmas 1954), it is blatantly the I “big musical,” a big fat yam of a picture richly candied with VistaVision (Paramount’s answer to CinemaScope), Technicolor, tunes by Irving Berlin, massive production numbers, and big stars. Unfortunately, the yam is still a yam.

The plot revolves around a handsome wide-smiling, fatherly ex-general (Dean Jagger) whose ownership of a nice old white inn in Vermont (remember the inn in Holiday Inn?) is endangered by business conditions. Two of his former men (Bing Crosby and Danny Kaye), who since the war have made a big success in show business, come to his rescue. They throw a benefit at the inn, and call on all the old man’s old soldiers to help out. Meanwhile, they are able to do a good turn for a sister act (Rosemary Clooney and Vera-Ellen).

A couple of the tunes (Sisters, Count Your Blessings) may do very well with the jukebox trade, but except for the title piece, Composer Berlin is considerably below his top form. Throughout most of the picture, Crosby just doesn’t Bing. Rosemary Clooney, as his girl friend, gives him no very exciting reason to. Even Danny Kaye seems a little depressed. He has only one really adequate line (“When what’s left of you gets around to what’s left to be gotten, what’s left to be gotten won’t be worth getting whatever it is you’ve got left”), but he does manage, in one spanking fine sequence with Dancer Vera-Ellen, to remind the world that when he wants to, he can move shoe leather with anybody short of Fred Astaire.

(Time magazine, October 25, 1954)

 

The biggest hit of the year, White Christmas, swelled Paramount’s bank balance by $12 million from American theaters plus almost as much from the rest of the world. The names and talents of Bing Crosby, Danny Kaye and Irving Berlin did the trick. With sparkling assistance from Rosemary Clooney and Vera-Ellen in the song-and-dance department they made a thoroughly entertaining musical out of a dull, hackneyed story from the usually bright pens of Norman Panama, Melvin Frank and Norman Krasna, indifferently directed by Michael Curtiz, who had just finished 27 years with Warner Bros. Resembling Holiday Inn but not as good, it was about a couple of entertainers, who, aided by their sister-act girlfriends, put on a show at a winter resort hotel to make it a success for their old Army officer. With few facilities, they stage numbers elaborate enough to tax the resources of Radio City Music Hall. Robert Emmett Dolan’s production in Technicolor, the first movie to be made in Vista Vision, the company’s answer to CinemaScope, boasted 15 Berlin songs: new hits like ‘Count Your Blessings’, ‘The Best Things Happen When You’re Dancing’, ‘Love, You Didn’t Do Right By Me’, and ‘Sisters’, and old ones like ‘Blue Skies’, ‘Heat Wave’ and the inevitable title dirge. Also cast: Dean Jagger, Mary Wickes, Sig Rumann and dancer John Brascia.

(The Paramount Story, page 213)

….MN: A friend at mine remembers the premiere in England. He said the show began as usual in a newly refurbished Paramount theater. Then the black and white newsreel ended. The studio logo announcing VistaVision flashed on the screen in blazing Technicolor and the curtain gradually parted to reveal the humongous screen as the “V” in Vision reached out at the audience. The full stereo sound piped up, and the crowd burst into unanimous applause.

BC: Yes, it was quite an event. White Christmas was the first picture in VistaVision (indicates the large logo on the poster). At that time, all the studios were changing to widescreen. With all due modesty, I think VistaVision was one of the best.

MN: It was the best.

BC: I recall it had as much to do with the success of the picture than we did or Irving Berlin’s music.

MN: It was one of the stars, so to speak.

BC: Exactly. Equal billing, too!

MN: Rumors have abounded through the years that White Christmas was severely cut before the release.

BC: The studio had a lot banking on it. It was a very important picture. That kind of deal carries a lot of pressure — so come the eleventh hour, it’s quite possible...

MN: l mean severely, though. Like close to an hour.

BC; Hmmm, rather a hefty trim.

MN: Yeah, but figure: it’s the first VistaVision picture. It’s certainly one of the studio’s biggest attractions of the year. Top bookings, big promotion. The Robe (the first CinemaScope picture) was long. This is Cinerama had a massive roadshow engagement. So why not White Christmas?

BC: Back then, just about every picture lost some scenes here and there.

MN: It always struck me odd that the montage of you and the Danny Kaye character rising to success after the war had 20-second snippets of enormous musical numbers, lavishly staged and choreographed. Go through all that trouble just to get a few seconds?

BC: l believe we did shoot those numbers in their entirety.

MN: That would be a great find.

BC: I imagine that stuff is now glue in someone’s dentures someplace.

MN: It would be a fantastic discovery.

BC: Who knows? Maybe one day.

MN: White Christmas has such a weird history anyway. Wasn’t Fred Astaire originally supposed to be in it?

BC: The picture was supposed to reunite me and Fred. You see, we had become something of a tradition at Paramount. Every time we worked together, box office coffers rang merrily. We had been very lucky with Holiday Inn and later Blue Skies.

MN: So White Christmas being such an important project for the studio — it’s first foray into actual widescreen — sounds like a natural for you and Astaire.

BC; And Berlin. Don’t forget Irving!

MN: So what happened?

BC: l believe the studio couldn’t come to terms with Fred’s schedule. Paramount knew they had to have a picture called White Christmas playing in the country before the holidays, counting on word of mouth and such, Fred, who was always announcing his retirement — “This is going to be my last picture” — never worked more in his life. He was bigger at the time than he was with Ginger. Sinatra tried the retirement ploy, too. (chuckles) I probably should have given it a tug myself.

MN: Astaire must have really left early. I can’t imagine him playing any other part in the script — except the Dean Jagger role. I know that Donald O’Connor was slated at one point.

BC: Absolutely. Donald’s one of the great performers of all time. I had literally watched him grow up at Paramount. He was a mere child when we did Sing You Sinners — back in the 30s. So White Christmas still would have been a reunion of sorts.

MN: I heard that his contract with Universal prevented him from doing the picture. That might explain why, to this day, he bad-mouths the Francis movies.

BC: Possibly. But Donald had become very popular due to his dancing in that Gene Kelly picture. Oh, memory, where art thou?’ Great picture.

MN: Singin’ In The Rain.

BC: Of course. I think that what really snagged his availability was his commitment to the TV networks. At the time, Donald was a huge television star. Unfortunately, most at that stuff was live — so you can’t see it today, but it was really tremendous. He’s a tremendous talent. I think that’s what ultimately kept him from White Christmas. Paramount was forced to go ahead with the shoot date, and fortunately, Danny Kaye — who can do anything! — had just signed with the studio. They no sooner asked than he jumped on board. Donald and I, as a consolation prize, were given another Technicolor VistaVision show, Anything Goes, which wasn’t bad, as I recall — but it wasn’t anywhere near the success White Christmas was.

MN: I suppose the Astaire White Christmas more closely followed the Holiday Inn trail.

BC: I have no idea where they were going with that.

MN: White Christmas with you and O’Connor makes more sense. I mean, when Kaye replaced him, I don’t think Paramount even bothered to change the script, In the movie, you play a superior officer to the Kaye character — a young GI private. That would make more sense for O’Connor.

BC: True, but I believe Danny held up his end admirably.

MN: Oh, no — he’s great. Was Michael Curtiz difficult to get along with?

BC. I don’t really recall any kind of problems. The only thing that seemed to be on everyone’s mind was whether or not the VistaVision was being used correctly or to its best advantage. VistaVision was the most temperamental costar I ever worked with. Unlike Rosemary Clooney, who played my romantic interest in the picture — and whom, coincidentally, is with me on this New York tour. How’s that for a segue?

MN: It’s a shame she didn’t do more movies.

BC: Rosemary’s the best. She is one of the most versatile singers in the business. A real treasure, and a good family friend. I’m sorry, did we hop the track a bit?

MN: Well, I could never figure out how Curtiz got White Christmas. Then I remembered he’d done Yankee Doodle Dandy.

BC: You could write your own ticket on a movie like that. Everyone went to see it. I don’t think you can get any better than Jimmy Cagney. Talk about incredible performers…

(Mel Neuhaus interviewing Bing in 1976, as reproduced in a 1994 edition of Laser Marquee, the collectors’ guide to classic movies on Laserdisc.)

 

October 16, Saturday. Bing returns to Los Angeles and takes Kathryn Grant to a football game where they are the guests of Dave Butler, the film director.. Bing comes close to proposing marriage.

October 17, Sunday. Bing's filmed contribution is seen on the Toast of the Town show on CBS-TV hosted by Ed Sullivan in order to plug White Christmas.

 

Ed Sullivan made Liberace and a filmed insert with Bing Crosby pay off Sunday with one of the season’s highest Trendex ratings for CBS-TV’s “Toast of the Town.” Marker of 42.6 for 68.5 share of audience dropped the opposing “Comedy Hour” on NBC to 13.1 with share of 21.

(Daily Variety, October 19, 1954)

 

. . . Otherwise, it was a first-rate session marked by a top-notch film clip of a Sullivan interview with Bing Crosby on the Coast. The Crosby bit was a plug for the Paramount pic White Christmas (which incidentally, has been getting a hefty slice of cuffo time both radio and tv via Irving Berlin’s current pic and songplugging activities); but the Groaner was in his niftiest form as a casual personality and his relaxed way before the cameras belied the existence of what must have been an Army of Paramount technicians to make the ultra-professional looking “home movie” sequence. Sullivan opened with a few remarks and Crosby carried the ball from that point onwards, chatting amiably and delivering snatches of Berlin tunes without accompaniment except for one number, “Gee, I Wish I Was Back in the Army.” It was a tip-top trailer.

(Variety, October 20, 1954)

 

October (undated). Bing takes Bette Uitti to the Dean Martin dinner-dance. They leave early.

October 25, Monday. Lindsay Crosby is tried on a battery charge following an altercation at a Sunset Strip night club in June during which Lindsay allegedly knocked a lady from a bar stool. After five hours of deliberation, a jury finds him guilty on the lesser charge of disturbing the peace.

October 29, Friday. A municipal court judge sets aside the verdict of guilty of disturbing the peace against Lindsay on the grounds that insufficient evidence was submitted.

October 30, Saturday. Kathryn Grant and Marilyn Banks visit Bing for the weekend at his home above the Thunderbird Country Club in Palm Springs.

October 31, Sunday. Bing and his party are at the Thunderbird Country Club for dinner. Proposes marriage to Kathryn Grant at Palm Springs. She accepts but Bing then does not see her for two months.

 

Bing didn’t seem romantically inclined. He just seemed worried. He must have been aware of lots of things of which I was ignorant—problems we would have to face, public relations, good and bad—that we would have to overcome. He didn’t discuss such things with me then, but he did seem a bit withdrawn for a man who was figuratively on his knees requesting my hand in marriage.

      . . . I still knew little about Bing the great star, the idol of millions. I did know a great deal about a very kind man who seemed to enjoy my company, as I enjoyed his. . . . He listened to my few opinions with interest and acceptance. He seemed to think I knew what I was talking about, and he showed me he was proud of my endeavors and my activities. Of course I liked that. I liked that enough to want to be with him the rest of my life and I was delighted when he said he felt the same way.

(Kathryn Crosby, writing in her book Bing and Other Things, pages 51-52)

 

November 1, Monday. It is announced that Bing has discarded his half-hour weekly show and will resume shortly on CBS with a quarter-hour series five evenings each week. The new program is to be produced and written by Bill Morrow and directed by Murdo Mackenzie.

 

Lester Gottlieb, CBS Radio programming veepee, has moved in where others feared to tread, grabbing off Bing Crosby for a five-night-a-week radio showcasing executing the major network radio coup of the year. What makes it all the more standout is that Gottlieb convinced The Bing to reverse himself for signing off at the end of last season. Crosby more or less renounced radio along with tv.

Crosby tees off on Nov. 22 in the 9:15 to 9:30 slot, Monday-thru- Friday, a taped show that will pretty much conform to the usual Bingle variety format, with guests, etc. Initially it was Gottlieb’s aim to bring Crosby back into radio with a continuing, biographical theme based on the Crosby “Call Me Lucky” life story, but the singer vetoed the idea, feeling he could bring more entertainment elements with the conventional format. As in the past, Bill Morrow will produce. John Scott Trotter, after a many-year association with Crosby, will be missing this time up, with a more intimate instrumental combo going in.

Crosby will be slotted back-to-back with Amos N' Andy, who have also entered the cross-the-board 25 minute sweepstakes with their 9:30 to 9:55 p.m. CBS show.

 (Variety, November 3, 1954)

“To me Bing’s outstanding qualities are his speed and punctuality. He likes things to be well-organized beforehand, but is always ready to pitch in where necessary and do more than his share of work. I’ve never seen him lose his temper and blow-off, but he does detest pressure and crowding and he’ll walk out if anyone starts pushing him. In the same way he’s of a positive mind. Once he makes a decision that’s it. If I had to make a one sentence definition, I’d say Bing is a perfectionist in a casual sort of way.”

(Bill Morrow, interviewed in November 1957, as reproduced in BINGANG, October 1958)

 

November 2, Tuesday. Look magazine carries an article by Bing headed “I Never Had to Scream” in which he reflects on trends in popular music and the increasing power of the disc jockeys.

November 4, Thursday. Records “Peace Prayer of St. Francis” and “Blessing of St. Francis” with the Padre Choristers and Father Lorenzo Morales. Richard D. Aurandt arranges and conducts. It is likely that Bing added his voice to tracks already recorded by the choir at Santa Barbara. Bing undertakes the recitation of “Peace Prayer of St. Francis” to help raise funds for Catholic charities and his reading is sincere and effective. After his opening narration, the choir and a soloist take over until Bing returns to join them as the prayer is completed in dramatic fashion. The Prayer of Saint Francis is attributed to the 13th-century saint, Francis of Assisi, although the prayer in its present form cannot be traced back further than 1912. The prayer has been known in the United States since 1936 and Cardinal Francis Spellman distributed millions of copies of it during and just after World War II. British politician Margaret Thatcher famously paraphrased it when she was first elected as Prime Minister on May 4, 1979 saying “Where there is discord, may we bring harmony. Where there is error, may we bring truth. Where there is doubt, may we bring faith. And where there is despair, may we bring hope.”

A neat little record in an extremely attractive jacket is PEACE AND BLESSING (Decca). It’s sung by the Padre Choristers, Old Mission, Santa Barbara and well nominated by Bing Crosby himself. One side is the Peace Prayer of St Francis of Assisi, used often by The Christophers: “Lord, make me an instrument of Thy peace…” The flip side, though interesting, is weaker. This has Bing reading some of the Poverello’s other words of blessing. (In the morning when the sun rises everybody oughta praise God…”) and accompanied by some syrupy chirpy tweeting (Address to the Birds) and a fascinating Franciscan version of an animal howl (Address to the Wolf). It’s a nice record to give hospitals and clubs—even your local radio station.

(John E. Fitzgerald, Dallas Texas Catholic, December 15, 1956)

November 8, Monday. Details of Dixie’s estate are released and show that her own assets and her share of the community property accumulated during her marriage to Bing total $1,332,571. After debts, taxes, and expenses the net figure is $550,616. Obligations of the estate are said to be $507,000, presumably including $410,000 owed to Citizens National Trust and Savings Bank, being the balance due on the promissory note signed on April 14, 1952.

November 17, Wednesday. Variety presents a major survey in which many disc jockeys discuss Bing’s statements about them in his recent article in Look magazine.

November 18, Thursday. At CBS Studio C in Hollywood, Bing records 19 songs with Buddy Cole and his Trio for use on his radio show. He also poses for publicity photos.

November 20, Saturday. Attends the gala opening of the El Mirador Hotel in Palm Springs with Kathryn Grant.

November 21, Sunday. (3:00-4:00 p.m.) The Thanksgiving Hour, a radio program broadcast over the Mutual Network, features a story called “Miss Clara” and Bing takes part together with Ethel Barrymore, Pat O’Brien, and Perry Como. (8:00-8:30 p.m.) The weekly CBS radio show, The Hallmark Hall of Fame, broadcasts a memorial tribute to the late Lionel Barrymore (the show’s former host) and Bing makes a short contribution.

November 22, Monday. (9:15–9:30 p.m.) The Bing Crosby Show airs on CBS radio. This is a daily weekday fifteen-minute show (preceding the Amos ‘n’ Andy show) which continues until December 31, 1956, with a variety of sponsors. It starts off on a sustaining basis for the first few weeks. The audience rating is 3.1 for 1954-55, which earns the program fourteenth position in the Nielsen ratings. Jack Benny’s show is in top position with 5.8. The format of Bing’s new show has him talking about everyday matters interspersed with songs by him. The songs used are a mixture of his commercial recordings and songs specially recorded with Buddy Cole and his Trio.

 

Bing Crosby Show - 15 mins Monday thru Friday 9.15 pm

The way they used to tell it that ‘the sun never set on the British Empire’; Der Bingle still retains an Empire of sorts (money aside). What with resurrection of those platters far and wide on the kilocycle horizons, it’s been more than a score of years now since Crosby started groaning low and high on CBS from the top and bottom of the Decca. Either way he took command, setting pace and records that figure to stand forever or, if not, to be enshrined in a special vault, along with the antique statistics of a sports firmament, he loves so well. He chalked up so many ‘firsts’ that it’s becoming a cliché to call the roll. So now, Bing Crosby is on a CBS radio, across the board quarter, in the fractional 9.15 pm time that listeners are bound to find. He’s now the elder statesman singer, the doyen of his bracket and as great a radio personality as ever. Continuing in parallel are his leading corpsmen and friends, Bill Morrow and Murdo MacKenzie, bringing the show in, with MacKenzie also directing and fisherman pal, Morrow, doubling as writer, in a format that is typically Crosby and a bit beyond the conventions. Bing is an exponent of the ‘sing’ but his talk is true, an incredible combination that he’s made all his own, over the years, whether on an hour’s kick or on tit-bits of this or that.

         Monday’s opener on the 22nd, seemed less than fifteen minutes but even twice that much would still seem fleeting. It’s one sure measure of his standing as a performer that CBS program vice president, Lester Gottlieb must have had to talk even faster and more engagingly to sell Crosby this daily deal. After all, how much of the coin can he keep? More at stake, perhaps, was steady identification and prestige, with maybe a bone thrown to Columbia to have it retain its strong competitive hold on night-time programs. The best in the biz - Crosby said it right in the intro - not too hokey - won’t yock it up with pitch encomiums etc. But the songs are not merely post-scripts, such as, ‘This Ol’ House’, to the Buddy Cole Trio’s, pianola, stuffola and revved up beat. ‘Hey, There’, out of ‘The Pyjama Game’ with its quiet, authoritative and almost new interpretation, plus by the Cole group’s counterpoint segueing brightly into ‘But Not for Me’.

    In between the talk, it’s never small talk with the Tacoma lad who went from grid to golf, to Georgia and a hatchick, all attuned to the Morrow bag of conventional tricks. With Crosby never varying from a vehicle status, so that it comes out with the pure Crosby imprint with a light touch given to human-interest quickies that seemed in the orthodox commentator’s groove. Inspiration was built in to boot and may well have been designed to make the chirping subordinate to the informal analyst. Crosby’s ‘snappers’ came off so easily, you begin to expect them. There will be guests, lots of them but the ‘preemer’ didn’t have them - the precious minutes were needed to set the stage and Crosby would rather be dead than not give a drop in the full dialogue. If the Amos ‘N’ Andy Music Hall does not get its inheritance from Crosby and Crosby himself doesn’t rate a rating, radio is, indeed, on the way to nowhere.

(Variety, November 24, 1954)

The Bing Crosby radio fans - and as one who eschewed the glittering attractions offered by television at 8 o'clock of a Sunday evening through the 1953-54 season to listen to Der Bingle, this reviewer counts himself a loyal Crosby fan - have come to expect three things from a Crosby broadcast: first, his inimitable crooning of old and new popular songs; second, an interlude of fast and clever dialogue with Ken Carpenter and the guest of the evening; and third, the commercials delivered by Mr. Carpenter, with or without his star's assistance. The new Crosby series on CBS Radio (9:15- 9:30 p.m. EST, Monday through Friday) meets only one of those expectations: the Crosby voice after all these years sounds as fresh as ever; Bing's manner of putting over a song is as relaxed as if he were rehearsing instead of broadcasting; all the anticipated enjoyment is provided in the song department. But the chatter part of the program is a sad let-down. Instead of the carefree, casual banter which Bing and Ken used to exchange so amusingly, the opening programs of this season's Crosby series found Bing stumbling through inept monologues. If Bill Morrow really wrote those scripts, as CBS maintains, he's in a slump and should be relieved until he pulls out of it. He can do better, as the record shows. Finally, this Crosby series is being broadcast sustaining (and how could one better epitomize the plight of network radio than by the single sorry fact that the whole high-powered CBS sales staff was unable to find a sponsor for a man whose products are still top sellers in record shops and movie houses?). With no commercials to deliver and nothing to do but sign the program on and off, Ken's absence from the talk part of the show is all the harder to understand. There was a wistful note in his voice on the first broadcast, when, at the conclusion of the show Bing wondered audibly if he hadn't been talking too much and Ken murmured, "Not to me." Many listeners must have been wondering with him. Estimated production cost: $2,700 per 15-minute program.

(Broadcasting Magazine, December 13, 1954, page 15)

 

I eventually settled back in Hollywood and worked strictly in the studios, recording and writing arrangements and that type of thing for the film companies and radio and this I continued to do until 1947 when I joined Bing Crosby, really as a pianist with the John Scott Trotter Orchestra, but Bing was very nice and always insisted on some piano backgrounds to the things he was doing. Eventually the big bands faded out as you know and one day Bing called me and asked me to go to CBS with him and a small group. He said “Just you, I won’t do this unless you’ll do it.” That’s just about the way Bing put it and I was naturally just thrilled out of my skull! And so we started with Mr. Crosby recording all of these tunes. That was in 1954 and we’ve been on the air continually except for one period of nine months and one period of a year some place along the way.

(Buddy Cole, in a tape recorded message to Crosby fan Stan White, reproduced in Crosby Post, August 1962)

 

November 24, Wednesday. It is announced that the premieres of The Country Girl in New York, Los Angeles and other key cities are to be fund raising events for the Olympic Fund. Bing has been made honorary chairman of the fund-raising committee.

November 25, Thursday. The sale of the Kelly-Snyder pool (containing forty-two oil wells including property owned by Bing and Bob Hope) in Scurry County, West Texas, by W. A. Moncrief for almost $21 million is announced. Bing and Bob are said to receive $3,370,000 each from this.

November 30, Tuesday. Bing and Mona Freeman dine at Don the Beachcomber in Palm Springs.

December 3, Friday. (7:30-8:00 p.m.) Bing is interviewed by Edward R. Murrow on the Person to Person show on CBS-TV. Bing is at home in Holmby Hills while Murrow is in the New York studio.

 

. . . If Crosby were any more relaxed he’d collapse, but that didn’t impair the efficiency of his guideposts to a variety of items, from the nineteen Decca “gold” platters to the late Dixie Crosby’s Copenhagen China collection. He hummed “This Ole House” in tongue-in-cheek manner, and interlarded a dash of “Count Your Blessings” in a casual style which bespoke innate showmanship—he even had the right “theme” songs for the occasion. He got in the right degree of plugging for his upcoming “Country Girl” (Par), saluted his late gagman Barney Dean, spotlighted his “real” friends, spoke about the boys—Lindsay was the only one present—and even got in a fast dash of his case against “Oop! Shoop!” and “Sh-Boom,” which his four “toughest critics”—his sons—apparently hold in higher esteem than does the Groaner. He admitted that bringing up the four boys was his toughest job.

(Variety, December 8, 1954)

 

Televised fights have become so bad of late that Ed Murrow’s person-to-person with Bing Crosby last Friday polled a Trendex of 29.3 against the Gillette scrap’s 11.8.

(Daily Variety, December 9, 1954)

 

December 4, Saturday. At CBS Studio B in Hollywood, Bing records 16 songs with Buddy Cole and his Trio for use on his radio show.

December 9, Thursday. The trial of the $1,051,400 motor accident damage suit (regarding Bing’s October 1953 car accident) begins at the Los Angeles Superior Court with the selection of the jury. Bing is present and before the selection can be completed, a settlement is reached out of court for $100,000.

Bing Crosby yesterday settled for $100,000 the $1051,400 damage suit brought against him by three persons after an early morning automobile collision Oct. 11, 1953.

Atty. Edgar Simon, representing the three, announced the agreement in the courtroom of Superior Judge Thomas J. Cunningham, after a day and a half of conferences with the Crooner’s counsel.

There was no formal argument. The judge remained in chambers while the lawyers huddled.

Frank Verdugo, 22, city fireman, who sued for $700,000 will receive $67,500 for a fractured neck vertebra which necessitates his wearing an orthopedic collar.

Mrs. Lucy Verdugo, 29, his wife, settled her $200,000 plaint for $27,500. She suffered a fractured jaw and loss of 10 teeth, Simon said.

Her brother, Eulalio Peres, 26, had asked $100,000, and was satisfied to drop the case for $5000. His nose was broken in the crash, also his left arm, the lawyer said.

The collision occurred at Wilshire and Sepulveda Blvds, at 5:30 a.m. in the rain. The three plaintiffs blamed Crosby, charging that he had been drinking, and was weary from loss of sleep. His answer to the suit made the same charges against Verdugo.

The singer could not be reached for comment as the case was settled. His attorneys, Walter O. Schell, Pierce Works and John O’Melveny, left the announcement to Simon.

(Los Angeles Times, December 11, 1954)

December 13, Monday. Bing writes to Canadian broadcaster, Gord Atkinson:

 

Thank you so much for sending me the clippings from the Ottawa papers relating to the running of White Christmas up there and how it fared with the public. I am glad too that you liked it. It’s a good audience picture, with some attractive songs and sets, and some good singing and dancing, and I am happy to report that it is meeting with tremendous response all over the United States at the box office. Paramount tells me that it looks like it’s going to be the biggest grossing musical of all time. One of their biggest hits was The Greatest Show on Earth, and in comparable situations, White Christmas is outgrossing this DeMille picture—which is a very substantial tribute.

           Glad you like the new radio show. It’s a very easy thing to do, and I get a great deal of satisfaction out of being able to chat informally about sports and books and things like that that interest me, and that I hope may interest other people.

         The picture, The Country Girl has been shown a few times around town here and it opens next week on the 21st–the premiere is to be held for the benefit of the United States Olympic fund, and similar functions will be held in key cities all over the United States in connection with the preview of this picture. We hope to raise upwards of $100,000 for the cause. This picture is a very dramatic thing—good solid story with some wonderful performances from Grace Kelly and Bill Holden. Paramount has high hopes for some Academy nominations. I believe it certainly is entitled to the award for the best screenplay, which George Seaton wrote, adapted from Clifford Odets’ play of the same name.

         As far as the record situation is concerned, Gord, I don’t know what more I can do than what I have already done. I record whatever I can—we try to devise new combinations and new types of vocal and musical support, try different arrangers, try all kinds of songs, but nothing seems to catch on. I know the promotion has been apathetic on Decca’s part, but I really feel candidly that the fault is not entirely theirs. I don’t think the records that I make are as good as the ones I used to—I just don’t sing that good any more, and there are so many new fellows coming up who really sing well and who are keen about recording anything they can get hold of, they’re on the ground and they’re in touch. That’s about the best explanation I can give of the situation.

         Will be pleased to hear from you again when you have time.

As ever,

Bing

 

December 15, Wednesday. The benefit world premiere of the film The Country Girl takes place at Criterion Theater, New York. The movie takes $6 million in rental income in its initial release period.

 

Clifford Odets’s poignant drama of a broken-down actor, his loyal wife, and a misunderstanding stage director that he told in The Country Girl, has been put on the screen with solid impact—and with Bing Crosby in the actor role. This latter piece of offbeat casting is the most striking thing about the film, which Paramount delivered last evening to the Criterion.

For, with all the uncompromising candor of George Seaton’s adaptation of the play and with all the intense, perceptive acting of Grace Kelly and William Holden in the other roles, it is truly Mr. Crosby’s appearance and performance as the has-been thespian who fights and is helped back to stardom that hits the audience right between the eyes.

Mr. Odets’s drama is a searching and pitiless thing. It cuts to the hearts of three people without mercy or concern for their deep shame. It eviscerates a middle-aged actor who has taken to self-pity and drink because of some canker in his confidence, which is, indeed, an occupational disease. And it lays bare the proud and bleak devotion of his sadly humiliated wife and the arrogance of the stage director who fails to grasp the shabby lie the actor lives.

Although the heroic character is inevitably the wife, who fights for her weak and sodden husband with the last store of energy in her weary frame, it is he—the degraded husband—who is the focus of attention here. And the force and credibility of the drama depends upon how he is played. That is why it is Mr. Crosby who merits particular praise, for he not only has essayed the character but also performs it with unsuspected power.

It is notable that his shabby actor is not so testy nor prone to smear his wife as was the cunning and cantankerous fellow Paul Kelly created on the Broadway stage. Mr. Crosby’s fidgety defeatist is more the apologetic sort whose manner appeals for forgiveness and who only rarely explodes in rage. But he is nonetheless basically brutal as he torments his loyal “country girl” with his agonizing self-pity and his shamefully losing battles with his nerves.

Mr. Seaton, who wrote the screenplay and directed with a hand as firm as iron, has allowed him one dispensation to yank on the strings of the heart. He has made him a musical comedy actor, which is logical with Mr. Crosby in the role, and has given him several numbers by Harold Arlen and Ira Gershwin to sing.

One is an item called “The Pitchman,” which is supposed to be from one of the actor’s old shows and which he sings when he does an audition, through the good offices of the stage director, early in the film. But the more sentimental obtrusion is a ballad, “The Search Is Through,” which is wrapped up with misty recollections of happier days and a little son who was killed. Naturally, Mr. Crosby tugs when the strings are in his hands.

But, for the most part, he plays the broken actor frankly and honestly, goes down to the depths of degradation without a bat of his bleary eyes, and then brings the poor guy back to triumph in a chest-thumping musical show with a maximum of painful resolution and sheer credibility. There is no doubt that Mr. Crosby deserves all the kudos he will get.

So does the lovely Miss Kelly, who likewise will get her share of praise for the quality of strain and desperation she puts into the battered, patient wife. And Mr. Holden, too, merits approval for the stinging yet oddly tender way he plays the stage director—the man who gives the actor his break. Anthony Ross as a heartless producer and Gene Reynolds as a backstage myrmidon add the flavor of hard-grained reality to this trenchant, intense, and moving film.

The Country Girl comes along fitly as one of the fine and forceful pictures of the year.

(Bosley Crowther, The New York Times, December 16, 1954)

 

An exceptionally well performed essay on an alcoholic song man, with Bing Crosby the one carrying on a bottle romance, Country Girl is high on boxoffice punch. It’s a strong, intense show that’s certain to be talked about.

      …Crosby pulls a masterly switch, for it is the character of the story that he projects: it is not the crooner in another shallow disguise. He immerses himself into the part with full effect, inspiring audience revulsion with his deceit and sottiness and yet engendering just enough sympathy to make his final triumph over the bottle a welcome development.

      Product of the cleffers meets requirements. The four tunes fit into the pic production well enough and one, “Live and Learn,” a blues number peddled by Crosby and Jacqueline Fontaine at one point, stands a fair chance of trade on its own.

(Variety, December 1, 1954)

    December 20, Monday. The American National Board of Review of Motion Pictures votes Bing the Actor of the Year.

    December 21, Tuesday (starting at 8:30 p.m.). Bing attends the Gala West Coast Premiere of the The Country Girl at the Stanley Warner Theatre, Wilshire Blvd. at Canon Drive, Beverly Hills. The show is for the benefit of the United States Olympic Fund and a record of the event appears in the Paramount newsreel of December 29. Bing is accompanied by Mona Freeman and his son Dennis who is escorting Miss Caroline Wilson. Afterwards they all go on to Ciro's where Bing is presented with an Award of Merit by the United States Olympic Fund for his "Noteworthy Contribution to Sports". They then proceed to Chasen’s for Bill Perlberg’s party. Bing subsequently writes to Grace Kelly:

 

Miss Grace Kelly                                

Apt. E 906                                                 

200 East 66^th Street                                      

New York, New York                                      

Dear Grace:                                           

Well, I finally got a chance to see “Country Girl” last night. They had a premiere here at the Warners Beverly Theatre, and it was quite an event. Certainly has to be for me to climb into a dinner coat and face that battery of photographers and TV cameras and radio spielers.

Everybody seemed to like the picture very well, and I include myself if I may be slightly immodest. Bill Perlberg gave a party later at Chasen’s, and quite a few of the people came to the function and told me personally how much they liked it. Everyone was extravagant in his praise of your performance, and I certainly join them in that sentiment.

I thought I knew the story pretty well and what was going on, but I confess you completely had me under your spell. If I didn’t know your background so well I would be prepared to swear that sometime or another you must have been married to just such a dreary bum as Frank Elgin. My dear girl, whoever beats you for the Oscar is going to have to do some intensive campaigning.

Bill’s performance was absolutely perfect – so sustained and honest, and Anthony Ross surprised me. Of course I didn’t see many of the scenes that he was in, as I only figured in a couple myself with him, so I wasn’t familiar with just how much he had to do in the picture, but he got a substantial round of applause when he finished his last scene.

As for myself I couldn’t tell whether I was any good or not – I was too busy watching myself as one does at such runnings to notice whether I was effective at all. Seemed to me I was doggin’ it a little, but maybe I’ll get away with it.

 

December 23, Thursday. Records the four songs from the film The Country Girl with Joseph J. Lilley and his Orchestra in Hollywood.

 

Bing Crosby: ‘‘The Country Girl” (Decca). This set includes tunes from two recent Crosby films. Paramount’s “The Country Girl” and “Little Boy Lost.” Altogether neither film produced any hit tunes, this set has some fine numbers that stand up nicely in this package. Particularly good are the numbers from “Little Boy Lost.” including one tune. “Dissertation on the State of Bliss,” (sic) which Crosby duets with Patty Andrews.

(Variety, February 23, 1955)

BING CROSBY SINGS SELECTIONS FROM THE COUNTRY GIRL 7” (1-EP) Decca ED-2186

The critical acclaim bestowed on the Paramount picture with Crosby, Grace Kelly and William Holden should attract many a buyer for this EP package. The regular Crosby buyers, of course, will want it. The EP contains “It’s Mine, It’s Yours,” “The Search Is Through,” “Dissertation on the State of Bliss,” and “The Land Around Us.”  Tho none of the Harold Arlen-Ira Gershwin tunes have turned hit yet, the promotional possibilities are strong enough to sell this.

(Billboard, February 26, 1955)

 

Music is put to equally nostalgic ends in George Seton’s (sic) The Country Girl (1954), a film Rick Altman appropriately calls an “anti-musical”. A touching popular song by Gershwin and Arlan (sic), “The Search Is Through,” isolates an idealized moment in the past of now alcoholic singer Frank Elgin (Bing Crosby). The moment is marked both by professional achievement (the song, a huge hit of Frank’s, is depicted in flashback in a recording studio where he is accompanied by a full studio orchestra) and by personal happiness (he sings there to his wife, Georgie [Grace Kelly], and their young son), When the song is later played on the radio, it reminds Frank of all that had once been his.

(Caryl Finn, Strains of Utopia: Gender, Nostalgia, and Hollywood Film Music, page 113)

 

Arlen’s judgment was succinct: “We didn’t give it our best.” The two published songs, however, were quite good, especially a characteristic Arlen blues, “Dissertation on the State of Bliss,” whose title, thankfully, appears nowhere in the lyric. It was originally entitled “Love and Learn”; as Gershwin later explained. “I subsequently learned that there had been three songs so named, and when one of the creators of one of them objected, it was a simple matter to make the phrase the subtitle and to decorate the number with the rather impressive ‘Dissertation on the State of Bliss’.”

(Edward Jablonski, Harold Arlen: Rhythm, Rainbows, and Blues, page 240)

 

December 25, Saturday. Bing spends Christmas at his Holmby Hills house with his sons and many of their friends. Meanwhile, his recording of “White Christmas” again enters the charts and peaks at number thirteen during its three-week tenure.

December 30, Thursday. The Blue Skies Trailer Park in Palm Springs opens for business.

December 31, Friday. Decca masters a song called “Nobody” which had been recorded originally for Bing’s Philco show of April 2, 1947.

 

Nobody…Decca 29493—The old Bert Williams minstrel ditty, performed by Der Bingle on radio back in 1946 (sic), is in the grooves. It’s a swell novelty item, sure to attract deejay attention.

(Billboard, April 9, 1955)

December (undated). Kathryn Grant phones from New York; Bing suggests a wedding for February 7 in Carmel.

Bing makes his final appearance in the annual U.S.A. movie box office poll being placed at number eight. John Wayne has the top position.

During the year, Bing has had only five records that have become chart hits. At some stage in 1954, Bing films a short appeal on behalf of the American Cancer Society which is included in a 14-minute short called  "Music, Music, Music!" featuring Teresa Brewer, Mel Torme and Cab Calloway and introduced by Martin Block.

Bing Crosby Enterprises has had some success with a syndicated half-hour dramatic anthology television series called Crown Theater with Gloria Swanson.

 

1955

      January 1,  Saturday. The 1955 Rose Bowl, the 41st edition of the college football bowl game, is played at the Rose Bowl in Pasadena, California. The top-ranked Ohio State Buckeyes of the Big Ten Conference defeats the USC Trojans of the Pacific Coast Conference, 20–7. Bing is thought to have been present.

January 2, Sunday. Press reports state that Dennis Crosby is arrested as a 'drunken' passenger in a motor vehicle. His three friends in the car are also arrested after an alleged 55-mile per hour police car chase. It appears that Dennis has flunked out of Washington State College.

January (undated). Bing records “lots of radio shows before taking off for Pebble Beach and his golf tournament.”

January 3, Monday. A municipal judge dismisses the charges against Dennis “because the boy has never been in trouble before.” Bing’s daily 15-minute radio show has a sponsor for the first time when the makers of Lanolin Plus Liquid pick up the tab. Initially they sponsor the show every Monday.

January 4, Tuesday. Dennis Crosby is inducted into the Army and leaves for Fort Ord, California. He is soon transferred to Fort Riley in Kansas for training with the US 10th Infantry Division which is bound for duty in West Germany in the summer. His twin Phillip is still at Washington State College and receives an educational deferment from the draft.

January 5, Wednesday. Bing is at Pebble Beach and he writes to Canadian broadcaster Gord Atkinson.

 

Thank you so much for the nice Christmas present - the book about Canada. I haven’t had a chance to read it yet, but I scanned through it quickly, and it looks like it’s going to make absorbing reading, and certainly an interesting subject for me, because I have so many friends in Canada and think so much of my connections there.

Not much news to report except we are getting ready to start a picture soon with Donald O’Connor and Mitzi Gaynor and Jeanmaire, the French Ballerina, called “Anything Goes”, based on the old Cole Porter musical, with many of the songs retained, but a new story.

Made some recordings from the picture “Country Girl” which I think turned out rather well, particularly one called “Love and Learn”, which I did with Patti Andrews. I hope you will get a chance to hear these records when they come out, and that you will be able to use them on one of your radio outlets.

The very best to you and your family for 1955. As ever –

Your friend, Bing

January 6, Thursday. (10:00-11:00 p.m.) Bing appears as a guest in the Lux Video Theatre production of Sunset Boulevard on NBC-TV. He does not take part in the play but promotes The Country Girl. Around this time, he writes to Kathryn Grant.

I suppose you read Denny's publicity or heard about it. A pack of lies and a typical example of how the press can distort an incident to create a story. You know I never defend my boys when they are wrong, but this kid was not drunk, was immediately released, and the case was dropped. Nonetheless the papers ran stories about 'a wild auto chase, drunk driving, etc.'

Actually the car was stopped one block away from The Townhouse where they had been, but the public will undoubtedly believe what they read, so there’s nothing I can do about it but rage and suffer in silence.

Well we had a nice Christmas and a merry two-week session. One night 16 boys were bedded at the Old manse. Our grocery bill this month will be a beauty. Georgie, the housekeeper, tells me they average eight quarts of milk per day, a whole roast beef, and other items. But it’s worth it I guess. You know where they are some of the time. And there are lots of laughs with the endless ribbing going on.

A great deal of muttering because of the Big 10 victory in the Rose, the 7th in 8 games. But I won a bet because I had 13 points. UCLA would have won I'm sure, but USC put up a gallant fight in the mud.

Denny is now at Fort Ord and is seemingly happy about it. He knows where he's going to be for a couple of years, and is avowedly determined to make a good showing.

Well dear, have a good time in New York. I’ll call you in a day or so. Write me a note if you have time.

All my love, Bing

January (undated). Gary Crosby drops out of Stanford. Bing is furious and relationships between them become difficult and they hardly speak.

After working the old man’s show for the summer, college seemed more pointless than ever. All things considered, the work had been a good experience. I may have been too full of self-doubts to live off the high of it, but at least while I was doing it I felt like I was involved in something positive and productive that kept me reasonably straight. Stanford meant nothing to me by now. I had no business there. I was just taking up space that could have been used by some guy who really wanted to study, who needed that seat to become a doctor or a lawyer, and here I was, an asshole screwing around in speech and drama and just barely scuffling through. With all my in completes, I was looking at another year and a half before I graduated, assuming I ever could con my way through Biology 1 after already flunking it three times.

It wasn’t easy breaking the news to the old man. I knew it would be a bitter, bitter disappointment. Maybe because he had dropped out of college himself just a year or so short of becoming a lawyer, he was absolutely determined that his sons would go on to graduate. Maybe he figured he had made a mistake and didn’t want to see us repeat it, but being the way he was he couldn’t sit down and tell us that. He simply said, “Everything else can wait. The first thing you guys are gonna do is finish school.” As it turned out, none of us did. After a couple of years of partying, the twins dropped out of Washington State, and when it got to be Linny’s turn he lasted less than a semester at Williams. Lin was a great passive resister. He wanted to go to school in L.A., where all his friends were, but Dad said one of us had to graduate from an Ivy League college and he was the last one left. Lin nodded his head, said okay, then went off to Williams and promptly flunked out. I know he did it on purpose. He’s probably the smartest of all of us. That was his way of sticking it to the old man. But as the oldest of the bunch I was the first to leave school, and it took some doing to work up the nerve.

It wasn’t until January, after I had already packed up my bags, that I was able to make the phone call.

“Uh, hello, Dad. Look, I got something to tell you. I’m quitting school. I’m coming home.”

He went bananas just like I knew he would.

“Jesus Christ! Goddamit, boy, what the hell are you talking about? After three and a half years you’re gonna throwaway all your education! Jesus Christ! ... “

I let him go on ranting and raving, and when he finished I said, ‘Well, like I told you, I’m quitting and coming home.”

The silence at the other end of the line was frosty enough to freeze an Eskimo.

“Uh-huh, I see. Well, what now? What do you think you’re gonna do? What can you do?”

“I’m gonna go to work.”

“Go to work, huh? Okay, fine. I’ll see you later.”

He slammed down the receiver, and I stood there for a minute listening to the dial tone buzz on and off.

He was so angry that for the next few months he refused to talk to me. Whenever he passed me in the hall he lowered his head and kept right on moving. I can’t say it bothered me much. It was almost a relief that he wasn’t calling me into his office for a lecture and laying all his bullshit on me. I figured it was only a matter of time before he threw me out of the house altogether, but until then, hey, I had free rent, free food, free laundry, and he wasn’t causing me that much headache. Most days he was gone, and when he did come home the joint was big enough to keep out of each other’s way. We were living in an armed truce, and that suited me just fine.

(Gary Crosby, Going My Own Way, pages 211-213)

January 10, Monday. Bing has a kidney stone attack while at Pebble Beach. The wedding planned for February 7 is postponed.

January 14-16, Friday–Sunday. The Bing Crosby Pro-Am Golf Tournament at Pebble Beach with the purse increased to $15,000. Cary Middlecoff is the winner after the entire three days have been played in rain, lashed by a cold wind. Other celebrities playing include Richard Arlen, Forrest Tucker, Howard Keel, Hoagy Carmichael, Johnny Weissmuller, Don Cherry, Randolph Scott, Phil Harris, Gen. Omar Bradley and Byron Nelson. The program was designed by Hank Ketcham, the creator of the Dennis the Menace cartoon. Bing shows up briefly at the clambake “full of penicillin and various miacins.” He watches the golf from a window in his home on the 13th fairway.

January 17, Monday. Bing goes into St. John’s Hospital in Santa Monica and spends four hours recording material for use in nine radio shows using a bedside tape machine.

January 19, Wednesday. Has surgery for kidney stones. The surgeon, Dr. Frederick Schlumberger says that Bing was in surgery for two hours and has come through in “excellent condition.” Kathryn Grant visits him each day during his stay in the hospital. The Hollywood Reporter has carried a story saying that Bing and Kathryn are engaged to be married. Bing is not happy about the publicity.

February 2, Wednesday. Bing’s daily radio show picks up another sponsor (for Wednesdays and Fridays) in the shape of the makers of Instant Postum, a coffee flavored drink without caffeine.

February 5, Saturday. Bing writes to the Bell Sisters.

Dear Girls:

Thank you so much for your nice letter which I received recently while in hospital. Nice to know that one’s friends are holding good thoughts for you when you are laid up. I am still in hospital, but expect to get out in a few days.

You must have had some exciting appearances on your Korean tour with those airplane episodes. You better stay on the ground for a while now.

Hope you and your family are in good health and spirits, and I want to wish you much happiness and success in 1955.

Fondly, Bing

February 10, Thursday. Bing leaves St. John’s Hospital. The proposed wedding date is put back until May.

February 12, Saturday. Spends all day taping dialogue for his daily radio show. (6:00-7:30 pm.) NBC televises the ceremonies for the Academy Award nominations. Bing is nominated for Best Actor for his role in "The Country Girl". Press coverage  includes a photo of Bing in his dressing gown watching the show.

February 14, Monday. Bing and Kathryn dine together at Bing’s Holmby Hills home.

February (undated). Bing is interviewed at his Holmby Hills home by Father Caffrey for future use in the Sunday in Hollywood radio program. He sings a snatch of ‘Whither Thou Goest’. The program is broadcast in 1956.

February (undated). Goes to Palm Springs to convalesce.

March 1, Tuesday. Rumors spread that Bing has died and after being alerted by newsmen, sheriff’s deputies go to Bing’s Rancho Mirage home, near Palm Springs to check. Bing returns home from dinner to confound the reports.

March 2, Wednesday. At CBS Studio B in Hollywood, Bing records 12 songs with Buddy Cole and his Trio for use on his radio show.

Speaking about Bing reminds me of a conversation I had the other day with his musical director and accompanist, Buddy Cole.  Buddy is still shaking his head over the recent session he had with the Groaner during which they recorded 35 tunes in two days for Bing’s Monday-through-Friday CBS radio show heard here at 8.45 pm.

“It’s not only phenomenal, it must be a world’s record,” Buddy said.  “I’ve known singers who spent an entire day on one song.”

Of course, Bing has a great advantage, Cole explained.  “He doesn’t read music. Bing sings by ear.  He knows that one note is higher on the staff than another, but he can’t tell you what it is.  He also wasted little time rehearsing.  For ‘Somebody Loves Me,’ for example, we had no rehearsal time at all.  Bing walked in, asked which song was first and said, “Let’s go.”  He sang it once and that was the recording you heard.

“Bing sings easier than some people breathe,” continued Cole.  “He steers away from fads.  He has set them but never follows trends.  Bing sings Bing.  His style hasn’t changed in 20 years.  It doesn’t have to, you just don’t tinker with perfection.”

(Walter Ames, Los Angeles Times, May 18, 1955)

March (undated). Sees Kathryn Grant frequently, taking her to Perino’s restaurant on one occasion.

March 8, Tuesday. (6:30–7:00 p.m.) Appears on the Red Skelton CBS-TV show and is presented with the Look Magazine Best Actor Award for 1954 for his role in The Country Girl. Other guests are Edmond O’Brien, Walt Disney, Alfred Hitchcock, and Jack Lemmon. Bing goes on to the Look cocktail party at the Beverly Hills Hotel.

March 9, Wednesday. Gary Crosby signs a contract with CBS to appear on the Tennessee Ernie Ford radio show three times a week beginning March 14.

The silence didn’t end until I got my first job singing in a nightclub somewhere in town. Then he saw that I wasn’t going to sit on my ass and hold my head forever. He still wasn’t pleased I had quit college, but at least I was doing something. The gig had gone fairly well, and one morning he stopped me on the way out the door and said, “Well, I hear you did a pretty good job.” I would have bet every cent in my pocket on what the next word was going to be-and I would have won. “But don’t forget to practice your vocalizing and work on your ballads.” In any case, we were now back to normal.

(Gary Crosby, Going My Own Way, page 213)

March 11, Friday. (4:15–7:15 p.m.) Records “Jim, Johnny and Jonas” and “Farewell” with a chorus and orchestra directed by Ken Darby in Hollywood. Bing then drives to Palm Springs. By way of background, in June 1950 a country singer called Johnny Bond wrote and recorded a song called “Cherokee Waltz” and later he changed the lyrics to give it a Hawaiian slant. With a new title of “Jim, Johnny and Jonas” it became popular in Germany and it eventually was brought back to the USA to be recorded by many artists including Jimmy Wakely, Sammy Kaye, Pee Wee King and of course Bing. The words of “Farewell” are taken from a poem written by the legendary folk hero and frontiersman, Davy Crockett. The melody was added for the song to be used in the film Davy Crockett, King of the Wild Frontier (1955).

 

Jim, Johnny and Jonas

The refurbished “Cherokee Waltz” is getting a flock of waxings here, now that it’s established as one of Europe’s top post war hits. This is Bing’s best bid in many months. Figures to see plenty of action.

Farewell

A standard homey-type ballad about one leaving his homeland to rise or fall “in the land of the stranger.” For the “Now Is the Hour” fans.

(Billboard, April 2, 1955)

 

March 13, Sunday. Bing hosts a chuck wagon brunch at the Blue Skies Trailer Park site in Palm Springs and tries his hand at flipping blueberry hotcakes. Among the fifty-two guests are Phil Harris, Alice Faye, and Pete Petito.

March 14, Monday. Bing leaves Palm Springs for Holmby Hills en route to his ranch at Elko, Nevada. Gary Crosby becomes a regular on the Tennessee Ernie Ford Show on CBS Radio.

March 15, Tuesday. Bing is at his Spring Creek ranch near Elko, having driven up in one day from Holmby Hills.

March 23, Wednesday. Lawrence C. Shea, a former Manager of “Bing’s Things” is jailed for up to ten years for theft. It emerges during the trial that Shea’s management of “Bing’s Things” cost the company $100,000.

March 25, Friday. Back in Palm Springs again, Bing is joined by Kathryn Grant and his son Lindsay plus girlfriend.

March 30, Wednesday. Escorts Kathryn Grant to the Academy Awards dinner at the Pantages Theater. Makes a brief appearance on stage to joke with Bob Hope and to present the Music Awards Oscar. The proceedings are shown on NBC-TV. Bing is nominated for the Oscar as “Best Actor” for his performance in The Country Girl but loses out to Marlon Brando. Grace Kelly wins the Oscar for “Best Actress” for her part in The Country Girl. The film has also been nominated as “Best Picture” but the Oscar goes to On the Waterfront. George Seaton wins the Oscar for Best Screenplay for The Country Girl. Bing’s song “Count Your Blessings Instead of Sheep” by Irving Berlin from White Christmas has been nominated as “Best Song” but the award goes to “Three Coins in the Fountain” from the film of the same name. Bing and Kathryn go on to the party at Romanoff’s.

 

Bing Crosby, making three music awards, was kidded no end by Hope. But Der Bingle more than held his own, returning quip for quip. It was one of the night’s most amusing interludes.

(Hollywood Citizen News, March 31, 1955)

 

Awards night was an event! Ballyhoo! Hoopla! Bleachers full of fans! Limousines!

Whole constellations of stars! Photographers and columnists waiting in the foyer. Garboons in the lobby! Quite a change for me since my first grand event, when fans had leaned toward me screaming, “Who is it, who’s that?” and had received the flat, final answer, “She's nobody!”

Bing and I were backed up against the wall like a happy pair of convicts. He looked debonair, and not at all self-conscious in his white tie and tails. I now think that he was amusing himself by pretending to be Fred Astaire.

I wasn’t pretending. Here I was an exposed engage, a flagrant fiancée, a merry married-to-be. I revealed nothing neither did Bing, but the press saw the light in my eyes and we made the front page in papers all over the country.

(Kathryn Crosby, My Life with Bing, page 51)

A Very Gay Blade

That master showman, Bing Crosby, is forever doing the unexpected—and he’s done it again. When Bing arrived at the Academy Award presentations, all eyes turned his way—and for two very good reasons. First off, Bing, long noted for his casual dress, arrived very formally attired in top hat, white tie and tails. He was indeed a marvelous sight. No sooner had onlookers digested the surprise of seeing Bing so elegantly dressed than another shock was hurled their way —who was the gal on Bing’s arm?

         Speculation had run high as to the person “the Groaner” would take to the affair. Would it be one of his sons? Would it be his long-rumored romantic interest Mona Freeman? Or would it be Grace Kelly who like Bing, was up for an Academy Award for work in “The Country Girl”. Bing’s date proved to be none of these! It was instead, pert and pretty Kathryn Grant, a Columbia contract player. Immediately, everyone wondered if this were a romance. But, in usual fashion, as everyone else talked, Bing remained silent. Kathryn, who had to leave Hollywood for Phenix City, Alabama to play the lead in “Phenix City”—also had no comment to make.

         So it is that while the Awards presentations ended the mystery as to who would walk off with the “Oscars"—it started another mystery - to wit: What really goes with Bing Crosby and Kathryn Grant?

(Seen in unidentified press cutting).

 

April 2, Saturday. (9:30-10:00 p.m.) Bing hosts the CBS radio show American Cancer Society All Star Revue with guests Frank Sinatra, Rosemary Clooney, Gary and Lindsay Crosby

April 6, Wednesday. At CBS Studio C in Hollywood, Bing records seven songs with Buddy Cole and his Trio for use on his radio show.

April 7-June. Films Anything Goes with Donald O’Connor, Zizi Jeanmaire, Mitzi Gaynor, and Phil Harris. The director is Robert Lewis with Joseph J. Lilley acting as musical director.

…Looking back to 1955 from the eighties, it is hard for me to understand why I followed two big commercial theater successes with a commercial picture in Hollywood, instead of tackling some meritorious play, on or off Broadway. I must have felt that with the all-star cast I was offered, it was a safe bet to practice film directing under favorable circumstances and to decide if I wanted to add that to my other activities. The picture was Paramount’s Anything Goes, with the great Cole Porter score. It starred Bing Crosby, Donald O’Connor, Zizi Jeanmaire, Mitzi Gaynor, Phil Harris and, as a friendly reminder of the New York stage, my old friend Kurt Kasznar. I was even assigned a special camera expert to instruct me in the technical aspect of setting up film shots.

Robert Emmett (Bobby) Dolan, Bing’s producer on White Christmas, came to New York with a breakdown of a brand new book by Sidney Sheldon that was to serve the original musical score. All that was left of the regular Anything Goes story was the ship on which the action unfolded. Dolan assured me that once I got to Hollywood he, Sidney Sheldon, and I would have story conferences that would develop the shooting script. I figured with that cast and that score at least the many musical numbers had to turn out fine. And so they did—especially Zizi’s two: a lovely ballet and “I Get a Kick Out of You,” both with expert choreography by her husband, Roland Petit.

We shot all the musical numbers first, and when finished, they were shown to the elder statesman of Paramount, Adolph Zukor, who said, “Don’t let anyone see these numbers. They’ll steal them. Put them in a vault!” That day, at lunch in the commissary, Danny Kaye passed my table. “You look terrible, Bobby,” he said. ‘‘Shooting all those big musical numbers has exhausted you. Well, don’t worry. Next week you'll be directing the book. Then you’ll eat your heart out.” I laughed, but how right he was. The book remained leaden enough to sink our ship.

Life as a director in Hollywood proved much more cataclysmic for me than my stint as an actor there did in the forties. First of all, Paramount wanted me to sign a contract that had a clause in it assuring them that I was not, and had never been, a communist. This was still the so-called McCarthy period. I refused, saying I would not countenance my political opinions being a condition of employment. They persisted, but when they realized I was adamant they took me anyway, proving what I suspected all along: that they’d have hired Stalin if they thought he would have been good box office.

The next pains in the ass were the endless conferences. You didn’t ask anyone for a glass of water. You had a conference about it. One of the favorite phrases used at all conferences was ‘‘Let me tell it back to you.” That meant repeating your suggestion in such a way as to render it unrecognizable. For example, I remember a costume conference with the picture’s designer, Edith Head, and Dolan, the producer, where I suggested that, in one of her dances, Zizi wear a derby hat with her little black pants suit.

 “Let me tell it back to you,” said Bobby Dolan. “You mean—” and here my heart sank because I didn’t mean anything. I just thought Zizi would look better if her costume included a derby. “You mean,’’ Dolan continued, “‘that she would display more of a gamine quality’’—he stressed gamine and we were all duly impressed that he knew the feminine form of gamin—“if she wore a beret.” I didn’t even have time to object to the more cliché beret, because my popping eyes caught Edith Head’s practiced hand sketching Zizi Jeanmaire’s head with a rakish fedora perched on top.

The expertise of Hollywood technicians was not only impressive, it could be frightening. Just before one shot that took place in the huge ship’s dining room with about a hundred tables set for dinner, I reached in to remove a tall glass that was blocking Zizi’s face at the front table. By the time I climbed up to my perch on the camera to call ‘‘action,” I noticed that all the crystal had magically disappeared from all the tables.

Zizi, by the way, was pregnant during the shooting of the film, and although she wasn’t the kind of girl to blab it to Hedda Hopper, she had to tell me. There was a scene in the ship’s gymnasium where I planned some shots of Zizi being bounced up and down on a mechanical exercise horse. That would not have been too beneficial for her forthcoming daughter, subsequently called Valentine.

…Finally the purgatory was over, the last shot was shot, I couldn’t have cared less that the studio picked up my option and the trade papers loved the film. Don Hartman, Studio Head of Paramount Pictures, wrote me on June 17, 1955, “I really think it is the best musical in the history of Paramount, and one of the best shows in the history of the industry in taste, entertainment, and showmanship. I am very proud of you for your enormous contribution.” Now why can’t we get him on The New York Times? Even three and a half stars in the Daily News couldn’t persuade me that the film wasn’t kitsch. I also had determined that film directing was dangerous to my health. I didn’t like making movies as much as Gadget did—at any rate, not enough to take all the crap that went with the studio setup.

(Robert Lewis, Slings and Arrows: Theater in My Life, pages 238-240)

April 8, Friday. Bing writes to Kathryn who is on location in Phenix City, Alabama making the film Phenix City.

…These are long days for an invalid and I’m exhausted, but I feel I’ll get back into it soon. We have a great director in Bobby Lewis, who prepares each cut perfectly. Now I must jump back onto the set and participate in more deathless dialogue. Je vous embrasse de tout mon coeur, Bing.

(Kathryn Crosby, My Life with Bing, page 53)

April 9, Saturday. Records “Ya Gotta Give the People Hoke” with Donald O’Connor and Joseph J. Lilley and his Orchestra for the Anything Goes film soundtrack.

April 17, Sunday. Writes to Kathryn again.

Received your last epistle Saturday. It sounded like a short piece by William Faulkner, a moody, broody contemplation of a decadent southern scene. That Phoenix City must be a depressing town. My but you have been in the news lately! What with immersion in the Chattahoochee, and accompanying the sheriff's car on riot calls. (Gathering background for my sordid role as a crooked card dealer.) Anything for diversion I guess. But really, Kathryn, don't overdo it and get yourself hurt. Write soon. I miss you like hell, Bing.

(Kathryn Crosby, My Life with Bing, page 53)

April 19, Tuesday. Bing writes to Crosby fan Helen Tolton.

 

You were certainly very kind to write such a nice letter to Paramount Pictures about the picture “Country Girl”, and about how much you like it. I want you to know that I appreciate such interest a great deal. Mr. George Seaton, who directed the picture, handed me your letter, and I was quite thrilled by what you had to say about me.

This was a project, this picture, that many people thought I shouldn’t undertake, but I had confidence in Mr. Seaton, and I thought the story was a strong one, and in his hands, I felt that it would come off all right. As it turned out the picture has been quite a success, both at the box office and from a critical point of view, so the move was well advised.

We feel very happy because Grace Kelly won the award, and that George Seaton was also given an award for his screenplay. This will help the picture a great deal at the box office, and it was also a wonderful thing for Miss Kelly, who worked very hard on the picture, and who is a fine young lady, very deserving of all the accolades she gets.

Again my sincere thanks to you, and very warmest regards.

Sincerely, Bing.

 

April 25, Monday. Bing and Phil Harris meet the premier of Thailand, Pibul Songgram, at Paramount. The event is shown in the Paramount newsreel of April 29.

Time for a chat with Bing Crosby. The ageless crooner is making his 50th picture and, for the first time, a remake of one of his oldies. It’s “Anything Goes,” which he filmed in 1936 with Ethel Merman and Victor Moore.

The cast and plot are entirely different this time; only the title and the Cole Porter songs remain.

And Crosby. He’s joined by Jeanmaire, Mitzi Gaynor and Donald O’Connor. The picture marks a reunion of Crosby and O’Connor, who appeared as brothers in “Sing You Sinners” in 1937.

“I guess they don’t like me on this lot,” cracked O’Connor. “They waited 18 years before giving me another job.”

Actually, it’s a delayed appearance for O’Connor, who was under contract to Paramount as a lad. He was set to appear with Bing in “White Christmas” last year. Illness kept him out of the film and Danny Kaye replaced him.

 “Anything Goes” is still played on shipboard, and Bing and Donald were doing a scene in the ocean liner’s salon. When they finished, Bing sauntered over to give a report on his future plans.

What about this summer?

“I’ll be tied up with this picture for another couple of months. Then I’ll get some time at Elko (Nev.) and my place in Idaho. I might get over to Europe, too. I’ve got two boys in the service: if I could get rid of the other two, I wouldn’t have much to worry about.”

Philip and Dennis are the Gls. Lindsay is still in high school, and Gary has been starting his own singing career.

“I doubt if the Army will take Gary,” Bing said. “He's got a football shoulder that would disqualify him. It’s too bad. The Army would be good discipline for him; might knock some sense in his head. Of course, he’d probably spend the first six months in the guardhouse.”

It was suggested that Gary’s independence might be inherited from a close relative.

“Oh, it couldn't be me!” Bing laughed. He reported with some pride on Gary’s career, which includes several TV shots, three weekly appearances with the Tennessee Ernie radio show and a Chicago theater date with Louis Armstrong. Bing allowed that the boy would be picking up good experience.

What about Bing‘s TV plans?

“I’ll probably be doing two hour shows on films this year. It won’t be a variety format. Ralph Levy, the producer, is angling for the rights to ‘Our Town’ and ‘High Tor.’ They’d be played pretty straight, with a few songs thrown in.”

Bing is one of the few veteran radio stars who is sticking to the medium. He has a nightly 15-minute chatter show and likes doing it.

“I ramble along on any subject that interests me,” he explained. “Radio is a funny thing. You think nobody is listening. Then you say something controversial and you get a flood of letters. Like the time I said the Rose Bowl rule forbidding teams to repeat the following year was silly. Boy, did I hear about that!”

Bing dropped many pounds after his kidney stone operation and still seems slim. He said he’s feeling great. He’ll have plenty of time for rest after “Anything Goes.” No more pictures are scheduled for him in 1955.

(Bob Thomas, syndicated article, May 6, 1955)

April 28, Thursday. Bing gives a luncheon in honor of Donald O'Connor at Paramount. Excerpts from Sing You Sinners are shown.

May 2, Monday. Celebrates his birthday at Palm Springs with his costar from the film Anything Goes, Jeanmaire.

May 4, Wednesday. Attends the Hollywood premiere of the Fred Astaire film Daddy Long Legs. Other stars at the premiere include Claudette Colbert, Joan Crawford, Jennifer Jones, Jane Russell, Harry James, Betty Grable, Victor Mature, Maureen O’Hara, Clifton Webb, Robert Cummings and Jeanne Crain.

May 7, Saturday. Jimmy Van Heusen and Pete Petito throw a joint birthday party for Alice Faye Harris and Bing at the Van Heusen House at Thunderbird, Palm Springs. Bing's four sons are surprise arrivals. The other guests include the Bill Perlbergs, Bill Morrow and Mary Henderson, the Dick Snidemans, Francis  Brown and Winona Love, the Bobbie Dolans and Frank Sinatra.

May 8, Sunday. (8:00–9:00 p.m.) Bing makes a filmed appearance on the Toast of the Town on CBS-TV. He is seen being interviewed at the Hollywood premiere of the Fred Astaire film Daddy Long Legs.

May 11, Wednesday. (8:30-9:00 p.m.) Bing acts as host on the Family Theater radio production “Deadbeat” on the Mutual network.

May 13, Friday. The second wedding date with Kathryn comes and goes without contact from Bing. On May 14, he telephones Kathryn and a further wedding date of September 10 is arranged.

May 23, Monday. Records “A Second-Hand Turban” with Donald O’Connor plus Joseph J. Lilley and his Orchestra for the Anything Goes film soundtrack.

May 24, Tuesday. (8:00–9:00 p.m.) Bing makes a brief appearance (and does not sing) on the Bob Hope show on NBC-TV. The program shows clips from the Road films. Jane Russell and Don Hartman also guest.

 

. . . As name attractions, Cros and Russell were point-getters but they were used only sparingly and their material not conducive to the holding of sides or audible shrieks of sheer delight. They served mostly the purpose of dialoguing the lead-ins to the old films, most of which had Hope in kissing scenes. . . . It seemed a waste of both Crosby and Russell, their participation being so functional as to obviate any attempt at comedy.

(Variety, May 25, 1955)

 

May 27, Friday. Gary Crosby makes his stage debut when he opens with Louis Armstrong at the Chicago Theater, Chicago.

June 1, Wednesday. Bing records “Blow Gabriel Blow” with Donald O’Connor, Zizi Jeanmaire, Mitzi Gaynor, and Joseph J. Lilley and his Orchestra for the Anything Goes film soundtrack.

June 3, Friday. Kathryn Grant refuses to go to dinner with Bing having had no contact for two weeks. Bing writes to Frank Pollack of the Phoenix Republic newspaper.

Dear Frank

The “mighty” Tubby Garron, song entrepreneur, was by the other morning, and dropped me a copy of the “Phoenix Republic” of Sunday, April 3, which included your column – the “Off the Record” column in which you discuss the record situation generally, and also my relationship with this presently inexplicable caper.

It certainly has me baffled – the record business. I believe it’s all exploitation, and I just haven’t the time or the energy to go out and personally exploit my records. It takes a little guts too. Have to be a little hammy I suppose, and while I’m no shrinking violet, neither am I very adroit at tooting my own horn.

Although you are very kind to imply that I am singing just as good as I formerly did, candidly I don’t think that this is entirely accurate, because I know that I am not singing as well, and the reason why is that I don’t sing as often, or as much, and singing is something you have to do all the time, if you’re going to be au courant with the current trends, and if your pipes are going to be in shape to hit the notes that you’re supposed to hit. Sometimes a couple of months go by and I don’t even emit a note. This is deplorable I know, but I just don’t seem to get at it any more.

I have thought seriously of taking a little job in a night club somewhere with a small combo, where I could sing a couple of hours each night and really get the feel of it again, but I don’t know if I’ve got the energy to do this or not. I’ve had several serious operations in the last three or four years, and any time they open you up and start digging around in there, it seems to take quite a bit out of a fellow, and recuperation and complete recovery is slow. I am no sprout anymore you know – five one the last second of May.

I don’t know just what the future is going to be for me in the record business. Decca calls occasionally with some project, some piece of material that they have confidence in, and I generally go over and make it for them, but I don’t know if these ventures are going to be fruitful or not, They haven’t been yet, and I am just about discouraged. I have lots of other things to do that keep me plenty busy, in addition to golf and fishing and travel and the kids and one thing and another, so I may just have to slide into a sort of semi-retirement, at least as far as records go. I have quite an inventory of old stuff that they fool around with and issue an album and one thing and another, and I suppose that’s the way it’s going to be then.

I do want you to know that I am very grateful for what you said about me in the column.

All best personal good wishes. As ever, Bing.

June (undated). Bing films two shorts: Bing Presents Oreste (a promo for The Vagabond King featuring Oreste Kirkop) and Hollywood Fathers.

…another short, titled “Bing Presents Oreste,” in which Bing Crosby as narrator, throws the spotlight on Oreste, juve singer on whom Par is gambling to the extent of giving him the starring role of Francois Villon in the upcoming “Vagabond King”

 (Variety, September 21, 1955)

 

June 7, Tuesday. Bing condemns films that use too much violence.

Bing Crosby, who rarely speaks out on controversial matters, has joined the Legion of Decency in condemning the picture industry for allowing features with scenes of excessive violence to be made. In relating his views to Variety, Crosby said he felt that the Production Code should be strengthened, that teeth should be put into it to “prohibit” such scenes in films.

 (Variety, June 8, 1955)

 

June 8, Wednesday. Bing’s transcribed radio show includes Bing reading from an article “What Makes an FBI Agent?” This is noted in the FBI files and it is stated that Bing created a favorable impression. J. Edgar Hoover writes to Bing giving his appreciation.

June 9, Thursday. At CBS Studio C in Hollywood, Bing records nine songs with Buddy Cole and his Trio for use on his radio show.

June 10, Friday. Bing calls on Kathryn Grant and they arrange to go to San Francisco for the U.S. Open together.

June 11/12, Saturday/Sunday. Plays in the annual Swallows tournament at Cypress Point with Phil Harris as a twosome. They finish 8 up after the two rounds but are unplaced.

June 15, Wednesday. Bing has dinner with Peggy Lee in San Francisco.

 

One evening in San Francisco, Bing asked me to go to dinner with him, and knowing how prompt he always was, I started to wash my long blonde hair very early. It was a fairy-tale situation, my idol actually asking me for a date!

  Makeup and hair finished early, I eagerly awaited the sound of the doorbell. When it finally rang, I thought, I’ll just spray a little of this hair spray to make sure. . . .

   It was the wrong can, it was sweet-scented room deodorizer! I turned all colors and Bing laughed and laughed as I tried everything, and finally ended up washing my reeking hair.

   He took me to one of San Francisco’s great restaurants and during dinner I told him about how I had felt about his movies. Then we cruised all over that wonderful city until we found a pianist who could play “Down by the River” in Bing’s key, and he sang to me at our table. The tears rolled again.

(Miss Peggy Lee–An Autobiography, page 104)

 

June 16-19, Thursday–Sunday. Kathryn Grant flies into San Francisco, she and Bing both stay at the Palace Hotel. On Thursday, they dine in the Venetian Room at the Fairmont Hotel where Peggy Lee is appearing. They go to the Olympic Country Club for the U.S. Open. Bing gives Kathryn a Ballerina pin with a pearl and diamonds with a note saying “Dear Kathryn - So you won’t forget San Francisco and me. Love, Bing.” Bing sees Kathryn depart on her plane and she soon goes on to the University of Texas for a 2-month summer school with her mother.

June 20, Monday. At KCBS Studio A in San Francisco, Bing records 14 songs with Buddy Cole & His Trio for use on his radio show.

June 22, Wednesday.  Bing and and Phil Harris drive through Redding in Northern California to the Rising River area where they do some fishing with Beulah and Jack Martin, the owners of the Rising River ranch. Bing writes to Kathryn.

Dear Kathryn

The fishing with Beulah Martin is just great, and the weather fine but windy. The fairground is out on a prairie. If the gale continues, the performers will have to be tied down. But we must manage somehow. The spectators are coming from a hundred miles away. I miss you and wonder how you are faring? Will call in a few days.

June 25, Saturday. Thought to have attended the annual Kamloops convention at Shasta Lake.

June 26, Sunday. (Starting at 2:30 p.m.) Bing is master of ceremonies for a three-hour benefit show at the Fairgrounds in McArthur in Northern California with Phil Harris, Donald O’Connor, Gary Crosby and others to raise funds to build Mayers' Memorial Hospital. Jerry Lester and Red Nichols and his Band also take part.

 

McArthur, Shasta Co – “We’ll see to it that the hospital is completed.” This was the pledge Bing Crosby gave the crowd of 5,000 persons attending the benefit show for the Mayers Memorial Hospital Fund, a show at which he and Phil Harris were the headline performers yesterday. Bing’s promise was made after Harris had said, “I think we ought to be back every year and help.”
Although those in charge have not announced the sum raised from the benefit, it was estimated the show grossed more than $25,000…

Crosby opened the entertainment with a patter which kept the audience in laughter. A high point was his reference to international events. “Churchill did actually retire,” he declared, “he was not fired by Arthur Godfrey.” …

Most of the music was furnished by Red Nichols and his Five Pennies.

(The Sacramento Bee, June 27, 1955)

A showbiz troupe rounded up by Bing Crosby to raise funds for proposed McArthur, Calif., community hospital in Shasta County last weekend gave three-and-a-half hour variety show that brought in about $25,000. Exact count isn’t in as yet. Over 5,000, more than 10 times the population of McArthur, attended.

(Variety, July 1, 1955)

 

June (undated). At Elko with Lindsay.

June 28, Tuesday. Bing’s new six-room cedar log cottage at English Bay, Hayden Lake, near Coeur d’Alene, Idaho (just across the state line from Spokane), nears completion. It has been designed by Harold Grieve (who has worked on six houses for him previously).

July 1, Friday. Bing Crosby Enterprises gives a live demonstration of a video recording of a color television show. (3:00–6:30 p.m.) Bing records “Angel Bells” and “Let’s Harmonize” with The Mellomen and an orchestra conducted by Norman Luboff in Hollywood. The Mellomen quartet comprised Bob Stevens (lead tenor), Max Smith (second tenor), Bill Lee (baritone) and Thurl Ravenscroft (bass). Ravenscroft’s voice was most famous as the voice of Tony the Tiger in more than 500 television commercials for Kellogg’s Frosted Flakes. He also played “Stewpot” in the movie of South Pacific (1958) and his bass contributions were particularly effective in “There Is Nothing Like a Dame”. Bill Lee provided the singing voice of Lt. Cable (John Kerr) in South Pacific and he did the same for Captain von Trapp (Christopher Plummer) in the film of The Sound of Music (1965). Whilst in Hollywood, Bing sees an uncut version of Anything Goes. Bing returns to Elko.

 

Bing Crosby: “Angel. Bells”-“Let’s Harmonize” (Decca).

Bing Crosby hasn’t come up with a pop hit in some time but these two sides should make the grade. “Angel Bells” is a lilting tune with solid pop appeal via Crosby's easy vocalizing. On the Crosby flip, “Let’s Harmonize” is a highly pleasing barber shop style number whose lyric is a medley of oldtime songs.

(Variety, August 17, 1955)

 

Angel Bells

A ballad in the crooner’s relaxed, personable style. This quiet tune is embellished with tinkling bell and chime effects supplemented with strings and chorus. A nice entry for Crosby followers.

Let’s Harmonize

And harmonize he does in the best barber shop quartet manner! This offering has an old fashioned charm which will appeal to many.

(Billboard, September 3, 1955)

 

July 13, Wednesday. Bing golfs at the new 9-hole municipal course at Elko and has a 76. He denies press reports that he will marry Kathryn Grant on September 10. Dennis and Phillip Crosby take their trust funds amounting to $200,000 each as they turn twenty-one.

July 15, Friday. En route to Seattle, Bing and Lindsay plus two friends stop at La Grande in Oregon for gas.

July 16, Saturday. Bing and a party of friends arrive at Neah Bay, Washington aboard the 87-foot yacht Onowa having sailed from Seattle. Those present include Bill Morrow, Pete Petito, John Eacret, and Lindsay Crosby.

      July 17, Sunday. The Crosby party go out in two small chartered boats and catch ten salmon weighing between 10 and 25 pounds each.
     July 18, Monday. The Onowa party is fishing off La Push.
     July 19, Tuesday. Bing is guest of honour at a salmon bake and tribal dance of the Makah Indians at Neah Bay.

Hi Yu Muckamuck For Bing, Who Croons at Indian Feast

NEAH BAY (AP) – It was hi yu muckamuck (big time, much food – in the Chinese jargon) for Bing Crosby here Tuesday night.

To the light of huge beach bonfires and headlights of circling cars, Bing, his son, Lindsay, and their party were honor guests at a Makah Indians Hi Yu Potlatch…Bing joined in the festivities, singing “Home on the Range”. He promised a year ago to attend the Potlatch. Hundreds of visitors, including many out-of-state tourists, feasted on slabs of baked salmon, Indian style.

Young Makahs from Neah Bay High School, who athletic teams are known as the “Red Devils,” gave 17-year old Lindsay one of their team blankets…Crosby and his party came ashore from their yacht at 4:30 p.m. and were greeted by Council Chief Ken Ward. The festivities lasted late. Earlier Tuesday, Crosby and his friends caught eight salmon, running up to 25 pounds.

(Walla Walla Union Bulletin, July 20, 1955)

July 20, Wednesday. The Crosby party, using two charter boats, catch 12 salmon, mooching off Skagway Rocks, around Cape Flattery.

July 21, Thursday. They fish out of Neah Bay,

July 26, Tuesday. Bing meets up with his son Phillip at the Seattle Yacht Club dock. Phillip is in the army at Fort Lewis. Bing is unable to find suitable accommodation in Seattle so he, Phillip and Lindsay travel on to Bing's new summer home at Hayden Lake.

August 2, Tuesday. Grace Kelly in New York writes to Bing.

 

Dear Bing,

Loved hearing from you – How I envy you your fishing trip – It must be absolute bliss.

Was in Hollywood for a week for fittings at Metro – am starting The Swan in Sept – but will come out around the fifteenth of August. Have rented a charming house on the hills off of Sunset.

New York has been so hot that for the first time I am longing to be in California.

To Catch A Thief opens tonight in Philadelphia – Cary Grant & I will be there for all of the fuss.

Fondly,

Grace

 

August 4, Thursday. Golfs at the Hayden Lake course.

August 9, Tuesday. Ezra Goodman of TIME magazine wires Bing as they are running a cover story on Frank Sinatra. They ask for a quote from Bing about Sinatra as a singer and a person. Bing writes the following in longhand.

“Sinatra is quite a fellow – a paradoxical cuss. Without taking any bows or making a big fuss about it, he goes quietly about doing many wonderful things for people who [are] in a bind, who need a little help. He can be generous, kind, and completely selfless. And then he’ll turn around and do something so inexplicably thoughtless, so unnecessary, that you wonder if it’s the same fellow. I think, secretly, he’s always nurtured a childish desire to be a ‘hood.’ But, having too much class, too much sense to go that route, he gets his kicks barking at people — newsmen, photogs and so forth.”

Bing went on to talk very favorably about Frank's acting skills and added, “all great singers - and Sinatra’s one of the greatest - are acting when they sing a song.”  TIME did not use Bing's quotes in the article which appeared in their August 29, 1955 issue.

August 10, Wednesday. At Hayden Lake, Idaho, Bing writes to Jetta Goudal, the wife of Harold Grieve who has designed Bing’s new home at Hayden Lake.

 

Dear Jetta,

I have your letter written Sunday in which you indicate that Harold will arrive here on the 15th. Naturally he can stay at the house if he wants, and it won’t be necessary for us to make a reservation for him at Coeur d’Alene.

I take it that Mrs. Austin and her crew – cameramen, etc. – will find accommodation in Spokane. I have noticed in the paper where she is scheduled for some lectures to some architectural and designing groups so I assume that she has already made arrangements for reservations, so tell him to call me and if possible we’ll try and have someone meet the plane. Our new number is Murray 55005.

You are right about the bolts which are supposed to be covered with something – they are the ones that hold the knocker to the front door and are exposed on the inner side. Dennison seemed to be of the impression that these were to be covered by some brass cups, an inch or three-quarters of an inch square – similar to the kind of fixtures that are generally put on chair legs for sliding.

Well tell Harold to phone us about his arrival time. We have a bed available from the 14th at least through the 17th, which I imagine will be all the time that he will need.

The weather continues just beautiful here – not a cloud in the sky, but it remains cool enough to be pleasant. The nights of course are quite brisk.

All the best to you and Harold,

As ever, Bing

 

August 11, Thursday. Bing plays golf at Spokane Country Club, Idaho with Bud Ward, Herb Rotchford and Roy Moe and cards a 75. This is a warm-up for the tournament starting the next day.

 

The first time I saw him he was standing outside the golf shop at Hayden Lake Country Club in north Idaho. It was a balmy summer day with just a hint of wind wafting off the lake behind the 18th green. He was wearing his trademark straw golfing hat and smoking a pipe. Like most 6-year-olds unversed in social amenities, I wasn’t aware that it was impolite to stand three feet away from a person and stare up at him. So I did. After a moment he broke away from his conversation with a fellow golfer and glanced down at me.

“So what would your name be, Junior?’ he said. I told him.

“And whom do you belong to?”

“Dr. and Mrs. Norman Sheehan,” I said. “My aunt Dorothy knows you.”

“Oh, is that so?” he said, tapping the bowl of his pipe on his heel. “And what would her name be?”

“Dorothy Wakefield,” I said. He took a moment to respond to that.

“Rings a bell,” he said, finally. “How do I know her?”

”She was your girlfriend,” I said. “We have pictures at home.”

He and his friend shared a laugh at this. They probably joked about how a scandal was about to break out, but that’s only speculation. The only parts I remember with absolute clarity are when he and I spoke to each other. Like I said, I was just 6.

“I’ve had affection for lots of pretty ladies, Junior,” he said. “So you’ve got the goods on me, eh?”

He acted like he didn’t know anything about Aunt Dorothy, and I’d run out of things to talk about, when a flicker of realization came over his face. He squatted down to my level.

“Is your aunt Dorothy Bresnan?” he said.

“No,” I said, “but my gramma is Susie Bresnan.” (I didn’t know much about how maiden names worked.)

He laughed again, then asked me if I would take a note to my Aunt Dorothy. I consented. He used the back of a golf score-card. After he’d scribbled a sentence or two, he folded the card and handed it back to me:

“Can you read, Jack?” he said.

“I’m learning at school,” I said, “We’re still on the short words.”

“Well, give this card to your Aunt Dorothy and tell her hello from me, OK?” he said.

“OK,” I said. Then I walked away.

All in all, I’d had a pleasant chat with Bing Crosby.

When I returned to our lake cabin that afternoon, the dispatch I’d brought from the golf course went over real big. I remember my mother hugging me and immediately getting on the phone to Aunt Dorothy. She read the card to her. The whole time mom laughed and giggled like the girls in my kindergarten class. I was pretty certain I’d done something good for a change. Within five minutes, Aunt Dorothy was in our kitchen, hugging me and giggling just like mom, only worse. They must have read the card a dozen times each.

Some 40 years after the event, I can report verbatim what the card says, because it’s been in safekeeping in the family home in Spokane ever since Aunt Dorothy died in 1973. It says:

Dear Dorothy,

Greetings to you and yours. I certainly remember you as a lovely girl. I recall the park dance we attended after you were named May Queen. I’m at the lake for a short spell with the boys. They are becoming excellent golfers. Your nephew is a fine young man, not at all shy. All good wishes to you.

Love Bing.

I remember it was the “Love Bing” part that really created a fuss around our cabin that day.

The scorecard is dated Aug. 11, 1955. I don’t think it’s stretching it to say that there was no bigger recording or movie star - no more revered celebrity in the country in 1955 - than Bing Crosby. And I had commanded two minutes of his undivided attention on a summer afternoon that very year…

Dorothy Bresnan was 16 and Bing 18 when they first dated. The relationship lasted two years, and if the many pictures in my mother’s weathered photo albums don’t lie, it was a serious affair. Bing’s ears stuck out quite a bit as a young man; otherwise he looks just the same. Aunt Dorothy had bushy, frizzed-out hair and was much skinnier than she would be as an adult, but she was a looker. No question. Other relatives claim Bing once asked Dorothy to marry him, which would mean that I was almost his nephew, but I’ve never been able to confirm that. The couple broke up shortly after Bing left Spokane in 1925 with his friend Al Rinker.

(Jack Sheehan, writing in the Showbiz magazine)

 

August 12, Friday. Plays in the first round of the Washington State - Esmeralda Open Golf Tournament at Spokane Country Club with Roy Moe and Gordon Richards. Bing cards a 77.

August 13, Saturday. The second round of the Washington State - Esmeralda Open Golf Tournament.

August 14, Sunday. Phillip Crosby suffers three fractured vertebrae in a car accident at Raymond, Washington State, and is taken to the New Riverview Hospital. Bing leaves the golf tournament and flies to Raymond from Spokane. Newspaper reports state:

 

“The young soldier from Fort Lewis drove through a guard rail down a 20 foot embankment into the Willapa River early Sunday.”

 

August 15, Monday. Bing refuses to let photographers see Phillip in his hospital bed. Bing returns to Spokane during the evening.

August 16, Tuesday. Starting at 10:58 a.m., Bing plays in the Washington State Amateur Championship at Spokane Country Club and with a 76 does not qualify for the second round.

August 17, Wednesday. Phillip Crosby is transferred to Madigan Army Hospital at Fort Lewis. Sol Siegel writes to Bing about a remake of The Philadelphia Story.

Dear Bing,

I have delayed sending this note to you for a few days knowing that your mind was occupied elsewhere. I do hope and pray that your boy recovers and regains his health rapidly.

I have today air expressed the print of THE PHILADELPHIA STORY to you at Hayden Lake, Idaho. When you have finished with it I would appreciate your having someone send it back to us via air express, collect, as soon as possible.

After you have run the picture I would suggest one of two procedures - that is, of course, if you are interested. The first is that I could come up to your place for a day and relate to you in a great deal of detail exactly how the music and your new characterisation works. If this should prove inadvisable, the second suggestion would be to wait for two or three weeks at which time John Patrick will have completed a rather detailed treatment that would give you a clear conception of the whole picture.

In my letter to Rosey [Bing’s agent, George Rosenberg], which was forwarded to you, I indicated your basic characterisation, and in the event that you have misplaced that letter I am sending you a copy with this one.

There is one defect that will be quite obvious in the picture when you run it, and that is that the Cary Grant character is not in the picture from an equality of footage standpoint with the characters played by Hepburn and Stewart. The version we have in mind would remedy this without undue forcing.

I am sure that you will have a ‘feel’ of this after running the picture, and I shall await your recommendation of how to proceed.

My very kindest regards.

August 19, Friday. Washington State Governor Arthur B. Langlie and Bing golf at the Hayden Lake course. The foursome is completed by Chud Wendle and Jack Graham.

August 25-26, Thursday-Friday. At Sound Recording Studios in Spokane, Bing records 20 songs with Buddy Cole and his Trio for use on his radio show. Lindsay Crosby records a track with his father - 'Rock Around the Clock'!

August 28, Sunday. Bing is among 100 prominent citizens named to the National Citizens Committee of the 1955 United Community Campaigns of America.

August 31, Wednesday, Qualifies with a 68 for the Inland Empire amateur golf tournament.

September 3, Saturday. Bing meets Kathryn’s plane at Spokane and they go to Bing’s new home at Hayden Lake where Bill Morrow and Mary Henderson are also staying.

September 4, Sunday. Bing and Kathryn go to mass together at Coeur d’Alene. Later, Bing loses to Al Gustason 1-down in the first round of the Inland Empire tournament, Lindsay Crosby is also knocked out of the tournament in the first round.

September 5, Monday. The Bing Crosby Show is continuing to be broadcast each weekday evening on CBS Radio. The audience rating is 2.2 for 1955-56, which leaves the program in tenth position in the Nielsen ratings of evening programs. Our Miss Brooks (starring Eve Arden) is in top position with 4.3.

Crosby Achieves Fame As Pundit of Airways

One of the remarkable developments of the season coming to its close on the air has been the emergence of a new talent perhaps best described as “Bing Crosby, your friendly philosopher.” For the past several months, the Old Groaner has been running a daily 15-minute session on the radio in which he not only burbles his favorite tunes, but also devotes a lot of time to some of his own private thoughts.

These concern such diverse affairs as the decline in reading among the younger generation, a dissertation on trees, the reputed temper of Prime Minister Anthony Eden, benefit shows for ex-prize fighters, the obligation of paying taxes as the price of freedom, or perhaps the role of Washington Irving in the history of American literature. The Crosby essays also encompass matters like National Peanut Week and what it means; to comments by Ethel Barrymore on Joe Louis; the inspiration provided for small fry by Davy Crockett, and/or the state of big game hunting in Uganda, British East Africa. 

Apparently there is very in the world that hasn’t engaged the Crosby attention. So far as CBS radio is concerned, the Old Groaner has become the New Voice.

There is no comparison between the Crosby commentaries and other pundits on the air. These six or eight-minute flights of fancy are delivered with easy modesty, in the idiom of the day. The Crosby voice is neither the voice of doom nor a voice of treacle. He seems content merely to be heard, with no insistence that anything be taken in earnest, or steps taken to remedy any situation. It was Thomas Mann who once expressed the phrase that “speech is civilization,” and that “the word, even the most contradictory word, preserves contact. It is silence which isolates.”

Crosby’s words have not only Crosby been preserving contact, but even gained Crosby a new kind of stature and substance. Bing himself summed up the whole business in his own way.

“My pal Bob Hope,” he said, “hooked a dandy verbal divot at me the other day. He accused me of being the only singer on radio who rehearses his show by reading the ‘Encyclopedia Britannica.’ He said I was getting a frontal lobe spread in my middle age.

“Now what old chisel chin was referring to is that bit of culture, history, a book review or two, and contemporary social and political odds and ends between songs on my radio series.

“These little wireless essays give me a lot of personal satisfaction. When I get on my soap box, they hear me from Maine to California. Sure, I sound light and breezy. But if I rumble a bit of pundit thunder for a second, remember these are serious and perilous times.

“It’s true that some of the subjects I kick around might be tabbed on the serious side. Like ‘Co-existence, Communist Style,’ or ‘The Impeachment of President Johnson,’ or ‘Child Safety Week.’

“But I also dabble in such topics as ‘Spiked Milk,’ ‘Crosby, the Honorary Indian,’ `Uranium Hunting,’ ‘Paris Wars on Pigeons,’ and the Wenatchee (Wash.) Apple Festival. Frontal lobe spread in my middle age—indeed!

(Leo Mishkin, The Philadelphia Inquirer, June 20, 1955)

    September 7, Wednesday. Bing writes to Vrest Orton, the proprietor of the Vermont Country Store in Weston, Vermont. Bing had mentioned Mr. Orton's Store on his radio show of July 22, 1955.

Dear Mr. Orton: 

Quite a bit of time has passed since I received your letter of July 28, and I have no legitimate excuse to rely upon to explain the delay, other than that it’s summer and I have been up at Hayden Lake, Idaho, just taking it easy, golfing and fishing and laying around, and in that kind of an environment, a fellow’s correspondence just falls apart.

I am tremendously pleased that the spot we did on the radio about you and your store up there proved to be of some benefit, and I am serious when I say that I hope someday to come by there and see you. Not this year I don’t suppose, because winter will be setting in back there before long, and I’ve got some work to do too back in Hollywood. That’s the trouble with these long vacations -the work piles up. And I’ve got to get down there and get to knockin’ on it and see if I can get some of it out of the way.

It would be nice to go there as your guest and to meet your friends and see the store, and I am making a mental reservation to check with you about it next year.

Certainly there is no necessity for you to send me any of the foods from your Vermont Country Store, but even though it’s not necessary, it would be much appreciated. Just send them to me at Elko, Nevada. I am going on down there next week, and the climate there is just about the same as yours I imagine, and when the snow flies I will imagine I am in Vermont eating Vermont products.

All best personal good wishes to you and your family.

As ever -Your friend, Bing Crosby

 

September 8, Thursday. Kathryn flies home, canceling the third wedding attempt due for September 10. Bing states that there were “impediments.”

September 9, Friday. Bing golfs at Manito Golf and Country Club in the final match in the Inland Empire Sweepstakes.

September 28, Wednesday. Bing leaves Hayden Lake for Pebble Beach.

September 30, Friday. The actor James Dean is killed in a car crash.

October 5, Wednesday. Bing is fishing near Rising River, Northern California, before returning to Pebble Beach. He writes to his agent George Rosenberg about his forthcoming film High Society:

 

I am dictating this from a fishing camp up near Rising River. Incidentally, it’s not many miles from the Hearst place, Wintoon, but I haven’t had a chance to go over there. Somebody told me that they are breaking the place up and selling it off. Next time you talk to Bill ask him about this. I might like to look at some of it.

George, I told Sol Siegel I would be down in Hollywood this week, but it doesn’t look like I am going to be down for a little bit now, so I thought perhaps you had better call him and tell him that my return has been delayed. I am going from here down to Pebble Beach, where I will be until time to go down to Hollywood for that “High Tor” film for the pre-recording which is currently set for October 31, shooting on November 7. I hate to go down to Hollywood until I have to, so tell Sol unless there is some real emergency or something that can’t be handled over the telephone, I would rather wait until work makes it mandatory for me to be there. Tell him I will call him from Pebble Beach in a few days - find out just what the situation is.

I can’t quite make up my mind about this picture, George—whether or not I want to do it. In the first place I am averse to seeing Sinatra in the part. I don’t think he is good for it. He’s hot right now, and they have a tendency to put him in everything, but I am not sure he belongs in this. Maybe I can be convinced by Sol or by the writer or someone close to the picture. Secondly, I don’t know if the picture has the heart and the warmth that I am seeking just now in a movie. Then too, this play you know concerns the filthy rich and their problems, and I don’t know whether or not people are interested any more in the problems of the rich, in their neuroses, and in their search for recreation and diversion.

      I am trying to find a film, George, that has some real honesty, and sincerity to it, and I don’t say this just because I was in “Country Girl” and got away with it, or because I am getting hammy or anything, but there is actually not much money to be made in my case from making a movie any more, and unless I can get in something that has some real impact on audiences I just don’t want to do it. I think the days of my participation in a big musical with production numbers, etc. are over.

Now they have a piece of property over at the Hal Wallis outfit that I have long been much interested in. Perlberg and Seaton tried desperately to buy it when it was a play on Broadway, but Wallis somehow or other got in ahead of them. It’s called “The Rainmaker”, by a fellow named Nash, I believe, and I see in the paper where Wallis announced it as one of the pictures he was going to use Eva Marie Saint in. This announcement quickened my interest a good deal. I wish you would get hold of the play and read it, or have Meta read it, and let me know what you think of the part of the Rainmaker in that for me. I think it could be changed a little bit, with maybe the introduction of just one or two folk songs - something in the Burl Ives category, or if something suitable didn’t come along; omit the songs entirely - but I think it’s a great character, and I think the thing has great sentiment. Particularly, the part of the girl is a hell of a part, but I wouldn’t mind being subordinate to her, because I think that would be the element that would make it a fine picture. And this Saint girl would be ideal, I believe. Maybe she’s a little young for me, but that is all right because I go over the hill anyhow at the end.

Don Hartman has been talking to Wallis about the possibility of working me into the thing, or about buying the property back from him or one thing and another, but hasn’t gotten anywhere. Wallis is pretty shrewd, and he senses there is some interest and he is being kind of coy about it. I wonder if you could talk to him or to his partner - I believe his name is Hazan - about their plans for this piece of material. Tell them I have been searching around for something suitable for my questionable talents, and this is the only thing I have run across that I really like. And you might tell them also that I wouldn’t be too difficult to deal with, if there is any interest on their part.

It seems to me all this is necessary to make this a good movie would be a good screen treatment and an outstanding director - a fellow with sensitivity and a little imagination.

I thought I would just drop this in your ear, George, and let you mull it over for a while, and take your time fooling around with Wallis. There is no emergency on it, but I don’t want to give Siegel a definite reply, or Bobby Dolan either on his project, until I have explored this “Rainmaker” project fully.

 

October 10, Monday. Goes to see "The Virgin Queen" at the Stage Door in San Francisco.

October 15, Saturday. Kathryn goes to see Bing at Pebble Beach. Bing reportedly seeks forgiveness for an affair with another woman (a regal blonde!). It has been alleged in various books that Bing was romantically involved with Grace Kelly. Bing and Kathryn dine with Francis Brown and Winona Love.

October 16, Sunday. Bing and Kathryn go to the eleven o’clock mass at the Mission.

October 22, Saturday. Billboard notes that Bing’s 15-minute CBS radio show now has a new theme song, “Something in Common”. Bing writes to John O’Melveny expressing disappointment about the White Christmas film.

 

Dear John,

White Christmas is making money but it was not near the picture it should have been because story-wise it was weak. With that title and that music and the cast involved it could have been one of the all-time musical classics of the screen. It could have almost doubled its intake. I have said it before, and this time I mean it, that I’m not going to get involved in a picture if there is not genuine indication of hit potential….

 

October 23, Sunday. (7:00-7:30 p.m.) Bing and Lindsay Crosby make a contribution to the tape recorded radio program Family of Stars. Others featured are Rosemary and Gale Clooney, Sammy Davis (father and son) and Art and Jack Linkletter. The program was made for the Community Chest.

October 29-30, Saturday-Sunday. Bing plays in the $10,000 pro-member tournament at Thunderbird Country Club with Dai Rees (Captain on the British Ryder Cup team). George Cameron and Lou Manseau complete the foursome. Other celebrities playing include Dean Martin, Randolph Scott, Phil Harris, Ralph Kiner and Hoagy Carmichael.

November 1, Tuesday. (8:30 a.m.-12:00 p.m.) Pre-records the songs for the High Tor television film at Glen Glenn Studios in Hollywood with Joseph J. Lilley and his Orchestra.

November 4, Friday. (8:30 a.m.-2:30 p.m.) Another pre-recording session for High Tor.

November 5, Saturday. Hosts an opening party for “Bing Crosby’s Blue Skies Trailer Village” in Palm Springs. Bing is a stockholder with Jack Benny, George Burns, Phil Harris, and many more stars. Lindsay Crosby attends with Frank Sinatra’s daughter, Nancy. Kathryn Grant accompanies Bing. Buddy Cole and his Orchestra provide the music. The event ties in nicely with the Ryder Cup golf match that is being played at the Thunderbird Country Club.  The United States team wins its seventh consecutive competition by a score of 8 to 4 points.

November 7-15, Monday–Tuesday. Bing films High Tor with Julie Andrews and Nancy Olson for television. The director is James Neilson. High Tor is the first feature-length movie made for television and Bing is reported to have been paid $375,000 for his work. The entire program is said to have cost $450,000. During the filming, Bing uses the set to film an introduction for a Christophers TV program called “Knock on Every Door”.

 

She was to play opposite Bing in High Tor. She was especially fortunate in having in her first film a leading man devoid of temperament and full of sympathy for a young girl venturing into a new medium. Crosby, always relaxed and good-natured, nursed her through the initial scenes in the movie which had music by Arthur Schwartz and Julie recalls that he would ruin a scene deliberately – if she was not playing well, just so that an expensive re-take would not be blamed on her. In the film she sang two songs to Bing, “Sad Is the Life of a Sailor’s Wife” and “Once upon a Long Ago”. When they had finished filming he presented her with a gold, pearl-encrusted pendant ring inscribed: “Julie, thanks, Bing”

(John Cottrell, writing in his 1969 book Julie Andrews.)

 

During the month of November, I flew to Los Angeles to appear with Bing Crosby in a television musical of High Tor, adapted by Maxwell Anderson from his drama of the same name.  The music was by Arthur Schwartz, with lyrics by Anderson. It was my American television debut.

The trip was pleasant enough, but it was a weird time in my life, almost a suspended moment… I landed at night in the vast, sprawling city…nothing like London or New York. I didn’t know where I was in relation to the city, and I couldn’t imagine how I was going to get around. This anxiety was relieved by the friendship offered by composer Arthur Schwartz and his wife. A dinner was held for me at their house in Beverly Hills. It was a big gathering and I was asked to sing a couple of songs from High Tor. Arthur played for me, and though I felt shy, everyone was friendly and appreciative.

The television show was daunting, to say the least. I knew nothing about film, and I remember the early morning makeup calls, my inexperience with cameras and close-ups.

Bing had been told that I was twenty-four years of age – four years older than I actually was, because the producers felt (probably correctly) that he would have thought me too young for the role and would never have hired me. He was a pleasant man, relaxed and easy in his own skin.

One day David Niven visited Bing on the set and we sat together for a while. I listened as these two very attractive and charming men reminisced about their early years, and I have seldom laughed as much. They were very funny, and kept topping each other’s stories, which were witty and outrageous.

Bing and I worked together well, though I felt my performance was very stilted. I was just readying myself to go home for Christmas, when Bing asked if I would like to go to the Rose Bowl with him and his family to see an important football game. I thought he felt I might appeal to one of his older sons. I replied, “Oh, it’s terribly nice of you, Bing, but I’ve got a huge amount of packing to do. I think perhaps I’d better stay and do that.” He looked at me in total disbelief. “I have tickets in the owners’ box and my sons will be there. It’s the playoffs – almost the biggest game of the year.” I looked at him blankly.” Well, it’s really lovely of you,” I said.” But honestly, I do have to pack.” I was shy, and couldn’t imagine what I would say to his sons, so I went home. What a dummy. What an experience that would have been.”

 Bing gave me a lovely pendant on the last day of shooting: a pearl-encrusted angel, inscribed “Julie, thanks, Bing.” Alas, High Tor was not a memorable piece, and received only lukewarm reviews.

(Julie Andrews, writing in Home: A Memoir of My Early Years, pages 184-186)

Arthur and Mary Grey were giving a party for the wrap of High Tor. Here’s what I learned to do: empty a coke bottle, pour in some Scotch and then Canada Dry club soda, then hold the bottle in my hand. A cinch. Julie Andrews showed up. She seemed to flow above the carpet, her long hair caught, somehow, in an indoor breeze. She accepted praise with gracious amusement. When later she sang to Arthur’s playing, she appeared to turn the color of gold.

Bing emitted the very sound of earth, with Arthur still at the piano.  He emerged as a complete Bing, casual of gesture, a chuckler rather than a laugher, and clearly above the fray. Persuaded by my second Coke, I asked my father if I could accompany Bing on a song. “Naturally, of course,” Bing said, in his resonant, modulated, familiar way.

I replaced Arthur at the piano. Gene Kelly was leaning into the curve of the instrument. There he was, with Cary Grant, Orson Welles, Fred Astaire and Oscar Levant. I knew “When You’re in Love,” cast in an Arthurian minor key. I gave it an introduction that delayed Bing’s entrance perhaps 16 bars too long. Finally, he leapt in, which I understood to mean he was cutting me off. I had given him a winding Ravel slide into the tune, and I believe he was just making sure, as he entered, that I wouldn’t decide to extend my introduction any longer. My left hand was respectful to Arthur’s harmonies, and Crosby was complimentary when we finished.

“I’d say your boy’s got a future,” he told Arthur, who was standing next to the piano bench. “Let’s do another.” I took a long drink from my Coke, right down to the last drop. Waiting at the end of the bottle was Igor Stravinsky. With cape and cane, he had decided to call. “Mountain Greenery,” I suggested. “A dandy choice,” Bing said to me. “What’s your key,” I said. “Oh I’d say, let me see, B flat.”

I couldn’t play in B flat. Never have. “How about C? You get up there, it’s not too high.” What confidence, joshing with Der Bingle, picking his key even after he’d chosen one. “Let’s give it a try,” Bing said. Crosby stopped singing at the bridge, “You got Rachmaninoff here,” he told Arthur, most pleasantly. I was given a muted, peculiar applause.  Had I been brilliant? Had I been terrible? No one seemed to know except Arthur, who shot a cold glance my way.

(Jonathan Schwartz, All in Good Time)

 November 19, Saturday. Bing’s “Merry Christmas” 10" LP has been expanded to a 12” size.

 

Merry Christmas

DL8128. Bing Crosby is something of an American institution in the Christmas wax field, his “White Christmas” being the all-time best-seller. This LP, a conversion from 10”, spotlights that side, along with 11 other seasonal Crosby platters—“Jingle Bells,” and “Santa Claus Is Coming to Town,” with the Andrews Sisters; “I’ll Be Home for Christmas,” and “Silent Night.”  A colorful picture of Crosby in Santa garb makes for eye-catching displays. This one should move right briskly during the holidays. It can’t miss.

(Billboard, November 19, 1955)

 

November 22, Tuesday. (9:00 a.m.–12:30 p.m.) Bing records four songs with Buddy Cole and his Orchestra and Jud Conlon’s Rhythmaires. Peggy Lee duets with Bing on “The Possibility’s There.”

 

After working on him for more than a year, Decca finally convinced Bing Crosby to record some new Christmas material. He checked in and cut a pair of sides yesterday and the plattery will rush the release through to hit retail stores around Dec. 1.

(Variety, November 23, 1955)

 

The First Snowfall

Crosby’s first platter in some time spotlights his usual relaxed, personable warbling job on a sentimental ballad with considerable holiday appeal. Good jockey wax.

The Next Time It Happens

The Groaner wraps up the lovely ballad from Pipe Dream in a sensitive vocal treatment and expressive phrasing. 

(Billboard, December 17, 1955)

 

November 23, Wednesday. (9:00 a.m.–12:30 p.m.) Records six songs with Buddy Cole and his Orchestra for possible commercial release. Later records with Buddy Cole for the daily radio show. Around this time, Bing records a Christmas greeting with Dinah Shore, which is distributed to Veterans Affairs Hospitals for Christmas Eve, 1955.  The show also features holiday greetings from Bob Hope and the director of the Veteran's Administration.  Bing and Dinah are heard singing "Silver Bells" and Bing sings "Adeste Fideles". Both songs are taken from a 1952 GE show.

 

Crosby’s Double Session

Bing Crosby killed two disks with one take last week when he checked in at Decca for one of his rare recording sessions. In addition to etching some singles, Crosby cut several tapes for his CBS radio show. Among the singles were a duet with Peggy Lee and a new Christmas item which Decca has been after.

(Variety, November 30, 1955)

 

Is Christmas Only a Tree?

The release of the Bing Crosby Decca recording of “Is Christmas Only a Tree” unveiled a bit of mystery surrounding the tune last week, when the writers of the song were revealed to be two nuns using the pseudonym Mark Lebec (sic). Crosby was originally approached to record the song in November 1955, much too late to make the Christmas market. Despite this, Crosby a & r man, Sonny Burke and arranger Bud Dant worked overtime to get the tune on the market, with the disk given a token release only late last year. Reason for the effort and slated promotion the song will now receive is that the writers’ royalties will go toward building a convent in the Midwest.

(Billboard, December 8, 1956)

 

November 25, Friday. Bing entertains the Notre Dame football team in Hollywood, but his plans to show them the film Guys and Dolls are changed because of adverse comments by Roman Catholics about the film. Paramount shows them The Court Jester starring Danny Kaye instead.

November 30, Wednesday. Bing goes to Palm Springs for an extended stay.

December 4, Sunday. Bing and Kathryn Grant attend a dinner party at the Palm Springs Ranch Club given by Mr. & Mrs. Perlberg. (5:30-6:00 p.m.) A Christophers short film "The World Starts with Jimmy" is shown on KTTV in Los Angeles. Bing introduces Dorothy Malone and William Campbell who discuss a constructive treatment of juvenile problems.

December 11, Sunday. Bing hosts a dinner at the Ranch Club and guests include Frank Sinatra, Phil Harris and Jimmy Van Heusen.

December 13, Tuesday. Decca masters two of Bing’s radio recordings “Ol’ Man River” and “In a Little Spanish Town” for commercial release.

 

Bing Crosby: “In A Little Spanish Town” - “Ol Man River” (Decca). These sides are by far the best things that Bing Crosby has done in the last few years. If anything will restore Der Bingle to the forefront of the disk picture, this platter is it. Either side, or both, could make it all the way. Crosby, who seems to be enjoying himself more than usual on these sides, gets superlative backing from pianist Buddy Cole and a rhythm combo.

(Variety, February 29, 1956)

 

December 17, Saturday. Sings “I Love You Truly” at Bill Morrow’s wedding to Mary Henderson (28) in Palm Springs. Jimmy Van Heusen plays "Here Come the Bride". The wedding is held at Bing’s Thunderbird home. George Rosenberg is best man while Bing gives the bride away. Kathryn Grant, Alice Faye, Phil Harris, Sam Weiss, Ed Crowley, and Pete Petito are amongst those present.

December 19, Monday. (9:00 a.m.–1:00 p.m.) In CBS Studio B in Hollywood, Bing records a CBS radio special A Christmas Sing with Bing, which is broadcast on December 24. Paul Weston and his Orchestra plus the Norman Luboff Choir provide support.

December 20/21, Tuesday/Wednesday. Bing is thought to have rehearsed the songs ‘Little One’, ‘I Love You Samantha’ and ‘True Love’ at MGM Studios for the film High Society.

December 22/23, Thursday/Friday. Bing is thought to have rehearsed the song ‘Well Did You Evah’ with Frank Sinatra at MGM Studios for the film High Society. Some days later, Cole Porter writes to Saul Chaplin about the song,

In reference to your letter, I don’t understand your routine in “Well, Did You Evah?” You write, “We timed it and found it ran two minutes and thirty seconds, which is long as picture numbers go, but it is such fun that it feels short. As a result we are doing something bold. At the end of the number the boys walk out into the ballroom, look at the squares dancing, go right back into the library and do a planned encore which runs about another minute.” What does this mean? Do they repeat the lyrics they have already used, or do you need new lyrics?

My lawyer received a very heavy letter from the head office of Metro, mentioning certain names and asking whether they were based upon live people or not - for instance…Mimsey Starr. I answered that, as far as I know these people were my own inventions. I don’t think you will get into any trouble about these names, except possibly Mimsey Starr. Perhaps it is dangerous to use a Christian and a family name together - in which case I suggest “Grandma Starr.” I wouldn’t think of causing MGM any extra expense.

(Letter from Cole Porter dated December 31, 1955)

December 24, Saturday. (6:00-7:00 p.m.) The prerecorded CBS radio special A Christmas Sing with Bing is broadcast and is later released by Decca as a long-playing album. Kathryn Grant is in Texas.

 

Insurance Company of America laid out some $30,000 for this Christmas Eve ‘Sing with Bing Hour’ and that might be figured as cheap considering the promotion values. CBS toted up the statistics, claiming over 70,000 letters poured in for a ‘What Christmas Means to Me Contest’ for moppets with nothing but on the air advertising and no premiums or prizes save to a single winner. What happens to the other 69,999 kids who made with their letters is something else, perhaps they won’t be snared into ever writing again or will compare the prize letter with one of their own and be disturbed about it. The winner was seven year-old Delores Short who had spent her whole life in Pine Ridge, Kentucky Children’s Home. She read her letter. The Groaner promised her a bicycle, gifts for the other kids in the home and there was quite a bit of hoop-la regarding a B29 crew out of a USAAF base in Alaska dropping the letter over the North Pole for Santa’s mail bag. If there was an important Christmas carol left out by either Der Bingle or the pick-up points, it didn’t come to mind. Crosby breezed along in his well-known way with talk and chirp, some of it carried on with Ken Carpenter who gave a gentle ride to the insurance commercials. Fitting background emanated from the Paul Weston Orchestra and the Norman Luboff Choir.

(Variety, December 28, 1955)

 

A CHRISTMAS SING WITH BING AROUND THE WORLD (1-12”) - Bing Crosby. Decca DL 8419. This borrowing from the CBS radio program makes one of the solidest holiday packages to come along, a prime candidate for immediate store exposure. Singer brings superb projection to nine out of 19 selected Christmas carols and hymns, with smoothest of assists from Norman Luboff choir and Paul Weston’s ork. Other bands are contributed by various Canadian and European choruses, including the Vatican choir. Descriptive intros of each number by Crosby add a fine personalized touch, and his arrangement of “Silent Night” should be on every jock’s Christmas Eve agenda. Cover, featuring Crosby photo backed by United Nations motif, is sound sales bait.

(Billboard, December 8, 1956)

“A Christmas Sing With Bing” (Decca), taken from Bing Crosby's CBS radio Christmas show of last year, is a global musical tour, featuring choral groups from various countries, in addition to vocals by Crosby, the Norman-Luboff choir and Paul Weston's orch. It's a charming program of Christmas faves with the remote pickups of choirs in St. Louis, France, England, Holland and Rome providing additional highlights.

(Variety, November 21, 1956)

 

December 27, Tuesday. (8:30–11:30 a.m.) Bing records “John Barleycorn” and “When You’re In Love” from High Tor with Joseph J. Lilley & his Orchestra. He also adds linking commentary to the other prerecorded songs from the sound track of the television film in Los Angeles for an LP release.

 

John Barleycorn

This is the kind of swinging production job that could have come from any typical Crosby pic. Actually, it’s from TV film “High Tor” and song has a happy slant.

When You’re In Love

Bing waxes romantic with a sincere reading of the ballad highlight from the “High Tor” TV offering.

(Billboard, February 25, 1956)

 

There’s a heavy promotional campaign behind this sound track package from the forthcoming TV film musical version of “High Tor” which will be presented by Ford Motors over NBC-TV, Saturday (10). Bing Crosby stars, and the score was specially written for the video show by Arthur Schwartz and Maxwell Anderson, who, of course, authored the original stage play. Crosby dominates the LP, warbling five tunes, including the sprightly “John Barleycorn,” and two lovely ballads - “When You’re In Love” and “A Little Love, A Little While.” Julie Andrews’ sweet soprano is also listenable while actor Everett Sloane contributes a showmanly chorus on “When You’re In Love.” “High Tor” is an excellent package of Crosbiana, and if the show is as big a click as expected, the LP should enjoy brisk sales.

(Billboard, March 10, 1956)

 

Bing Crosby-Julie Andrews-Everett Sloane: “High Tor” (Decca).

Although not the first package to be based on a video show, this set of the Arthur Schwartz-Maxwell Anderson score from the “Ford Star Jubilee” show, to be telecast on CBS-TV March 10, is likely to be the most successful. A flock of tunes, including “When You’re In Love,” “A Little Love, A Little While,” “Once Upon a Long Ago” and “Living One Day at a Time,” are firstrate pop material. Bing Crosby, who does the between-numbers narration in his usual smooth manner, also handles the bulk of the vocal assignments. Julie Andrews also registers well on several numbers, with Everett Sloane contributing one effective vocal.

(Variety, February 29, 1956)

Bing Crosby appears in extracts with Julie Andrews and others on Bruns. LAT8154. The story is about as comprehensible as Barrie’s “Mary Rose,” but Crosby’s linking narrative shows again what a pleasant actor he is. Here is something of the art which conceals art. Apart from “John Barleycorn” the songs are not very distinguished, but Miss Andrews, currently in My Fair Lady sings charmingly and Crosby works his usual spell.

(The Gramophone, March, 1957)

 

December 28 or 29, Wednesday or Thursday. Bing is thought to have made a Cinemascope test at MGM studios in connection with his forthcoming movie, High Society.

December 28, Wednesday. Forms Bing Crosby Phonocards to issue good quality cardboard records. Brother Everett is executive vice president.

 

Bing Crosby is stepping into the paper disk biz. Crooner has formed Bing Crosby Phonocards to manufacture paper platters, with Edward A. Di Resta as prez. Firm will kick off with a multimillion disk order for the Borden Co. The disks will be used on the covers of cottage cheese and other Borden products.

(Variety, December 28, 1955)

 

December 29, Thursday. At CBS Studio C in Hollywood, Bing records ten songs with Buddy Cole and his Trio for use on his radio show.

December (undated). Bing and Kathryn attend a party thrown by Dorothy and John Haskell at the Jimmy Van Heusen home.

December 31, Saturday. Bing’s recording of “White Christmas” again enters the charts and peaks at number seven during its two-week tenure. Meanwhile, Bing’s exclusive Decca recording contract expires—it had run since 1934. Bing becomes co-owner of radio station KFEQ, St. Joseph, Missouri, with Kenyon Brown and George Coleman. Bing and Kathryn attend a New Year’s party at the home of David O. Selznick with Elizabeth Taylor, Merle Oberon, Joan Bennett, Judy Garland, Jennifer Jones, Greer Garson, and many other stars. As they drive home from the party, Bing offers to marry Kathryn and they fix a new date of March 17.

 

1956

 

January 2, Monday. Bing attends the Rose Bowl Game and sees Michigan State Spartans beat UCLA Bruins 17-14.

January 3, Tuesday. The Minute Maid Corporation is the first new stock to be floated on the New York Stock Exchange in 1956 and Bing buys the first 100 shares for a total of $1,900 and then donates them to Gonzaga University for its library appeal. Bing is described in press publicity as president of the Bing Crosby–Minute Maid Corporation, which acts as distributor of Minute Maid products on the West Coast.

January 6, Friday. (9:00 a.m.–12 noon) Records “Little One” and “I Love You, Samantha” for the High Society film soundtrack with Louis Armstrong and the MGM Studio Orchestra conducted by Johnny Green. During the day, Father Corkery of Gonzaga University announces that Bing has donated a further $100,000 towards the Crosby Memorial Library at the University. This brings the total in the building fund to $241,000. There are plans for the University to receive a share of the revenues of Bing’s film Anything Goes but too many complications arise with this proposal.

January 8, Sunday. (10:30-11:00 p.m.) Gary Crosby appears on the "What's My Line?" CBS-TV show as the mystery celebrity and stumps the panel.

January 10, Tuesday. Ben Hogan and his wife go to dinner at Bing's house just off the thirteenth green at Pebble Beach. Golfer Harvie Ward stays at the Crosby house.

January 11, Wednesday. Bing plays a practice round at Cypress Point and has a 75. Eddie Lowery and George Coleman arrange a friendly four-ball match between two of Lowery's employees, Ken Venturi and Harvie Ward, against Ben Hogan and Byron Nelson at the Cypress Point Club. The amateurs play a strong game but the pros take the match 1 up.  The match is chronicled in depth in Mark Frost's 2007 book "The Match". Lowery and Coleman have a substantial wager on the outcome but it is not known whether the bet was ever settled.

January 12, Thursday. Bing has a practice round with Ben Hogan at Pebble Beach and has an 82. Hogan has a 67.

January 13-15, Friday–Sunday. Starting at 10:00 a.m. and partnered by Ben Hogan, Bing competes for the last time in the Bing Crosby Pro-Am Golf Tournament at Pebble Beach. Bing’s handicap is quoted as being four. Hogan and Crosby have a 60 in the first round and lead the field. They have 63 on the second day and a 73 on the final day giving them a total of 196 which leaves them in a tie for sixth place. Again the weather is dreadful on the Saturday afternoon and all day on Sunday with driving rain and atrocious playing conditions. Cary Middlecoff wins for the second year in succession. Celebrities playing include Dennis O’Keefe, Gordon MacRae, Phil Harris, General Omar Bradley, Hoagy Carmichael, Don Cherry, Buddy Rogers, Bill Gargan, Richard Arlen, Jimmy McLarnin, Ralph Kiner, William Boyd, Van Johnson and Lindsay Crosby. On January 13, there is a special screening of Anything Goes at Loew's 72nd Street in New York and Bing speaks to the audience by telephone.

 

Ben Hogan, the ex-caddy, and Bing Crosby, the ex-choirboy, teamed together last week to give northern Californians their most enjoyable golf exhibition in many a year. Playing to the largest single gallery in the history of Crosby's famed pro-amateur tournament (approximately 5,000), and fighting unpleasant weather conditions, Bing and Ben played superb if erratic golf and gave their happy followers a first-class show. It was Dr. Cary Middlecoff who took top individual honors; but it was the Hogan-Crosby team who took the crowds.

The fun started on the first tee at Cypress on Friday. Host Crosby showed up in a pair of brown knickers, a beige cardigan, a cockily tilted red plaid cap and, of course, the inevitable pipe. As he prepared to tee up, the announcer requested the gallery to move away from the middle of the fairway. "Tell them to stay where they are," quipped Bing, "they're safer there."...For on Cypress' frightening 16th, Bing had gone for the green and had ended up, after a generous slice, on the rocky cove 50 feet below and short of the green. His first wedge shot hit the bank sharply and rolled back to his feet. The second attempt ricocheted off a sharp rock and into a trap on top of the cliff. Bing clambered up, took one more stab at the ball and picked up...When the players started off at Pebble Beach on Sunday morning there were small lakes on some greens and the fairways were swamps…Though a weary Hogan struggled in with an 81, shooting himself out of the individual, and his host Bing Crosby out of the pro-am competition, Bing was still clowning at the end. He back-handed his last putt right into the hole and exited with a buck and wing off the green.

(Richard Pollard, Sports Illustrated, January 23, 1956)

 

Bing had heard of something called videotape as early as 1951, and he financially backed early experiments with this new “instant film.” Unfortunately for him, the early experiments were unsuccessful.

It wasn’t until Ampex Corp. perfected two-inch videotape that the technology began to take off. The year was 1956. Again, enter Bing Crosby.

The singer’s annual Pebble Beach golf tournament kicked off TV’s outdoor sports season, but there was a hitch: Because the tournament was on the West Coast, to telecast it live to Eastern markets would involve a three-hour time difference.

CBS, working with Ampex, decided to experiment with delaying the feed to give the entire country a chance to see the ”live” event at the same local time: 2 p.m. So although the tee-offs began at 10 a.m. Pacific time, the action was videotaped and held until 2 p.m. across the U.S.—a one-hour delay for the East to four hours for the Pacific. That’s no trick today, but it seemed to be magic in 1956.

As producer of commercials for one sponsor of the Crosby Pebble Beach tournament—Easy Washing Machine Co., which no longer exists; agency was Earle Ludgin & Co. of Chicago, which also no longer exists—I wanted to make a commercial using videotape. I approached Bing hoping he would do a “welcome to my tournament” spot for Easy. He liked the idea and when asked what his fee would be, he said: “It’s my tournament; I’ll do it for nothing.”

I then asked the CBS field producer about how much he would charge for the loan of the equipment for a couple hours. His answer: $500.

So one of the first national videotaped commercials, starring Bing Crosby, was produced for $500. Today, a national spot averages more than $250,000 to produce, plus a hefty fee for talent.

Postscript: Bing Crosby liked the way he looked on videotape so much he thanked me for the “opportunity.”

(Hooper White, former VP-creative production at Leo Burnett & Co – writing in BINGANG magazine, winter, 96-97)

 

January 15, Sunday. (5:30 p.m.) Bing introduces The Christophers program "Knock on Every Door" on KTTV. This was filmed in November. (Starting at 6 p.m.) The Victory Dinner and Clambake takes place at the Monterey Fairgrounds Auditorium.

January 17, Tuesday. Starting at 12:30 p.m., Bing and Frank Sinatra rehearse the song "Well, Did You Evah". (2:00–4:30 p.m.) Bing records “Well, Did You Evah” for the High Society film soundtrack with Frank Sinatra and the MGM Studio Orchestra under Johnny Green.

 

The “Groaner” and the “Voice” were singing up a storm in Culver City, so that bore looking in to. The two most famous singers of this - or any generation - Bing Crosby and Frank Sinatra, are engaged in a film called High Society. Filming for this historic meeting has started at M.G.M.

The scene was a rehearsal hall, bare, except for a few pieces of furniture representing a drawing-room set. Also a piano, beside which sat Bing, conservatively dressed in dark trousers and a plain blue shirt. He wore a hat and was singing to the piano accompaniment.

Seated nearby was Sinatra, looking natty in grey flannel trousers, black coat and matching accessories. He also wore a hat. Like Bing, he is balding.

“This is a real thrill for me,” said Frank. “Bing was a real idol when I was a kid. I had his records and pictures - the whole works.” Director Chuck Walters signaled for a rehearsal. Bing and Frank took their places in the simulated set and ran through a new Cole Porter number, “Well, did you evah?” It is their only number together in the film, and they are supposed to be slightly tipsy at a party.

They sang the number and followed a dance routine outlined by Walters, clicking champagne glasses and walking out of the scene arm in arm. After a few run-throughs, they sat down again to wait for the call to report to the recording stage.        

Finally word came that the orchestra was ready. Bing ambled outside to where his bicycle was standing. A common feature on his home lot, Paramount, bikes are rarely seen at the staid M.G.M. He passed a few words about his recent Golf Tournament and pedaled toward stage one.

The 50-piece orchestra was waiting on the recording stage. Bing and Frank ascended a small platform before the musicians took their cues from conductor Johnny Green. When the final version was achieved, impatient Frank took off and Bing sat down to chat a bit. He agreed the project was a happy union of talents and added: “And we’re lucky to have Louis Armstrong in the cast. He has a lot to do, and he ought to help the picture's business overseas.”

Help the picture! With Crosby, Sinatra, Grace Kelly, Cole Porter, etc. I’d like to have the Monaco Rights alone.

(Bob Thomas, syndicated article seen in the Springfield Leader and Press, January 24, 1956)

 

January 18, Wednesday. Records “Now You Has Jazz” with Louis Armstrong and the All-Stars for the High Society film soundtrack. Sixteen takes are needed to achieve the required result.

 

...My second studio visit was a delightful afternoon with Johnny Green at M.G.M., where Johnny was in charge of the pre-recording by Bing Crosby and the Louis Armstrong Sextet, of a number from the forthcoming High Society in which Frank Sinatra and Grace Kelly are also starred.

Composer Green commented, “You get Louis and Bing together in a studio, and all of a sudden it’s like a beautiful April day.” And indeed, the prevailing good humor made this session a ball for all, even though Cole Porter’s “Now You Has Jazz” is a most unconventionally constructed blues.

Aided by five microphones (one overhead, plus one each for Billy Kyle, Arvell Shaw, Bing, and Louis) and an arrangement written by Al Sendry and Johnny, the engineers got just about the finest recorded sound I’d ever heard for a movie jazz sequence.

Watching Bing and Louis kidding around and ad libbing through the arrangement (with copious solo flashes by Edmond Hall, Trummy Young, and others) I was reminded nostalgically of their first joint movie appearance in “Pennies from Heaven”, just two decades ago.

I was reminded, too, of what old hands both have become at this movie game, for the requirements of post-synchronizing their lip movements when the corresponding visual passages are shot, would tax the presence-of-mouth of less experienced actors.

(Leonard Feather, Down Beat, March 7, 1956)

 

Lastly on Capitol LCT6116 El Bingo is heard along with nearly everybody else—Louis Armstrong, Grace Kelly and Frank Sinatra, for example—in the film “High Society”. These numbers by Cole Porter are mostly available by the same artists on 45s, but whichever way you buy it do not neglect the wonderful Now You Has Jazz, in which Crosby introduces the band. It is an old gambit, but seldom fails, and certainly not here.

(The Gramophone, January, 1957)

 

January 19–March 6. Bing films High Society for MGM with Grace Kelly, Frank Sinatra, and Louis Armstrong. The film is produced by Sol C. Siegel and the director is Charles Walters. Bing receives $200,000 and 25 percent of the profits for his services. The $200,000 is paid to Bing personally at the rate of $20,000 per week and the 25% goes into one of Bing’s corporations.

I am starting a picture with Grace Kelly this week; in fact, they’ve been going three or four days already. Also in the cast are Frank Sinatra, Louis Armstrong and his band, and some other stalwarts, so we have high hopes of this one…She (Grace Kelly) sure knocked everybody off the applecart by her engagement last month. I had seen her just before she went to New York and she gave no indication then that she was bound for a life-long romantic entanglement…she’s a fine girl, and deserves happiness and contentment.

(Letter from Bing dated January 23, 1956 to his friend Charles Graves)

 

When Cole [Porter] learned that Louis Armstrong was to appear in High Society, as they were calling the film, he decided that he would have to write a jazz number. As always, he approached the problem in a businesslike manner. He called Fred Astaire and suggested that they attend a “Jazz at the Philharmonic” concert. Later, he was introduced to jazz impresario Norman Granz on the telephone and Granz gave him a short introductory course in jazz terms. The eventual song was “Now You Has Jazz.”

Besides Armstrong, the cast included Bing Crosby, Frank Sinatra, Grace Kelly and Celeste Holm. Among the songs his favorite, which he considered musically superior to the others, was “I Love You, Samantha.” His hope was brightest commercially for “You’re Sensational,” which had lyrics peppered with slang. “True Love,” eventually to emerge as the most-played song of the year, did not much interest him.

(Charles Schwartz, Cole Porter, A biography, page 300)

 

Bing Crosby was their costar in High Society and, during a break in filming, Bing and Jimmy Van Heusen went to visit Dad in Las Vegas, where he was fulfilling a singing engagement. Bing Crosby: “Jimmy was a dear and valued friend of Frank’s and a tosspot of considerable reputation. Frank was playing the Sands Hotel, and we were told he was on the verge of a complete physical collapse, a condition induced by a great deal of hard work, some late nights, some all-nights, no sleep or rest, and a great deal of sauce. Jimmy and I went over that night to see Frank backstage, and I offered to go on for him so he could give his throat a rest and recover. ‘No, thanks,’ he croaked grandly. ‘I can handle it all right. But, Bing, there’s something I want to talk to you about. Can you meet me at Luigi’s after show?’ I, of course, agreed, and when he showed up, we took a booth in the corner and ordered some drinks. ‘What did you want to talk to me about?’ I queried. ‘Bing,’ he said, ‘we’ve got to do something about Van Heusen. He’s not taking very good care of himself!’ . . . I wanted to say, ‘Why don’t we limber up on you.’”

(Nancy Sinatra, writing in her book Frank Sinatra, My Father, page 113)

 

What really attracted Sinatra to the movie was the opportunity to work with his idol, Crosby. Saul Chaplin, who with Johnny Green was the musical director and shared an Oscar nomination for the movie, told me: ‘Sol Siegel, the producer, already had Crosby and Kelly and it happened at a moment when Frank was free. He wanted to do the picture and we all wanted him too.’ Once more, there were the difficulties over rehearsals. As Chaplin told me: ‘Bing would always come on time and do his rehearsing and Frank would every now and again show up late.’ But a formula was devised. ‘I’d continue with the rehearsal with Bing,’ said Chaplin, ‘and when it came to Frank’s turn, he’d say, ‘Come into the next room and show me what my part is.’ Frank either did not know his lines or was showing a kind of humility in the face of his idol. The truth of the matter was that Crosby was a conscience point for him. ‘It was the first time he felt self-conscious. He was embarrassed about not doing things right in front of Bing.’ It seemed to be a recipe for lost illusions, if not disaster, but it didn’t work out that way. ‘They adored each other,’ said Chaplin.

... Better still was the duet with Crosby, ‘Well Did Ya Evah?’ Chaplin was looking for a number for a duet and found this song, which the studio already owned, in the MGM archives. The lyrics were largely changed by Chaplin himself, a brave thing to do with lines written by Cole Porter, but then those originally topical lyrics were written for the 1938 show ‘Dubarry Was a Lady’ and were hardly suitable for the post-war world of the 1950s. Its best (new) line is the one in which Sinatra sings in an aside to Bing, ‘Don’t dig that kinda croonin’ chum’ to which the older man replies, ‘You must be one of the newer fellers.’ Crosby came up with that line in rehearsal. They liked it so much that it was written down and then recorded. So was another response: ‘Sauced again!’

 (Michael Freedland, All the Way: A Biography of Frank Sinatra 1915-1998)

 

February 1, Wednesday. Variety magazine has an update about the "High Tor" production.

Bing falls heir to “High Tor” pic

Hollywood, Jan. 31.

In an unprecedented deal, Bing Crosby will own the “High Tor” telefilm outright after it has been telecast two or three times. Stint for “Ford Star Jubilee” on CBS-TV involves a large salary for Crosby plus eventual ownership. Understood Crosby will arrange for a theatrical release of the 90-minute film once the rights revert to him. Film, to be telecast March 10, cost between $350,000 and $500,000.

Also, Bing writes to his friend George O’Reilly in Dublin, Ireland.

 

My warmest thanks for the lovely Irish glassware. It’s very beautiful and my Mother raved about it.

Working on a new picture with Grace Kelly, Sinatra, and Louis Armstrong. It looks very good – M.G.M Studio, Color, VistaVision, and a good light comedy script. Armstrong, of course, is a riot. Cole Porter wrote a new score which I think is one of his best recent jobs.

“Anything Goes” previewed to a very good reaction. Not much story, but good production numbers. O’Connor, Gaynor, and Jeanmaire in the cast.

I’m working on plans to go abroad this spring. Maybe April. Hope I can work it out, but there are some details yet to be taken care of. Will certainly include Ireland this time.

Hope all goes well with your family and your shop.

As ever, Bing

 

February 2, Thursday. Bob Burns, who appeared in many of Bing’s Kraft Music Hall broadcasts, dies in Encino, California, at the age of 65.

February 9, Thursday. A drunken driving charge against Phillip Crosby for an accident on February 7 is dismissed in Tacoma. His car struck a pedestrian but a blood test showed he was sober. The pedestrian sues Phillip for $100,000.

February (undated). Following his twin brother’s suggestion, Phillip Crosby asks to be reunited with his twin in the Army. The hope was that Dennis would be transferred back to the USA from West Germany but instead Phillip is dispatched to the US Army Base in Schweinfurt, Germany where Dennis is a headquarters mail clerk. They are both attached to the 24th Medical Detachment of the 10th Infantry Division.

February 22, Wednesday. (10:15 a.m.–12:30 p.m.) Bing and Grace Kelly record “True Love” for the High Society film soundtrack with the MGM Studio Orchestra conducted by Johnny Green. The song becomes Bing’s twenty-second gold record when it is released commercially as a single.

 

Grace had been taking singing lessons since the moment she was offered the part in the summer of 1955. She had one spoof song to sing off-key, and one to sing properly ─ “True Love,” a guileless and syrupy ballad that she was due to perform with Bing Crosby. It was a matter of pride for Grace that she should deliver her own song in her own voice, and when (Johnny) Green disagreed, she took her case to the very top. She went to see Dore Schary.

“I lost,” Green remembered ruefully. MGM did not hire a voice double, and Grace sang “True Love” beautifully.

(Grace: The Secret Lives of a Princess by James Spada)

 

 “I had a great deal of trouble with the studio. They didn’t want her to sing on the record; they thought it should have a better voice. Of course, I was determined to have Grace on a record that I thought had a chance to be a gold one and we had quite a squabble about it. She didn’t know anything about it; she didn’t care whether she sang on it or not, but she was delighted when she did.”

(Bing, as quoted in BING by Charles Thompson, page 185)

 

“I found it quite a worrying experience to be recording with a big orchestra, but Bing made me feel very relaxed and helped me through. He has a very deep voice and my voice is rather thin and high, and it was a problem for this recording. I was supposed to sing the melody, but there was too much difference in our voices and I finally had to sing the harmony instead.”

(Grace Kelly, as quoted in BING by Charles Thompson, page 185)

 

TRUE LOVE (Buxton Hill, ASCAP)—Bing Crosby and Grace Kelly WELL DID YOU EVAH (Buxton Hill, ASCAP)—Bing Crosby and Frank Sinatra—Capitol 3507. These two tunes, both from the “High Society” flick, are undoubtedly capitalizing on the flick’s success throughout the country. The disk has been out over a month and the trend has followed the release of the film in all markets. It has now registered very strong on all fronts and is just off the charts.

(Billboard, September 29, 1956)

Bing Crosby, whose contract with Decca has expired at the outset of 1956, may be heard on the Capitol Records’ label if the diskery’s deal to acquire the soundtrack to Metro’s “High Society” filmusical is finalized. It’ll probably be a one-shot deal for Crosby since the vet Decca artist has been talking a new deal with the latter company and has indicated that he’ll probably renew.

(Variety, February 22, 1956)

In the “High Society” package Bing Crosby, Frank Sinatra and Louis Armstrong have a flock of topgrade Porter to work with. Among the gems are "True Love,” “I Love You, Samantha,” “Mind If I Make Love To You” and a frisky “Well, Did You Evah?” Crosby and Sinatra split the crooning chores on these tunes and both are in top form. Satchmo has a nifty “High Society Calypso” and a duet with Crosby on “Now You Has Jazz.” The femmes, in the pic, Grace Kelly and Celeste Holm, get a small warbling chance. Johnny Green batons the MGM Studio Orch.

(Variety, June 27, 1956)

 

February 23, Thursday. (8:30–11:30 a.m.) Records “You’re the Top” (with Mitzi Gaynor) and “All Through the Night” for a Decca album of “Anything Goes” in Hollywood with Joseph J. Lilley and his Orchestra.

 

Bing Crosby-Donald O’Connor-Mitzi Gaynor - Jeanmaire: “Anything Goes” (Decca). The soundtrack of the Paramount pic version of Cole Porter's legit musical, “Anything Goes,” is topflight platter fare. The lineup of Porter numbers, including “I Get A Kick Out of You,” “You’re The Top,” “It’s De-Lovely” and the title song, make sock wax material. The additional songs by Sammy Cahn and Jimmy Van Heusen, including “You Gotta Give The People Hoke,” “A Second Hand Turban and a Crystal Ball” and “You Can Bounce Right Back,” are also solid production tunes that fit into Porter’s cleverly literate pattern of cleffing. Bing Crosby contributes another standout performance on “All Through The Night,” and in “You’re The Top” with Mitzi Gaynor, and the “Hoke” and “Crystal Ball” numbers with Donald O’Connor, the last tune being an ultra-smart job. O’Connor solos briefly on “You Can Bounce Right Back” while Miss Gaynor handles the title song neatly and Jeanmaire is effective on “I Get A Kick Out of You.” Joseph Lilley batons the studio orch authoritatively

 (Variety, April 11, 1956)

 

March 1, Thursday. Bing signs a contract to make another film for MGM. This is ultimately called Man on Fire.

March 3, Saturday. Elvis Presley’s recording of “Heartbreak Hotel” enters the charts.

March 7, Wednesday. (8:30-9:00 p.m.) Bing acts as host on the Family Theater radio production of “The Seventh Son” featuring Ricardo Montalban.

March 8, Thursday. At CBS Studio B in Hollywood, Bing records 14 songs with Buddy Cole and his Trio for use on his radio show.

March 10, Saturday. Bing undergoes eye surgery to remove a small growth in the sclera (the firm white fibrous membrane that forms the outer covering of the eyeball). A planned trip to Europe (including Paris) where he had intended to record a special spring radio show for CBS is shelved.

Bing Crosby Has Eye Operation

HOLLYWOOD—(UP) —Bing Crosby underwent a minor eye operation Saturday, it was disclosed yesterday.

The actor-crooner had a small fatty substance called a pinguecula removed from an eye in a physician’s office. It was estimated the operation took about 15 minutes. Crosby was not hospitalized.

The condition is a common one in the West and is associated with out-door living, a doctor said. Eye tissue thickens, producing the fatty-like area on the eye’s surface. It generally is not noticeable.

The ailment is usually not painful, the doctor said, and classed as very minor. Vision is not affected.

(The Times-Herald, March 12, 1956)

Bing Crosby didn’t attend Sol Siegel’s party for Grace Kelly at Romanoff’s Saturday night because he didn’t want to show up with a patch over his eye. Bingle underwent cyst surgery on his left eye

(Variety, March 12, 1956)

(6:30–8:00 p.m. Pacific) High Tor is televised on CBS and receives poor reviews. It does however achieve a rating of 29.4 against the competition of a Jimmy Durante show (13.7).

 

Schwartz sent me up the recordings of the songs for “High Tor” and I think they are quite good. They have a lot of quality and they are in the mood of the piece. I read the script again and I think this can be quite a nice film. I don’t know about its commercial potentialities or whether or not audiences will understand it completely, but that doesn’t worry me. I would rather be associated with something like this that at least represents an effort to achieve something lofty, than to fall into the rut of all that other bilge that is being produced these days for TV.

         I anticipate already that there will be some criticism about this film by some of the newspaper TV columnists, etc., but if it’s done well, and I anticipate it will be, I don’t see how we can be too vulnerable. For the same reason, I don’t think there will be any throwing of hats in the air or dancing in the streets over the film. Let’s just settle for it being “nice”.

(Bing Crosby, in a letter dated October 5, 1955 to George Rosenberg.)

 

Bing Crosby’s entry into the 90-minute spectacular on CBS-TV’s ‘Ford Star Jubilee’, Saturday night (10th) was hardly as rewarding as the auspicious occasion warranted. Out of Maxwell Anderson’s ‘High Tor’ fancy, originally presented on Broadway 20 years ago as a straight play, the network fashioned a filmusical version, the joint effort of Arthur Schwartz and Anderson (with Schwartz also doubling as producer)

         The songs were good, at least a couple of them way up on the potential list of solid clicks. There was a stunning performance from Julie Andrews, the ex-ingenue of ‘The Boy Friend’, as the ephemeral Dutch phantom walking the ‘High Tor’ mountain for 300 years. But basically, what evolved was a flimsy, ‘boy meets ghost, loses girl, boy loses ghost, gets girl’ vehicle that would find it tough going as the bottom half of a theatrical double feature. Through it all, Crosby was lost. True, his ballading was good. Crosby and his bouncy ‘John Barleycorn’ rendition was one of the show’s high spots but his love-making had just about as much substance as the Dutch ghosts on High Tor. His poetic meanderings were neither fanciful nor symbolic. It just wasn’t in the film clips for a placid and, let’s face it, not-so-young contented guy in a comfortable jacket to project himself as an escapist from a material world through the flights of Anderson’s dream on the Tappan Zee.

         When he came upstage to do his songs (four in all) with all his muted charm and affability, it was strictly Crosby and not Van Dorn, the man in love with his mountain. For that matter the entire Dutch crew, from the captain down, had little understanding or feeling for what Anderson was trying to say.

         Strange were many things about the production. Why, for example, Crosby wasn’t even given a nibble at the best of the Schwartz tunes, ‘When You’re In Love’, to which, non-singer, Everett Sloane fell heir. Or why the camera transitions were so awkward, considering the scope that the filmization afforded. Or why Ford permitted an invitation to a tune-out even before the film got started with an elongated commercial that must have consumed five minutes.

         This musical version of bank robbers scheming to buy High Tor…..also enlisted the services of Nancy Olsen, who, at least, had a comprehensible role and therefore rang true to her performance….It remained for Miss Andrews to really capture Anderson’s elusive fantasy on life and love.

         The film was made for CBS in 12 days. It cost about $450,000. The network reserves the right to give it a couple more screenings, then it reverts to Crosby and Schwartz for any possible residual values. These are doubtful assets.

(Variety, March 14, 1956)

 

Somewhere in the double translation - from stage to tv-pix terms and from dramatic to musical comedy form - much of what made ‘High Tor’ a Broadway success seems to have got lost. What emerges on the home screens in this film, said to have cost upwards of $500,000, is essentially, a listless exercise, with rather undistinguished musical and murky philosophising, leavened only by the stingiest pinches of comedy.

         A strangely subdued Bing Crosby walks through his role with little conviction, making for the most part like a straight musical comedy juvenile. His gifts of off-hand repartee and clowning are little in evidence and his ponderous philosophising proves too static to register dramatically. Only in his vocalising does he show his accustomed style and verve…Miss Andrews, a British import for Broadway’s ‘The Girl (sic) Friend’, is too ethereal for dramatic conviction but is lovely in her Dutch costuming and able in her warbling chores with Crosby….Nancy Olsen makes the most of her standard role as the brisk modern maid…Editing, while generally competent, at times, shows regrettable lapses. In one sequence, heavy rain deluging Conreid and Corrigan, miraculously stops when Crosby walks on the scene. At other times, playback synchronisation between Crosby’s voice and his lip movements are noticeably at variance.

(Daily Variety, March 12, 1956)

 

Bing Crosby badly miscast himself in undertaking a filmed musical version of Maxwell Anderson’s fantasy, “High Tor,” presented on Saturday evening over Channel 2. The motion picture, especially made for television use, was embarrassingly awkward and inept, a dismaying “quickie” unworthy of the Old Groaner’s time and talents.

For those of Mr. Crosby’s admirers who ask only that he sing in close-up, there were, perhaps, some satisfying moments. But beyond that, it was a case of a misplaced Bing. To the leading role of Van Van Dorn, the sensitive young idealist whose love of a mountain transcends the ages, Mr. Crosby brought only his characteristically casual and experienced sophistication. It played havoc with the delicate spirit and meaning of the Anderson work.

With Mr. Crosby emotionally aloof from the fantasy’s pivotal character, the narrative, in turn, became only bewilderingly confused and cold. The highly literal depiction of the Dutch ghost sailor crew and the lovely phantom Dutch girl seemed more a silly musical comedy book than a touching excursion into the purest of make-believe. The poignant scene between the girl of the Sixteen Hundreds and the boy of the Nineteen Hundreds who wished their love could be was bereft of any feeling.

Arthur Schwartz wrote the original score and Mr. Anderson the lyrics for the musical film. No doubt, some of their numbers will be showing up on the “Hit Parade,” though it was difficult to tell from their limited hearing on Saturday night.

Julie Andrews portrayed Lise, the Dutch girl, and Nancy Olson the real-life fiancée. In the static production, they had little to do. Everett Sloane made what he could of the part of De Witt, but singing is not exactly his forte. Hans Conreid and Lloyd Corrigan extracted moments of comedy as the realtors stranded aloft in the scoop shovel.

Studio simulation of the mountain was most limited in terms of space and looked artificial.

(Jack Gould, The New York Times, March 12, 1956)

 

 CBS TV’s presentation of ‘High Tor’ has been described by Oscar Levant as a sort of sleepy hollow legend, being both ‘sleepy’ and ‘hollow’. Whereas, this is probably too harsh a judgment of the musical version of the Maxwell Anderson play, the production wasn’t, exactly, a hundred per cent as successful. What happens to have gone wrong is that the whimsy that was present in the intimacy of the theatre, just didn’t get transposed to the screen. The effect as a result was somewhat like trying to pretend ‘Finian’s Rainbow’ without blarney. The story is intriguing, if somewhat complex. Bing Crosby owns a mountain, the mountain is coveted by various scoundrels. A ghostly ship with a ghostly Dutch crew makes its appearance. There are romantic complications as Crosby is torn between the shapely spectre of Julie Andrews and a real live girl, Nancy Olsen, while Everett Sloane pitches woo as a phantom. The only trouble with all this is that it is taken too seriously. There are some lively tunes among the six or seven introduced in the teleplay and it should be interesting to see whether the combination of TV and Bing Crosby boosts any of them into the hit category.

(Billboard, March 24, 1956)

 

March 14, Wednesday. At CBS Studio C in Hollywood, Bing records 12 songs with Buddy Cole and his Trio for use on his radio show. He also tapes a message to the British Crosby Society that is to be aired at a forthcoming club meeting in May.

March 17, Saturday. The proposed wedding date comes and goes as Bing convalesces after eye surgery.

March 21, Wednesday. Paramount releases Anything Goes, Bing’s last film for them. He donates his profts from the film to the Crosby Memorial Library at Gonzaga.

 

Paramount starts the New Year off with a mock musical package, borrowing the title and songs from that yesteryear stage hit Anything Goes. It’s a bright offering for Easter release, geared to play an engaging tune at the wickets. Male topliners Bing Crosby and Donald O’Connor go together as though born to give the zip to what scripter Sidney Sheldon has concocted hereunder the stage title. While there are Cole Porter songs and the legit handle is still carried, that’s about all that remains of what went on behind the footlights, and there’s scant resemblance to Paramount’s 1936 film version, in which Crosby also starred with Ethel Merman. . .

      Script provides Crosby with plenty of those sotto voce, throw-away cracks he and his fans dote on, as well as an overall comedic setup against which to bounce the musical numbers...Musical humor gets an early start when Crosby and O’Connor pop all the corn possible on ‘Ya Gotta Give The People Hoke’, one of the new Sammy Cahn - James Van Heusen tunes. It’s a howler, as is ‘A Second-hand Turban and a Crystal Ball’, also new, which the two males work over later in the footage....A clever tune-terp sequence is the rehearsal aboard ship to ‘You’re the Top’, in which Crosby and Miss Gaynor, O’Connor and Jeanmaire work out without being aware of the other team.

(Variety, January 25, 1956)

 

Twenty years ago Paramount plucked Cole Porter’s effervescent musical “Anything Goes” from Broadway and with the aid of the vocal talents of Ethel Merman and Bing Crosby, projected it on the nation’s screens with passing fair results. A new VistaVision and color edition of that frolic bearing little physical resemblance to its predecessor turned up at the Paramount yesterday.

         The passage of time has not wrought amazing changes. For all its activity, “Anything Goes” is, in the main, standard musical comedy. Mr. Porter’s noted ditties have not suffered. They are as bubbly and memorable as ever. Some of the principals are decidedly decorative and talented. The script, however, is transparent and fragile. Mr. Porter is still the most inventive contributor to “Anything Goes.”

         Perhaps age has not withered this property, but its new plot has not made it fresh. . .  Bing Crosby, who obviously can’t help being professional, croons “You’re the Top,” “All Through the Night” and other durable refrains with individual charm. But while he can toss off an urbane wisecrack with characteristic ease, one gets the impression that he is slightly apathetic about it. Perhaps it’s natural. He’s been through it all before. . . In making his film-directorial debut, Robert Lewis has not come up with a particularly inspired effort. Call it a workmanlike job. Mr. Porter excepted, workmanlike is the word for “Anything Goes.”

(A. H. Weiler, The New York Times, March 22, 1956)

 

The other big film is “Anything Goes”. This is a big disappointment and is typical of what happens when the film moguls attempt to bring a period piece up to date. We get off to a brilliant start with Bing Crosby and Donald O’Connor in Ya Gotta Give the People Hoke, an excellent point number. “Every year at the Met, they get deeper in debt, it’s really time they awoke, they don’t want Pagliacci, give them Liberace, that would be a masterful stroke”. Mitzi Gaynor sings the title song. This has been cleaned up and a new verse substituted for those references to Colney Hatch and “nudist parties in studios”. No harm in this, but it is about now that you begin to worry about the orchestra, and Great Scott you are right. Miss Gaynor takes the monotony out of that long-winded song I Get a Kick out of You by means of some gentle caricature, but she is given no chance by the band. You’re the Top is fool-proof, but then comes one of those dreadful ballets, based, believe it or not, on Let’s Do It (surely even the one-and-ninepennies could take these words) and All Through the Night. So the dismal story goes on. If the film is like this and you want the record then here it is, and in any case you might like it for the otherwise unrecorded opening number (Bruns, LAT8118).

(The Gramophone, August 1956)

 

Bing Crosby’s twenty-two year stint at Paramount came to an end with Anything Goes—a remake, in VistaVision and Technicolor, of Cole Porter’s celebrated Broadway success, first un-spooled in 1936 with Crosby and Ethel Merman in the leads. . . . It teamed Donald O’Connor with Crosby for the first time since Sing You Sinners (Paramount, 1938)—and together they were cast as a couple of big-name stars who embark on a round-the-world cruise in search of a suitable female lead for their forthcoming show. . . . It was musically satisfying. Crosby sang such standards as “You’re the Top” (together with the other leads) and the immortal “All Through the Night.”

(The Hollywood Musical, page 355)

 

April (undated). Bing is at Palm Springs and is golfing regularly.

April 4, Wednesday. In Palm Springs, Bing records 14 songs with a group led by Buddy Cole for use on his radio show. The group is augmented by Matty Matlock and a number of jazz musicians.

April 7, Saturday. Dines at the Ranch Club in Palm Springs with Bill Morrow and his wife and Arleen Whelan.

April 12-14, Thursday-Saturday. Plays with Bill Gargan (16 handicap) in the member-guest "Out of This World" tournament at Thunderbird Country Club. Bing's handicap is given as 6. They tee off at 8:48 on the Saturday. Others playing include Phil Harris (7 handicap), Desi Arnaz (15) and Gordon MacRae (6).

April 17/18, Tuesday/Wednesday. (Morning sessions) Bing makes a long-playing album Songs I Wish I Had Sung in Hollywood for Decca with Jack Pleis and his Orchestra plus Jud Conlon’s Rhythmaires.

 

A fine, relaxed collection of a dozen old standards projected in the standard Crosby idiom. All of them are great songs which have been closely identified with – in fact, almost the personal property of great names in the business “April Showers,” “Blue Heaven,” “Thanks for the Memory,” “Ain’t Misbehavin’,” etc. Crosby gives them a personalized treatment for sure-fire deejay programming material.

(Billboard, September 1, 1956)

 

“Songs I Wish I Had Sung” is the title of an LP by Bing Crosby (Brunswick LAT 8138). Nobody could fail altogether with “Paper Doll’’ but somehow this is a very untypical Crosby record. It may be that Mr. Crosby was too conscious of those who actually did sing these songs, and the accompanying orchestra sounds off color and too loud. Many will want the record, but it may cause them misgivings. What we all want are more Crosby records in rhythm.

(The Gramophone, December 1956)

 

SONGS I WISH I HAD SUNG (The First Time Around)-originally Decca (US), Brunswick (UK).

A very pleasing album which became a reasonably good seller. The song selection is interesting - ‘April Showers’, ‘Paper Doll’, ’Thanks for the Memory’ (an excellent performance) and ‘When My Baby Smiles at Me’, etc. The general idea is to pay tribute to the artists who originally introduced the songs. For the most part Bing’s interpretations are excellent - although in the case of ‘Mona Lisa’ he comes a poor second to Nat King Cole. The accompaniments, by Jack Pleis, are pleasant enough - except for the dreadful vocal group arrangement on ‘Blues in the Night’ which almost detracts from the superb Crosby vocal.

(Ken Barnes, The Crosby Years, page 93)

 

Another later album, Songs I Wish I Had Sung (The First Time Around), was essentially Crosby’s way of acknowledging that he wasn’t the only male singer to create hits and standards. Longtime Decca associate Milt Gabler came up with the idea, and also that of using musical director Jack Pleis. Crosby offers “Thanks for the Memories” in recognition of the singing skills of Bob Hope and, ignoring the song’s transformation into a Madison Avenue jingle, restores the bittersweet feeling Hope had projected when he introduced it in his movie debut, The Big Broadcast of 1938 (and rarely since). In lines like “no frills, no fuss—hooray for us,” Crosby shows that he fully appreciates the song’s melancholy ironies. However, in retrospect the album makes it plain that Crosby contributed more great songs to the cultural bloodstream than everybody else put together.

(Will Friedwald, A Biographical Guide to the Great Jazz and Pop Singers, page 128)

April 19, Thursday. In Monaco, Grace Kelly marries Prince Rainier III, monarch of the Principality of Monaco.

April 25, Wednesday. (2:30 p.m.) Bing defeats Bob Hope in the annual putting competition held before the Tournament of Champions at the Desert Inn Country Club in Las Vegas. The event is covered on a national television hookup. The loser of the event has to contribute $1000 to the Damon Runyon Cancer Fund. The competition is followed by a golf clinic with Bing, Bob Hope, Johnnie Ray, Liberace and Jimmy Durante taking part.

April 26, Thursday. Takes part in the pro-am at the Tournament of Champions golf meeting at the Desert Inn Country Club in Las Vegas with Desi Arnaz and Phil Harris. Also goes to see Elvis Presley perform at the New Frontier Hotel’s Venus Room while in Las Vegas.

May (undated). Bing beats Ross Clark at the 20th hole to reach the finals of the Tamarisk Country Club championship in Palm Springs.

May 5, Saturday. Bing is beaten two and one by Jack Tooke in the final of the Tamarisk Country Club championship. At night, Bing and Kathryn Grant first attend a cocktail party at the Blue Skies trailer park honoring the birthdays of Bing and Alice Faye Harris before going on to the annual luau at the Thunderbird club. There are 450 in attendance at the Thunderbird including Desi Arnaz, Lucille Ball, the Randolph Scotts, Jimmy Van Heusen, the Bill Gargans, Jeanette MacDonald, and the Ralph Kiners.

      May 10-12, Thursday-Saturday. Plays with Ken Morine (handicap 3) in the Monterey-Peninsula Club Invitational. They finish 16-up after 54 holes but are not amongst the leaders. Bing's handicap is now 7.
     May 14, Monday. Gary Crosby is inducted into the army and goes to Fort Lewis for basic training and then Fort Ord before going to Germany later in the year.

May 14-16, Monday–Wednesday. Bing is at Pebble Beach. Dines with Bud Ward at Trader Vic's during his time in the area.

May 17, Thursday. In Monterey, Bing records three songs (including “Because”) with Buddy Cole on the organ for use on his radio show. “Because” is later issued as a phonocard in conjunction with a sales promotion for a children's doll called "Betty the Beautiful Bride".

May 22, Tuesday. Decca masters two of Bing’s radio recordings “Honeysuckle Rose” and “Swanee” for commercial release.

June 9, Saturday.  Lindsay Crosby graduates with honors from Loyola High School in Los Angeles. Billboard magazine announces:

 

Decca Pacts Der Bingle to 3-Yr. Renewal

NEW YORK — Bing Crosby has signed a three-year renewal contract with Decca Records. Crosby has been with the label since its kick-off 22 years ago and the new pact will bring the diskery and the singer simultaneously to their 25 anniversaries in the record business. The non-exclusive deal draws the curtain on industry-wide speculation as to the future disk status of Crosby. Under the agreement, Crosby is free to make various outside recording deals of his choosing, but the diskery spokesman declared that the bulk of his disk activity would be with Decca.

(Billboard, June 9, 1956)

 

 June 11/12, Monday/Tuesday. (9:00 a.m.–12 noon) Records the Bing Sings While Bregman Swings LP album with Buddy Bregman at Capitol Records, Studio B Hollywood for Verve Records. It is said that Bing was a little reluctant to become involved in this project as he thought that Buddy’s accompaniment might not suit his style (“too jazzy”) but after Bing negotiated a particularly favorable contract (10% of the gross without deduction for recording costs), he participated enthusiastically. Later Bing goes to the MGM studios to film a clip with Ed Sullivan promoting High Society. This is used on The Ed Sullivan Show on July 15.

 

In between the Ella songbooks, you were responsible for another landmark LP, one that brought Bing Crosby bang up to date with some hard swinging arrangements, BING SINGS WHILST BREGMAN SWINGS, a tremendous contrast to the somewhat staid arrangements of long term Crosby arranger John Scott Trotter.

Yes, this was my idea. Bing was at the end of his long contract with Decca, and although he re-signed, it was on a non-exclusive basis, which meant he was free to record with whom he chose. I’d recently worked with Gary Crosby on a Decca session and become friendly with him and I had Bing’s private home telephone number so I rang him to ask about doing an album with me at Verve. I went over to the house and played some things over to him on the piano. He agreed to do it and a deal was worked out, and I was given carte blanche with the arrangements and musicians. He didn’t even insist on his regular pianist Buddy Cole being on the date. The only thing Bing stipulated was that he had to record at nine o’clock in the morning, because his voice was best at that time of day.

He wanted to get out on the golf course!

Yes, you can imagine the state of the musicians falling into the studio at that time of the morning, most of them hadn’t even been to bed!

You would never know it from listening to the album now, everyone sounds as fresh as a daisy. Must have been the coffee! As I say, this was a real departure for Bing, did he need any extra rehearsing, the liner notes say he hadn’t recorded any of these songs before and he certainly hadn’t recorded with this sort of line up?

No, he just came into the Capitol studio and we did the album in two sessions (June 11 & 12 1956)

It’s a really hard swinging album, with some superb solos by the likes of Frank Rosolino, Bud Shank, Harry Edison of course and the drumming by Alvin Stoller really drives it along.

(Buddy Bregman being interviewed in In Tune magazine. Reproduced in Bing’s Friends & Collectors Society Newsletter, February - March 2002)  

 

This Bing Sings While Bregman Swings must be the first Crosby record on the HMV label since the Rhythm Boys of the ‘twenties. Like last month’s LP, this is of songs not previously sung by Der Bingle. The accompaniments sound brash and are too loud - he is surely best with an intimate accompaniment of the Buddy Cole type - and the songs include “Mountain Greenery”, but with all respect is this really a vocal number?

(The Gramophone, January 1957)

 

It seems too odd to find Bing Crosby and the HMV dog sharing the same label, but the voice and the manner sound just as happy-go-lucky as ever. “Bing Sings Whilst Bregman Swings,” the first album Crosby has recorded for American Verve, catches him in a typically casual mood. . . . Taken at a slower tempo, “Mountain Geeenery” sounds more rural than the Mel Torme version. . . . Buddy Bregman’s orchestra provides a brisk, carefree setting.

(The Gramophone, February, 1957)

 

Bing Crosby himself is represented [on an EP] by an extract from his LP of Bing Sings While Bregman Swings including “Mountain Greenery” which was made for him if ever a song was, on HMV 7EG8475.

(The Gramophone, September, 1959)

 

Bing Crosby: “Mountain Greenery”-“I’ve Got Five Dollars” (Verve). After a long hiatus, Bing Crosby has come back on the hit lists on the Capitol label with Cole Porter’s “True Love,” from the pic, “High Society.” These Verve sides, from his recent album, are Rodgers Hart tunes and could be the right followups. “Mountain Greenery,” from their first musical, “Garrick Gaieties,” is handled in a charming, swinging groove that ought to rate plenty of jock spins. “I’ve Got Five Dollars” is another smart standard to showcase Der Bingle’s most effective manner.

(Variety, October 10, 1956)

Bing Crosby. “Swingin’ with Bing” (No. 2). They All Laughed: Mountain Greenery/’Deed I Do: I’ve Got Five Dollars (H.M.V 7 in. EP 7EG8475-8s, plus 2s. 7d. PT.)

Four lively tracks excerpted from an LP (H.M.V. CLP1088) issued a couple of years ago. The geniality and casualness of Bing’s approach to the songs gets emphasized very nicely by the brassy accompaniments from Buddy Bregman’s orchestra. The best of latter-day Crosby, in fact.

(The Gramophone, October, 1959)

 

Bing Crosby’s first wax trip away from Decca in more than 20 years is a happy musical excursion... Altogether it is quite a musical package - muscular and tender, driving and romantic, pulsating and lyrical. For Bing Crosby, the artist, it is a somewhat different testament to add to the many already on record and, as you will hear, an ingeniously varied and durable one.

(Variety, October 10, 1956)

 

BING SINGS WHILST BREGMAN SWINGS (1-12”) Verve MG V 2020

This is Bing’s first album on Verve, and he draws support from a modern, swinging group of musicians. - The package contains a list of great tunes which Bing never recorded before; reason enough to make this attractive to the faithful. Tunes include “Mountain Greenery,” “Blue Room,” “Have You Met Miss Jones” and other great ones, most dating from the golden age of show music. Bregman orchestrated the songs brightly, and Bing sings them with his casual charm and technical perfection.

(Billboard, October 20, 1956)

 

From HMV comes a much more up-to-date Bing, if you prefer him that way, “Bing Sings Whilst Bregman Swings”. I gave all the titles in the December issue, but HMV have made a lovely job of this one. My only grudge is that there seems to be far too much “Top” in the recording. The tendency is to give the brass section a harsh shrill note. Perhaps one day, I may have the excellent equipment that is on the market to counteract this failing with some recording engineers. In spite of this, it is still fine value for your money.

(Bill Taylor, reviewing the LP for Crosby Post - February 1957)

 

This popular album has been re-issued many times on various labels over the years. As an example of Crosby’s art it is something of an enigma. On the one hand the choice of songs is impeccable - beautifully written standards like “They All Laughed,” The Song Is You,” “Have You Met Miss Jones” and “September in the Rain” and Bing’s singing, for the most part, is exemplary. But, on the other hand, it is very difficult to accept Buddy Bregman seriously as a reliable orchestral accompanist. His writing can be reasonably tasteful on tracks like “They All Laughed.” “Mountain Greenery” and “The Blue Room”, but his brass scoring is ham-fisted and bitterly distracting in “Cheek to Cheek” and “I’ve Got Five Dollars”. And one wonders how Bing ever managed to stay on pitch in the middle of “Heat Wave” where Bregman has the orchestra playing suspect chords. Despite all these faults, it was refreshing at the time to hear Crosby with a modern-sounding orchestra and while this album is no match for Sinatra’s “Songs for Swingin’ Lovers” classic LP, it was a step - albeit a hesitant one - in the right direction.

(Ken Barnes, writing in his book “The Crosby Years”, page 93)

 

June 13, Wednesday. (8:30-9:00 p.m.) Bing acts as host/narrator on the Family Theater radio production “Wally” on the Mutual network.

June 15, Friday. Plays in the first round of the Bel-Air Invitational Golf Tournament which is played on a best-ball-of-partners' basis.

June 16, Saturday. Bing and his partner Bill Worthing (of the Thunderbird club) qualify for the final round of the Bel-Air Invitational Golf Tournament with a 36-hole total of 125 which puts them in fourth place. Elsewhere, Bing’s niece Carolyn Miller (23) weds John J. Quinn.

June 17, Sunday. The final round of the Bel-Air Invitational Golf Tournament and Bing and his partner finish in third place with 188 after a sudden death play-off.

June 18, Monday. At CBS Studio B in Hollywood, Bing records eleven songs with Buddy Cole and his Trio for use on his radio show.

June (undated). Kathryn Grant converts to Catholicism.

     July 2, Monday. Bing's secretary, Rosemary Carroll, is retiring and Bing writes to her to wish her well.

Dear Rosemary

I am of course disappointed that you are going to leave the organisation, but I can easily see the motives that inspire your decision, and I certainly have to agree with you that you have worked long enough so that you want to stay home and assume the normal role of “just a housewife”. But we are going to miss you, both as a friend and as a very important part of our organisation. I want to wish you lots of happiness and lots of success wherever you go or whatever you do.

I think we are lucky to have Lillian there ready to take over, because under your guidance and with the knowledge she already has of what goes on around there, she will be able to take over very adequately.

I hope that you will drop in and see us now and then, and that you will keep in touch with us and let us know how things are going. If there is anything we can do for you, I don’t want you to have any hesitancy in calling on us.

Sincerely, Bing

     July 6, Friday. Bing writes to Dot Hardiman, President of the British Crosby Society.

 

Dear Dot,

Greetings to all the Club members.

We are planning quite a summer vacation, to start next week. Lin and I are going to the ranch near Elko, Nevada, for a few weeks of haymaking and punching cattle.

Then a group of us have chartered a cruise for salmon fishing off the coast of Canada and Alaska. Maybe we’ll get a polar bear. The gang includes Lin, Jimmy Van Heusen, songwriter, Johnny Eacret, our ranch foreman, and a character named Phil Harris. Amazingly this boy takes his fishing seriously. Gets one on and he sings to it to charm the poor fish in. Mostly, the racket scares them away. After this we will sojourn at our summer home on Lake Hayden, Idaho, where there is a nice golf course real handy.

Sounds like a good vacation. Hope all of you have a nice one, too!

Sincerely, Bing

July 8, Sunday. Bing has a three over par 73 at Bel-Air in the National Swing Club tournament. This is a charity event.

July 9, Monday. It is announced that Bing will receive an Apollo Award from the Music Recording Industry. Presentations are to be made during the Diamond Jubilee Trade Show at the Coliseum in New York September 7-16. It seems that Bing did not attend.

July 05/07/55, 15, Sunday. Bing promotes his film High Society on The Ed Sullivan Show on CBS-TV. This was a ten-minute filmed contribution.

 

…It was, of course, via the film route plugging the Metro pic, “High Society.” Sinatra was heard doing a couple of choruses solo and one with Bing Crosby, who also appeared on the Sullivan show in a filmed interview. Sequence was a thinly veiled but entertaining plug for High Society, and had Crosby, in his usual breezy manner, speaking about various facets of the pop biz and his favorite personalities.

(Variety, July 18, 1956)

 

July 17, Tuesday. A syndicate (including Bing) pays $5.5 million for the Detroit Tigers baseball team and Briggs Stadium. Bing has only about a fifteenth share but because of his interest in the Pittsburgh Pirates, he is told that he must sell one interest or the other before the start of the 1957 season.

July 19, Thursday. Bing visits son Gary at Fort Lewis much to Gary’s distress. Gary hates the attention this brings on him.

While the photographers clicked away, I watched the guys at the bottom of the hill glaring up at me, just waiting for me to be handed some kind of break. It wasn’t long in coming. At lunch-time I was singled out to join him at the special table in the mess hall reserved for officers, and then that night I was given a pass to have dinner with him off base. All through the meal the only thing I could think about was, “Jesus Christ, everybody else is in the fuckin’ chow hall eating that grease and I’m out here in this fancy restaurant with dear old Dad trying not to choke on my steak. Don’t he realize this does nothing but make more aggravation for me with the guys I’m going through the shit with, and if I don’t have them I don’t have anybody? Can’t he see it only gives them an opening to start in with the dialogue and the bullshit after he leaves? Why don’t he have the sense to just stay the hell away?” But of course I knew he wouldn’t see it that way, and I didn’t bring it up. Our conversation kept to the same superficialities it always did.

“So how are you doing in the Army, Gary?”

“Just fine, Dad. I’m a squad leader now.”

“Well, that’s good. How’d you get that?”

“Well, St. John’s and Black Foxe really helped me there. I knew the manual of arms and how to dress right dress and all that kind of stuff, and that was more than anybody else knew, so they made me a squad leader.”

“Uh-huh. Well, that’s fine.”

It seemed to take hours before we finished dessert and I could get back where I belonged.

(Gary Crosby and Ross Firestone, Going My Own Way, p234)

July 20, Friday. Bing and Phil Harris are staying at the Olympic Hotel in Seattle and they appear in the local newspaper with Thomas Gildersleve, the hotel manager in light-hearted coverage of the noise they suffered because of improvements being carried out. Later, Kathryn Grant introduces her parents to Bing for the first time.

 

Mother was sitting on the edge of her chair, trying to look poised, and willing this meeting to go well. She felt she knew Bing because she had spoken to him over the phone. Now she wanted my father to accept him.

Slowly but surely Bing managed it. First he engineered a skillful transition from fishing to hunting. Constantly deferring to Daddy’s superior experience and judgment, my Nimrod talked about the trips he’d made, the mountains he’d climbed, the shots he’d missed.

By the time we went downstairs for dinner, harmony prevailed and the men were competing only in demonstrations of solicitude toward the ladies. I’m sure I was the only one who noticed that Bing still had a slight twitch at the left corner of his mouth.

(Kathryn Crosby, writing in My Life with Bing, page 75)

 

July 21, Saturday. Bing and friends charter a cruiser called "Polaris" for a ten-day salmon fishing trip from Vancouver to Rivers Inlet, British Columbia. Amongst the guests are Lindsay Crosby, Phil Harris, Bill Morrow, Jimmy Van Heusen, and Pete Petito.

July 28-29, Saturday-Sunday. At some time over the weekend, Bing catches a 70 pound tyee at Rivers inlet.

July 30, Monday. Bing, Lindsay and Phil Harris visit Campbell River, on the east coast of Vancouver Island in British Columbia. The Polaris docks at April Point on Quadra Island, off the eastern coast of Vancouver Island.

August 1, Wednesday. Bing and Lindsay arrive at the Hayden Lake home. (8:15 p.m.) The world premiere of the film High Society takes place at the RKO Pantages Theater in Hollywood. The proceedings are shown on KTTV between 8:30 and 9:00 p.m.

 

There’s a scene in High Society in which Bing Crosby sings a rock ‘n’ roll number [Now You Has Jazz] accompanied by Lou Armstrong’s band that evoked a wild burst of applause from the star-studded audience at last night’s premiere of the MGM film at the RKO Pantages Theater. . . . Sinatra is a trifle wooden at times, but in the vocal department he shines in a couple of duets with Grace, and also with Miss Holm, and with Crosby. The latter not only has some of the film’s cleverest lines, but is still tops in the song department, as he proves time and again.

(Citizen News, Hollywood, August 2, 1956)

 

August 2, Thursday. Golfs with Herb Rotchford on the Hayden Lake course.

August 6, Monday. Bing records the Gospel of Luke 2:4 for use by the Bonaventure Choir in Cincinnati.  This is subsequently broadcast in December and later incorporated in an LP called "The Bible Story of Christmas".

August 9, Thursday. Bing’s film High Society has its New York premiere at Radio City Music Hall and goes on to take $5.8 million in rental income in its initial release period.

 

High Society should spell high finance business all over. It’s a solid entertainment every minute of its footage.

      Fortified with a strong Cole Porter score, film is a pleasant romp for cast toppers Bing Crosby, Grace Kelly and Frank Sinatra who, tactfully, get alphabetical top billing. Their impact is almost equally consistent. Although Sinatra has the top pop tune opportunities, the Groaner makes his specialties stand up and out on showmanship and delivery, and Miss Kelly impresses as the femme lead with pleasantly comedienne overtones. This is perhaps her most relaxed performance.   

The original Philip Barry play, "The Philadelphia Story,” holds up in its transmutation from the Main Line to a Newport jazz bash. Producer Sol C. Siegel’s casting of Satchmo Armstrong for the jazz festivities was an inspired booking also.

The atmosphere is plush, the production and personalities lush in every respect. The unfolding of the triangle almost assumes quadrangle proportions, when Sinatra (as the Life-mag-type feature writer) sent there with Celeste Holm (a Margaret Bourke-White counterpart), almost moves in as a romantic vis-a-vis to the slightly spoiled and madcap Tracy Lord (Miss Kelly).

Crosby is her first, now ex-husband, a hip character with song-smithing predilections, hence the Louis Armstrong band booking on the local scene. Satchmo is utilized as a sort of pleasant play moderator, opening with "High Society Calypso,” which sets the al fresco mood of the picture, and he’s also in for the finale, after a somewhat jam Mendelssohn session when Crosby remarries Miss Kelly, whereupon Satch, in close-up, indicates "end of story.”

Porter has whipped up a solid set of songs with which vocal pros like the male stars and Miss Holm do plenty. Latter and Sinatra have a neat offbeat number with "Who Wants to Be .a Millionaire?”; Crosby makes "Now You Has Jazz” (aided by Armstrong) as his stand-out solo, although he is also effective with Miss Kelly on "True Love” and “I Love You, Samantha,” and also "Little One,” with the juvenile Lydia Reed (Miss Kelly’s precocious kid sister in pigtails and jeans). Crosby and Sinatra milk "Well, Did You Evah?” in a sophisticated smokingroom sequence. Sinatra’s impact with the already popular "You're Sensational” and "Mind If I Make Love to You?”, both with Miss Kelly, have already been dwelt on for their general effectiveness.

The romantic scenes are capitally done in every sequence, whether Miss Kelly vis-a-vis Crosby, Sinatra and the stuffed-shirt fiance John Lund (who does a thankless role with professional conviction), or whether it’s the laconic Miss Holm and Sinatra, who are the mag writing-lensing team sent up for the high society nuptials. The late Louis Calhern as the gay boy, Sidney Blackmer as the somewhat errant father of the bride, Margalo Gillmore as the understanding mother, right down to the bits, are topdrawer.

(Variety, July 18, 1956)

 

Intellectually speaking, there was never much sense or sanity to Philip Barry’s “The Philadelphia, Story” either as play or film. Its tale of a young society woman whose psyche was so confused that she could think herself thoroughly devoted to a priggish fiancé, and magazine writer and her ex-husband all within the span of one day was a sheer piece of comedy contrivance. And its attractiveness on stage and screen was due almost wholly to the sparkle of Katharine Hepburn as its erratic heroine.

         But now that its brittle material has been cast into a musical film, there is little chance of disguising its bright but synthetic qualities. “High Society,’’ its new name set to music, is as flimsy as a gossip-columnist’s word, especially when it is documenting the weird behavior of the socially elite. And with pretty and lady-like Grace Kelly flouncing lightly through its tomboyish Hepburn role, it misses the snap and the crackle that its un-musical predecessor had.              

To be sure, there are moments of amusement in this handsomely set and costumed film, which was served up in color and VistaVision at the Music Hall yesterday. . . In the musical line, Mr. Sinatra and Bing Crosby also sing some fetching songs that more or less contribute to a knowledge of what is going on. Their best is “Well, Did You Evah?”, a spoof of the haughty and blasé, and Mr. Crosby makes “I Love You, Samantha” (whoever she is) a pleasingly romantic thing.

         However, there do come tedious stretches in this socially mixed-up affair, and they are due in the main to slow direction and the mildness of Miss Kelly in the pivotal role. The part was obviously written to be acted with a sharp cutting-edge. Miss Kelly makes the trenchant lady no more than a petulant, wistful girl. And we must say that Mr. Crosby seems a curious misfit figure in the role of the young lady’s cast-off husband who gets her back at the very end.

(Bosley Crowther, The New York Times, August 10, 1956)

 

August 15, Wednesday. Starting at 12:30 p.m., plays in an interclub match at Spokane Country Club between Spokane Country Club and Manito Golf and Country Club and has a 73.

August 20, Monday. June Crosby takes Bob Crosby to court for a support hearing as part of their divorce battle.

August 22-23, Wednesday-Thursday. At Sound Recording Studios in Spokane, Bing records nineteen songs with Buddy Cole and his Trio for use on his radio show. Two duets with Lindsay Crosby are included.

August 23, Thursday. Bing's recording of “Because” is advertised as a phonocard in conjunction with a sales promotion for a children's doll made by Deluxe Reading Dolls called "Betty the Beautiful Bride". The package continues to be advertised until 1959.

August 28, Tuesday, Golfs with Henry Born on the Hayden Lake course.

August 30, Thursday. Bing plays in the qualifying round for the Inland Empire Golf Tournament at the Hayden Lake golf course and has a 70.

August 31, Friday. An agreement is signed which transfers the Electronics Division of Bing Crosby Enterprises to the 3M Company for an estimated $1M.

New York—A battle of the giants is shaping up in the video tape machine field, the ultimate benefit to accrue to TV in the form of more rapid development of the machine both for color and black and white program recording.

Minnesota Mining and Manufacturing, the multi-million dollar corporation whose catalog of products includes scotch and recording tape, last week bought the electronic engineering division of Bing Crosby Enterprises for an estimated $1,000,000, the down payment being $75,000. With the weight of the new owner’s capital behind it, the perfection of the Crosby tape machine, for color as well as black and white recording, is said to be about a year away. The Crosby tape machine is the most important single item of its electronic engineering division.

The Minnesota Mining buy of the Crosby tape machine will undoubtedly accelerate the perfection of the RCA tape machine which has been demonstrated to the press, tho it still has some problems to solve, manly the size of the spool. RCA was a purchaser of recording tape from Minnesota Mining, tho it has also been said that it has helped Eastman-Kodak with its work in tape development.

At this stage, however, Ampex which has already sold its tape machine to more than 100 stations and several networks is first in in the field with machines ready for TV use, tho it is only in black and white program recording. Ampex, of course, is also working on its machine for the recording of color shows. And Bell & Howell and Reeves are also said to be working on the perfection of a color machine.

Sale of the Crosby division culminates six months of negotiations. Three other groups were said to have made offers. Crosby will retain a small interest in the machine. Two members of the Crosby research staff, John Mullen and Wayne Johnson will be retained.

According to Basil Grillo, veepee of Crosby Enterprises, the other divisions of the company will continue to function as previously.

(Billboard, September 1, 1956)

September 1, Saturday. Bing beats Ray Weston 4 and 2 in the first round of the Inland Empire Golf Tournament at the Hayden Lake course.

September 2, Sunday. Bing loses 2 and 1 to Fred Siegel in the quarter finals of the Inland Empire Golf Tournament.

September 3, Monday. It is announced that Bing has donated another $160,000 to Gonzaga for the construction of a memorial library.

September 6, Thursday. From his Hayden Lake home, Bing telephones Columbia Studios to seek Kathryn Grant’s release from a television film due to commence on September 10. The press picks this up and articles about an impending marriage appear.

September 8, Saturday. Photographers descend on Bing’s Hayden Lake house where Kathryn, Bill and Mary Morrow are staying and Bing has to order them off his property.

September 9, Sunday. Elvis Presley appears on the Ed Sullivan television show and causes a furor.

September 10, Monday. Another proposed wedding date. Bing learns that Gary has gone AWOL from the army. Bing tracks him down to Bing’s Pebble Beach home by phone and persuades him to return to duty. A Catholic priest in Tacoma confirms that Bing has recently obtained his baptismal certificate, which is required when a person wishes to marry.

September 12, Tuesday. Bing breaks ground for a new library at Gonzaga before a crowd of 350.

September 14, Thursday. Bing's doubts about the marriage plus too many reporters in Spokane lead Bing and Kathryn to leave Hayden Lake and go to Rising River in Northern California where they stay at the fishing club.

September 16, Sunday. Starting at 1 p.m., Bing, Phil Harris, Alice Faye, Gary Crosby and others perform in the Crosby-Harris Show at the Inter-Mountain Fair Grounds at McArthur, Northern California. The show is another benefit for Mayers’ Memorial Hospital and 6500 attend, raising $32,500. Bing pays all the expenses. Buddy Cole provides the music.

Under a bright blue sky with Mount Lassen in front and Mount Shasta at the right, all the performers gave their best. And since most of them were topnotchers from stage, screen and TV the audience of some 6,000 received their money's worth for their $5 contribution.

      There was Phil Harris. Alice also sang a song, the Collins kids with western rock 'n' roll; the Martin Brothers, a juggling team: the shyrettos, a two-man-one woman-unicycle act; Fred Sanborn, an expert xylophone man when he plays that instrument and who is extremely funny as a pantominist: singer Lucille Norman; Ji1 Adams, a tap dancer: the Amin Brothers, acrobats; singer June Valli, Shecky Greene, a comedian and Gary Crosby.

A full two and one half hours of entertainment! And then of course there was Bing. And if Bing had been in on corner of the McArthur Fairground, Elvis Presley in another, and Eisenhower and Stevenson occupying the third and fourth corners, I’d venture to say 90 percent of the people would have been with listening to him. Even after two hours of very good entertainment there just is nothing quite like Bing and I am sure everybody there felt just as we did.

There is only one regret: There'll be enough money available now (the show raised about $32,000) to finish the hospital and there probably won't be any show next year.

(The Folsom Telegraph, September 27, 1956)

September 17, Monday. Goes fishing in the McCloud River at McArthur with Phil Harris. Later, Bing takes Kathryn and many of those who had entertained on the previous day to Wyntoon, William Randolph Hearst's Bavarian village. Subsequently Bing, Kathryn, Bill Morrow and Mary Henderson drive to Bing's home at Pebble Beach.

September 19, Wednesday. Lindsay Crosby, accompanied by his uncle Everett, arrives in Williamstown, Massachusetts to commence his studies at Williams College.

September 21, Thursday. Bing films a short introduction to a forthcoming TV special about Cole Porter. Kathryn then returns to Hollywood having decided to end her relationship with Bing.

October 3, Wednesday. (9:30 a.m.–12:30 p.m.) In San Francisco, Bing records for Decca with Buddy Cole and his Orchestra including “Around the World” and “I Heard the Bells on Christmas Day”. After the initial release of “Around the World” with “Love in a Home” on the other side, Decca placed the Victor Young orchestral version on the reverse of Bing’s vocal and re-released it. This combination reached the No. 13 spot in the charts. This was also how it was sold in the UK and it helped it to peak at number five and remain in the charts for fifteen weeks.

 

Decca recently held an expensive recording session with Bing Crosby on the Coast. When Milt Gabler arrived in Hollywood last week to cut Crosby, who now works on a freelance basis for several labels, he found that the singer was in San Francisco. Gabler then rehearsed a band in Hollywood and chartered a plane to carry them to Frisco for the Crosby session. The numbers were “Love In A Home” and “Around The World,” latter being from the Mike Todd film, “Around The World In 80 Days.”

(Variety, October 17, 1956)

Around the World. Decca 30120. Bing brings usual pleasant projection to title song of current pic. Good listening for Crosby faithful and it will sound dandy airwise.

Love in a Home. Der Bingel adds his cover of number from forthcoming “Lil’l Abner” musical to several previously cut. Effort here is not too impressive and leaves flip to carry the flag. 

(Billboard, November 3, 1956)

 

Just to remind us that there are other things than Christmas in the calendar, Bing Crosby fairly belts out In the Good Old Summertime on Bruns. 05760*, and backs it with that attractive ballad Love in a Home…

(The Gramophone, December 1958)

 

Around the World. Decca 30262. Tune is doing well as an instrumental by Victor Young. Flip of that side is a vocal by Bing Crosby. This platter, however, is very well made, and vocal savvy shown by the artist could still come in with a fair share of the coin.

(Billboard, May 27, 1957)

 

(Around the World) Victor Young, of happy memory, wrote the music, which is melodic and appealing and occupies a whole 12-inch LP (Bruns. LAT8185). He also conducts the title song on Bruns. 05674*, and it is sung on the other side by Bing Crosby, which ought to suit most people...

(The Gramophone, June 1957)

 

Bing Crosby’s workover of “I Heard the Bells on Christmas Day” looks like a big one for the ’56 Yule and a hit potential of enduring value. Tune adapted by Johnny Marks (“Rudolph, The Red Nosed Reindeer”) from a poem by Longfellow, delivers the “peace on earth” theme with stirring musical values and Crosby delivers with an intensity that hits the mark. Jockeys ought to start playing this one long before that arbitrary Thanksgiving Day getaway mark for Xmas tunes. On the bottom deck, Crosby has a pleasant round with “Christmas Is A-Comin.”

(Variety, November 7, 1956)

 

I HEARD THE BELLS ON CHRISTMAS DAY

At deadline time, not many of this year’s Christmas issues had shown much action. This new Crosby record, however, was off to a promising start. As fast as it is catching on early in the month, it is easy to project the impressive volume it will rack up the last half of December.

(Billboard, December 15, 1956)

 

 October 5, Friday. Golfs at Fort Ord in a pro-am with Bud Ward and they have a 67 and finish as runners-up.        
     October 6, Saturday. Bing’s recording of “True Love” enters the charts and eventually peaks at number three. It remains in the charts for twenty-two weeks. It also goes on to be a hit in the U.K. where it reaches number four and stays in the charts for twenty-seven weeks. Meanwhile, You’re the Top, the televised tribute to Cole Porter is transmitted by CBS-TV and includes Bing’s filmed contribution.

 

The filmed Crosby insert, perhaps a concession to the Ford demands, was of dubious merit and inevitably led to the integration of one of the film clips from his High Society pic. But at least it was one of the more entertaining clips backed by Satchmo and his combo.

(Variety, October 10, 1956)

 

October 10, Wednesday. Starting at 1:00 p.m., Bing and Bob Hope golf at the Presidio Golf Club, San Francisco, in an exhibition match which precedes the Western Open. A crowd of 4,000 watches the proceedings. Bing cards an eighty-one. Bob leaves the course after 16 holes to catch a plane. Bing and his partner Bud Ward beat the team of Hope and Ken Venturi. Later that night, Bing is seen in Mel's Drive-in sipping a pineapple sundae.

October 14, Sunday. Bing watches the final of the Trans-Mississippi women's amateur championship at the Monterey Peninsula Course. Wiffie Smith wins 8 and 6.

October 29, Monday. Kathryn Grant begins filming "The Night the World Exploded" in which she is star for Columbia.

November (undated). Dennis Crosby completes his Army service.

November 4, Sunday. Bing arrives in New York to discuss his forthcoming film "Man on Fire" with Sol Siegel.

November 6, Tuesday. President Eisenhower is reelected.

November 8, Thursday. Bing attends Parents’ Day at Williams College, Williamstown, Massachusetts where his son Lindsay is studying. Lindsay subsequently leaves the college after only one semester.

 

…During the fall of that year, Bing came to our little campus town to visit his youngest son, Lindsay, who was in my freshman class. I have a vivid memory of him strolling up the main street in Williamstown, whistling and clearly enjoying himself. He stayed with a faculty couple whom I knew and they told me that when “Der Bingle” took his morning shower, the entire host family sat quietly on the front hall stairs and listened. Apparently, he was a wonderful guest who was warm and friendly to the college community. Sadly, his son never adjusted to our college life, nor to the academic requirements, and he left school after a very few months.

(Fay Vincent, a former CEO of Columbia Pictures, vice chairman of Coca-Cola and commissioner of Major League Baseball, writing in TCPalm, May 13, 2016)

Dad was hurt and disappointed that I quit Williams College so soon without giving it a chance. “The best thing is to either go back there—or go into the Army,” he said.  And I said, “I’ll go into the Army.”

I didn’t know what good it would do me going into the Army then, but I just felt I could probably find myself there. I knew if I went back to Williams in the long run it would hurt Dad a lot more. I might be able to prolong it over the years—possibly even get a degree—but I couldn’t see anything worthwhile coming from it, feeling that way.

It was probably the biggest decision I ever made, because I knew how much it hurt Dad. This was the first time I ever argued with my father really. The first time I ever actually stood on something I believed —and knew Dad didn’t. But I felt I had to do it.

And this is the kind of guy my Dad is. As hurt and disappointed as he was in me, two weeks after I went into the Army, Dad called me at camp and said, “I hope you know what you’re doing. I hope you do a good job. And I’m sorry if I was wrong.”

I don’t know whether Dad knows how much this meant to me. And I don’t know who was right and who was wrong. That’s for the future to say. Certainly if I was wrong I’ll have nobody to blame but me. Dad has given me every opportunity. 

(Lindsay Crosby, as quoted in an unidentified magazine in 1959)

 

November 10, Saturday. Goes to see the matinee performance of "Shoestring 57" at the Barbizon Plaza Theater and sends a note to Mary Ellen Terry (aged 23), one of the cast, asking her to telephone him. They arrange to go to dinner on Monday.

November 11, Sunday. Victor Young dies. (8:00–9:00 p.m.) Bing appears live on the Ed Sullivan Show on CBS-TV in New York and sings “True Love.” Other guest stars are Kate Smith, Phil Silvers, Louis Armstrong and Julie Andrews. Ray Bloch is the orchestra leader with a young Nick Perito playing the accordion.

 

The big hoopla, of course, and a rarity in the area of “live” tv, was the Crosby appearance and soloing of his “True Love,” with an enforced reprise hitched to a Sullivan wager that it’ll register second only to “White Christmas” in disclicks. “Love” was done to a Bing turn, but it was in the banter division, chiefly with Phil Silvers, that the Crosby personality asserted itself as of old.

(Variety, November 14, 1956).

 

In preparation for an appearance by Bing Crosby singing “True Love,” he [Ray Bloch] decided that a small cabaret orchestra would play up on the stage, but off camera, while accompanying Bing. We had our music taped to the floor so that just in case the camera did pan over and see us playing, it would all appear to be very casual. During the rehearsals, we found it extremely difficult to watch Ray, who was conducting us and at the same time, read our music that was taped on the floor. He would not listen to our problem. The plan was that Bing and Ed would have a little chat out in front of the curtain and on a certain cue, we would start the musical intro of the song. Then the curtain would rise and Bing would sing. Good idea?—Not really. When we got on the air, we started the intro as we had rehearsed, but when the curtain was supposed to rise, it got stuck! And that was just as I started the solo cadenza. Ray Bloch was in a dither. All of us backstage could hear Ed and Bing adlibbing and trying to make light of this unexpected hang up. All the while, I just kept on playing and improvising while chaos was going on all around me. Finally the curtain did rise, and just before Bing started to sing, he paused for a moment, turned to me and said, “Thank you, Mr. Paganini of the accordion.” Ray Bloch was much more cordial to me in our subsequent meetings. Little did I realize at the time that years later, Bing and I would meet again and work together many more times.

(Nick Perito, writing in his book “I Just Happened to Be There”, page 129)

 

After the show, Bing and Phil Silvers go on to see Judy Garland at the RKO Palace and Bing is brought up from the audience to sing on stage with her.

Everybody’s getting in on the act at the Palace Theatre, N. Y., where Judy Garland is headlining. Bing Crosby, following his appearance Sunday (11) on the Ed Sullivan show, stopped at the theatre and before he knew it he was on stage jollying it up Miss Garland. He did about a half-hour of a cuffo show. It was probably his only free appearance in many years.

(Variety, November 14, 1956)

November 12, Monday. Bing takes Mary Ellen Terry to a gala party at the Stork Club for Oleg Cassini and then on to El Morocco with Judy Garland and Sid Luft.

November 13, Tuesday. Bing meets with CBS Radio president Arthur Hull Hayes and Vice-President of programming Howard Barnes to discuss the upcoming radio broadcast of Christmas Sing with Bing. He also films a short appearance for Phil Silvers’ “Bilko” television show, which airs on January 22, 1957.

 

Bing Crosby, in New York this week for a guest shot on the Ed Sullivan show last Sunday (11) and for huddles with CBS Radio brass, yesterday (Tues) went before the cameras for a role in the Phil Silvers tv’er, with the film scheduled to be shown in late January. Crosby plays himself in the film.

         It was a no-cash, spur-of-the-moment arrangement that began Sunday afternoon at rehearsals for the Sullivan Show. Nat Hiken, producer of the Silvers show was there to do some writing on the routine Crosby and Silvers did together, and when Crosby complimented him on the Silvers stanza, Hiken asked him if he’d like to appear. Crosby leaves for Augusta, Ga., today (Wed.), so shooting was arranged for yesterday. It’s about a five-minute role for Crosby and curiously, the remainder of the story isn’t written yet. Seems Hiken had an idea for using Crosby, and worked out the five-minute climax for immediate shooting. Rest of the script will be written around the already-completed footage.

        While in town, Crosby huddled with CBS Radio prez Arthur Hull Hayes and program v.p. Howard Barnes on his upcoming Christmas “Sing With Bing” and also taped some of his 7:30 cross-the-board radio shows for the web.

(Variety, November 14, 1956)

 

November 14, Wednesday. Bing leaves New York for Atlanta, Georgia, Goes to see the film "Giant" at the Fox Theater during his visit to Atlanta.

November 16, Friday. Bing flies to Augusta from Atlanta for several days' golf with Phil Harris at the Augusta National Club. Then they plan to tour through Aiken (South Carolina) to Miami. Bing dines with actress Theona Bryant, former secretary to the governor of South Carolina during the tour.

November 20, Tuesday. (12:15-12:30 p.m.) Is heard in a transcribed interview on the Millie Considine Show on the Mutual network. Praises the singing of Elvis Presley but not his appearance.

Presley is a “really good singer—carries a tune quite well,” says Crosby. But he claims that Presley “could be even more successful” if he (1) dresses better, (2) Gets a decent haircut, (3) Shaves off those sideburns, and (4) “Stops that wriggling.”

“As a matter of fact,” adds Crosby, “I’ve got some extra sports jackets, and I’ll let him have them—just to show him how good he can look on stage.”

(The Courier-News, Bridgewater, New Jersey, November 20, 1956.)

November 22, Thursday. Bing and Phil Harris golf at West Palm Beach Country Club, Florida. Bing partners Tommy Armour against Phil Harris and Chris Dunphy. Harris and Dunphy win. Bing has a 77.

November 23, Friday. Golfs at the Everglades Club, Palm Beach with Phil Harris, Chris Dunphy and Earl E. T. Smith.

November 26, Monday. Tommy Dorsey dies.

November 28, Wednesday. Golfs at the Boca Raton Club with Phil Harris, Sam Snead and Toney Penna. Interviewed by Jim Daly of the Fort Lauderdale News, he expresses his admiration for Elvis Presley and for Pat Boone.

November 29, Thursday. Bing and Phil Harris are interviewed by Harvey Murphy of station WNJO, Palm Beach, Florida, before going on to play in the West Palm Beach pro-am prior to the open tournament at the West Palm Beach Country Club. Bing plays with Dow Finsterwald and they have a best-ball 70. The winning team has a 62.

November 30, Friday. Bing and Phil Harris are in Nassau in the Bahamas and are photographed with a local group playing Goombay music.

December 4, Tuesday. Bing and Phil arrive in Havana, Cuba, from Miami. During his time in Cuba, Bing attends a Cuban Baseball League game.

December 6, Thursday. Bing and Phil Harris play in the Havana International Pro-Amateur Golf Tournament at the Havana Country Club. Bing is paired with Mike Souchak and they have a sixty-seven best-ball score.

December 7, Friday. The second day of the golf tournament.

December 8, Saturday. Bing and Mike Souchak play their final round in the tournament but are unplaced. At night, Bing and Phil Harris fly to New Orleans and check into the Roosevelt Hotel.

December 9, Sunday. It is possible that Bing and Phil Harris golf at the New Orleans Country Club. In the evening, they dine with some friends of Phil Harris.

December 10, Monday. Bing and Phil fly back to Hollywood where it is said that Bing has to start work on his new film His Father’s Son (soon to be renamed Man on Fire).

December 11, Tuesday. (7:30-8:00 p.m.) Appears in “The Unicef Story” on KFI with other guest stars.

...The format found each of the 10 stars, representing each year in UNICEF's history, telling one incident in the organization’s global activities. Kaye’s contribution was taken from “The Secret Life of Danny Kaye" telecast. Despite its faults, the program had many moving moments, dealing as it did with UNICEF's campaign to aid the sick, the undernourished, without regard to national boundaries.

(Variety, December 19, 1956)

December 14, Friday. (7:45 a.m.–1:45 p.m.) Transcribes his second Christmas Sing with Bing in Hollywood with Rosemary Clooney, the Paul Weston Orchestra and the Norman Luboff Choir. The program is broadcast on December 24.

December 15, Saturday. Bing writes to his friend Charles Graves in England.

Dear Charles:

I just got back from Cuba, starting to work on a new picture, and I found your letter waiting for me - the one which you wrote on November 29th. I think it would be best, Charles, if I could see the galley proofs before I attempt to write the forward.

I don't want you to think that I'm going to do anything extensive in the way of a forward, but I think maybe if I read the proofs, I would be able to get some ideas on what points of view to take. When I get the proofs, I’ll get right to work on it and send you what I’ve been able to contrive.

Had a very nice time in the south, playing golf at Augusta, Florida, Cuba, New Orleans and Dallas. Now it is back to work for a while.

I’ll be anticipating some word from you. I hope the situation back there in England lightens up somewhat before winter sets in.

All the best to you and the family - As ever, Bing

December 17, Monday. Bing commences filming Man on Fire for MGM with Inger Stevens and E. G. Marshall. The director is Ranald MacDougall. Location scenes are filmed at the Douglas Aircraft plant in Santa Monica. Bing is later alleged to have had a “stormy affair” with his costar Inger Stevens. Filming is completed in February, 1957. During the filming, Bing is presented with a Gold Record by Glenn Wallichs, the president of Capitol Records, for sales of a million copies of “True Love”.

How did Inger feel getting her first big movie role opposite Bing Crosby?

“The first day of rehearsals” she says. “I was so nervous I thought he’d fire me. Instead, he was very quiet. I found out later that Bing Crosby takes a good deal of knowing. He weighs things very carefully. He’s cautious. If he likes someone, he opens up, but this takes time. He’s extremely likeable and an extremely fine actor. Essentially, he’s an instinctive actor who doesn’t realize how good he is. He’s not impressed with himself at all. The one thing that bothers him in front of a camera is a lot of takes. He gets stale quickly. The first take is usually the best for him.

“I’d been in the film two days when I had to go to the hospital for an appendectomy. When I came back, Bing greeted me like an old friend. We’d all have tea at 4 o’clock – just sit around and talk.

“I’ve dated him several times, and for an actor he’s unusual. He doesn’t like to talk about himself. He’s extremely well-read and interesting in more subjects than show business.  He knows so much about politics, sports, painters and writers, you wouldn’t believe it He’s one of the most well-rounded gentlemen I’ve ever met.  After you go out with Bing, you’re spoiled for young men of, say 25 or 26.”
(Reproduced from The Crosby Post, October 1957)

December 19, Wednesday. Inger Stevens has an emergency appendectomy at St. John's Hospital.

December 21, Friday. (8:30-9:00pm.) Bing is heard in a radio program on NBC, "The Christmas Story", in which he reads the Gospel of Luke 2:4 with accompaniment by the Bonaventure Choir of Cincinnati. He had recorded the text on August 6.

December 22, Saturday. Bing’s album A Christmas Sing with Bing enters the album charts at number twenty-one for one week. 

December 23, Sunday. (4:00-5:00 p.m.) Bing appears on the Mutual Broadcasting System’s “Joyful Hour” radio program.

For the ninth successive year, KENT presents “The Joyful Hour” which this year will dramatize the story of the first Christmas through the words of an aged flower peddler who dispels the cynicism of a lonesome young soldier by explaining the real significance of Christmas. Appearing tonight on the hour of music, drama and prayer are Ann Blyth, Jerome Hines, William Campbell, Bing Crosby, Vic Damone and others.

(The Shreveport Times, December 23, 1956)

A host of Hollywood personalities was spotlighted on MBS’ “Joyful Hour” Christmas show Sunday (23), including Bing Crosby, Vic Damone, as well as Dorothy Warenskjold of the Metropolitan Opera

(Variety, December 26, 1956)

December 24, Monday. (9:00–10:00 p.m.) The second Christmas Sing with Bing is aired on CBS radio. It is also beamed to 90 other countries by the Voice of America. Rosemary Clooney joins Bing. Maurice Chevalier and Sarah Churchill contribute from Paris and London respectively.

 

On Christmas Eve, a songfest with Bing Crosby, interlaced with other show biz personalities, as well as pickups from many corners of the globe, proved to be good listening, showcasing radio as a still dazzling entertainment medium, the mobility of which is hard to beat. The holiday show was better in the first half than in the second, bogged down somewhat by a repetitious format, and what seemed to be obtruding commercials. But as a whole, it was an appealing, popular show in the spirit of the holiday. . . Der Bingle was in fine voice, singing such holiday favorites as “White Christmas”, “Happy Holiday”, “Jingle Bells” and “Silent Night”. In warm style, he handled his emcee chores, all neatly woven into the transcription.

(Variety, January 2, 1957)

 

December 28, Friday. The final transmission of Bing’s daily radio show on CBS takes place.

Crosby and CBS Part

Bing Crosby and CBS have come to a parting of the ways. The crooner’s radio-TV contract with the network expires Dec. 28 and both parties have amicably agreed to call it quits. Crosby is now talking deals with NBC and ABC. Bing’s radio programs have been a losing proposition for CBS, the shows being too expensive to attract enough sponsors to cover production costs. His TV appearances, somewhat less than sensational, have been few and far between; Bing being content to do no more than one or two shows a year.

(Sid Shalit, Daily News, December 20, 1956)

December 31, Monday. Bing attends Tex Feldman’s party at Romanoff’s Crown Room in Hollywood. All guests wear turn-of-the-century costumes. Bing (sans toupee) spends much of his time with Delta Airline’s hostess Nancy Eiland from Dallas. Edith Piaf sings three songs at the party. Kathryn Grant is away on Johnny Grant’s tour of Japan and Korea.

 

Bing Crosby, who had already surprised everyone with his rug-less appearance at the “Tex” Feldman party, continued to the Leo Durochers to join up with singers Howard Keel, Dean Martin, Eddie Fisher, Gordon MacRae and Danny Kaye, each of whom paid $70 a couple to finance the brawl … Martin and Crosby teamed for “True Love,” with Crosby singing the Grace Kelly part … Nancy Eiland, the Groaner’s date, really had a ball on this, her first big night in Hollywood … We asked Bing what’s with him and Kathy Grant — and he reminded she’s in Korea with Johnny Grant’s troupe

(Variety, January 2, 1957)

 

During the year, Bing wins the Down Beat award for Best Vocal Performance for his work in High Society.

         

1957

 

January 10, Thursday. Commissioner Ford Frick rules that Bing can keep his “token” stock in the Detroit Tigers despite his interest in the Pittsburgh Pirates (see July 17, 1956).

 

Bing Can Keep Tiger Stock

NEW YORK (AP) - Baseball Commissioner Ford Frick Thursday said crooner Bing Crosby will be permitted to keep his small investment in the Detroit Tigers even though he is a stockholder in the Pittsburgh Pirates.

“Bing has only a token holding in the Detroit club,” said Frick. “He made it just to be in on the thing with friends.”

Crosby's investment in the Tigers is one $100 share. Under baseball rules, nobody is permitted to hold substantial stock in more than one major league club.

(The Daily Iowan, January 11, 1957)

 

January 11-13, Friday–Sunday. Does not attend the Bing Crosby Pro-Am Golf Tournament at Pebble Beach. The professional winner is Jay Hebert. Bing is working on the film Man on Fire and is rumored not to be feeling well because of kidney stone attacks. Celebrities playing include Bob Crosby, Dean Martin, Bob Hope, Johnny Weissmuller, Randolph Scott, Gordon MacRae, Dennis O'Keefe, Don Cherry, Richard Arlen, General Omar Bradley, Phil Harris and William Boyd (Hopalong Cassidy). Entertainment at the Victory Dinner at the Monterey Fairgrounds Pavilion on January 13 is provided by Gogi Grant, Shecky Greene, Phil Harris, Buddy Cole and others. Bob and Larry Crosby act as mcs. $43,500 is raised for charities from the Tournament.

January 11, Friday. Puts his Palm Springs home overlooking the Thunderbird club on the market for $90,000 including furnishings. His sister Mary Rose Pool acts as realtor.

January 12, Saturday. Bing telephones Kathryn Grant following her return from the Far East and he arranges to visit her at her new apartment at 201-B El Camino Drive the next day for tea.

January 13, Sunday. After a pleasant chat, Kathryn Grant refuses to go to dinner with Bing and they part with their relationship apparently at an end. Bing later writes to Kathryn returning her  birth and baptismal certificates.

Dear Kathryn, you were right. I shouldn’t have seen you last Sunday. The visit revived old hopes and dreams which I had thought were safely interred.  It’ll take another couple of months to file them away again.  I tried to call you a second time to find how best to get these papers to you. I thought you were leaving, you see.

While I am writing, I’d best tell you that I look back on the past and on last summer without any bitterness or rancor – even if you can’t.  I never did anything but make you unhappy, which in turn saddens me. But you did many, many things for me, and my memories are warm.

I will always love you, Bing

January 18, Friday. Press reports state that Bing has been offered $400,000 for four weeks of personal appearances at the Palace Theater in New York. He decides not to accept the offer. During the day, Bing signs a promissory note in which he “promises to pay Sol. C. Siegel Productions, Inc. and Bing Crosby Productions” the sum of $81,000, which is effectively an advance of his royalties expected from Man on Fire.

January (undated). Bing attends a dinner party given by Merle Oberon. He and Gary Cooper are the last to leave at 5 a.m.

January 22, Tuesday. (8:00-8:30 p.m.) The filmed guest spot in the Sgt. Bilko Presents Bing Crosby episode of the popular Phil Silvers television program is shown. Bing does not sing and instead he recites “The Wreck of the Hesperus” much to the Bilko character’s disappointment.
    January (undated). Tapes the fifteen-minute Calling All Hearts radio program with Bob Hope for the American Heart Association. The program is broadcast on radio stations during February to raise money for the 1957 Heart Fund. Bing and Bob’s dialogue is used to link some of their records.

January (undated). Phillip Crosby completes his Army service.

February 4, Monday. Bing is back in Palm Springs and dines with Pete Petito.

February 6, Wednesday. Dines with Inger Stevens and Pete Petito at the Dunes in Palm Springs.

February (undated). Bing is in Palm Springs playing golf and seen relaxing at Alan Dale’s Springs Restaurant with Gordon MacRae, Peter Lind Hayes, and Pete Petito. Goes to see pianist Murray Arnold perform at the Howard Manor on four separate occasions.

February (undated). Interviewed by Pete Martin at his home in Palm Springs for the Saturday Evening Post. The resultant article is published as “I Call on Bing Crosby” on May 11 in the Post magazine.

February 15, Friday. Bing gives a dinner party for Rex Harrison at the Dunes in Palm Springs. Other guests include Frank Sinatra, Jimmy Van Heusen, Terence Rattigan and Pete Petito. Harrison stays at Bing's home over the weekend.

February 16, Saturday. Hosts another dinner at Howard Manor to see Murray Arnold with Rex Harrison, Jimmy Van Heusen and Frank Sinatra again among the guests.     
     February 18, Monday. Bing films a short interview with Ed Sullivan in Hollywood, which is to be used later in the year to promote the film Man on Fire.

February 19, Tuesday. Makes the first part of the Bing with a Beat LP with Bob Scobey’s Frisco Jazz Band for RCA Victor at the Radio Recorders “Annex” Studio in Los Angeles.

 

On the dot of 11 a.m. one morning, Bing Crosby stood before an overhead microphone in the recording studio of RCA Victor. It was one of two four-hour sessions in which he was recording a Dixieland album of his own selection. Minus hat or hairpiece, he was comfortably dressed in grey-green slacks, a loose-fitting, long sleeved yellow gabardine shirt which had “Bing” monogrammed on the pocket. His well-worn brown “chukker” shoes added a final informal note. A dozen or more pieces of sheet music were stacked on a stand in front of him. “Dream a Little Dream of Me” was opened. “Let’s run it over,” Crosby said to the nine jazz musicians grouped around him. . . .

The red recording light went on and the door wasn’t opened again for the next four hours.

“Let’s go, Matty.” Crosby stuck his hands in his pockets and hitched up his trousers. When Matty Matlock’s music started, the singer’s left foot began to tap and the rhythm pulsed throughout his body. Every motion and muscle sensitized to the beat, he sang clearly, softly, distinctly. When he hit a low note, he bent his knees and depressed his body as if its lowered position helped to give the notes their deeper tones. “You ain’t just dreamin’, boy, you is awake,” he drawled during a trumpet solo. The first take over, he sat wordlessly on a green-cushioned stool and stony faced, listened to the recording being played back.

“Did it sound all right, Bing?” the control-room engineer asked.

“Yah. Let’s get on to the next one. It won’t be too hooty, will it?” he questioned once . . . .

“What’s next?” he’d ask. “Let’s keep goin’ while we’re warm . . . Go right along there, Sapphire,” he said a la the Kingfish during a pause. If a phrase didn’t sound right to him, he kept singing it over and over to himself until he got the feeling, inflection, phrasing he wanted. “It would’ve been better if I’d learned how to read,” he told the pianist. Sometimes, between vocals, the spirit of the music was so much a part of him, hands in pockets, trousers hiked and whistling softly, that he would go into a shuffling soft-shoe, graceful, casual, content. . . .

He ordered some food for the boys around two o’clock, and when it was delivered he kept right on, hamburger in hand, singing and chewing, never missing a beat. His eye ever on the clock, the sixth side was finished at five minutes to three. “Thanks fellas,” he said. He walked over to a chair where his brown Eisenhower-type jacket was draped; took a pipe and tobacco pouch from the pockets and, puffing on his pipe, went into the control room to decide which takes he wanted to print. On his return, he put on a brown felt hat and the jacket which proved to be about eight inches shorter than his yellow shirt. This sartorial error concerned him not at all!

(Joan Flynn Dreyspool, writing in Sports Illustrated, January 13, 1958)

 

February 20, Wednesday. Press reports indicate that Bing has purchased a 16-acre plot of land at the Silver Spurs ranch, Palm Desert.  He subsequently builds a new home there, eighteen miles from Palm Springs. Altogether four houses are built on Bing’s land and the others are taken by Bill Morrow, Jimmy Van Heusen, and Pete Petito. Meanwhile, he completes the Bing with a Beat LP with Bob Scobey’s Frisco Jazz Band.

 

Bob Scobey’s Frisco Jazz Band has put Bing Crosby in one of his happiest and swingiest vocal frames. The evergreens are ever-bright when Crosby and Scobey match wits.

(Variety, September 2, 1957)

 

Bing with a Beat

RCA Victor LPM 1473. Set is the Jazz Save-On-Records special set for September, but its appeal is strictly pop. It’s a par package for the Groaner, and jazz backing is undistinguished. The price will move a great quality, but both Bing and Scobey have done better.

(Billboard, September 2, 1957)

 

In 1957, Crosby made his grooviest record ever, Bing with a Beat (Victor), a perfectly realized collaboration with Bob Scobey and his Frisco Jazz Band. . . . on this particular disc Matty Matlock, the arranger and clarinetist best known for his work with Bob Crosby, reconceives Scobey’s band sound as an extension of the Bobcats . . . .              

      Communicating the obvious joy the music arises in him, Crosby fairly oozes with charming insouciance above and beyond even the call of Crosby, expressed in semi-spoken asides and lyric alterations.

(Will Friedwald, Jazz Singing, page 45)

 

BING WITH A BEAT - RCA.

After his high-powered outing with Buddy Bregman, Bing probably felt a desire to get back to the roots of his singing style and this pleasantly swinging album with Bob Scobey’s Frisco Jazz Band was probably the best artistic therapy for him at this point in his career. Bing always responded enthusiastically to a Dixie-style backing and with songs like ‘Some Sunny Day’, ‘Whispering’ and ‘Mama Loves Papa’ he is in top-notch form. Scobey plays some tasty trumpet and there are telling solos from others in the band - notably Ralph Sutton on piano. The cleanly crisp arrangements are by Matty Matlock and the album is almost a total joy from beginning to end. The only mild disappointment is a rather lack-lustre version of ‘Mack the Knife’ which should have been a standout.

(Ken Barnes, The Crosby Years, page 93)

 

Crosby later described Bing with a Beat (1957) as “the album I always wanted to make,” and it’s easily his finest effort of the entire album era. Taking the title literally, Bing with a Beat starts on an incredibly fresh note—or rather, not a note at all, but a beat. We begin with a few telling rimshots from drummer Nick Fatool before Crosby enters with the verse to “Let a Smile Be Your Umbrella.” He starts nearly a capella, with drums only, in a rather dazzling (and for Crosby, almost exhibitionistic) display of his rhythmic virtuosity: New Orleans-style jazz is both a heterophonic and a polyrhythmic music, thus while Fatool is playing at least two different beats on various parts of his kit, Crosby is singing to yet another. The whole album is full of such ingenuity and musical wit. Crosby is brimming over with enthusiasm throughout all twelve tracks; he’s clearly having the time of his life.

It was apparently Crosby’s own idea to cut this album with trumpeter Bob Scobey and his Frisco Jazz Band. Although this was a regularly working and touring group, riding the crest of the fifties Dixieland revival, for the purposes of the album the band was bolstered with several prominent Los Angeles studio players, most notably clarinetist and arranger Matty Matlock. More than twenty years of working with both Crosby brothers (starting from within Bob’s band). Matlock had come up with a perfect approach toward using traditional jazz to back a vocalist: Both the ensemble and Crosby himself sound at once spontaneous yet controlled. He also put together an irresistible program of tunes from the Jazz Age—songs that are wonderful partly because they’re not standards on a Gershwin-Rodgers and Hart level. Many of these songs (“Whispering:’ “Mama Loves Papa;’ “Last Night on the Back Porch”) were associated with his ex-boss Paul Whiteman, but few of them had been heard since the Coolidge era. Instead of trying to find the most popular songs he could, he delighted in their obscurity. Crosby was no longer trying to compete with other singers for chart positions or box office receipts; this one was on him, and his joy is apparent in every note of this classic album.

(Will Friedwald, A Biographical Guide to the Great Jazz and Pop Singers, pages 127-128)

 

February 22, Thursday. At a chuck wagon dinner hosted by Jerri and Stewart Hopps at the Old Rodeo Grounds in Palm Springs with Phil and Alice Harris.

February 23, Saturday. Attends a party at the home of Mr. and Mrs. Stewart Hopps in Palm Springs and is presented with a painting by local artist John Morris.

February 28, Thursday. Bing and a party of friends dine at the Ranch Club in Palm Springs.

March 2, Saturday. Pat and Shirley Boone visit Bing in Palm Springs.

 

As my early recording career got under way, while I was transferring from North Texas State to Columbia University, intent on becoming a teacher / preacher - I got a letter from my idol, Bing Crosby. I’d never met him, though he had heard that he was truly my role model, and took the time and interest to write me a little advice.

I’m paraphrasing, but the basic message was that I shouldn’t have signed on for a weekly television show, because TV can “wear out your welcome” pretty quickly. But since I had done it, he wished me well, and left me with some sage words from a great performer named George M. Cohan - “Never stay on too long” and he signed it “the above gratis, Bing”.

It is a monumental treasure for me to this day, and his personal secretary told me it was very unusual for him to initiate a correspondence or write a letter to someone he didn’t know, but that he was watching my early career with real interest and approval. In fact, he and Frank Sinatra both separately referred to me several times as “the great white hope”, a guy who was singing rock and roll; but could sing ballads and pop songs as well.

Subsequently, Shirley my wife and I were invited by Bing to enjoy a private evening in his home in Palm Desert, overlooking Indian Wells golf course, along with his buddy Jimmy Van Heusen. He was so hospitable, so affirming and helpful, and I will treasure it always. After that, he invited me about 18 years straight to play in his Crosby Tournament at Pebble Beach, and to sing more than once at his Saturday Night Clam Bakes.

(Pat Boone, in a letter to Crosby fan Ron Field, dated February 14, 2012)

 

March 5, Tuesday. Bing takes Inger Stevens to Nat King Cole's opening night at the Chi-Chi in Palm Springs. Others in the party include the Dick Snidemans and Pete Petito.

March 14, Thursday. Decca masters a number of Bing’s radio songs for issue as an LP called “New Tricks”.

 
Bing Crosby No matter how much you watched or listened to the king of crooners, you just couldn’t see how he did what he did - that was his great gift, says Adrian Edwards. The deceptive art of making it look easy: whether clowning around with Fred Astaire or in more serious vein with Barry Fitzgerald, Crosby was ‘cool’ itself. The art of Crosby was one of deception, yet he never eschewed hard work, as testified by the new songs he continually added… Crosby brought a jazzman’s phrasing and sense of improvisation to much of what he did, whether in the company of Armstrong or a non-specialist jazz group like the Buddy Cole Trio whose album, New Tricks, exemplifies his relaxed approach to his art.

(The Gramophone, Volume 81, page 122)

 

NEW TRICKS—originally Decca (US), Brunswick (UK). While Bing broke no new ground with this album of oldies—accompanied by Buddy Cole’s trio—it was clearly something he enjoyed doing. The songs are all good—‘When I Take My Sugar to Tea’, ‘Avalon’, ‘Chicago’ and an outstanding ‘On the Alamo’ to name but four, and Bing puts it all across with great style. Cole plays his customary tasteful piano—his occasional excursions on to organ, however, only serve to point out how much better electronic organs sound today. This is a pity, because Cole had a considerable technique. Not a classic Crosby album by any means but a pleasant one, certainly.

(Ken Barnes, The Crosby Years, page 93)

 

…He recorded a long series of intimate tracks with the backing of longtime accompanist Buddy Cole and his trio, primarily for his ongoing radio series, but also releasing many of the best of these on LPs like Some Fine Old Chestnuts and New Tricks. (In 2009,160 of these CBS radio songs were released in a seven-disc boxed set by Mosaic Records.) “Softly, as in a Morning Sunrise” comes from the swingingly successful later release New Tricks (1957), an album whose cover—a very Bingish basset bearing a Crosby-style pipe, hat, and even eyes—had won listeners over even before they dug the disc. Although Cole’s electric organ wheezes unattractively, “Softly, as in a Morning Sunrise” works as a ballad with both a jazz feel and a tango feel, Crosby and Cole somehow making it both fun and serious at the same time.

(Will Friedwald, A Biographical Guide to the Great Jazz and Pop Singers, page 128)

 

March 15, Friday. (8:30 a.m.- 12:00 p.m.) Records “Man on Fire” and “Seven Nights a Week” for Capitol Records with an orchestra conducted by Nelson Riddle. Bing’s record of “Man on Fire” is heard by the producers of the Man on Fire movie and is brought in to be used in the opening titles of the film.

 

Having returned into the wax sweepstakes with “True Love” on Capitol, Bing Crosby is sticking with the label for his newest single release. “Seven Days A Week”(sic) is a clever piece of material with a snappy tune which Crosby projects in top form. “Man Of Fire” (sic) is a weightier ballad also with good chances.

(Variety, March 27, 1957)

Seven Nights a Week 84 CAPITOL 3695

Crosby could have another hit in this one. It’s a smart, show-wise platter, with tongue-in-cheek lyrics which should appeal to both the youngsters and the older set. The crooner sells the rock and roll spoof with style and sly humor. Standout backing by Nelson Riddle.

(Billboard, April 6, 1957)

 

Bing comes up with two new numbers on Cap. CL 14761, “A Man on Fire” (easy lilt and easy on the ear, more so than Jimmy Young’s on Decca F10925) and “Seven Nights a Week”, which is a rocker, and very pleasing too.

(The Gramophone, October, 1957)

 

March 16, Saturday. Bing has been asked by Paul Whiteman to record a composition of his called “Mother Dear”. Bing replies as follows.

 

I’ve received a copy of song “Mother Dear” which was written in connection with the Mother’s Day program that the American Weekly is carrying. Paul, my recording activities are about over. I have a few albums to make of standards, and I think that’ll be the extent of my work on the wax.

I’ve been lucky for a long time, but I think candidly I’m over the hill now. The pipes aren’t the same, and singing has become a chore rather than a pleasure and a joy. I think you’d be much better off, and so would the people who are promoting the program, to get a younger singer, one with a little more popular appeal - someone like Pat Boone, maybe.

I get tremendous pleasure out of playing the 50th Anniversary Album. There are certainly some wonderful things in it, and I’ve played it for a lot of fellows in the business out here who feel the same way. The quality, of course, is superb.

I‘d forgotten all about this spot that the Rhythm Boys did on the radio, and got quite a surprise when I heard it the first time in the album. Comes off very well, it seems to me. The jokes are a little hokey, and though we don’t sound exactly like the Hi-Lo’s, we get away with it okay.

I hope you and Margaret are in good health. Please give her my very best wishes and, of course, always my warmest regards to you –

As ever, Bing

 

Whiteman replies on April 5th.

 

Please excuse my lateness in acknowledging your letter.

I’ll admit it was a little commercial on my part to want you to do it. However, I didn’t feel the sentiment of the song was too sloppy, and they wanted to run your picture in the American Weekly, and are boosting up the printing that week to 11,000,000... So thought singing another Mother’s song might have been a nice thing.

I can’t agree too much about your singing, or being over the hill, because I think the one you did with Kelly was still pretty great. Although you might not win a high note contest with Lanza, you’re still my boy!

I think I told you the story once, that when Johnny Johnston told me he had heard some of your records and you were sounding pretty old (that was 20 years ago), I said I didn’t know about how old you were getting, but I did know that when you rolled over just before you died, you would, if you know what I mean, (sing) a song better than he was singing them now,

Glad you liked the 50th Anniversary Album. It’s been a real big success and I am so grateful to all you guys ~

Margaret joins me in our best to you.

Affectionately, Paul

 

March (undated). Bing joins forces with baseball legend Ted Williams to film an appeal on behalf of the Jimmy Fund, which raises funds to help the fight against children’s cancer. Every summer since the Jimmy Fund’s theater program started in 1949, participating movie theaters had shown a short film of the work being done at the Children’s Cancer Research Foundation in Boston. Then, an announcement was made asking if anyone would like to donate to the Jimmy Fund and this was followed by volunteers going around the theater with canisters collecting from the audience money for cancer research and patient care. It may well be that Bing’s appeal was shown in conjunction with Man on Fire.

March (undated). Wearing white tie and tails, films a version of "True Love" to be used at the Academy Awards show.

March 15, Friday. Bing goes to Florida.

March 18, Monday. Bing practices at Seminole Golf Club, Juno Beach, before going to Connie Mack Field to see the Pittsburgh Pirates lose four to three to Kansas City during the afternoon.

March 19, Tuesday. Starting at 11.52 a.m., Bing plays with Ben Hogan in the first day of the Latham Reed Amateur-Pro Tournament at Seminole Golf Club and they have a best-ball score of 66. A crowd of 3,000 (including the Duke of Windsor) follows Bing around the course. Bing’s handicap is shown as six.

March 20, Wednesday. The second day of the Latham Reed golf tournament. Bing and Hogan achieve a best ball score of 131 but are not placed.

March 27, Wednesday. The Academy Awards ceremony takes place at the Pantages in Los Angeles. Bing’s song “True Love” has been nominated as “Best Song” but loses out to “Que Sera, Sera.” A filmed sequence of Bing singing “True Love” in white tie and tails is shown. Johnny Green and Saul Chaplin have been nominated for “Best Scoring of a Musical Picture” for their work on High Society but are beaten by Alfred Newman and Ken Darby for The King and I.

 

On March 27, the night of the Academy Awards show, there was to be a screening of Silk Stockings for Look magazine. I mentioned it, and Cole suggested that we dine together and then see the picture. After it was over, he asked me to go to the Waldorf-Towers to see the television show—the first mention of the Awards all evening.

 The production numbers were terrible, and a filmed spot of Bing Crosby singing “True Love” was among the worst. However, the votes had all been counted long before, so no real harm was done. Finally, the winner was announced— “Que Sera, Sera.”

 The smile never left Cole’s face as he picked up the telephone and asked for Western Union. To Musgrove, he sent the following message:

Whatever will be, will be, dear Stanley.

Cole

(Cole Porter, a biography, page 305)

 

March 30, Saturday. Bing goes to Fort Myers, Florida to see the Pittsburgh Pirates beat the Chicago White Sox 5-0 in an exhibition game.

March 31, Sunday. Bing arrives in Aiken, South Carolina, and has lunch with Mr. and Mrs. Conrad Ruckelshaus. At 1:30 p.m., he plays a practice round of golf at the Palmetto course. At night, he attends the party at the Green Boundary Club and sleeps at the Thomas Leiter guest cottage on Colleton Avenue in the Winter Colony.

April 1, Monday. Teeing off at 10:30 a.m., Bing plays in the first day of the Devereux Milburn Memorial Trophy Tournament at the Palmetto Golf Club with his partner Vincent Draddy. Bing’s handicap is now quoted as five. He goes on to Augusta to do some taping for radio.

      April 2, Tuesday. Bing and Vincent Draddy tee off at 10:15 a.m. in the second round of the tournament and finish with a better ball score of 131, which earns them the fourth place award. Bing makes a short speech at the awards ceremony in the late afternoon. Bing’s friends Phil Harris and Chris Dunphy also take part in the tournament.

April (undated). Bing golfs with Ben Hogan at Augusta, Georgia prior to the start of Masters Golf Tournament.

April 4-6, Thursday–Saturday. Bing, Phil Harris and Dennis Crosby attend the Masters Golf Tournament at Augusta, Georgia, which is ultimately won by Doug Ford.

April 10, Wednesday. Watches the Pirates beat the Detroit Tigers 3-2 in an exhibition match at Ponce de Leon Park, Atlanta. Bing, Phil Harris and Dennis Crosby go on to dine at Fanny's Cabin.

April 11, Thursday. Bing and Phil Harris are in Houston, Texas and golf at the Braeburn Country Club.

April 16, Tuesday. Bing golfs with Cary Middlecoff, Jimmy Demaret, and Mike Souchak at the Desert Inn Country Club in Las Vegas.

April 17, Wednesday. (2:30 p.m.) Bing beats Walter Winchell in the annual celebrities’ putting competition held as a prelude to the Tournament of Champions at the Desert Inn Country Club. The proceeds go to the Damon Runyon Memorial Cancer Fund.

April 18-21, Thursday–Sunday. Bing plays in the pro-am at the Tournament of Champions at the Desert Inn Country Club in Las Vegas on April 18 and then acts as a commentator for the television coverage of the professional competition, which is won by Gene Littler for the third consecutive year. While in Las Vegas, Bing visits the Tropicana with his son Dennis to see Eddie Fisher perform. Is linked romantically with Pat Sheehan during his visit.

April 24, Wednesday. (7:45-11:15 a.m,, 11:45 a.m.-2:00 p.m.) At Radio Recorders in Hollywood, Bing records “A Christmas Story”, the first of four children’s stories he reads for Golden Records, Simon and Schuster’s recording subsidiary. The Arthur Norman Choir and Orchestra provide support. The producer and leader of the session is Norman Luboff and it seems that "Arthur Norman" was a pseudonym for him.

 

A Christmas Story (1-12”) - Bing Crosby. Golden Masterpiece A298:21. Sales can be made on this the year around, if pushed. It’s Bing again at $2.98, in a fine story that leans on several American folk heroes, including Paul Bunyan, Johnny Appleseed, and Dan’l Boone. Story and lyrics by Arnold Sundgaard, music by Alec Wilder, and includes one tune that could become a big seasonal hit— “How Lovely Is Christmas”. Sock packaging at the price.

(Billboard, September 9, 1957)

 

April 25, Thursday. (7:30-10:45 a.m., 11:15 a.m.-2:00 p.m.)  Bing records more children’s stories for Golden Records. Some of the songs are issued as single releases.

 

For the fall and winter, Golden Records has issued a number of new children’s records and repackaged some of its steady favorites in a variety of speeds. The general trend is toward the long-playing record, LP, for the older child nearer 10 than 5, is more convenient and has greater fidelity. The small 78’s and 45’s are suitable for the younger child running his own machine fitfully—children seem to enjoy changing the record as much as playing it.

         Leading the Golden list is Bing Crosby as narrator on two full-dress records. A Christmas Story, subtitled An Axe, An Apple and a Buckskin Jacket, and Ali Baba and the Forty Thieves. The crooner branches out in the independent children’s field with these new labels and comes off fairly well.

         A Christmas Story is an original piece of work with book and lyrics by Arnold Sundgaard and music by Alec Wilder. There are seven songs on the long-play record. The one most likely to be heard again, and again, in December is ‘How Lovely Is Christmas’, a somewhat sentimental song that is not especially for children. But there is one among these songs that is a standout and right in keeping with the story on the record. It is called ‘An Axe, An Apple and a Buckskin Jacket’.

         Ali Baba and the Forty Thieves, with Crosby again at the controls, is a musical rendition of this old favorite from the ‘The Arabian Nights’. The lyrics are by Sammy Cahn, the music by Mary Rodgers. They have combined to make some outstanding songs, especially one called ‘My Own Individual Star’.

         Singing these songs, Crosby is his amiable self, but as a narrator he occasionally sounds as if he has not removed his pipe stem from his mouth! All that relaxin’ talk and stirrin’ diction are Crosby rather than folk English and not conducive to helping young ears learn or even understand what is being said. He is a quiet narrator generating little excitement.

(New York Times, September 22, 1957)

NEVER BE AFRAID Bing Crosby with music by Lew Spence. A warm, musical version of the famous Hans Christian Andersen story narrated and sung delightfully by Bing Crosby. The music adds much to the story, and it ends up pointing a moral for the kids. Second side contains a medley of the musical score.

(Billboard, May 12, 1958)

 

ALI BABA AND THE 40 THIEVES (1-12”) - Bing Crosby. Golden Masterpiece A298:20. At $2.98, with Bing and considerable ballyhoo, this can’t miss, especially on the racks. Tunes by Sammy Cahn and Mary Rodgers, are delightful, and Bing sings well. He also narrates in that inimitable, informal manner. More discriminating parents will object to the gore and certain elements of morality involved, but the mass market will not be deterred.

(Billboard, September 9, 1957)

 

JACK B. NIMBLE Bing Crosby (1-12”) Golden A 198:29. An engrossing fable, interlaced with delightful songs, is narrated by Crosby with warmth and charm. Mixed chorus and ork shine. Flip features suite based on the tunes; moppets won’t enjoy it but parents may. The first side is worth the price, however.

(Billboard, April 28, 1958)

 

Bing Crosby: “Never Be Afraid”- “Jack B. Nimble” (Golden). These two packages are a continuation of the Bing Crosby-Golden tieup started last. Christmas with “Ali Baba" and “A Christmas Story." It’s done in the same easygoing flavor that has Crosby singing and narrating. “Never Be Afraid" is a musical version of “The Emperor’s New Clothes” while “Jack B. Nimble" is a musicalization of a flock of Mother Goose rhymes. They’re both hot low-price ($1.98) items for a supermarket or a chain-store push.

(Variety, May 7, 1958)

Bing Crosby (Kapp): "I LOVE YOU WHOEVER YOU ARE” (Walton*) sets a romantic lyric in a latino mood and Bing Crosby gives it clicko stature. "NEVER BE AFRAID” (Walton*) is a well-fashioned message song but its pop play potential is limited.

(Variety, October 16, 1957)

Never Be Afraid KAPP 195— Bing sings this inspirational song with tenderness and style. It is one of the singles issued from the package done in conjunction with Simon & Schuster.

I Love You Whoever You Are

In contrast to the flip, this is lighter in quality, with a light beat and persuasive rhythm. Recorded very well, with chorus backing Bing.

(Billboard, October 14, 1957)

 

HOW LOVELY IS CHRISTMAS” puts Bing Crosby in the Christmas running again with a neatly fashioned ballad that’s warm and meaningful.

“MY OWN INDIVIDUAL STAR” is an impressive balled that may grab attention

(Variety, November 27, 1957)

 

April 26, Friday. (9:00 a.m.-12:00 p.m.) Another recording session for the children’s stories for Golden Records.

May (undated). Bing Crosby Phonocards links up with Simon and Schuster and gains rights to use the latter’s record libraries.

May (undated). Bing has acted as one of the narrators in the Variety Clubs International forty-minute documentary film The Heart of Show Business which is released by Columbia this month.

May 2, Thursday. Lindsay Crosby is involved in a minor car accident in west Los Angeles while driving his brother Dennis’s sports car and fails to stop as he does not realize that he has struck a parked vehicle.

May 6, Monday. Bing is in Northern California fishing with a couple of friends. He writes to the journalist Charles Graves in England.

 

Your letter of the 26th of April reached me up in Northern California where I’m doing a little trout fishing with a couple of friends. Very nice to hear from you again, and I’m pleased to learn that you and Bill Gargan and Mary got together for some functions. They must have gotten a great deal of enjoyment out of the trip to the Players Theatre. I found that a very amusing and colorful spot.

I saw Bob Foster up at Vegas, and he seemed to be enjoying himself immensely. He looked well, seemed happy, but it was too cold for us to get out on the golf course. Vegas has about 3,000 ft. altitude you know, and in the winter months, while some people play, it’s a little rigorous for me.

I shall await receipt of the galley proofs on your Riviera tome and will compose some sort of a forward when I’ve had a chance to read them and devise something interesting.

Charles, I never played the Cafe de Paris with Whiteman. I joined him after his return from the European trip - I think it was in ‘26 or ‘27. Too many years ago to be recalled accurately for a variety of reasons. Of course I have been there since the war, for dinner and dancing, but strictly as a patron. It seems to me that the Cafe de Paris should furnish a very good background for some sort of book or picture. The years of its heyday were a colorful period and should, if interestingly told, make very good reading.

Haven’t played any golf for two or three weeks, but prior to that time was going in pretty good form. I went down to see the Masters Tournament, played some there, and finished second in a tournament over at Aiken, South Carolina - a two-man amateur event. Have been flirting with 72 and 3 and 4 pretty near all the time when it wasn’t too windy or cold.

I saw Cotton play in the Masters and he played very well indeed. He still has that beautiful swing. Demaret is playing better golf I think than he ever played in his life. He should have won both the Masters and the Vegas event if he could have holed a few putts. He was stroking the ball well but they were sliding by or hanging on the lip and refused to drop. Just two or three one way or the other would have made the difference between winning and finishing second or third.

Hogan’s putting has become very sour. I played with him at Seminole, and again at the Masters before the tournament started, and he just has no confidence with the blade, leaves most of his putts short, and it’s become sort of a mental block with him now and he is in bad trouble. Hits the ball beautifully, but of course you know how important it is to putt well if you’re going to win anything in the professional tournament ranks.

I agree with you that Hope is very courageous indeed to attempt a picture with Fernandel. I am sure that with all the grimacing and mugging these two comics are indulging in, their faces will be stretched out of all semblance to their former contours. Still, you can’t tell, Hope may look better that way.

Give my very best to the Gargans when you see them, and also Bob Foster. I may slip over some time this summer, but it’s quite doubtful. I have quite a few junkets mapped out for this summer which may prevent me getting over there - no work involved in these junkets, strictly for fishing, golf and fun.

All the best to you and your family -  

As ever,

Bing

 

May 13, Monday. Bing writes to Colonel Tom Parker, Elvis Presley’s manager. Bing praises Elvis and warns the Colonel about over exposure.

 

Thank you so much for your recent letter. I am happy that you were pleased with what I had to say about your young man, Elvis Presley. I honestly think he’s a great performer and under your astute guidance, he’s going to be a big star for a long time. I note with particular interest that you agree with me about over-exposure, and this is something that you will pay particular attention to in the time to come.

I would be glad to send you some Cremo cigars, but I feel sure that you are smoking a much better brand of tobacco these days, as your life and times improve, and the taste of a Cremo in your mouth would be as gall and wormwood.

If what you say is true, that you are able to get all the money you need out of Hope, you indeed have a tremendous talent. I’ve never been able to get the right time off of him if he had wrist watches up to the elbow on both arms.

The only alarming factor you mention is that Hope proposes to get what he’s going to give you out of me. I’ve had a very bad season - what with storms, typhoons, tornadoes, fires, inclement weather and picking up the rain checks. To make it worse, the tent blew down at Shreveport, and all the animals got away. If you could let us have Elvis for a couple of weeks, I think we could get out of hock. I could get Eddie Peabody to play banjo for him.

Enclosed is the picture you asked for, Tom. I hope it is of some value to you in elevating your prestige around M-G-M, but I doubt it very much. They’re pretty snobbish over at that lot and prone to look down their noses somewhat at mere crooners - witness what happened to Sinatra, Vic Damone and myself. I hope Elvis is able in some way to put our profession on a higher plateau.

All good luck to you Tom, and to Elvis. I know that you're going to enjoy many years of it.  Stay healthy and happy. As ever - your friend Bing.

 

May 17, Friday. Press reports state that Inger Stevens has now advanced to the “Kathy Grant position.”

May 27, Monday. Bing, George Coleman, Joseph Thomas, and Kenyon Brown combine to buy television station KCOP for $4,000,000. Basil Grillo becomes secretary/treasurer while Bing becomes chairman of the board.

May 28, Tuesday. Bing and Phil Harris take part in the second Marty Welch Invitational Golf Tournament at the California Golf Club, San Francisco. Starting at 11 a.m., they play with Marty Welch, Francis Brown and Ed Crowley. Bing has a 77 and finishes joint third. He receives a cast-metal trophy, as do all 35 entrants.

June 8, Saturday. Plays in the annual Swallows competition at Pebble Beach and has a 71 (net 68). He and his partner Danny Searle finish 9-up and tie for the lead after the first 18 holes of the 36-hole tournament.

June 9, Sunday. The second round of the Swallows competition is rain-affected and Bing and his partner finish 12-up, 5 back from the winners.

June 11, Monday. Press reports indicate that Phillip Crosby has enrolled for a summer course at the Agricultural College at Washington State.

June 12, Wednesday. Jimmy Dorsey dies.

June (undated). Fishes at Rising River with Buster Collier.

June 16, Sunday. (8:00–9:00 p.m.) Bing makes a filmed appearance on the Ed Sullivan Show on CBS-TV. Scenes featuring Bing from the film Man on Fire are previewed. Inger Stevens also appears live to promote the film.

 

On film, Bing Crosby exchanged a couple of pleasant minutes of chatter with Sullivan but for an indifferently integrated plug on his new pic, Man on Fire, he introduced Inger Stevens who appeared with him in the pic.

(Variety, June 19, 1957)

 

June 19, Wednesday. (4:00–8:00 p.m.) A wine tasting sponsored by Stuart Imports takes place at Bing’s home on 17 Mile Drive, Monterey. It is not known whether Bing was present or not.

June 23, Sunday. Bing writes to the U.S. Senate stating that much radio music is “so much trash” and blames pressure by Broadcast Music, Inc. (BMI), the rival of ASCAP.

July 2, Tuesday. Bing writes to Pat Sullivan, a devoted Crosby fan who was the editor of BINGANG magazine.

 

You were very kind to write me the nice letter telling me you caught a sneak preview of Man on Fire and that you liked it.

We are pleased with the way this movie turned out because we didn’t really set out to do anything spectacular or tremendous – we just wanted to do a nice honest film dealing with a problem which is becoming increasingly serious every year. I’m glad that you agree that we treated it well.

I don’t know just what the next picture is going to be. We are reading some scripts and may find something soon that will prove interesting - I hope so.

Again, Pat, my thanks for your letter and all good personal best wishes. Believe me to be your friend.

Best regards,

Bing

 

July 17, Wednesday. Records songs for radio use with Buddy Cole and his trio at the CBS Studios in Hollywood. Elsewhere, in Santa Monica, Inger Stevens obtains a divorce from her husband Anthony Soglio.

July 24, Wednesday. Writes to Kathryn Grant and falsely says that he needs her deposition in a law suit. Bing and Kathryn subsequently speak on the phone and then she departs for Spain to film The 7th Voyage of Sinbad.

July 30, Tuesday. Bing, Phil Harris and Ed Crowley leave the Sheraton Palace Hotel in San Francisco and fly with United Air Lines to Seattle-Tacoma airport.

August 1, Thursday. In Seattle, Bing is given the keys of the city. He stays at the Washington Hotel.

August 2, Friday. Dines out with Phil Harris at a restaurant in Seattle. During his stay in Seattle, Bing discovers a singer called Pat Suzuki.

 

The summer of ‘57 was the time the voice of Pat Suzuki happened to me ... As some of you more faithful may know, the State of Washington and its environs is my old bailiwick. I was wayfaring through the fairways, side streets and seasides of Seattle when I was touted on to an off-beat bistro known as Norm Bobrow’s Colony.

Halfway between the chatter and chateaubriand, the lights dimmed in their traditional theatrical fashion, the pianist played an arpeggio and a voice came zooming out of a half-pint gamin like the great locomotive chase. It roared up the trestle splashing its decibels against the walls—and I surrendered. I was surrounded. That voice had its own stereophonic sound.

It was on my third visit to the night world of Pat Suzuki that Miss Pony-Tail, after her show, trotted over to my table and asked me what Bing Crosby would say to all this. Bing would say:

“There’s a girl up in Seattle named Pat Suzuki, sings anything from jazz to light opera, Great bet for the big time. I really mean that.”

This was quoted in the newspapers.

Recently I was asked permission to reprint this statement for the Notes on her first album. Not only would I give permission but if they wished I would write the Notes. It’s a pleasure to recommend Pat Suzuki to the world.

I’m not strong for the large hysteric, the broad bravura. Just say, “The summer of ‘57 was the time the voice of Pat Suzuki happened to me.”

May this be the time Pat Suzuki happens to you.

(Bing’s liner notes for the VIK album “The Many Sides of Pat Suzuki”)

 

August 3, Saturday. Takes part in the grand parade at the Seafarers Carnival in Seattle with Phil Harris. Later, flies to Vancouver, British Columbia and at around 5:30 p.m., leaves Vancouver on the yacht “Polaris” for a fishing trip to Rivers Inlet with George Rosenberg (his agent), Phil Harris, and William “Buster” Collier (a former silent-screen actor). They put up for the night at Pender Harbour in British Columbia.

August 4, Sunday. Fishing at Point Alexander.

August 5, Monday. The Polaris sails across Queen Charlotte Sound and then up Rivers Inlet to Kildala Bay. During the next few days, so many salmon are caught that there is no room in the freezer to store them. They decide to sail down to Goose Bay to have the fish canned.

August 6, Tuesday. (7:00-7:30 pm.) Bing is the guest on the CBC-TV program "Almanac".  No doubt recorded before setting off on the fishing trip.

For a study in relaxation, what more natural example than Bing Crosby wandering in from a Vancouver rain with a slouched hat perched on his head, and moving easily into an impromptu CBC television interview?

(John de Wolf, The Province, August 8, 1957)

August (undated). Over the next few days, the Polaris sails to Bella Bella, stopping the night at Safety Cove. They continue to Galchuck. Subsequently they return to Goose Bay via Bella Bella to pick up their fish. Bing sings for the cannery workers. The next day, the Polaris sails to Draney Inlet in British Columbia. They hike to Allard Lake to fish for trout. Bing keeps a log of the trip.

We left Vancouver on the yacht Polaris about 5:30, the evening of August 3rd. Aboard were George Rosenberg, Phil Harris, Bus Collier, and myself.

We sailed about five or six hours that evening, putting up for the night at Pender Harbor. After making a few purchases and getting off some postcards, we continued on up the straits to Point Alexander, where we dropped hook about 10:30. It was so foggy the last couple of hours that it was necessary to proceed slowly and sound the siren intermittently.

The next morning we were off early for the jump across Queen Charlotte Sound, and thence on up the Rivers Inlet to Kildala Bay. We arrived there about 3:30 or 4 o’clock, immediately got the boats down and the fishing gear out, and it wasn’t long before we were after king salmon. I went out with Captain MacDonald’s son Jerry, and caught a 56-pounder that gave such a nice fight it took me 55 minutes to boat him.

The rain stopped on the 6th. and the next morning the fishing really improved. I left about 6:30, and was back at 10:30 with a limit of kings—the largest being 55 and a half pounds. I used cut herring exclusively for bait, trolling slow and letting the herring out 80 to 100 feet on one line, and just short of that on the other, using an ounce and a half of lead on one line, and two and a half on the other. It didn’t seem to make any difference: the fish hit both with the same alacrity. We had lots of other strikes, and lost several giants that broke the gear.

The other boats did equally well, so we had an over-abundance of booty to weigh and clean that night. Buster Collier’s 67-pounder won the blue ribbon. He said that it gave him a prodigious battle, and cost him an hour and some change to boat it.

We kept one of the smaller salmon for fresh steaks. Since we had room for only two of the others in the deep freeze, we filleted the rest and salted them down. When we get back to Seattle they can be smoked and shipped to California.

It was quite a spectacle with the big knife flashing in the sun, and the huge red chunks of lovely salmon coming off in beautiful steaks. “I wonder what Romanoff would pay to have this going on in his window,” Phil Harris mused,

The next day the fishing was equally good, with all the action taking place across the bay from Kildala, between the old broken-down cannery and the fish boundary mark. Once the three boats from the Polaris were hooked up simultaneously, and all within a quarter of a mile of each other.

On this morning I hooked a 62-pounder, my biggest catch of the trip. He acted strangely at first, striking rather tentatively, and not making much of an opening run. I thought he must be a tiny fish, and for the first 10 minutes I was wondering how to get rid of him. Then he made a couple of mild runs and sounded. Finally I pulled him in close to where he could see the boat, and then he really took off on some spectacular runs and two or three great leaps that had my heart in my mouth for fear he would shake the hook. A couple of times he had almost all my line off the spool before the boatman could turn around and chase him, enabling me to pick up the slack. It took an hour and five minutes to net him.

By 11:30 everyone was back on the Polaris, where we had a big lunch and took pictures. Since we had no more barrels in which to salt the salmon, and no more room in the deep freeze, we decided to sail down to Goose Bay and have them canned. The manager of the plant put the fish on ice, and told us we could pick them up in a couple of days.

We then went up to Bella Bella, stopping for the night at Safety Cove.

The next afternoon we fished for cohos at Galchuck, but they were too deep. It was necessary to use so much lead to get down to them that as sport fishing it left something to be desired.

We returned to Bella Bella, and thence to Goose Bay to pick up our fish. The cannery workers greeted us at the dock. They were a pleasant mixture of young Chinese, Japanese, and Canadians, mostly students working at summer jobs. I sang for them before we turned in.

The next morning, we went up to Draney Inlet. The entrance must be made at slack tide because of the heavy surf which roars from it into Rivers Inlet. We got through all right, and after an hour’s run were up at the top of the Inlet, arriving about 10 o’clock. We lowered the small boats, ran up the river as far as we could go, and then packed a lunch and our trout gear to Allard Lake. It was about a 45-minute hike, straight uphill over a trail almost obliterated by fallen trees and giant boulders, a trek that I wouldn’t care to attempt with a heavy pack.

We found an old boat, which someone had constructed after hauling the planks over the hill and putting them together on the beach. Since it was the only thing to stand on—the banks being too precipitous—we bailed it out, calked it as best we could, and fished from it with spinners and flies. It was overcrowded, and we had to bail constantly to keep it afloat.

The rain fell hard all afternoon, but in spite of sundry vicissitudes it was the best trout fishing I’ve ever experienced. We caught 76 fish in two-and-a-half hours, using only one rod at a time while everyone bailed. The trout were all native cutthroats, weighing up to two pounds.

It is a beautiful body of water about a mile long, and I’d certainly like to return in a good boat with a kicker on the back, though it might be difficult to find a suitable campsite because of the steep banks.

(Bing Crosby, as outlined in Kathryn Crosby’s book, My Life With Bing, pages 93-95)

August 16, Friday. The Crosby party is at Victoria on Vancouver Island before going on to Port Townsend, Washington where they clear Customs en route for Seattle.

August 22, Thursday. Bing and Phil Harris are in Seattle where they see the Patterson versus Rademacher fight at Sick's Stadium as part of a crowd of 16,691. Patterson knocks out Rademacher in the sixth round. Bing’s film Man on Fire has its New York premiere.

 

Bing Crosby, who made an impact as the alcoholic actor in The Country Girl, again demonstrates his ability as a straight dramatic performer. As a doting father embroiled in a harsh custody battle with his ex-wife, he gives an appealing and sensitive performance. . . Since this type of fiction has a ready-made distaff audience, indications are that Man on Fire should be particularly appealing to women.

(Variety, June 5, 1957)

 

BING CROSBY has bravely undertaken a difficult and unattractive role in “Man on Fire,” a non-musical drama, which came to Loew’s State yesterday. It is that of a stubborn, self-pitying father who tries to monopolize his young son and prevent him from spending time with his mother, from whom the father is divorced.

Naturally, such a fellow is bound to repel sympathy, especially when the mother is shown as reasonable, respectable and sincere. Even though buttressed by the evident undivided devotion of the son, such an attitude by a father cannot help but look selfish and unjust. And so it took quite a bit of courage for Mr. Crosby to expose himself in this role. The fact that he did so is a credit to his belief in the idea of the film.

For this is an honest, sensitive effort to show the grief that may come from a broken home and from the obstinacy of a divorced parent who doesn’t want to share the love of a severed child. It is a worthwhile and often sad exposure of what may happen to the emotions of parents and child when one parent acts immaturely. It hits a problem that can profitably be shown.

And it hits it in a fair and forthright fashion. Ranald MacDougall, who wrote the script (from a story by Malvin Wald and Jack Jacobs) and also directed the film, has gone at it with the intelligence of a sociologist. He has set up a likely situation between a man and his ex-wife who has technically relinquished their son to him so she can be free to marry another man. He has credibly demonstrated the integrity and the claim of this ex-wife, and he has fitly brought the parents together in a judge’s chambers for a heart-rending custody argument.

Though the decision of the woman judge in this instance may strike one as oddly severe, it is not an implausible decision and it leads to the sharpest scene in the film—a clash between the parents at an airport when the father tries to kidnap the son. This gives an ugly, shameful look-in on one of those gross, undignified affairs in which adults fight over a child in public. It is truly and shatteringly staged.

Without disparagement to the picture, it must, in all fairness, be said that Mr. MacDougall has limited his drama to the problem of one parent’s obstinacy. All other matters seem in balance: the ex-wife is patient and fair; the child is uncomplicated, and the ex-wife’s new husband is understanding and wise. There is even a pretty woman lawyer who is yearning to lavish love on the stubborn and unrelenting father. Only he is the cause of chagrin.

Fortunately, Mr. Crosby plays the role in such a way that it is easy to recognize the self-indulgence and even the childishness of the man. Without restraint, he actually makes a method of annoyance out of his customary glibness and charm. Except that his reformation is a little too pat and rosy-hued, he does a first-rate job of showing the emotional pattern of the father in this film.

As the mother, Mary Fickett is also solid and credible, handling herself with real distinction in a rather tightly written role. Richard Eastham is good as her new husband—a little pompous, perhaps, but good; Malcolm Brodrick is affecting as the youngster and Anne Seymour is fine as the hard-put judge. Inger Stevens is quite pretty and pleasant as the young lady who inexplicably loves the man, and E. G. Marshall is ruggedly aggressive as her lawyer boss.

Sol C. Siegel was the producer for Metro-Goldwyn-Mayer. He has shown you can still bring out a good film in a conventional screen size and black-and-white.

(Bosley Crowther, The New York Times, August 23, 1957)

 

Dramatic, tear-jerking film starring Bing Crosby, as a man embittered by his wife’s divorce and remarriage, and who is now determined to keep their son from her and fights fiercely the court’s order that the mother should have custody. Excellently acted by the whole cast and especially by Inger Stevens, the delightful, intelligent girl who helps to soften him and with whom he eventually finds happiness.

(Picture Show)

 

There’s a story behind the music behind the credits of Man On Fire. This is the title of the forthcoming MGM picture starring Bing Crosby and Inger Stevens. Though picturegoers will hear Crosby singing the title tune during those “produced by, directed by” preliminaries, Bing didn’t in fact do any warbling at all for the film. Explanation? Producer Sol C Siegel at first brought in the Ames Brothers to do the credit-title number, and they did it well. But about the same time the Old Groaner decided to put the tune on a Capitol disc. And when Sol Siegel heard the maestro’s version, he decided to record from the disc on to the film sound track. The Ames Brothers effort wasn’t jettisoned however. It was used later on in the picture. The number of the Capitol disc that Bing cut? CL14761. And this record is something of a novelty. For it’s not a case of being the disc from the soundtrack.

(Picturegoer, September 14, 1957)

 

Bing’s venture into heavy drama without a song was received with generally hearty applause and high praise. It was a strange change of pace for Crosby. No one would have thought of him willing to subject himself to the central role of a plot involving divorce. But yet he played the wronged, divorced husband who was keeping his son, Malcolm Brodrick, and letting his wife, Mary Fickett, go.

      It may not have been one of the best pictures made that year, but it certainly touched a terrible, sensitive spot in contemporary society—the child, the divorce, the contenders. And it did so with sense and sensitivity.

(The Fabulous Life of Bing Crosby, page 163)

 

August 23, Friday, Bing visits the Puget Sound Naval Shipyard in Bremerton, Washington. The visit came about following Bing meeting a talented singer named Marcia Hunter (Miss Bremerton, aged 17). He lunches with the Hunter family and they all board the USS Bremerton for a short visit.

August 26, Monday. Press reports indicate that songs by Rosemary Clooney and Bing, chitchat by Arthur Godfrey and news by Edward R. Murrow are among the staples in the package of radio programs on CBS to be sponsored by the Ford division of the Ford Motor Company. The Ford sponsorship is for a total of $3.5 million. Bing and Rosemary’s shows are to be of five-minute duration and they will alternate with each other on Mondays to Fridays at 7:30 a.m., on Saturdays at 5:00 and 5:55 p.m., and Sundays at 12:55, 2:30, 4:30 and 5:55 p.m.

September 2, Monday. The daily Ford Road Shows commence on CBS radio. In the 5-minute programs, Bing sings one or two songs in each. The shows continue until August 31, 1958, and use songs from a library of musical items recorded with Buddy Cole and his Trio.

September 10, Tuesday. Plays in the Doten Sports Invitational at Orinda, near Berkeley, with Don Doten. Their team has a 61 with Bing having a 79. Harvie Ward and Dennis Crosby also play in the competition.

September 19, Thursday. Disposes of his interest in radio station KFEQ, St. Joseph, Missouri. The distribution of Dixie Crosby's estate is approved.

Distribution of $614,934 remaining in the California estate of Dixie Lee Crosby after payment of taxes, administrative expenses and other obligations was approved yesterday by Superior Judge Harold W. Schweitzer.

Mrs. Crosby, 40, Bing’s wife and once an actress and singer in her own right, died Nov. 1, 1952. Her will, disposing of her separate property and her interest in community assets, left her share in a $125,000 North Hollywood home and a $100,000 house at Pebble Beach to her husband.

Crosby was also left her interest in a third house at Hayden Lake, Ida., but this and other out-of-State assets were not subject to California probate proceedings.

Two-fifths of the remainder went into trust to provide incomes for Crosby, his mother, Mrs. Catherine Crosby, and Mrs. Dixie Crosby’s father, Evan E, Wyatt. Three-fifths was earmarked for another trust for Mrs. Dixie Crosby’s four sons, Gary, 24; Phillip and Dennis, 23, twins, and Lindsay, 19.

The final account submitted by Atty. John O’Melveny, executor and trustee, showed that the California estate plus $300,000 brought in through liquidation of assets elsewhere originally totalled $2,071, 419.

Disbursements, the account indicated, totalled $1,434,526, including personal effects worth $21,959 previously distributed to Crosby. The account said other major items of outlay included $738,437 Federal estate taxes, $42,148 California inheritance taxes and a $410,262 balance on a bank loan made to Mrs. Dixie Crosby.

The court allowed the executor $31,593 ordinary and extraordinary compensation and a like sum to his attorneys.

(The Los Angeles Times, September 20, 1957)

September 22, Sunday. Bing flies in to San Francisco International Airport and then plays golf at Meadow Club Golf Course, Fairfax, Marin County, California, in a benefit for the American Field Service Exchange Program. He tees off around 1 p.m. and is partnered by Art Bell against Harvie Ward and local pro Bob Moore.

September 27, Friday. Bing is at Pebble Beach and watches play in the California Amateur Golf Championship.

October 2, Wednesday. Kathryn Grant, who returned from Spain on September 22, receives a letter from Bing and she replies saying that she will not see him.

Dear Kathryn,

Mr. Dahlgren has negotiated a satisfactory settlement of the lawsuit, and as a result it will not be necessary to bother you further. I was quite affected by your willingness to help since I rather thought you would say no, and rightfully too. I should have recalled the other times when you demonstrated your loyalty—the hospital visits, the matter we discussed on the beach—but I’m stupid. I must be or I wouldn’t have lost you.

It seems a long time since I saw you last, but you are in my thoughts everyday. I've been all over the country these past months, met many people, done lots of things, but I can’t forget you.

I’m coming to L.A. in a few days and would give anything to see you and hear about your work, your life and times. Won’t you drop me a note at 594 Mapleton and tell me I can phone. I miss you so much. So write, even if just to say no.

Yours, Bing.

October 8, Tuesday. Kathryn receives another letter from Bing seeking a meeting. She does not reply.

Dear Kathryn, please tell me why if you love me you won’t see me. Honestly, I’m miserable and have been for months. I promise not to be importunate or create any complications.

Love, Bing

October 9, Wednesday. At the Goldwyn Studios, Bing films the Frank Sinatra Christmas television show, which is directed by Sinatra and is broadcast by ABC-TV in black and white on December 20. A version is filmed in color for possible use in movie theaters as a starter feature but does not see the light of day until December 2001!

 

If present plans mature, half-hour telepix filmed last week by Frank Sinatra for his ABC-TV show, guestarring Bing Crosby, will be distributed theatrically,

(Variety, October 16, 1957)

October 10, Thursday. Bing writes to Crosby fan Stan White in England.

 

Thanks for your recent letter. Provided me with a great deal of information about things on the musical scene over there. I’m sure you must have liked the Jack Teagarden Earl Hines All Stars. I saw a great deal of Earl in San Francisco just before he left. He has a wonderful group there in San Francisco, featuring Muggsy Spanier, with Ralph Sutton on the piano. I consider Sutton the finest - at least for my taste.

From what you say about forthcoming releases in England, I am certainly going to be a little over-exposed. Seems to me they would be wiser to stagger these releases a little and thus get a better coverage, but of course they’re all with different labels, so I suppose there’s no real effective way to establish any control.

I’ll try and have someone in my office do a little exploratory work and see what they can find out about the organ records you mention. My memory is so bad, and becoming worse with increasing age, that I am completely unable to come up with anything. I hope my secretary can.

Just came to Hollywood to do a few things for television. Nothing very spectacular or significant - just a couple of chores that I’d obligated myself to do. I’ve been away almost constantly since spring - mostly up in the Pacific Northwest and Canada, fishing and golfing, etc.

I appreciate very much your continued interest in the Glenn Miller search. Hope something results, but I certainly don’t want you to spend too much time on what may be, after all, a futile effort. All good wishes –

As ever, Bing

 

October 13, Sunday. (5:00–6:00 p.m.) Bing hosts The Edsel Show, a live television program (for the East Coast) on CBS with Frank Sinatra, Louis Armstrong, Rosemary Clooney, Lindsay Crosby, and The Four Preps. Seymour Berns is the director, Bill Morrow is the producer-writer and Toots Camarata is the musical director. Buddy Cole is responsible for musical supervision, and John Scott Trotter does some of the arrangements. Bing arranges for the program to be “produced” by Gonzaga University so that the profits (estimated at $250,000) can go to them in a tax efficient way. The program wins the Look magazine TV Award for “Best Musical Show, 1957” and is nominated for an Emmy as the “Best Single Program of the Year”. It has a Trendex rating of 40.8. (A Trendex rating represents the percentage of TV homes in fifteen major cities, including New York, that are tuned to the program specified. Trendex telephones 1000 homes during each half hour period.)

The Edsel Show originated at CBS Television City for a live broadcast to the East Coast, but was “tape delayed” for re-broadcast 3 hours later in the Pacific Time Zone. A “backup” kinescope had been recorded and was played backed simultaneously with the VideoTape in the event that the new technology failed.

 

The Edsel Show, a special kick-off for Ford’s new line of cars on tv, was a smooth, fast ride all the way. In fact, without even seeming to try, it shaped up as one of video’s top musical offerings, in the same class as the Mary Martin-Ethel Merman layout several years ago, on the ‘Ford Jubilee’ show.

This time, it was the tandem of Bing Crosby and Frank Sinatra, two savvy pros who were at the top of their form. For Crosby, it was his best tv showing to date and for those who remember live radio way back when, Der Bingle generated the same easy charm that was responsible for his long-time run on the AM kilocycles. Sinatra, likewise, displayed a finesse and a sureness that bespeaks his multi-faceted showbiz experience. In addition, the one-hour stanza showcased, among others, another veteran performer, Louis Armstrong, in some nifty routines.

But basically, it was Crosby and Sinatra, in a freewheeling songalog and an informal script that never got in the way of the singing. Working solo, duo and trio (with Rosemary Clooney), they covered several dozen songs, most of them in quickie versions. In the biggest production of a show that was marked with a minimum of production frills, Crosby and Sinatra did a song ‘take-off’ on ‘Around The World In 80 Days’, winding up with Bob Hope entering for a short routine on ‘We’re Off On The Road To Morocco’

Crosby’s number with Armstrong and his combo on ‘Now You Has Jazz’ was a crackerjack getaway. Satchmo returned again for a nifty rundown of ‘The Birth of the Blues’ with Sinatra. Miss Clooney had one solo slot on a show ballad midway in the show, while Lindsay Crosby, son of Bing, delivered, ‘In the Middle of an Island’, in fair style, with backing from the Four Preps. In the hoofing division, Mr. Conn & Mr. Mann, two slick tapsters were on and off fast.

For the final quarter-hour, Crosby, Sinatra and Miss Clooney joined in a clever medley of romantic oldies. As with the rest of the show, this routine was handled with a breezy comedic touch that didn’t strain for laughs.

The new Edsel cars were effectively plugged via some film clips and some asides from Crosby and Sinatra. The latter also appeared to slide in a plug for his upcoming show for Chesterfield on the TV network.

(Variety, October 16, 1957)

 

If the Edsel Division had nothing else to look forward to, it could anticipate with some satisfaction the approaching television show with Bing Crosby. The efficient crooner had not procrastinated in selecting his co-stars and, in a few days after his signing, announced that his old radio sidekick, Rosemary Clooney, had agreed to appear with him, as had Louis “Satchmo” Armstrong. Further, he said, Frank Sinatra had agreed to “share” some songs and comedy with him. Sinatra and Armstrong had long been two of Crosby’s favorite entertainers.

Later, during rehearsals at the CBS Studios in Hollywood, Crosby told how he got Sinatra to sign on the show. It would be the first in only a very few times the two “crooners” with generation-apart audiences, would appear together, and the anticipation of such an event was the subject of much discussion in the trade.

Crosby said that he was lunching at the Brown Derby shortly after signing to do the Edsel show when he spotted Sinatra at another table.   “I waved to him and he waved back. He completed lunch before I did and stopped at my table on his way out. He had read Variety and knew about the Edsel show and said something to me about it being a great showcase for newcomers, since most of the money is going to Gonzaga.”

Crosby laughed as he relaxed in the rehearsal theatre 15 rows from the stage. Crosby said it occurred to him that perhaps he could entice Sinatra to perform for nothing if he, in turn, would agree to appear on one of Sinatra’s specials at some future date. “I propositioned Frank, and right there, over a demitasse, we shook hands,” he explained. (Crosby promptly repaid Sinatra by appearing on the latter’s Christmas show.)   Undoubtedly, Crosby got many of his guests at reduced prices just for the opportunity to be on his first TV show.

But while Crosby was in a position to play “tit for tat” with Sinatra, he did not seek that kind of an understanding for another aspiring entertainer to whom, Crosby admitted, he paid “five thou” for a three-minute act, and not a very good act, either.

It would be called nepotism anywhere else, but in the mid-fifties, Crosby was simply being a loving father. For the entertainer Crosby hired was his youngest son, Lindsay, who stumbled through a forgettable number called, “In the Middle of an Island” which, mercifully, was never heard again.

Each of the four principal artists was offered an Edsel to drive for several weeks prior to the show, and both Ms. Clooney and Crosby accepted, although I never saw Crosby drive his.

Crosby was at the top of his singing career, albeit not a television star as yet, when he did the Edsel show. He had starred in nearly 50 movies, including six “Road” pictures with Bob Hope, and had won an Academy Award for his role of the priest in Going My Way. It was no surprise then that his first TV effort became the second highest rated show of the year. Fifty-three million viewers watched the show, more than the combined total that watched Pinocchio, starring Mickey Rooney, and Standard Oil’s 75th Anniversary Show with several stars of stage, screen and television, both of which were telecast the same Sunday night.

Crosby was a perfectionist and came to the first-day rehearsals with his lines solidly memorized. When he was not on stage, he sat in the theater, seemingly relaxed, but always with an eye on the action. Sinatra lost no time in learning his lines, either, as well as the lines of everyone who appeared in his scenes, but Rosemary Clooney seemed awed by the company she was keeping and broke up at some of the one-liners the two male singers tossed at each other. Louis Armstrong was a basket case, unable to remember his lines and seemingly unable to respond to cues. He failed so many times during rehearsal to come on stage on cue that his number was pre-recorded.

During the telecast (live to the East and Midwest) a surprised Sinatra found himself holding a one-man conversation with Armstrong, reciting first his own line, then helping the nervous trumpet player remember his. To those who had attended the rehearsals, the exchange was hilarious.

The show was a slick, professional piece of work produced and written by Bill Morrow. Even when the sparkling lines were garbled, as they were with Armstrong and Sinatra, they came off with spontaneity. Played in front of CBS prop room scenery (nothing new was constructed), the playing costs to the producer, Gonzaga University, were less than $100,000.

As soon as the performance ended, we threw a celebration party at Chasen’s, and with an exuberance usually shown by a first-time sponsor, we invited the entire cast to attend. Virtually everyone showed up, with the notable exception of Sinatra and Bob Hope, who made a very brief and surprise cameo appearance in the show. Sinatra, who had brought Lauren Bacall to the performance, apologized and said he had a previous engagement. Hope was off right after the show on another personal appearance. All of the other principals showed. Crosby brought his date of the evening, Inger Stevens, a beautiful Swedish girl who had just made her American debut in Man on Fire, an undistinguished film with der Bingle.

Much to everyone’s surprise, Crosby arrived at the party sans toupee. Benson Ford was so shocked by the sight of the bald-headed singer that he asked me if I would ask Bing to pose with him. When I told Crosby of Ford’s request, the gracious artist laughingly agreed, but only on one condition:  “Providing you keep the prints locked up someplace and see that the negatives are destroyed. I don’t want to see a picture of me and Ben in one of your company publications,” he warned.

The Edsel Show was telecast live to New York and the Midwest, then kinescoped to the West Coast three hours later. I figured this might give us time to get the New York Times review of the show before it ended in California. So we set up two of three TV sets at Chasen’s and invited everyone to remain for the re-broadcast.

John Sattler had made arrangements for the review to be read to me from the Times city room at 11:30 PM, EDT, halfway through the West Coast telecast. The arrangement went off on schedule and immediately after the show I read to the audience the Monday Times. The critic found the show most entertaining, of course, and the cast and guests cheered the review heartily. Then called for Crosby to take a bow, which the crooner did in his modest way.   

The television show may well have been the only real success Edsel ever had. Several months later, I received a kinescope of The Edsel Show, a gift from the singer. I had not asked for it, nor had Crosby offered it to me. The film came as a complete surprise, with a note that said simply, “Thanks, Bing.”

(C. Gayle Warnock, former Public Relations Director for Ford, writing in his book, The Edsel Affair . . . What Went Wrong?)

 

“Frank’s gonna blow it,” Bing said to me. “He’s gonna blow it, and you and I are gonna have to bail him out.”

Bing and I were rehearsing for a Ford television special to air on October 13, 1957; Frank hadn’t bothered to show up. There was a difficult chord change in a medley we were doing, and we knew that if he didn’t rehearse with us, he wouldn’t get it. I loved doing that show. Sinatra smoked a cigarette while he sang “Birth of the Blues” with Louis Armstrong and his jazzmen. Bob Hope sang the song from “Road to Morocco” with Bing: Like Webster’s dictionary, we‘re Morocco-bound! Then Bing and Frank and I did our long medley - maybe fifteen minutes - with me standing in the middle. When Frank started in with “Blues in the Night” [sic] a cappella, it sounded fine for about a bar, until the band came in with a chord in a totally different key. Bing had been right - Frank blew it. But it didn’t matter, because Frank shrugged and laughed at himself - “The note’s somewhere in there” — and the audience loved it. Bing and I just looked at one another. The Voice could get away with anything.

It was a terrific show for me and, apparently, for the viewers: Look magazine gave it their Best Musical Show award. The sponsor didn’t do so well, though. The show was built around the newest Ford offering, the 1958 Edsel. The only Edsel I ever saw was the one they gave me to drive while I was rehearsing. I came out of the CBS Building, up those little steps to the street where my purple Edsel was waiting, like the Normandie in dry dock. Mr. Ford was right behind me, heading for his Edsel. I opened the door of my car and the handle came off. I turned to him, holding it out to him. “About your car...”  

(Rosemary Clooney, writing in her book Girl Singer—An Autobiography)

 

The next day I received a note.

“Dear Kathryn.

I know I am a louse, but you could be a friend and answer my last letter. I only want to see you for a brief chat, I’ve been punished quite enough I should think. I don’t want to complicate your currently well-ordered life, but I just must you. Please! Bing.”

The same day in The Hollywood Reporter Army Archerd observed, “Bing Crosby and George Rosenberg sky into Spokane November 3 for the Crosby Library dedication. Reminds us, watching the Edsel spec last Sunday, Kathy Grant’s beautiful eyes filled with tears when Bing bounced on.”

Two days later that little clipping arrived from Beverly Hills with Bing’s card: “An apocryphal item, I’m sure, but being eager to believe it, I’m to send one more appeal to you. I’m going to the Springs tomorrow to open up the new house, but I’ll be back Sunday, and I’d love to find a note here saying that you would see me. What I have to say will take only five minutes. I can’t sleep, I can’t do anything until I have told you what I want to say. Please do this for me. Bing.”

(Kathryn Crosby, My Life With Bing, page 99)

October 22, Tuesday. After writing to Kathryn Grant several times without reply, Bing writes again:

 

Dearest Kathryn,

I guess this will be my last letter since you won’t see me. I do feel I should tell you what I want to say. I want to marry you—any time, any place you wish. I really feel this proposal deserves a personal response, and, as I’m supposed to return to the Springs tomorrow, won’t you please call me this evening at Crestview 55633? This is the very last thing I’ll ask of you.

Love, Bing

(as reproduced in My Life with Bing, page 99)

 

October 23, Wednesday. Following negotiations by telephone through Kathryn’s aunt, Mary Banks, it is agreed that Bing and Kathryn will meet in Las Vegas to get married. Bing and Leo Lynn book into the Sands while Kathryn and her aunt go to the Desert Inn.

October 24, Thursday. At 8:00 a.m., Leo Lynn picks up Kathryn at the Desert Inn and drives her and her Aunt Mary to the parking lot at the Sands where she meets Bing. They travel to the County Clark courthouse together to obtain a marriage license that Bing signs as “Harry L. Crosby” and gives his date of birth as May 2, 1904. They then drive on to St. Anne’s Church where they are married by the Rt. Rev. John J. Ryan in the presence of Leo Lynn and Mrs. Guilbert Banks (Aunt Mary).

 

There, for the first time in many months, he kissed me on the lips. It was a small kiss, but at last I was free to hug him. Feeling his shoulders shaking, I backed away and saw his eyes were full of tears. Instinctively I clutched him again and turned so no one else could see.

(Kathryn Crosby, writing in My Life with Bing, page 107)

 

After a wedding breakfast at the Sands, they fly to Palm Springs where they are met by the mayor and a band playing “Here Comes the Bride,” before driving to Bing’s new home at Palm Desert, which it is said that Inger Stevens has been helping to furnish.

 

Palm Springs, Calif. (AP). Bing Crosby, 53, and his new bride; actress Kathryn Grant, 23, are honeymooning near here at the singer’s palatial ranch.

The couple arrived by plane yesterday after a surprise marriage in Las Vegas, Nev. The 45-minute ceremony was performed by Msgr. John J. Ryan.

The wedding party drove to the Sands hotel for a post-wedding breakfast. A reporter addressed the bright-eyed bride as “Mrs. Crosby.”

“Mrs. Crosby,” she sighed. “Say that again."

A scattering of fans met the Crosbys when their plane landed here. Bing seemed slightly nervous when friends and strangers pushed forward to offer congratulations. The bride stood modestly aside.

Asked how she felt she replied: “Wonderful. Don't I look it.”

Crosby told newsmen he had never seen the new desert mansion to which he was taking his bride.

The singer indicated the honeymoon will be short.

“I’ve got to get back to Hollywood to tape a radio show on Monday,” he said.

Asked whether now, as the wife of one of the entertainment world’s wealthiest figures, she intends to continue her acting career, Mrs. Crosby said: “That’s up to my husband.”

“She can do anything she wants,” said Bing, pecking her on the cheek.

In Hollywood. Bing‘s brother, Bob, commented that “he needed something like this. Bing was a very lonely man.”

Bing didn’t tell his four sons or the rest of his family about his wedding plans.

Kathy, a vivacious girl with a degree in fine arts from the University of Texas, has been Bing's most serious romance since the death of his first wife, Dixie Lee, in November of 1952.

She had bit parts in six pictures.

(The Waukesha County Freeman, October 25, 1957)

… The wedding took even their friends and family by surprise, but Bing airily seemed to wonder what the fuss was all about.

“We’ve been going together for four years,” he told the Associated Press during a post-wedding breakfast at the Sands Hotel.

But wasn’t the romance broken off a year ago?

“Ostensibly it was, but that was only so we could sit back and think things over,” he replied. “I’ve been sold on the idea for a long time. It was a matter of selling Kathy on it. We decided to go ahead in the last week.”

Bing didn’t let any of his family except his mother in on his plans… “I called my mother this morning to tell her I was going to the church,” Bing said later. The boys (his four sons) don’t know about it yet. I’m going to call them now. Three of them are in Los Angeles and Gary is in Germany.”

Kathy’s mother, Mrs. D. E. Grandstaff, a West Columbia, Tex. schoolteacher, at first said she “was stunned by the whole thing. I don’t know anything about it. I have not heard from Kathy, and so far as I know, she has not even seen Mr. Crosby in several months.”

“He seems like a nice fellow, and as long as Kathy is happy we are happy too,” she said.

Later in the day Mrs. Grandstaff said her daughter and Crosby had telephoned her after the wedding.

     (Bob Thomas, Associated Press, October 24, 1957)

 

Ford Ord, Calif., Oct. 24 (UP) —Army Private Lindsay Crosby, youngest son of singer Crosby, said today that news of his father’s marriage to Kathy Grant was “the surprise of the year to him.” Young Crosby said he had not heard of the wedding until informed of it by the United Press.

“The news is the surprise of the year to me,” he said. “I didn’t know he was dating her anymore. I guess he’s finally figured it would be best for him to settle down.”

Asked if he was happy about the occasion, Lindsay said he didn’t know “If I feel one way or another.”

Then he added: “This will probably be very good for him. He needed someone like Kathy.”

 

The Bing Crosbys’ wedding gift from Inger Stevens was purchased at W. & J. Sloane’s with a gift certificate which Bing had given Inger a week ago.

(Variety, October 28, 1957)

 

October 27, Sunday. Kathryn returns to Los Angeles to see Margot Fonteyn in “Swan Lake” and she then goes alone to Bing’s home at 594 South Mapleton Drive, Holmby Hills.

October 28, Monday. Press reports suggest that Bing is thinking of selling his interest in the Pittsburgh Pirates so that he can make a further investment in the Detroit Tigers. (10 a.m. – 1 p.m.) Bing records songs with Buddy Cole & His Trio for radio use at the CBS Studio in Hollywood.

When Bing Crosby walked into Studio C at Columbia Square in Hollywood last week to do his CBS Radio “Road Show,” he was greeted by the strains of Mendelssohn’s “Recessional.” It was a warm gesture offered by Buddy Cole and his trio in their best cool jazz style. Their greeting was in tribute, of course, to Bing’s surprise marriage on Oct. 24 to actress Kathy Grant. It was the first time any of the musicians had a chance to congratulate The Groaner since his wedding in Las Vegas.

(Lubbock Avalanche-Journal, November 10, 1957)

October 29, Tuesday. Plans had been made for a CBS-TV special starring Bing to be transmitted on December 11 with sponsorship from Shulton Inc and the United States Time Corporation. Press coverage on this day indicates that Bing has canceled the program.

October 31/November 1, Thursday/Friday. Bing and Kathryn are fishing in Northern California.

November 2, Saturday. Bing and Kathryn at his Hayden Lake, Idaho home where they go duck hunting.

November 3, Sunday. They go to Spokane for the dedication of the $700,000 Bing Crosby Memorial Library at Gonzaga.

 

Bing Crosby of the class of ‘24, with his beaming young bride of 23 and his twin sons beside him, formally donated a new $700,000 library Sunday to his alma mater. Crosby, dressed in the colorful academic robes and square-topped cap of a doctor of music, stood up amid 70 gowned professors to make the presentation at the end of an impressive ceremony and swept away the last vestige of solemnity with his first remark: “Oh, I wish Bob Hope could see me now.”

      The crooner turned it into that kind of an occasion and Kathy Grant, his pretty wife of 10 days, joined heartily in the laughter with 5000 other persons who watched the outdoor ceremony at Gonzaga University. When he turned over the library keys to the Rev. Edmund Morton, University President, Crosby cracked, “Father Morton will need these. He may want to get in there some night and break up a poker game.”

      Crosby’s 23 year old twin sons, Dennis and Phillip, sat one chair away from Miss Grant in the front row and they heard their father and husband eulogized by half a dozen speakers as a great, successful entertainer who never forgot the place where he got his start. Crosby, 53, grew up a block away from Gonzaga, was graduated from Gonzaga High School and spent two years at the university as a budding law student before quitting to take a stab at show business.…

      Crosby and his bride obviously enjoyed the occasion. They stood in a receiving line in the library lobby to shake hands with all the guests after the ceremony.....Thousands of visitors poured through the new library after its dedication. They found a three level building of modular construction, with an aggregate floor space of 33,464 sq. ft.

(Associated Press, November 3, 1957)

 

November 7, Thursday. Bing and Kathryn fly to San Antonio in Texas where their plane makes a brief stop and they are interviewed and photographed by reporters. They fly on to Houston where Bing is made an honorary citizen of Texas on his arrival by the Governor's representative. They travel by car to Kathryn's home town of West Columbia.

November 8, Friday. Bing and Kathryn’s father go duck hunting. At night, there is a wedding reception in Kathryn’s hometown of West Columbia, Texas. There are said to be 600 people in attendance at the event.

Crooner Bing Crosby and his bride, the former Kathy Grant, plan to leave West Columbia Sunday for Hollywood following a visit to Mrs. Crosby’s home town. The couple was honored last night at a reception attended by more than 600 residents of West Columbia.

Bing went duck-hunting with his father-in-law, D. E. Grandstaff, former Brazoria County Commissioner, Friday, and reportedly bagged his limit of five birds. Bing and Kathy visited the town’s elementary school later in the day and the crooner sang “Never Be Afraid.” The couple then went to the high school and sang a duet, “Sometimes I’m Happy.”

(Corsicana Daily Sun, November 9, 1957)

On November 7 Bing and I traveled to West Columbia for a proper wedding reception. Fortunately some good Samaritans had lured my schoolteacher mother out of our house and cleaned up the familiar mess. It wasn’t that she had anything against housekeeping, you understand. It was just that she never got around to it. The house was never lovelier, and everyone deliberately refrained from opening closets.

Bing submitted to being touched, pummeled, cajoled, and caressed. He stood in a reception line and shook hands with everyone in the county. One elderly and slightly intoxicated dignitary was so enchanted by the whole process that he marched through the line four times, eliciting a troubled look of vague recognition from the groom on his final pass.

Bing went duck hunting the next day, and loved every moment of it. “Kathryn, your dad brought down those mallards from the stratosphere, and I did pretty well for a foreigner.”

Our banker, Dooley Galloway, breathed confidentially, “Why he’s just an old shoe, Kathryn, just an old shoe, and you’re the smartest girl in West Columbia.” (i.e. the known universe)

Not one to deny the obvious, I simply asked, “Why, Dooley?”

“Because you married Bing Crosby, that’s why.”

(Kathryn Crosby, writing in My Life with Bing, page 113)

 

November 9, Saturday. Bing and Kathryn go out with the Grandstaff family on the sport fishing boat 'Queen of Texas' from Freeport into the Gulf of Mexico on the Intercoastal canal, but bad weather forces them to turn back.

November 10, Sunday. Bing and Kathryn fly back to Los Angeles on a chartered plane.

November 13, Wednesday. Bing and Kathryn return to Palm Desert.

November (undated). Makes a number of commercials for gas appliances including a parodied version of “Swinging on a Star”.

 

Bing Crosby has concluded four commercials for Lennen & Newell for sponsor American Gas Assn.

(Variety, November 24, 1957)

 

December 2, Monday. Bing’s album Merry Christmas (which brings together many of his earlier recordings of Christmas songs) enters the album charts and goes on to reach number one. It remains in the charts for seven weeks. Elsewhere, The Cincinnati Enquirer gives details of a Christmas album by the Bonaventura Choir that includes Bing narrating the Christmas story. The album is released as "The Bible Story of Christmas" by the World Library of Sacred Music.

December 10, Monday. Bing writes to Jim Merbs at the Monterey Peninsula Herald.

I have your letter of the 5th, which discusses plans you have afoot up there for using a photograph of me in connection with your annual full color page on the Pro-Am tournament.

Jim, the picture Sam Manning did of me turned out rather well. I originally only wanted him to do a picture of Mrs. Crosby, but she talked me into sitting a little bit for Sam. I’ve had the picture photographed both in color, and black and white, and I see no real reason why we shouldn’t use this for our color page. Let me know what you require.

I think the photographer told me that he was sending me some transparencies in color of the portrait, which I believe is what you need for reproduction purposes. Let me know as soon as you can if this will be sufficient, or if you will require something else. He also took pictures in black and white. The color transparency he showed me is about five inches by four inches, but it is my belief that they blow these up into any size they want. Someone on your staff would probably be able to advise you about whether or not this can be done.

Possibly, if you plan to use Sam Manning's effort, you should call him for permission. Maybe this is not necessary, but it might be a nice thing to do anyhow. I can’t imagine any reason why Sam would be opposed. I am home in Beverly Hills now so you can write me here any time between now and Christmas about this matter.

With very best good wishes to you and your staff, believe me to be – Your friend, Bing

December 12, Wednesday. Bing and Kathryn attend Frank Sinatra’s birthday party at the Villa Capri Restaurant and Bing sings a parody of “Everything Happens to Him” in a humorous tribute.

December 19, Thursday. Bing and Kathryn attend the Egyptian Theater for the Hollywood premiere of the film The Bridge on the River Kwai.

December 20, Friday. (9:00 - 9:30 p.m.) Guests on Frank Sinatra’s Christmas television show on ABC, which is titled Happy Holidays with Bing and Frank. The show was originally filmed in October and was directed by Frank Sinatra. Bill Morrow is the writer, William Self is the producer and Nelson Riddle is the musical director. Sponsors are Bulova and Chesterfield.

 

Bing Crosby guested on Frank Sinatra’s ABC-TV Christmas Show, last Friday (20th) and Sinatra & Co., would have been hard put to find a more vivid contrast with the memorable early season Edsel show. Where the latter was vibrant, this Sinatra filmed episode was static; where the Edsel outing was spontaneous and fresh, this was studied, pretentious and awkward. Comparison is not really invidious, since it was the Sinatra-Crosby teaming that made the Edsel show the great TV outing that it was. Yet, the results on this Yule edition of the Sinatra showcase seem a summary of the failings of the entire Sinatra series on ABC - it’s uncomfortable, Even discounting the often sloppy production, the absence of a central theme or point of view, the fact is that Sinatra never quite seems at his best or his easiest and the attitude affects his guests.

      Sinatra himself directed this outing, his first directorial stint and in this regard the show was commonplace, with Crosby and the Voice, first carolling over a home bar, then, in old-English costume, in a street setting, then back in the too posh setting of the Sinatra living room. The pair went through some 15 Christmas songs, traditional and modern but neither were in their best voice and unlike the Edsel outing, the combination wasn’t a happy one, with the harmony somewhat forced and at times, rather strident.

      Worst attribute of the show and the facet that seems to cause the most discomfort, in the dialogue, is Sinatra, spouting a torrent of flip expressions that, presumably, are supposed to be sophisticated and hep but come across in a completely affected manner. He doesn’t seem at ease and neither did Crosby who had to suffer with the same business. It’s a case of writer, Bill Morrow, who should know better than to try his old ‘Kraft Music Hall’ flippancies in another era and with so completely a different type of personality as Sinatra. For all the ABC decisions to do more live shows with Sinatra and with all the big guest star bookings on the show, no improvement in the program or the ratings is likely to begin until Sinatra starts acting himself. He can work all the tension he wants into a song or even a performance but on television ya gotta be relaxed and ya gotta be straightforward and believable or it’s murder, as Sinatra is now experiencing it.

(Variety, December 25, 1957)

 

December (undated). Bing and Kathryn hold a big party at the Holmby Hills house that is attended by stars such as Dean Martin and Ernie Kovacs.

 

Mr. & Mrs. Bing Crosby entertained at the Holmby Hills manse - first time most of the Hollywood gang had been in the place to meet his family.

(Daily Variety, December 24, 1957)

The first party at the big house in Los Angeles was held at Christmas. It juxtaposed my few friends with Bing's huge following. Amid the buffet, the Michael Burke Singers, and many funny stories, certain potential problems reared their ugly heads.

Bing's circle was at least a generation older than mine. And Mary Banks, his sole contemporary from my group, spent the evening trying to convert a bewildered Dean Martin and inebriated Ernie Kovacs to fundamentalist Christianity, while they strove desperately to imprison their exuberant vocabularies within the bounds of propriety.

But I was impervious to portents at that glorious moment. I was much too busy celebrating the end of the most decisive year in the life of a diminutive would-be actress from West Columbia to consider future problems.

(Kathryn Crosby, My Life with Bing, page 113)

 

December 24, Tuesday. (9:00-10:00 p.m.) A Christmas Sing with Bing airs on CBS radio. Gary Crosby contributes a brief message.

 

“Sing With Bing” is developing into a standard Christmas eve radio offering. Aired for the third successive year last week under the same sponsor, show once again featured a program of holiday songs delivered by Bing Crosby from Hollywood and numerous choruses in pickups from other points in the U.S. and the world. Taped in advance, show nevertheless came through with the right holiday flavor. The sponsoring insurance company told its story lightly and politely via announcer Ken Carpenter in some half-dozen plugs. The commercial note was muted by such topical phrases as “family security and happiness through insurance,” etc., all designed to fit in with the mood of the holiday.

      Musically, the show had some standout numbers. Most effective was the religioso delivered by the Vatican Choir in the Rome pickup. Another excellent number was rendered by a Dutch children’s choir from The Hague. Other numbers featured choirs from Minneapolis, Canada and Jerusalem in addition to one number by the insurance company’s chorus. Windup number spotlighted Bing Crosby’s son, Gary, now a U.S. soldier stationed in Austria, in “Silent Night” which was reprised in German by an Austrian choir.

      Crosby pere hosted the show in his usual glib style, also delivering several numbers, including “Joy to the World,” “White Christmas,” “Away in a Manger” and “Jingle Bells,” with backing from the Paul Weston orch and Norman Luboff choir.

(Variety, December 31, 1957)

 

December 27, Friday. (9:00 a.m.–12:00 noon) Bing records “Gigi” and “Trust Your Destiny to a Star” with Pete King and his Orchestra for Decca in Hollywood.

 

Gigi

DECCA 30555— The lovely title song from the score of the forthcoming flick “Gigi” by Lerner and Loewe, is sung with heart by the groaner. Jockeys may spin it, which could bring sales.

Trust Your Destiny to Your Star

This tune is from Cole Porter’s score to the upcoming TV spectacular “Aladdin.” Crosby gives it a fine performance. Like the flip, it can get action with jock help.

(Billboard, February 3, 1958)

 

Vic Damone also has a pleasing single on Philips PB889*, on which he sings the title song from the film “Gigi”, the season’s big hit. (It has a good tune, which is more than I’ll say for Mr. Damone’s other number, the title song of the film “Separate Tables”). There is little to choose between this “Gigi” and that offered by Bing Crosby on Bruns. 05770*, which is much more indolent.

(The Gramophone, February, 1959)

 

My favorite later single is “Gigi,” This rates as a Crosby sleeper—not an important song for him, or a sample from a well-remembered album, the Lerner-Loewe movie tune amounts to just an incredibly well-sung single that beautifully closes the great years. In a stellar performance from yet another stellar Crosby era, he oozes with charm as he thanks heaven for little girls in a way that’s half-husbandly and part paternal. He so easily enunciates the differences between “warmth” and “desire” that he really makes you feel it.

(Will Friedwald, A Biographical Guide to the Great Jazz and Pop Singers, page 128)

 

December 30, Monday. Bing and Kathryn attend the wedding of Edward J. Crowley and Charlotte Askins. The wedding party goes on to the Sheraton Town House in Los Angeles where Mr. Crowley is the General Manager. Phil Harris and his wife, Alice Faye, are also present.

December 31, Tuesday. Bing sends a telegram to President Eisenhower inviting him to play in the forthcoming Pro-Am. The President declines. Bing records “Straight Down the Middle” and “Tomorrow’s My Lucky Day” with Buddy Cole and his Orchestra.

 

When a man starts singing golf numbers as if they were romantic ballads, he is wise to announce his retirement! But both should appeal strongly to Bing’s fans and to those who like songs that do not refer at all to “lurve”.

(The Gramophone, June 1958)

1958

January 1, Friday. Bing is thought to have been at the races at Santa Anita.

January 2, Thursday. Starting on the tenth tee at 9:04 a.m., Bing takes part in the pro-am that precedes the Los Angeles Open at the Rancho Park Municipal Golf Course with partners Jackie Burke, Bob Reynolds, and the tournament chairman Don Montgomery. They finish with a 65, well down the field.

January 6, Monday. Bing’s recording of “White Christmas” again enters the charts but only reaches number thirty-four. It remains in the charts for two weeks.

January 8, Wednesday. Has a practice round at Pebble Beach with Jackie Burke.

January 9, Thursday. Bing and a group of business associates seek permission from the Communications Commission to buy radio stations KFOX-AM and FM Radio in Long Beach, California for $700,000.

January 9-12, Thursday–Sunday. The eighteenth Bing Crosby Pro-Am. The tournament is televised for the first time on CBS and expands to seventy-two holes. The purse is increased from $15,000 to $50,000. Billy Casper is the professional winner. Celebrities taking part include Johnny Weissmuller, Howard Keel, Forrest Tucker, Bob Hope, Lindsay Crosby, Bob Crosby, Guy Madison, Richard Arlen, Randolph Scott, Fred MacMurray, Phil Harris and Fred Waring. On the final day, Bing fronts an hour-long live show from 5:30 p.m. on CBS-TV and introduces the song “Straight Down the Middle.” Bing and Bob Hope have an amusing interchange and Kathryn Crosby introduces a brief fashion show segment. Peggy Lee, Phil Harris, Buddy Lester, and the Buddy Cole Orchestra take part in the closing victory dinner and clambake at the Monterey Fairground Pavilion. Bing is later said to have written to several TV editors apologizing for the poor standard of the TV broadcast. A retired army lieutenant named Melvin Blair attempts to rob the tournament office at gunpoint on the Sunday night.

 

Bing Crosby, who’s been running his annual Pebble Beach (Cal.) golf tournament for 17 years now, got the finish of the four-day affair on television for the first time on Sunday (12), complete with sponsor. Easy Laundry Appliances, a division of Murray Corp. of America, footed the bill in its first network television buy.

Apparently feeling that straight golf, even with celebrities, is too specialized a field for the mass audience, Crosby decided to jazz things up, shooting, film clips of celebs in comedy routines, doing a filmed fashion, show and providing some other extraneous inserts. But- the technique didn’t work, for the finished product was something of a hodge-podge, with the live pickups of the golf itself suffering and the added material never substantial enough to strengthen the program. In setting out to give the audience apples and pears, Crosby and CBS came, up with a lemon.

Actually, there were only two filmed inserts with any substance, and they were too short. These were the Red Skelton comedy bit and the Bob Hope-Crosby duolog. Mrs. Crosby’s (Kathryn Grant) fashion show, on film, was short and, unimpressive, and the other film clips seemed more of commercial lead-ins than anything else.

Meanwhile, CBS was only able to get two cameras down on the course itself, on the 17th and 18th holes; and the pickups suffered by virtue of these limitations. None-the less, CBS got some good shots, particularly the one where Lloyd Mangrum sent a long putt to the rim of the 18th cup, then unsuccessfully waited a full two minutes for a stiff sea breeze to blow it in before finally tapping it in himself for an extra stroke. Commentary by Tom Harmon and Roy Storey was excellent.

John Daly, who was tabbed emcee (to. Crosby’s “host”), didn’t have much to do and appeared uncomfortable throughout

Commercials, also filmed on the course and featuring Bob Crosby, were abominably done. But from the sponsor’s point of view, the show with all its faults was probably a good tv buy. Seeking to make a first-time - on - tv impact, Easy had the right vehicle, and punching away at one particular item along, with a contest designed to get viewers into showrooms, the sponsor probably got its point home strongly.

(Variety, January 15, 1958)

 

Bing Crosby and Friends put on some sort of a show yesterday afternoon. Ostensibly, a sports program, featuring the finals of Bing’s tournament at Pebble Beach, it also contained attempts at entertainment.

         The golf shots were confusing and meaningless, especially when every other ball flew off into the ocean. The comedy and entertainment pieces were contrived and superficial excepting a fairly nice slice of repartee, involving Crosby and Bob Hope.

         One rattling piece of incongruity - during a commercial spell, brother Bob said, in effect, that no ‘plugs’ for movies or current jobs would be allowed to come from the guest stars, due to the charity aspect of the affair. Then Bing and Bob did a smart about-face by giving the old pitcheroo to a new Hope movie.

(Los Angeles Evening Herald Express, January 13, 1958)

 

The closing Crosby Clambake Show was great. It featured the inimitable Peggy Lee, who dueted with Crosby, the Buddy Cole Orchestra, magician Dominique, the Hal Loman Dancing Trio, the Tumbling Amin Brothers, comedian Buddy Lester and the irrepressible Phil Harris. It was a fitting climax.

(Harry Hayward. San Francisco Examiner, January 14, 1958)

 

January 16, Thursday. In Palm Springs, Bing is photographed at his home reading the proclamation that will install him as honorary mayor of Palm Desert on February 4.

January 21, Tuesday. Bing competes in a pro-am golf tournament organized by Desi Arnaz at the Indian Wells Country Club, Palm Springs. Actors Randolph Scott and Forrest Tucker also take part.

January 23, Thursday. Bing plays in the first round of the pro-member Thunderbird Tournament in Palm Springs. His handicap is now 5. Playing with Jackie Burke, Ray Welles and F. C. Goodwin, they are well placed with a 57.

January 24, Friday. The second round of the pro-member Thunderbird Tournament. The Crosby team has a 61 making an aggregate score of 118 but they are well out of the money, Bing writes to Maurie Luxford.

Just a short note to tell you that I thought that everything in connection with the tournament came off in fine style. Along with everybody else, I did feel however that the telecast was badly done and mishandled. I believe to know to what most of the failures can be attributed, and if we do it again, I’m sure we can effect a complete remedy and do a real good telecast of the affair.

As far as the tournament itself was concerned, everybody I’ve talked to is of the opinion that it was the best we’ve had yet, and for a change, the weather was kind.

Will be in touch with you later. Thanks for all your good work.

As ever, Bing

January 29, Wednesday. The pro-am before the Phoenix Open takes place at the Phoenix Country Club, Arizona before a crowd of 3500. Bing plays with Mike Souchak, Phil Harris and Bob Goldwater. They have a best-ball score of 58. The winning team scored 55.

During most of the 18-hole route, Crosby was taking ten strokes with a pen for every stroke with a golf club. Autograph hunters besieged him from tee to green, and movie cameras whirred incessantly.
(Dean Smith, Arizona Republic, January 30, 1958.

February 4, Tuesday. (8:00 p.m.) Bing is installed as the honorary mayor of Palm Desert at a black-tie dinner dance for 300 at the Shadow Mountain Club. Edgar Bergen is the MC and George Kainapau sings “The Hawaiian Wedding Song” for Bing and Kathryn. As part of the entertainment, Bing sings “Straight Down the Middle.”

Palm Desert Chamber of Commerce had its night of glory on Tuesday night when world-famous Bing Crosby was installed as Honorary Mayor at a black tie dinner dance at the fabulous Shadow Mountain Club. An – here’s one chamber of commerce that has some influence with the weatherman for the rain stopped and the moon came from behind the clouds so that arriving guests didn’t have to slosh around through puddles of rainwater. The big club was filled to capacity with over 300 people. The men were all in black tie and, desert-style white dinner jackets in the preponderance. That’s what Bing wore, incidentally. The women were in beautiful gowns and it made a gala scene as much as planned except Alice Faye Harris arrived alone as Phil couldn’t get back from Los Angeles and missed the party. Hopalong Cassidy and his pretty wife Grace were there and were among the first couple on the dance floor. Bing and his bride danced a few dances, too.

Edgar Bergen emceed the show and brought forth Charlie MacCarthy to help him. An impromptu bit that was most amusing was the Half Brothers who juggled dumbbells, hat and cigar – called for Bill Morrow, and he stood between them while they removed a cigar from his mouth – and a hat from his head – with flying dumbbells, a kind of modern William Tell act.

The chimpanzee act and the acrobats were both entertaining and George Kainapau held the place breathless while he sang “Beyond the Reef” and wound up by singing the “Wedding Song” for Bing and Kathryn…Highlight of the evening was the presentation which Chamber of Commerce President Phil Franklin made to Crosby. It was an engraved plaque to put on the big citrus tree which the Chamber of Commerce had had transferred to the Crosbys’ ranch home at Palm Desert. And Bing wound things up by singing a song as a “thank you”. He sang “It Went Down the Middle” which was written by Jimmy Van Heusen who was also at the party.

(Hildy Crawford, Around Town, The Desert Sun, February 6, 1958).

February 5, Wednesday. Kathryn announces that she is pregnant. She enrols at Los Angeles City College for three courses that she hopes will help her to become a registered nurse.

February 13, Thursday. Bing defeats Gene Boscacci one up in the Thunderbird Country Club Membership Championship in Palm Springs.

February 14, Friday. Bing becomes the champion of Thunderbird Country Club when he defeats Robert Walker in the final by winning a sudden death play-off at the thirty-seventh hole. In the evening, Bing and Kathryn attend the Valentine Dinner Dance at the Chi Chi Starlite Room. Bing takes part in the floor show with Frank Sinatra, Duke Ellington, Phil Harris, and Joe Bushkin. Bing again sings “Straight Down the Middle.” The function is a benefit for Catholic churches and schools in the area.

He (Phil Harris) introduced Der Bingle as recently married and an expectant father again next August, “no mean feat in itself," and added Bing had become that very afternoon the new Thunderbird club champion. The Groaner, sans chapeau or toupee, with Jimmy Van Heusen at the piano, regaled with a Van Heusen song about a character who swore he drove his ball right down the middle of the fairway and, funny thing, nobody ever found the ball to this day.

(Variety, February 26, 1958)

February 15, Saturday, Bing and Kathryn attend a party thrown by Mrs. and Mrs. Bill Morrow and Pete Petito at Pete Petito's house.

February 24, Monday. Records “Nothing in Common” and “Paris Holiday” with Bob Hope and Joe Lilley and his Orchestra for United Artists in Hollywood. The contract signed that day indicates that Bing will receive a royalty of $3.25 for each double-sided record and half that if only one track is used.

 

Bob Hope-Bing Crosby (United Artists): “PARIS HOLIDAY” is one picture tune that’s a frank plug for the film, which doesn’t enhance its commercial chances…

(Variety, March 19, 1958)

 

Nothing in Common

Listenable outing by the famed duo on a cute, patter-type song. Some coin possible.

Paris Holiday

This sounds more like a plug for Hope’s movie, “Paris Holiday,” than a commercial effort. Doubtful chances.

(Billboard, March 24, 1958)

 

A much more interesting and really funny record is by Bing Crosby and Bob Hope (London HLU8593) of Nothing In Common, and Paris Holiday, a neat plug for the Hope-Fernandel film.

(The Gramophone, June 1958)

 

February 25, Tuesday. Bing is present when his son Lindsay signs his first record contract for RCA-Victor. Lindsay is still in the Army but expects his release in about ten months.

March 1, Saturday. Bing and Kathryn attend the Lew Hoad versus Pancho Gonzales tennis match in Palm Springs with Frank Sinatra and an unnamed blonde.

March 2, Sunday. (9:00–10:00 p.m.) Makes a guest appearance on the Bob Hope television show on NBC-TV and sings “Nothing in Common” with Hope. Other guests are Anita Ekberg, Natalie Wood, and Robert Wagner. Around this time, Bing and Bob Hope film an appeal for Boy’s Town in Chatsworth, California which is supplemented by the film of them both singing “Nothing in Common” from the Hope TV show.

 

Bing Crosby, who came to do a second, remained for a sketch. It’s a pleasure to hear these vets bandy words. The dialog is easy, charming and smooth. Together they seem not to need a script. The relaxed give-and-take does it for them.

(Variety, March 5, 1958)

 

March (undated). Bing and Bob Hope tape a radio program Bing, Hope and Charity to raise money for the 1958 Bishop’s Relief Fund Appeal that is due to take place between March 9 and 16. Bing and Bob’s dialogue is used to link records.

March 3, Monday. From Palm Springs, Bing writes to British journalist Charles Graves and talks about Bob Hope’s imminent trip to Russia.

 

I did a television show with Hope the other night, just prior to his departure for England for the formal opening of his new picture, ‘Paris Holiday.’ He asked me to get ahold of Jock Whitney in London in the hope that Jock could facilitate a visa for him to play Moscow, Russia. Although it seems to me that his ribald humor would do a great deal toward placing our already delicate relations with the Soviets in serious imbalance, I cabled Whitney and have not heard what the result was. He’s a very brave fella it seems to me to risk an appearance in Russia. The Soviets must have quite a file on him, listing all the things he said about them through the years in his comedy routines, and he may get sprayed with a hot jet of borsche, right in the middle of his act. He is certainly a hard dog to keep under the porch, isn’t he? However, being an old stay-at-home myself, I secretly admire the fellow.

 

March (undated). Bing becomes godfather to Gabriel Vicente Ferrer, the son of Rosemary Clooney and Jose Ferrer.

March 12, Wednesday. Bing writes to British fan Stan White.

 

Thanks for your nice letter.  I’m pleased to hear the good news about Michael Holliday.  I hope that he continues to progress and becomes a big star. I’m sure all of you will be very happy if he does.  Glad to hear too that some of my records have been moving satisfactorily in the British Isles.

Was talking to Gary on the phone the other day. He was speaking from Germany. He told me when he gets discharged in May that he’s planning to play a few theatres in England, and it’s quite likely that the Palladium will be one of such spots. I hope so, then you can get to see him and meet him while he’s there. 

If you send the Reginald Dixon recordings, the dual tape will be all right, as I now have a tape machine, and after a thorough schooling can almost make it work. If I fail, one of my neighbors can come in and help me.

Mrs. Crosby and I send best regards to all of you.

As ever, Bing

 

March 13, Thursday. Bing wins the Eldorado Country Club championship when he beats Jack Anderson of Los Angeles five and four.

March 14, Friday. The BBC offers Bing $10,000 to come to London to take part in a birthday tribute to Irving Berlin on May 11. He declines and the BBC then approach Frank Sinatra.

March (undated). Bing and Kathryn go to Las Vegas to see Bob Crosby’s daughter, Cathy, make an appearance at the Tropicana nightclub. They call on Monsignor Ryan who married them last year. They stay at The Sands.

March (undated). Bing and Kathryn go on to Elko for a few days.

March 25, Tuesday. Bing and Kathryn are at Reno where they watch the Robinson-Basilio fight on a giant television screen at Reno High School. Coverage of the fight commences at 7:45 p.m. They stay at the Holiday Hotel owned by Newt Crumley.

March 27, Thursday. Bing and Kathryn spend a few days in San Francisco and visit Ken’s in Chinatown as well as seeing the Mary Kaye Trio perform at Facks II. They also see the Gateway Singers at the Hungry I.

March (undated). Pebble Beach is the next stop for Mr. & Mrs. Crosby.

March 31, Monday. Bing’s album Shillelaghs and Shamrocks (which brings together many of his earlier recordings of Irish songs and had originally been issued in 1956) enters the album charts and goes on to reach number thirteen. It remains in the charts for two weeks.

 

SHILLELAGHS AND SHAMROCKS. Bing Crosby (1-12”) Decca DL 8207. An exceptionally fine Crosby package. The material is full of Irish wit and charm, and Crosby has captured the full flavor of each song. The tunes include traditional Irish pieces, as “Rose of Tralee,” “Dear Old Donegal,” Who Threw the Overalls in Mrs. Murphy’s Chowder,” as well as more modern pieces. Instrumental backgrounds are by John Scott Trotter, Victor Young, Bob Hart (sic – presumably Haggart) and others. Should have a steady sale.

(Billboard, January 28, 1956)

 

April 3, Thursday. Records songs with Buddy Cole (for radio use) at Palm Springs. Also records a tribute to Irving Berlin to be used in a BBC-TV 70th Birthday program on May 11 and a message to the Inernational Crosby Circle.

April 4, Friday. Records songs with Rosemary Clooney and Buddy Cole (for radio use) at Palm Springs. 

April 6, Sunday. (Evening) Bing and Kathryn view the one-man showing of paintings by O. E. L. Graves at the El Mirador’s Starlite Patio in Palm Springs.

April 12, Saturday. Bing and Pete Petito visit the Firecliff's Satellite Room in Palm Desert.

April 13, Sunday. Headlines a show with Rosemary Clooney, Buddy Lester, Phil Harris, and Buddy Cole before an audience of 700 at the Chi Chi Starlite Room in Palm Springs to raise funds for the Sacred Heart Church in Palm Desert. Bing opens with “In a Little Spanish Town” and sings many songs including “Ol’ Man River” and “Swanee.” $20,000 is raised.

 

Bing Crosby came on stage in white jacket, dark trousers and white shirt and black bow tie, and sang “In a Little Spanish Town on a Night Like This.” It was a lovely night and the song got such a warm hand he said if he thought the audience would be this good he would have worn his hair. That got a laugh so he stretched the joke a bit and explained that unfortunately he had sent the hair out for a crew cut.

He met a lady just before the show who told him not to be nervous. With his hands in his pockets he certainly convinced the audience he wasn’t nervous. But he said she begged him to be calm and he tried to convince her that this was just another show of thousands to him and that he wasn’t nervous at all: “Well, in that case,” she asked him “why are you in the ladies’ room?”

Between all the numbers Bing slipped in some smooth routines as auctioneer. He started out with a jewelled diamond cross donated by Andrea Leeds Howard which brought $1,000 in fast bids... This brought der Bingle back and not to be outdone he told the one about the traveller who wanted to get off the train at 5:30 a.m. in Buffalo. The guy woke up in Grand Central Station and was furious. He dragged the Pullman conductor off to report the outrage to the station-master, but the conductor was quite calm about it, said he was getting used to angry passengers. “The guy I threw off in Buffalo was just as mad,” he said.

Then Bing told the gag about the guy who asked a cab driver to take him to Christ Church in New York, and was dumped at St. Patrick’s Cathedral instead. The fare protested. “Well,” said the cabbie, “if He’s in town He’s in there.”  He then introduced Jose Greco and his Flamingo dancers, 14 in all, and they just about stole the show from their relaxed, charming host….After some more bids and fat checks Crosby tried another Irish tale.

This one was about the old man who had worked 50 years in a lumber yard. He decided his time was getting short he’d better get back to the sacraments. He confessed that every day when he quit work he would take home a little lumber. And over 50 years that amounted to a lot. The priest thought it was serious and asked the old man if he’d ever made a retreat? The old guy lit up and said, “No, Father, but if you get the plans I’ll get the lumber.”  You must remember this was a benefit for a Catholic Church, and trade jokes went over best.

…Then the old Groaner brought on the creme de la creme, Rosemary Clooney. With blonde shiny hair and a polka-dotted dark dress featuring a harem skirt, she sang six numbers solo and then teamed with the old master on two duets, one of them being a beautiful rendition of “Give Me Something To Remember You By.”

(Frank Scully, Variety, May 7, 1958)

Bing Crosby told the audience at the jam-packed Chi Chi in Palm Springs that he’d never emceed a show in his life before Sunday night’s fund-raising drive for the Catholic Church in Palm Desert. But if there were any TV executives on hand, Bing just has to land his own show. He was Perry Como, Steve Allen and Ed Sullivan rolled into one—and then some.

It was the greatest show (and auction) Palm Springs has ever seen. A miniature black poodle alone went for $1000. Among those who made the evening gala were Rosemary Clooney (yes, she dueted with Bing), Jose Greco and his troupe, Phil Harris and wonderful comedy and acrobatic acts.

(Louella Parsons, Keeping Up With Hollywood, syndicated column, April 15, 1958)

 

April 16, Wednesday. Bing plays in the Sunburst Tournament at the Eldorado Country Club in Palm Springs and breaks off from his round to issue a proclamation as mayor of Palm Desert that April 17 will be “Texas Day” as part of the Desert Circus celebrations.

April 17, Thursday. Bing and Bill Gargan come third with 127 (low net score) in the Sunburst Golf Tournament and win a silver plated ice bucket.

April 18, Friday. Bing is said to have been at the Los Angeles Coliseum to see the Los Angeles Dodgers make their debut on their new home ground following the switch from Brooklyn. The Dodgers beat the San Francisco Giants 6-5.

April 19, Saturday. Bing and Kathryn ride in the Desert Circus parade saluting Texas in Palm Springs. A crowd estimated to be 15,000 strong watches the 3-hour parade in 101 degrees heat.

April 21, Monday. Salinas, California—Melvin Blair (forty-two), a retired army lieutenant, is sentenced to between five and twenty years in prison for trying to rob the Bing Crosby Golf Tournament of more than $40,000 the previous January.

April 22, Tuesday, Golfs with Gordon McRae and Walter Burkemo at the Desert Inn Country Club in Las Vegas.

April 23, Wednesday. Bing golfs with Ken Venturi against Jimmy Demaret and Walter Burkemo at the Desert Inn Country Club and they lose one down. Bing and Bob Hope are sworn in as Helldorado Kangaroo Kops. They are to be “law officers” for the Helldorado celebrations to be held May 15–18. They go on to take part in the Tournament of Champions putting competition at the Desert Inn Country Club where Phil Harris and Bob Hope beat Bing and Walter Winchell two up.       

April 27, Sunday. Bing and Kathryn watch the final day's play at the Tournament of Champions.

April 29, Tuesday. Back in Palm Springs, plays at Indian Wells Golf Club.

May (undated). Bing seeks the film rights for Meredith Willson’s The Music Man show.

 

Bing Crosby Seeks Music Man Rights.

Acting on behalf of his brother, Bing, Everett Crosby has had conversations with Meredith Willson in N. Y. regarding acquisition of film rights to Willson’s hit musical, “The Music Man,” as a Crosby starrer.

(Daily Variety, May 8, 1958)

 

May 2, Friday. Plays in the first round of the Pow-Wow Tournament at Indian Wells Golf Club.  He appears on the first tee wearing an Indian head-dress.

May 4, Sunday. Dennis Crosby (age 23) marries Pat Sheehan (age 26), a Las Vegas showgirl, who had been linked with Bing in 1957. They are married by the Reverend James A. Herndon, pastor of the protestant Church of the Nazarene at the Gretna Green Wedding Chapel in Las Vegas, instead of a justice of the peace and this is felt likely to cause additional problems with the Catholic Church. Miss Sheehan is a divorcee with a six-year-old son named Gregory.

Crosby’s Son Weds Dancer

LAS VEGAS, Nev. (AP)—Bing Crosby’s son Dennis, 23, married showgirl-divorcee Pat Sheehan, 26, in a Protestant ceremony between her show performances last night. The rites were performed at the Gretna Green Wedding chapel by the Rev. James A. Herndon, pastor, of the Las Vegas Church of the Nazarene.

Dennis is the first of Bing’s four sons to marry. All were reared Roman Catholics.

Miss Sheehan, a shapely blonde, was Miss San Francisco of 1950. She has a 6-year-old son by her previous marriage.

She and the crooner‘s son were having dinner at a Mexican restaurant next door to the chapel when they decided to marry immediately, Miss Sheehan said later. She said they wanted a quiet, simple ceremony, rather than a more elaborate one that had been discussed.

After the marriage, she made another dancing appearance in her supporting role in the show at the Tropicana hotel. Best man at the ceremony was Don Williams, whose singing group appears in the show. Miss Sheehan was attended by Dotty Harmony and the witnesses were Mary and Marcia Darcy — all showgirls in the act.

Miss Sheehan said she and young Crosby had no honeymoon plans and that she might continue appearing at the night club another two months. Dennis and Miss Sheehan have been keeping company for several months.

Last Feb. 3, spokesmen at their homes said they planned to be married in the same Las Vegas Catholic church where widower Bing, 53, married actress Kathryn Grant, 23, last Oct. 24.

(The Waukesha County Freeman, May 5, 1958)

May 6, Tuesday. Dennis is involved in a paternity suit, concerning a baby named Denise Michelle Scott born on November 24, 1957 to Marilyn Scott, a switchboard operator and stenographer. The suit is not settled until 1961. On the baby’s birth certificate, Dennis is described as a student at UCLA but the University records indicate that after enrolling as a business administration student in September, he dropped out after one class.

May 7, Wednesday. Kathryn hosts a party at the Palm Desert house to celebrate the birthdays of Bing and Alice Faye. About 40 people attend including Bill Gargan, Phil Harris, Jimmy Van Heusen, George Rosenberg and Pete Petito.

May 12, Monday. Plays in the annual member-caddy tournament at Thunderbird Country Club. Bing's fivesome comes third.

May 13, Tuesday. Gary Crosby is discharged from the Army.

May 16, Friday. Bing records material for the Ford Road Show at the CBS Studios in Hollywood.

May 20, Tuesday. Bing and Kathryn are entertained at a dinner party given by William (Buster) Collier and his wife at their San Francisco home. The Crosbys are in San Francisco for the Red Cross Convention.

May 31, Saturday. Bing is in Vancouver, British Columbia, staying at the Hotel Vancouver. He and his friends dine at The Steak House.

June 1, Sunday. Bing flies to Port Hardy on Vancouver Island and then departs on a fishing trip on Max Bell’s yacht, the Campana, with Phil Harris, Jimmy Van Heusen, Bill Morrow, and Buster Collier (collectively known as “The Clams”). He writes frequently to Kathryn.

Hotel Vancouver

British Columbia

June 1, 1958

Dear Kathryn

Just a note before departure for le pays du beau saumon. Met all the chaps last night and had a fine dinner, after which we walked about the city until we had picked up a small following of the curious, which drove us early to bed.

I have just returned from church and will shortly rouse my motley crew to get them to the airport, which won't be as easy as it sounds. Morrow's gear, tons of it of course, which he shipped up in advance, has for some inexplicable reason been impounded by customs. It's Sunday and their warehouse is closed, but we'll have to shake out a few functionaries and see what can be done. No trip with Morrow would be normal without some complications.

We will be back here at this hotel on the thirteenth, fourteenth, or fifteenth, depending on winds, tides, and the moods of the crew. Hope all remains serene with you.

Physically, emotionally, and all ways I love you, Bing.

        (As seen in My Life with Bing, pages 11-119)   

June 3, Tuesday. The Campana arrives at Prince Rupert where Phil Harris has stitches put in a cut on his foot. Crowds assemble to see the visiting stars.

Yacht Campana

June 3, 1958

Dearest Kathryn,

So far the cruise has been a series of mishaps. Two of them before we even got aboard. Saturday night Van Heusen slammed a taxi door on his index finger, lacerating it badly and breaking the bone, Collier scratched his eyeball in some undetermined fashion and is now wearing a patch. I think he rather fancies himself as a romantic war correspondent, At Port Hardy crowds Of villagers came down to see the Hollywood group, and a little girl fell off the pier between the yacht and the pilings. The mate jumped in and pulled her out, frightened but unhurt,

Yesterday afternoon we anchored in a little bay fed by a rushing river. We decided to try for some trout, and went ashore in a launch towing a skiff. A good thing we took the latter because while we were fishing the tide went out, leaving the launch high and dry on the rocks. We had to row back to the yacht, returning for the launch this morning when the tide came back in.

We caught some nice trout, up to a pound or so, but it was too brushy to fly-fish, so we resorted to lures, No purists in this area. Phil Harris was wearing thin rubber bouts when he stepped on a sharp, broken bottle, inflicting a nasty cut on his instep. It will need stitches when we reach Prince Rupert this noon. Phil claims it’s the first time he ever got in trouble with an empty bottle!

The boat is comfortable and the food excellent. Harris and the cook have become quite friendly, and the Indian has a pot of beans started, with plans to add some succulent items from time to time, and promises of a very special treat for tomorrow. The cook is cooperative, but dubious about the whole enterprise.

Mother Morrow is in good health, but he's had some heated differences of opinion with Harris about whether things should be fried or boiled. At present we are not speaking. He plugged my dictaphone into the DC socket and burned out the motor, forcing me to correspond in longhand. Now it’s lunch time and this air does make a fellow hungry. Am going to try to be a little careful with the groceries. My chief enemy – obesity – is lurking in the gravy.

(As seen in My Life with Bing, page 119)

June 4, Wednesday. The Campana moors overnight at Ketchikan in Alaska and then leaves for Bell Island Hot Springs. Jimmy Van Heusen has broken his index finger during the trip. Variety magazine indicates that Bing has signed a five-year contract with ABC to star in ten television shows and to produce another ten for $2 million.

June 4, 1958

Dear Kathryn,

I wrote you yesterday from Prince Rupert, but we are leaving from Ketchikan in a few minutes to pick up some gear, so I thought I’d get off another note. Two of our invalids are on the convalescent list: Jimmy’s finger annoys him, but the vet in Prince Rupert averred that it would heal if he kept the cast on. Collier’s eye is practically OK. Phil’s foot, however, remains very painful, so he will have penicillin shots for a few days, If he’d stay off it for a time it would doubtless heal faster, but you can’t keep him down. Not a word to Alice. She’d worry unnecessarily.

We caused a minor sensation in Prince Rupert, a town of twelve thousand souls, half of whom are Indian I think we were the first show folks ever to visit the place. Fairly blocked traffic and jammed the stores. Nice people, however, and they gave us lots of good dope on where, when, and with what to fish.

We should get some salmon today, but I’m mainly interested in locating rarely-visited lakes and streams where the trout are reputed to abound. Big scrappy rainbows and cutthroats. We’ll do some snooping in Ketchikan. Maybe pick up a guide who can travel with us and show us the likeliest places.

Yesterday morning we caught some chicken halibut, and had it poached and fried for lunch. Poached for Morrow and fried for Phil. We’re going to set the crab traps tonight, and we’ll also have a clam-digging detail. Peg-leg Harris will have to be straw boss.

Here’s Ketchikan. Will write again soon, and call you if I get near a phone. I miss you,

Bing.

(As seen in My Life with Bing, pages 119-121)

June 7, 1958

Dearest Kathryn,

We are now anchored at Bell Island, fifty miles northwest of Ketchikan,

We have caught upwards of fifty salmon, fishing almost entirely in the evening. It doesn’t get dark up here until midnight, and as it happens that is the low tide, which is the best time for these fish. Can you imagine fishing at midnight?

The weather has been unbelievably beautiful—completely contrary to what I would have imagined Alaskan weather to be. Yesterday we hiked in two miles, packing a small boat and one-horse motor. Found a beautiful snow-fed lake bereft of trout.

Collier and I travel light for these jaunts, but you should have seen Morrow toiling up the trail dragging his gear. We were too beat to bring the motor out, so someone will have to go in today and get it. It weighs a hundred and twenty-five pounds, and the trail is rough and log-strewn, with overhanging branches and mud underfoot. All this and no trout.

Mother Harris got deep into the kitchen last night—corn bread, ribs etc. Made a large production out of it, as you know he can, The chef was somewhat less than enthusiastic, but finally damned it with faint praise.

I feel rather derelict of my duty, leaving you alone in a house which is still strange to you, but I can only pray that your tasks are not too onerous. I miss you very much. All my love, Bing.

June 7, Saturday. The Campana is anchored at Bell Island, fifty miles northwest of Ketchikan. Bing, Phil Harris, Jimmy Van Heusen, and Buster Collier fly in a Grunman Goose to Humpy Lake in the Alaska Mountains for trout fishing. Bing writes to Kathryn to describe the experience.

      June 8, 1958

Dearest Kathryn,

I’ve always wanted to fly into a mountain lake and try some trout fishing. Yesterday my wish was gratified, but I can’t say that I’m eager to repeat the experience. Four of us, excluding Morrow who pleaded the pressure of work, flew in a Grumman Goose to Humpy Lake, high up among the Alaska Mountains. We circled for an hour over, around, and between precipitous, rocky, snow-clad peaks. Then suddenly we dived through a deep pass, threaded our way between towering hills, banked a few times right and left, and landed mercifully though inexplicably on a lovely, ice-cold lake. Snow-fed, it is about eight miles long, a mile wide, and nobody knows how deep.

We got into our waders and began whipping the banks with the spinners. Not much success for a while, and then, where a river came pouring out of a snowbank, we struck pay dirt. Almost every cast hooked a cutthroat trout. They were fat and fierce, weighing from a half pound to a pound and a half. They hit the line as if they were trying to knock it up onto the bank. What sport and what surroundings! It was just as I had always fancied it would be.

Of course we had the usual mishaps: Collier slipped on a rock and went into the icy water up to his neck, his camera over his shoulder. After a brief period of shaking and shivering, he was back in action again, but the camera is somewhat the worse for wear.

I hated the prospect of leaving, because I couldn’t imagine how the pilot was going to get the Goose up and out of there. The feat was complicated this time by rapidly gathering clouds which were beginning to shroud the peaks. He told me that he had been flying this country for seventeen years, which should have afforded some solace, but I reflected that the odds must now favor the mountains.

Phil’s palms were dripping, and I was a shaken man. After an hour spent dodging cliffs and fog, we landed back at the boat with about fifty nice trout. Believe me I took a good belt of Mr. Seagram’s happy amber. Harris had of course fortified himself before, during, and after. Van Heusen, old airman that he is, affected an air of indifference betrayed only by his deathly pallor. I pray all is serene with you and with the house.

Love, Bing

(As seen in My Life with Bing, pages 121-123)

June 14, Saturday. A criminal (who had been arrested for robbery) admits that he and an accomplice had planned to kidnap Kathryn Crosby for a $100,000 ransom three months previously but changed their minds when Kathryn announced that she was pregnant.

HOLLYWOOD (AP) — Bing Crosby’s wife is back in town apparently unconcerned about all the fuss over a gaunt ex-convict's plot to kidnap her for $100,000 ransom.

“I haven’t told Bing — he’s salmon fishing off Alaska,” said Mrs. Crosby, who arrived last night from judging a beauty contest at Reno, Nev.

“But even if I could reach him,” she added, “what is there to tell him?”

(The Waukesha County Freeman, June 16, 1958)

June 15, Sunday. Bing and Phil Harris arrive back at the International airport in Vancouver from their fishing trip. Bing, Bill Morrow and Phil Harris leave by car for California. Bing says he is not concerned about the kidnap plot.

June 23, Monday. Bing again writes to British journalist Charles Graves. He sends his congratulations to Graves on his appointment as top columnist at the News of the World and promises to send him anything hot that pops up. Bing tells about his recent salmon fishing trip on a 137ft. yacht and his work plans: tape radio shows, recordings and finalize plans for two TV spectaculars. Bing says he had hoped to cut out a lot of this work but his commitments and staff, people dependent on him make that not possible. He continues:

 

“I haven’t seen Hope in months. He’s on such a merry-go-round practically no one sees him that I know. I pick up the paper and find him one day in Washington, D.C., the next he’s in France, and then a week later I find he’s in Australia. He sure gets around. Last time I talked to him, which was two or three months ago, he told me his golf was miserable, which is understandable—I don’t know how he can keep his game in shape traveling around like that and working as hard as he does, but he loves the pace - thrives on it, it seems.

      Been looking for six months for a suitable story for a movie, but I haven’t found anything yet which fitted my questionable talents. I’m a little too old to really win the girl in a movie, and although I may be immodest, I don’t think I’m quite old enough to play character men. What I seek is really a good comedy for a film, but they’re awful hard to come by—good situation comedies, that is. Most of the big studios are wary of doing musical pictures just now because of the musicians’ strike which has been going on for some months. They’re hesitant about becoming involved in the production of a musical picture until they know what the outcome of the strike is going to be. Television has hurt the box office over here quite appreciably. To make it worse, the sale of old pictures by the various studios to the television networks has really hurt them. They’re being shot with their own gun. No studio wants to make a film unless they have some confidence that the ingredients are attractive enough to give them a chance at a successful film, and getting those ingredients together is quite a task—story, cast, subject material, background—all have to be top grade.”

 

June 24, Tuesday. Bing at Ernie’s in San Francisco.

June (undated). Bing and Kathryn buy a rare Regency cradle rocker in an antique shop on Sutter Street in San Francisco.

June 26, Thursday, They again go to dinner at the home of the Buster Colliers. Other guests are Mr. and Mrs. Juan Reynal from Buenos Aires.

July 4, Friday. Bing goes to the airport to meet son Gary and Pat Boone as they return from filming Mardi Gras in New Orleans.

 

IT’S TOUGH BEING THE SON OF BING

Pat Boone talks about Gary Crosby

It’s tough being born at the top. Take the case of Gary Crosby, eldest son of the fabulous Bing. In a world over-populated with vocalists of all types, Gary chose to become a singer.   Comparisons were inevitable—and disparaging.

“What a pity he hasn’t inherited, the Crosby pipes,” they said. He was measured against Bing in other ways. Whereas Old Man Crosby is famed for being relaxed and easy-going, Gary was assessed as a young man of cocky and aggressive disposition. Fortunately, not everyone took him at face value.

“All that’s on the surface,” says Pat Boone. “Gary and I get along fine together. Maybe that’s because he knows I like him.   I think he likes me.”

Boone’s theory is that the outward Gary Crosby is the defence of a youngster who, in the shadow of his celebrated dad, felt hopelessly inadequate.

“Part of Gary idolises Bing, the other resents him.   He wants passionately to be someone in his own right. But being the son of Bing can be a handicap. The Crosby boys have been described as being a little wild. Well, of course, they’ve cut loose a little.   Bing kept the boys on a tight rein—ruled them with a rod of iron, with the best intentions.   He just didn’t want them to be spoiled. You know, you can often judge a man by his treatment of children. I travelled back to Hollywood with Gary when he was released from the army. He was dead beat.

“On the plane he tried to get some sleep. I had my three children with me and one of my little girls wouldn’t leave Gary alone—kept climbing on him and talking. Gary was wonderful with her. And all that toughness. I watched him when we landed. Gary scanned the faces along the barrier eagerly as we taxied in.

“‘None of my family there,’ he said. I saw his face darken with disappointment before he covered it up by gagging. Then he spotted his brother Dennis and got excited again. You should have seen his face when he saw that Bing had come down to meet him, too!

“It’s the Old Man,” he babbled, off his guard. Then the shutters went up and he was the hard-boiled Gary once again.

“It’s the Crosby tradition of nonchalance. But underneath, Gary longs to succeed and earn the respect of Bing.

“I think his performance in Mardi Gras will do the trick. He plays up all the Crosby mannerisms, strictly with tongue in cheek.   He really emerges as a light comedian.”

A comical and successful Gary Crosby shouldn’t need the pathetic poses of the insecure. Gary will get a chance of living down his adolescent reputation, thanks to Mardi Gras. Odd that he only had to laugh himself out of the shadow of Bing.

(Melody Maker, December 27, 1958)

 

July 8, Tuesday. Bing writes to Connee Boswell.

Dear Connee

I just got back from a fishing trip in Alaska to learn of the sad passing of your devoted sister Martha. I want to express my deep sympathies to you and your family over this great loss. I will always remember Martha with her delicious good humor and her keen insight about the things that mattered.

Warmest affection – as ever, Bing

July 10, Thursday. Bing and Kathryn attend the Hollywood premiere of the film Gigi at the Paramount Hollywood.

July 19, Saturday. Bing records tracks with Buddy Cole for the Ford Road Show.

July 28, Monday. (noon - 4:00 p.m.) Records four songs for the Fancy Meeting You Here LP with a pregnant Rosemary Clooney and an orchestra conducted by Buddy Cole at Radio Recorders, Hollywood.

 

And I didn’t stop recording. In July 1958, six months pregnant, I made my favorite album with Bing. Fancy Meeting You Here had a lighthearted travel theme, dreamed up by Sammy Cahn and Jimmy Van Heusen, that linked witty arrangements of “Hindustan,” “Brazil,” “Calcutta,” and “Isle of Capri.” Frank Loesser’s “On a Slow Boat to China” gave Bing and me intertwined parts, melody and counter melody; the counterpoint yielded interesting juxtapositions of lyrics and unexpected harmonies. We cha-cha’d our way through “It Happened in Monterey” and blended our voices, so closely matched in timbre, on the smoky standard “I Can’t Get Started,” which Bob Hope and Eve Arden had sung in the Ziegfeld Follies of 1936.

It was always a joy to record with Bing, even though when he was unhappy about something, he could do outrageous things. He hated small talk, didn’t like to be around strangers. Some visitors came into the recording booth that day, and Bing just turned his chair so he was facing the wall - just sat there, silent, stone-faced. I walked over to him. “What’s the matter?” I whispered. “Do you want a break? Do you want a sandwich?” He kept staring at the wall. “I want those people out of the control room, and then I want a sandwich.”

(Rosemary Clooney, writing in her book Girl Singer, page 166)

 

July 29, Tuesday. Bing accompanies his son Phillip to the Capitol Records studios in Hollywood where Phillip cuts four sides for UPA-Chevron. Bing makes ad-libbed comments on “Thanks.” Music is provided by George Garabedian and His Royal Armenians.

 

The Bing and Phil Crosby waxing of “Thanks” for the UPA-Chevron label is being held up by Decca, which claims Croz (elder) agreed never to re-wax the tune following their 1936 (sic) pressing.

(Daily Variety, August 14, 1958)

 

Decca has given its clearance to UPA for the release of “Thanks,” disk cut by Phil Crosby, in which father Bing talks the lyrics.

(Daily Variety, September, 17, 1958)

 

August 2, Saturday. Gary Crosby, staying at the Tropicana in Las Vegas, is taken by ambulance to hospital in nearby Henderson after blacking out at the hotel. The Tropicana's physician says that Gary had suffered a "minor gastric upset". Gary leaves the hospital on the following day with his brother Phil.

August 7, Thursday. (noon - 3:30 p.m.) Bing and Rosemary Clooney record another four songs for the Fancy Meeting You Here album. This time the orchestra is conducted by Billy May.

August 8, Friday. Gary Crosby, now staying at Bing’s house at Holmby Hills, is too drunk to get up to report to the film studio and he swears profusely at Kathryn for trying to wake him. Kathryn’s contractions begin and Bing drives her to Queen of Angels Hospital where she gives birth to Harry L. Crosby III at 11:32 a.m., two weeks early. The baby weighs seven pounds, nine ounces.

August 11, Monday. (noon - 4:00 p.m.) Bing and Rosemary Clooney complete the recording of the Fancy Meeting You Here LP with the orchestra again conducted by Billy May. The album is released by RCA Victor Records.

 

Bing Crosby-Rosemary Clooney: “Fancy Meeting You Here” (RCA Victor). Two savvy singers team up in a charming rundown of a dozen numbers for a pop set with adult appeal. Bing Crosby, whose freelancing has turned his name up on a flock of labels recently, and Rosemary Clooney, who also did this as a one-shot for Victor, work together easily on a songalog that includes such oldies as “On a Slow Boat-to China,” “I Can’t Get Started,” “How About You,” “Say Si Si” and a couple of neat newies, the album’s title song and “Love Won’t Let You Get Away.” Billy May’s orch supplies quiet, capable backing.

(Variety, November 26, 1958)

 

A lot of charm here— A flock of tunes carrying different place names, carrying out the idea of the album title. Included are “On a Slow Boat to China,” “Hindustan,” “You Came a Long Way from St. Louis,” etc. Cover also carries out the theme. Performances are very smart, with occasional interpolations and asides by Crosby and Clooney. Arranged and conducted in grand style by Billy May.

(Billboard, November 24, 1958)

 

Even so for the duet-warbling of the month I would turn to RCA SF5022 (Mono RD27105): “Fancy Meeting You Here” with Rosemary Clooney and the old groaner himself, Bing Crosby, bumping amicably into each other in a dozen stage sets scattered around the world—“Hindustan,” “Brazil,” and so forth, with a good new one, “Calcutta.” The Billy May accompaniments throughout are first class, and so, obviously, is the singing; but principally it is the infectious easygoing good humor of the record which remains in the mind. That, and an occasional twist of lyric; no record can be neglected which ends a nostalgic and twang-ridden version of the “Isle of Capri” with “I’ve often felt that we both might have stayed there, if it weren’t for those stale mandolins.”

(The Gramophone, April 1959)

 

Fancy Meeting You Here (Bing Crosby, Rosemary Clooney; RCA Victor LP; Stereo). An infectious musical dialogue between two of the sassiest fancy talkers in the business. C. & C. give slick and witty readings to a selection of retreads —On a Slow Boat to China, You Came a Long Way from St. Louis—and introduce a punchy, potential hit named Calcutta. One of the most intriguing vocal entertainments since Noel Coward had his famous chat with Mary Martin.

(Time magazine, January 12, 1959)

 

…RCA therefore seemed a natural choice when lyricist Sammy Cahn came up with an idea for teaming Bing and Rosemary on an album whose storyline had the dual themes of travel and rekindled love. Cahn’s idea had two former lovers meeting up unexpectedly. He and his partner, Jimmy Van Heusen, wrote a new song, “Fancy Meeting You Here”, which told the story of that encounter and opened the way for ten more retrospective songs that extended around the world as the two former lovers looked back on their time together. Another new song from the same partnership, “Love Won’t Let You Get Away”, capped off the album as the two lovers finally accept the inevitability of their being together.

The album cast Rosemary and Crosby as lovers, but was a strictly fictional concoction. For almost all of the time that Rosemary had known Bing, he had been a single – and highly eligible – man. Crosby’s first wife, Dixie Lee had died in November 1952, since when Crosby had been seen around Hollywood with a variety of young, female partners, a list that included Grace Kelly and Inger Stevens. Despite his availability and Rosemary’s proclivity for affairs, the relationship between the two of them was never a sexual one. “Not even a one-nighter,” Rosemary said in her autobiography. Instead the chemistry between the two of them was more akin to that which Crosby had with his golfing and hunting buddies. Rosemary’s elder daughter Maria said that her mother was “Bing’s only female friend. They talked about anything – musicians, lyrics, boxing. When the two of them were in a room together, the rest were non-existent.” The ease and camaraderie inherent in their relationship was apparent throughout the three recording sessions that were scheduled during July and August 1958.

Fancy Meeting You Here was, from Sammy Cahn’s perspective, a case of killing two birds with one stone. The year before, he and Van Heusen had written “Come Fly with Me” for Frank Sinatra and used that as the title song for an album of 12 round-the-world songs. Two of them, “Isle of Capri” and “Brazil” also appeared in the Fancy Meeting You Here listing. As well as the overlapping theme, the two albums also had in common the “falstaffian” presence of Billy May as arranger and conductor. Like Nelson Riddle, May had built his reputation at Capitol Records, both with solo albums and as an arranger for Nat King Cole. Come Fly with Me was the first of many albums with Sinatra in a partnership that would run through to 1979. For Rosemary, the experience of working with May, so soon after her exposure to Riddle, could not have been more different. Where Riddle was tasteful and ornate in his arrangements, May was loud and brash. A typical May arrangement put the brass section to the fore and made regular use of two trademark devices, the trumpet mute and a saxophone glissando, widely known as his ‘slurping saxes’. Singing to a Billy May arrangement required a totally different approach to working with Riddle.

Riddle and May were also opposites in their approach to their work. “Recording with Billy May is like having a bucket of cold water thrown in your face,” Sinatra once said. “Riddle will come to a session with all the arrangements carefully and neatly worked out beforehand. With Billy you sometimes don’t get copies of the next number until you’ve finished the one before.” Rosemary concurred. She recalled May’s copyist working alongside him, frantically transcribing to the point where the musicians were working off copies with the ink still wet. May’s last-minute style posed problems too for Crosby. “I knew the way Bing worked,” Rosemary said. “We’d know which songs we’d have to do that day. And he would be prepared when we walked in.” Buddy Cole’s presence on the sessions – indeed he actually conducted the first on July 28 – dissipated some of Crosby’s unease and what emerged was a set of lively and imaginatively scored duets. Much of the vocal work between Crosby and Clooney was complex and intricate, none more so that Frank Loesser’s “You Came a Long Way from St. Louis”. The two singers were called up on to handle an intertwined melody and counter-melody which gave way to a counterpoint rendition from Crosby of “You Can Take the Boy Out of the Country”, newly added by composer Bob Russell just for this session.

To keep a freshness in their exchanges, Crosby used a technique imported from his movie partnership with Bob Hope. Where the lyrics included some personalized interchange between him and Rosemary, Crosby would come up with a variation of his own, but which he would throw in only at the last minute. It caught Rosemary unawares and accounted for the genuinely spontaneous laughter that could be heard on some of the tracks, never more so than in her reaction to a line about breakfasting with Bardot (“you know somebody should knit her a hug-me-tight, she’s gonna catch her death of cold,” Crosby tossed in. “What the hell is a hug-me-tight” Rosemary asked later.) When the album hit the shops - complete with a suitably travel-oriented cover photograph that used suitcases and trunks to conceal Rosemary’s pregnancy - the results were well received. In England, the at times highbrow magazine The Gramophone, said, “it is the infectious easygoing good humor of the record which remains in the mind. That, and an occasional twist of lyric; no record can be neglected which ends a nostalgic and twang-ridden version of the “Isle of Capri” with ‘I’ve often felt that we both might have stayed there, if it weren’t for those stale mandolins.’” Time magazine said that the album offered “infectious musical dialogue between two of the sassiest fancy talkers in the business” and that it offered “the most intriguing of musical entertainments since Noel Coward had his famous chat with Mary Martin.” 50 years later, jazz critic Will Friedwald’s assessment of the album was that it is “rightfully regarded as one of the best duet vocal albums ever.” The acclaim given to the album was not matched by record sales however. “It didn’t sell at all,” Rosemary told Johnny Green in 1961, musing that the vocal interplay between her and Bing might just have made the album too complex for the casual listener.

(Ken Crossland and Malcolm Macfarlane, Late Life Jazz, pages 84-86)

 

August 12, Tuesday. Bing attends a photo-shoot when a number of publicity pictures are taken for the TV show to be broadcast on October 1. He looks in briefly at the Paramount commissary at the testimonial luncheon for Cecil B. DeMille. Danny Kaye quips that Bing “has had to rush home to warm up the milk.”

August 28, Thursday. Bing is interviewed by Willis Conover for a special tribute to Irving Berlin to be aired on the Voice of America in November.

August 31, Sunday. The final Ford Road Show featuring Bing is broadcast by CBS radio.

September (undated). The USO prepares a special ninety-minute television show, which is issued to servicemen all over the world in December. Bing is filmed in an outdoor setting lip-synching to the version of “White Christmas” used in the Christmas Sing with Bing radio shows.

September 5, Friday. Plays in the Bel-Air Member-Guest golf Tournament with Bill Worthing and they come joint second with a 65.

September 11, Thursday. Lindsay Crosby is arrested after failing to pass a sobriety test after his car hits a parked vehicle. He is released on $253 bail.

September 15, Monday. The four Crosby Brothers are featured on the front cover of Life magazine.

September 25, Thursday. Phillip Crosby marries Sandra Drummond in St. Anne’s Catholic Church, the same church in Las Vegas where Bing and Kathryn were married in 1957. Sandra is a showgirl at the Tropicana. The best man is Charles Baron, Public Relations Director at the Tropicana and the Maid of Honor is Felicia Atkins, another showgirl from the Tropicana. Phillip and Sandra honeymoon at the Tropicana. (8:30-10:00p.m.) Bing guests on the George Jessel chat show with Ben Oakland on the KCOP Los Angeles television network.

September 30, Tuesday. (8:00-9:00 p.m.) Bing has a walk-on appearance on the Eddie Fisher television show for NBC as he and Dean Martin gatecrash the Jerry Lewis guest spot.

 

The big moment in the Eddie Fisher show came when he and Jerry Lewis were clowning and Bing Crosby and Dean Martin walked onto the stage. Not a single boo from the audience and Eddie’s representatives vow the crowd wasn’t screened.

(Los Angeles Evening Herald Express, October 1, 1958)

 

Jerry Lewis contributed mostly confusion, though the studio audience loved it. I must say that, if pandemonium is what you’re looking for, Lewis can stir up more of it than anyone else his size and weight. This particular bit was further complicated by the unscheduled appearance of Dean Martin shouting “Don’t sing!” to Lewis and then being hauled offstage by Bing Crosby. This is awfully intramural by-play, something like the local jokes in a fraternity house, but it broke up Lewis. However, at the risk of sounding awfully ill-natured, I’ve got to say that I’d rather the comedians broke me up than broke themselves up.

(John Crosby, in his syndicated column, seen in the Janesville Daily-Gazette, October 7, 1958)

 

October 1, Wednesday. (6:30–7:30 p.m.) Hosts The Bing Crosby Show sponsored by Oldsmobile, on ABC TV. The guests are Dean Martin, Mahalia Jackson, and Patti Page and the show receives a Trendex rating of 26.2. Bill Colleran is the director with Buddy Cole acting as musical director. Bill Morrow is the writer. Bill Hayes and Florence Henderson act as goodwill salesmen for Oldsmobile and join briefly in the opening number.

 

A couple more like this one and ABC-TV will get a reputation for having put television back in show business. Without equivocation, the Bing Crosby special last Wed. night (1) was a delightful viewing experience from beginning to end; a strictly professional enterprise from which Oldsmobile extracted maximum mileage in a tasteful serving of some of the best song salesmen extant. If the product itself, the ‘59 Olds, can deliver half the qualitative freewheeling performance that Crosby & Co. achieved last week, then GM’s got itself a happy division. Here was the plot: Crosby, Dean Martin, Patti Page (herself a vet Olds saleslady) and the wonderful Mahalia Jackson in a virtual hour songfest, either in solo, duet, trio or whatever which way. That’s all. . . . The pleasures were varied and frequent, including one of Crosby’s top tv performances to date. In fact the Bingo and Dean Martin were having themselves a merry romp throughout, and even if Bill Morrow’s scripting wasn’t always at peak form, the ease and naturalness with which the banter was tossed off more than compensated for this deficiency.

(Variety, October 8, 1958)

 

Bing Crosby moved up to television’s top rung last night with the first of his programs for the American Broadcasting Company. The presentation was a musical hour of charm, diversity, humor and taste; it was produced with enormous style and sophistication. The Groaner, who once had doubts about TV, has conquered another medium. This was a Crosby both old and new. Old for his informality, light banter and wry quips. New for his amusing admission of the passing years, the hard work that obviously went into his TV show and the refreshing avoidance of any jokes about Bob Hope. Mr. Crosby is now strictly modern.

(Jack Gould, New York Times, October 2, 1958)

 

Bing Crosby was discovered sitting on the floor, back to the audience, and he swung around and lit directly into Cole Porter’s “What a Swell Party This Is” in which he was shortly joined by Dean Martin and Patti Page. Bing contributing his overwhelming authority, Dean his Dionysian charm, and Miss Page her flourishing femininity. It was very informal, very simple, and it called attention to both the personality and the talent of the singers, which is as it should be.

It was a great opening and, apart from one dead and rather puzzling spot where the three of them sang really bad songs, it was a great show. After the opening, Crosby belted out “Swanee” in a way that had the joint rocking. Mahalia Jackson, the great singer of spirituals, lifted her superb voice in “Summertime” (which, I’m afraid, is not her song, though she can do no wrong) while the camera brought us some fine pictures of that inspiring face.

After that, Crosby and Martin were encountered seated in rocking chairs, pitching William Morrow’s elfin badinage back and forth as if they made it up on the spot. And from there it was but a step to a duet of Irish and Italian melodies, each, of course, contributing his own racial songs, culminating in “Too-ra Loora” and “O Sole Mio,” sung quite nicely together. That was one of the high moments. Another was when Crosby, Martin and Miss Page teamed up on “Life Is Just a Bowl of Cherries,” and still another came when Martin and Crosby stepped up to help out Miss Jackson with “Clap Your Hands.”

And it all wound up with Crosby, Martin and Page sitting on the steps singing “There’s Nothing Left to Do But Read the Papers.” Somehow, an hour had slipped by very swiftly, easily and professionally. Bill Colleran, who was producer and director, deserves a lot of credit for getting the utmost out of his potent lineup of stars. (I think a small bow is due the Hanson and Tadlock dance duo who were very fetching and winsome in a brief dance bit.)

Over at ABC-TV, which is responsible for this charade, they are crazy about lights and the production was lit to a bloody far-the-well, little skeins of light dancing all over the screen. It was very effective. The only scenery was a platform with three steps leading up to it which was used very ingeniously. However, the big innovations in the scenery department were those rocking chairs used by Crosby and Martin and earlier by Mahalia Jackson. These broke new ground. Just as last year was the year of the stool—everyone from Como to Rex Harrison parking on them—this has been the year of the stepladder which has been used as a prop, as a bit of furniture to sit on, as a stage setting and as a bar for dancers.

(John Crosby, in his syndicated column, seen in the Janesville Daily-Gazette, October 7, 1958)

 

October 5, Sunday, (6:00-6:30p.m.) Bing is one of several stars seen in "Boys Town of the West", a filmed benefit for Rancho San Antonio shown on KCOP-TV.

October 16, Thursday. Lindsay Crosby is fined $263 for the drunken driving case on September 11. He had originally pleaded innocent and was due to go to trial on October 20 but changed his plea to "guilty".

October 17, Friday. Decca masters two of Bing’s radio songs for commercial release. They are “Rain” and “Church Bells”.

October 20, Monday. Gary Crosby brawls with John Geiger, a Kraft cheese company executive, at a cocktail party for Carl Sandburg in the Rodeo room at the Beverly Hills Hotel. Unsuccessful attempts are made to keep the incident out of the newspapers.

It wasn’t all fun and games, of course. Once I had a few drinks under my belt, it didn’t take much to trigger my temper, and whatever happened, happened. I didn’t care. I reacted the same way whether I was in a workingman’s bar or some Beverly Hills mansion. The night I got into a scuffle at the party for Carl Sandburg at Milton Berle’s house, I damn near punched myself out of the business. Some corporate big shot who was even drunker than I was started in on me about the name, and instead of walking away as expected, so the high rollers could enjoy their cultural evening unruffled, I lashed out at him with my mouth until he took the first swing, then I went for him, slapping him hard in the face. The fight was broken up in a second, but the room was jammed with press people and the news was sure to be in all the gossip columns the next morning. I could see the headlines:

“Gary Crosby At It Again-Disrupts Uncle Miltie’s Party for Poet.” It would have happened, too, if Milton’s wife, Ruth, hadn’t gone out of her way to keep the roof from crashing down on my head. The next day Rosey called to tell me how she went to bat for me.

“Well, kid, you sure lucked out on this one.”

“What do you mean?”

“Well, Ruth Berle stayed up half the night calling every newspaper guy in town to make sure they understood the other fella started it. So it looks like you’re gonna be all right - this time.”

(Gary Crosby, Going My Own Way, pages 246-247)

 

Gary Crosby wore a patch on his right eye at the Bing Crosbys’ first anni party.

(Daily Variety, October 27, 1958)

 

October (undated). Bing and Kathryn celebrate their first wedding anniversary with a party at Romanoff's.

October (undated). Bing films a guest spot in Bob Hope’s United Artists film Alias Jesse James.

November 11, Tuesday. Bing’s mother has an eye operation for the removal of a cataract in the Beverly Hills Doctors Hospital. Gary Crosby is involved in a car accident when his sports car hits another car that had stopped for a traffic light. Gary is later sued for $44,370 damages.

November 12, Wednesday. Kathryn hits a stationary vehicle while driving her Thunderbird after her heel got caught. A passer-by takes her to her doctor's surgery and a three-inch gash on her chin requires several stitches. The driver of other vehicle, Herman Magard (aged 60), is taken to Hollywood Receiving Hospital for treatment. The police later confirm that Kathryn will not face charges for leaving the scene of an accident. Kathryn is subsequently sued for $50,000 by Mr. Magard.

November 13, Thursday. (Evening) Bing and Kathryn visit his mother in hospital.

November 14, Friday. The four Crosby brothers appear on the Phil Silvers Sgt. Bilko television show in an episode called “The Bilkos and the Crosbys.”

November 18, Tuesday. It is announced that Bing has sold his Elko, Nevada ranch for more than $1 million. The Voice of America starts broadcasting a radio tribute to Irving Berlin, which includes a contribution by Bing.

November 22, Saturday. (9:00–10:00 p.m.) Appears on The Dean Martin Show on NBC-TV, in color, singing “Gigi” amongst other songs. Phil Harris and The Treniers are the other guests with the David Rose Orchestra providing the musical backing.

 

The only sustained bit of entertainment coming out of Dean Martin’s first show of the season occurred in the last quarter hour when Martin and guest Bing Crosby parlayed a medley of evergreens into a delightful, easygoing songfest. That the tunes were Crosby perennials helped add a neat nostalgic flavor to the segmen. But it took Martin a long time to get on the road to nostalgia. Preceding entries were arranged in hodge-podge manner without any particular flow or meaning. Although the solo shots by Martin and Crosby were okay, the horseplay preceding most of the numbers and centring, particularly, on Martin’s sobriety and/or Crosby’s gold is tiresome stuff at this point in the game. The studied casualness was strained and didn’t come off…..

(Variety, November 26, 1958)

 

There was an outstanding medley near the wind-up, with Martin and Bing Crosby, his guest, delivering some of Der Bingle’s hits of yesterday and a lot of viewers must have wished this piece de resistance had been lengthier…..They could have used more of Crosby with Martin for the first half, when Bing was on rarely…..Martin’s patter was good and Bing quipped about his sons’ penchant for marriage in Las Vegas. Martin registered with “Volare”, as Bing and Phil Harris kidded him about hamming it up…. Harris scored with a dramatic rendition of “John Henry”; Crosby was a smooth as syrup with “Gigi”; then Martin and Crosby went into the click hits, reeling off vintagers such as, “Learn to Croon”, “I Surrender Dear” etc. Martin would sing a few, then Crosby would pick it up and then they would duet. It was a solid, terrific routine…..

(Daily Variety, November 24, 1958)

      

November (undated). Bing is interviewed by Willis Conover in the short-waved "Music USA" program (#1422) on the Voice of America. He also records links for a forthcoming tribute series about Louis Armstrong.

November 25, Tuesday. It is disclosed that Bing has agreed to buy the 1350-acre Rising River Ranch, in north-eastern Shasta County, Northern California from James McDonald of Burney. The ranch is five miles southeast of the town of Burney. The Rising River, one of Bing’s favorite trout fishing stretches, flows through it. The river is described as a pristine beauty entirely in private hands. The view to the east and the southeast is Hogback Ridge and Cinder Butte.

December 6, Saturday. Plays in the first round of a pro-am at Indian Wells with pro Bud Holscher and the foursome has a 61.

December 7, Sunday. The second round of the pro-am and Bing's team finish with 121 and are unplaced.

December 8-10, Monday-Wednesday. Rehearsal sessions with pianist Rudolph Render take place for the songs for the film Say One for Me. It is not known which ones Bing attended if any.

December 11, Thursday. (12:00 p.m.-4:30 p.m.) Pre-recording session for  Say One for Me at Twentieth-Century-Fox with the Lionel Newman orchestra.

December 12, Friday. (9:00-11:30 a.m.)  Another pre-recordng session with the Lionel Newman orchestra.

December 14, Sunday. Kathryn is in New York for the premiere of The Seventh Voyage of Sinbad and she appears on the What's My Line? TV program as the guest celebrity. Signing in as "Mrs. Bing Crosby", she answers all the questions in Spanish but her identity is discovered.

December 15, Monday. Bing’s album Merry Christmas enters the album charts and goes on to reach number two. It remains in the charts for four weeks. The Recording Industry Association of America certifies the record as a “gold” album as it has achieved $1 million in sales based on the manufacturer’s wholesale price.

December 15–February, 1959. Bing films Say One for Me for Twentieth-Century-Fox. Debbie Reynolds, Ray Walston, and Robert Wagner are also featured. A part had been written for Frank Sinatra but due to other commitments, Robert Wagner takes his place. The producer and director is Frank Tashlin. Lionel Newman supervises and conducts the music. Newman is nominated for an Oscar for “Best Scoring of a Musical Picture” in 1959 but loses to Andre Previn and Ken Darby for Porgy and Bess.

 

My breakup with Eddie (Fisher) turned out to be a boon to MGM. Suddenly all the other studios wanted me, which meant MGM just had to decide who to lend me out to and how much to charge. Somehow my salary didn’t increase much. But I didn’t mind as long as I was working.

Before I met Eddie, I was deeply in love with Robert Wagner, and making this movie so soon after my marriage dissolved was a real heartache for me. RJ had moved on and so had I, but being around him reminded me of my fantasy life. Well, RJ wasn’t interested, so get over it, Debbie. RJ had to dance in the movie and worked hard to get his positions right. Mostly I kept to myself, though I still have a crush on RJ to this day. There is no one more terrific.

Bing Crosby was a very big star when we made this film, as well as one of the most successful recording artists of all time. His version of “White Christmas” was the biggest-selling single of that era. Bing liked to record at six in the morning when his voice was low. He wouldn’t even warm up.

Bing was then married to Kathy Crosby, his second wife, an actress and singer who performed under the name of Kathryn Grant. They gave parties where I met people like the great baseball manager Leo Durocher, whom I wouldn’t otherwise have expected to meet.

…I once overheard Bing on the phone, when we were making Say One for Me, telling the person at the other end to “go ahead and fire him, but don’t let him know it came from me.” I think he was talking about our director; I’m not sure to this day. Bing was tough, but he could also be generous.

(Debbie Reynolds, Unsinkable – a Memoir, page 239)

 

The year 1959 brought Say One for Me with Bing Crosby and Debbie Reynolds, directed by Frank Tashlin. There was a period when it was unfashionable to say nice things about Bing Crosby as a human being, but I had a great deal of affection for him. As for Frank Tashlin, he was another issue entirely. For one thing he didn’t want Natalie (Wood) visiting the set, which I thought was rude and unprofessional. Much more important than that was Tashlin’s attempted intercession for a friend of his who had written some songs that Tashlin wanted featured in the film. Sammy Cahn and Jimmy Van Heusen, two great talents on whom both Bing and Frank Sinatra relied, had written the songs for the film, and here was Tashlin trying to use me as a guinea pig for someone nobody had ever heard of.  “Jesus Christ,” I told him, “I’d rather have Sammy Cahn and Jimmy Van Heusen write my material than your friend.”

He didn’t appreciate my response, so things were a bit chilly between Mr. Tashlin and myself, not that I cared…

I did a little singing and dancing. I wasn’t Astaire; but I wasn’t terrible. Bing played a priest. It was basically a riff on Pal Joey, but a riff that was too little, too late.

Bing and I spent a lot of time talking about golf, and he gave me some pipes he had brought back from England. He also gave me a beautiful Labrador I named Conroy, after Bing’s character in the film.

(Robert Wagner, writing in Pieces of My Heart, pages 124-125)

 

Landing the job in Say One for Me saved me from the throes of unemployment, but as time wore on I battled the greatest Hollywood curse of all: typecasting. I inevitably returned to doing what I did before I joined the Stooges—features and television shows—even though the jobs were few and far between.

I’m afraid the old adage of “once a Stooge, always a Stooge” prevailed on producers’ minds. Consequently, in the months ahead, I would go to one audition after another only to go home disappointed. The casting directors would be looking for “a fat comedian type.” I would show up, but so would three hundred other wideload candidates! Each of us were given a number and I felt as though I was at a cattle auction on the O.K. Corral! Finally, the auditions became a lost cause for me, until my performance in Say One for Me resulted in more work for me.

In February of 1958 [sic], Say One for Me started production, and I couldn’t have found three greater individuals to work with than Bing Crosby, Debbie Reynolds, and Robert Wagner, the stars of the film. They certainly helped me forget my troubles, as did Frank Tashlin, a masterful comedy director. I played Robert Wagner’s agent in the film, and I earned $2,500 a week (one thousand dollars less a week than I made with the Stooges). Bing donned a priest’s cassock for the third time in his career (the first time was in Going My Way).

I think Bing was undoubtedly one of the most popular American entertainers of the twentieth century. He had had an equally impressive career in radio, music, and the movies, and his recordings had sold close to 400 million by the time I met him. Bing’s real name was Harry Lillis Crosby and his laid-back singing style brought pleasure to the ear.

On screen, Bing was easy and relaxed, but off screen I saw just the opposite. He was all work and no play. We had one thing in common from the start: my brother Manny. They had worked together in vaudeville when Bing was relatively unknown. Bing was not real talkative. I found him to be a cold person; one you couldn’t get close to because he put a protective shield around himself. I figured he must have been hurt badly at one time in his life, so he was slow to trust people.

   Bing trusted me, however. I guess he sensed my sincerity and he liked working with me. After we completed the picture, I remember he surprised me with a special gift. As a token of his appreciation for my work, he gave me a St. Christopher’s medal, which was blessed by the priest at Bing’s parish, with an inscription on the back that read: “To Joe. From Bing. We’ll ‘Say One For, You!’”

(Joe Besser, Once a Stooge, Always a Stooge)

 

Bing Crosby never lingers around a stage to say good-bye to one and all after a movie job is finished. He’s too shy for anything like that, preferring to leave some appropriate little gift to take care of such amenities. 

In finishing “Say One for Me” a few days ago, Bing followed the same routine. Everyone associated with him in the movie, no matter how trivially, got a remembrance—not at all elaborate, but carrying the personal touch.

Bing did go overboard a bit in the case of Bob Wagner, playing second lead in the film, because of their mutual interest in golf and long discussions they enjoyed about the game. The crooner learned for the first time that Bob—in his early days of campaigning to win movie-tycoon attention anywhere at all—used to caddie for him at Lakeside. No new clubs or anything like that went to Bob! He received a three-month-old Labrador retriever from Bing’s own kennel, a son of his prized dog, Remus.

To heroine Debbie Reynolds, now in Europe, Bing mailed a tooled leather-covered copy of the script with a set of color stills from the movie. There were 97 people involved in the “Say One for Me” project—and none was overlooked.

(Harold Heffernan, The Daily News, April 1, 1959)

 

December 21, Sunday. Bing’s son, Dennis and his wife Pat, have a son, Dennis Michael, weighing 8lbs 13oz. Pat's son, Gregory von Douglas-Ittu, from a previous marriage has been adopted by Dennis.

December 24, Wednesday. (9:00–10:00 p.m.) Another Christmas Sing with Bing airs on CBS radio. The show has been sponsored by the Insurance Company of North America. Kathryn Crosby takes part for the first time.

 

CBS Radio established the Christmas Sing with Bing pattern four years ago and it still holds up as an easy and comfortable programming segment for Yule listening. With Crosby crooning and emceeing around-the-world pickup for Christmas festivities, the hour rolls by in a familiar but still enjoyable way. The hymns, carols and even the Tin Pan Alley salutes to the season get lots of play and the interviews with representatives from such far away places as Hawaii, Australia, Paris and Rome set the global mood in music and attitudes.

Extra added attraction this year was Kathryn Grant Crosby who joined her husband on “Away in the Manger” carol. Otherwise the tune pitch was the same. “Jingle Bells”, “Adeste Fideles”, “White Christmas” and other standbys were pleasant to hear again in the Crosby manner. Accompaniment by the Norman Luboff Choir and Paul Weston orchestra was topnotch.

(Variety, December 31, 1958)

 

December (undated). Bing is said to have returned the presents sent to him by his son Lindsay as Lindsay had decided to spend Christmas with his brother Gary in Las Vegas.

December 31, Wednesday. Bing and Kathryn attend the Tex Feldman party at Romanoff’s.

1959

January 8, Thursday. Kathryn begins filming The Big Circus for MGM.

January 9, Friday. Bing writes to Twentieth-Century-Fox asking them to withhold Federal Income Tax at 40% on the payments he received from them on December 15, 22 and 29, 1958.

January 13, Tuesday. Bing writes to Tom Johnson, another shareholder in the Pittsburgh Pirates.

Dear Tom

Glad you liked the little permanent desk calendar. Hope it proves useful to you.

I am very happy over the news disclosed in your letter of the deal for the transfer of Forbes Field. I can appreciate that you guys must have done an awful lot of hard work to put this thing over, and as a participant in the obvious rewards, I’m grateful.

I had planned to get there for the All-Star Game and also opening day, but there’s now talk of a picture starting about the first of April. Picture starting dates though are always elastic, and you never can be too definite about them until a month or so before post time. I’ll let you know if I can come.

You’re very kind to offer Kathryn and I your hospitality. I shall get back to you later when I know more about my schedule.

My very best to you and your family.

As ever, Bing

January 15, Thursday. Filming of “Say One for Me” shuts down for 3 weeks. Elsewhere, Bing dines in the kitchen at Gallatin’s in Monterey to get away from the crowd.

 

Filming Twentieth-Fox’s “Say One For Me” shuts down for three weeks starting tomorrow, with producer-director Frank Tashlln to launch recording sessions and intensive rehearsals for song and dance numbers. Pic went into production Dec. 15.

(Daily Variety, January 14, 1959)

 

January 15-18, Thursday–Sunday. At the Crosby pro-am at Pebble Beach when the weather is unusually excellent. Art Wall is the professional winner. The tournament raises $105,000 for charity. Celebrities playing include Don Cherry, James Garner, Johnny Weissmuller, Moe Dalitz, Bob Crosby, Guy Madison, Dean Martin, Desi Arnaz, Gordon MacRae, Phil Harris, Fred MacMurray, Ray Bolger, Ray Milland and Richard Arlen. ABC takes over from CBS to provide the television coverage. Kathryn learns she is pregnant again. At the clambake, Bing leads the entertainment, which includes Jane Morgan, Dick Shawn and Buddy Cole & Orchestra.

You had to be more than an avid golf fan, you had, in fact, to be something; of a masochist to stick with all 90 minutes of the ABC televersion of Bing Crosby’s annual golf tourney finals last Sunday (18) from Pebble Beach, Calif. And It’s not because maestro Crosby has lost any of his charm or hipness; he was tops—whenever he, had the chance. The real villains of this piece were the directors, camera and soundmen, with a definite assist from network and sponsor for again forcing upon them the difficult, and not necessarily worthwhile technical feat of furiously cutting back and forth among what seemed like half the population (they all seem to play golf) of Hollywood.  Show was definitely confusing. The cameras didn’t always follow the line of play on the last three holes of this $50,000 tourney; and when they did, the play was not always brought into focus. Capper was that the stanza ended its run seconds before the winning putt on the 18th hole was made. That’s show biz?

(Variety, January 21, 1959)

PEBBLE BEACH - Bing Crosby, an old pro in front of the camera, saved last year’s TV show of his golf tournament from being a complete snafu. He took over in the final minutes of the telecast when it became obvious that Art Wall Jr. and Gene Littler, separated by only one stroke as they came down the 18th fairway, would not finish the final hole under the 4 p. m. TV deadline.

Veteran golfers—pros or amateurs—knew it was all over and that Wall was a sure winner when Littler sent his second shot into the Pacific on a diving hook. Some of the TV commentators, selected, more for their voice than their knowledge of golf, still hemmed and hawed.

One of the commentators even resorted to the old cover-up of describing the size of the crowd and came up with this ad lib beauty: “It’s a capacity sellout.” The pressure of the clock steadily ticking to the 4 o’clock cutoff time was a trifle too much for this fellow.

That’s when Crosby decided it was time to unravel the snafu and he hastily sped to the master mike.

“Well, that is it, folks,” he calmly said. “Wall is the new champ. It was a tough break for Littler but even the best of them will roll their wrists once in a while.”

A hurried plug for the sponsor followed and TV screens switched to cowboys, leaving the sports-minded television audience with a slightly frustrated feeling and wondering whether Wall really won.

        (Jack Hanley, Alameda Times Star, January 22, 1960)

 

January 16, Friday. A letter from A. Rosen of the FBI to his director indicates that Moe Dalitz may have received an invitation to join a deer hunting party at Bing’s Elko ranch at which Bing was to be present. Dalitz is said to be a Jewish member of the Mafia and an American bootlegger, racketeer and casino owner who was one of the major figures who helped shape Las Vegas, Nevada.

    January 22-23, Thursday-Friday. Bing plays with Jimmy Demaret, Walter Mullady and F. C. Goodwin as a foursome in the pro-member 36-hole best-ball competition at the Thunderbird Country Club in Palm Springs. They finish with 119 but are unplaced.

January 24. Saturday. Hosts a dinner party for 12 at the Satellite Room of the Firecliff Lodge, Palm Springs.

January 29, Thursday. (9:00-9:30 p.m.) The four Crosby Boys guest on Pat Boone's Chevy Showroom TV show on ABC-TV. Bing watches the show at the Desert Holiday Hotel in Palm Springs.

     February (undated), A one-reel film for a Saturday Evening Post sales convention called “Showdown at Ulcer Gulch” with Bing and various other stars starts being shown at various advertising organizations meetings.

 

Jimmy “Shamus” Culhane was a major Disney animator and the author of a how-to book which continues to inspire budding artists to become animators. On Hollywood’s social ladder, animators have always occupied a very low rung … but Culhane was the son-in-law of Chico Marx, a relationship which enabled Culhane to socialize with the Marx Brothers and their famous Hollywood friends such as Bob Hope and Bing Crosby. Culhane shanghaied some of those big stars to appear in this awful little film.

         “Showdown at Ulcer Gulch” is Culhane’s home movie. It’s about as funny as your Uncle Irving’s home movies, with slightly better production values. Like a lot of other Hollywood animators, Culhane wanted to escape from the cartoon ghetto and get a job making “real” movies; “Showdown at Ulcer Gulch” was apparently meant to be his demo reel. This film has lots of arty-tarty little “auteur” touches that make it even less funny than it started out to be. Ted Key, the creator of the grossly unfunny Saturday Evening Post feature “Hazel”, is credited (?) with the script of this film. There doesn’t really seem to be a script. Most of the participants (“actors” would be the wrong word) seem to be ad-libbing, and they’re ad-libbing very badly. Even those great improv-meisters Groucho and Chico Marx are ad-libbing badly here.

         When you look at IMDB’s cast list for this film - Groucho, Chico, Hope and Crosby, Ernie Kovacs and his wife (the under-rated Edie Adams) - you’ll assume that “Showdown at Ulcer Gulch” must be a lost masterpiece of comedy, a sure-fire laff-riot. No, honestly: it’s awful. I’ll rate it one point out of 10.

    (Review dated April 2, 2002 by F Gwynplaine MacIntyre on the Internet Movie Database)

    February 3, Tuesday. Buddy Holly, the Big Bopper and Ritchie Valens are killed in a plane crash at Mason City, Iowa.

February 4, Wednesday. Commencing his round at 10:15 a.m., Bing, using a three-iron, hits his fourth hole in one (and his first in a tournament) at the 169-yard ninth hole during the Pro-Am preceding the Phoenix Open at the Arizona Country Club. His playing partners are Jimmy Demaret and Phoenix amateurs Jimmy Geare and Jim Coles. The four-ball comes in with a best-ball score of 60 but are unplaced.

February 9, Monday. Bing returns to the set of the film Say One for Me. During the day, he also records “The NATO Song” to a guitar accompaniment by Vince Terri. The song is designed to help celebrate the tenth anniversary of NATO as part of a campaign drawn up by J. Walter Thompson. It is not known whether the song was ever used.

February 14, Saturday. Lindsay Crosby is discharged from the army.

February 18, Wednesday. Margaret Crosby (Ted’s wife) gives birth to a son, Edward Nathaniel, at Sacred Heart Hospital in Spokane.

February 19, Thursday. Bing writes to Priscilla Koernig of Club Crosby.

 

Thank you for your note. I’m glad that were able to get down to see the golf tournament in person. I must tell you, you got a real break too, because that’s the best weather we’ve ever had. Maybe you’re the one who brought it to us.

I’m glad that your girl friend got our picture together, and I’m sorry that you didn’t see Kathryn. She was up there, but she had a lot of friends she was entertaining and a lot of things to do, and she really didn’t get out on the golf course much. Maybe one or twice, I guess, is all.

Little “Tex” is doing just fine. He’s very amusing at this age, and he keeps us entertained constantly. Of course there are occasions when he keeps us awake too, when we would rather be asleep, but that’s just one of the things you must endure when you have small children around the house, and we don’t mind it at all.

Mother had an operation for a cataract on one of her eyes, and it’s been quite successful. She’s going to see better I believe now, and is very happy about it.

Thanks again for your letter. Give my best to all the Club Members.

As ever, your friend, Bing

 

February 22, Sunday. It is announced that Bing has bought a 638-acre ranch 20 miles north of Merced, California for more than $300,000.

February 28, Saturday. Tapes a brief guest appearance for the Dean Martin television show to be broadcast by NBC on March 19.

March 1, Sunday. (5:30-5:45 p.m.) Bing is featured in a transcribed fifteen-minute radio program Stars for Defense and sings three songs accompanied by Buddy Cole as well as providing linking dialogue. The program includes a talk by an official of the Federal Civil Defense Administration about what to do in the case of nuclear attack.

March 2, Monday. During the day, Bing is presented with a free lifetime hunting and fishing license for British Columbia by D. Leo Dolan, Canada’s consul general in Los Angeles, to recognize his help in promoting the province’s centennial year. Bing had performed without charge in two filmstrips about British Columbia. (6:30–7:30 p.m.) Hosts The Bing Crosby Show live on ABC-TV with guest Jo Stafford who duets with Bing on many of the songs from the Fancy Meeting You Here album. James Garner, Dean Martin, Phillip and Dennis Crosby also make guest appearances. Bill Colleran is the producer-director and Nelson Riddle and his Orchestra provide the musical backing. Bill Morrow is the writer. Bill Hayes and Florence Henderson act as goodwill salesmen for Oldsmobile and join Bing in singing a commercial. The show on ABC rates 28.4 against NBC at 18.3 and CBS at 14.8.

 

Bing Crosby’s second show of the season for Oldsmobile was a highly entertaining exercise in cleverness. From Bill Morrow’s script through the special musical material by Sammy Cahn and Jimmy Van Heusen to the settings by Jim Trittipo, the stanza was sparked by a wit and an ingenuity which gave an extra edge to the line-up of names… Morrow’s scripting, as usual, was keyed to the Crosby style of relaxed but completely constructed palaver. The show also happened to be solid in the performance department, as well. On hand were Jo Stafford who was at the top of her form in her solo of ‘I’ll Be Seeing You” and her wind-up, 20-minute duet with Crosby on a flock of standards. Dean Martin, unbilled and unannounced, turned up for a gag imitation of Bing Crosby in his salad days while Garner was ingratiating in his singing and chatter assignments.

         The Crosby twins, Phillip and Dennis, were used as prop boys, singing the intros and shifting the Trittipo sets in a flowing transition from number to number. Their integration into the long Stafford-Crosby duet via do-it-yourself constructions of Chinese junks, Mexican sombreros, airplanes and the Eiffel Tower was standout. They also joined Crosby for a pleasant workout on a hit of a couple of years ago, ‘The Jones Boy’.

(Variety, March 4, 1959)

 

A scenic designer named James Trittipo virtually stole the Bing Crosby Show last night on Channel 7. His impressionistic settings made of unfinished lumber were breathtaking in their inventiveness, simplicity and humor...Otherwise the show was in the best Crosby tradition, unhurried entertainment that was consistently pleasant.

(Jack Gould, New York Times, March 3, 1959)

 

The more trouble they take, the more elaborately casual the shows are. You might put that down as Crosby’s Law. Bing Crosby’s second show of the season seemed marvelously effortless, not only by the Groaner but by everyone concerned—indicating long and painful preparation by writer Bill Morrow, director-producer Bill Colleran and producer Sammy Cahn.

The Crosby television shows have now assumed a solid and rewarding shape, closely resembling those of the old Kraft Music Hall radio shows. This was a singing show. Starting with an elaborate singing, introduction, it was almost all song, including song introductions by two of Crosby’s sons—Phillip and Dennis—to the tune of “The Children’s Marching Song” (a device that became unbearably cute only occasionally.)

If you like songs, I think they’re coming back after a long absence due to this rock ‘n’ roll nonsense. Crosby and Jo Stafford, one of his guests, sang some real great ones. Crosby sang “Old Man River” and “Twilight on the Trail” all by himself. Teamed with Miss Stafford, he did some rollicking duets on “Fancy Meeting You Here,” “Slow Boat to China” and “I Can’t Get Started with You.” The Crosby voice, which hasn’t sounded too great in recent years, suddenly boomed out strong as ever. (I’m afraid it was all pre-recorded and at one point Crosby got caught with his mouth closed while the voice sang on. But what difference does it make?)

This may be the shape of things to come. Starting with the opening note, the show boomed along entirely in song for fifteen solid minutes without a, word of dialogue. Then Crosby and another guest, James Garner, otherwise known as Brett Maverick, engaged in some tomfoolery about, gambling with the Crosby boys. Dean Martin, who provided quite a lift to the previous Crosby show, appeared to show young Maverick how the young Bing Crosby once sang, singing “Easy to Remember” just exactly like the old master.  

After this interlude, the show got back to the songs and never, stooped to any more jokes again. (That’s nice work if Bill Morrow can get it and he’s got it.) Crosby’s marvelous sense of rhythm seemed to infect everyone around him. I can’t remember a more enjoyable hour of song and fun on television. Everything worked. Nothing obtruded. Nothing seemed hurried or harried. Nothing seemed forced.

Just as NBC’s elaborate backgrounds have a special flavor of their own, ABC is getting to be known—in my house at least—for the fresh and inventive simplicity of its sets. The first Bing Crosby show introduced the rocking chair. The stepladder and the stool have always been big at ABC. This show’s art director, Jim Trittipo, went even more primitive than the stepladder by staging everything on piles of lumber. Not only was this idea charming and gay, but it kept the emphasis on the songs. It gave the whole production a lightness and gaiety which set off the formidable personalities of Crosby and Stafford and Garner at their best. (Next week, I expect molten lava as a setting if this trend toward the elemental continues.)

Crosby will be back with his next show in the fall, which should give him plenty of time to prepare.

(John Crosby, The New York Herald Tribune)                             

 

 March 5, Thursday. Bing writes to British fan Leslie Gaylor.

 

My friend, Charlie Graves, in London has sent me your recent letter. I’m very sorry that the discs you desire are not in circulation and not available. I really am not familiar with Decca’s method of distribution, so I can’t be of much help in advising you about where they could be found.

As far as keeping current on recordings is concerned, there’s just no possibility of this at this time, Leslie, because the public interest in my recordings has waned to a point that it’s futile to spend the time making records which just lay on the shelves.

I’ve had a long career recording, and I’m very grateful for all the good things that have happened to me, so it’s easy for you to appreciate I’m sure, that I’m not despondent about the apathy which exists.

There are thousands of record companies in this country now and they are little fly-by-night operations who cut records on spec with anybody at all - any singer, any artist, any musicians - take a quick flier at the market and if any interest develops they go ahead with exploitation. It is quite hopeless to try and compete with these people. You just go along recording songs from pictures or issuing recordings taken from old radio shows in the hope that one of them will catch on, but to try and go into active competition with this fierce situation is really ill-advised.

Am very pleased that you still are interested in what I sing, and I’m very grateful to you for writing Mr. Graves.

As ever – Your friend, Bing

 

March 6, Friday. (9:00 a.m. - 12:00 p.m.) Using the Capitol studios, Bing records songs for the soundtrack album of Say One for Me with Percy Faith and his Orchestra for Columbia Records but most remain unissued.

March (undated). Bing and Kathryn visit her parents in Texas. Kathryn is recovering after dislocating both shoulders while making the film The Big Circus for MGM.

March 15, Sunday. Starting at 1 p.m., Bing is part of a foursome with Phil Harris, Desi Arnaz and Randolph Scott who play 18 holes for charity at El Rio Country Club, Tucson, Arizona. The proceeds go to the Beacon Foundation. A crowd of 3500 watch the proceedings in cold windy weather and see Crosby and Harris lose 5 and 4 to Scott and Arnaz. Bing has a 79 on the par 70 course.

March 19, Thursday. Makes a brief guest appearance on the Dean Martin television show broadcast by NBC today. This had been taped on February 28. Donald O’Connor and Gisele MacKenzie are the other guests.

We kept waiting for Bing Crosby’s “surprise” visit to last night’s “Dean Martin Show,” hoping it would add a little life to a listless exhibition, but it was three minutes to signoff before Bing put in his appearance, and by then it was too late.

The Bing bang proved a dud anyway—a line of dialogue, a bit of song, some foot movements. Nothing.

Martin can be affable and amusing, but last night, despite the presence of such potentially socko guests as Donald O’Connor and Gisele MacKenzie, he was just tedious. Maybe, as seemed the case last season with his buddy, Frank Sinatra, he’s just using TV these days as a restful fill-in between movie assignments.

There were songs, dances and unfunny sayings—and, of, yes: card tricks! —without over-all theme or coordinating point of view. The final number, the one in which Crosby momentarily participated, was “Back in the Old Routine,” and that pretty much summed up the taped hour. Routine.

(Harry Harris, The Philadelphia Inquirer, March 20, 1959)

March 20, Friday. Bob Hope’s film Alias Jesse James, in which Bing has a short cameo appearance, is released.

Comical also are the closing scenes where Hope has a showdown with the outlaw and his gang, the members of which are picked off one by one by concealed sheriff's deputies, while Hope believes that his accurate aim is responsible. These deputies, incidentally, are portrayed by such well known personalities as Bing Crosby, Gary Cooper, James Garner, Roy Rogers, James Arness, Gene Autry, Ward Bond, Hugh O'Brian. Tonto and Fess Parker. Their appearances are brief but amusing.

(Harrison’s Reports, March 21, 1959)

March 25, Wednesday. (9:00 a.m. - 12:00 p.m.) Again records songs from the film Say One for Me, this time with Frank De Vol and his Orchestra for Columbia Records. The  Capitol studios are used.

 

Say One For Me 

COLUMBIA 41387 — The groaner turns out a pleasant version of the title tune from his new flick. Also a spinnable side. Good choral effects are heard in the backing.

I Couldn’t Care Less

From the movie “Say One for Me,” comes this pleasant ballad. It’s ably backed by a fem chorus. Jocks will find this worth spins.

(Billboard, May 4, 1959)

 

Say One for Me is abysmal. Even Bing Crosby can’t get away with numbers like ‘The Secret of Christmas” and it sounds as if he’s not really trying to on this occasion. The rest is substandard rock ‘n’ roll, a couple of mildewed ballads and the inevitable cha-cha for Debbie Reynolds and Robert Wagner.

(The Gramophone, October 1959)

 

March 30, Monday. An article by Joe Hyams of the Associated Press about a recent interview with Bing is published. Bing is quoted as saying:

 

I guess I didn’t do very well bringing my boys up. I think I failed them by giving them too much work and discipline, too much money, and too little time and attention. But I did my best and so did their mother . . . I’m getting another chance with Tex (Harry) and with Kathy as help I’ll do better . . . I used to get them together for talks all the time and get nowhere, They’d yes me along beautifully and say, “You’re so right, Dad” and go out and do it all over again. . . . I’ve had so many heart-to-heart talks with Gary I’m embarrassed when I say, “Sit down, Gary, I want to have a few words with you.” . . . I think maybe I did too much talking while they did too little. It seems that maybe we got out of the habit of communicating. You’ve got to get kids started talking to you and keep them at it. I never had much success talking with mine.

 

Bing’s comments receive prominent press coverage but his sons (with the exception of Gary) give interviews assuring him that he did not fail them as a father.

 

“None of us feels the way Dad does about it. Sure, we had a few problems. Any family runs into that. Our sort of problems are probably different than most. After all, we couldn’t live the life of the typical American family. In light of that, I feel Dad did a wonderful job.”

(Phillip Crosby)

 

“I think somebody took what Dad said and colored it up. Any father is disappointed when his son does something wrong. . . . I certainly never noticed a lack of attention from my father. So far as being strict is concerned, I remember we used to get a few cuffs now and then, but everybody gets those. I don’t recall any lickings.”

(Dennis Crosby)

 

“Pop’s been just a great parent, no matter what he thinks.”

(Lindsay Crosby)

(All as reproduced in The Fabulous Life of Bing Crosby, page 184)

 

I don’t know how our dad could feel he’s failed us as a father. Reading that he had said that in an interview really shook me up. I only hope someday that I can give my son a tenth of what Dad has given us. And that I can rate any part of the admiration we’ve always felt for him.

That’s why it hurt so much to see him knocking himself in print. Taking himself apart and saying he punished us too much, that he was too strict with us, that he made us work too hard, that he spent too little time with us. That really shook me up.

(Lindsay Crosby, as quoted in an unidentified magazine)

 

April 1, Wednesday. An accounting showing payments from a trust established by Dixie Lee's will is filed in Superior Court.

An accounting showing payments from a trust established under the will of Dixie Lee, the late first wife of Bing Crosby, was filed yesterday in Superior Court. The trustee, John O’Melveny, reported that the trust assets as of last Sept. 30 totaled $456,824. Covering the period between Oct. 4, 1957, and Sept. 30, the report said that during this time $6,600 was paid to each of two beneficiaries, Even E. Wyatt, Miss Lee’s father, and Mrs. Catherine Crosby, her mother-in-law. Bing Crosby himself received $13,200 and $9,900 was paid to each of his four sons, Gary, 25; Phillip and Dennis, 24, twins, and Lindsay, 20. Their mother, legally known as Wilma Wyatt Crosby, died in 1952. Bing is now married to actress Kathy Grant.

(Los Angeles Times, April 2, 1959)

April 5, Sunday. Kathryn arrives in Ispeming, Michigan, to film Anatomy of a Murder for Columbia Pictures. She announces that she is expecting a baby in September or October.

April (undated). Bing is named as the star of Bachelor’s Baby, a film to be directed by Dick Powell at Twentieth-Century-Fox. Shooting was due to start on May 11 but Bing does not proceed with the project. It is said that Bing wanted Jean Simmons  to play opposite him but she was  not available and the film fell through.

April 8-10, Wednesday-Friday, Gary Crosby records an LP for Verve called “The Happy Bachelor” at Radio Recorders, Hollywood with Bunny Botkin and his Orchestra.

 

Gary Crosby “The Happy Bachelor” (Verve)

Bing Crosby’s oldest son, Gary, shows himself to be a very hip vocalist in this set. The title number of this LP is a tricky, swinging number with an intricate lyric which he handles with a freeswinging flavor.

(Variety, January 13, 1960)

 

April 9, Thursday. Bing attends the Church of the Good Shepherd in Beverly Hills to see his friend Gary Cooper admitted into the Roman Catholic Church.

April 17, Friday. Bing and Bill Morrow are reported to be driving to Guaymas in north-western Mexico in Bing’s Rolls Royce.

April (undated). Bing is in Palmilla, Baja California del Sur, Mexico, with Bill Morrow. Bing writes to Kathryn.

Dearest Kathryn,

Here we are at Palmilla, the place described on the outside of the envelope. It is the ultimate in luxury, beautifully situated on a promontory overlooking the sea, superbly built, and tastefully furnished, with a truly excellent cuisine.

But of course the big thing is the fishing. We went out at 10 a.m., caught three marlin, and were in port by 2:30. On the way back we ran into a school of rooster fish and caught a dozen in twenty minutes. Beautifully-colored, weighing about fifteen pounds with a sort of fan on their dorsal fin, they jump and run like mad when hooked.

Our hotel is just thirteen miles from the tip of the peninsula on Cabo San Lucas. As you can see, we’re running out of country.

I’d love to call you, but there’s absolutely no chance from here. A friend is taking this letter out.

Love, Bing.

(As reproduced in My Life With Bing, page 133)

April 22, Wednesday. Bing and Walter Winchell lose two down to Phil Harris and Bob Hope in the annual celebrities’ putting contest at the Desert Inn in Las Vegas in front of a gallery of 3,000 fans. The contest is staged to benefit the Damon Runyon Cancer Fund and it precedes the Tournament of Champions. Meanwhile the Motion Picture Exhibitor magazine contains the following:

 

NEW YORK – Following a home office rough cut screening of 20th Century Fox’s Say One For Me, last fortnight for company executives, Charles Enfeld, vice-president, said that it was decided to spend over one million dollars to launch the Frank Tashlin picture with the campaign  to start six weeks prior to a June release. Plans call for a national magazine campaign – the most extensive music promotion in 20th Fox history; a TV trailer featuring Bing Crosby, and a series of guest appearances by stars on national TV shows etc.

 

April 26, Sunday. Bing watches the final round of the Tournament of Champions at the Desert Inn club. Mike Souchak is the winner.

May 6, Wednesday. Phillip Crosby’s wife has a baby girl who is named Dixie Lee.

May 7-17, Thursday–Sunday. Bing and Kathryn are in Las Cruces, Baja, Mexico, staying with Mr. and Mrs. Lordan.

May 12, Tuesday. Bill Morrow, who is heading a development group, announces that Bing is to buy 170 acres of land at the old Otero ranch near Tubac, Arizona. Bing has also bought a $5000 membership in the proposed Tubac Country Club.

May 13, Wednesday. Bing and Kathryn attempt to drive to La Paz but their jeep breaks down. They start off on a five-mile walk through the desert, but Kathryn, who is six months pregnant, feels unwell. Bing signals to a light plane flying overhead and the pilot arranges for a taxi to pick up the couple.

May 16, Saturday. While out fishing with Bob and Ruth Fisher on their boat “The Volador,” Bing wrestles with a thousand pound marlin for over five hours until the fish escapes.

May 17, Sunday. Bing goes back to Palm Desert while Kathryn returns to Los Angeles.

May 18, Monday. Billboard announces that Bing has started his own record company (subsequently named Project Records) and has set as its initial project an album version of the Life Magazine series, "How the West Was Won." The package is to consist of a two-LP album and will include the pin and prose published by Life in its seven-part treatment of the conquest of the West. It will feature Bing among other name artists who are to be signed within the next few weeks. Package is to be aimed for the Christmas market. Si Rady is named as president of the firm. Other officers include Bing as board chairman, Basil Grillo and John O'Melveny as veepees with Todd Johnson as secretary-treasurer. (Grillo also is exec veepee of Bing Crosby Enterprises and O'Melveny has been Bing's long-time lawyer of the law firm of O'Melveny and Meyer.)  In a radical departure from the usual pattern of operations, the new diskery is to concentrate its efforts only on special projects. Rady will helm the company's operations and also serve as its top artist-repertoire exec. Rady is a record industry veteran of approximately two decades. He started as a freelance disk producer. He later joined Decca Records where he served for 12 years handling artist-repertoire in the kiddisk, pop album, show packages and classical realms. During his time, he helped Decca pioneer in the spoken word field. Rady moved to RCA Victor where he was European artist-repertoire manager for three years, headquartering in Paris. He switched to Victor's West Coast operation, holding down the artist-repertoire post for approximately one year.
    May 25, Monday. Bing writes to Rena Albanesi, Editor of BINGANG magazine.

 

I swear I thought I wrote and thanked you for the birthday gift. I must have dictated the letter and then mislaid it. I do thank you very much for the sentiment.

I just finished reading a recent edition of Bingang. I want to compliment you and your staff on the nice job you do with this publication. It’s really quite an interesting piece of material, and very well assembled. I really am baffled as to where you find all this subject matter, but I‘m grateful to you and the gals for the work you do in connection with it.

I thought I had another picture all set to start in a few weeks. We’ve been talking about it for months – a thing called “Bachelor’s Baby”, a comedy by Gwen Davenport, who you may recall wrote Cheaper by the Dozen. It’s a very funny comedy, and our chief problem was trying to find a couple of leading ladies of sufficient reputation and stature to help us at the box office. It’s no longer wise to go into a picture without adequate support in all departments, particularly the opposite leads.

Practically everybody we wanted was busy, so it appears now that the picture is off temporarily. We may get around to it next fall, or maybe something else by that time – I just don’t know.

I don’t know whether or not you saw the recent series which ran in LIFE magazine, called “How the West Was Won”. We’re now engaged in putting together a big album using some of the art from the series, and some of the narration, and incorporating the songs of the era covered by the series. It should be a very interesting album and one that we hope a lot of people would like to have in their collection.

It is going to involve Rosie Clooney and myself, possibly Burl Ives, some important folk singers who haven’t as yet been decided upon, several big choral groups, and the general musical job is going to be taken over by Hank Mancini, I believe. We are going to try to do something really worthwhile in this effort.

We’re doing a big benefit premiere down at El Centro the 20th of June. There’s a very real necessity there for Youth Recreation facilities, and we hope with the proceeds of the premiere to raise enough money to erect them some sort of a structure for such use. I have several of these little projects going in different parts of the country, which occupy my attention from time to time, but not doing much work otherwise, until possibly fall when I’ll get another television show ready, and possibly another movie.

Please give my very best to all the club members. Believe me to be, as ever –

Your friend, Bing

 

May 27, Wednesday. (5:00 p.m.). British singer Michael Holliday and his wife visit Bing at Valley Golf Club, Santa Barbara where Bing has been playing in a golf tournament.

 

Then Margie turned around. A middle-aged man in a white flat cap and blue polo shirt was ambling towards them with a gait that they had seen a thousand times on the cinema screen. Beneath the white golfing cap, a pipe jutted out, held jauntily at an angle. ‘I think this is him,’ said Margie. It was.

Crosby immediately acknowledged the English couple. ‘Be with you in just a minute,’ the famous voice boomed, as Crosby headed first to the locker room to wash up after his game. Within minutes, he was back, full of the famous Crosby charm and playing the perfect host.

Crosby was never comfortable with idolatry. Perry Como once recalled how, during a long TV duet with Crosby, he had found himself so lost in Bing’s presence that he had stopped the medley and simply said ‘You know, if it wasn’t for him, I’d still be cutting hair [a reference to Como’s early life as a barber].’ After the taping was over, Crosby had chastised his disciple for his impromptu tribute.

‘Don’t ever do that again,’ he said to Como, his voice carrying a tone that made it clear that to transgress would put a friendship at risk.

With his idol sat opposite him, Mike was transfixed. ‘My mother always taught me not to stare,’ Mike said later in his account of the meeting, ‘but I just couldn’t help it. I just stared straight at him.’ Despite acting like a rabbit in the headlights, Mike professed to not feeling nervous. ‘The only problem is that you don’t believe you’re really there, that you won’t wake up and find it’s all a dream,’ he said later.

The sense of disbelief may have helped Mike to allow something of his natural personality to come through. Freed from the pressures of needing to be ‘Michael Holliday’, he was a highly likeable individual, a mischievous twinkle in his eye and a smile never far from his face. Most of Crosby’s true personal friends resided away from the world of show business, with straightforward simplicity a common characteristic. The natural Mike was a good fit, and Crosby seemed to take a genuine liking to both him and Margie. Seeing that Margie had a camera with her, Bing suggested that they take some pictures of the meeting, both still and home-movie. The surviving film shows a relaxed Mike, sitting alongside Bing in a pair of directors’ chairs, sipping drinks. Mike looks comfortable and naturally relaxed, even if a beaming smile never leaves his face. Margie even persuaded Bing to ham it up with Mike and recreate the famous pat-a-cake routine that was a regular part of the Hope and Crosby Road pictures.

Crosby invited the couple to follow him back to his home in Holmby Hills, where they met his young wife Kathryn. The next day, they visited the Crosby office, where they were treated as if they were lifelong friends. Bing himself took time out to dig out some privately pressed LPs of unissued radio material, all of which were personally signed. For the Hollidays, the trip was simply a dream come true. ‘Marge and I have loved him for so long,’ he told Stan White. ‘He is the master of everything ...The Great Croz.’

Even then, Mike didn’t seem to realise just what a coup the visit had been. Whilst in Hollywood, Mike visited Capitol Records and met Dave Dexter, who was much impressed at Mike’s souvenirs. ‘How he did it, I have no idea,’ he wrote to Paramor ‘but he showed me photos with Bing Crosby. Crosby’s own brothers and sons can’t get Bing on the telephone, much less visit with him, so I suspect Holliday has a secret touch. I have known Bob Crosby [Bing’s younger brother] for several years and he once told me that he went three or four years without ever seeing or hearing from Bing!’

When Mike returned to England, the press made much of his meeting with Bing. ‘YOUNG GROANER MEETS OLD GROANER’ was one headline, atop of Margie’s photo of the two singers. From then on, Mike and Bing became regular correspondents and even if the flow of letters was greater from Croydon to California than in the opposite direction, Bing did at least reciprocate some of the attention that Mike foisted upon him.

(Ken Crossland, The Man Who Would Be Bing - the life story of Michael Holliday, page 119)

 

June 4, Thursday. Bing buys Portland television station KPTV in conjunction with the Nafi Corporation.

June 5, Friday. Bing is at his Holmby Hills home where he is visited by a British fan. Later in the day, Bing meets Father Franklin Kelliher in connection with a fund-raising event involving the premiere of the film Say One for Me.

June 13-14, Saturday-Sunday. Bing (handicap 3) takes part in the “Swallows” golf tournament at Cypress Point. Playing with Dick Snideman, they finish 13-up. The winners are 15-up.

June 18, Thursday. Bing’s sons have formed an act and open as “The Crosby Boys” at the Sky Room in Tucson, Arizona. Bing’s film Say One for Me has its premiere at Buffalo, New York. The event forms part of fund raising activities for Buffalo Boy’s Town run by Father Kelliher. Bing sends a taped message. There is also a gala benefit premier at the Pantages Theatre on Hollywood Boulevard with the proceeds going to the Daniel Freeman Hospital, Inglewood and the Jesuit Scholasticata. Bing does not attend. The film later appears in the book The Fifty Worst Movies of All Time.

         

Basic idea in Robert O’Brien’s story probably had potentialities. It’s a “Going My Way” sort of affair with Bing Crosby again as a priest with his target shifted from juvenile roughnecks to show business delinquents. But something went wrong in the development; the entertainment values are short of impressive and the boxoffice will have to depend on Crosby and Debbie Reynolds as the marquee names. . . . Songs by Sammy Cahn and James Van Heusen are not likely to be listed among their best credits although the title number is top quality—good lyrics, pleasant melody—and stands a chance on its own. “The Secret of Christmas,” so far as the story goes, is a sure click but actually is a modest offering that might get action at yule time.

      Crosby turns in a curiously inhibited performance. He plays the role tight, not at all like the free-wheeling, leisurely-paced Crosby of yore, but the voice is still there…

(Variety, June 10, 1959)

 

AFTER all the times Bing Crosby has played a priest in films, you’d think by now he would be a Bishop or a Monsignor, at least. But no, he is still a parish pastor in Frank Tashlin’s “Say One for Me,” another romance of religion and show business, which came to the Paramount yesterday.

Mr. Crosby is still atmosphering informally in cassock and biretta (or just toupee) in and about the vicinity of a small Catholic church off Broadway, mixing piety and wisecracks in about equal measures and snatching brands from the burning that is going on all the time just up the street.

The principal brand that takes some snatching is a young night club impresario, entertainer and general sin-doer among the showgirls at the club. This fellow, played by Robert Wagner, is a real gone type (“know what I mean”), given to impudent indifference toward the squareness of a priest. He tees off on Father Conroy (that’s our Bing, of course), accuses him of stealing his routines for an old vaudevillian and other such. Needless to say, the good father regards him dubiously.

Particularly does he do so because one of his best parishioners, a little college girl played by Debbie Reynolds, goes to work at this fellow’s club. Of course, she is not a usual showgirl, she just needs money for a father who is ill, and so there is really no good reason for the burning anxiety of Father Bing. But he worries and probes the situation. This takes him to the club. This leads him to the pious business of poking his mitts into the fire.

In the process, he does score some rescues. The most obvious and delightful save he makes is that of a beat piano player who is trying to make his home in a bottle of booze. This character, played by Ray Walston, is more of Bing’s vintage and type, and the two do some gratifying chumming and crooning in the war on John Barleycorn.

Father Bing also plucks from the embers a moody showgirl who has a tiny tot without the benefit of a marriage license. He gives baby and mother the sign.

But we really can’t credit him with saving the impudent impresario. That job is mainly done by Miss Reynolds, who looks great in tight slacks or opera hose and also in the color and wide-screen effectively used here. It is she who really angles the young scapegrace to 2 A. M. mass (or what Father Bing calls his “late, late LATE show”). But then Bing’s successes in the priesthood have usually had strong assists from Cupid’s bow.

It is a pleasant show-world entertainment, this obvious “Say One for Me,” full of pretty girls with shapely legs, a few song numbers (two sung by Bing) and religious images. Robert O’Brien has contributed a screen play that is loaded with slang. Broadway gags that are easily comprehended and not too much clerical sentiment. Connie Gilchrist as the priest’s housekeeper has some of the cutest lines and, next to Mr. Walston, is the most solid comic in the show.

As for Bing—well, he’s just about as usual, a little less lively, perhaps, a little older looking, but still casual and sincere. He’ll never make Monsignor. He’ll always be a parish priest, whenever he turns his collar backward, because you always sense a sport shirt underneath.

 (Bosley Crowther, The New York Times, June 20, 1959)

 

A pleasant, if sometimes monotonous, photodrama with music . . . For visual appeal, this new 20th. Century-Fox film, in color and CinemaScope, is a world-beater. . . . A handsome production from start to finish, it misses only in the departments of story, direction and acting, three important categories, nonetheless.

(Citizen News, Hollywood, June 19, 1959)

 

Coarse-grained and insensitive . . . an uneasy two hours . . . Crosby himself wears a pained expression a lot of the time.

(Philip K. Scheuer, Los Angeles Times)

 

June 20, Saturday. Bing appears on the stage of the Fox Theater in El Centro, Southern California, and sings several songs. His film Say One for Me is also shown and personal appearances are also made by Robert Wagner, Natalie Wood, and Ricardo Montalban. All of the proceedings are part of a benefit for Our Lady of Guadalupe Church and parish in El Centro, organized by Father Victor Salandini, and $7000 is raised.

June (undated). Bing and Kathryn attend a surprise party given by Alice Faye for her husband Phil Harris at Don the Beachcomber in Hollywood.

June 25, Thursday. The Crosby Brothers open at Chez Paree in Chicago.

 

CROSBY BROS. Chez Paree, Chicago. Songs 58 Mins. Bing Crosby’s four sons are launched on the cabaret scene in high style. The frères - Gary, Phillip, Dennis and Lindsay - have a superlative act that is likely to abash those skeptics who surmised the boys would trade merely on the lustrous family name…

(Variety, July 1, 1959)

 

June 27, Saturday. Bing plays in the first Las Posas Country Club member-guest "Tea Party" tournament.

June 28, Sunday. Bing and Kathryn watch the Dodgers beat the Pittsburgh Pirates 9-4 at the Coliseum.

June 30, Tuesday. A judge confirms that Lindsay should be allowed to receive $227,662 from the trust fund set up by his parents following an examination of the final accounting for his guardianship that ended when he became twenty-one in January.

Lindsay Crosby, 21, youngest of Bing Crosby’s four sons by his late wife. Dixie Lee, took control of assets worth $227,662.10 yesterday when Superior Judge Burdette J. Daniels approved a final guardianship account. The account was submitted by Atty. John O’Melveny, who in 1942 was appointed guardian of the estates of Lindsay and his three brothers on a petition filed by their parents. At that time the court was informed that gifts of $30,000 had been made by the parents to each son. Since then investments, earnings and proceeds from the estate of their mother have increased the value of their holdings. Court records show that in September 1955, when Phillip and Dennis, now 25, twins, took over their holdings. Phillip had $204,514.17 and Dennis $205,810.15. Their older brother Gary, now 26, received $219,964.05 when his guardianship terminated in July, 1954.

(Los Angeles Times, July 1, 1959)

Bing writes to Irv Kupcinet of the Chicago Sun-Times.

Thanks so much for sending me the clipping about the boys’ act there at the Chez Paree. It was nice to talk to you too, and I’m glad to get such good reports of their debut.

Of course, it’s remarkable after only a month’s rehearsal that they’re able to do so well, because outside of Gary, the other three have really no experience at all working in front of an audience.

I was hopeful that they could get two or three weeks on the road before going into Chicago, playing benefits, shooting galleries, and whatever, for no money, or for any money they could get, and just acquire a lot of ease and poise, and get the act real smooth before they made such an important appearance, but I guess they got away with it okay.

Kathryn joins me in kindest personal regards,

As ever - Bing

       July 4, Saturday. Bing is at his Rising River ranch fishing with Kathryn’s father. Bing leads the Fourth of July parade in Burney.

Rising River Ranch

July 4, 1959

Dear Kathryn,

Leonard met me at Redding, along with Emery, Sr. There are lots of fish in the river, but water is clear and ripple-free, a decided factor in their favor. Caught one, two, and released a few small ones this morning.

Your dad has also caught some, but finds it a distinct challenge, as does everyone who comes here. He loves it though, and according to Frances Ruth never wants to leave.

Your mother looks better than when last I saw her. She is trying to adhere to her diet. Doesn’t dine with the group, but takes her hard-boiled egg and sliced tomatoes in the privacy of her digs. Too tempting, I fancy, to sit and watch us load up.

I have been drafted to lead the 4th of July parade in Burney, astride one of Leonard’s best steeds. Will call you in a day or so. Kiss Tex for me.

Love, Bing

(As reproduced in My Life With Bing, page137)

July 5, Sunday afternoon. Bing flies into McCall Field, Calgary, Alberta, Canada, aboard Pacific Petroleum’s Ventura aircraft. He is to stay in the area as a guest of newspaper publisher Max Bell until July 9. Bing gives a press conference for the assembled journalists.

 

Then proceeded one of the most thoroughly pleasant interviews in the experience of any of the newsmen present. He answered every question, personal or professional, without evasion. He was relaxed and friendly.

(Calgary Herald, July 6, 1959)

 

July 6, Monday. Starting at 9:00 a.m., Bing, wearing a cowboy hat, rides as the grand marshal in the Calgary Stampede Parade in front of crowds estimated to total 125,000.

July 7, Tuesday. Golfs at Banff Springs golf course with Jack Cuthbert, the professional at Calgary Golf and Country Club. In the evening, Bing attends a reception at the home of E. J. Madill, the principal officer of the U.S. Consulate in Calgary.

July 8, Wednesday. (3:00 p.m.) Bing is made an honorary brave of the Sarcee tribe at the Indian village on the Calgary Stampede grounds. He goes on to the racetrack where, at around 4:45 p.m., he presents the trophy to the winner of the Bing Crosby International Handicap.

July 9, Thursday. Bing arrives in Denver, Colorado, and plays golf at the Cherry Hills Country Club.

 

Bing Crosby stopped over in Denver for a few hours Thursday for a round of golf at Cherry Hills Country Club. The Old Groaner refused to say a mumbling word about anything whatever (not the boys, not Kathryn Grant Crosby, not the Nevada ranch which is up for sale, not his career plans.).  He was concentrating on his golf and concentrating well. He sank a 15-foot putt on the ninth hole. His companions for golf were Rip Arnold, the club pro, Joe Dyer and H.R. Berglund.

(Denver Post, July 10, 1959)

 

July 20/21/23/24, Monday/Tuesday/Wednesday/Friday. Makes the How the West Was Won album at United Recorders, Hollywood, for his own company, Project Records. It is eventually released by RCA Victor Records in March 1960 having being offered to LIFE magazine first. Bob Thompson conducts the orchestra and Rosemary Clooney joins Bing on several of the songs. The album has been produced by Si Rady.

     

This handsome set is sure to attract. The striking cover and informative booklet are perfect complements to the fine album contents which are interpreted by a stellar line-up of artists. The two-disk set offers a heap of Americana in narrated form. Strongest potential.

(Billboard, March 21, 1960)

 

...Then, as if we hadn’t had enough Western music, Bing Crosby, Rosemary Clooney and other soloists with chorus and appropriate harmonica and banjo accompaniments, sing “How The West Was Won”, with Bing narrating on two RCA discs (mono, RD27196/7: stereo, SF5082/3). These are perhaps the most interesting of them all, because they are very different types of songs from each other, sung by different voices.

(The Gramophone, March, 1961)

 

We have nothing but praise for RCA’s mammoth 2-record presentation album “How the West Was Won” (RD-27196/7) which reproduces in print an adaptation of the LIFE magazine series and in music, a complete sonic illustration of a period in American history which should by now be all too familiar to TV audiences. The music is 100% authentic, including 42 work-songs, trail ballads, Mormon spirituals, barn dances and folk songs, many of them from the Lomax collections. Each side covers a different aspect of Western history, the whole bound together by Bing Crosby’s narration. He and Rosemary Clooney, along with Sam Hinton, Jimmie Driftwood, The Tarrytown Trio, Jack Halloran Singers, two Mormon choirs and Bob Thompson’s orchestra, form such an expensive cast that it becomes difficult, in view of the limited appeal, to see how the album can ever recoup its costs. But we hope it does. The reproductions of authentic pictures from the Library of Congress and other sources together with the 5-page notes, are invaluable to those interested in American history.

(Record Review, April, 1961)

 

It was an album based upon a series of articles, “How the West Was Won” by Shana Alexander that had appeared in LIFE magazine. . . . The album, a most ambitious undertaking, used genuine American folk songs with Bing Crosby acting as narrator and, with Rosemary Clooney and others, performing the songs.

(Fred Reynolds, writing in his book The Crosby Collection, 1926–1977, part four, page 259)

 

July 28, Tuesday. The Crosby Brothers open at the Sahara Hotel in Las Vegas and are well received. Evan Wyatt (maternal grandfather) is there and is photographed with the boys after the show. Gary Crosby suffers a nosebleed during the performance but manages to carry on. Bing’s whereabouts are not known to the boys.

July 29, Wednesday. Bing arrives in Seattle to act as grand marshal in the Seafarers Parade with Phil Harris on August 1.

August 1, Saturday. Bing and Phil Harris act as Honorary Grand Marshals in the annual Seafarers Parade in Seattle.

August 2, Sunday. Bing and Phil Harris fly from Vancouver to join the Yacht Campana for a fishing trip with Bill Morrow, Ed Crowley, Dick Snideman, and Buster Collier.

August 10, Monday. The Campana is thought to be near Port Hardy on the northern tip of Vancouver Island.

August 12, Wednesday. Gary Crosby gives an interview in which he says that he is estranged from his father and that they “just don’t get along.”  Meanwhile, the Campana is near Namu, some 350 miles north west of Vancouver. Bing catches a 48lb spring salmon. He writes to Kathryn.

Yacht Campana

August 16, 1959

Dearest, Sailing along to Vancouver and feeling very lordly, lounging in this vessel with a crew of eight, poised and ready to gratify our slightest whim, Right now we’d like some sunshine, but I doubt that they can handle that. I wish you were aboard. You would love it because the sea in this island passage is reasonably calm and the scenery is striking.

A couple of incidents on the trip which might amuse you. Buster was showing off all his Abercrombie gear, and finally came to a package about the size of a baseball.

‘What’s that,’ asked Morrow.  

‘A life preserver,’ replied Collier. ‘When you hit the water, you squeeze this until it inflates.’

‘How long will it hold you up.’

‘Until you’re hoarse,’ interposed Harris.

Another time Dick Snideman, and Crowley, who were fishing in one of the small boats, hooked onto a salmon that began racing wildly all over the ocean.

‘Chase him,’ cried Snideman.

‘Turn right,’ yelled Morrow.

‘Turn left,’ howled Crowley,

The salmon ran out all the line and broke it off at the spool. You know why? Nobody was at the wheel. A colorful crowd. I have many Morrow tales which I’ll relate when I get home. Enjoyed hearing your voice on the phone yesterday, and was relieved to know you are not uncomfortable. Love to mother.

Bing.

(As reproduced in My Life With Bing, page 137)

August 17, Monday. The Campana returns to Vancouver after a 16-day fishing trip. Bing and Phil Harris fly to California.

September (undated). Records tracks for Remington Electric Shavers which are to be used on a laminated paper disc called “Music to Shave By” to be issued with Look magazine.

September 12, Saturday. Bing and Kathryn dine at Romanoff’s.

September 14, Monday. (5:34 p.m.) Bing delivers Kathryn to the Queen of Angels Hospital where she gives birth to Mary Frances, Bing’s first and only daughter, two hours later. The baby weighs 6 pounds 15 ounces.

 

When Mary Frances was born, I had only just had time to call Bing. He and George Rosenberg were deep in details concerning Bing’s new movie, but when I gave him the alert, he left George with mouth agape and papers in his hand and bolted from the office. He picked me up at Dr. Moss’s office and we drove down the Freeway. I must say Bing gave a poor performance that day of a man trying to look calm.

The prep then was very short and Bing sat in the room with me. Doctor was also present. The two men were discussing their kidney stones. Interesting, don’t you think? Well, not to me, it wasn’t, not just then. Men showed no solicitude for the Little Woman in Her Hour of Travail, I felt. There they were, gossiping like two old codgers: “Did you pass yours?” “No, they had to scope me.” “What does your doctor let you eat?” “Oh, mine gives me certain things, but I don’t follow any diet. Do you?” (This from a doctor himself!) On and on they went.

Finally the doctor said, “Let’s speed this up a little,” and inserted a syntocinon drip in my arm, whereupon I felt as if somebody had kicked me, hard, in the rear. I sat bolt upright and said, “Who did that?” And I realized that Mary Frances was about to make her debut in the world. She did—just twenty minutes later. I remember Dr. Moss shouting, “A girl! Bing’s first little girl!” She had been terribly red and cried a lot.

(Kathryn Crosby, Bing and Other Things, page 110)

 

September 15, Tuesday. Bing attends the Dodgers versus Braves baseball game at the Los Angeles Memorial Coliseum with Phil Harris. The Dodgers win 8-7.

September 20, Sunday. Bing and Kathryn take Mary Frances home. Soviet First Secretary Nikita Khrushchev lunches in Hollywood. Bing refuses an invitation to attend.

September 24, Thursday. An article in the New York Times describes how Everett Crosby grows vines on the slopes of High Tor in Rockland County, New York. Everett lives in the house formerly occupied by Elmer Van Orden who was immortalized in Maxwell Anderson’s play High Tor, which was televised in 1956 with Bing in the starring role.

September 29, Tuesday. (8:30–9:30 p.m.) Bing hosts The Bing Crosby Show with guests Frank Sinatra, Louis Armstrong, Peggy Lee, George Shearing, Joe Bushkin, and Paul Smith on ABC-TV. Axel Stordahl and his Orchestra provide musical support. Bill Colleran is the director. Bill Hayes and Florence Henderson act as goodwill salesmen for Oldsmobile. The Trendex rating is 20.1 against 19 for the show in competition on CBS.

 

Mount Bing Crosby, Frank Sinatra, Peggy Lee, Louis Armstrong, Joe Bushkin, George Shearing and Paul Smith in a tasteful, Bill Colleran framework and its hardly an accident that you come up with a 60-minute layout that’s alternately, sophisticated, smart, breezy, snazzy and solid entertainment. Which just about characterizes last Tuesday night’s, ‘Bing Crosby Show’.

         Crosby bore the brunt of the show and for the most part was in fine fettle, whether working solo or dueting with Sinatra or Miss Lee or ‘Satchmo’. With a Bill Morrow scripting assist, Crosby and Sinatra tossed the gab ball back and forth and this may have been the only fall from grace. It wasn’t Grade A gab tossing. Whether it was Satchmo’s blowing up a storm or vocalizing, or Crosby, Sinatra or Miss Lee singing, dueting or as a threesome, or yet again, a Bushkin-Shearing-Smith grand slam in their 88 virtuosing, it came out like tv being restored to the show biz pedestal. These Crosby outings have a habit of upgrading the medium.

         There was special song material by Sammy Cahn (who co-produced with Colleran) and Jimmy Van Heusen; a bang up orchestral background by Axel Stordahl and an overall decor that was elegant simplicity. The sequencing of the numbers gave the show a correct tempo and pacing, from the opening, ‘I’m Glad We’re Not Young Anymore’ by the Crosby-Sinatra-Miss Lee-Armstrong foursome to the closing medley by the quartet. Interlaced were such highlights as Crosby’s ‘Looking at the World Through Rose-Colored Glasses’, his trademarked ‘When (sic) the Blue of the Night’, his duet with Miss Lee on ‘Too Neat To Be a Beatnik’; Sinatra’s ‘Willow Weep for Me’, ‘The One I Love’ and ‘If I Could Be with You’; Miss Lee’s ‘Baubles, Bangles and Beads’, ‘Some of These Days’ and ‘The One I Love’; Satchmo’s ‘Mack the Knife’; ‘Basin Street’ and ‘Lazy River’. Dovetailed with the vocals was a fetching terpsichoreal sequence by Jayne Turner and dancers - a capsule jazz version of ‘Cinderella’. There was more, too, virtually all of it rich in texture and amply rewarding for the viewing and the listening.

(Variety, October 7, 1959)

Although some critics found the television medium too sterile for Peggy Lee, an appearance in late 1959 proved not only her suitability for it, but also the fact that, done well, television could be unbeatable. The variety show, as practiced by the pros, was not yet an also-ran forum for mediocre entertainers. At this point, the talent was first rate, the energy enormous, and the music jazzed. The Bing Crosby Show, on which Lee appeared, was arguably the single greatest musical-variety show that ever aired, featuring nothing less than the Mount Rushmore of popular singing at the end of the era when pop-jazz ruled the land.

Start with music by Sammy Cahn and Jimmy Van Heusen. Add a roster of musicians led by the brilliant Brit, George Shearing, and pianists Paul Smith and Joe Bushkin, a player with swing in his blood who had worked with Billie Holiday, Tommy Dorsey, and Benny Goodman. Finally, bring on three more musical guests accompanying Bing: Louis Armstrong, Frank Sinatra, and Peggy Lee. The sum total? An hour of astounding talent, all caught in a crosscurrent between the old and not really so staid, and the pulls of the blossoming counterculture whose influences could no longer be ignored.

(Peter Richmond, The Life and Music of Miss Peggy Lee, page 267)

On an episode of the televised Bing Crosby Show, Lee joined Crosby, Sinatra, and Louis Armstrong for a delightful quartet, “I’m Glad We’re Not Young Anymore.” This performance went down in history via one particularly famous photograph in which the foursome stood arm-in-arm singing together; this illustrious picture became affectionately known as the “Mount Rushmore” of twentieth-century American music, and for good reason. Armstrong represented the founding voice of jazz, Crosby and Sinatra held their own as the two pinnacle male performers in popular music and film musicals through much of the century from the swing and post-swing eras, extending from the 1930s into the 1970s (Sinatra’s career lasted even longer), and Peggy Lee crossed into all of the above genres, forging her own path as swing, jazz and pop diva, songwriter, and universal artist. Witnessing the tongue-in-cheek comical performance from which the famous photo originated has remained a rewarding endeavor for fans of the four stars.

(Tish Oney, Peggy Lee – A Century of Song, page 152)

September 30, Wednesday. (9:00-10:00 p.m.) Perry Como hosts Perry Como’s Kraft Music Hall for the first time on NBC-TV.

 

His visit to the music library - a quaint, dusty “Bing Crosby Room,” containing musical treasuries of Bing’s Kraft shows from more than two decades ago - was a sequence rich in nostalgia, as warm and simple a tribute as has ever been paid to Crosby.

(Daily Variety, October 2, 1959)

 

October 2, Friday. Bing replies to a letter from Priscilla Koernig, a Club Crosby representative.

 

Glad you liked the television show. It had a few mechanical deficiencies – things we should have prepared for, but didn’t. I think it finished on a very happy note, anyhow, which is probably a saving grace in these kind of shows.

You were right about “Thank Heaven for Little Girls”. We did plan to do some of it at the finish of the show, but time ran out, so it wasn’t possible.

If you come to the tournament at Pebble Beach, I’ll be happy to take a picture with you, if it would please you.

With all best regards to you and your family – Most sincerely, Bing

 

October 4-6, Sunday-Tuesday. Starting at 1:00 p.m. each day, Bing and Phil Harris are at the Memorial Coliseum in Los Angeles to watch the World Series games between the Brooklyn Dodgers and the Chicago White Sox. The attendance records for World Series games are beaten each day with 92,706 watching the final game. The Dodgers win the first two games 3-1 and 5-4 but the White Sox win the third match 1-0. Later in the week in Chicago, the Dodgers become overall winners of the World Series.

October 15, Thursday. (Starting at 7:30 p.m.) Bing tapes a guest appearance on the Frank Sinatra Timex Show with Dean Martin, Mitzi Gaynor, and the Nelson Riddle Orchestra at ABC Television Center, (studio E), 4151 Prospect Avenue, Hollywood.

October 16, Friday. Mary Frances is christened at St. Paul the Apostle Church in Westwood. Lindsay Crosby and Dolores Hope are the godparents. Dennis and Phillip are also there but Gary is said to have overslept.

Mary Frances Crosby, 1 month old, was baptized yesterday in a Westwood Catholic church before a select group of onlookers. Her godfather is singer Lindsay Crosby – also her half-brother. Her godmother is Mrs. Bob Hope, wife of the comedian. Attendants, it was reported, were half-brothers, Phillip and Dennis, and full brother, Harry Lillis Crosby Jr. Another half-brother, Gary, was reported to have “overslept.” Mary Frances’ parents, Mr. and Mrs. Bing Crosby, also were on hand.

(Los Angeles Times, October 17, 1959)

The Crosby Boys have been appearing at the Moulin Rouge in Hollywood since September 24. On this day Bing watches the show and he and his sons reconcile after a frosty period. Kathryn Crosby had been to see the show earlier in the month.

 

The foolishness didn’t end until Dad turned up to catch our act at the Moulin Rouge in Hollywood three months later. After the show the reporters trailed him back to our dressing room to witness the big reconciliation. The boys and I had to be as juiced as we always were, but I’m sure we straightened up on the spot the moment he strolled through the door. “Nice job, fellas,” he told us. “You were in tune most of the time, you didn’t bump into the furniture and you all finished together. That was terrific.” Aside from the obligatory photographs of Bing and the kids, that’s about all that happened. The whole visit couldn’t have lasted more than twenty minutes, but it was enough to send the press guys running to their typewriters. “Peace reigns once more in the Bing Crosby family” read the morning papers. “The crooner and his eldest son Gary settled their differences last night and posed for pictures with their arms around each other joined by Bing’s other grown sons, Dennis, Philip and Lindsay.”

(Gary Crosby, writing in Going My Own Way, page 263)

 

October 19, Monday. (9:30–10:30 p.m.) The Frank Sinatra Timex Show with Bing, Dean Martin, Mitzi Gaynor, and the Nelson Riddle Orchestra is shown on ABC-TV. The producer-director is Bill Colleran. A “Jimmy Durante” medley is sung, with Durante himself putting in a brief appearance, as there are plans for Dean Martin to play Durante in a forthcoming film with Bing and Frank Sinatra co-starring. Bing was to play Eddie Jackson and Sinatra to play Lou Clayton. Frank Capra starts work on the project but it is abandoned early in 1960 because of complications over the contract.

 

ABC-TV atoned for a bundle of vidpix scenes on Monday night (19th) when it ushered in the first of four Frank Sinatra specials this season, in an hour frolic that paid off with the desired entertainment wallop. On deck for the occasion, along with Sinatra, were Bing Crosby, Dean Martin and Mitzi Gaynor (with a special surprise appearance by Jimmy Durante for the finale)……In the words of the Bingo, bring forth three vagrant minstrels together and brother, you got yourself a summit meeting. You’ve got to go a long way to find three personalities who blend with such perfection. The trio’s closer, providing a tantalizing sneak preview of their Clayton, Jackson & Durante filmization on the drawing board for ’60, was whammo from ‘Start Off Each Day With A Song’ to ‘Inka Dinka Doo’ and ‘Bill Bailey’ (with, of course, the Schnozz himself as the clincher)….Or again, the threesome kicking around a bagful of old ASCAP standards and clowning up the ‘Together’ number….

(Variety, October 21, 1959)

 

Frank Sinatra’s first show on Channel 7 last night ranged in mood from torpor to a state of adept showmanship that might be expected from a combination of his talents with those of Bing Crosby, Dean Martin and Mitzi Gaynor. The trouble was that the program had a disconnected quality about it, as if the curtain dropped between its segments. There was no easy flowing continuity. The high points included songs sung in night-club fashion by Mr. Sinatra, a medley by his guests, who introduced the show, and the finale starring all hands, and, surprise, Jimmy Durante.

(Richard F. Shepard, New York Times, October 20, 1959)

 

October 24, Saturday. Bob Crosby’s daughter, Cathy (age twenty), is in a hospital after suffering a mental breakdown.  (8:00-9:00 p.m.) Bing guests on the George Jessel Show on channel 13 with Darla Hood and Jim Backus.

October 26, Monday. Bing and Kathryn are at his Rising River ranch. He then goes with Phil Harris to Weiser, Idaho, to shoot. Alice Faye (the wife of Phil Harris) arrives to stay with Kathryn on November 4.

November 2, Monday. The Crosby Boys open at Elmwood, Ontario for two weeks.

November 2-8, Monday–Sunday. Bing is near Calgary, Alberta in Canada, shooting with Phil Harris. Their party bags 200 game birds of various species. He writes to Kathryn on November 2.

Dearest,

Our world is a foot deep in new snow. The evergreen bows are bending low, and Remus is in his element, rolling about and snorting. We’re waiting for the car to take us north into the goose, duck, and hun (Hungarian partridge) country, about a four-hour run I understand.

We have enough warm clothes to brave the Arctic Circle, and various pheasants in the ice house in Weiser to be cleaned and plucked. I hope the blizzard abates before we have to fly through it, an experience which unnerves me and traumatizes poor Wanga (Phil Harris). A-voom!

Love, Bing.

(As reproduced in My Life With Bing, page 141)

November 7, Saturday. Bob Crosby is stabbed in the shoulder with a letter opener by his wife following a row. June Crosby says that Bob hit her and broke one of her ribs and that he has struck her with his fists many times before. Their daughter Cathy is still in the hospital. Bob goes to Bing’s house.

November 8, Sunday. Bing and Phil Harris fly into Spokane for a two-hour visit en route from Calgary in Alberta, Canada, to Ontario, Oregon.

November 11, Wednesday. Bing and Phil Harris return to the Rising River ranch to rejoin Kathryn and Alice Faye.

November 16, Monday. Bing still at his Rising River ranch. Kathryn has to return to Los Angeles to make a recruitment film about nursing.

November 23, Monday. Bing writes to Canadian broadcaster Gord Atkinson.

 

Thank you for your latest letter. I just got back from Canada, and stopped for a bit at the little ranch I own up in Northern California to find your letter awaiting me.

I was happy to receive the news that you had altered your long run of male progeny with the addition of a little girl, and that there’s another one expected in January. You are certainly acquiring quite a family.

I’m just working on my second family now. I feel that the four boys are grown up and on their own, and the two children Kathryn and I have to me represent a whole fresh start.

I was very grateful to you for what you had to tell me about your interview with Ted Lewis. I have long been a fan of Ted Lewis. I consider him a real artist - a genuine expert at creating a mood when entertaining, and this, to me, is one of the first requisites of an entertainer.

We have another television show to do, come January, or maybe it’s February - I forget which, and we hope that we can come up with something unusual and interesting. Haven’t got a cast yet, but we’re talking of maybe doing a switch with Perry Como - that is I’d do one for him, and he’d do one for me. I think we could probably have some interesting things to talk about, and some good songs to sing.

Talking about starting a picture soon at Fox. Quite an interesting story by Garson Kanin. He is a man of considerable reputation in the theatre, and was also quite successful in the picture business. It involves a man about my age, with a grown family out and married, and who has reached the pinnacle of success in the business world and all of a sudden decides to go back for four years in college, which he never had an opportunity to get when he was younger.

It’s called “Daddy-O” and it’s quite funny, has some serious moments, and there’s an opportunity for a couple of songs.

I have high hopes for it, and if everything goes as presently scheduled, it should start very shortly after the first of the year. No cast yet, but I think we’ll use a lot of the young people over at Fox - people they have under contract there, and people they have high hopes for. Possibly some of the younger singing stars too. I just don’t know yet.

Blake Edwards is directing. You may or may not see his "Peter Gunn" show on television. I don’t know if it gets into Canada, but he’s very inventive, has real ability, and I think between Garson Kanin’s script and his direction, we have more than an even chance to come up with something outstanding.

Again, it was nice to hear from you, Gord.

With best wishes to you and your fine family. As ever -

Your friend, Bing

 

December 3, Thursday. The Crosby Boys fight among themselves at the El Morocco Night Club in Montreal and Gary leaves the act. They walk out on the $12,500 contract with the nightclub but their manager Peter Petito says that the break “is only temporary.”

 

Booked into Montreal’s high-tariff El Morocco nightclub, the four singing sons of aging (55) Groaner Bing Crosby soon found close harmony impossible. Their price tag was $12,500 for a week, but they only lasted three days. They bought their way out of their contract. It all seemed to have something to do with a case of Scotch in their dressing room. Gary, 26, oldest of the quartet, says he lost his voice, but regained it long enough, during the boys’ final set, to call a ringside lady “a drunken bum.” Cutting the act very short, the lads fled back to their dressing room, where they bloodied Gary’s nose and otherwise clouted him for crabbing the routine. After the bout, Gary rested briefly, then plodded to a nearby bar, expressing a simple sentiment about his hard-knuckled brothers: “I made them, and I can break them.” At week’s end, Montreal Wrestling Promoter Eddie Quinn, a part owner of El Morocco, reasoned that the Crosby combo had been booked all wrong to begin with. He offered them a good deal for a tag-team grappling match in a local arena next month, figuring that a two-against-two skirmish “might be fairer.”

(Time, December 14, 1959)

 

December 8, Tuesday. Look magazine binds a laminated paper disc called “Music to Shave By” into its  issue with a recorded ad for Remington Electric Shavers. The artists singing are Bing, Louis Armstrong, Rosemary Clooney and The Hi-Lo's. The disc is also widely advertised by Remington as being available as a free gift from its dealers. Bing Crosby is given an award for the “biggest recording of 1959, more than 6,000,000 pressed.” According to Kiplings Personal Finance edition of October 1959, the cost of the talent involved is $90,000.

December 10, Thursday. Bing signs a contract to make High Time for 20th Century-Fox.

December 12, Saturday. Bing visits an exhibition of paintings of Native Americans by Nicholas de Grandmaison at the Planetarium in San Francisco.

December 15, Tuesday. In CBS Studio B in Hollywood, Bing records a CBS radio special A Christmas Sing with Bing that is broadcast on December 24. Paul Weston and his Orchestra plus the Norman Luboff Choir provide support

December 15/17/18. Gary Crosby records an album for Verve called “Gary Crosby Belts the Blues” at Radio Recorders, Hollywood with an orchestra conducted by Marty Paich.

December 16/17, Wednesday/Thursday. Records a singalong album with a chorus and orchestra conducted by Jack Halloran at United Recorders, Hollywood. The album is titled Join Bing and Sing Along and is released by Warner Brothers Records. It enters the UK album charts in August 1960 and peaks at No. 7 during its 11 weeks in the charts.

 

Of course, this is imitation, as are so many of the recent sing-along sets, but it is a first-rate one due to the presence of the old master, Bing Crosby. The grand collection of 33 old-time tunes is made to order for the old Groaner, and he sings them infectiously so that everyone is sure to sing along with him. If exploited this could be a good seller.

(Billboard, February 22, 1960)

 

Every company seems to be getting into the “Sing Along” act that Mitch Miller started for Columbia in the spring of 1958. Warner Bros. has a good scoring chance with their Bing Crosby version. He leads the vocal chorus through 33 familiar items and he has a way that makes it easy to join along.

(Variety, March 2, 1960)

 

Bing makes little attempt at subtlety of phrasing, ornamentation, niceties or nuances of any kind and his vocals, backed by hearty voices, create only a mechanically jolly atmosphere of a party get-together. There was a criticism, not without justification, that the album was too lightweight for a singer of his calibre but in mitigation it can be fairly claimed that it is a pleasant, happy sound with well chosen classic old songs brought back to life.

(Fred Reynolds, writing in his book The Crosby Collection, 1926–1977, part four, page 268)

 

December 24, Thursday. (9:05–10:00 p.m.) A Christmas Sing with Bing airs on CBS radio. The program picks up Christmas music from around the world. Paul Weston conducts the orchestra and the Norman Luboff Choir adds support.

“It’s Christmas,” a new song by Paul Sanders and Pat Sullivan for Bing Crosby will be sung by him on his KNX Christmas Eve show at 9:05. Paul Weston conducts the orchestra. The Vatican Choir in Rome, the Salt Lake City Mormon Tabernacle Choir, Les Brown’s “Voices of Christmas,” the Norman Luboff Choir, the Alumni Choir of the Kamehameha School in Honolulu, the Crescendo Chorus of Hong Kong, the Saint Sulpice Church Choir of Paris, and the Employees Chorus of the Insurance Company of North America are also to sing Christmas music.

(Hollywood Citizen-News, December 24, 1959)

December 25, Friday. Bob Crosby and his wife reconcile. Bing gives Kathryn a 20-gauge shotgun. Bing's four sons come to the house. Later, Bing and Kathryn attend Gary Crosby’s party at his house; Phillip and Dennis are also there. Lindsay is elsewhere romancing Barbara Frederickson.

December 28, Monday. Bing’s album Merry Christmas enters the album charts and goes on to reach number seventeen. It remains in the charts for two weeks.

December 31, Thursday. Inger Stevens (Bing’s costar from the film Man on Fire with whom he was said to be romantically linked at the time) attempts suicide through an overdose. She survives.