WEBVTT

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The National Broadcasting Company presents The Big Show.

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The first half hour presented by the makers of Reynolds Aluminum, the Reynolds Metals Company.

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And starring the glamorous, unpredictable Tallulah Bankhead.

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Music

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For the next hour and thirty minutes, you'll be entertained by some of the biggest names in show business.

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The bright stars as Richard Easton, Bill Foster, Joe Frisco, Peter Lorre, Ethel Merman,

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Shepard Stratton, Meredith Wilson, and my name darling is Tallulah Bankhead.

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Music

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Well darling, I'd like to have you meet the members of our cast on a personal basis.

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And what better way to learn how great they are than from their own lips.

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So I've asked them to prepare brief outlines of their careers in show business.

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Those who could write turned in the following little masterpieces.

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Phil Foster for instance.

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Foster, Phil. Wore 1919 Brooklyn. Died 1951, Polar Ground.

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Ah, goody goody.

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Cause of death, Ralph Brankitis.

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As a kid, I was very tough. When I was six years old, my mother and father ran away from home.

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I started out in show business as an assistant to a magician.

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There was three of us in the act. The magician, a girl, and me.

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One night the magician got sick and I took his place.

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After that, there were four of us in the act.

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The magician, me, and the girl I sawed in half.

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Okay Foster, disappear.

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Next we hear a little about the life and struggle of Richard Easton.

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Easton Richard, singer.

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Began in show business as a spear carrier in Medea starring Judith Anderson.

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One night my spear dipped and I caught her right in the middle of the second act.

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Miss Anderson never reached greater heights.

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Then I became understudied to eat chupinza in South Pacific.

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Chupinza enjoyed good health for six solid weeks.

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Then one day he became indisposed and I went on in his place.

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The applause and the claim I received was well worth the two dollars I spent for his Mickey Finn.

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And to think I'd been drinking the coffee that boy's been handing me all afternoon.

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I hope this pain in my side is only appendicitis.

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Alright, now let's see who's next. Oh yes, a newcomer to the theater, Ethel Merman.

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Merman, Ethel. After high school I attended secretarial school where I studied dictation, typing, bookkeeping and wrestling.

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On my first job as a stenographer I was invited to a party on Long Island.

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They asked me to sing and a producer heard me.

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He was sitting in his office on 42nd street at the time.

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Since then some of the shows I've been in have included Girl Crazy, Anything Goes, Panama Hattie, Annie Get Your Gun, Little Foxes and Call Me Mad.

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Little Foxes? I just wanted to see if you ever listen while somebody else is talking.

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I always listen when she's talking. The only time I don't listen is when she's singing.

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Well now we hear from a gentleman who is known in show business as the comedian's comedian, Mr. Joe Frisco.

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Frisco Joe. I started in show business rather late in life because as a child I studied a little.

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I played vaudeville a long time and then I went into the radio as an announcer.

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They fired me. I was too short.

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I was out in Hollywood and I didn't intend to come to New York.

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But I was down at the Depot seeing F.F.F.Fendorf and before I could finish saying goodbye the train had pulled into the Grand Central.

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But for some years now I've been making a living.

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Betting.

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Betting, yes.

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Living that live too.

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Oh, not with you I don't dare.

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I'll bet on anything. What is the odds I don't finish the show?

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Well, darling, this for a half hour show, we could never use you, darling, Joe Fisco.

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Well, our next guest is a talented Broadway actor, Shepherd Strudwick.

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Strudwick Shepherd, or Shepherd Strudwick. I never know which comes first.

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Actor in the legitimate theater and very proud of my profession.

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Miss Bankhead offered me a good salary to appear on the big show and I accepted.

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I'm not that proud. I've appeared in many motion pictures.

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They're at that in-between age. Too old to be shown in theaters,

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too young to be shown on television.

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Shepherd, I'll never understand why actors pick such odd first names.

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Well, let's bring here for my guest, Mr. Peter Lorre.

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Lorre, Peter, I started my career in the theater as a romantic actor,

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but against my will, they put me to horror pictures.

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I always wanted to be the actor who got the girl, but in my pictures, by the time I get the girl,

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she's dead. Well, I've struggled to get away from playing with monsters,

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but I guess it is my fate, because here I am today with Tallulah Bankhead.

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Well, that's my fault. I'm just going to have to enunciate more clearly.

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I distinctly told them to get me Peter Lorreford.

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Well, here's something we all wait here distinctly, a message from our darling sponsor,

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the Reynolds Metals Company. They want to tell you about another version of the legend of Sleepy Hollow.

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You know, Miss Bankhead, if a modern Rip Van Winkle should wake up now after a 20-year sleep,

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he'd be much more surprised than the original character.

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It wouldn't be just his wife and friends who had changed.

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The whole face of the world would be different.

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Because even 20 years ago, you couldn't have seen Reynolds aluminum roofs gleaming all over the countryside,

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or Reynolds aluminum windows and gutters on so many homes.

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The whole idea of reflective insulation was quite new. Radiant heat kept out in summer,

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kept in in winter, by Reynolds aluminum foil.

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You see, aluminum was a one-company industry then, growing slowly.

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Reynolds competition made it flourish, pushed production up, kept the price down.

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It's a fact that aluminum is the only basic metal which costs less today than before World War II.

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It's a fact that helps expand the age of aluminum, Reynolds aluminum.

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Well darlings, Meredith Wilson has found a new, exciting, and inspirational song for his election this week.

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It's the Unseen Rider. So Meredith, if the orchestra and chorus are ready,

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let's gallop away, if you please darlings.

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The Unseen Rider's horses beat, worth thundering a mighty beat.

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Sounded like an echo from the sky.

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Like in a dream the words came clear that made me know the Lord was near.

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And this is what he said as he rode by.

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When the water in your hands be made enough to wet your lips.

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When your horse is getting weary, when your faith in prayer is lit.

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Start praying to the Lord above to let the sun go down.

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The Unseen Rider hears your prayer and tells you he's around.

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The Unseen Rider and the Unseen Rider bring hope in time of sorrow and distress.

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The Unseen Rider and the Unseen Rider will guide you on your way to peace and rest.

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Where are you Unseen Rider, have you passed my way today?

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And the echo kept on ringing as it traveled on its way.

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And the echo filled the valleys of voices you must pray.

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When the Unseen Rider, the Unseen Rider brings hope in time of sorrow and distress.

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The Unseen Rider, the Unseen Rider will guide you on your way to peace and rest.

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Divine Melveth as always, and now darling, making his first appearance in the United States after years absence abroad,

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where as most recent triumphs he directed, produced, and starred in one of Europe's most sensational pictures, the distinguished artist, Mr. Peter Laurie.

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Mr. Laurie in one of his great characterizations, a chilling drama based on the classic story from the pen of Edgar Allan Poe, the cast of Armand Sayato.

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The night is soft and amorous, gentle with distant music, and gay with far-away laughter,

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and the past people playing at carnival time.

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But in the shadows near the great villa, there is discord.

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A guitar dragged by its carnival ribbon, as a darkened shadow reels from its crazy caution, makes its way towards the shining building.

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Listen to them. Yes, they still laugh and dance and play the night away.

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Oh, I shouldn't have drunk so much wine. I must hurry now to the villa where she's waiting, yes, waiting for him, for her Fortunato.

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Oh, you, you at last. Oh, oh, you're like a beautiful painting, soft, soft in candlelight.

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But your lips, they're cold, and your face, what has happened to your face?

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Your eyes, your white staring eyes, and the fly that grows in them.

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No, no, you, you don't wait for me, you, you wait for him.

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Yes, I should have known, but I did not want to know.

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I could not believe that you would fall for that, for that too pretty face, for that pretty voice, those, those pretty things heading so pretty away.

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Oh, but now I, now I know you, you wait while I'm, I wait, wait, wait, wait for your Fortunato.

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Do you know? No, you, you couldn't know, no, you, you only see, yes, and while there is fear, there's light, huh?

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Just a little light, but it burns, it burns like a candle.

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The little wind of fear blows softly, and it whispers, he will not come.

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And then the candle flame flickers and almost goes out, but then, then a soft wind of hope whispers, he will come, he will.

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And the little flame struggles upward like, yes, but, but he will not come, he, he will not come.

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He will not come, ever.

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Hmm? Have I seen him? I've seen your lover, Fortunato.

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Oh, of course I've seen him in the street, and I, I knew it was he because I heard the jingle of the little bells on his cap,

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and I knew him despite his jestous costume, and beneath the mask I, I could read his foolish, pretty smile,

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and I, and I took him and, and we went down to the dark passageways under my house on a hill, and I lighted the way with a candle,

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and with many a bottle of my finest wines, and, and he followed me laughing and, and excited at what I promised at the end,

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the end where the tunnel stops in the living rock of the cliff.

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There I said, there you shall taste my greatest treasure, my, my finest wine, a cask of ancient amontillado.

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Ha, ha, ha, ha, then I, then I took him by the hand and I, and I pulled him toward the solid rock behind the shadows,

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where I had prepared an opening, yes, an opening to fit the form of your Fortunato.

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I put down the candle and I said, now, now you shall taste the amontillado, and, and he turned, and, and I was upon him as he turned,

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and I, I shoved him, and he, he fell forward into the opening that was waiting for him, and, and then I, I slammed the stone into place.

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Soon as he was done, and when I flung away the trowel and I, I cried out to him, hear me Fortunato,

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but he could not answer me now, for in his mouth there was stone, and in his heart there was ice,

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and I heard him shriek and, and faintly the sound of his pounding hands and, and faintly, faintly the little bells on his cap, jingling, jingling, jingling.

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Then, then there was nothing, and I left the place where Fortunato is waiting. Yes, he waits, and you wait, and you shall wait, wait forever.

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I have condemned you and I, I've counted my words as they slowly killed you, as I looked into your eyes and watched the little flame slowly die.

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Now go down to him, sit with him, play for him, sing for him, put your golden head over to me, embrace the stone with your beautiful arms,

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press your body against the cold stone and cry to him, whisper to him, and listen, listen, and perhaps, perhaps you'll hear him breathe,

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and perhaps you'll hear the soft tinkling, tinkling, tinkling of his cap, yes, the tinkling, tinkling, the tinkling of the bells.

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And so, dead among the living, may you wait for your Fortunato as he waits for you, and me, I am condemned too, condemned forever by my own love.

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Bravo, Peter, darling. Bravo, darling, a magnificent performance.

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And now our sponsor says the best things in life are packaged in aluminum. I wonder where I could get an aluminum wrapper.

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Well, Miss Bankhead, you certainly could say that the best packaged things in life are packaged in aluminum, Reynolds aluminum foil.

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Because manufacturers who are proudest of product quality, why they naturally want to protect that quality, want to bring it to the customer at its best.

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And that's just what Reynolds aluminum foil does. Neither moisture nor odors can penetrate it. Freshness is sealed in.

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Also, these proud manufacturers want their products to look their best, which is the second great advantage of Reynolds aluminum foil.

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Nothing attracts like the gleam of foil packages and labels with their contrasts of gold and silver and rich colors.

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Cereals, cookies, butter, margarine, dried fruits, soups, cheeses, and candies, cigarettes, chewing gum, and cleansers, and photo film.

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This is just a partial list, and it keeps growing. Packages and labels by the Reynolds Metals Company, one of America's great producers of aluminum.

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Well, darlings, we've planned a little surprise for you all this week. Out in Hollywood on March 11, they're celebrating Wishful Visc today.

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This is to honor two of radio's most beloved people, Marion and Jim Jordan.

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This is their 20th anniversary on NBC. We have asked Fibber, McGee, and Molly, as they are so lovingly known to all of us, to join the big show for a few minutes.

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So we'll skip across the country to Hollywood and bid them welcome.

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Hello, darlings. Say something wistfully, Vista, won't you, sweetie?

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Did you hear that, McGee? Did you hear Miss Bankhead? She called us sweetie.

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Well, you can't blame the kid for getting carried away on a sentimental occasion like this, Molly.

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No.

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Our anniversary, 20 years on NBC, and they haven't found out what's the matter yet.

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No.

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Just thinking that.

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You think of it. It gives me a headache.

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Okay, Mommy.

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I hope Uncle Dennis is listening to us right now, McGee. He was living with us, you know, when we started on NBC.

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Yeah, boy, I used to get so tired of him sitting around the house while I done all the work.

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No, that isn't true, dearie. Uncle Dennis tried to help, but he wasn't very strong.

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You remember the night the mosquitoes were so bad and he worked so hard swatting them?

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Some hard work. He killed four mosquitoes in the front hall and then went straight up to his bedroom and killed a fifth.

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Ah, 20 years ago. That was the year we first met the little girl who lives down the street from us now, McGee.

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The one who always giggles and says, Hi, mister. Hi, Miss McGee.

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Well, hello there, teeny. I'm glad to see you, sir.

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Hello, dear. We were just talking about you.

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I've got a question for you, teeny. As long as we've known you, you haven't aged a bit. How old are you anyhow?

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Six years old, I'll ask you.

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Boy, you were that old the first time we met you. Are you one of these leap year babies, February 29th, where your birthday only comes around every four years?

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I got a better deal on that even, mister.

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Oh?

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My birthday is February 30th. It doesn't come around at all.

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Well, I was only guessing, of course. As the guy said, when the shark swallowed his girlfriend Dorothy, it's only a dot in the shark.

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Well, you guys don't you get it, kids? Shot in the dark, dot in the shark.

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It ain't funny, McGee.

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Come to think of it, it wasn't funny when I said it 20 years ago, either.

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Well, take it away, Tallulah. I tried.

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Music

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Congratulations, Marion and Jim Jordan, from all of us here, and may your whole class continue to pile up with all those wonderfully hilarious things for another 20 years and another 20 years.

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All of our love does it.

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And now, let us go to another old timer, who for the past 20 years has been out of work.

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As a matter of fact, he's made a very nice living out of being out of work, haven't you, Joe Frisco?

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Thank you, Andy Devine.

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Laughter

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You were looking at a man, ladies and gentlemen, that's been in show business for 45 years, and I never played Harvey in my whole life.

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Laughter

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I played horses and dogs I lost every day. Closing day here, I had a very good day. A man, give me a ride home.

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Laughter

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I get the best handicap as Mr. Joe Massey and Danny Cronin, and still lose. I just got back from California. That's God's country out there. He can have it.

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Laughter

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There's 1,500,000 people out there, and if you're not into movies, you're out of work. A song brought me out there, a song called California, Here I Come.

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That song inspired me and brought me out there. I had to wait eight years to get a song to bring me back east.

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Laughter

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They finally wrote one called Get Out of Town Before It's Too Late.

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Laughter

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I had a good time out there, though. I didn't play into the movies. I worked in all the cafes. They don't pay a large salary. But it's a wonderful climate. You don't need an overcoat.

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Stars like Raft and Oakey and Cary Grant, they buy camel headcoats for $200 and carry them in their arm. They don't even wear them.

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Laughter

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My overcoat ran third in the parlayer by four times.

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Laughter

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The more than I hucked the coat, the wind blew up. It's the home of unusual weather. That's the only place you can fall asleep under a rose bush in full bloom and freeze to death.

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Laughter

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I met a native son out there. He was bragging about the climate. He says, We don't have any snow out here. We may have a little rain. There's a puttery mark. They may have a little rain is right.

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I know a man who worked for MGM. He built a little, it sounded like a train coming in.

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Laughter

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He built a little wooden home out in San Fernando Valley. It rained there about four years ago. He's down in New Orleans now with the same house.

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Laughter

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I played on a program out there with Bing Crosby and he asked me if I was there to the courtesy of the racetrack. I said, No Bing, I'm here to the courtesy of my accreditors.

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He said, I thought you was a good horse player. I said, I was until I started to play your horses. He said, What happened? What happened? I lost my wife, home, family, and children.

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I lost my wife, home, family, and everything. He said, Well your troubles over now Joe. I sold my stable. I said, Your troubles over but I got the habit now.

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Laughter

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But I'm going to a doctor that cures you from the horses. He said, I never heard of it. I ought to go to him too. He says, Where's his office at? I said, About a mile and an eight from here.

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Laughter

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He says, You couldn't make it a mile and a three-sixteenth. I said, The doctor's an old man. I don't think he can go that far.

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Laughter

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He says, Does the doctor take you off the horses cold? I said, No, he allows you to play a horse a day. You mean he puts you on a diet like, Yes, of a horse a day.

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And he says, Did you have any trouble with him to take you as a patient? I said, He didn't want to take me. He asked me how long I played him. I lied to him. I played him thirty years.

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I heard him say to the girl in the other office, I'm in the mental case out here. He says, How did you know he was talking about you? I said, I was the only one in the room. It wasn't an entry.

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Laughter

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But I went out to the track one day. They're doing a big hundred thousand dollar handicap. I couldn't see nothing. There were sixty thousand people yelling and hollering.

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The guy in front of me was stepping on my feet. He had a pantomime hat on. I looked at him. Who do you think it was? The doctor with my money.

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Laughter

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Thank you, Joe Frisco. You are wonderfully insane. Since you haven't done anything for so long, you must be rested up enough to come back a little later in our show, huh? And our word from the Darling Reynolds Metals Company about ice. Just ice, darling.

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Yes, Miss Bankhead, just ice. And Reynolds Aluminum, of course. Aluminum ice trays are just about the most common demonstration of aluminum in every home. Demonstrating the high conductivity that freezes water faster and frozen foods, too.

27:20.560 --> 27:39.560
Demonstrating rust-proof cleanness and freedom from chipping, lightweight and bright appearance, qualities that make aluminum preferred in modern refrigerators. Just as you prefer to wrap and cover foods in Reynolds Wrap, the original and genuine, the pure aluminum foil.

27:39.560 --> 27:56.560
It's hard to find Reynolds Wrap on store shelves today because military needs come first. But with aluminum production rapidly expanding, we hope there will be more soon. From the Reynolds Metals Company, pioneers of progress through aluminum.

27:56.560 --> 28:23.560
Music

28:23.560 --> 28:40.560
Before we go to Act Two with Ethel Merman and our other guest, I just want to take a moment to ring my chime. This is NBC, the national broadcasting company.

28:40.560 --> 28:49.560
This is the Bank Show, Act Two. This half hour presented as a salute to radio station WSB, Atlanta, Georgia, on the occasion of its 30th birthday.

28:49.560 --> 29:01.560
Well darlings, there's no finer way to begin a salute of any kind than with a song by Ethel Merman. It's like a salute of 21 guns.

29:01.560 --> 29:15.560
Louder if you ask me. However, tonight Ethel gives us a change of pace. She has become entranced with a beautiful French folk song all about Jimmy Brown. She offers it now.

29:15.560 --> 29:27.560
I'm going to play it for you, if you please.

29:27.560 --> 29:51.560
There's a village hidden deep in the valley Among the pine trees half full on And there on a sunny morning Little Jimmy Brown was born So his parents brought him to the chapel When he was only one day old

29:51.560 --> 30:18.560
Said the little fellow, Welcome Jimmy to the fold All the chapel bells were ringing In the little village town And the song that they were singing Was for baby Jimmy Brown

30:18.560 --> 30:38.560
Then the little congregation Great walk night from above Lead us not into temptation Let this hour of meditation Guide him with eternal love

30:38.560 --> 30:55.560
There's a village hidden deep in the valley Beneath the mountains high above And there twenty years thereafter Jimmy was to meet his love

30:55.560 --> 31:23.560
Many friends were gathered in the chapel And many tears of joy were shed In June on a Sunday morning When Jimmy and his bride were wed All the chapel bells were ringing Was a great day in his life

31:23.560 --> 31:52.560
Then the little congregation Great walk night from above Lead us not into temptation Let the Lord this celebration May their lives be filled with love

31:52.560 --> 32:13.560
From the village hidden deep in the valley One rainy morning dark and gray A soul winged its way to heaven Jimmy Brown had passed away

32:13.560 --> 32:35.560
Silent people gathered in the chapel To say farewell to their old friend Whose life had been like a flower But it's blooming till the end

32:35.560 --> 32:56.560
Just a lonely bell was ringing In the little village town It was farewell that it was singing To our good old Jimmy Brown

32:56.560 --> 33:24.560
Then the little congregation Great walk night from above Lead us not into temptation Let this hour of meditation Guide him with eternal love

33:26.560 --> 33:51.560
You made me cry, darling. You're just wonderful. As a matter of fact, you always farewell on this show. And so farewell. Now our next act.

33:51.560 --> 34:04.560
Now just a minute, Salua. Here's a dime. What's that for? That's a tip for the brush-off you just gave me. Well, I did it purposely, darling, because every time we meet up here, it always leads to some sort of unpleasantness between us, which you always start.

34:04.560 --> 34:15.560
I never start anything. As a matter of fact, I only wanted to congratulate you. I saw on variety that you're going on television next season. Who read it to you?

34:15.560 --> 34:27.560
Yeah, I suppose I started that. Oh, I'm sorry, darling. I don't know why I said that. I could just bite my tongue. Well, don't do it. You'll poison yourself.

34:27.560 --> 34:42.560
Now we're even. How about this television, Salua? Are you really going on it next season? Oh, well, Ethel, darling, some men up at NBC have made some advances.

34:42.560 --> 34:51.560
Yes, but are you going on television? Well, I might. But how about you? Are you going to television after your play is finished, Ethel?

34:51.560 --> 35:01.560
No, I'm going into the movies. I'm going out to Hollywood to make the screen version of Call Me Madam. How cozy. And when it's finished, I'm going to send you a ticket to the first preview showing.

35:01.560 --> 35:11.560
Oh, never mind, darling. I'll see it on television. But that won't be for years. I'm in no hurry.

35:11.560 --> 35:19.560
Oh, by the way, darling, I see where you're taking your play to Washington, D.C. after the penances is run here. That's right. May 5th, we open in Washington.

35:19.560 --> 35:29.560
May 5th, Ethel? Well, do you think there'll be enough business in Washington that time of year? Salula, by that time, the presidential candidates alone will fill the theater every night.

35:29.560 --> 35:37.560
Well, I hope you're not. I'm speechless. Say, Ethel, that reminds me, you have a new leading man in your company now, haven't you? Yes, Dick Easton.

35:37.560 --> 35:43.560
Tell me, Ethel. No. Oh.

35:43.560 --> 35:50.560
Well, I was only going to ask you to call him over here. I'd like to chat with him. Oh, sure. Oh, Richard, Salula wants to talk to you.

35:50.560 --> 35:52.560
Hello, darling.

35:52.560 --> 36:00.560
Well, hello, Miss Bankhead. I must say, I'm quite amazed to find you so young and attractive and so friendly and so gracious.

36:00.560 --> 36:04.560
What do you mean amazed? Who told you differently?

36:04.560 --> 36:07.560
Oh, I think I don't fit in.

36:07.560 --> 36:16.560
Richard, I have to introduce you so you can do your song. You're in call me madam now, aren't you? You replaced Nick Lucas, didn't you?

36:16.560 --> 36:24.560
No, no, it's Paul Lucas, not Nick. You're thinking of Nick Kenny. Oh, no, I must have been thinking of the fellow with the accordion, Kenny Baker.

36:24.560 --> 36:31.560
No, that's Phil Baker. Oh, no, darling, that was Phil Spitoni.

36:31.560 --> 36:40.560
I've got it now. Ladies and gentlemen, here is Richard Easton, formerly with Phil Spitoni, his all-girl officer.

36:40.560 --> 36:45.560
Mr. Easton, who is now appearing in Call Me Madam, will sing a song from South Pacific.

36:45.560 --> 37:01.560
He will be accompanied by a man who saw both those plays, Meredith Wilson. The song, This Nearly Was Mine. Meredith, if you please.

37:15.560 --> 37:30.560
One dream in my heart, one love to be living for, one love to be living for.

37:30.560 --> 37:49.560
This nearly was mine, one girl for my dream, one partner in paradise, this promise of paradise.

37:49.560 --> 38:16.560
This nearly was mine, close to my heart she came, only to fly away, only to fly as day flies from moonlight.

38:16.560 --> 38:39.560
Now, now I'm alone, still dreaming of paradise, still saying that paradise once nearly was mine.

38:39.560 --> 38:54.560
One dream in my heart, one love to be living for, one love to be living for.

38:54.560 --> 39:22.560
This nearly was mine, close to my heart she came, only to fly away, only to fly as day flies from moonlight.

39:22.560 --> 39:50.560
Now, now I'm alone, still dreaming of paradise, still saying that paradise once nearly was mine.

39:52.560 --> 40:09.560
30 years ago today, a group of young radio engineers in Atlanta completed the task of setting up the South's first broadcast antenna.

40:09.560 --> 40:17.560
The switch was thrown, and for the first time, this thing called radio reached out to Georgia's Dogwood country with the signature,

40:17.560 --> 40:23.560
This is radio station WSB welcoming you to the South.

40:23.560 --> 40:27.560
The Voice of the South is Dixie's oldest and biggest station.

40:27.560 --> 40:35.560
Always programming for a specific audience, WSB was America's first station to broadcast a complete church service,

40:35.560 --> 40:40.560
and it's carried this praiseworthy program continuously through these past 30 years.

40:40.560 --> 40:47.560
It also brought the South its first newscast and all important farm reports.

40:47.560 --> 40:53.560
Then our famous disc jockey programs were also originated by this progressive station of the Beach State.

40:53.560 --> 40:56.560
Peach State, I'm sorry Georgia.

40:56.560 --> 41:07.560
From a 100 watt station in 1922, WSB has grown with Atlanta, the gateway to the South, to become one of America's most powerful and respected radio stations.

41:07.560 --> 41:14.560
Therefore, on this memorable occasion, on your 30th anniversary to WSB, the Voice of the South,

41:14.560 --> 41:38.560
all of us here on the big show and the entire national broadcasting company offer ours a serious congratulations and thanks for your great contribution to the radio industry.

41:38.560 --> 41:43.560
Our old Merriam Wilson is one of the most versatile artists ever to appear on the big show.

41:43.560 --> 41:54.560
He not only composes music, writes lyrics, conducts our music, has a television show, has another radio show, but also finds time to write a novel.

41:54.560 --> 41:58.560
Merriam has written a book which is fast climbing into the bestseller class.

41:58.560 --> 42:02.560
Tonight is our pleasure to present a composition of a part of that novel,

42:02.560 --> 42:07.560
and we were fortunate to secure Shepherd's Tudbreech from the smash-bogger success affairs of State.

42:07.560 --> 42:17.560
So, without further ado, here are scenes from Merriam Wilson's new novel with the most intriguing title I've ever heard.

42:17.560 --> 42:21.560
Who did what to Pedalia?

42:21.560 --> 42:44.560
The starring Shepherd Tudbreech as Uchtree.

42:44.560 --> 42:48.560
Who did what to Pedalia?

42:48.560 --> 42:51.560
The three who did.

42:51.560 --> 42:55.560
Spart Kallis with his broadway glibness and wisecracking cynicism.

42:55.560 --> 43:00.560
Then there's his sister, Florabel, sure of her way around Park Avenue.

43:00.560 --> 43:03.560
And then there's me, Wicksbury.

43:03.560 --> 43:11.560
Adelbert Wicksbury, obnoxiously egotistical, sadistic, radio executive Wicksbury.

43:11.560 --> 43:17.560
Although someone was kind enough to say this morning, my secretary I guess, that I really have changed for the better.

43:17.560 --> 43:21.560
But our story begins in this case at the end, for Pedalia is missing,

43:21.560 --> 43:25.560
and there's a wake of sorts being held in Florabel's flower shop.

43:25.560 --> 43:30.560
It's time I was getting over there, for I more than any of them have reason to find Pedalia.

43:30.560 --> 43:44.560
Hello, Spart. What are you doing up and about? The sun's still shining.

43:44.560 --> 43:48.560
Hi, sis, I gotta talk to you. I'll make it fast. I gotta get this arrangement over the Waldorf.

43:48.560 --> 43:52.560
Big order, banquet piece, money in the tail, you know.

43:52.560 --> 43:55.560
Cut it out, Florabel, I have things on my mind. You need a few bucks, boy?

43:55.560 --> 44:00.560
No, I've gotta find Pedalia. Oh? She's gone, do you know that? Yes.

44:00.560 --> 44:06.560
You know why? Wicksbury flunked her on her audition. I warned him and this is it.

44:06.560 --> 44:11.560
And I see I'm gonna beat his brains out. Now relax, take it easy. You beat him up once, let it go at that.

44:11.560 --> 44:16.560
Getting wicks won't ease your conscience. What do you mean? Never mind for now, here he comes.

44:16.560 --> 44:20.560
Florabel, where's Pedalia? What's happened to her? I've gotta find her. You already found her.

44:20.560 --> 44:24.560
Spart. All right, don't fight back. I'm not choosy.

44:24.560 --> 44:27.560
Spart Collins, if you hit him again, I'll turn you into the cop, so help me.

44:27.560 --> 44:30.560
It's okay, I wish he'd knock me out. I couldn't feel lower.

44:30.560 --> 44:35.560
You turned the kid down on our audition, didn't you? Yes, I did, and I'm not sorry. I'm only sorry she got hurt.

44:35.560 --> 44:40.560
Oh, that's just great. What if she's gone down to the river and thrown herself in?

44:40.560 --> 44:44.560
Just because you had to play Nero in the stands and turn thumbs down.

44:44.560 --> 44:48.560
Now hold the phone, you two. Let's not get emotional about Pedalia. All right.

44:48.560 --> 44:54.560
We met her. We learned to love her. And we're somehow better people for having her pass briefly through our lives.

44:54.560 --> 44:59.560
Pedalia had something, but it wasn't talent. Now stop spitting in each other's eyes.

44:59.560 --> 45:05.560
Do you mind if I sit down? Okay, sit down, Wicksbury. If you've got anything to say, say it, then we'll go a few more rounds.

45:05.560 --> 45:10.560
You don't understand what's happened. You see, I did hear her audition, and she was terrible.

45:10.560 --> 45:14.560
Then my secretary, Miss Jern, started moving in on me.

45:14.560 --> 45:18.560
I knew she was going to rag me about Pedalia, try to smoosh me into giving the kid a break.

45:18.560 --> 45:23.560
But something snapped in me. I don't know why. I guess all of a sudden I grew up, went on it, something like that.

45:23.560 --> 45:27.560
Oh, brother, not that. Shut up, Sparks. Go on, Wicks.

45:27.560 --> 45:37.560
I'll tell it just the way it happened.

45:37.560 --> 45:46.560
Sit down, Miss Jern. You may want to quit when I get through what I want to say, but you're going to listen.

45:46.560 --> 45:54.560
First, I want you to understand why I've never in my life made any exceptions in the way I treat the struggling talent and so-called talent around here.

45:54.560 --> 46:04.560
Take a kid like Pedalia Parker, being falsely encouraged by everybody and his brother because of her big eyes and her gold hair.

46:04.560 --> 46:14.560
Look, honey, ever read the biography of a man named Johannes Brahms, the greatest composer of music this or any world ever saw?

46:14.560 --> 46:21.560
Brahms said that the way to stimulate talent is to stifle it, strangle it, choke it ruthlessly and relentlessly.

46:21.560 --> 46:33.560
Understand? Look, there are hundreds of thousands of good kids all over the world just like Pedalia Parker, who've got a lot of poison stardust in their eyes.

46:33.560 --> 46:36.560
Somebody has to be the doctor and take the rap.

46:36.560 --> 46:47.560
Somebody's got to be concerned enough about their future to be the villain and try to turn them out of a profession in which they can be less than mediocre at the very best.

46:47.560 --> 46:52.560
You don't ever have to worry about cutting down somebody who happens to have real talent either.

46:52.560 --> 46:58.560
The percentage who have any honest to God-given gift compared to those who are only stage struck is maybe one in a million.

46:58.560 --> 47:03.560
They couldn't starve Schubert out or browbeat Handel.

47:03.560 --> 47:08.560
They couldn't break the spirit of a Schumann heink or carry Jacob's bond.

47:08.560 --> 47:13.560
They threw Caruso out of the chorus and they laughed at Charlie Oppen.

47:13.560 --> 47:15.560
You can't stop talent.

47:15.560 --> 47:20.560
Real talent is an express train of hurtling iron and steel and steam.

47:20.560 --> 47:24.560
You can't derail it, can't sidetrack it.

47:24.560 --> 47:28.560
Pedalia has the courage, but she hasn't talent.

47:28.560 --> 47:31.560
Real talent.

47:31.560 --> 47:36.560
And all her courage in her work have been misdirected since she was a kid.

47:36.560 --> 47:38.560
She...

47:38.560 --> 47:40.560
Oh no.

47:40.560 --> 47:42.560
Pedalia.

47:42.560 --> 47:44.560
Pedalia, how long have you been standing there?

47:44.560 --> 47:46.560
How much have you heard?

47:46.560 --> 47:49.560
Pedalia, wait. Pedalia, come back here.

47:59.560 --> 48:02.560
Well, Spade, I didn't catch up with her.

48:02.560 --> 48:04.560
She just seemed to vanish.

48:04.560 --> 48:07.560
Must have run down the stairs and taken an elevator from another floor.

48:07.560 --> 48:11.560
I'd like to find her, you see, because I didn't want to hurt her.

48:11.560 --> 48:15.560
I'm not sorry for what I said, I just didn't want to hurt Pedalia.

48:15.560 --> 48:17.560
Okay, want to hit me again?

48:17.560 --> 48:21.560
No, I... I just want to tell you that I'm sorry for slugging her.

48:21.560 --> 48:22.560
Oh, forget it.

48:22.560 --> 48:25.560
You see, I'm something of a heel, too, where Pedalia's concerned.

48:25.560 --> 48:27.560
What time was it she ran out of your office?

48:27.560 --> 48:28.560
About two o'clock yesterday.

48:28.560 --> 48:30.560
Oh, I had a feeling it would be.

48:30.560 --> 48:31.560
Why, Spade?

48:31.560 --> 48:34.560
I ran into her. She must have just come down from Wicks' office.

48:34.560 --> 48:39.560
Now as I remember it, she was unusually quiet, sort of preoccupied.

48:39.560 --> 48:42.560
Took her into a drug store for a cup of coffee.

48:42.560 --> 48:44.560
I didn't know what had happened in your office.

48:44.560 --> 48:47.560
I offered her a job as an actress.

48:47.560 --> 48:50.560
You see, I didn't even know she wanted to sing.

48:50.560 --> 48:52.560
I thought she wanted to act.

48:52.560 --> 48:56.560
Well, at least she's made us take a good look at ourselves.

48:56.560 --> 48:58.560
We'd better find a spot.

48:58.560 --> 49:01.560
I've got to find her and explain all those things she heard me say.

49:01.560 --> 49:03.560
Let's go. I've got a lot of explaining to do myself.

49:03.560 --> 49:06.560
Now you characters, hold still and listen to me, Wicks.

49:06.560 --> 49:10.560
What makes Vidalia the most unforgettable girl you ever met?

49:10.560 --> 49:12.560
You and everyone else who's ever seen her.

49:12.560 --> 49:14.560
She's not a girl. She's a woman.

49:14.560 --> 49:17.560
No, she's not a woman. She's an angel, a child.

49:17.560 --> 49:19.560
A child angel.

49:19.560 --> 49:21.560
Oh, you're warm, Mr. W.

49:21.560 --> 49:27.560
She's a full-blown girl woman who's never lost the simple, uncomplicated perspective,

49:27.560 --> 49:29.560
or whatever you want to call it, of a child.

49:29.560 --> 49:33.560
The thing you and I and everybody else had when we were four

49:33.560 --> 49:38.560
and then lost somewhere along the way and the puzzlement of growing up in a world

49:38.560 --> 49:42.560
where the inhabitants continually say things they don't mean and act nice to people they hate and...

49:42.560 --> 49:44.560
What are you trying to prove, Florabelle?

49:44.560 --> 49:48.560
Only that for once, Vidalia heard somebody say something honest.

49:48.560 --> 49:51.560
And you want to go back over it and give her a messed up version of the same thing

49:51.560 --> 49:53.560
that won't make any sense to her at all?

49:53.560 --> 49:55.560
Sure, she's heard.

49:55.560 --> 49:59.560
But now she understands and she's got the courage to take it.

49:59.560 --> 50:02.560
Well, the first thing she'd do is go back to Fort Madison, Iowa

50:02.560 --> 50:04.560
and start her life all over again.

50:04.560 --> 50:07.560
And I'll bet $40,000 she's on her way there this minute

50:07.560 --> 50:11.560
while you tooth stoop stand here crying over my flowers.

50:11.560 --> 50:21.560
I just wanted to stop off here in the office for a moment, Spot.

50:21.560 --> 50:24.560
Look over the mail, then we can go on and have that drink together.

50:24.560 --> 50:26.560
Right ahead, Wicks.

50:26.560 --> 50:30.560
You know, another thing we owe Vidalia is that she's brought us together as friends.

50:30.560 --> 50:35.560
Right, but I still can't believe that she's gone.

50:35.560 --> 50:36.560
Wicksbury speaking.

50:36.560 --> 50:38.560
Who?

50:38.560 --> 50:40.560
Wants an audition.

50:40.560 --> 50:43.560
What does she look like?

50:43.560 --> 50:45.560
What?

50:45.560 --> 50:47.560
Blonde, blue eyes, lovely.

50:47.560 --> 50:49.560
Vidalia, what's her name?

50:49.560 --> 50:51.560
What?

50:51.560 --> 50:54.560
Oh, okay.

50:54.560 --> 50:56.560
From Akron, huh?

50:56.560 --> 50:58.560
Okay, ask her to wait.

50:58.560 --> 51:00.560
Name of Alma something or other.

51:00.560 --> 51:03.560
Look, Wicks, let's give her the biggest audition in town.

51:03.560 --> 51:05.560
Maybe this one's got something.

51:05.560 --> 51:08.560
If she's got real talent, we could give her a real break

51:08.560 --> 51:11.560
and kind of, well, kind of make it up to Vidalia.

51:11.560 --> 51:13.560
Now you're talking, boy.

51:13.560 --> 51:35.560
Let's put on our angel suits and strike a blow for Vidalia.

51:35.560 --> 51:36.560
Well done, darlings.

51:36.560 --> 51:41.560
Beautiful play, Shepherd Sudwick, and a bow of two to Martin Blaine and Jan Miner.

51:41.560 --> 51:43.560
And to Meredith, congratulations.

51:43.560 --> 51:46.560
Your new book sounds like another best seller.

51:46.560 --> 51:48.560
Just a minute, Tula.

51:48.560 --> 51:51.560
What happened with that new girl that came for the audition?

51:51.560 --> 51:55.560
Maybe we ought to do a sequel to Who Did What to Vidalia?

51:55.560 --> 52:00.560
Okay, we can call it What Did Vidalia Do to Wicksbury and Todd

52:00.560 --> 52:04.560
and make them do what they did to Alma by Meredith Wilson.

52:04.560 --> 52:05.560
Boy, I'm glad you said that.

52:05.560 --> 52:09.560
Instead of Joe Frisco, the show would have been over.

52:09.560 --> 52:12.560
Well, if Ethel Merman and Peter Lowy would join us,

52:12.560 --> 52:18.560
here is What Did Vidalia Do to Etc, Etc, Etc by Etc Wilson.

52:18.560 --> 52:21.560
And Meredith, darling, if you would put down your typewriter

52:21.560 --> 52:33.560
and pick up your baton, we'd like some music, if you please.

52:33.560 --> 52:34.560
Say, Wicks.

52:34.560 --> 52:36.560
Yo, Spark, what is it?

52:36.560 --> 52:38.560
Derele's waiting outside for an audition.

52:38.560 --> 52:41.560
Alma? What do we want with her?

52:41.560 --> 52:44.560
Wicks, we must do it. It's for Vidalia.

52:44.560 --> 52:49.560
Well, for Vidalia. I'll listen to her. Let her in, Spark.

52:49.560 --> 52:52.560
Come in, come in. Are you Alma?

52:52.560 --> 52:55.560
No, I'm Alma's mother. This is my little girl, Alma.

52:55.560 --> 52:57.560
Say hello, Alma.

52:57.560 --> 53:05.560
Hello.

53:05.560 --> 53:12.560
Is this your daughter or your husband?

53:12.560 --> 53:15.560
Wicks, we must audition her. It's for Vidalia.

53:15.560 --> 53:17.560
For Vidalia.

53:17.560 --> 53:19.560
So you want to audition for the radio, huh?

53:19.560 --> 53:22.560
Now, come here, come here. Sit on my lap. That's it.

53:22.560 --> 53:25.560
Oh, my.

53:25.560 --> 53:28.560
Well, let my daughter sit on your lap.

53:28.560 --> 53:30.560
Okay, let's get out with the radio audition.

53:30.560 --> 53:32.560
Let's hear her sing something.

53:32.560 --> 53:35.560
Yes, go on, little girl. Sing something.

53:35.560 --> 53:37.560
Come on, Alma. Sing for the gentlemen.

53:37.560 --> 53:41.560
And take your hand out of your mouth. That's it. Now sing, baby.

53:41.560 --> 53:44.560
You go to my head

53:44.560 --> 53:49.560
And you linger like a haunting refrain

53:49.560 --> 53:56.560
Maybe you'd better put your hand back in your mouth.

53:56.560 --> 54:01.560
And I find you spinning round in my brain

54:01.560 --> 54:07.560
What I could do to her brain with a pair of pliers

54:07.560 --> 54:10.560
To her brain, even a small tweezers

54:10.560 --> 54:12.560
Remember Vidalia

54:12.560 --> 54:16.560
Like a bubble in a glass of champagne

54:16.560 --> 54:19.560
I think I'll go someplace and get drunk.

54:19.560 --> 54:23.560
What are you yapping about? It's my daughter. I got to live with her.

54:23.560 --> 54:25.560
Go ahead, baby. You're killing him.

54:25.560 --> 54:28.560
Must be a piece of slow death

54:28.560 --> 54:31.560
You go to my head

54:31.560 --> 54:33.560
She's begging for it.

54:33.560 --> 54:35.560
Wow, that's for Vidalia.

54:35.560 --> 54:36.560
For Vidalia.

54:36.560 --> 54:40.560
Like a sip of sparkling burgundy blue

54:40.560 --> 54:43.560
I may join you for that drink.

54:43.560 --> 54:47.560
And I find the very mention of you

54:47.560 --> 54:51.560
Like a kicker in a beautiful dream

54:51.560 --> 54:55.560
Kicker? That's an idea I never thought of that.

54:55.560 --> 55:00.560
I tell the thoughts that you might give a thought to my sleep

55:00.560 --> 55:03.560
Cross the spell over me

55:03.560 --> 55:06.560
Spell. S-M-E-L

55:06.560 --> 55:10.560
Have a say to myself

55:10.560 --> 55:14.560
Get a hold of yourself

55:14.560 --> 55:18.560
Like to get a hold of your throat in the dream

55:18.560 --> 55:23.560
That's all you see that you never can be

55:23.560 --> 55:28.560
That's exactly what I said when the nurse brought her in to me.

55:28.560 --> 55:31.560
You go to my head

55:31.560 --> 55:36.560
With a smile that makes my temper dry

55:36.560 --> 55:39.560
This ain't doing my blood pressure any good either.

55:39.560 --> 55:40.560
I've heard enough.

55:40.560 --> 55:43.560
Well, gentlemen, what do you say? And remember, you're gentlemen.

55:43.560 --> 55:45.560
Well, if you ask me...

55:45.560 --> 55:46.560
Wicks remember Vidalia.

55:46.560 --> 55:49.560
Oh, yes, Vidalia. Well, let me put it this way.

55:49.560 --> 55:51.560
It isn't that this girl has average talent.

55:51.560 --> 55:53.560
This girl has a sort of superior...

55:53.560 --> 55:56.560
No, not superior. A fine talent that...

55:56.560 --> 55:58.560
No, not fine. That's not the way to...

55:58.560 --> 56:01.560
Lousy. That's the way.

56:01.560 --> 56:06.560
Oh, but there is a place for that kind of talent, and we have just the spot.

56:06.560 --> 56:09.560
We are going to put her on radio. It'll be an hour and a half show.

56:09.560 --> 56:13.560
And there will be so many guest stars around that nobody will notice.

56:13.560 --> 56:35.560
This portion of the Big Show, darlings, is presented as a salute to the South's first broadcasting station, WSB Atlanta, Georgia, which today celebrates its 30th birthday.

56:35.560 --> 56:40.560
Congratulations, darlings, and many, many hats returned.

56:40.560 --> 56:55.560
Three chimes of silver, hear them ring their ringing.

56:55.560 --> 57:10.560
Throughout a troubled world, what happiness they bring.

57:10.560 --> 57:35.560
Three chimes of silver ringing clear, though five and twenty years have gone.

57:35.560 --> 57:38.560
We'll be back in a moment, just as soon as I ring my chime.

57:38.560 --> 57:51.560
This is NBC, the national broadcast news company.

57:51.560 --> 57:56.560
This is the Big Show, Act Three. This portion brought to you by Chesterfield.

57:56.560 --> 58:02.560
Chesterfield's are much milder, with an extraordinarily good taste and no unpleasant aftertaste.

58:02.560 --> 58:06.560
By Aniston, for fast relief from pain of headache, neuritis, and neuralgia.

58:06.560 --> 58:09.560
And by Dentine, the gum with breathtaking flavor.

58:09.560 --> 58:14.560
And Beeman's pepsin, the gum that's great to chew and good for your digestion, too.

58:14.560 --> 58:16.560
Now here once again is Tallulah Bankhead.

58:16.560 --> 58:17.560
Thank you, Ed.

58:17.560 --> 58:23.560
Well, darlings, I was hoping we could get away with only having to hear Ethel Merman sing one song.

58:23.560 --> 58:29.560
But she and Vigil were at Easton to sing a duet with her, and I couldn't turn the darling boy down.

58:29.560 --> 58:31.560
So here are Miss Merman and Mr. Easton, blending voices.

58:31.560 --> 58:35.560
And here's the surprise. They're actually going to sing a song for their own show.

58:35.560 --> 58:40.560
So listen now to The Best Thing For You from Call Me Madam.

58:40.560 --> 58:43.560
Merman, darling, if you please.

58:43.560 --> 59:07.560
Please let me say from the start, I don't pretend to be smart. Won't you suggest what you think best, having my interest at heart?

59:07.560 --> 59:22.560
I only want what's the best thing for you, and the best thing for you would be me.

59:22.560 --> 59:37.560
I've been convinced after thinking it through that the best thing for you would be me.

59:37.560 --> 59:52.560
Every day to myself I say, point the way, what will it be?

59:52.560 --> 01:00:04.560
I ask myself what's the best thing for you, and myself and I seem to agree.

01:00:04.560 --> 01:00:13.560
I believe that the best thing for you would be me.

01:00:13.560 --> 01:00:28.560
Every day to myself I say, point the way, what will it be?

01:00:28.560 --> 01:00:41.560
I ask myself what's the best thing for you, and myself and I seem to agree.

01:00:41.560 --> 01:01:05.560
I believe that the best thing for you would be me.

01:01:11.560 --> 01:01:18.560
The mask is off. The mask is off in cigarette advertising.

01:01:18.560 --> 01:01:23.560
Chesterfield is first to name all of its ingredients, and here they are.

01:01:23.560 --> 01:01:27.560
Chesterfield uses the right combination of the world's best tobaccos,

01:01:27.560 --> 01:01:31.560
pretested by laboratory instruments for the most desirable smoking qualities,

01:01:31.560 --> 01:01:36.560
and kept tasty and fresh by the only tried and tested moistening agents

01:01:36.560 --> 01:01:43.560
proved by over 40 years of continuous use in USA tobacco products as entirely safe for use in the mouth.

01:01:43.560 --> 01:01:48.560
Pure natural sugars and chemically pure are harmless and far more costly glycerol.

01:01:48.560 --> 01:01:52.560
Nothing else. You can be glad if you smoke Chesterfields

01:01:52.560 --> 01:01:55.560
because they give you every advantage known to modern science.

01:01:55.560 --> 01:01:58.560
For you that means that Chesterfields are much milder,

01:01:58.560 --> 01:02:02.560
with an extraordinarily good taste and no unpleasant aftertaste.

01:02:02.560 --> 01:02:08.560
All for your smoking pleasure and protection. They satisfy millions.

01:02:08.560 --> 01:02:19.560
Sound off for Chesterfields and do it today.

01:02:19.560 --> 01:02:25.560
Well, now we come to an ending when the Brooklyn Dodgers always score heavily.

01:02:25.560 --> 01:02:29.560
Batter up, Phil Foster. Let me see you hit one out of the park.

01:02:29.560 --> 01:02:32.560
Are you listening, Bobby Thompson, darling?

01:02:32.560 --> 01:02:34.560
Yeah, I do.

01:02:34.560 --> 01:02:37.560
What's been going on at your home, my child?

01:02:37.560 --> 01:02:42.560
Well, I don't know if you know, but around my neighborhood in Brooklyn, everybody's out of work.

01:02:42.560 --> 01:02:44.560
Nobody likes to work.

01:02:44.560 --> 01:02:46.560
We only got one fellow in the whole section that's working steady,

01:02:46.560 --> 01:02:50.560
and he works every Christmas at the post office.

01:02:50.560 --> 01:02:52.560
And so when I go home, my mother said to me very nicely,

01:02:52.560 --> 01:02:58.560
I hope you haven't been seeing Skyler because he's a high dramatic vagabond.

01:02:58.560 --> 01:03:02.560
I said, Ma, stop being so fancy. What is that? What's a high dramatic vagabond?

01:03:02.560 --> 01:03:06.560
She said he's a shipless bum.

01:03:06.560 --> 01:03:10.560
But I can remember when I was out of work, I used to live in Coney Island.

01:03:10.560 --> 01:03:13.560
That's the last block in America.

01:03:13.560 --> 01:03:17.560
The next block is Avenue A, Paris.

01:03:17.560 --> 01:03:20.560
So I used to get a quarter a day for my mother to look for a job.

01:03:20.560 --> 01:03:25.560
And those days used to be a quarter at the New York Paramount before one o'clock.

01:03:25.560 --> 01:03:28.560
From Coney Island to the Paramount was easily 16 miles.

01:03:28.560 --> 01:03:30.560
So I couldn't make it.

01:03:30.560 --> 01:03:33.560
So one day I used to hide under the boardwalk, on top of the boardwalk.

01:03:33.560 --> 01:03:36.560
I used to go to the pool rooms, the libraries.

01:03:36.560 --> 01:03:39.560
And about three o'clock I go in the hall, take the dirt off the wall, put it on my head,

01:03:39.560 --> 01:03:43.560
walk into the house and say, Ma, I can't find a job.

01:03:43.560 --> 01:03:45.560
I was a very big liar.

01:03:45.560 --> 01:03:47.560
Then the second day I get another quarter.

01:03:47.560 --> 01:03:50.560
That's a half a buck. But with a half a buck, you're in action.

01:03:50.560 --> 01:03:53.560
You can move around a little bit better.

01:03:53.560 --> 01:03:55.560
With 30 cents I blew on coffee.

01:03:55.560 --> 01:03:58.560
Another quarter to pay my way into the picture.

01:03:58.560 --> 01:04:01.560
35 cents a nickel for my meal.

01:04:01.560 --> 01:04:04.560
What do you laugh at? You get a bar of chocolate with some water.

01:04:04.560 --> 01:04:08.560
You mix the whole thing up, you don't want to eat nothing for the rest of the day.

01:04:08.560 --> 01:04:10.560
And like that I lived for a couple of years.

01:04:10.560 --> 01:04:13.560
I could have found a job, except that I knew I was going to be an actor some day,

01:04:13.560 --> 01:04:17.560
and I was practicing how to be out of work.

01:04:17.560 --> 01:04:22.560
So one day I woke up the second day, instead of having 50 cents, I got 30 cents.

01:04:22.560 --> 01:04:25.560
And there's a reason for that. The night before I took out a girl.

01:04:25.560 --> 01:04:27.560
I blew 20 cents on her.

01:04:27.560 --> 01:04:31.560
Then I found out that she was going steady. I could have killed her altogether.

01:04:31.560 --> 01:04:34.560
So here it is, 30 cents, 6.30 in the morning.

01:04:34.560 --> 01:04:36.560
What am I going to do? I walked in New York.

01:04:36.560 --> 01:04:38.560
How far could it be?

01:04:38.560 --> 01:04:41.560
So I went down Epstein Avenue, I turned left on 17th Street.

01:04:41.560 --> 01:04:45.560
This would be very interesting to the people from Iowa right now.

01:04:45.560 --> 01:04:48.560
But if you ever come to New York, you'll follow this route.

01:04:48.560 --> 01:04:50.560
You'll see it's very interesting.

01:04:50.560 --> 01:04:53.560
And I went left, this is the shortcut incidentally on 17th Street.

01:04:53.560 --> 01:04:56.560
If you don't know this way, you've got to go to Ocean Parkway much longer.

01:04:56.560 --> 01:04:59.560
So I went to the left, I turned over a little bridge,

01:04:59.560 --> 01:05:02.560
and went to Bath Beach, Bay Ridge, Fort Hampton Parkway,

01:05:02.560 --> 01:05:06.560
Fort Avenue, Burr Hall section, over the bridge, another bridge.

01:05:06.560 --> 01:05:08.560
And then I got to New York, Broadway.

01:05:08.560 --> 01:05:12.560
I finally got to the picture. I think I was too tired because I can't remember the picture.

01:05:12.560 --> 01:05:15.560
That was the remaining nickel I got on the subway. I came home.

01:05:15.560 --> 01:05:18.560
I walk in the house, there's my father, both feet stuck in a pail of water.

01:05:18.560 --> 01:05:22.560
I said, wow, what happened to you? He went, hey! Hey!

01:05:22.560 --> 01:05:26.560
I said, what's wrong with him? She said, he followed you.

01:05:26.560 --> 01:05:30.560
Laughter

01:05:30.560 --> 01:05:34.560
Applause

01:05:34.560 --> 01:05:38.560
Well, anyway, then my father got me a job.

01:05:38.560 --> 01:05:42.560
I would never find one. He got me a job as an usher.

01:05:42.560 --> 01:05:45.560
And let's be honest with each other, people.

01:05:45.560 --> 01:05:48.560
I don't know if you know the audiences in Brooklyn, but they're a type of audience,

01:05:48.560 --> 01:05:52.560
if somebody on the screen shot and asked a question, the people in the audience feel that they must answer it.

01:05:52.560 --> 01:05:55.560
Laughter

01:05:55.560 --> 01:05:57.560
Somebody on the screen shot and said, where are you going?

01:05:57.560 --> 01:05:59.560
Somebody in the audience must say, oh, God!

01:05:59.560 --> 01:06:03.560
Laughter

01:06:03.560 --> 01:06:07.560
So anyway, let's be very honest. When you see a picture,

01:06:07.560 --> 01:06:11.560
you people that are in the audience and listening, when you see a picture from beginning to end,

01:06:11.560 --> 01:06:15.560
one time, this is pretty good. If you see the same picture twice,

01:06:15.560 --> 01:06:19.560
that's a near miracle. If you see the same picture three times,

01:06:19.560 --> 01:06:23.560
this is the miracle. I as an usher, used to have to see the same picture 30 times.

01:06:23.560 --> 01:06:25.560
Laughter

01:06:25.560 --> 01:06:29.560
40 times. After a while, I got punch drunk just for watching a picture.

01:06:29.560 --> 01:06:31.560
When a tree moved in a picture, I moved with the tree.

01:06:31.560 --> 01:06:33.560
Laughter

01:06:33.560 --> 01:06:36.560
After a while, I began to show people to the seats in the mood of the picture.

01:06:36.560 --> 01:06:39.560
Whatever was playing on the screen, that's how I showed them to the seats.

01:06:39.560 --> 01:06:42.560
It was a jungle picture. I'd show people to seat something like,

01:06:42.560 --> 01:06:44.560
Grrrr!

01:06:44.560 --> 01:06:48.560
Laughter

01:06:48.560 --> 01:06:50.560
Grrrr!

01:06:50.560 --> 01:06:54.560
And it was a western picture, something like, howdy, partner.

01:06:54.560 --> 01:06:57.560
I reckon you're looking for a deuce in the old corral.

01:06:57.560 --> 01:06:59.560
Laughter

01:06:59.560 --> 01:07:03.560
And it was a gangster picture. I used to show them to seat something like,

01:07:03.560 --> 01:07:05.560
you're looking for two.

01:07:05.560 --> 01:07:06.560
Laughter

01:07:06.560 --> 01:07:07.560
I got it for you.

01:07:07.560 --> 01:07:09.560
Laughter

01:07:09.560 --> 01:07:11.560
Follow me down the aisle, I'll slip you in.

01:07:11.560 --> 01:07:13.560
Laughter

01:07:13.560 --> 01:07:16.560
There'd be three of us going down, and only one of us coming back.

01:07:16.560 --> 01:07:25.560
Laughter

01:07:25.560 --> 01:07:28.560
And that one wasn't me because I went on the stage.

01:07:28.560 --> 01:07:30.560
That's how I became an actor.

01:07:30.560 --> 01:07:35.560
Listen, I, don't fool around, I, I, I, this is the big week.

01:07:35.560 --> 01:07:39.560
And ladies and gentlemen, since this is Meredith Wilson week on a big show,

01:07:39.560 --> 01:07:41.560
I have a song composed by Meredith.

01:07:41.560 --> 01:07:45.560
It seems like every four years, especially during election year,

01:07:45.560 --> 01:07:50.560
you hear phrases like, dim view, I point with pride,

01:07:50.560 --> 01:07:52.560
I view with alarm,

01:07:52.560 --> 01:07:53.560
Laughter

01:07:53.560 --> 01:07:54.560
legislation,

01:07:54.560 --> 01:07:55.560
situations,

01:07:55.560 --> 01:07:57.560
hear all these things, you know.

01:07:57.560 --> 01:08:01.560
So Meredith Wilson put all these ingredients into one song,

01:08:01.560 --> 01:08:04.560
sort of a political love song, and I do it.

01:08:04.560 --> 01:08:05.560
Oh boy.

01:08:05.560 --> 01:08:06.560
Laughter

01:08:06.560 --> 01:08:08.560
So, here is the song, I take a dim view,

01:08:08.560 --> 01:08:11.560
and that's exactly what I think is going to happen to the song.

01:08:11.560 --> 01:08:12.560
I take a dim view.

01:08:12.560 --> 01:08:13.560
Laughter

01:08:13.560 --> 01:08:21.560
Music

01:08:21.560 --> 01:08:23.560
I take a dim view,

01:08:23.560 --> 01:08:27.560
of any situation that refuses to permit,

01:08:27.560 --> 01:08:29.560
holding hands while we sit,

01:08:29.560 --> 01:08:32.560
trying to fit in your father's easy chair.

01:08:32.560 --> 01:08:35.560
I take a dim view,

01:08:35.560 --> 01:08:38.560
of any legislation that refuses to allow,

01:08:38.560 --> 01:08:40.560
little pecks on your brow,

01:08:40.560 --> 01:08:44.560
while I plow through the heavens in your hair.

01:08:44.560 --> 01:08:48.560
And though I point with pride at your mother,

01:08:48.560 --> 01:08:50.560
the way she hollered from the stairs,

01:08:50.560 --> 01:08:52.560
good luck,

01:08:52.560 --> 01:08:54.560
I got a view with alarm,

01:08:54.560 --> 01:08:56.560
your brother,

01:08:56.560 --> 01:08:58.560
the little clock won't duck,

01:08:58.560 --> 01:09:00.560
for less than a buck.

01:09:00.560 --> 01:09:02.560
I take a dim view,

01:09:02.560 --> 01:09:06.560
of any situation that embraces anything,

01:09:06.560 --> 01:09:09.560
but a date in the spring with a ring,

01:09:09.560 --> 01:09:12.560
and a flower girl or two,

01:09:12.560 --> 01:09:14.560
because I love you,

01:09:14.560 --> 01:09:16.560
I do.

01:09:16.560 --> 01:09:18.560
I take a dim view,

01:09:18.560 --> 01:09:22.560
of your situation that a girl would be a pute,

01:09:22.560 --> 01:09:25.560
if you changed to a cute bathing suit,

01:09:25.560 --> 01:09:28.560
so we're nowhere near the shore.

01:09:28.560 --> 01:09:30.560
I take a dim view,

01:09:30.560 --> 01:09:34.560
of all your indignation that arises when we say,

01:09:34.560 --> 01:09:37.560
that the end of the break for today,

01:09:37.560 --> 01:09:40.560
may I take you to the door?

01:09:40.560 --> 01:09:43.560
Point with pride at your father,

01:09:43.560 --> 01:09:47.560
the little monster with his knowing look,

01:09:47.560 --> 01:09:49.560
I got a view with alarm,

01:09:49.560 --> 01:09:51.560
your mother,

01:09:51.560 --> 01:09:53.560
she's gonna cook and cook,

01:09:53.560 --> 01:09:57.560
till she hooks you a schnook.

01:09:57.560 --> 01:10:00.560
Nevertheless, I take a dim view,

01:10:00.560 --> 01:10:04.560
of any situation that refuses me the bliss,

01:10:04.560 --> 01:10:06.560
of a hug and a kiss,

01:10:06.560 --> 01:10:10.560
if I miss, it will break my heart in two,

01:10:10.560 --> 01:10:12.560
because I love you,

01:10:12.560 --> 01:10:13.560
I do.

01:10:13.560 --> 01:10:14.560
Hey, Bill!

01:10:14.560 --> 01:10:15.560
You!

01:10:15.560 --> 01:10:18.560
We got news for you,

01:10:18.560 --> 01:10:21.560
we love you too.

01:10:21.560 --> 01:10:23.560
Hey, wow!

01:10:23.560 --> 01:10:30.560
Applause

01:10:30.560 --> 01:10:33.560
When we ask you to try Anisone for the relief of pain,

01:10:33.560 --> 01:10:35.560
due to a headache, neuritis or neuralgia,

01:10:35.560 --> 01:10:38.560
we are not asking you to try a new or unproved method.

01:10:38.560 --> 01:10:40.560
For there are many people listening in now,

01:10:40.560 --> 01:10:42.560
who have been introduced to Anisone tablets,

01:10:42.560 --> 01:10:44.560
by their own dentist or physician.

01:10:44.560 --> 01:10:46.560
You who have received Anisone this way,

01:10:46.560 --> 01:10:49.560
know the effective, incredibly fast relief,

01:10:49.560 --> 01:10:50.560
these tablets bring.

01:10:50.560 --> 01:10:53.560
Anisone is like a doctor's prescription.

01:10:53.560 --> 01:10:56.560
That is, Anisone contains not just one,

01:10:56.560 --> 01:10:58.560
but a combination of medically proven,

01:10:58.560 --> 01:10:59.560
active ingredients,

01:10:59.560 --> 01:11:01.560
in easy to take tablet form.

01:11:01.560 --> 01:11:05.560
People by the thousands are using modern Anisone today,

01:11:05.560 --> 01:11:06.560
instead of other ways.

01:11:06.560 --> 01:11:09.560
Doesn't their experience seem worth following?

01:11:09.560 --> 01:11:11.560
Try Anisone the next time you suffer pains,

01:11:11.560 --> 01:11:13.560
from headache, neuritis or neuralgia.

01:11:13.560 --> 01:11:15.560
You'll be delighted with the results.

01:11:15.560 --> 01:11:17.560
Ask your drugist for Anisone today.

01:11:17.560 --> 01:11:20.560
Anisone is spelled A-N-A-C-I-N.

01:11:20.560 --> 01:11:29.560
Music

01:11:29.560 --> 01:11:31.560
Well darlings, I simply hate to go shopping,

01:11:31.560 --> 01:11:35.560
but last week somebody very near and very dear to me,

01:11:35.560 --> 01:11:36.560
had a birthday.

01:11:36.560 --> 01:11:38.560
And at the last minute I had to go into a store,

01:11:38.560 --> 01:11:39.560
to buy him a gift.

01:11:39.560 --> 01:11:41.560
I knew exactly what I wanted,

01:11:41.560 --> 01:11:43.560
but the minute I got into the store,

01:11:43.560 --> 01:11:45.560
the salesman absolutely confused me.

01:11:45.560 --> 01:11:47.560
I said to him,

01:11:47.560 --> 01:11:49.560
I've got to buy a present for a friend of mine.

01:11:49.560 --> 01:11:51.560
Darling, what do you think,

01:11:51.560 --> 01:11:54.560
for a 40 year old man would like?

01:11:54.560 --> 01:11:56.560
What do you think he'd like?

01:11:56.560 --> 01:11:58.560
A 20 year old girl?

01:11:58.560 --> 01:12:00.560
Very funny.

01:12:00.560 --> 01:12:02.560
Well, you're not going to be any help.

01:12:02.560 --> 01:12:05.560
Luckily, I know exactly what I want.

01:12:05.560 --> 01:12:08.560
I'm thinking of giving him my picture.

01:12:08.560 --> 01:12:10.560
I think a frame might be nice.

01:12:10.560 --> 01:12:12.560
Oh, this is a nice frame right here.

01:12:12.560 --> 01:12:13.560
Perfectly lovely.

01:12:13.560 --> 01:12:16.560
Of course you can't take out this horrible looking picture,

01:12:16.560 --> 01:12:17.560
can't you?

01:12:17.560 --> 01:12:19.560
Oh, it's a mirror?

01:12:19.560 --> 01:12:22.560
Laughter

01:12:22.560 --> 01:12:23.560
Well now, what would you suggest?

01:12:23.560 --> 01:12:26.560
I mean, does he have what?

01:12:26.560 --> 01:12:28.560
Any ties?

01:12:28.560 --> 01:12:30.560
I like to think only one, though.

01:12:30.560 --> 01:12:31.560
Laughter

01:12:31.560 --> 01:12:34.560
You know, I think ties are a little too personal.

01:12:34.560 --> 01:12:36.560
Maybe I ought to get him some shorts.

01:12:36.560 --> 01:12:38.560
Laughter

01:12:38.560 --> 01:12:40.560
Oh, sure, he swims.

01:12:40.560 --> 01:12:43.560
Let me see what else you have.

01:12:43.560 --> 01:12:44.560
A diary.

01:12:44.560 --> 01:12:46.560
He wouldn't dare.

01:12:46.560 --> 01:12:47.560
Laughter

01:12:47.560 --> 01:12:50.560
Not unless you have one with an asbestos cover.

01:12:50.560 --> 01:12:53.560
Now, how about showing me something else?

01:12:53.560 --> 01:12:55.560
What do you mean you're going to wait on this man first?

01:12:55.560 --> 01:12:57.560
I came here ahead of him.

01:12:57.560 --> 01:12:59.560
If you're going to make me stand here,

01:12:59.560 --> 01:13:01.560
until you wait on this common,

01:13:01.560 --> 01:13:03.560
ordinary, tall,

01:13:03.560 --> 01:13:04.560
uh,

01:13:04.560 --> 01:13:05.560
gentle,

01:13:05.560 --> 01:13:06.560
attractive,

01:13:06.560 --> 01:13:08.560
blonde man,

01:13:08.560 --> 01:13:10.560
uh, oh, well, go right ahead.

01:13:10.560 --> 01:13:12.560
No, I have plenty of time.

01:13:12.560 --> 01:13:14.560
No, no, please, really.

01:13:14.560 --> 01:13:15.560
I have plenty of time.

01:13:15.560 --> 01:13:16.560
Go right ahead, darling.

01:13:16.560 --> 01:13:17.560
I mean, no rash.

01:13:17.560 --> 01:13:18.560
I mean, rush.

01:13:18.560 --> 01:13:19.560
I mean, I...

01:13:19.560 --> 01:13:20.560
I mean, worry, hurry.

01:13:20.560 --> 01:13:21.560
Oh, nothing important.

01:13:21.560 --> 01:13:24.560
I was only trying to find something for a friend I used to know.

01:13:24.560 --> 01:13:25.560
Suggest something?

01:13:25.560 --> 01:13:26.560
Oh, of course.

01:13:26.560 --> 01:13:28.560
You go right ahead.

01:13:28.560 --> 01:13:30.560
And be as suggestive as you want to.

01:13:30.560 --> 01:13:31.560
Laughter

01:13:31.560 --> 01:13:32.560
Shirt?

01:13:32.560 --> 01:13:34.560
Oh, what an original idea.

01:13:34.560 --> 01:13:37.560
I always say it takes a man.

01:13:37.560 --> 01:13:39.560
What do you mean, for what?

01:13:39.560 --> 01:13:41.560
For anything, darling.

01:13:41.560 --> 01:13:43.560
Of course, I should have thought of shirts.

01:13:43.560 --> 01:13:46.560
Waiter, I mean, pilot, endkeeper.

01:13:46.560 --> 01:13:49.560
What do they call these salesmen?

01:13:49.560 --> 01:13:51.560
Oh, salesmen, yes.

01:13:51.560 --> 01:13:52.560
Of course.

01:13:52.560 --> 01:13:55.560
Darling, you're not only handsome,

01:13:55.560 --> 01:13:56.560
but clever, aren't you?

01:13:56.560 --> 01:13:59.560
Salesman, salesman, I'd like you some shirt feet.

01:13:59.560 --> 01:14:00.560
What material?

01:14:00.560 --> 01:14:03.560
Well, something like this gentleman is wearing.

01:14:03.560 --> 01:14:05.560
Do you mind if I just fielding here?

01:14:05.560 --> 01:14:06.560
Thank you.

01:14:06.560 --> 01:14:08.560
Laughter

01:14:08.560 --> 01:14:10.560
What, cold hands?

01:14:10.560 --> 01:14:13.560
Well, you know the old saying, cold hands.

01:14:13.560 --> 01:14:15.560
What is the rest of that?

01:14:15.560 --> 01:14:16.560
Oh, yes, cold feet.

01:14:16.560 --> 01:14:18.560
Laughter

01:14:18.560 --> 01:14:19.560
Thank you, darling.

01:14:19.560 --> 01:14:23.560
Yes, salesman, I'll take a shirt like my friend here is wearing.

01:14:23.560 --> 01:14:25.560
What do you mean, what size?

01:14:25.560 --> 01:14:26.560
Neck?

01:14:26.560 --> 01:14:28.560
Well, I hope so.

01:14:28.560 --> 01:14:29.560
Laughter

01:14:29.560 --> 01:14:30.560
Oh, neck size.

01:14:30.560 --> 01:14:32.560
Oh, well, let me see.

01:14:32.560 --> 01:14:34.560
Do you mind blondie?

01:14:34.560 --> 01:14:36.560
I'll just put my fingers around your neck and,

01:14:36.560 --> 01:14:39.560
no, just me tighten my fingers a little there.

01:14:39.560 --> 01:14:41.560
That's the size I want.

01:14:41.560 --> 01:14:44.560
And by the way, salesman, I also like the color he's turning.

01:14:44.560 --> 01:14:46.560
Laughter

01:14:46.560 --> 01:14:48.560
That's the most interesting shade of purple.

01:14:48.560 --> 01:14:50.560
What do you think, darling?

01:14:50.560 --> 01:14:51.560
Uh-huh.

01:14:51.560 --> 01:14:53.560
What? Uh-huh.

01:14:53.560 --> 01:14:56.560
Oh, my fingers around your, oh, yes, I'm sorry, darling.

01:14:56.560 --> 01:14:57.560
Laughter

01:14:57.560 --> 01:14:59.560
My, you look all worn out.

01:14:59.560 --> 01:15:00.560
Laughter

01:15:00.560 --> 01:15:03.560
Yes, I know, shopping is so dying.

01:15:03.560 --> 01:15:07.560
I say, how about you and I going next door and shopping around for a drink?

01:15:07.560 --> 01:15:09.560
Well, good, just a moment.

01:15:09.560 --> 01:15:11.560
Oh, salesman, I'll take that shirt.

01:15:11.560 --> 01:15:13.560
Have it sent to me.

01:15:13.560 --> 01:15:14.560
What?

01:15:14.560 --> 01:15:15.560
A monogram?

01:15:15.560 --> 01:15:17.560
Oh, that would be lovely.

01:15:17.560 --> 01:15:19.560
Oh, yes, let's have a monogram.

01:15:19.560 --> 01:15:21.560
Initials?

01:15:21.560 --> 01:15:25.560
Well, now, let's not rush into these things before we see how they work out.

01:15:25.560 --> 01:15:27.560
Laughter

01:15:27.560 --> 01:15:29.560
I'll call you tomorrow and let you know whose.

01:15:29.560 --> 01:15:31.560
I mean what initials you should put on.

01:15:31.560 --> 01:15:33.560
Laughter

01:15:33.560 --> 01:15:36.560
Come along, darling, I just love to shop at men's stores.

01:15:36.560 --> 01:15:39.560
I always pick up the most divine things.

01:15:39.560 --> 01:15:41.560
Laughter

01:15:41.560 --> 01:15:43.560
Applause

01:15:43.560 --> 01:15:45.560
Applause

01:15:45.560 --> 01:15:47.560
Applause

01:15:47.560 --> 01:15:49.560
Applause

01:15:49.560 --> 01:15:51.560
Applause

01:15:51.560 --> 01:15:53.560
Oh, uh, Miss Bankhead.

01:15:53.560 --> 01:15:55.560
Well, tell Mr. Wilson.

01:15:55.560 --> 01:15:57.560
Laughter

01:15:57.560 --> 01:15:59.560
About that little, uh.

01:15:59.560 --> 01:16:01.560
Laughter

01:16:01.560 --> 01:16:04.560
About that little takeoff you did before on my book, you know.

01:16:04.560 --> 01:16:05.560
Uh-huh.

01:16:05.560 --> 01:16:08.560
Uh, people might get the wrong idea about the book.

01:16:08.560 --> 01:16:11.560
Uh, can't we talk a little like they do on that program?

01:16:11.560 --> 01:16:15.560
Uh, author meets the candidate.

01:16:15.560 --> 01:16:16.560
Laughter

01:16:16.560 --> 01:16:18.560
Uh, you mean, darling, author meets the critic.

01:16:18.560 --> 01:16:21.560
All right, Meredith, we'll set up a little forum here.

01:16:21.560 --> 01:16:26.560
You'll be the author, the cart will be the critic, and now we need a moderator.

01:16:26.560 --> 01:16:34.560
The moderator should be somebody literate, intelligent, fair-minded, talented, and who doesn't talk so much so the people on the forum can talk.

01:16:34.560 --> 01:16:35.560
I accept the nomination.

01:16:35.560 --> 01:16:37.560
Laughter

01:16:37.560 --> 01:16:43.560
So while we are setting up our round table and our square heads, here is something else eventually to you.

01:16:43.560 --> 01:16:47.560
For breathless moments, for your breathless moments.

01:16:47.560 --> 01:16:53.560
Chew dentine, the gum with, with taking flavor.

01:16:53.560 --> 01:16:55.560
Dentine tastes so good.

01:16:55.560 --> 01:16:57.560
Dentine freshens your breath.

01:16:57.560 --> 01:17:00.560
Dentine helps keep your teeth sparkling clean and white.

01:17:00.560 --> 01:17:05.560
Dentine, the gum with, ah, breath taking flavor.

01:17:05.560 --> 01:17:12.560
Before you go out and always after eating, drinking, smoking, refresh your breath with dentine.

01:17:12.560 --> 01:17:20.560
You'll love dentine chewing gum, for dentine has a wonderful tingling, nippy flavor that lingers on and on.

01:17:20.560 --> 01:17:22.560
It's delicious.

01:17:22.560 --> 01:17:25.560
And remember, dentine helps keep your teeth white too.

01:17:25.560 --> 01:17:26.560
Keep dentine handy.

01:17:26.560 --> 01:17:30.560
You'll enjoy refreshing your breath when you chew dentine.

01:17:30.560 --> 01:17:34.560
So for breathless moments, for your breathless moments.

01:17:34.560 --> 01:17:40.560
Chew dentine, the gum with, ah, breath taking flavor.

01:17:40.560 --> 01:17:46.560
Laughter

01:17:46.560 --> 01:17:48.560
Good evening ladies and gentlemen.

01:17:48.560 --> 01:17:50.560
Welcome to Writer Meets the Readers.

01:17:50.560 --> 01:17:54.560
Our book I'm discussing tonight is Who Did What? Superdalia.

01:17:54.560 --> 01:17:58.560
Written by Mr. Merrick Wilson, the distinguished, well that's enough about him.

01:17:58.560 --> 01:18:04.560
Now we have a famous panel of readers here tonight and I call on our first reader, Mr. McGuffey.

01:18:04.560 --> 01:18:07.560
No, I mean our first reader, Ms. Ethel Merman.

01:18:07.560 --> 01:18:09.560
Ethel, what did you think of the book?

01:18:09.560 --> 01:18:12.560
Well I don't care what anybody says, I liked it.

01:18:12.560 --> 01:18:16.560
I read it in bed the other night. It has only 218 pages.

01:18:16.560 --> 01:18:20.560
And my doctor told me not to go to bed with anything heavy on my stomach.

01:18:20.560 --> 01:18:21.560
Laughter

01:18:21.560 --> 01:18:27.560
Well Mr. Wilson, that's an interesting observation. Ms. Merman found it very easy to stomach your book.

01:18:27.560 --> 01:18:28.560
Laughter

01:18:28.560 --> 01:18:30.560
Well I'm glad she was able to digest it.

01:18:30.560 --> 01:18:32.560
The cover was a little binding.

01:18:32.560 --> 01:18:33.560
Wait a minute.

01:18:33.560 --> 01:18:39.560
Laughter

01:18:39.560 --> 01:18:40.560
I got noose to you.

01:18:40.560 --> 01:18:43.560
Laughter

01:18:43.560 --> 01:18:45.560
I just want to read you one little excerpt from the book.

01:18:45.560 --> 01:18:48.560
Mr. Foster, it is not your turn.

01:18:48.560 --> 01:18:51.560
Well, just let me read this. Here it is.

01:18:51.560 --> 01:18:56.560
Copyright 1952 by Meredith Wilson. All rights reserved.

01:18:56.560 --> 01:19:02.560
Library of Congress catalogue card number 52-5228. How about that?

01:19:02.560 --> 01:19:04.560
How about what?

01:19:04.560 --> 01:19:06.560
I got noose for you.

01:19:06.560 --> 01:19:07.560
Laughter

01:19:07.560 --> 01:19:10.560
This Meredith Wilson is a card carrying member of the library.

01:19:10.560 --> 01:19:12.560
Laughter

01:19:12.560 --> 01:19:18.560
Mr. Foster, I don't want politics in this forum. No politics. We are discussing a work of fiction.

01:19:18.560 --> 01:19:20.560
No fiction politics?

01:19:20.560 --> 01:19:23.560
Mr. Lowry, you'll have to wait till I call on you.

01:19:23.560 --> 01:19:25.560
I don't care what anybody says. I like the book.

01:19:25.560 --> 01:19:26.560
Laughter

01:19:26.560 --> 01:19:28.560
You told us that before, Ethel.

01:19:28.560 --> 01:19:31.560
Well I did like it. I bought it in the bookstore in the Roosevelt Hotel.

01:19:31.560 --> 01:19:33.560
Darling, I told you no politics.

01:19:33.560 --> 01:19:34.560
Laughter

01:19:34.560 --> 01:19:37.560
I don't care what anybody says. I like the book.

01:19:37.560 --> 01:19:38.560
Laughter

01:19:38.560 --> 01:19:45.560
Ethel, there are other members on this panel and everyone gets a chance to say something. That's the democratic way.

01:19:45.560 --> 01:19:46.560
I thought you said no politics.

01:19:46.560 --> 01:19:48.560
Laughter

01:19:48.560 --> 01:19:53.560
Now let's hear now from another book lover, Mr. Joe Frisco. How did you find the book, Mr. Frisco?

01:19:53.560 --> 01:19:58.560
I've been trying to find a book ever since I got to New York. I can't make it better.

01:19:58.560 --> 01:20:00.560
Laughter

01:20:00.560 --> 01:20:01.560
Can you make it better, baby?

01:20:01.560 --> 01:20:08.560
I can make it better. I'm talking about who did what to bedelia. Did you read it, darling?

01:20:08.560 --> 01:20:15.560
Well, I bought three copies of it and we sat down and read it, two fellows and myself, all night long.

01:20:15.560 --> 01:20:16.560
And?

01:20:16.560 --> 01:20:20.560
And I finished third and paid 3.80.

01:20:20.560 --> 01:20:22.560
Laughter

01:20:22.560 --> 01:20:28.560
So you think Mr. Woodman's book is on a good bed, all right? Now how about you, Mr. Eason? You look as if you have something in common, say.

01:20:28.560 --> 01:20:31.560
Well, I read the book from cover to cover.

01:20:31.560 --> 01:20:32.560
Uh-huh. Do you like it?

01:20:32.560 --> 01:20:36.560
Oh, it was great. I can't wait to get to get to get to get to the pages in between.

01:20:36.560 --> 01:20:38.560
Laughter

01:20:38.560 --> 01:20:41.560
I want to call your attention to the first two pages in a book. They're blank.

01:20:41.560 --> 01:20:43.560
They're still a seed.

01:20:43.560 --> 01:20:46.560
And there are two blank pages in the back of the book.

01:20:46.560 --> 01:20:47.560
They're what?

01:20:47.560 --> 01:20:51.560
So I held a match between those pages to see if there's any secret writing on them.

01:20:51.560 --> 01:20:52.560
Well?

01:20:52.560 --> 01:20:54.560
I got moves for you.

01:20:54.560 --> 01:20:55.560
Laughter

01:20:55.560 --> 01:20:57.560
There wasn't any secret writing.

01:20:57.560 --> 01:21:01.560
That made me suspicious. I knew I was on the right track.

01:21:01.560 --> 01:21:05.560
If you're going to the the the the the the the track still, I got a good thing.

01:21:05.560 --> 01:21:08.560
Laughter

01:21:08.560 --> 01:21:14.560
Don't confuse me. I read those spy stories. I know how to bring out invisible writing.

01:21:14.560 --> 01:21:17.560
So I took a lemon and squeezed the juice on those blank pages.

01:21:17.560 --> 01:21:18.560
And?

01:21:18.560 --> 01:21:20.560
The book left a sour taste in my mouth.

01:21:20.560 --> 01:21:21.560
Laughter

01:21:21.560 --> 01:21:23.560
I don't care what anybody says. I like the book.

01:21:23.560 --> 01:21:25.560
Laughter

01:21:25.560 --> 01:21:27.560
Oh, shut up.

01:21:27.560 --> 01:21:29.560
Let's hear from Shepard Studley.

01:21:29.560 --> 01:21:35.560
I am happy to announce from the rock-ribbed coast of Maine to the sunny shores of California.

01:21:35.560 --> 01:21:39.560
Not so loud, darling. Don't stand so close to the mic.

01:21:39.560 --> 01:21:42.560
Why not? I like mics.

01:21:42.560 --> 01:21:43.560
Laughter

01:21:43.560 --> 01:21:45.560
I told you no politics.

01:21:45.560 --> 01:21:48.560
Miss Bankhead, may I say just a few...

01:21:48.560 --> 01:21:49.560
Oh, shut up.

01:21:49.560 --> 01:21:50.560
Laughter

01:21:50.560 --> 01:21:52.560
What do you know about this?

01:21:52.560 --> 01:21:53.560
Well, I wrote the book.

01:21:53.560 --> 01:21:55.560
We accept your apologies.

01:21:55.560 --> 01:21:56.560
Laughter

01:21:56.560 --> 01:22:00.560
Let's hear from Peter Lorry. What are your opinions of the book, Mr. Lorry?

01:22:00.560 --> 01:22:06.560
Oh, I like it very much. I bought the book and I've done away with several victims simply by sending them the book.

01:22:06.560 --> 01:22:08.560
And when they read it, they're bored to death.

01:22:08.560 --> 01:22:10.560
It's a wonderful book.

01:22:10.560 --> 01:22:11.560
Laughter

01:22:11.560 --> 01:22:14.560
Well, that's a very constructive book review.

01:22:14.560 --> 01:22:17.560
I think I'll send my copy to a friend.

01:22:17.560 --> 01:22:24.560
I'll autograph it. Darling, you simply must read this book right away. Love and goodbye, Betty, darling.

01:22:24.560 --> 01:22:26.560
Laughter

01:22:26.560 --> 01:22:36.560
Applause

01:22:36.560 --> 01:22:40.560
Well, that's our show for this week, darling.

01:22:40.560 --> 01:22:42.560
Be with us next Sunday when our guests will be

01:22:42.560 --> 01:22:43.560
Fred Allen

01:22:43.560 --> 01:22:44.560
Peter Donald

01:22:44.560 --> 01:22:45.560
Bill Gargan

01:22:45.560 --> 01:22:46.560
Portland Hopper

01:22:46.560 --> 01:22:47.560
Helen O'Connell

01:22:47.560 --> 01:22:48.560
Frank Sinatra

01:22:48.560 --> 01:22:49.560
and others

01:22:49.560 --> 01:22:54.560
and of course our very own Meridith Roseland and the Big Show, Officer and Polis.

01:22:54.560 --> 01:23:03.560
Until then, may the good Lord bless and keep you whether near or far away.

01:23:03.560 --> 01:23:04.560
Well, then.

01:23:04.560 --> 01:23:12.560
May you find that long-awaited golden day today.

01:23:12.560 --> 01:23:21.560
Shepherd, may our troubles all be small ones and your fortune ten times ten.

01:23:21.560 --> 01:23:22.560
Peter?

01:23:22.560 --> 01:23:32.560
Peter, good Lord, bless and keep you till we meet again, Richard.

01:23:32.560 --> 01:23:50.560
May you walk with sunlight shining and a bluebird in every tree. May there be a silver lining back of every cloud you see.

01:23:50.560 --> 01:24:09.560
Bill, fill your dreams with sweet tomorrow, never mind what might have been. Joe, may the good Lord bless you and keep you till we meet again.

01:24:09.560 --> 01:24:10.560
Ethel?

01:24:10.560 --> 01:24:27.560
May you long recall each rainbow, then you'll soon forget the rain. May the warm and tender memories be the ones that will remain.

01:24:27.560 --> 01:24:47.560
Bill, fill your dreams with sweet tomorrow, never mind what might have been. May the good Lord bless and keep you until we meet again.

01:24:47.560 --> 01:25:08.560
May the good Lord bless and keep you till we meet, till we meet again.

01:25:08.560 --> 01:25:23.560
And God speed to our armed forces everywhere. Good night, darling.

01:25:23.560 --> 01:25:26.560
This portion of the big show has been brought to you by Chesterfield.

01:25:26.560 --> 01:25:31.560
Remember, Chesterfield's are much milder with an extraordinarily good taste.

01:25:31.560 --> 01:25:36.560
And from the report of a well-known research organization, Chesterfield's leave no unpleasant aftertaste.

01:25:36.560 --> 01:25:40.560
By Anderson for fast relief from pain of headache, uritis, and neuralgia.

01:25:40.560 --> 01:25:43.560
And by Dentine, the gum with breathtaking flavor.

01:25:43.560 --> 01:25:47.560
And Beeman's Pepsin, the gum that's great to chew and good for your digestion, too.

01:25:47.560 --> 01:25:55.560
The first half hour of the big show is presented by the makers of Reynolds Aluminum, the Reynolds Meadows Company, who also bring you the Kate Smith evening hour on the NBC television network.

01:25:55.560 --> 01:26:02.560
The big show is produced and directed by Dee Engelbach and written by Goodman Ace, Selma Diamond, George Foster, Mort Green, and Frank Wilson.

01:26:02.560 --> 01:26:07.560
The chorus is directed by Ray Charles. Special musical arrangements by Sidney Fine.

01:26:07.560 --> 01:26:10.560
This is Ed Hurley, he's saying good night.

01:26:10.560 --> 01:26:33.560
Enjoy American music with Phil Harris and Alice Payne, next on NBC.