Ragtime To Rock And Roll [BBC] 74xxxx 12 Thanks For The Memory 1936-1937

Summary

Podcast Summary: Harold's Old Time Radio – "Ragtime To Rock And Roll [BBC] 74xxxx 12 Thanks For The Memory 1936-1937"

Release Date: July 22, 2025

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Introduction to the Big Band Era

In the twelfth installment of the "Ragtime to Rock and Roll" series, host Kenneth Moore delves into the vibrant big band era of the late 1930s. This period, often hailed as the heyday of popular music, saw the rise of legendary bandleaders such as Benny Goodman, Artie Shaw, Tommy and Jimmy Dorsey, and Count Basie. These orchestras not only dominated dance halls but also became household names worldwide through their signature tunes and hit records.

Bob Hope sets the stage by tracing the evolution of music consumption:

"In 1936 marks the point where they began congregating in a new spot, the local dance hall. Second half of the 1930s was the great age of the touring dance orchestra, the big band era, as it's since come to be known." (01:28)

Accidental Hits and Signature Tunes

The era was marked by several accidental hits that unexpectedly propelled bands to fame. One notable example is "Big Noise from Winnetka" by Bob Crosby. Kenneth Moore recounts the serendipitous creation of this track:

"It was a complete accident... Bobby Haggart started that silly whistle, which no one has ever been able to copy since, because he had a cleavage right here in his front teeth." (02:19)

Such spontaneous creations often led to massive commercial success, as highlighted by Bob Crosby:

"Nothing but a bass and drum and a silly whistle... probably 10 or 14 million copies." (04:09)

Count Basie's "One O'Clock Jump" is another quintessential example of a signature tune that became synonymous with a band's identity, solidifying their place in the annals of jazz history.

Challenges in Jazz and Dance Music

Despite the widespread popularity, not all bands found sustained success. Authentic jazz orchestras often struggled to garner the same public support as their dance band counterparts. The lines between jazz and dance music were increasingly blurred, making it difficult even for musicians to categorize their own styles.

Jimmy Rushing of the Count Basie Orchestra shares his experiences:

"We had a lot of trouble in the band as far as trying to please the people... because our band was mostly on the blues kick." (04:38)

This ambiguity sometimes led to challenges in maintaining a consistent fan base, as audiences were divided between traditional jazz aficionados and the more mainstream dance music listeners.

British Society Bands vs. American Counterparts

The British music scene during this era exhibited unique dynamics compared to the American scene. British bands, often referred to as "society bands," catered to the elite, performing at private functions for high society. This contrasted with the American bands that regularly toured and engaged with a broader audience.

Kenneth Moore shares an intriguing anecdote about Roy Fox, a Californian expatriate who became a prominent figure in Britain's big band landscape:

"One night I was asked to go out the Ace of Spades... I knew that this is a boy I would like to have." (13:53)

This intersection of British high society and big band music highlights the social contrasts present within the British entertainment industry.

Personal Anecdotes and Band Dynamics

Moore provides personal insights into the workings of a successful band, emphasizing the importance of fostering talent and avoiding rapid success. Reflecting on his own experiences, he recalls lessons learned from band leaders who prioritized longevity over fleeting fame:

"You never appreciate anything if you get it in a hurry." (07:22)

Additionally, the narrative touches upon the experiences of other musicians like Buddy Rich and Nat Gonella, offering a glimpse into the day-to-day lives and challenges faced by those within the big band sphere.

Integration of Music into Musicals

The late 1930s were a transformative period for musical theatre, with composers like Richard Rodgers pushing the boundaries of traditional Broadway shows. Moore discusses the groundbreaking musical "On Your Toes", which seamlessly integrated ballet into its narrative:

"The ballet became an integral part of the play itself. Balanchine did the choreography and Zorina danced in it." (26:06)

This innovation marked a significant evolution in musical storytelling, blending different artistic disciplines to create a more cohesive and dynamic performance.

Notable Performances and Songs

Throughout the episode, several iconic songs and performances are highlighted:

• "I Can't Get Started" by Benny Goodman and later popularized by Bunny Bennegan:

  "I've got a house, a show place Still I can't get no place with you Cause you're so supreme." (10:15)

• "Thanks for the Memory" performed by Bob Hope and Shelley Ross, which won an Oscar for Best New Song:

  "Thanks for the memory of sentimental verse... Thanks for the memories of tinkling Temple bell." (44:39)

• "Lydia, the Tattooed Lady" showcased in the Marx Brothers' film, demonstrating the blend of comedy and music:

  "Lydia, oh Lydia, say have you met Lydia? She has eyes that folks adore so." (36:38)

These songs not only captivated audiences but also played significant roles in shaping the musical landscape of the time.

The Influence of The Marx Brothers

The episode extensively covers the Marx Brothers' unique contribution to integrating music into their comedic films. Alan Jones and Tony Martin's interactions with the brothers illustrate the challenges and triumphs of performing in such a dynamic environment.

Moore narrates the story of "Thanks for the Memory", detailing how producer Irving Thalberg advocated for its inclusion despite initial reservations:

"He said, 'the Marx Brothers know their comedy and you should know your music, so we'll put it back in.'" (29:57)

This decision led to the song's immense success, becoming a staple in popular music.

Legacy of Composers: Jerome Kern and George Gershwin

The episode pays homage to composers who left indelible marks on the era’s music. Jerome Kern's "Just the Way You Look Tonight" from the 1936 movie Swing Time earned him an Oscar, illustrating his profound impact:

"There is nothing for me but to love you Just the way you look tonight." (45:00)

In contrast, George Gershwin's untimely death at 39 prevented him from receiving the accolades he deserved, leaving fans to wonder what might have been:

"George Gershwin is dead. But I don't have to believe it if I don't want to." (47:24)

Rise of Iconic Singers: Deanna Durbin and Others

The narrative also highlights the emergence of standout vocalists like Deanna Durbin and Sophie Tucker. Durbin, known as the "girl next door" with exceptional vocal training, became a beloved figure in both Britain and America:

"Deanna Durbin. Everybody's idea of what the girl next door would be like if the girl next door had been trained vocally since she was still in her pram." (50:51)

Similarly, Sophie Tucker's rendition of "The Lady is a Tramp" remained the definitive version for years, showcasing the era's rich vocal talent.

Final Reflections and Teaser for Next Episode

As the episode draws to a close, Moore reflects on the intertwining of music, society, and global events leading up to World War II. The Munich Crisis's looming threat subtly influenced the themes and sentiments expressed in the music of the time.

Looking ahead, the next episode titled "Over the Rainbow" promises to explore the evolving landscape of popular music in both Britain and America, continuing the journey from ragtime rhythms to the burgeoning sounds of rock and roll.

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Key Takeaways:

• The big band era was a pivotal time in music history, characterized by touring orchestras, signature tunes, and the blurring of jazz and dance music.
• Accidental hits like "Big Noise from Winnetka" exemplify the era's spontaneous creativity.
• The British music scene featured society bands catering to elite private functions, contrasting with the more widespread American bands.
• Musical theatre innovations, such as those in "On Your Toes," demonstrated the integration of diverse artistic forms.
• Iconic songs and performances from this period have left lasting legacies in the world of music and cinema.

Notable Quotes:

• "Nothing but a bass and drum and a silly whistle... probably 10 or 14 million copies." — Bob Crosby (04:09)
• "You never appreciate anything if you get it in a hurry." — Kenneth Moore (07:22)
• "Thanks for the memory... we who could laugh over big things Were parted by only a slight." — Kenneth Moore on "Thanks for the Memory" (44:39)
• "George Gershwin is dead. But I don't have to believe it if I don't want to." — John O' Hara (47:24)

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This summary captures the essence of the "Ragtime to Rock And Roll" episode, highlighting key discussions, notable quotes, and the rich tapestry of the late 1930s music scene. Whether you're a long-time listener or new to Harold's Old Time Radio, this episode offers a comprehensive overview of a transformative period in music history.

Transcript

[Kenneth Moore]

This is Radio 2 Ragtime to Rock and Rol. In the 12th program in the series, Kenneth Moore describes the heyday of the big band era, created by Benny Goodman, Artie Shaw, the Dorseys and many others. While in Britain, the reigning monarch inadvertently helped a song to become a best seller. How Deanna Durbin vied with Shirley Temple for box office honours, and how a comedian called Bob Hope became a famous sing.

[Bob Hope]

One of the most striking things about following the trail of popular music in this century is the way that people drift from one environment to another in search of their favorite song or their favorite singer. At the turn of the century, they were flocking to the music hall or to the theater, depending on the size of their wallets. After the Great War, they began sitting around gramophones or wirelesses. In 1936 marks the point where they began congregating in a new spot, the local dance hall. Second half of the 1930s was the great age of the touring dance orchestra, the big band era, as it's since come to be known. And it wasn't long before the whole world could identify their favorite orchestras by their signature tunes and their hit records. Sometimes those hit records were a complete fluke. As Bob Crosby admits, We wrote most.

[Kenneth Moore]

Of the things we recorded. We did have accidental hits like Big Noise from Winnetka was a complete accident. Came about from a bunch of kids coming in the Blackhawk restaurant who lived in a little suburb of Chicago called Winnetka and making so much noise for encores that in desperation, after we'd played everything in the book, one night I said to Ray Beduc and Bobby Haggart, play a bass and drum duet. And they just started to play the blues. And Haggart started that silly whistle, which no one has ever been able to copy since, because he had a cleavage right here in his front teeth. It was a fun thing for us. And we did go into a recording session minus one arrangement that we weren't happy with, and we told Cap, we're going to do this bass and drum duet. And we wound up with probably one of the biggest hits ever recorded in the jazz field. I would say over the years that Big Noise Monetka must have sold well into the millions, probably 10 or 14 million copies. Nothing but a bass and drum and a silly whistle.

[Bob Hope]

Nothing but a bass and drum and a silly whistle, as Bob Crosby says. But it wasn't always as straightforward as that. Some of the bands, especially the authentic jazz orchestras rather than the dance bands, had trouble getting the public to support them. The dividing line between jazz and dance music was so blurred in the later 1930s. And not even the musicians could always tell the difference. And Jimmy Rushing, a 21 stone singer with the Count Basie Orchestra. Describes what a touch and go business popularity could be.

[Kenneth Moore]

We went to New York and we played. We had a lot of trouble in the band as far as trying to please the people. And because our band was mostly on the blues kick. And at that time, people didn't know too much about blues. But they would nod their head. And as long as they was bowing their head and keeping up with the music, we were satisfied they were keeping up with the beat. We were working at the Roseland Ballroom. And incidentally, Woody Herman was working on the next band, stand next to us. And he had just left Isom Jones and he had just organized his combo. So he used to come over in our band and said, basie, what is that you played? It has such a terrific beat. Basie said, oh, that's just the blues, Sam.

[Bob Hope]

One o' Clock Jump. The identifying sound of the pre war Count Basie Band. Or the signature tune, as it was called. Some of these signature tunes sold millions and millions of copies. Remember this one? Tommy Dorsey used to be billed as the sentimental gentleman of swing. Although rumor has it that he was about as sentimental as a combine harvester. Now bands like Dorsey's toured America. While others stayed home and became so identified with one particular ballroom. That they actually wrote songs about it. In Harlem, there was a drummer called Chick Webb. Who worked at a place called the Savoy Ballroom. Wrote a song about it called Stomping at the Savoy. And also discovered Ella Fitzgerald.

[Kenneth Moore]

It was very ambitious band because we had a very ambitious leader. Who believed that you could do anything. He never felt like he was the only star. Anyone who could do something, he gave them a chance to do it. Like he used to tell me, never want to be something that goes up fast. Because you come down. You can come down the same way. And you meet the same people coming down as you do going up. And I always remember those things because I felt that, oh, I wanted to be a big success in a hurry. But I learned and I found it all through the years. That you never appreciate anything if you get it in a hurry.

[Bob Hope]

The reminiscence by the drummer, Buddy Rich, features the most legendary band leader of the lot.

[Kenneth Moore]

I started listening about 1936, 1937, to Benny Goodman, which kind of changed the direction of my musical taste. Didn't change the taste exactly, but there were different trends that were happening with Goodman. The Sound of the band, the way he played, the excitement of the band. Krupa's great playing, Jess Stacy's great work on piano, and Lionel Hampton in the band.

[Bob Hope]

Well, I suppose those days were the best that the progressional jazz musician ever knew, in the sense that for one brief interlude, his music was genuinely commercial. For instance, in the summer of 1937, a renowned jazz trumpeter, having formed his own touring band, a hopeful group rather than a successful one, makes one record and instantly goes into the social history books. The trumpeter was Bunny Bennegan, and he got so excited about it that he even started singing as well as playing the trumpet.

[Kenneth Moore]

I've flown around the world in a plane I've settled revolutions in Spain and the North Pole I have charted Still I can't get started with you on the golf course I am under par My troubled when have asked me to starve I've got a house, a show place Still I can't get no place with you Cause you're so supreme Lyrics. I write of you I dream dream day and night of you and I scheme just for the sight of you Baby what good does it do? I've been consulted by Franklin D. Grand Agarbo has had me to tear Still I am broken hearted Cause I can get started with you It's Sam.

[Bob Hope]

Bunny Belligan I Can't Get Started. The record that actually did get him started, although his death from pneumonia not long after ended a very promising career in Britain, too. The dance band surged to a popularity they'd never known before. And if it wasn't quite on the scale of the famous American outfits, they were still in a pretty impressive way of business. One of the most successful was a Californian expatriate called Roy Fox, who came across his great heartthrob singer in the most casual way.

[Kenneth Moore]

One night I was asked to go out the Ace of Spades, and, you know, I found some of my boys there. Jack Nathan and Ivor Mayrance and Morris Berman and Les Lambert. They're all in the band. So they came with me and then. So I said, well, now we need a vocalist. So Lou and Ann Bill said, you know, we know the very person. I said, well, who's that? They said, well, his name is Al Boley. And I said, well, who's he with? They said, well, he's not with anyone. He's been having a difficult time. He's been singing. He's been busking in cues outside the theaters. And I said, well, he can't be a very good vocalist if he's busking outside of queues, you know, for sixpences. And anyway, they talked me into hearing this boy. And so he came in and he was sort of a swarthy looking boy. He was nicely dressed and made a very nice appearance. Very polite and had a nice personality. So I said, all right, well, let's hear you sing something. So Lou accompanied him at the piano. And the moment he opened his mouth, I knew that this is a boy I would like to have. Good night, Vienna, you, city of a million melodies Our hearts are thrilling to the strains that you play from dawn till the day Like I Good night, Vienna when moonlight fills the air with mysteries and eyes are shining through the gypsy guitars that sing through the starry sky Enchanted city of Columbine imperial We know the magic of your spell about romantic since you're the hero now is the time to say farewell Good night, Vienna now live us kiss Beneath your limb and trees the world is waiting on the edge of the day Just waiting to say good night.

[Bob Hope]

That was how Al Boli sounded when band leader Roy Fox discovered him in the early 1930s. By the end of the decade, Bowley was the greatest vocal heartthrob in Britain. One of the great differences between the kind of orchestras that Bowley worked with and their American counterparts was that in Britain, a great many of the highest paid groups inadvertently symbolize a sort of social contrast that's reflected in the name they were sometimes given society bands. Which society? Well, the very highest society, the highest in the land. While the mass of the British people struggled to keep in a job and picked up their acquaintance with the famous band leaders through the wireless, the cream of British society actually hired them to play for private functions. And there was no telling where you might end up. If you really did take the aristocratic fancy, as Bert Ambrose did. Perhaps he was the only leader who could boast a drummer that turned down a throne.

[Kenneth Moore]

On one occasion at the Mrs. Vanderbilt, I remember that was the Carpenter House terrace. It was a dance staff. And we had what was termed the most expensive band in the world. We were playing and then we had the Duke of Windsor as Prince of Wales. He always played the drums. We had the Duke of Connaught with bad leg. He played the piano and King Alfonso played the bass. And I scratched out the fiddle as usual. It was just one of those things Just one of those crazy flings One of those bells that now am then rings Just one of those things it was just one of those night Just one of those fabulous nights A trip to the moon on Gossamer wings Just one of those things if we thought a bit of the end of it when we started painting the town we'd have been aware that our love affair was too hot not to cool down so goodbye, dear and amen here's hoping we'll meet now and then it was great fun, but it was just one of those days.

[Bob Hope]

Sam Brown singing one of Cole Porter's greatest songs with the Ambrose Orchestra. Now, life in that kind of band was comfortable enough, economically speaking. But sometimes the musicians might get a little bored with the routine, especially if they were jazz inclined. Then they might go off and play what they wanted in their own spare time, or make records under their own name. Or even in time graduate to becoming band leaders themselves. Which is what happened to Lou Stone. Star trumpeter Nat Gonella, who remembers how primitive the old recording methods were. They had a sort of big wax was probably about inch and a half, two inches thick. And this sort of needle went onto this wax and made grooves as it went round and round and recorded your music. And I used to play my trumpet very often 30 or 40 yards away from the microphone because I'm afraid if you blew too loud, you'd make a big hole into the wax and. Cause the wax would come out most horrible, I suppose.

[Kenneth Moore]

Georgia the whole day through Just ain't. Old sweet song Keeps Georgia on my mind Here a song of you comes as sweet and clear as the moonlight through the p Reach out to me Otherwise smile tenderly still in peaceful dreams I see the road leads back to you the road leads back to you Georgia, Georgia, Georgia, Georgia no peace I find Just an old sweet song Keeps Georgia on my mind.

[Bob Hope]

Nat Canela with one of his most successful numbers. One funny thing about Jasmine, like Canela, the thing that's always overlooked is that they had no repertoire of their own. At least not in the sense that a ballet dancer can lean on Tchaikovsky or Chopin, and the opera singer learns to rely on Wagner or Puccini. The jazz musician had to borrow his raw material from the musical theater. But fortunately for him, this was an unusually rich period when the songwriters of commercial musicals were constantly coming up with suitable themes. In 1937, for instance, Rogers and Hart wrote a show called Babes in Arms, one of those stories about precocious kids who keep saying to each other, hey, why don't we put on a show of our own? Babes in Arms were so packed with hits, it's hard to know where to begin. The artist who became most closely associated with one of those hits wasn't in the show. But it was her version of the song that remained the definitive version for a good many years. The song the lady is a Tramp. The singer Sophie Tucker.

[Kenneth Moore]

She's wined and dined on mulligan stew and never wished for turkey she's hitched and hiked and drifted too from Maine to Albuquerque. Alas, she missed the Beaux Arts ball and what is twice as sad she was never at a party where they honored Noel Cat Society, she says is much too fast Preferring her bohemia first and last she gets too hungry for dinner at a she likes the theater but never comes late she never bothers with people she she hates that's why the lady is a tramp she don't like crap games with barons and ear Won't go to Harlem in ermine and pearl Won't dish the dirt with the rest of the girl that's why the late is a tramp she likes the free fresh wind in her hand Life without care she's broke, it's old Hates California cause it's cold and it's damp that's why the lady is all round.

[Bob Hope]

Rogers was so busy turning out music in the late 1930s that you begin to wonder when he got time to sleep. In 1937, the same season as Babes in Arms, Rogers tackled a project absolutely unheard of before in the realm of Broadway musicals, a show about performers who didn't do Broadway musicals. Richard Rogers explains, On your toes was.

[Kenneth Moore]

The priest use and ballet as part of the play. In a musical comedy, there had been ballets and reviews, but these were sort of Arabian Nights ballets, and they were interpolations and they were being reviews. There was no story. But in the case of on your toes, the show was about a boy who became a ballet dancer from being a schoolteacher. So the ballet became an integral part of the play itself. Balanchine did the choreography and Zorina danced in it and Ray Bolger. And none of this had ever been done before. And it was a big, big step forward in musical theatre. Ram.

[Bob Hope]

Slaughter on 10th Avenue, conducted by the composer, the prolific Richard Rogers. Meanwhile, what was happening out on the West Coast? Well, practically everything, it seems. A young singer called Alan Jones suddenly found himself plunged into the madhouse of a Marx Brothers movie. As a matter of fact, it was such a madhouse that poor Jones nearly had his big number cut out of the film altogether. The story begins when the songwriters Arthur Freed and Nasio Herb Brown are asked by producer Irving Thalberg to write a song for Jones. Alan Jones now takes over they said.

[Kenneth Moore]

We'Ve had this song for years. And we just thought of it and took it out of the trunk. So I went over to Irving Thalberg's office and I sang it for him. And he liked it and he put it in the picture. So Thalberg had a brilliant idea of sending us out on the road to play motion picture houses where they had variety shows, four shows a day. When we got back, ready to make the picture, Arthur Freed called me and he said, hey. Said the Marx Brothers had that song Alone cut out of the picture. I said, well, I didn't know about it. So I went over to see Irving Thalberg. I said, irving, I understand that Marx Brothers don't like Alone and they've cut it out. He said, yes. I said, well, Irving, I don't presume to be a prophet or anything about songs, but said, I think it's a big mistake. This song is a beautiful song. He said, well, the Marx Brothers know their comedy and you should know your music, so we'll put it back in. And they did, and it was number one on the Lucky Strike hit parade for 17 consecutive weeks. A million stars are shining bright that glorify the sky A million lovers out tonight but here am I alone Alone with a sky of romance Alone Alone On a night that was mine for love There must be someone waiting who feels the way I do Wherever you are Are you, are you alone? Alone Alone with your kiss that couldn't make me care and when you come I promise to be your Marion Alone Till we are together R.

[Bob Hope]

Alan Jones, who was finally permitted by the Marx Brothers to sing that song in that comic masterpiece, A Night at the Opera. The next singer to work with the four brothers was an ex saxophone player called Tony Martin. And what he didn't know when he walked into the wonderland of Groucho & Co. Was that this movie, the big star was going to give him the biggest hit of his whole life.

[Kenneth Moore]

It was a great piece of music because at that time it was during the time of the Hitler problem and it was way ahead of the times. It was about the Colemans and the Kellys, the Campos, the Vermicelli. It was a message about how people should get together. Schubert wrote a symphony. Too bad he didn't finish it. Gershwin took a corn in she and proceeded to diminish it. I sought a variation on a theme that I thought pretty and I found my inspiration on the side of New York City the corns and the Calies the Campbells and firmly shall ease or form a Part of my tenement symphony. The co. The Campbells and their Victrola all warm the heart of my tenement symph. The camels come tumbling down the stairs. O Marie. O Marie. You'll be late for your date with Izzy. And from this confus I dreamed of a grand illusion. It's my tenement symphony In a born.

[Bob Hope]

Tenement symphony and the voice of Tony Martin, one of the tiny group of straight men who had somehow to keep themselves from laughing while singing the romantic ballads in the Marx Brothers pictures. The irony was that the most original of all the singers who appeared in the Marx Brothers movies was Groucho Marx himself, who throughout his life had been making a vocal career out of sheer unadulterated lechery.

[Kenneth Moore]

Lydia, oh Lydia, say have you met Lydia?

[Bob Hope]

Lydia, the tattooed lady.

[Kenneth Moore]

She has eyes that folks adore so.

[Bob Hope]

And a torso even more so.

[Kenneth Moore]

Lydia, oh Lydia, that encyclopedia.

[Bob Hope]

O Lydia, the queen of tattoo.

[Kenneth Moore]

On her back is the battle of Waterloo. Beside it the wreck of the Hesperus too.

[Bob Hope]

And proudly above waves the red, white and blue. You can learn a lot from Lydia. When a robe is unfurled she will.

[Kenneth Moore]

Show you the world. If you step up and teleware for a dime. You can see Kankakee or Paree or Washington crossing the Delaware. Oh, Lydia, oh Lydia, say, have you met Lydia? Lydia the tattooed lady. When our muscles start relaxing up the hill comes Andrew Jackson. Lydia, oh Lydia, that encyclopedia. Oh Lydia, the queen of them all. For to bit she will do a mazurka and jazz With a view of.

[Bob Hope]

Niagara that nobody has.

[Kenneth Moore]

And on a clear day you can see Alcatraz. You can learn a lot from Lydia. Here is Grover Wailing, unveiling the Trilon. Over on the west coast we have Treasure Island.

[Bob Hope]

Is Naginski a doing the rumba is her Social Security number. O Lydia.

[Kenneth Moore]

Ro Lydia that ain't Encyclopedia Olivia, the champ of the war.

[Bob Hope]

She once swept an admiral clear off his feet. The ships on her hips made his.

[Kenneth Moore]

Heart skip a beat.

[Bob Hope]

And now the old boy's in command of the fleet. For he went and married Lydia. I said Lydia.

[Kenneth Moore]

He said Lydia.

[Bob Hope]

They said Lydia.

[Kenneth Moore]

We said Lydia. Knock, knock.

[Bob Hope]

Groucho Marx, still surveying the local scenery in his own especial way. By 1937, when that tribute to the art of acupuncture was written, the Marx Brothers and Hollywood generally were at their peak. All the major studios were pouring out hundreds of feature films. Mr. Louis B. Mayer, President of MGM, was reputed to be earning more money than Franklin D. Roosevelt. And some of the film Stars were reputedly earning more than Louis V. May. Thousands of talented people poured into the movie colony and if anything, the major studios were overstaffed. Among the overstaffed was a musician, Gordon Jenkins.

[Kenneth Moore]

At paramount, there were 27 people in the music department and three of us could do anything. Victor Young and myself. And Irving Talbot, I'm sure his name is not known. Very efficient conductor. We'd write them and he'd score them, match the pictures. Excellent and period. Nobody else could do anything. But they were in there because they were either related to Boris Morris, who was the head of it, or he owed them a favor, he owed somebody else a favor, and that was it. Three out of 27, I mean, musicians that you can count on to deliver something for you, not, you know, just fake the way through.

[Bob Hope]

Well, let's see how right Gordon Jenkins was and find out how that vast staff at Paramount didn't just fake through. The year is 1937. Paramount's big money maker is the girl in the sarong, Dorothy Lamour. But now the studio is just about to stumble on an even bigger box office draw. One of the men who had something to do with it was one of the legions in the Paramount music department, Leo Robin.

[Kenneth Moore]

This director came to us and said, boys, you've got to help me out. He said, I'm stuck. I've got a scene in this picture. Two sophisticated people who had been married and divorced, but by chance they meet on an ocean liner. And they're sitting in the bar of this ocean liner and he says, I've got to say that they're still in love, but they dare not say it to one another. Now. He said, I've had a half a dozen writers try to write this scene in dialogue and it doesn't work now. He said, last night, he said, I couldn't sleep and I got a brainstorm. I said to myself, if I could do this scene in words and music, maybe it would play. He said, remember, the fellow in the picture is a man that we just brought on from New York. He's a comedian. And this song has got to have some laughs in it. Ralph said, look, this is a scene. You better write the lyrics first. Ordinarily, he wrote the melody first. It took a long time to write. I think I spent more time on this song than any other I've ever. I came in with these lyrics and Ralph set that wonderful melody that he wrote. Thanks for the memory of sentimental verse Nothing in my purse and chuckles when the preacher said for better or for worse how lovely it was thanks for the memories Of Schubert's Serenade Little things of jade and traffic jams and anagrams and bills we never paid how lovely it was we who could laugh over big things Were parted by only a slight I wonder if we did the right thing oh, well, that's life, I guess I love your dress. It's pretty. Thanks for the memory of faults that you forgave Rainbows on a wave and stockings in the basin When a felony dish shade thank you so much thanks for the memories of tinkling Temple bell Alma materiel and Cuban rum and towels from the very best hotel oh, how lovely it was for the memories of cushions on the floor Hashed with Ditty Moore that pair of gay pajamas that you bought and never wore say, by the way, whatever became of those pajamas? Huh? Huh? We said goodbye with a high ball Then I got as high as a steeple did you? But we were intelligent people no tears, no fuss Hurray for us Strictly entre nous Darling, how are you? And how are all those little dreams that never did come true Awfully glad I met you Cheerio and toodaloo thank you. Thank you so much.

[Bob Hope]

Bob Hope and Shelley Ross with Thanks for the memory, a 1937 hit, and in the following year won the Oscar for the best new song. Well, altogether, some pretty outstanding songs are being honoured. For instance, in 1936, the old fox, Jerome Kern won the trophy with this.

[Kenneth Moore]

When I'm awfully low when the world is cold I will feel a glow Just thinking of you and the way you look tonight oh, but you're lovely with your smile so warm and your cheeks so soft There is nothing for me but to love you Just the way you look tonight with each word your tenderness grows Tearing my fear apart and that love that wrinkles your nose Touches my foolish heart Lovely. Never, never change Keep that breathless charm Won't you please arrange it? Cause I love the old. Just the way you look tonight.

[Bob Hope]

Fred Astaire singing Jerome Kern's Oscar winning song from the 1936 movie Swing Time. In the following year, the Oscar for the best song caused a bit of a controversy. Everybody thought that the 1937 award would once again be a song introduced by Fred Astaire, this time in a movie called Shall We Dance. But the song that eventually did win the prize has been almost completely forgotten, so perhaps we can be excused for celebrating the loser at the expense of the winner. People have often wondered why an outstanding composer like George Gershwin never won the Oscar in his own lifetime. Brother Ira explains Why, I remember they.

[Kenneth Moore]

Can'T take that away from me. I was in New York and I had a little radio with ME that was 1937, I think. And I just took a chance, said, maybe they're broadcasting the Academy thing. I remember it was about 2 o' clock in the morning in the office and I happened to tune in on a broadcast from Biltmore something or other. In those days there were 10 songs nominated and the conductor was playing what he thought in the order of importance the songs were. And he said, and now I think I'm going to play the song which I think will win. It was his own opinion, will win the Academy Award. In other words, they can't take that away from me. And he hadn't finished it when an envelope was open and the award went to Sweet Leilani. The way you wear your hat the way you sip your teeth the memory of all that oh no they can't take that away from me the way your smile just beams the way you sing off key the way you haunt my dreams no, no, they can't take that away from me we may never, never meet again on the bumpy road to love But I'll always, always keep the memory of the way you hold your knife the way we dance til three the way you've changed my life no, no they can't take that away from me no, they can't take that away from me.

[Bob Hope]

They can't take that away from me which didn't win the 1937 Oscar. As it happened, that was George Gershwin's last chance. In June of that year, 1937, America was shocked to hear of his death after an operation for the removal of a brain tumor. George was just 39 years old. As the novelist John O' Hara said when he heard the news, George Gershwin is dead. But I don't have to believe it if I don't want to. Somebody just beginning a brilliant Hollywood career at that time was a young girl who slipped through the fingers of the Metro Golden Mare contract apartment and ended up establishing a fortune for Universal Pictures. As it turned out, she didn't stay in Hollywood for too long, but long enough to make a bit of history. Diana Durbin.

[Kenneth Moore]

Beckon to me while I roam Away from my I can see her knee in prayer Beneath the light of home Nothing happens when the sun goes down Not a thing but moonbeams run around in a starry dawn when my humble time let me live my life once again I long to be.

[Bob Hope]

Deanna Durbin. Everybody's idea of what the girl next door would be like if the girl next door had been trained vocally since she was still in her pram. Now, one other musician of a very different kind who made a tremendous hit was the jazz pianist, composer Thomas Fatswaller. Thomas had been writing and recording hits for years. His own credits included Ain't Misbehaving, Honeysuckle Rose. But now he sang a song that was perfectly suited to his unique blend of musicianship and, well, messing about.

[Kenneth Moore]

Be sure it's true when you say I love you It's a sin to tell a lie Billions of hearts have been broken yes, just because these words were spoken. You know the words that were spoken. Here it is.

[Bob Hope]

I love you, I love you I.

[Kenneth Moore]

Love you, I love you yes, but.

[Bob Hope]

If you break my heart I'll break.

[Kenneth Moore]

Your joy and then I'll die so be sure it's true when you say I love you It's a sin to tell a lie now get on out.

[Bob Hope]

There and tell your lie.

[Kenneth Moore]

What is it, Sa Sam? Be sure it's true when you say I love you It's a sin Enough on sin to tell a lie What?

[Bob Hope]

I said, Thomas Fats Waller with It's a Sin to Tell a Lie. And finally, the British. What were they up to musically? They were about to turn into a big hit, a song that would have baffled the Americans. It even baffled some of the British. But among those it didn't baffle was the reigning sovereign, King George vi. He went to a scout camp one day and joined him with a song, one of those songs that required the singer to give actions to accompany the words. When you said chest, you tapped your chest when you said nut, you tapped your nut when you said tree you stretched your arms out. The Munich crisis wasn't far away now, and Mussolini and Hitler were ominously transforming themselves from cartoon jokes into real threats to the peace of Europe. And the warlike British had nothing closer to a youth army than the Boy Scouts. And what were they up to? Tapping their chests, tapping their heads and stretching their arms out. It gave Jack Hilton his oddest hit for years.

[Kenneth Moore]

She was the blacksmith's daughter I was the village sway we never did our courting down any old country lane Twas underneath the spreading chestnut tree I loved her and she loved me There she used to sit upon my knee Meet the spreading chestnut tree There beneath the boughs we used to meet all her kisses were so sweet all the little birds went tweet, tweet, tweet Neat A spreading chestnut tree I said I love you and there ain't no ifs or buts she said I love you and the blacksmith shouted Chestnut Underneath the spreading chestnut tree there she said she'd marry me now you want to see our family Neath the spreading chestnut tree under the spreading chestnut Famous men made history Wadded Gladstone sing in 93neath the spreading chest there beneath the boughs make no mistake Good Queen Bess played darts with Drake Wadded there King Alfred burnt the.

[Bob Hope]

Cakes.

[Kenneth Moore]

That tree was planted when the natives lived in huts they were enchanted when they found the fruit was just nuts under the spread they devoured those nuts with glee Hence the invention of bicarbonate soda Neat Ragtime to Rock and Roll was narrated by Kenneth Moore. The program was written by Benny Green and the research was by Bill Sullivan. The producer was Steve Allen. Next week's program, entitled over the Rainbow tells the story of popular music in Britain and America. As the world moved towards the.