Union Oil Program 39-02-02 Ep Aud Stories You Never Heard Till Now

Summary

Harold's Old Time Radio: Union Oil Program 39-02-02 Episode - "Aud Stories You Never Heard Till Now"

Release Date: February 23, 2025

Harold's Old Time Radio presents a captivating episode titled "Aud Stories You Never Heard Till Now," featuring a blend of musical performances and a compelling dramatic sketch. Sponsored by Union Oil, this episode transports listeners back to the Golden Age of Radio, offering a rich tapestry of entertainment that rivals the cherished radio shows of yesteryear.

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Program Introduction

The episode opens with an introduction by the Union Oil Company, highlighting their sponsorship and setting the stage for an evening of orchestral music, vocal performances by James Newell, and a dramatic play crafted by esteemed radio writers Forrest Barnes and True Boardman. The host emphasizes the diverse program designed to appeal to a broad range of tastes.

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Musical Performance: "Could You Pass in Love?"

Timestamp: [02:04] – [05:33]

The evening begins with a romantic and introspective song that delves into the complexities of love. Sung by the Simeon Orchestra and James Newell, the piece explores themes of love's endurance and the challenges it faces in trying times.

Notable Lyrics:

"Could you pass in love? Or do you need a book to guide you on ugly nights when the lights are low? Then would you know just what to do, what you got to do?"
— [02:04], Singer A

These lines poignantly capture the uncertainty and vulnerability inherent in romantic relationships, inviting listeners to reflect on their own experiences.

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Musical Performance: "A Love of Freedom"

Timestamp: [07:16] – [09:46]

Continuing the musical journey, James Newell performs "A Love of Freedom," a spirited number that celebrates the untamed spirit of the West and the rugged life of a horseman. The song juxtaposes the yearning for freedom with the longing for stability, embodying the duality of adventure and home.

Notable Lyrics:

"Let me live and never worry about tomorrow why ever worry about tomorrow or tomorrow's another day."
— [07:16], Singer A

This chant underscores the protagonist's desire to embrace the present without the burdens of future uncertainties, resonating with listeners who cherish their independence.

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Dramatic Sketch: "The Captain's Dilemma"

Timestamp: [09:46] – [25:19]

At the heart of the episode lies a riveting dramatic sketch centered around Captain Abel Madsen and his family. The narrative delves into the personal sacrifices and emotional turmoil that come with a life at sea.

Plot Overview:

• Captain Abel Madsen's Departure: Abel prepares to set sail once more, leaving his wife Mary and daughter Laura behind. The tension is palpable as Mary expresses her fears about Abel's relentless pursuit of the sea, fearing for his safety amid impending storms.

  Notable Dialogue:

  "You have a friend who truly cares for you."
  — [11:07], Character C (Mary)

• Impending Storm: As Abel departs, a storm brews, symbolizing the challenges that lie ahead. The family's anxiety heightens as the North Furies, a formidable storm, approach unexpectedly.

  Notable Dialogue:

  "The North Furies have begun."
  — [25:04], Character C

• Shipwreck and Revelation: During the storm, Abel's ship, the Star of Plymouth, encounters disaster. Abel survives and seeks refuge at the Deep Tavern, where he confronts Captain Christian. This encounter serves as the catalyst for Abel's epiphany about the true cost of his seafaring life.

  Notable Dialogue:

  "I've just come from the shipping office too. And I told him I wanted to take out the Star of Plymouth and that's that."
  — [21:08], Captain Abel Madsen

• Family Reconciliation: Realizing the profound worry his absence causes, Abel decides to abandon his life at sea. He returns home, promising Mary and Laura a life away from the perils of the ocean.

  Notable Dialogue:

  "The sea is lonely, Mary. There are times when all the sights and sounds make me think of you."
  — [24:15], Captain Abel Madsen

Character Dynamics:

• Captain Abel Madsen (A): A dedicated sea captain torn between his love for the ocean and his responsibilities to his family. His journey reflects the internal conflict between duty and personal happiness.

• Mary (C): Abel's wife, embodying strength and resilience. She serves as the emotional anchor for the family, urging Abel to prioritize their well-being over his maritime ambitions.

• Laura (D): The young daughter caught in the middle of her parents' tumultuous relationship. Her innocence highlights the generational impact of Abel's choices.

• Danny (E): Abel and Mary’s son, aspiring to follow in his father's footsteps but conflicted about the dangers it entails.

Emotional Climax: The turning point occurs when Abel, after narrowly escaping the storm and witnessing the fragility of life, acknowledges the pain his absence inflicts on his loved ones. This realization propels him to forsake his seafaring life, choosing instead to embrace family life on land.

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Musical Performance: "Spanish Fantasy - The Ballad of Ferdinand"

Timestamp: [29:45] – [34:32]

Transitioning from the emotional depth of the dramatic sketch, the program features a lively and whimsical musical piece inspired by Spanish folk traditions. Titled "The Ballad of Ferdinand," the song narrates the tale of a gentle bull and his unexpected encounter with a spirited bee, blending humor with cultural motifs.

Notable Lyrics:

"Ferdinand, Ferdinand the bull with pedalic and he go Ferdinand, Ferdinand the heifers all called him amigo Ferdinand."
— [31:06], Singer A

This playful narrative not only entertains but also subtly underscores themes of resilience and the breaking of stereotypes, as Ferdinand defies the traditional image of a bull in the arena.

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Program Conclusion

The episode wraps up with a brief mention of upcoming programs, ensuring listeners stay tuned for future installments featuring the Simeon Orchestra and more original stories. Union Oil's commitment to quality programming is reiterated, leaving the audience eagerly anticipating the next immersive journey into forgotten radio tales.

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Notable Quotes with Timestamps

1. Captain Abel Madsen:

   "The sea is lonely, Mary. There are times when all the sights and sounds make me think of you."
   — [24:15]

2. Mary:

   "Could you pass in love? If you can't, why go to college?"
   — [02:04]

3. Danny:

   "But that's the boat Danny had pinned his hopes on for his first birth."
   — [21:47]

4. Captain Christian:

   "Why, you are Abel Madsen, captain of the lady of Boston."
   — [19:11]

These excerpts encapsulate the emotional and thematic essence of the episode, highlighting the personal struggles and heartfelt resolutions of the characters.

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Final Thoughts

"Aud Stories You Never Heard Till Now" masterfully blends music and drama to recreate the nostalgic charm of classic radio programming. Through its engaging narrative and soulful performances, the episode not only entertains but also resonates with timeless themes of love, duty, and personal transformation. Whether you're a longtime aficionado of old-time radio or a newcomer seeking enriching auditory experiences, this Union Oil-sponsored program offers a memorable journey into the artistry of bygone eras.

Transcript

[James Newell]

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[Frank Graham]

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[James Newell]

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[Frank Graham]

Hmm, I can file for free now.

[James Newell]

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[Frank Graham]

The Union Oil program brought to you by the makers of 76 gasoline and Triton, the motor oil that changes ping.

[James Newell]

To purr.

[Frank Graham]

Each Thursday evening. It is the pleasure of Union Oil Company to present the Simeon Orchestra in choir, the rich voice of James Newell, and a dramatic sketch specially written by radio's two most talented writers, Forrest Barnes and True Boardman. But more of the play and players later as conductor, Sibyon has a widely diversified program of music and song to appeal to the tastes of everyone.

[James Newell]

We start the one beside you. Could you pass in love? Could you pass in love? Or do you need a book to guide you on ugly nights when the lights are low? Then would you know just what to do, what you got to do? Could you pass in law? Tell me to how's your romantic knowledge?

[Laura]

Say, could you pass in love?

[James Newell]

Could you pass in love? If you can't, why go to college? You may know astronomy from A to Z But oh, when I've learned about good passing love.

[Frank Graham]

The music of Claude Debussy has been likened to a subtle perfume, tantalizingly beautiful and shadowy. Born in France toward the end of the last century, Debussy led the Impressionists, luring them away from the Romantic school with his genius for simplicity. In his Reverie, which you are about to hear the 76 Orchestra play, you'll find a haunting fragrance, a charm and grace, typically Debussy. Like a silver stream, Debussy's reverie flows back into the past. But a beautiful melody, never to be forgotten, lingers on. In the modern interpretation, based on the original melody and called my Reverie.

[James Newell]

I can say that this love was meant for me. Only a purple never stood in the world as you ought to be.

[Frank Graham]

You're as worthless as kin.

[James Newell]

Life will never begin. Love me as I love you in my memory. Make my dream a reality. Let's dismantle.

[Frank Graham]

A love of freedom has always characterized the life of the west and the robust, hard life of the man who rides horse from sun up to sunset receives full expression as James Newell gives voice to the song of the open road.

[James Newell]

What in the world could be so sweet as the thundering clatter of horse the speed and the song of the open road Let me live and never worry about tomorrow why ever worry about tomorrow or tomorrow's another day Let me love and then ride away Life is short, they say and maybe for me so let me be free I'm on the road to anywhere Let me travel along with no more load and no more care Just like a bag of hon I'll let the blue sky above me cover my head why should I want a feather bed? So let me travel and sing myself the song of the road the long, long road the song of the open road I'm on the road to anywhere Let me travel on with no more love and no more death Just like a bag of on I'll let the blue sky above me cover my head why should I want a feather bed? So let me travel and sing my song of the road the long, long road the song of the open.

[Frank Graham]

Modern drama has advanced much as has modern music. The modern play is more concerned with presenting an impression rather than producing the effect of stark realism. Such is our play tonight. Starring Cy Kendall as the captain. Jane Morgan as Mary, his wife. With Lorene Tuttle playing the fiance, Elliot Lewis as Danny. Frederick Shields as Christian and Lee Millar, the tavern keeper. The lights are low. The curtain is about to rise on another in our series of stories you never heard till now. Places for first act. Places for first act curtain. In the times when great mastered ships sailed the seas in search of commerce in salt season towns along the coast of Maine were mother ports to man and master of those ships there lived a captain whose voice and soul were as deep sounding as the ocean he sailed. Each day he sailed, his friends would come to wish him well. He was rich in friends indeed.

[James Newell]

Oh, Mary. Rich in friends we are. And that's the wealth that counts. I have brought the treasures of China to the port of Boston. But there's more value in the smile of one good friend than all that cargo.

[Laura]

It eases the time for me, Abel, when you're at sea now, you'd think.

[James Newell]

He was still worrying about me after all these years. And we were the son here. 22 and sturdy as a keel.

[Laura]

It's not too easy, Abel, waiting and watching. You know how it feels, Laura, once you're married to our Danny and he ships off into all kinds of weather. One gets used to it in time, I suppose.

[James Newell]

Sorry I am that I'll not be here for the wedding. Laura, you know, I think they set ahead my sailing j just in purpose to thwart me.

[Laura]

I'd have soon it was another time. There's a storm in the wind.

[James Newell]

My wife's a weatherman.

[Laura]

A storm. Mother Matson. There's no storm inside.

[James Newell]

There's no wind even mother.

[Laura]

You wait, Danny. It'll come tomorrow before sunset.

[James Newell]

There's one in the wind. I have no fear. Mary here's been sensing them now for 30 years. I know of she's got a weather vane inside her somewhere. There's no mistaking his predictions. God bless her. There's a lot of sea captains that'd give their best compass for that sense.

[Laura]

But it's not comforting, me sitting at home here of an evening and knowing of a storm that might come crashing down on the captain's head offshore someplace.

[James Newell]

Ah, have you heard from the company at Danny about your berth? No, but I will, Father. They promised me a berth on the next ship to sea. They're men of their word. You'll get it. And a fine seaman you'll make. I'm thinking with all the learning you're stored up in that college, you'll be starting right with navigation. Half learned. Ah, but it's the sea that teaches you.

[Laura]

The land teaches, too, Denny.

[James Newell]

There's mother. Up to her old complaint. Been trying as long as I can remember to get me to move back inland to that farm we bought some years back. And me disappointing her every year with a new ship's contract.

[Laura]

And each year waiting now seems longer.

[James Newell]

I don't think the captain could really quit the sea. Ah, there's an understanding. Danny knows. He's felt the sea in the air and the good booming of the mainsail. I like it, Father. Nothing to compare anywhere. Yeah, there's the hour. Just time to make ship.

[Laura]

Your duffel's packed, Abel. Your Bible's on the sewing table.

[James Newell]

Well, I'm not one for wasting time with long goodbyes. It's a short trick month at most.

[Laura]

It's a longer month here than where you'll be.

[James Newell]

Oh, 30 days is 30 days, Mary. Goodbye. And God be with you. And you, Laura. When I come back, you'll be my daughter, eh? I'll be proud to own you. Good luck to both of you. Goodbye, Danny. I'm walking to the dock with you, Father. Well, come along, then.

[Laura]

Take care in the storm, Abel.

[James Newell]

I'll try to sail around it.

[Laura]

There's goodness in seafaring men. Mother Matson isn't there? Yeah. They've big hearts. Big enough for Two loves. They're a woman and a lady out there. She's wild with them at times. It's when the north fury comes that I fear her most. Storm out of the north that cleans the decks each year of till. Many good seafaring men. Oh, they're far off yet somehow I'm not afraid for Danny. You've not waited for him when he's at sea? He was unminded for a while whether to farm or follow the sea. He's torn twixt both. We've agreed that you're put to sea for three years only. That's what the captain and me agreed. And it's been 30 now. If Danny doesn't get the contract from the company, we plan to set up farming. Now, listen. Listen, Laura. I don't hear anything. But it's there. The storm sounds. It's far off yet, the storm sound. But I hear it. I hear it.

[James Newell]

Put your wheel hard over, Quartermaster. Captain Madsen. Captain Madsen. The roller's tearing away, sir. Cut away the mast. Cut away the mast. Too late, sir. She's going. Abandon ship. All hand, abandon ship. Well, my hearties, there'll be lots of new faces here in the Deep Tavern this night after the storms. Be like that. Some of them even do now. Greet him with a song, my hearties A welcome to Davy Jones Locker As I was walking down Paradise Street Wave, blow the man down A pretty young damsel I chance for a mead Give me some time to draw the man down, says she. Hi, hi, my lady. Hey, here's the keeper of the Deep Tavern with the list. Well, we'll be greeting some old friends after the storm. A keeper. It's a long list, Captain Christian. But wait till after the North Furies hit them. Then we'll be crowded to the Anchor Lockers. The more the heartier. Ah, the first of the new arrivals. Welcome, sir. Thank you. I'll be wanting a room and some good warm rum. Oh, will you now? Will you? Captain Abel Madsen. Why. Why, Captain Christian, by the power, the. Good morning, spoon. I'm glad to see you, old sea hound. Give me a duffelin. Sit down here, Captain. Chris, there's something strange about you and me sitting, talking this way. Why, it's been. Well, you've been. Never mind about that. You'll be understanding soon enough. Just you be glad in your heart that Mary won't have to sit home with the ice of fear in her heart day after day while you're at sea. Aye. Aye. She's a brave one. Aye. Braver than ever you thought on. We understand things here that you don't see back there. Why? What do you mean, Christian? I mean that it's merciful you voyage in his uber. The terror it brought to Mary was a frightful thing. Her agony for your safety at sea. I never knew that she. No, you were too busy being a captain. I beg your pardon, gentlemen, but you are Abel Madsen, captain of the lady of Boston. But you. You're not on the list. Hold hard there a minute. There's. There's some mistake. There's no Matson on this list. Let me see. No, no Matson. Due for another 10 days. Ay. 10 days from the wreck of the Star of Plymouth. That's it, Matson. Star of Plymouth. Well, blow me down, Abel. You've got to go back. What's that, Christian? You've got to go back. You've got to go back. I can't hear you, Grayson. A glass of hot rum will help a bit. But you said star of Plymouth. 10 days. Here. Here, drink this down, Abel. Drink it all down. Drink it. It's good hot love.

[Laura]

Drink it. It's good hot rum, Abel. Here, drink this down. Drink it all down.

[James Newell]

What? Wherever. Chris. Chris. Oh, Mary.

[Laura]

He's talking. Danny, he's talking.

[James Newell]

Hello, Father.

[Laura]

We. We thought the Deep Tavern had got you this tattoo.

[James Newell]

Yeah, the Deep Tavern. Yeah, I was. You're a tough lobster, Father. We picked you up off the reef after the storm, more dead than alive. Begging for a room and some hot rum.

[Laura]

The doctor says you'll be on your feet inside of two days. Now, your hearty says so. Get some sleep and we'll tell you all about it.

[James Newell]

Then I'll try to sleep. Mary. I. I've been a worry to you, haven't I, Mary? No. I think this time we'll move to our farm. I'll give up the sea. We'll move to our farm. You have my word for it, Mary.

[Laura]

Now he'll hand me the paisley shawls, Laura. I'll just lay it across the top. This is a quaint old truck, Mother. Abel got it for me when we first decided to move to the farm. I don't know how many times I've packed it and unpacked. It seems the moment I get the lid down, the captain comes bursting in with news that he's got to take a ship out. Oh, this time you don't need to worry. He's promised to give up the sea. You've loved him a lot, haven't you? More than I dare tell Him? Is Danny at all like he was at his expense? Just like him. Same funny smile. Lock of hair that won't stay put. I'm beginning to hope that Danny won't get his berth. I want him always. And the sea is dangerous. Don't ever tell him that. Men go proud overcourtin danger. They think it makes their womenfolk admire em. Now, when I set the lid down on the trunk, you sit on it so's I can turn the key. All right.

[James Newell]

Mary. Mary, I. I just come from the shipping office.

[Laura]

Yes, Abel?

[James Newell]

I'm shipping anchor tonight. Mary, you're.

[Laura]

You're going out again. But Abel, you promised. It's only 10 days, Abel, since you last trip.

[James Newell]

Word of honor.

[Laura]

Oh, you said that before.

[James Newell]

Oh, she's a fine boat. Brand new.

[Laura]

But the North Furies have begun.

[James Newell]

Oh, the North Furies? They aren't due for another three weeks.

[Laura]

But they started 10 days ago when you were out of.

[James Newell]

Oh, now, Mary, there's a limit to guessing. The North Furies never came this early. In all the times a shipman never have. Ah, this is naught but an offshore breeze.

[Laura]

Don't go, Abel. Please don't go.

[James Newell]

You wouldn't want to see me stand by and see someone else take out the Star of Plymouth, would you?

[Laura]

What? Well, that's the boat Danny had pinned his hopes on for his first birth.

[James Newell]

Mother. Mother, I've got it. I've got my contract. Look at me. Danny Matson, mate of the Star of Plymouth, shipping anchor tonight. Not shipping on the Star of Plymouth. But, Father, I. You're not sailing with me. What? I won't have any dry land sailor on my ship. Are you, skipper? Yes. I won't have you on my ship. You haven't the right to keep me off. I've got a contract. I am captain and contracts be hanged. I'll hire and fire whom I please. You, mate. I ain't dry behind the ears yet. All that school. Navigation may be all right for some skippers, but I want men on my deck straight. Father, I've just come from the shipping office. I thought. Never mind what you thought. I've just come from the shipping office too. And I told him I wanted to take out the Star of Plymouth and that's that. You go look somewhere else to try your oars has to be packing. Mary. Guess who has to use the old duffel? The new one got drowned. Don't take it so hard, boy. Laura, will you walk down with me to go Bronson's? He'll be wanting a mate for his old ship. Seeing he's not taking the Star of Plymouth, eh? Give him my regards. And don't let him brag about that old tuplet he's got.

[Laura]

Abel. You've never spoken to the boy like that.

[James Newell]

He's gotta get used to harsh words.

[Laura]

There's something you're holding back. There's a strangeness about this, Abel.

[James Newell]

Now, Mary, you're just talking again. I gotta get moving. I've got to be on the Startup Plymouth. Time's pressing. Don't worry, Mary. Don't worry. It's not for long.

[Laura]

Abel, don't you want Danny to go to sea?

[James Newell]

The boy's choice must be his own, Mary.

[Laura]

But you know he'll go to farming if he doesn't get his birth, Abel.

[James Newell]

Well, Mary, farming's good for a man too.

[Laura]

There's a reason you have for not wanting him on the Star of Plymouth. Is there something you know that I don't know, Abel?

[James Newell]

No, Mary, nothing. Nothing. Except perhaps that the light of day on your soft hair is mighty pretty. And if I could take with me the glimpse of a smile from you, I'd not mind leaving so much.

[Laura]

You do mind then?

[James Newell]

The sea is lonely, Mary. There are times when all the sights and sounds make me think of you. Sometimes in the wind, when it's soft of an evening, I hear your voice. I see you sitting here and.

[Laura]

Has it always been that way?

[James Newell]

Didn't you know? Oh, but you must. Else you wouldn't have sat home with the ice of fear in your heart.

[Laura]

But Abel, how did you.

[James Newell]

Ah, yeah. I'm making a hard thing of something so very simple as a goodbye. Goodbye it is now from off. And you won't worry about the Furies? They're a long ways off.

[Laura]

I won't worry. Oh, you're going, Father Matthin.

[James Newell]

I thought you were going with Danny.

[Laura]

I thought I'd stay and help mother unpack.

[James Newell]

Good girl. Well, goodbye then. Goodbye, Mary.

[Laura]

Goodbye, Abel. I'm sorry. Shall I help you unpack? No, I'm not unpacking. The window shutter BANGING the wind must have freshened. Yes, I said it would. Is it a storm? The North Furies have started. Oh, but. But surely the captain won't sail. Surely he won't. Yes, he'll sail. He'll sail. He's a brave man, Laura. A brave.

[Frank Graham]

We owe the great technical advances being made in our industries today to a core of research engineers and chemists who are constantly extending the frontiers of our technical knowledge, making new discoveries, finding new ways to improve the machines and materials that have become a part of our daily existence. We have with us in the studio tonight Mr. De Carr, research engineer of the Union Oil Company. For the past nine years, Mr. Carr has specialized in lubricating oils and was one of the group of young scientists who developed Union Oil Company's new propane solvent process for refining motor oils. Mr. Carr will be with us regularly to answer our questions and yours about the ever mysterious petroleum products we use in our automobiles and our homes. Welcome to our program, Mr. Carr.

[James Newell]

Good evening, Mr. Graham.

[Frank Graham]

Mr. Carr, it's a pleasure to have you with us.

[James Newell]

Thank you. Thank you.

[Frank Graham]

I'd like to start right off with one question in particular. It's always puzzled me and, well, I know it's puzzled some of our listeners. How is it possible for a motor oil to eliminate engine knocks?

[James Newell]

Well, Mr. Graham, answering that question has been the object of thousands of tests by the Union Oil Research Department, and it's really not as complicated as it might seem. To begin with, we all know that carbon contributes to knocking. Furthermore, carbon is caused by the lubricating oil rather than the gasoline. Well, I see. Now, all oils work up into the combustion chamber. Those which contain heavy or unstable compounds leave a thin film of sludgy coke. This film is literally roasted until it becomes hard carbon, which builds up until it causes knocking.

[Frank Graham]

Well, then why doesn't the combustion chamber eventually fill up with carbon?

[James Newell]

Fortunately, Mr. Graham, carbon can burn. It is always burning away slowly. But with most oils, more carbon is being formed at the same time. The amount that will eventually build up depends on the relative rate of carbon formation and carbon burning. The rate of carbon formation in the case of an oil refined by the propane solvent process is exceptionally low.

[Frank Graham]

Why is that?

[James Newell]

The propane solvent process refines oil so completely that all the heavy or unstable carbon forming compounds are eliminated.

[Frank Graham]

I see.

[James Newell]

When you put an oil of this type in a carbon choked motor, the old carbon burns away much faster than new carbon can be deposited. After a period of time, your motor reaches a point where there is little or no carbon left in the combustion chamber.

[Frank Graham]

Well, Mr. Carr, how long will this ordinarily take?

[James Newell]

Our tests in the laboratory and on the road have shown that with Triton, this usually occurs after 2 or 3,000 miles of ordinary driving. By this time, the knocking is reduced or completely eliminated and you have a ping free motor.

[Frank Graham]

Oh, in other words, you've changed ping to purr.

[James Newell]

That's it exactly, Mr. Graham.

[Frank Graham]

Thank you, Mr. Carr. Many contrasting factors make up the music of Spain. The remoteness of her Countryside is kept intact. Her folk dances, the brightness of her flowers is reflected in the brilliance of her music. And added to this is the exotic pungency of the Moorish influence. Her dance rhythms are well known to us, and Harry Simeon has used them as a pattern in this impression of El relicario.

[James Newell]

It's.

[Frank Graham]

But Spain has given us a new character, a new hero, whose quaint devotion to country and love of flowers of the field provided the motivation for the second part of our Spanish fantasy.

[James Newell]

Otier once lived a bull, a magnifico.

[Frank Graham]

Bull in a pasture near old Barcelona.

[James Newell]

He would romp and he'd play through the flowers all day Till he smelled just like oticolona. He was gentle and kind and his woe was refined which the rest of the pool resented wall when he starts to move in a moment or two Eat a mollusk, cow's discontented Ferdinand, Ferdinand the bull with pedalic and he go Ferdinand, Ferdinand. The heifers all called him amigo Ferdinand, Ferdinand, he courtesy and greet oh, I say he knew how to tango and dance the fandango but he never learned to fight. Now there once leaped a bee, see a bad little bee who was feeling so choke full of vigor that he got out of hand and he stung Ferdinand with his sharp little sting of macheagle. Ferdinand was so hurt he was falling when a bull picked up no chance to sight him. Oh, that bull is terrifico. He's magnifico. Bring him to Madrid and I'll fight him. Well, here we are, ladies and gentlemen.

[Frank Graham]

And it's a great day here at the arena. All the celebrities are present to see.

[James Newell]

The greatest bull fight of the season. The toreador is the greatest in all Spain.

[Frank Graham]

And the bull.

[James Newell]

Well, I don't have to tell you about the bull.

[Frank Graham]

Everybody's excited. The picadors are down by the bullpen.

[James Newell]

Something seems to be doing down there. Yes, yes, there is. They're getting ready. That was the fanfare. And now they're opening the gate. Yes, they're opening the gate. That picador looks mighty jittery, but I don't blame him. Uh oh, the gates open. Yes, and there's the bull. He charges. He charges through the gate. Now he's pawing the ground. He charges across the arena and he struggles. He seems to see something down there. I can't see what it is. He's down.

[Frank Graham]

The bull's down.

[James Newell]

No, he isn't. He's up. No, no, he's down. Yes, he is. He seems to be smelling something. I can't tell what it is. But it looks like yes, it is a corsage of roses. The bull is smelling them. The picador's pleading with him to fight but no, no. The bull just rolls his big brown eyes. A very touching sight, ladies and gentlemen, the study of nature would call him. He would sniffle completely. And so.

[Frank Graham]

You'Ll be sure of these benefits with 76 fast starting that protects your battle high antonot that protects your motor long mileage that protects your purse. Get 76 tomorrow from your neighborhood dealer or any Union Oil service station you can be sure with 76.

[James Newell]

Wait not too long and trifle not with faith Life is so so short and love is all I'm thinking.

[Frank Graham]

So close is another Union Oil program. Next week at the same time, Union Oil Company will again present the 76 Orchestra and Choir under the direction of Harry Simeon. Songs by James Newell. And another play in our series of stories you never heard till now. This is Frank Graham saying good night in behalf of Union Oil Co. This is the Columbia Broadcasting System.

[James Newell]

It.