August 10, 2025 • 60 mins
Kraft Music Hall 34-01-04 First Song - Revolt In Cuba, Guest - Pickens Sisters
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:22):
The Craft Program with Paul Whiteman and his orchestra, Roy Barge, Ramona,
Jack Wuldon, Teggy Heally, Robert Lawrence, Therondeliers Quartett and our
guest artist for picking Sisters.
Speaker 2 (00:33):
And here's Paul Whiteman himself. Good evening, everybody. I want
to make one New Year's wish.
Speaker 3 (00:49):
If in nineteen thirty four I ever catch a cold
or feeling disposed, and.
Speaker 2 (00:54):
You know that can happen to anybody. Well, if I
ever have to call a doctor, I.
Speaker 3 (00:58):
Hope that he brings along as Master of six none
other than Deans Taylor.
Speaker 4 (01:02):
And here he is. Thank you, Paul.
Speaker 2 (01:09):
Goodaily, Ladies and gentlemen.
Speaker 5 (01:11):
We're beginning the new year with an excerpt from the
score of Irving Berlin's Review, A Thousands Cheer. It is
a number based on the famous Cuban dance the rumba,
and expounds the comforting thought that, however many times Cuba
may change her political mind, the rumba continues business as
usual during alteration. The piece is called Revolt in Cuba
and is in two sections. The first, as you will
(01:34):
very short to guess, is the Revolt and the second
is the Rumba, both played for the first time on
the air by Paul Whiteman and his revolting orchestras. And
(05:44):
now for a moment, we're going to glass over our
shoulders and play you a medley of the song hits
from nineteen thirty three. There are four of them, and
in as much as any one person's judgment would be
open to argument, mister Whiteman and selecting them has gone
on the assumption that what the largest number of people
are willing to buy is presumably what the largest number
of people want. Accordingly, he is now going to play
(06:04):
you the four songs that sold the largest number of
copies during the year just passed. We shall hear the
list backwards, beginning with the song that stood fourth in
sales during nineteen thirty three. Inasmuch as one of my
New Year's resolutions was never to refer to this song
by name, even in jest, I am compelled to announce
it simply a selection. Number one anonymous, Big bad Wolf,
(06:35):
big bad, big bad.
Speaker 2 (06:37):
Wolves, say the big bad wolves.
Speaker 6 (06:42):
Long ago, there were.
Speaker 7 (06:44):
Three things little Handy, the big bad, very bad, big
bad bold.
Speaker 8 (06:50):
They didn't give three bigs.
Speaker 9 (06:52):
Number one was very game.
Speaker 6 (06:55):
I just my house.
Speaker 4 (07:00):
And I play. Number two was fond of jigs, so.
Speaker 7 (07:06):
I I did I played on the brit and that played.
Speaker 2 (07:12):
The number three said.
Speaker 7 (07:15):
Nix on tricks.
Speaker 2 (07:16):
I'll be out comes.
Speaker 1 (07:19):
I have no chance to sing as the smart can't play.
Speaker 10 (07:23):
Don't mix.
Speaker 5 (07:30):
Up thinking about thinking about the woman to think about it,
moves up praying to think about the woman.
Speaker 2 (07:50):
By the way where Peggy Hailey and the Mondeliers. Next
we shall hear an instrumental.
Speaker 11 (07:56):
Piece with the year's third bestseller, the no By or.
Speaker 6 (09:10):
You're a Love of Walls tune with words.
Speaker 2 (09:12):
This time there was number.
Speaker 1 (09:13):
Two on last year's bestseller list, The Valley of the
Moon Lay by the Orchestra, Jack Cordon in the Red Rain, Yeah.
Speaker 6 (09:25):
On the Lane, read me.
Speaker 8 (09:29):
By the Rose.
Speaker 11 (09:33):
In the.
Speaker 6 (09:36):
Lyon, and I Lost my.
Speaker 8 (09:45):
By the rows.
Speaker 2 (09:49):
Him of the.
Speaker 12 (09:57):
Week and sagod.
Speaker 4 (10:01):
He glied and started.
Speaker 13 (10:07):
Underworld un all.
Speaker 6 (10:13):
But with me again.
Speaker 12 (10:17):
By the.
Speaker 4 (10:21):
In the bar.
Speaker 8 (11:00):
Week, I sudden blad, I'm so.
Speaker 6 (11:09):
Do young World, I'm but we'll need.
Speaker 10 (11:20):
By the room.
Speaker 5 (11:43):
Last year fully had its official opening in New York
only this week. In the meantime, however, one song from
this production has to come almost of classic And we're
going to play it now the number one bestseller of
all of last year's songs. The Last ground Up by
Telly Hell Ain't Got a Facing orchestra and sung by Bob.
Speaker 14 (12:03):
Lacks Wooden for the Lost Scroll, eight for the Lost
Time in the Line.
Speaker 2 (12:32):
And.
Speaker 6 (12:35):
It's time your cheeses water, I'm.
Speaker 4 (12:47):
A heading for the lone.
Speaker 12 (12:51):
Scroll.
Speaker 8 (12:56):
You Don't Love a Little Lady, You love you Love,
you Love, Love, you know.
Speaker 12 (13:08):
Love long Ready, and a hand low launch of the doll,
(13:29):
the storm.
Speaker 4 (13:38):
On a strange, a corded and brown.
Speaker 12 (13:52):
Then say last came.
Speaker 8 (14:39):
The Nities were.
Speaker 1 (15:04):
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(15:28):
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Speaker 2 (15:46):
How many craft spreads are there, Well, there are five.
Speaker 1 (15:49):
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Speaker 2 (15:57):
That is the list to choose from? What is the
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Speaker 1 (16:01):
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Speaker 2 (16:06):
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Speaker 1 (16:08):
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Speaker 2 (16:14):
Deliciously too. I know because it's a favorite of mine.
Speaker 1 (16:17):
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Speaker 7 (16:22):
Old English is one of my husband's favorite.
Speaker 2 (16:24):
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Speaker 1 (16:26):
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Speaker 2 (16:32):
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Speaker 6 (16:35):
Or is a filler and story?
Speaker 4 (16:36):
Hm?
Speaker 2 (16:37):
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Speaker 1 (16:40):
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Speaker 2 (16:45):
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Speaker 1 (16:48):
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don't forget this. All craft spreads come in the new
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Speaker 2 (16:57):
Can be used over and over again as drinking.
Speaker 1 (16:59):
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Speaker 7 (17:03):
Where can I get these delicious craft spread at your
grocer's your food shop.
Speaker 1 (17:07):
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swanky swig glass and you'll get a fine, delicious cheese
food ready for instant use.
Speaker 13 (19:20):
In application.
Speaker 5 (21:23):
Indication, that was a special Whitman arrangement of two hearts
(22:07):
and three quarter time played in the genuine, guaranteed ninety
eight proof Viennese Waltz tempo. Last week we had the
famous Pickens sisters as guest artists on this program, and
those of you who heard it will remember that I
introduced them in the most glowing terms. In fact, I
carried on so that I was afraid they might think
I'd praised them almost too extravagantly, and was consequently very
(22:29):
much relieved after the broadcast to learn that they.
Speaker 2 (22:31):
Thought nothing of the sort.
Speaker 5 (22:33):
Even so, I believe it is dangerous to praise performers
too highly beforehand.
Speaker 2 (22:37):
It makes the audience suspicious.
Speaker 5 (22:40):
So now that they're paying us a return visit tonight,
rather than run the risk of saying too much. I
will merely suggest that after you've heard the picking sisters
in good, moaning glory, possibly you will agree with me
that someday they may amount to something.
Speaker 15 (22:59):
Said I reckon, I will say goodbye? What dawn is here?
When the sun is up in the sky. Come on, folks,
stop your expression. Here comes mammy. It's expressing the hem
leaves the rose not a little hungry, soords so the
(23:20):
sand in the say goodbye, mum.
Speaker 6 (23:28):
It's six am and.
Speaker 13 (23:30):
I is breaking up. Seven am.
Speaker 12 (23:32):
The con is waking up.
Speaker 16 (23:34):
David Arty yell, and Tan's brushing down on in the build.
Speaker 2 (23:38):
No, everybody's dog is bruising up.
Speaker 7 (23:42):
Everyone is ours using up all.
Speaker 6 (23:44):
The worlding game.
Speaker 13 (23:47):
Out of a dream into our day.
Speaker 9 (23:52):
Good morning, glory.
Speaker 6 (23:54):
Say that's something ying a brand new day. You don't
you love to shame?
Speaker 15 (23:59):
Let the dun come.
Speaker 14 (24:03):
An hour underneath the shower and you mount singing in
the baby.
Speaker 6 (24:08):
Oh, I'm valuating for your all abound you.
Speaker 13 (24:13):
Love the most you know the bony started.
Speaker 10 (24:16):
There, glory.
Speaker 4 (24:18):
Why are you dreaming of me?
Speaker 2 (24:20):
And you you sed to love me for babig a?
Speaker 10 (24:24):
Are you.
Speaker 6 (24:33):
Keep from singing at the basis you gonna get you, gonna.
Speaker 4 (24:40):
Get you, and pull of the shade.
Speaker 2 (24:41):
Lets don't come through?
Speaker 12 (24:42):
Oh hum, oh.
Speaker 16 (24:48):
Oh are they our brand?
Speaker 4 (24:53):
You die? Oh?
Speaker 2 (24:59):
That's way? Is he called the phone? And in day,
good Morning Glory?
Speaker 9 (25:11):
Tell me?
Speaker 2 (25:11):
Why are you dreaming of me?
Speaker 10 (25:13):
And do you just love me?
Speaker 4 (25:15):
Well?
Speaker 12 (25:15):
Baby baby, we'll gave indicator?
Speaker 4 (25:19):
Boy are you?
Speaker 5 (25:37):
And now the orchestra is going to play a new
song called Beautiful Girl, and Bob Lawrence is going to
sing some of it. Now first glance, there doesn't seem
to be anything particularly unusual about that statement. After all,
the fact that the orchester is going to play is
no stunning surprise, and the title of the song beautiful Girl,
indicating that it is supposed to be sung to a
girl who is supposed to be beautiful, while pleasant, is
(26:00):
not exactly a revolutionary And the fact that Bob Lawrence
is going to sing, and even the fact that Bob
Lawrence has a good voice, isn't likely to leave you
paralyzed with astonishment. So I imagine that you're wondering right
now what there is so extraordinarily novel about this number.
And as a matter of fact, I have the slightest
idea and if you can think of anything.
Speaker 2 (26:19):
I wish you'd let me.
Speaker 11 (26:20):
Know, little day you're MOPy picture of a beautiful girl.
(27:47):
You're a gordous mixture.
Speaker 14 (27:49):
Up all of bars at.
Speaker 6 (27:52):
The big news eyes.
Speaker 4 (27:55):
Mother cries, beautiful girl.
Speaker 6 (28:00):
You're a dazzling eye for beautiful girl. I could never
track if I had you see my dream home.
Speaker 16 (28:12):
Them maybe belongs and renettes that are hard to exist.
Speaker 6 (28:18):
You surpass them like a queen.
Speaker 4 (28:22):
You've got those lips that one meant to be tears,
and of.
Speaker 11 (28:27):
A sweet sixteen, beautiful girl who a gorgeous creature?
Speaker 4 (28:34):
Beutiful girl.
Speaker 6 (28:37):
Let me call the creature? What can I do?
Speaker 4 (28:40):
I give my heart to beautiful girl. Natch, not a
(30:01):
hard to.
Speaker 6 (30:01):
Resist the use of puss like a clean.
Speaker 16 (30:07):
You've got those lips that met to be cheese. You
other sweet six sweet, corgeous creature.
Speaker 6 (30:21):
Let me call a creature?
Speaker 10 (30:23):
What can I do?
Speaker 4 (30:25):
What you are? How to.
Speaker 8 (30:28):
You call girl?
Speaker 1 (30:41):
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Speaker 2 (30:46):
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Speaker 1 (30:49):
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Speaker 2 (30:55):
Ah, but here's Missus Rowland in her kitchen.
Speaker 7 (30:58):
How wonderful it is to make these appetizes and sandwiches
this way with the craft cheese spread. Hello, Jane, come
on in, Mary, I'm making the appetizers for tonight.
Speaker 6 (31:08):
Yeah, that's just why I came, Mary, to help you.
How about other the practice of the grasses? And look
at the advertisers are almost all finished.
Speaker 2 (31:15):
Certainly they're all made.
Speaker 7 (31:16):
I found something I never had before, Craft cheese spreads
and all starts of variety.
Speaker 2 (31:22):
I bought them today and look I'm going to have one.
Oh good, I can't wait for your part tonight.
Speaker 6 (31:29):
May I have another one?
Speaker 4 (31:30):
Sure?
Speaker 2 (31:31):
Always? Craft pineapple cream spread, always delicious. Careful of your guests,
Missus Rowland, or you may have to make some more.
Speaker 1 (31:38):
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can count on that everyone likes craft cheese spreads when.
Speaker 2 (31:54):
You use them for appetizers. Sandwiches are salad.
Speaker 1 (31:56):
You can be sure all your guests will appreciate your
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Speaker 2 (32:07):
Cheese spreads, or if you already have a favorite, ask
for it.
Speaker 3 (32:23):
Ladies and gentlemen, this is Paul Whiteman, who welcomes you
back to the Craft program.
Speaker 12 (32:27):
This is really the Master of.
Speaker 3 (32:28):
Ceremonies John, but our master of Ceremonies is busy at
the moment getting ready for his act.
Speaker 2 (32:34):
Ladies and gentlemen, this is the announcement.
Speaker 6 (32:36):
You've been waiting for. Teams.
Speaker 3 (32:46):
Taylor is going to play the piano, and with very
little coaxing, he's consented to play one of his own
compositions to show us that he can do something else
besides be a master of ceremonies.
Speaker 2 (32:58):
And so we have the place are presenting.
Speaker 3 (33:00):
For the first time on the air a concert arrangement
of the beautiful waltzes from Dems Opera Peter Ebison, which
opened the Metropolitan Opera season last week. The waltzes have
been arranged for orchestra and three pianos, which would be
played by Roy Bargee Ramona, and last and he says,
least dems tailor.
Speaker 2 (37:21):
Thank you deans.
Speaker 3 (37:22):
It was a pleasure to introduce your waltzes from Peter
Ibison and have you play them with us. It was
nice of you to practice your parts, Oh Paul.
Speaker 2 (37:30):
That was a mere nothing.
Speaker 5 (37:31):
As a matter of fact, I ought to say in
justice to Roy Bargee and Ramona, But all those showy
piano passages were played by them. My own part was
confined largely to the bass notes, many of which were correct.
And now, ladies and gentlemen, we are to hear another
Mister Whiteman selected song Hits of nineteen thirty three, which,
while it was not one of the four best sellers,
(37:54):
nevertheless managed to sell us sufficiently large number of copies
to annoy us on many occasions during the past year.
I refer to Annie Doesn't Live Here Anymore, presented in
its least annoying form by Paul Whiteman's Orchister and Ramona, A.
Speaker 6 (39:57):
Tragedy that happened on.
Speaker 14 (39:59):
All side streets.
Speaker 6 (40:01):
A fellow and who ring his sweet horse spells. He
saw the shades were wrong.
Speaker 9 (40:08):
He knew his salad gone.
Speaker 6 (40:10):
He listened to a story that a neighbor.
Speaker 5 (40:13):
Had to wote, Annie doesn't live here anymore.
Speaker 14 (40:18):
You must be the one she waited and found, She said,
I would know you've got a.
Speaker 5 (40:25):
Blue live sheeckers looked antibi folk it dot by.
Speaker 6 (40:31):
He went to that description. So you must be the guy. Well,
Annie doesn't live here anymore. Annie doesn't live here anymore.
It's too bad he didn't.
Speaker 4 (40:45):
Call the fall. She just went down the tide.
Speaker 6 (40:50):
With riven a bone anty that lay the stile. She
looks so alluring, just waiting for you. And Annie doesn't
live here anymore.
Speaker 2 (41:04):
It was free.
Speaker 7 (41:06):
There was romance here and everything we love, and there
was she as long.
Speaker 4 (41:15):
As I'm a blue as she could be.
Speaker 6 (41:18):
Now that's more, Annie doesn't live here anymore. Might have
been the old picture.
Speaker 17 (41:27):
That she told She was also.
Speaker 9 (41:30):
Faithful, A pitiful spige waited for a lot of that.
You promised to write, A gentleman with a pop all around.
Speaker 6 (41:42):
Annie doesn't live here anymore.
Speaker 9 (42:08):
Remember the top half all around.
Speaker 17 (42:10):
The other nights, and then he doesn't live here anymore,
And he doesn't live here anymore.
Speaker 5 (42:27):
For several months, the Whiteman Orchestra has been playing at
the Paradise Restaurant here in New York, and now tonight,
directly after this broadcast, mister Whiteman and his band of
what he laughingly calls entertainers move over to the casino
of the Hotel Biltmore, where they begin a solid year's engagement.
And so, having at last managed to work that piece
of news into this program, I feel that I am
(42:49):
violating no confidence in revealing the additional fact that the
Whiteman Orchestra is about to play Oh Me, Oh My,
Oh You by Vincent humans.
Speaker 17 (43:30):
A.
Speaker 1 (45:31):
The members of the present generation frequently asked me, Grandpa,
why was the old time.
Speaker 5 (45:36):
Saloon so much worse than the modern speakeasy? And why
do you keep insisting that it must never come back?
But now, what made the old fashioned saloon such a
thing of horror was not the strong drink that it dispensed,
but the old fashioned barroom quartet. Many of us will
not soon forget the sounds that uced to poison the
air when three baritones, all complete strangers, would get together
(45:58):
with one who claimed to be a tenor an effort
to render sweet ad o lion. Not that these men
were inherently vicious, They were only misguided. They honestly believed
that they were singing. In fact, if you are curious
to know not what the old barroom quartet actually sounded like,
but what it thought it sounded like, you have only
to listen to our next number when the mighty organ
(46:20):
plays are sung by Jack Fulton and the Rondeliers Quartete,
Well my.
Speaker 14 (46:36):
The song of songs for me?
Speaker 8 (46:43):
Then through mighty.
Speaker 4 (46:48):
Shi my dearosma.
Speaker 8 (47:00):
I have already, it seem to say, weirdly again the Stun.
Speaker 12 (47:33):
Family Androgon.
Speaker 17 (47:38):
Loogy I loveydn't play the small of.
Speaker 6 (47:54):
Long sweetner bodies bring me modies.
Speaker 15 (48:05):
Of some.
Speaker 12 (48:07):
Use to know.
Speaker 4 (48:15):
Word my ideal organs.
Speaker 6 (48:22):
The song of songs for me.
Speaker 8 (48:28):
Than to my teens up the sties.
Speaker 6 (48:36):
My dearsma.
Speaker 8 (48:39):
Movie, it seems to say, really loggin.
Speaker 4 (48:59):
Word.
Speaker 1 (49:28):
When you are confronted with a problem of what shall
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(49:51):
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Speaker 2 (49:53):
Ask your grocer for them tomorrow. Ask for the craft
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Speaker 1 (49:58):
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Speaker 2 (50:02):
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Speaker 1 (50:03):
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Speaker 5 (50:26):
The great Russian composer Sergei Rochmaninov has to his credit,
among other compositions, three operas, a cello sonata, three piano concertos,
a tone poem, three symphonies, and nearly one hundred songs.
And yet I imagine that the average person still knows
him simply as the man who wrote the prelude. His
prelude for piano in C sharp minor has probably taken
more punishment at the hands of professional and amateur musicians
(50:48):
than any piano piece since Chopstick. I've heard mister Rochmanionov
in private conversation expressed the greatest abhorrence of this word,
his general attitude being that no man should be hounded
for the rest of his life life merely because he
committed one false step and his youth. Now I don't
share the composer's bitterness regarding this piece. I don't think
he's ever heard it properly done. So to night we're
(51:10):
giving him a chance. The prelude in C sharp minor
is about to be played by the Whiteman Orchestra with
special additional vocal trimmings by the Rondelaiers and the Picking Sisters.
And if mister Rochmanionoff is listening in one of two
things will probably happen. Either he will be found floating
in the river tomorrow, or we shall have to admit
that roch Monionoff can take it.
Speaker 6 (52:30):
And it.
Speaker 10 (56:02):
Lay.
Speaker 2 (59:09):
This concludes tonight's draft program.
Speaker 1 (59:11):
Ladies and gentlemen, brought you each week by the makers
of Craft Phoenix Cheese. We cordially invite you to be
with us again next Thursday evening for another hour of
entertainment from Paul Whiteman in his orchestra and the brigand
wide Man Ensemble, Deans Taylor as Master of Ceremonies, same station,
same hour.
Speaker 2 (59:27):
Don't forget next Thursday night. This is Howard Cliney is
saying goodnight. This is a national broadcast
The Craft Program with Paul Whiteman and his orchestra, Roy Barge, Ramona,
Jack Wuldon, Teggy Heally, Robert Lawrence, Therondeliers Quartett and our
guest artist for picking Sisters.
Speaker 2 (00:33):
And here's Paul Whiteman himself. Good evening, everybody. I want
to make one New Year's wish.
Speaker 3 (00:49):
If in nineteen thirty four I ever catch a cold
or feeling disposed, and.
Speaker 2 (00:54):
You know that can happen to anybody. Well, if I
ever have to call a doctor, I.
Speaker 3 (00:58):
Hope that he brings along as Master of six none
other than Deans Taylor.
Speaker 4 (01:02):
And here he is. Thank you, Paul.
Speaker 2 (01:09):
Goodaily, Ladies and gentlemen.
Speaker 5 (01:11):
We're beginning the new year with an excerpt from the
score of Irving Berlin's Review, A Thousands Cheer. It is
a number based on the famous Cuban dance the rumba,
and expounds the comforting thought that, however many times Cuba
may change her political mind, the rumba continues business as
usual during alteration. The piece is called Revolt in Cuba
and is in two sections. The first, as you will
(01:34):
very short to guess, is the Revolt and the second
is the Rumba, both played for the first time on
the air by Paul Whiteman and his revolting orchestras. And
(05:44):
now for a moment, we're going to glass over our
shoulders and play you a medley of the song hits
from nineteen thirty three. There are four of them, and
in as much as any one person's judgment would be
open to argument, mister Whiteman and selecting them has gone
on the assumption that what the largest number of people
are willing to buy is presumably what the largest number
of people want. Accordingly, he is now going to play
(06:04):
you the four songs that sold the largest number of
copies during the year just passed. We shall hear the
list backwards, beginning with the song that stood fourth in
sales during nineteen thirty three. Inasmuch as one of my
New Year's resolutions was never to refer to this song
by name, even in jest, I am compelled to announce
it simply a selection. Number one anonymous, Big bad Wolf,
(06:35):
big bad, big bad.
Speaker 2 (06:37):
Wolves, say the big bad wolves.
Speaker 6 (06:42):
Long ago, there were.
Speaker 7 (06:44):
Three things little Handy, the big bad, very bad, big
bad bold.
Speaker 8 (06:50):
They didn't give three bigs.
Speaker 9 (06:52):
Number one was very game.
Speaker 6 (06:55):
I just my house.
Speaker 4 (07:00):
And I play. Number two was fond of jigs, so.
Speaker 7 (07:06):
I I did I played on the brit and that played.
Speaker 2 (07:12):
The number three said.
Speaker 7 (07:15):
Nix on tricks.
Speaker 2 (07:16):
I'll be out comes.
Speaker 1 (07:19):
I have no chance to sing as the smart can't play.
Speaker 10 (07:23):
Don't mix.
Speaker 5 (07:30):
Up thinking about thinking about the woman to think about it,
moves up praying to think about the woman.
Speaker 2 (07:50):
By the way where Peggy Hailey and the Mondeliers. Next
we shall hear an instrumental.
Speaker 11 (07:56):
Piece with the year's third bestseller, the no By or.
Speaker 6 (09:10):
You're a Love of Walls tune with words.
Speaker 2 (09:12):
This time there was number.
Speaker 1 (09:13):
Two on last year's bestseller list, The Valley of the
Moon Lay by the Orchestra, Jack Cordon in the Red Rain, Yeah.
Speaker 6 (09:25):
On the Lane, read me.
Speaker 8 (09:29):
By the Rose.
Speaker 11 (09:33):
In the.
Speaker 6 (09:36):
Lyon, and I Lost my.
Speaker 8 (09:45):
By the rows.
Speaker 2 (09:49):
Him of the.
Speaker 12 (09:57):
Week and sagod.
Speaker 4 (10:01):
He glied and started.
Speaker 13 (10:07):
Underworld un all.
Speaker 6 (10:13):
But with me again.
Speaker 12 (10:17):
By the.
Speaker 4 (10:21):
In the bar.
Speaker 8 (11:00):
Week, I sudden blad, I'm so.
Speaker 6 (11:09):
Do young World, I'm but we'll need.
Speaker 10 (11:20):
By the room.
Speaker 5 (11:43):
Last year fully had its official opening in New York
only this week. In the meantime, however, one song from
this production has to come almost of classic And we're
going to play it now the number one bestseller of
all of last year's songs. The Last ground Up by
Telly Hell Ain't Got a Facing orchestra and sung by Bob.
Speaker 14 (12:03):
Lacks Wooden for the Lost Scroll, eight for the Lost
Time in the Line.
Speaker 2 (12:32):
And.
Speaker 6 (12:35):
It's time your cheeses water, I'm.
Speaker 4 (12:47):
A heading for the lone.
Speaker 12 (12:51):
Scroll.
Speaker 8 (12:56):
You Don't Love a Little Lady, You love you Love,
you Love, Love, you know.
Speaker 12 (13:08):
Love long Ready, and a hand low launch of the doll,
(13:29):
the storm.
Speaker 4 (13:38):
On a strange, a corded and brown.
Speaker 12 (13:52):
Then say last came.
Speaker 8 (14:39):
The Nities were.
Speaker 1 (15:04):
When you are planning to serve appetizers or sandwiches, buy
(15:28):
the famous assortment of Kraft cheese spreads. Craft cheese spreads,
with the exception of Kraft Creamed Old English, are made
with the famous Philadelphia brand cream cheese. All Kraft cheese
spreads come now in the smart, new Swanky swig glasses,
glasses you may use for any beverage after the cheese
spread has been consumed.
Speaker 2 (15:46):
How many craft spreads are there, Well, there are five.
Speaker 1 (15:49):
Kraft cheese spreads, Kraft Pimento cream Spread, Draft k Kraft
Creamed Old English, Kraft Ropefried cream spread, and Kraft pineapple
cream spread.
Speaker 2 (15:57):
That is the list to choose from? What is the
it's great.
Speaker 1 (16:01):
Listen Philadelphia brand cream cheese blended with the real Spanish pmientos.
Speaker 2 (16:06):
A marvelous combination, isn't it?
Speaker 1 (16:08):
And Kraft Cave, Philadelphia brand cream cheese and Relish spices
and pickles, all mixed smoothly together.
Speaker 2 (16:14):
Deliciously too. I know because it's a favorite of mine.
Speaker 1 (16:17):
And of course you remember Kraft creamed Old English, the
famous Old English already for you to serve.
Speaker 7 (16:22):
Old English is one of my husband's favorite.
Speaker 2 (16:24):
You haven't mortal offer me, have you? Certainly?
Speaker 1 (16:26):
I have Kraft Roqueford cream spread, genuine imported Roquefort and
Philadelphia brand cream cheese.
Speaker 2 (16:32):
Say that's a real tree with bread or crackers?
Speaker 6 (16:35):
Or is a filler and story?
Speaker 4 (16:36):
Hm?
Speaker 2 (16:37):
And pineapple cream spread Philadelphia.
Speaker 1 (16:40):
Brand cream cheese and real Hawaiian pineapple, deliciously proportioned, ready
for you to use.
Speaker 2 (16:45):
Look at the selection you've offered me, How can I choose? Well?
Speaker 1 (16:48):
Why not choose one of each? They're all delicious and
then if you find a favorite, stick to it. But
don't forget this. All craft spreads come in the new
swanky swig glasses, which.
Speaker 2 (16:57):
Can be used over and over again as drinking.
Speaker 1 (16:59):
The glasses suitable for any beverage after the cheese spread
has been used.
Speaker 7 (17:03):
Where can I get these delicious craft spread at your
grocer's your food shop.
Speaker 1 (17:07):
Just ask for the craft cheese spreads and the new
swanky swig glass and you'll get a fine, delicious cheese
food ready for instant use.
Speaker 13 (19:20):
In application.
Speaker 5 (21:23):
Indication, that was a special Whitman arrangement of two hearts
(22:07):
and three quarter time played in the genuine, guaranteed ninety
eight proof Viennese Waltz tempo. Last week we had the
famous Pickens sisters as guest artists on this program, and
those of you who heard it will remember that I
introduced them in the most glowing terms. In fact, I
carried on so that I was afraid they might think
I'd praised them almost too extravagantly, and was consequently very
(22:29):
much relieved after the broadcast to learn that they.
Speaker 2 (22:31):
Thought nothing of the sort.
Speaker 5 (22:33):
Even so, I believe it is dangerous to praise performers
too highly beforehand.
Speaker 2 (22:37):
It makes the audience suspicious.
Speaker 5 (22:40):
So now that they're paying us a return visit tonight,
rather than run the risk of saying too much. I
will merely suggest that after you've heard the picking sisters
in good, moaning glory, possibly you will agree with me
that someday they may amount to something.
Speaker 15 (22:59):
Said I reckon, I will say goodbye? What dawn is here?
When the sun is up in the sky. Come on, folks,
stop your expression. Here comes mammy. It's expressing the hem
leaves the rose not a little hungry, soords so the
(23:20):
sand in the say goodbye, mum.
Speaker 6 (23:28):
It's six am and.
Speaker 13 (23:30):
I is breaking up. Seven am.
Speaker 12 (23:32):
The con is waking up.
Speaker 16 (23:34):
David Arty yell, and Tan's brushing down on in the build.
Speaker 2 (23:38):
No, everybody's dog is bruising up.
Speaker 7 (23:42):
Everyone is ours using up all.
Speaker 6 (23:44):
The worlding game.
Speaker 13 (23:47):
Out of a dream into our day.
Speaker 9 (23:52):
Good morning, glory.
Speaker 6 (23:54):
Say that's something ying a brand new day. You don't
you love to shame?
Speaker 15 (23:59):
Let the dun come.
Speaker 14 (24:03):
An hour underneath the shower and you mount singing in
the baby.
Speaker 6 (24:08):
Oh, I'm valuating for your all abound you.
Speaker 13 (24:13):
Love the most you know the bony started.
Speaker 10 (24:16):
There, glory.
Speaker 4 (24:18):
Why are you dreaming of me?
Speaker 2 (24:20):
And you you sed to love me for babig a?
Speaker 10 (24:24):
Are you.
Speaker 6 (24:33):
Keep from singing at the basis you gonna get you, gonna.
Speaker 4 (24:40):
Get you, and pull of the shade.
Speaker 2 (24:41):
Lets don't come through?
Speaker 12 (24:42):
Oh hum, oh.
Speaker 16 (24:48):
Oh are they our brand?
Speaker 4 (24:53):
You die? Oh?
Speaker 2 (24:59):
That's way? Is he called the phone? And in day,
good Morning Glory?
Speaker 9 (25:11):
Tell me?
Speaker 2 (25:11):
Why are you dreaming of me?
Speaker 10 (25:13):
And do you just love me?
Speaker 4 (25:15):
Well?
Speaker 12 (25:15):
Baby baby, we'll gave indicator?
Speaker 4 (25:19):
Boy are you?
Speaker 5 (25:37):
And now the orchestra is going to play a new
song called Beautiful Girl, and Bob Lawrence is going to
sing some of it. Now first glance, there doesn't seem
to be anything particularly unusual about that statement. After all,
the fact that the orchester is going to play is
no stunning surprise, and the title of the song beautiful Girl,
indicating that it is supposed to be sung to a
girl who is supposed to be beautiful, while pleasant, is
(26:00):
not exactly a revolutionary And the fact that Bob Lawrence
is going to sing, and even the fact that Bob
Lawrence has a good voice, isn't likely to leave you
paralyzed with astonishment. So I imagine that you're wondering right
now what there is so extraordinarily novel about this number.
And as a matter of fact, I have the slightest
idea and if you can think of anything.
Speaker 2 (26:19):
I wish you'd let me.
Speaker 11 (26:20):
Know, little day you're MOPy picture of a beautiful girl.
(27:47):
You're a gordous mixture.
Speaker 14 (27:49):
Up all of bars at.
Speaker 6 (27:52):
The big news eyes.
Speaker 4 (27:55):
Mother cries, beautiful girl.
Speaker 6 (28:00):
You're a dazzling eye for beautiful girl. I could never
track if I had you see my dream home.
Speaker 16 (28:12):
Them maybe belongs and renettes that are hard to exist.
Speaker 6 (28:18):
You surpass them like a queen.
Speaker 4 (28:22):
You've got those lips that one meant to be tears,
and of.
Speaker 11 (28:27):
A sweet sixteen, beautiful girl who a gorgeous creature?
Speaker 4 (28:34):
Beutiful girl.
Speaker 6 (28:37):
Let me call the creature? What can I do?
Speaker 4 (28:40):
I give my heart to beautiful girl. Natch, not a
(30:01):
hard to.
Speaker 6 (30:01):
Resist the use of puss like a clean.
Speaker 16 (30:07):
You've got those lips that met to be cheese. You
other sweet six sweet, corgeous creature.
Speaker 6 (30:21):
Let me call a creature?
Speaker 10 (30:23):
What can I do?
Speaker 4 (30:25):
What you are? How to.
Speaker 8 (30:28):
You call girl?
Speaker 1 (30:41):
It requires practically no effort to make appetizers and sandwiches
when you use craft cheese spreads.
Speaker 2 (30:46):
Craft cheese spreads are a delightful combination of fine.
Speaker 1 (30:49):
Cheese, tasty spices, fruit, mientos, and other flavors ready for
instant juice.
Speaker 2 (30:55):
Ah, but here's Missus Rowland in her kitchen.
Speaker 7 (30:58):
How wonderful it is to make these appetizes and sandwiches
this way with the craft cheese spread. Hello, Jane, come
on in, Mary, I'm making the appetizers for tonight.
Speaker 6 (31:08):
Yeah, that's just why I came, Mary, to help you.
How about other the practice of the grasses? And look
at the advertisers are almost all finished.
Speaker 2 (31:15):
Certainly they're all made.
Speaker 7 (31:16):
I found something I never had before, Craft cheese spreads
and all starts of variety.
Speaker 2 (31:22):
I bought them today and look I'm going to have one.
Oh good, I can't wait for your part tonight.
Speaker 6 (31:29):
May I have another one?
Speaker 4 (31:30):
Sure?
Speaker 2 (31:31):
Always? Craft pineapple cream spread, always delicious. Careful of your guests,
Missus Rowland, or you may have to make some more.
Speaker 1 (31:38):
You know, a fine mixture of Philadelphia brand cream cheese
and real Hawaiian pineapple makes crafts Pineapple cream spread a
rare delicacy. If I were you, Missus Rowland, I'd prepare
several extra ones for tonight. They'll go fast, and you
can count on that everyone likes craft cheese spreads when.
Speaker 2 (31:54):
You use them for appetizers. Sandwiches are salad.
Speaker 1 (31:56):
You can be sure all your guests will appreciate your
wise selection of fine food. To be the perfect hostess,
just call your grocer of food shop and ask for
the complete assortment of craft.
Speaker 2 (32:07):
Cheese spreads, or if you already have a favorite, ask
for it.
Speaker 3 (32:23):
Ladies and gentlemen, this is Paul Whiteman, who welcomes you
back to the Craft program.
Speaker 12 (32:27):
This is really the Master of.
Speaker 3 (32:28):
Ceremonies John, but our master of Ceremonies is busy at
the moment getting ready for his act.
Speaker 2 (32:34):
Ladies and gentlemen, this is the announcement.
Speaker 6 (32:36):
You've been waiting for. Teams.
Speaker 3 (32:46):
Taylor is going to play the piano, and with very
little coaxing, he's consented to play one of his own
compositions to show us that he can do something else
besides be a master of ceremonies.
Speaker 2 (32:58):
And so we have the place are presenting.
Speaker 3 (33:00):
For the first time on the air a concert arrangement
of the beautiful waltzes from Dems Opera Peter Ebison, which
opened the Metropolitan Opera season last week. The waltzes have
been arranged for orchestra and three pianos, which would be
played by Roy Bargee Ramona, and last and he says,
least dems tailor.
Speaker 2 (37:21):
Thank you deans.
Speaker 3 (37:22):
It was a pleasure to introduce your waltzes from Peter
Ibison and have you play them with us. It was
nice of you to practice your parts, Oh Paul.
Speaker 2 (37:30):
That was a mere nothing.
Speaker 5 (37:31):
As a matter of fact, I ought to say in
justice to Roy Bargee and Ramona, But all those showy
piano passages were played by them. My own part was
confined largely to the bass notes, many of which were correct.
And now, ladies and gentlemen, we are to hear another
Mister Whiteman selected song Hits of nineteen thirty three, which,
while it was not one of the four best sellers,
(37:54):
nevertheless managed to sell us sufficiently large number of copies
to annoy us on many occasions during the past year.
I refer to Annie Doesn't Live Here Anymore, presented in
its least annoying form by Paul Whiteman's Orchister and Ramona, A.
Speaker 6 (39:57):
Tragedy that happened on.
Speaker 14 (39:59):
All side streets.
Speaker 6 (40:01):
A fellow and who ring his sweet horse spells. He
saw the shades were wrong.
Speaker 9 (40:08):
He knew his salad gone.
Speaker 6 (40:10):
He listened to a story that a neighbor.
Speaker 5 (40:13):
Had to wote, Annie doesn't live here anymore.
Speaker 14 (40:18):
You must be the one she waited and found, She said,
I would know you've got a.
Speaker 5 (40:25):
Blue live sheeckers looked antibi folk it dot by.
Speaker 6 (40:31):
He went to that description. So you must be the guy. Well,
Annie doesn't live here anymore. Annie doesn't live here anymore.
It's too bad he didn't.
Speaker 4 (40:45):
Call the fall. She just went down the tide.
Speaker 6 (40:50):
With riven a bone anty that lay the stile. She
looks so alluring, just waiting for you. And Annie doesn't
live here anymore.
Speaker 2 (41:04):
It was free.
Speaker 7 (41:06):
There was romance here and everything we love, and there
was she as long.
Speaker 4 (41:15):
As I'm a blue as she could be.
Speaker 6 (41:18):
Now that's more, Annie doesn't live here anymore. Might have
been the old picture.
Speaker 17 (41:27):
That she told She was also.
Speaker 9 (41:30):
Faithful, A pitiful spige waited for a lot of that.
You promised to write, A gentleman with a pop all around.
Speaker 6 (41:42):
Annie doesn't live here anymore.
Speaker 9 (42:08):
Remember the top half all around.
Speaker 17 (42:10):
The other nights, and then he doesn't live here anymore,
And he doesn't live here anymore.
Speaker 5 (42:27):
For several months, the Whiteman Orchestra has been playing at
the Paradise Restaurant here in New York, and now tonight,
directly after this broadcast, mister Whiteman and his band of
what he laughingly calls entertainers move over to the casino
of the Hotel Biltmore, where they begin a solid year's engagement.
And so, having at last managed to work that piece
of news into this program, I feel that I am
(42:49):
violating no confidence in revealing the additional fact that the
Whiteman Orchestra is about to play Oh Me, Oh My,
Oh You by Vincent humans.
Speaker 17 (43:30):
A.
Speaker 1 (45:31):
The members of the present generation frequently asked me, Grandpa,
why was the old time.
Speaker 5 (45:36):
Saloon so much worse than the modern speakeasy? And why
do you keep insisting that it must never come back?
But now, what made the old fashioned saloon such a
thing of horror was not the strong drink that it dispensed,
but the old fashioned barroom quartet. Many of us will
not soon forget the sounds that uced to poison the
air when three baritones, all complete strangers, would get together
(45:58):
with one who claimed to be a tenor an effort
to render sweet ad o lion. Not that these men
were inherently vicious, They were only misguided. They honestly believed
that they were singing. In fact, if you are curious
to know not what the old barroom quartet actually sounded like,
but what it thought it sounded like, you have only
to listen to our next number when the mighty organ
(46:20):
plays are sung by Jack Fulton and the Rondeliers Quartete,
Well my.
Speaker 14 (46:36):
The song of songs for me?
Speaker 8 (46:43):
Then through mighty.
Speaker 4 (46:48):
Shi my dearosma.
Speaker 8 (47:00):
I have already, it seem to say, weirdly again the Stun.
Speaker 12 (47:33):
Family Androgon.
Speaker 17 (47:38):
Loogy I loveydn't play the small of.
Speaker 6 (47:54):
Long sweetner bodies bring me modies.
Speaker 15 (48:05):
Of some.
Speaker 12 (48:07):
Use to know.
Speaker 4 (48:15):
Word my ideal organs.
Speaker 6 (48:22):
The song of songs for me.
Speaker 8 (48:28):
Than to my teens up the sties.
Speaker 6 (48:36):
My dearsma.
Speaker 8 (48:39):
Movie, it seems to say, really loggin.
Speaker 4 (48:59):
Word.
Speaker 1 (49:28):
When you are confronted with a problem of what shall
I serve? Just think of Kraft cheese spreads, and there
are many delicious, appetizing tastes. Craft cheese spread stimulate appetites.
They are wholesome, delicious mixtures of the very best in foods.
Philadelphia brand cream cheese flavored with Spanish mientos spices, pickles,
real Hawaiian pineapple, and other appetizing tastes equally as good
(49:51):
serve craft cheese spreads.
Speaker 2 (49:53):
Ask your grocer for them tomorrow. Ask for the craft
pineapple cream.
Speaker 1 (49:58):
Spread, the Kraft kaft creamed old English craft rupert try them.
Speaker 2 (50:02):
All.
Speaker 1 (50:03):
Draft cheese spreads come in the new smart, swanky swig glasses,
glasses that may be used for any beverage when the delicious,
health giving craft cheese spreads have been used.
Speaker 5 (50:26):
The great Russian composer Sergei Rochmaninov has to his credit,
among other compositions, three operas, a cello sonata, three piano concertos,
a tone poem, three symphonies, and nearly one hundred songs.
And yet I imagine that the average person still knows
him simply as the man who wrote the prelude. His
prelude for piano in C sharp minor has probably taken
more punishment at the hands of professional and amateur musicians
(50:48):
than any piano piece since Chopstick. I've heard mister Rochmanionov
in private conversation expressed the greatest abhorrence of this word,
his general attitude being that no man should be hounded
for the rest of his life life merely because he
committed one false step and his youth. Now I don't
share the composer's bitterness regarding this piece. I don't think
he's ever heard it properly done. So to night we're
(51:10):
giving him a chance. The prelude in C sharp minor
is about to be played by the Whiteman Orchestra with
special additional vocal trimmings by the Rondelaiers and the Picking Sisters.
And if mister Rochmanionoff is listening in one of two
things will probably happen. Either he will be found floating
in the river tomorrow, or we shall have to admit
that roch Monionoff can take it.
Speaker 6 (52:30):
And it.
Speaker 10 (56:02):
Lay.
Speaker 2 (59:09):
This concludes tonight's draft program.
Speaker 1 (59:11):
Ladies and gentlemen, brought you each week by the makers
of Craft Phoenix Cheese. We cordially invite you to be
with us again next Thursday evening for another hour of
entertainment from Paul Whiteman in his orchestra and the brigand
wide Man Ensemble, Deans Taylor as Master of Ceremonies, same station,
same hour.
Speaker 2 (59:27):
Don't forget next Thursday night. This is Howard Cliney is
saying goodnight. This is a national broadcast
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