“Of castles on the Rhine, candlelight and wine . . .”
September 27, 2013
SHIRLEY ROSS and BOB HOPE sing “Thanks for the Memory” in “The Big Broadcast of 1938.”
Jack Benny occasionally played his theme song on the violin, but to my knowledge, he never sang it on the air, if at all. That makes Benny and “Love in Bloom,” the topics of my last post, unusual among performers and their signature songs. Perhaps the best example of the more typical approach is Bob Hope and “Thanks for the Memory.”
Hope’s theme, as it happens, was written by the same artists who wrote “Love in Bloom.” Ralph Rainger composed the music, and Leo Robin provided the lyrics.
Rainger and Robin wrote the song for The Big Broadcast of 1938, the last in a series of such musical films from Paramount. This plot for this one involved a trans-Atlantic race by two ocean liners. The ensemble included W.C. Fields, Hope and Ross, Martha Raye, Dorothy Lamour, Ben Blue, and Kirsten Flagstad.
Ross and Hope play a couple who are near the point of divorce. In “Thanks for the Memory,” they reminisce about the high and low points of their relationship — a relationship, incidentally, which survives after all. The song won an Academy Award.
Ross and Hope got to team up the following year and sing another song that became an American classic: “Two Sleepy People” by Frank Loesser and Hoagy Carmichael. That duet was in a film titled “Thanks for the Memory.”
Hope adopted “Thanks for the Memory” as his theme, and sang it at the end of his live and televised performances for the rest of his career, changing the lyrics to fit the situation. It was an interesting choice for a comedian, because its original meaning was melancholy, and even when Hope’s writers put humorous lines in it, the sad undercurrent was always there. That was particularly true when Hope sang “Thanks for the Memory” at the end of the many shows he performed for American troops.
RALPH RAINGER
Ralph Rainger wrote scores for at least 40 movies. He would have written for many more, but he was killed in an air collision in 1942 when he was only 41 years old. The DC-3 he was traveling on collided with a U.S. Army Air Corps bomber over Palm Springs.
You can see and hear Bob Hope and Shirley Ross singing “Thanks for the Memory” in The Big Broadcast of 1938″ by clicking HERE.
“Oh, no, it isn’t the trees . . . .”
September 23, 2013
The young JACK BENNY (Benjamin Kubelsky) with his violin.
I was about to watch an episode of the Jack Benny Program recently when I became absorbed in the opening theme. The theme is associated not just with the television series but with Jack Benny himself. The song, “Love in Bloom,” was not written by amateurs. The music was by Ralph Rainger and the lyrics by Leo Robin. Ralph Rainger, a member of the Songwriters Hall of Fame, wrote a lot of music for movies between 1930 and 1942. One of his compositions, “Thanks for the Memory,” written for The Big Broadcast of 1938, won an Academy Award. (I’ll have more to say about that song in a later post.) Leo Robin, who wrote the lyrics to “Love in Bloom,” is also a member of the Hall of Fame. His work included “Thanks for the Memory,” “Beyond the Blue Horizon,” “Prisoner of Love,” and “Blue Hawaii.”
“Love in Bloom” was introduced in 1934 in the film She Loves Me Not. It was sung in a duet by Bing Crosby and Kitty Carlisle.
LEO ROBIN
Crosby, that same year, was the first to record the song, which was nominated for an Academy Award.
Kitty Carlisle — an elegant woman whom, incidentally, I once visited at her Manhattan apartment — liked the song enough that she considered adopting it as her own theme. She scuttled that idea, however, when Benny made the song his signature, frequently playing it, and deliberately butchering it, on his violin.
The song has qualities that don’t come across in most of Benny’s renditions. You can see for yourself as Crosby and Kitty Carlisle sing it in the film. Click HERE.
You can also see a hiliarious routine in which Benny and Liberace play the song on the keyboard and violin on a 1969 episode of Liberace’s TV show. Here Benny lets himself show, for a while at least, that he was more competent on the violin than he cared to admit. Click HERE.
Brothers, all
September 11, 2013
JOHN MONGOMERY WARD
When I held forth here recently on the subject of soprano Geraldine Farrar and her baseball-playing father, Sidney, I mentioned that Sid had bolted from the National League in 1890 to play in the maverick Players’ League. That put Sid in the middle of a significant but largely forgotten epoch in the history of the national game.
The Players League was the offspring of the Brotherhood of Professional Base-Ball Players, which was in effect the first union organized by professional athletes. The brains behind the Brotherhood was John Montgomery Ward, who was an outstanding player for five teams over 16 years. He was best known as a pitcher, although he also played shortstop and second base. In 1880, he pitched the second perfect game in the National League, for the Providence Grays (there wouldn’t be another one for 84 years) and in 1882 he pitched the longest complete-game shutout in history, beating the Detroit Wolverines 1-0 in 18 innings. He also accumulated 2,104 base hits. He is the only player ever to win more than 100 games as a pitcher (164-103) and get more than 2,000 hits.
Ward’s plaque in the National Baseball Hall of Fame doesn’t mention the Brotherhood or the Players’ League
Ward graduated from Columbia Law School in 1885 and became the leader of an effort by players to negotiate improvements in the conditions of their employment, including an increase in salaries and an end to the “reserve clause” which provided that players who were under contract to one team were prohibited from negotiating with other teams when the contract expired. Ward organized the Brotherhood in ’85 but when it became clear after several years of negotiation that the owners were intractable, he launched the Players League.
About half of the players who had been National Leaguers in 1889 bolted to play in Ward’s league which offered profit sharing and did not have a reserve clause or a cap on player salaries. Sid Farrar, who had played for the Philadelphia Quakers in the NL bolted to play for the Philadelphia Athletics in the Players League. In fact, the Players League attracted most of the talent from the National League, but when revenues didn’t live up to expectations, the owners of the maverick teams surreptitiously agreed to sell their teams to the NL franchises, and the Players League folded after one season.
Major League Baseball ruled in 1968 that the Players League, short-lived though it was, had been a major league. So, among other things, the Buffalo Bisons’ record stands: they recorded the greatest opening-day winning margin by beating the Cleveland Infants 23-2.
Incidentally, the reserve clause remained in effect in Major League Baseball until 1975.
Daddy’s little girl
September 4, 2013
GERALDINE FARRAR
My wife, Pat, who is reading Adriana Trigiani’s novel The Shoemaker’s Wife, has mentioned two characters in the story who are familiar to me: Enrico Caruso and Geraldine Farrar. We like to say, even though it can’t be demonstrated, that Caruso was the nonpareil of tenors, and Farrar, his contemporary, was a popular soprano and film actress. She was a member of the Metropolitan Opera Company for 17 years, singing 29 roles in some 500 performances, frequently appearing with Caruso. She had a particular following among young women, and they were known at the time as “Gerryflappers.” I was young when I became a fan of hers, too, but that was nearly 30 years after she had retired as a singer. A kid of eclectic tastes, when I came home from the record store on most Friday nights, I could be carrying doo-wop, country-and-western, American standards, or opera. I bought many discs with cuts by Caruso, Farrar, or the two of them together.
A biographical detail about Farrar that particularly appeals to me is the fact that her father, Sidney, was a major league baseball player from 1883 to 1890. A first baseman, he played most of his career for the Philadelphia National League franchise. In his last season, he bolted to the maverick Players League, still playing in Philadelphia. He appeared in 943 games and, in the dead-ball era, had 905 hits and a .253 batting average.
SIDNEY FARRAR
When Sid Farrar was through playing baseball, he opened a men’s clothing shop in Melrose, Massachusetts, in partnership with Frank G. Selee, a Hall of Fame major league manager. Farrar and his wife, Etta, were singers in their own right. Farrar was a baritone, and it was said of him that if he was speaking in what, for him, was a conversational tone of voice on one side of a street, he could be clearly heard from the other side.
When Geraldine went to Europe to study voice, her parents went with her and remained on the Other Side until Geraldine had made a name for herself in Berlin, Munich, Salsburg, Paris, and Stockholm and returned to the United States in 1906.
In later life, when he had been widowed, Sid Farrar was a familiar figure at Geraldine’s concerts, and she said that he was often surrounded by other old ballplayers who may have looked a little out of place in the classical concert hall. It dawned on her, she said, that those old guys weren’t there to see her; they were there to see her dad.
One of my favorite Caruso-Farrar recordings is their 1912 rendition of “O Soave Fanciulla” from La Boheme. Click HERE to hear it.
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