So that one move that happened at my album release party almost derailed my whole career. So every time I went somewhere and talking to DJs that I've been knowing for 10 years, seeing these niggas all 18 going in clubs, everybody giving me weird vibes. I'm shaking niggas' hands and making the same energy.  Something's going on for real. Artists, if you don't understand music industry politics, it can completely ruin your career. As a matter of fact, one artist talked about just that. He literally got black ball just because of misunderstanding. But these misunderstandings can result in big consequences. So we're going to play the clip of the artist talking about everything that happened and then break down the realities of some of these politics and how you can use it as tips to navigate when you network in the music industry as well. Check out this clip right here. You did leave us a move to LA. Why? Did you leave us? You don't even want to know why? Yes, please. I got black ball. You got black ball. What year? 2016, the same year it came out. How'd you get black ball? My manager. Because you were just on double excel in the freshman cover in 2015. So you're saying... Speaking of Sweet Lounge, it happened at Sweet Lounge. It happened at Sweet Lounge. What happened at Sweet Lounge? I had an album release at Sweet Lounge. Boom, and you knew my manager at the time. Yes. You know, it's crazy. We recently just, I don't want to say got cool, but we already talked about it. As I see my guy, but go ahead. It's okay. You know what I'm saying? We on talking times.  You know what I'm saying? We both successful. We doing our thing now. It was a lot of DJs in the building that night. It was a lot of, you know what I'm saying? A lot of people in the building that night. And, you know, I was what, 22, 22, I was a young nigga. You know what I'm saying? I come to the release party drunk as hell.  You know what I'm saying? So I'm on stage.  So he come around and say, I got plex. You know what I'm saying? You know what I'm saying? You know what I'm saying?    So I'm just, hey, so-and-so. Get your plaque. You know what I'm saying? It was like four or five of them. You know what I'm saying? The night went on, boom, boom, gave the plex out. Didn't think nothing of it. The next day or the two days later, I'm in the studio, just in the studio. I get a text from my boy Iceberg. He like, I'm at, no, no, he didn't say that. He was like, bro, I'm at the radio station and they ain't looking too good for you right now.  All right, so obviously this is in the day where the radio was a little bit more popping, had a lot of gatekeeper strength.  It was easier and quicker to get black ball. I don't believe you can get black ball as quickly today in many cases. However, still, it's a lot to take from this. Let's look at the rest of the details.  You know what I'm saying? I'm hot right now.   You feel me?  I was like plex, what you mean plex? So that one move that happened at my release party almost derailed my whole career.  You know, I was still outside going into the club. All right, let's stop for one second because I know some people might not understand like, all right, could we get out some plex? What happened? Like why is this an issue? The issue, all right, as I understand it is there were some people who received plex, all right? That's like a plaque to plaque, gold plaque. The song has made an achievement. You have this accolade and he handed it out to some people in front of many other DJs and people who felt like they were a part of the success of the song, right? But they didn't receive a plaque. So they felt the type of way. And there were probably other people who were around town who heard about it. So now they're looking at the artist like, oh man, you don't respect me. Yeah, you don't vote me. I done put you on, all right? And now you're not showing love back. We'll stop it there. Just to make sure y'all understand that part. Let's get to the rest of it.  So every time I went somewhere and talking to DJs that I've been knowing for 10 years, seeing these niggas all 18 going in the clubs, everybody giving me weird vibes. I'm shaking niggas' hands and acting the same energy.  Something going on for real.  Y'all want to go to LA? All right, let's stop it right there.  People feel in a certain type of way. He experiences it and just being a young artist and someone who's not aware of the politics. And this is what can happen, man. Like politics can happen to you whether you trying to be political or not. Man. Oh, damn. He had no idea, but it's still happening around him. And that's why it's so important for artists to still understand, still have maybe some experienced people that you can speak with and just other people that can help you put you on game and understand how it goes. Cause I don't care how many different outlets we get in terms of media, distribution, how fragmented things are today. Yes, it's not as easy to gate keep and block somebody out, but you're still always dealing with people. And as long as you're dealing with people, politics will exist. Yeah, man. Ain't no better way to put it, man, to your point. Especially when you're new, right? A lot of artists come into it thinking it's all about the music and the result, but people have their own agendas, right? People have their own goals and aspirations and things they wanna do.  But the reality is you are a stepping stone for the people around you that are doing their thing for them to hit whatever they feel like the next level is. And so you look at something like that. They're probably looking like, damn, you stopping me from being as great as I can be, you know what I'm saying?  That's all it is for a lot of people. Yeah, yeah, and then especially you talk about too, I mean, he said, what, like 2015, 2016. So, you know, this is coming up on the era of taking the picture and the video with the artists and posting on social. I think we're like, we're there, but it's not like as sick as it is today, you know what I'm saying? But we getting there at this point in time. Cause I mean, you know, I've had a conversation with people before, you know, there was a time when we worked a pretty prolific song, and we didn't have a play for a while. And people all asked me like, man, you're not tripping about getting a play. I'm like, no, bro. Like I have so many points of proof to prove that we have something. I got emails. I know this nigga, real name, his credit card, information is on five.  You know what I'm saying? We can do it. But I guess you think about something right then. There weren't as many avenues to prove you were a part of something. The plaque was the proof, you know what I'm saying? That, yeah, that and, like you said, because people are taking so many different pictures and things that act like they know people be with people. But that plaque says something different, right? You can finesse your way into the plaque, but it's way harder to finesse your way into the plaque than it is most of these things. Most people don't even understand how that system works. But check this out. You're like, it's 150 DJs that wanted a plaque. Imagine being the artist, my song moves and I got 150 DJs who want to get paid plaques for y'all who don't know, right? Cost money, all right? And if I'm the artist, so some people say $275. I saw someone say that it was the cheapest plaques gets. The last time I've looked at some plaques, at least for the situation, we were looking at plaques for it. The cheaper one was like $900, I think it was, right? But let's say $275 times 150, you're somewhere at like $40,000, $41,000, right? Just paying for plaques. You can consider that a marketing cost. Eh, but did you already pay the DJs or give them any type of incentive? Don't you have the drop? Don't you have the drop? Yeah, okay, I stopped by the station because that's what that was too back in the day.  They got your voice. All of that is like networking and politicking. And I think like it sucks on the artist's end because you'll see situations where things are moving so fast and artists don't know. They have no idea about the relationship building side of things. They have no idea the impact of their moves based on what they do and they don't do. 150 people paying plaques because that was gonna just come out their own budget, right? That's gonna probably come out to your advance. When your label started getting a whole bunch of people plaques for your song, amen, that's coming out of your budget. Like please believe that's probably coming out of your budget and you don't have to pay it back. And then on the other side, to me this is the solution, right? Oh, everybody who want a plaque. All right, this is what it costs. I'm gonna send out an email. I'm willing to verify that you were able to work this song, you were part of the song, but this is what it costs. All right, go ahead and send in your 275. You know what I mean? We gonna collect this like field trip money and then y'all get y'all plaques if y'all want them so bad. That's the only way we're handling that. Yeah, it's like if you don't want to do it, you're more than welcome to swing by the crib and take a picture with mom. Facts, because that's what you really needed for, right? To make that extra money. You know, you need the official pic.  Everybody pull up, I'm ready. You know, I can switch fit so everybody can't tell that y'all are talking about the same time. I like the way you're thinking. But this is a real thing, man. As long as you're dealing with people, man, people will come with their own agendas, emotions, and it's not a negative thing. We all have our own things, and some people are more sensitive than others. Like, I like to keep myself in situations where, like, hey man, it's great if you show me all the love in the world, but if you don't show me any love at all, like, it's not gonna stop my life and I'm not gonna feel bitter, all right? That's how I like to move.  So, because that's gonna impact my career. You know, maybe because I don't put myself in that position, I don't ever feel some of those emotions. And I think, too, you know, like I was saying earlier, man, we have a platform and we got receipts. If any artist I've worked with, you know what I'm saying?  I ain't leaking this credit card info, you know what I'm saying?  I'm putting the whole nine out, you know what I'm saying? So it would definitely be the one to come for y'all, bro. 100%, bro, it would definitely be me, you know what I'm saying? Because, to your point, it'd be like, all right, I don't need a lot of credit, bro, like as a professional, you only need a little bit of credit to go far as a professional. Yeah, because I mean, he's like, I know how to do, I know how to flip every little scene and create the crew out of it.  I actually don't want that, please don't do that.  Send me a thank you text so I can screenshot it. You know what I'm saying? Don't create more work for me. Exactly, bro, send me an email to the team so I can screenshot that.  You need to just like it. Yeah, and just like it, exactly, bro. Maybe leave a comment, a little flame emoji or appreciate you, bro. That's all I need, bro, I don't need, I don't need to plait for every situation, it's nice, but I don't need it. Yeah, especially we gotta order them. I only want plaits for songs for me that have sentimental value or I must really, really, really love the artwork. Yeah, I feel that. Like, that's it. I feel that. Otherwise, why am I paying the money and then I gotta find somewhere to store it? Let's talk about the fact that most artists fail to understand that it doesn't take forever to monetize your audience. We had an artist literally begin to take off and make $20,000 from his brand new audience in the same month. But how is that possible? It's because we're in a new era, baby. Yes, you wanna continue to build a relationship over time, but the first time you make money from your audience can happen today if you understand the new age music marketing funnel for artists. So if you wanna hear about this approach and how you can apply it to yourself, I made a completely free video to watch at www.nolabelsnecessary.com slash monetize. You gotta make sure you put the www or if you're on YouTube, you can find the link in the description and check out how we help monetize artists for completely free. I promise it'll completely change how you see things.  Like this is a real thing and there's some people in the comments basically confirming that this has happened to them. They've seen this happen to this particular artist, but a lot of artists disagree and I feel y'all. Hardboy Kioti says just because you play a song doesn't mean you broke a record. Breaking a record is about platform and how many people you are touching or what you are marketing, resources, relationships you have in the place that you helped grow a song. If a plaque is that important and you rock with an artist, pay for your own. They can send you that invoice. Hey, that's what I said, man. I will send y'all all of the information. No different than you have to order your own YouTube plaque. I don't even think I have the YouTube plaque out here nowhere. But hey, we got that YouTube plaque we're hitting 100K and then YouTube said, hey, yeah, y'all can get a plaque but you got to pay for it. All this is money. Any plaque you see, a Spotify, a YouTube, a record plaque, any type of award these days are mainly marketing symphonesses and it's a beautiful system because we want to get this carrot and we're gonna use this carrot for ourselves and business so we're gonna pay you for this carrot. Like these plaque monies are caked up, bro. This shit's crazy. B, though, if y'all don't know who he is, a singer, he's an R&B singer.  You do the math. You don't require plaques from the Drake's and Nicki Minaj, Cardi B's, et cetera.  Let's keep that energy across the board. Major love to all the DJs out there. Y'all keep the culture moving forward and we know that. So it's always love when we tap in. Here's another one. Big dog says, bro, YFN and Luchi had 120-pack plaques for every day we lit. 124 key to the streets. I gave at least 75 of each plaque out and still got plaque. Them joints are 175 to $400, depending on the design. Wow, he gave out 75 plaques and still people were hating. See, that's the problem too. Once you start giving it out to anybody, you're gonna create this breeding ground for hate because we were like, well, how come I didn't get one? That's why I like the all or nothing or hey, hey, Brad, you know who I am. Just send me the email if you want it, you get it yourself. So navigating all this stuff, you have to find a balance. When you're networking, how do I help someone else while helping myself at the same time? The mutual win is the way you continue to move forward in this industry. And if you don't, as an artist, understand what helps somebody else move forward, it can very easily become a slight unintentionally and that's why we feel like this topic is so important. Not because of all of the, you know, if, or is it, I guess the details around this situation specifically is more so like the stories of, I remember when, what's his name, Panda Panda Panda designer took off and he took off so quickly, he didn't realize that he needed to build a relationship with the DJs at the stations. And then when he wasn't as hot, so they didn't have to play him because he was just that hot. Now the DJs are like, nah man, you ain't really show us support like that. Now there's the radio DJs, right? So now they're not gonna play your music when they don't have to. And at the end of the day, all of y'all think the same way, artists. Like, of course you gonna do what you have to when you have to, but when you don't have to, you're only gonna do it if you want to. And why are you gonna want to? Cause you're cool with that person. They was a nice person. You believe in what they're doing. Maybe you're getting paid for it. It's gonna be for the regular human reasons. So thinking that other people don't have that same frame of mind or being, I mean, it's kind of wild, all right? Just understand that's what you're dealing with. At least that simple statement. And then from there, hopefully less of these situations will happen to less artists. Yeah, yeah. I feel like too, it could be solved. And we talked about this on the old podcast episode, but artists should fight for every person that works their song or project to be credited. You know what I'm saying? The songwriters and producers get credit, but it should be a little section in the liners that say a little artwork by, you know what I'm saying? I guess it get kind of tricky in situations like this. You can't list 120 DJs on Spotify credits. Yeah, I'm Spotify now. Cause you don't even wanna show those platforms. Maybe it'll see a website or something like that, but that's not as valid to some people these days. I think some artists do a decent job at that though, like showing love to their team as much as possible. And that's a benefit. They don't even have to do that though. On the worker side, the music professional side. Hey man, it's plenty of these businesses where y'all don't get no love for a period. You know, but I know, and artists, this is why the music professionals are more sensitive to this. The music professionals, just like y'all are moving in an industry where they aren't making as much money as they could be. So they want the love. Like they're doing it for the love, many of them. So they want the love, you know what I'm saying? Like, oh, if I'm at this corporation cause it's paying me good, I'm not doing it for the love. I'm doing it for the check. You clear my check. I'm cool, keep the love and take it somewhere else. Take whatever credit you need CEO. But if I'm already over here, I could be making more money. Like I'm staying up late nights, moving different. Yes, I enjoy being a part of the creative process. Then look, just show me a little something, right? Give me a little, little pat on the back. Let the world know that I was involved. I think that's a huge part of, like you said, like people in the creative industries really value those moments that truly step that, hey, I was a part of this moment for real. Cause they put that much into it, that documents the history of their life and they can validate. Yeah, I agree, I agree. Artists, what do y'all think? Have y'all had any moments where y'all feel like y'all took a wrong step politically and didn't even know and learned that hard lesson? Drop that in the comment section below cause we can have a great thread of teachable moments below this video. If y'all do that. That'd be beautiful. That would be really beautiful actually. That would be one of the threads that I would go through every single comment. I'm interested for those stories. Other than that, hey, watch the next video. That's it.


Alright, so this is Gerard Leonhard Futurist, keynote speaker here at Digital London, mediafuturist.com. You were talking about the impact that data is going to have and certainly the role social media networks are going to have there. Could you tell us how you see that progressing? Well, that's what this is about. I think what's happening in the last few years is that users are becoming the content of these services. Facebook, Twitter, YouTube, we are essentially the content there, much like eBay. We are also the content. So the data that we contribute becomes worth a lot to the companies having it. And therefore the likes of Google and Twitter and Facebook have to incentivize us using it, but they also have to give us control over what it means. But basically data has become the new oil, as I like to say. This is not for me, actually, from somebody else, but it's a good sort of meme. It basically means that data is worth so much now that you can ask for stuff in return, as we've been asking for you, for Google. But in a way, data is also becoming sort of a faustian bargain because we're giving a lot and sometimes we don't exactly know what comes back and we may actually have made a deal with somebody that is going to ask for a lot more than we're willing to give. And how do you see that progressing then? Do you feel that people will be more open to giving data or will people receive the amount that they wish to offer? I think the trend is undeniable that when five billion people are connected to the internet, the data flood is going to be among us, and they'll be worth more than oil really. The companies that are entitled to drill into that data, to use it, to harvest it, to mine it, to give us stuff back, they're going to have to be very good at creating value for us, otherwise we'll reject them, or we'll get rid of them because they are essentially, it's like taking oil and putting it into my bathtub rather than making gas for my car. They have to really create value. So this is for marketing people, what that means is that unless they really are responsible and they're really offering good value, so targeted advertising that is completely synchronized with what I like, we're going to reject them. So the bar is going up for marketing, clearly. And in terms of the brands that you see that are already adopting this, is it very much going to pick up the pace quite quickly, or is it going to be a long period where this develops? How quickly do you think this will happen? I think for a lot of brands it especially means that the empowerment of the consumer and the business partners is going to be your mangas, right? And basically they have to embrace the idea that they can't sometimes control what people do there, they have to let them go ahead and trust the user a lot more. For example, Fiat has done this in Brazil where they let people design the next car, and that was the Mio, Fiat Mio was a very important campaign, Pepsi Refresh Project. I mean these kind of ideas are going in this direction, right? Basically when the user is contributing data and I have to synchronize with the user and the customer, then it makes them more powerful. So that removes my sort of idea of buying media, becoming more earned media, but I still have to buy them, right? Because I have to use the data tools. This is a major change in terms of the paradigm. Does that mean that you foresee crowdsourcing becoming a staple of all marketing? I think that term crowdsourcing is a little bit misleading there because we have been doing this for a long time, right? It's going to become a complete standard, right? Because basically crowdsourcing means I'm really synchronizing with the user that I'm interested. So the reason Kickstarter has raised money for 27,000 people is not because somebody is forcing them, or somebody is enticing them in some way, right? It's because they believe in the product, and marketing is the same thing. Ideally speaking, marketing would be the people believing in the product telling others, right? So it's the same principle in general. As a futurist then, where do you see social networks going? Do you see them working together more, becoming what is the future for them, and where do you think they'll all lead in the next few years? Well, social networks are highways now, right? If we don't have highways, we can't drive. So we're driving on these huge highways on Twitter, Facebook, Google, Tencent, QQ, Orkut, you know, whatever it is, right? And that's really crucial for us, right? But they're going to have to work really hard to create a standard, like, you know, on a highway you can't pass on the wrong side of the, on the emergency lane going two on the miles, and how you have to have some rules, right? So they have to have standards, they have to have visibility, transparency, they have to add value, and some of them may even charge for the highway or the bridge, right? Which wouldn't be unreal. So I think quality is going to be a major issue here, quality of the experience, right? So the noise is going to be humongous. So filtering the noise will be a big role for broadcasters. Broadcasters are going to overlap with social media, right? I mean, essentially you could argue Facebook is the next BBC.  So in five years we're going to see a lot of broadcasters merging forces with social media platforms, and of course using APIs and so on. It will be easy. You were talking about the role of paywalls and you didn't seem to keep on the idea where do you think paywalls will end up going? Well, I'm convinced that basically you can't force people to pay on the Internet. You either get them to pay and attract them to pay, or you don't get the money. Forcing people to pay is a scenario that comes from the cable business, you know, cable TV. You don't get to see the program if you don't have the cable, mostly, right? Or buy a CD, you know. In a digital society that is a useless concept. So there's no such thing as forcing them to pay. I always say, I got this from somebody else, I forgot, I think it was Jeff Jarvis, who said it's not about the pay, it's about the wall. We find a smarter way to collect money through bundles, through upsetting, through freemiums. People will pay. I mean, clearly people are paying, right? So it's not the people's fault that people aren't paying for movies or music, right? It's a systems fault of not having the right process and the right packaging. So I think for newspapers and news, clearly if we take away the word paper and put that over here and say, we don't, we need paper, but we need news. People are willing to pay for news in all different sort of permutations and embodiments. You know, because the main thing is for us to get good information in a short period of time for value. The question is about value. Final question. You're talking about telecommunications companies, working with travel companies. Why do you foresee that? Well, telecoms and ISPs and mobile operators are running the network for us, right? And everything we're doing is becoming dependent on the network.  It's cloud computing time, right? So basically the telecoms are going to get involved with all of those businesses because they are able to bundle education, virtual transportation, telepresence, media, you know. And so you'll see all the telecoms creating really interesting scenarios there because if they don't do that, everybody else makes the money and they just have to pay for the shipping.


Ladies and gentlemen, this is Jack Benny. There's a tough job ahead of us in winning this war, and millions of more WACs are needed to help win it. This need is real. It's crucial. And if you have menfolk overseas, this is your way of speeding their return. Enlistment in the WACs means many unusual opportunities for women. There are 239 different jobs to choose from. As a WAC recruit, you can select the Army Air Forces, Ground Forces or Service Forces. Your pay, as an enlisted WAC or an officer, is exactly the same as Army pay. You'll lead an interesting life. You may get a chance for service overseas. The uniform you wear will win attention and respect. It's the uniform of your country. You are eligible for the WACs if you're an American citizen between 20 and 49 years of age with no children under 14. And you can apply at the nearest U.S. Army Recruiting Office. Remember, this is Invasion Year. As a WAC, you can share with our brave fighting men the responsibility and the honor of winning this war. The Grape Nuts and Grape Nuts Flakes Program coming to you from the Army Air Field at LeMore, California and starring Jack Benny with Mary Livingston, Phil Harris, Dennis Day, Rochester and yours truly, Don Wilson. The crops are good this year and there's enough food to go around if we all do our part and back up Uncle Sam's No Point, Low Point food program. That means if we all eat plenty of the swell foods we can get for a few points or no points. Now, one of the foods we're asked to eat more of are cereals with whole grain food values because they're plentiful, thrifty, wholesome and they cost no points at all. All the rich Grape Nuts and Grape Nuts Flakes are two delicious cereals that are crackling full of all around whole grain nourishment including proteans, iron, niacin and vitamin B1.  Yes, doctors and dieticians say you should get at least one quarter of the entire day's nourishment at breakfast. So start the day right folks. Eat a good breakfast, do a better job and enjoy nourishing No Point Grape Nuts or Grape Nuts Flakes every morning. Tonight we're broadcasting from the Army Airfield at LaMoure, California. And now folks, I don't mean to brag, but I've been a radio announcer for 15 years. And a mighty good one too, Don. I know. And of those 15 years, eleven have been spent in introducing Jack Benny. How proud you must be, Don. Eleven long years. Five hundred and seventy-two weeks of introducing Jack Benny. Benny, nothing but Benny, Benny, Benny. Don. Awake or asleep, it's Jack Benny, Jack Benny, Jack Benny. Donzie boy. It's driving me mad. Don! Donzie, kiddo, what's come over you? Not any longer I tell you, I can't stand him. Quick, somebody hand me a wet towel. What happened? Don, we're at the Army Airfield at LaMoure, California and you were introducing me. Oh, oh, yes, yes, I remember. As I was saying, ladies and gentlemen, it gives me great pleasure to introduce America's best-loved personality, a man who is everybody's friend, Jack Benny. Thank you. This is Jack Benny talking. And Don, I was surprised, really amazed at the way you broke down during my introduction. After all, you've been with me for 11 years. I couldn't help it, Jack. It was just something that's been pent up inside of me and I've been fighting against it. Oh, well, how long has this been bothering you? 11 years. 11 years. Why, Don, I remember the day you came to me and auditioned for the job. You were so eager and enthusiastic. Well, for heaven's sakes, that was 11 years ago. When's the audition over? What? When are you going to hire me? I'm trying to force me into making a snap judgment. I've got to think it over. That's only fair, you know. Well, I'm giving him my all to make him, Jack. Either you'll have to start paying me right now while I'm walking off the show. Well, uh... I'm waiting for your answer. Don, don't rush me. My goodness. After all, I can't say... Hello, Jack. Oh, hello, Mary.  Why am I glad to see you? Oh, Jack, what were you and Don talking about? It's not important, Mary. How do you like being out here at the LaMoure airfield, Mary? Oh, it's all right. But as I was walking over here from the PX, one of the cadets grabbed my hat as a souvenir. Well, why didn't you grab it back? I couldn't. He was in a BT-15. Oh, Mary, they, uh, they don't fly that low. They don't, huh? All I know is when they have a date with a girl, they pick their flowers on the way. Really? How do you know so much about these boys? Well, when we got here this morning, one of the cadets told me he'd show me how to fly an airplane. So he went up for two hours. Uh, did you learn anything?  Now, wait a minute, Mary. The cadet didn't take you up without an instructor, did he? That guy didn't need one. Oh. Well, what do you say, Jack? I'm waiting for your answer. I'll be with you in a minute, Don. Uh, tell me, Mary... Mary, are you as popular here at LaMoure as you were at the other camps we visited? Well, I don't know, but that handsome cadet who took me up in the airplane went for me in a big way. Really? Yeah. He wants to impress me and show me how sophisticated he is. Uh-huh. So tonight he's gonna take me to the El Patio. El, uh, El Patio? Yeah, that's Spanish.  Is it, uh, oh, fella, you should see this gang. Is it, is it, is the El Patio crowded? Yeah. A private walked in there one night and came out wearing a second lieutenant for a hat. What do you know, a brass hat? Well, that's very good. That's good.  What's the matter? Can't you see I'm talking to Mary? But you've already talked to Mary. Now, I want a decision or else. Jack, tell me, what's this all about? Mary, it's nothing. Well, I don't know. Every time you say it's nothing, somebody sues you for it. Well... Now, tell me, what does Don want? Well... Go ahead, tell her. Well... Hello, Mr. Benny. Dennis, how are you, kid? Well, if it isn't Dennis Day... If it isn't, his underwear fits me perfectly. No, no, Dennis, when I say if it isn't Dennis Day, it's just a figure of speech.  My underwear? No, no, forget it, kid. Well, anyway, Dennis, I'm glad you're here. I really am. Thanks. Yes, sir, I'm sure glad to see you. You know, kid, I've always had your interest at heart. Gee, Mr. Benny, do you really mean that? Of course I do. And my mother said you were a louse. Your mother certainly doesn't like me, does she, Dennis? No, every time I mention your name, she calls you a louse. Well, then why do you keep mentioning my name? She tricks me into it. Anyway, Mr. Benny, I don't care what my mother says.  Well, thanks, thanks, Dennis. And now, fellas... You've always been okay with me. Well, thanks, kid, thanks, thanks. And now, fellas... You know, Mr. Benny, sometimes I wish you were my father. You do? Well, that's nice. And now, fellas... So does my father. Well, I don't blame him, kid.  I don't know. They keep shoving me back and forth. Oh, well, you must have quite... Jack, I'm waiting. What did you say, Mary? I didn't say anything. That was Don. Oh, yes, yes, Don. Say, Dennis, it's about time for your song. What are you going to sing for the boys? This is a lovely way to spend an evening. Good. Well, go right ahead. Jack, I've waited as long as I... Don, Dennis is going to sing. Please don't interrupt him.  Take your time, Dennis. Take your time. Never, never... Go and sung by Dennis Day. That's very good. There's nothing better than listening to your voice. And now, fellas... What else can you do with it? I wouldn't know. And now, boys... Say, Mr. Benny... What? Did you hear Fred Allen's program last week? No. No, I never listened to Allen. Every time he's on the air, I put my radio out in the garden to get rid of the Japanese Beatles. Gosh, does Mr. Allen's program kill the Japanese Beatles? No, but after ten minutes of listening to it, they tap on my window, I hand them a knife, and they commit Harry Carey. Allen's is sort of a coast-to-coast flit gun. You know? I heard his show last week. And you know what Allen called you? I don't care. He said you were the Surrey with no fringe on top. That's clever. The Surrey with no fringe on top. Oh, hubba hubba hubba.  Listen, Mary, I played in Borderville with that guy, and I know just how funny Allen is. He'd start off his act by laying an egg, and for an encore, he'd hatch it. So don't tell me about Allen. All right, Jack. When he played a theater, it was so empty, the balcony came down and sat in the orchestra. Don't tell me about Allen. All right, Jack, all right. And what a hammy is for applause. In one theater, a mousecrap happened to snap shot, and he took four bows. Don't tell me about Allen. I know, I know. You said it. And now, fellas, and now, how do you like an ungrateful guy like that? Oh, well. Hiya, Jackson. What's all the excitement about? Oh, hello, Phil. Hey, Jackson, what's the Wilson laughing about? Who knows? Go ahead, Don. Tell Phil a joke. Okay, get this, Phil. Hey, Fred Allen, hold your stomach still. You're air conditioning the theater. It's supposed to be a gag, Phil. A gag?  Remember, I figured out her age for you last week. Oh, yeah. And you know something Jackson and Alice knew it all the time. Really? Yeah. Well, well, well, well, Phil, it's a shame. It's really a shame.  It's too bad you didn't have better schooling. Well, it ain't my fault, Jackson. You see, my folks wanted me to be a great musician. A great musician. Phil, it took you five years to learn how to put a nickel in a jukebox. Well, Jack, I've never seen you put a nickel in a jukebox. Maybe not, but I know how. Anyway, look who calls himself a great musician. Oh, what are you talking about? I'm getting along all right. I'm doing as well as Harry James. You're doing as well as Harry James. Certainly, Alice is just as pretty as Betty Grable. Well, looking at it from those angles, from that angle, I, uh, I must, I must agree with you.  Just what instrument of any do you play? Are you an angler?  I played drums for 12 years. Oh. Say, Phil, if you played drums for 12 years, how come you became an orchestra leader? I lost one of the sticks. Well, I'll... I'll give you the address of Uncle Dan's flop house in case you lose the other one, you know? Anyway, Phil, I'm a better musician than you are. At least I'm not afraid to play my instrument. No wonder. You've got the only violin in the world with a built-in foxhole. Built-in foxhole, built-in foxhole. When Jack plays, the fox comes out and takes up a collection. Mary, I had to let the fox go. He wanted a 10% cut. I can go along with a gag. Say, I'm kind of foxy myself. You're too old to be wolf-y. Dennis. Don't be mad. I don't know what it means. Well, if you don't know what you're talking about, be quiet. Now, Phil, as long as you've got one stick left, how about shaking it at your sad sack musicians and see if a... see if a band number comes out? Okay. Wait a minute, Phil. I'll take the phone. Hello? Oh, how are you? Yes, I'm broadcasting from the LaMoure airfield today for the soldiers. What? You'd like to entertain at a camp, too? Oh, sure. You needn't be afraid. Soldiers are wonderful audiences. Of course they'll laugh at you. Sure, sure.  You're welcome. So long. Who is that? Bob Hope. Just one more time. Let me do the things that I used to do. Let me sit down to some people, too. One more time. Just one more time. You can ball me out. You can call me names. You let me play those parlor games. One more time. Just one more time. Eating all alone, being all alone. Making me lazy. Walking all alone, talking all alone. Driving me crazy. One more time. Just one more time. You can call me names. You can drink by gin. If you'll snap that lock and let me in. One more time. Walking all alone, talking all alone. Driving me crazy. One more time. Just one more time. Let me touch that skin I love to touch that I didn't think I'd miss so much. One more time. Time's sung and played by Phil Harris and his makes you want to go to Hanford Orchestra. Now, kids, before we go any further, in fact, I meant to tell you about this at lunch. I had the funniest dream last night. It was so realistic, and all of you kids were in it. We were in your dream? Yes, it was the strangest thing. You see, I dreamt I was an air cadet here at Lemur. And Mary. Yes. You were my girlfriend. And Phil. Yeah. You were my flight instructor. And Don. Yes. You were my pal. And heavy. Oops, wrong dream. Anyway, I was so tired, I thought... Now, wait a minute, Jack. I'm not going to be your pal even in a dream unless you give me your answer. Are you starting that again, Don? If you waited 11 years, you can wait till the end of the program. And incidentally, you've got a commercial to do, so let's have it. Until you give me your answer, I'm not doing any commercial. Oh, you're not. Well, let me tell you something, Don. If you think you're the only one that can do it, you're sadly mistaken. What do you mean? It takes years to become a good announcer. Oh, yeah? Well, I'll just pick anyone here. Hey, wait a minute. There's the bus driver, the guy that drove the boys in the band up here. He can read it. Hey, driver, come here a minute. Yes, sir. Now, driver, take Mr. Wilson's script and read what it says near the bottom of page 10. Okay. I'll show you, Wilson. Now, go ahead, driver. Ladies and gentlemen, when you get up in the morning and want a good breakfast, why don't you try grape nuts or grape nuts flakes? They're multirid sweet as a nut and both have whole grain nourishment. Very good. Very good. Grape nuts are delicious and new, new, new... Tricious. Grape nuts are delicious, new and delicious. No, no, it isn't new and delicious. It's nutritious. Oh, you know I drive a bus. I know, I know, I know. Continue.  That's ounce. You know I drive a bus. I know. I know you. I know.  In the big 12 ounce package, they're delicious with sugar and... Well, what's the matter? I gotta turn the page. All right, driver. What's taking you so long? I always stick up my hand before I make a turn. They're delicious with sugar and cream. They're not rationed and they're very econ... econ... You know, I drive a bus. I know, I know. Now finish it. Nomical. Hmm. So remember my motto, eat a good breakfast, fast and do a better job. Let's eat a good breakfast and do a better job. Anyway, thank you very much. You're welcome. Hey, you know Mr. Benny, back there where I stuck my hand out to turn the page. Yes. That was a joke. Well, it was very clever. Very clever. Now go over there and sit down. Hey, Mr. Benny. What, kid? If you ever want a singing commercial, I can do it. A singing commercial? You can? Sure. Oh, what a beautiful morning.  I've got a beautiful feeling that grape nuts and grape nuts, flakes with sugar and cream are coming my way. George Burns can sing it that good. Hey, that's kind of cute, though. You think it's too subtle? No, no, no, no. We'll use it sometime.  I can do that, too. Well, look, it may be some other time, drive. Merci d'autre, sainto. Merci d'autre, sainto.  Wouldn't you? That's fine. That's fine. With cream and sugar. That's enough. Look it. That's enough. That's so delicious. Now cut that out. Why, what's wrong with grape nuts? Nothing. I don't want to hear any more singing. Now, as I was saying, I'll get it. I hope it's a sponsor. Quiet. Hello? Hello, Mr. Benny, this is Rochester. You were supposed to be here two hours ago. Where are you? Stop on the road. I'm out of gas. Out of gas? Are you sure? Yes, sir. I just looked at the gauge. Oh. Well, where does the needle point? To the nearest gas station. Well, get some gas and pick me up after the broadcast. I got bad news on that, too, boss. I left in such a hurry. The wrong ration book. Well, there must be some way you can get the car out here. Not unless it'll run on hamburger. Never mind that and get started right away.   This is going to take long with our thought. Rochester, who are you talking to? A lady who's having car trouble, too. Oh, sure. Sure, I suppose she also ran out of gas. And at the same time, I suppose she even ran out of gas in the same place. In fact, in the same car. That's what I thought. Rochester, you know you shouldn't be driving around with girls when you're supposed to be working. It was purely accidental, boss. I was getting into the car. Yes? When I noticed in the car parked behind me the most beautiful girl I ever saw. She was a home dinner. Rochester, you fall for every girl you see. But this was different. She's gorgeous. Oh, stop exaggerating. No, really, boss. It's just like looking through Esquire with smoke glasses. Stop that and get here right away. Goodbye. Oh, Rochester, where are you calling from? I just stopped in a place here to have a Thomas J. Collins worth. A Thomas J. Collins worth? What's that? A lock. Well, get out of there and be quick about it. Goodbye. Goodbye. What are you laughing at? A surrey with no friends on top. Don that rock, eh, Phil? He couldn't have used it for a chaser. I don't know. Say, Mr. Wilson, you know I'm a bus driver. Yes, yes, my good man. We all know that. And now, friends, just a word about delicious grape nuts. Hey, Mr. Wilson, could I read the commercial? Now, look, you've had your chance. Now, I'm doing it. Well, this time I can do a better job. Well, just what makes you think so? Because I just ate a good breakfast. What? Well, you can't eat breakfast at this time of day of supper time. Oh, gee, I never thought of that. Well, now you think of it tomorrow morning. Then eat a good breakfast and do a better job. And be sure to include grape nuts. Not your only. For grape nuts with that sweet as a nut flavor, that distinctive texture provides all around whole grain nourishment. One type of nourishment recommended by nutrition experts is a daily breakfast must. Yes, grape nuts are delicious, nutritious, thrifty. So, friends, if you want to be able to read commercials, eat a good breakfast, do a better job. And feature tempting, malty-rich grape nuts, an American favorite for over 40 years. I want to thank Colonel Maughan, Captain Blair, Captain Loughlin, and all the men here at the LeMour airfield for their wonderful hospitality. Good night, everybody.