Good health to you all from Rexall. It's the Phil Harris Alice Bay show presented by the makers of Rexall drug products and 10,000 independent Rexall family drugists. Good evening and happy Easter from 10,000 independent Rexall family drugists. Tonight we have some unusually important news for you. This coming week in five different magazines you'll be seeing a double-page advertisement telling you about Rexall spring one cent sale that starts April 20th and runs through the 24th. This ad will appear in life, look, the Saturday evening post, colliers, and the farm journal and it contains 197 different items. All of them regular Rexall branded guaranteed merchandise and all of them offered to you at two for the price of one plus a penny. These items and many more are available at any Rexall drug store in the country. So it's a nationwide chance to buy twice as much for a penny more. Watch for this ad. Check what you need in advance and use the ad as your shopping list. Remember it appears this coming week in the farm journal, colliers, the Saturday evening post, look, and life. And when that money-saving date of April 20th rolls around, remember you can depend on any drug product that bears the name Rexall. Good health to you all from Rexall. And now your Rexall family drug is bringing you the Phil Harris Alice Faye show written by Ray Singer and Dick Chevrolet with Elliot Lewis, Walter Tetley, Robert North, Jeanine Rousse, and Whitfield. Walter Sharpen is music, yours truly Bill Foreman and starring Alice Faye and Phil Harris. Yesterday being the day before Easter, Phil insisted on telling the children the story of the Easter Bunny. So let's go back to yesterday and listen in while Phil tells the story in his own inimitable fashion. And so you see kids, when you're asleep tonight, the Easter Bunny will drive up with his reindeer, come down the chimney and put the colored eggs under the tree. Well, you have the wrong holiday. Wrong holiday? Oh yeah, of course. I got it mixed up with the 4th of July. That's right, Wonga. Easter is the day when if the turkey comes out and sees his shadow, you know it's six weeks until Labor Day. So that's how they know when Labor Day comes, huh? Daddy, do you believe in the Easter Bunny? Well, sure. Me and Frankie see him quite often. What does he look like?  We know what Uncle Frankie looks like. Well, that was the... I see what you mean. Yeah, there is a similarity, but you know something, kids? I talk to the Bunny all the time. Oh, father, please. What's the matter? Don't you kids believe me? What are you, a couple of clinics or something? Tell you a beautiful story about the Easter Bunny and you don't believe me. I believe you, Phillip, and please go on, you intrigue me. Well, if it isn't Uncle Wiggly, pull up a cabbage and sit down. You kids will think differently tomorrow morning. When you see the eggs my friend, the rabbit leaves tonight. You'll think differently, all right. Come on, Alice. Let's leave these two little disbelievers here. Who leaves that corny funny story? It figures. Jay poor daddy. He'll be awful disappointed if that rabbit doesn't show up tonight. We've got to do something about it. What can we do? It's simple. All we have to do is find a big rabbit that can talk.  Where can we find a talking rabbit? I know a guy. Where do we find this guy? Well, you know, daddy's other radio program. You mean the one that he stars on for Lucky Strike? Yes. Well, there's a suit on that program who can talk like a rabbit. Oh, I don't think Mr. Benny can talk like a rabbit. Alice, Mr. Benny is not a stooge. Daddy says he's the best straight man he ever had. Anyway, I'm talking about Mel Blank. He's the one who plays Bugs Bunny in the Warner Brothers cartoon. Oh, yes, he's wonderful. Let's call him and see if you'll dress up in a rabbit suit and come over. Yeah, and will daddy be surprised? But remember, we got to keep it a secret. We'll tell Mr. Blank to come to the back door. Alice, wait a minute. You don't have to tell me. I don't believe in the Easter Bunny, but children should. Gee whiz, I want them to live in their little world of make-believe as long as they can. I want them to have faith in the little sprites and elves who cavort through the fiction of fairy tales. Thank you, Mother Goose. Okay. Now, do you know no rabbit's going to show up tonight? I know, I know, I know no rabbit's going to show up tonight, but tomorrow morning when the kids wake up and they find the colored eggs and then they'll think that the bunny was here. And that must be Frankie, I'll get it. I told him to get a dozen eggs and some dye on his way over. Oh, hello, Franklin. Hiya, Curly. Well, I got the stuff you wanted. You get the glasses and nutmeg and I'll mix it. Glasses and nutmeg for what? I told you to bring eggs and dye. Oh, I thought you said eggs and rye. Remly, listen to me. I wanted the color eggs for the kids. Now you made a mistake.  Now we will have to make an eggnog. Yeah, this is going to be a great Easter for the kids. When they get up in the morning and go looking, they'll find eggnogs. Don't worry, but we're going to put them in and find them. Frankie, we ain't mixing eggnogs. Now we're going to spend the evening coloring eggs. We're going to do what? Color eggs. Oh, we'll have loads of fun, Frankie. We'll take all the colored dyes and mix them with water and then put them into bowls. And then we'll take the eggs and dip them in gently and they'll come out beautiful colors. Such as violet, fuchsia, cerise, chartreuse. We're lobby dog. Sounds like a racy evening. Look, Remly, this is for the kids. I want them to believe in the Easter bunny. Now look, you've got the wrong stuff, so you'll have to go back to the store and get some dye. All right, I'll exchange it. I'll take back the rye. Don't touch that bottom. It has a color all its own. Old fuchsia. We're going to dye eggs. What do you need the bottle for? We'll use to crack open the eggs and get going. Okay. While I'm gone, do me a favorite thing. Why do you want me to sing while you're gone? Better than having you do it while I'm here. Well, he wouldn't understand this number anyway. Ain't I got the song of the Robin? Ain't I got a roof in the sky?  Ain't I got the planes in the mountains? Ain't their treasures mine if I try? My blessings I'm counting and counting a son of God's country am I? I've got the sun up in the sky. The streams when I am dry, the fruit of the boughs of the trees. The clouds bringing me rain, the fields giving me grain. Thanks to the maker for the aid I got a love, kids to make my care. May not be in heaven, but I can't be far away. A son of God's country am I? The streams when I am dry, the fruit of the trees. May not be in heaven, but I can't be far away. A son of God's country, one of God's children am I? Well, I can do it, but I don't know if I ought to. You see, I don't like to fool people. But you promised us you're not going to go back on your word, are you? Of course not. What do you think I am, a wealth rabbit? Rabbit good jokes? Well, it's kind of hard to pass myself off as an Easter bunny. You know, kids are pretty hefty these days. Who is this backward child you want me to fool? Our daddy. He believes in the Easter bunny. He believes in the Easter bunny? Oh, he's been nibbling on tainted ham hocks. Hey, does your mother believe in us too? No, so don't let her see you. You sneak into the living room and sit in the corner and we'll send daddy in to see you. And don't forget, if mommy comes in, hide. Okay. Come on, fellas. We'll tell daddy we have a big surprise for him in the living room. Oh, daddy.  If you go in the living room, we have a big surprise for you. Surprise for me? Oh, gee, that's wonderful. Hey, thanks, kids. I'll go right in. Oh, gee, it was nice of the kids to get me something for Easter. Guys, I hope it's a potted calla lily. Wonder where they put it. I don't see anything. I got to take care of the water on my knee. It's gurgling. What's that sound? Seems to be coming from the corner. Oh, it's just the Easter bunny. I knew it'd show up and wane on me. Wait a minute. Get a grip on yourself, Curly. Oh, now I'm seeing rabbits. And look at the size of them. I can't understand it. I haven't touched a drop in two months. I've been fighting it. I've been fighting it too hard. I'm suffering from battle fatigue. You're not really there, are you, bunny? Alice, come in here. Bill, what's wrong? Alice, look in the corner. A rabbit with a glandular condition. What are you talking about? There's nothing in the corner. I don't see anything. He's right over. He's gone. Who's gone, dear? Alice, I saw a six-foot Easter bunny sitting over there. I know, dear. He was dressed in white fur, and he had pink eyes and big ears, and he was wearing a high hat. Don't be funny. He wasn't wearing a high hat. It was a derby. It was a derby. Didn't you see him, Alice? Of course not, Phil. You're seeing things. Now lie down, dear, and I'll go get you a cup of hot tea. Tea? Poor Phil. What's wrong, Alice? Oh, it's Phil. Willie, he's seeing six-foot rabbits. What should I do? Cut down the water pressure in a shower. It's beating his little brains out. Willie, this is no joking matter. He's seeing things, and I have to snap him out of it. Alice, I have a suggestion. If he thinks he's seeing six-foot rabbits, why don't you get a six-foot rabbit and actually let him see it? Uh, how's the water pressure in your shower, Phil? I know. I mean hire somebody to put on a costume. Do you remember Julius in that Easter play last year? He wore a real rabbit suit, and you couldn't tell him from the real thing. Oh, I see what you mean. Willie, you call Julius and tell him to come over here and his rabbit suit as fast as he can. I bet he will, sis. Oh, this'll do it. Because if there is a rabbit for Phil to see, then the one he thinks he sees won't be the one he didn't see, because he really will see the one... Oh, I'd better check the water pressure in my shower, too. I'll have to sing my way out of this. We've got to stay with the happy people in the land of joy. Happy people, life is a Christmas toy. Down with the endless ages, tears have been contagious and take it from me that misery is looking around for company. So stay, stay, stay with the happy people. Don't wrinkle your brow, it's extremely out of style. Just stay with the people who love to wear a smile. Smile, smile, smile, won't you wear a smile? Smile, smile, smile, won't you wear a smile? If you want to stay with the endless ages, tears have been contagious and you could take it from me that misery is looking around for company. So stay, happy people. He'll be right over in his rabbit suit. Oh, good. And when he comes, we'll sneak him into the dining room. Where's Philip? Oh, he's still in the living room resting. Let's not disturb him because it's been quite an ordeal. It's the most ridiculous thing that ever happened to me. If the rabbit was sitting in that corner, Alice would have seen him. But she didn't see him, so he couldn't have been there. He's beginning to feel a little better. For a minute, I thought I was off my trolley. Clank, clank, I'm derailed. I got the dying. What's the matter with you?  Oh, I just saw worse than that, Brimley. Now, take a look in that corner behind me. Please tell me that there's nothing there. Well, I don't see any. Oh, hi, Harvey. Oh, I got the dying. Wait a minute. You mean you not only see him, you know him? I ought to. I haven't seen him for years.  Yeah. Oh, wait a minute. This one ain't mine. The one I always see is pink and has a long trunk and tusks. But the egg yours, where does he come from? Why don't you ask him? Oh, sure, sure. I'll just walk up to him and say, hey, Rob, where are you from? Pasadena, Doc. Hey, I'll make him believe I didn't hear him. He's talking English. You're lucky. Mine talks elephant language. I can't understand a word mine says. Well, you cut that out. Now, look, this is serious. Remly, we got to pull ourselves together. A rabbit can't talk. But, Curly, we just... Never mind. Now, just repeat after me. A rabbit can't talk. A rabbit can't talk. A rabbit can't talk. Keep on it. Remly, get it again. There's something phony about this rabbit. He sure is a stupid-looking thing. I've never seen such red eyes. Hey, look who's talking. Now, just a minute, Rabbit. My red eyes have... All right, Frankie, stop talking to him. Look, Rob, I can't take any more of this.  Oh, yeah, don't get tough with me, Doc, or I'll cut off your foot and make a good luck to him out of it. Come on, Remly. Let's get out of this room. You don't have to urge me. Curly? I'm throwing away the nutmeg. Seeing talking rabbits is time to quit. We didn't really see him. Put that nutmeg back. I tell you, we just imagined it. There's no such thing as a talking rabbit, and I'll forget about it and don't ever... I'll fail for you. Come on, honey. Now, look, Remly, not a word to Alice about this talking rabbit. All right, all right. Uh, what's the surprise, honey? Oh, a friend of yours is here. Look over in the corner. Where? Oh, no, another one. Frankie, I got another rabbit. Capitalist? You got two rabbits. All I got is one lousy elephant. Alice, tell me there's nothing in that corner. Oh, but there is, honey. This is what you've been seeing. This is your Easter bunny. Oh, no, no, no, it ain't mine. Mine's in the living room. This one's yours. So she's got one, too. Congratulations, Alice, and welcome to our fold. Alice, will you listen to me? This can't be the Easter bunny. I was just talking to him in the living room. He must be in... Oh, yeah, just wait a minute. Hey, Rap, come in here a minute. Now, Phil, please. This is the Easter bunny. If you saw another one, it was just a figment of your imagination. Who are you calling a figment, Blondie? You stay out of it. Boy! Told you there's two of us. And what do you mean two of us? I'm the Easter bunny. Hey, you! You're waking the wrong side of the street. I've had this territory for years. We got a new landlord who didn't allow children. Rabbits, you can break it up now. And Julius, you can climb out of that rabbit suit now. Okay. What's the idea? What are you trying to pull? Oh, it's my fault, Phil. I hired Julius to play the Easter bunny. Well, what about the other one? That one I don't know about. Oh, I guess I'd better run masked, too. Look, Phil, it's me. Well, Mel Blank. Yeah, the kids hired me to play the Easter bunny. Oh, for goodness sakes. What a family. How wild can you get? Hiring two people to play rabbits. Well, thank goodness for one thing. I'm not crazy. Ah, Curly. I hate to tell you this, but a third rabbit just came in. Look, another one. Ha-ha, nah, nah, you don't. I'm not gonna fall for this again. Hey, buddy.  Nobody hired me. Well, what's your name? Who are you? My name is Peter. I'm a wheel-wabbit. Back in just a moment. But right now, here's a lady with a question for our Rexall family drug. I want to know more about the ad on Rexall's one-cent sale. Well, ma'am, the ad appears this coming week in the Saturday evening post, look, life, colliers, and the farm journal. And it contains 197 items offered to you during Rexall's one-cent sale at two for the price of one plus a penny. What an opportunity to save. You said it, ma'am, a two-for-one Rexall opportunity.  Every one of them a twin bargain. Every one of them going at two for the price of one plus a penny. Now, in front of every item, there's a little square so you can check what you need in advance. Why I can use the ad as a shopping list. That's exactly what we intend it to be. It's your big chance to stock up for months in advance. Or you can team up with a neighbor or friend and share the savings. Yes, on April 20th, the starting day of Rexall's one-cent sale, you double your buying power by simply adding a penny. Where did you say the ad will appear? In life, look, colliers, the Saturday evening post, and the farm journal. You must get one of those at your house, so remember to watch for it. And remember also, you can depend on any drug product that bears the name Rexall. Good health to all from Rexall. This is Phil again. Folks, the Red Cross belongs to you. You are the Red Cross. National headquarters in Washington has told us that this year's quota is far undersubscribed. And as we all know, today's cost of food and shelter is higher than ever. So for every dollar you gave before, this year add a quarter more. Good night and happy Easter. Happy Easter, everybody. This program was produced and directed by Paul Phillips. Included in today's cast were Mel Blank and Arthur Q. Bryan. The part of Frankie Remley was played by Elliot Lewis and Julius was played by Walter Tetley. Alice Faye appeared through the courtesy of 20th Century Fox. Watch for the double page ad on Rexall's one-cent sale this coming week in life, look, colliers, the Saturday evening post, and the farm journal. Sale starts April 20th. Mark the date on your calendar. It's your chance to buy two top quality, guaranteed Rexall products for the price of one plus a penny. Sam Spade, then Joan Fontaine in Theatre Guild on NBC.


Hi, I'm Lida Abdul. I was born in Afghanistan and At the moment, my practice takes place in Afghanistan mainly I will sort of talk you through my work and show you some earlier work from the 90s that that I feel that fits the topic of this show and my relationship to Gender and the issues that I've been sort of grappling with as an Afghan artist and as you know Afghanistan Sort of is a place that in one sense It's become a metaphor for not only For war for 25 35 years of war now But it's also has become a metaphor for a struggle that Afghan women are going through on a daily daily basis So I will go ahead and show you some of my earlier work, especially this one which I feel abstractly deals with these issues of feminizing the the textual space I've done a series of work with with this with the idea of the veil Few that I'm not able to show today They're called unveiled and various different objects are coming from my mouth like honey and so on and they're called global porn and You know this question of veil has been a subject for a lot of artists from the region and And it's also, you know as something that it always comes up and I find it's sort of problematic because I feel that it's sort of Something that sort of hold on to both from the Western Perspective side and from the wet from the Eastern as a means of as a symbol of freedom and Liberation So I want to talk a little bit actually about the piece that's here in In the museum is called the White House and it's a it's a large building that was bombed a few years back and it is It's it's a particular building that is close to the presidential palace in Afghanistan So it was formerly part of the I was used for It was part of a government agency and it's a beautiful House with sort of Greek Roman Architecture and this building was is sort of shuttered into pieces and there are a few pillars that are still standing and I decided to I was representing Afghanistan the Venice Biennale in 2005 and and It was a sort of a you know something that I was struggling for quite a long time how do you represent Afghanistan in a way and and that was the piece for me the That I came up with where took two or three days to You know paint this whole area white even though rub the little tiny sort of stone that's left of the building and It's turned to this gigantic sculpture and it's and it's completely transformed and at one point this man comes across my painting stroke and even he is painted his back is painted white and And at the end these sort of these animals take over the space so for me this was sort of a symbol of You know what Afghanistan somehow has become it was a met it's a metaphor for Afghanistan, but the idea of of Me painting these ruins white was sort of very important Just for me because as an as a as an artist as a woman Not only I'm not veiled in that piece because I didn't want it to be about that But also in a sense I have I Painted even these man that comes across that you know this this this performance And for this particular show, I don't think the pieces in It's not meant It's not installed the way I want it to be installed. It's an installation piece It's supposed to be sort of shown by itself in a loop a continuous loop, but Anyhow And the kind of work that I'm doing now is it's slightly different and I'm constantly in Afghanistan and I'm constantly making work there and it's it's a It's a difficult place to make work and The issues of gender obviously comes on on a daily basis on constant basis There's a lot of a sort of resistance That I feel on you know every day when I make work and every day that I'm on the street and and having to just Go through the bureaucracy to get permissions It's difficult as an Afghan woman to do that and oftentimes, you know when I am shooting like the most my recent piece that Was shot for the Biennale of Moscow. I Was, you know personally threatened Not to make work So those are some of the things that you deal with as a woman in Afghanistan But the question is to you know for me that's important is that That the resistance does not stop, you know by the fact that I'm there And continuously making work. I feel that that's somehow a kind of change is taking place and So I will show you some work. It's called military body And it's in the back So this is a continuous installation as a continuous loop so it would be again an installation setting I Will take you to this Series of work that I did in Kabul this was done in 2002 before the White House and This particular piece what I what I've I started a project for myself where I started painting military equipment like tanks and helicopters and any any Any debris that was left over That's sort of begun It's you know, like I said in 2002 and it's a sort of a continuous project until now where One of my recent pieces. I'm taking a huge Military plane that's shot down was which has over 3,000 bullets That's gone through it and it will be an instance a piece of performance with with the kids in Kabul So it's so these are ongoing projects Not coming up on the screen, but it's not sure what happened. No We'll try something else because it's not coming up on my laptop Okay, my DVD is not working Well, anyways, I can fully I can sort of describe the the piece Where I'm going through different cities streets in Kabul and finding these military equipment There's a there's a particular car, which I've picked. It's it's it says disarm on it and it's painted in the green military color and It's basically there's a skeleton of it left and there's nothing else and I sort of continued continuously paint this particular car and it goes on to tanks and And helicopters and things like that so they somehow become visible for me and They become they sort of take a sculptural quality That I feel You know, I feel like they they need to be used, you know, they're sort of taking over space and their ice wars So my projects now, I'm working quite a bit with kids like I mentioned kids from the kids from the street and And with ruins because Oftentimes when I do have projects that deal with women that I need actresses It just becomes impossible task. I can't get them to sort of participate Because of the personal problems that they might have in the future So I therefore I work oftentimes from people on the street men and children so Hopefully that will change in the future where you know, there will be much more sort of Freedom in terms of media It's happening, but it's a little slow And if you have any questions, I will be around in the museum. Thank you