Old Radio: December 25, 1942: 'Victory Parade's Christmas Par...: December 25, 1942: All day long, Coca-Cola sponsored Victory Parade's Christmas Party of Spotlight Band s, transmitted on NBC Blue N...
A monograph sponsored by the National Park Service states the following about the Victory Parade radio program:
An Overview of The Spotlight Bands Series
In the fall of 1941, the Coca Cola Company signed a twenty-six week con¬tract with the Mutual Broadcasting System (MBS) to air over 125 of its stations, the best of the big bands six nights a week. Monday through Friday, for a quarter of an hour from 10:15 to 10:30 pm Eastern Standard Time, five different bands appeared from the stage of the new Mutual Theater in New York City. The building which held a capacity of 1,000 guests had been the former Maxine Elliott Theater on West 39th Street that the network had acquired and renovated with the most modern of broadcasting equipment for the new series. Sixty percent of the programs originated from these facilities with the remaining forty percent being split between Chicago and Hollywood.
The Kay Kyser Orchestra was the first band to broadcast from the theater on November 3rd and for the next four evenings the melodies of Guy Lombardo, Sammy Kaye, Tommy Dorsey and Eddy Duchin were heard across the nation. The Saturday segment known as the 'Silver Platter' portion aired at the same time but was thirty min¬utes in length, 10:15-10:45 PM. However, unlike the Monday through Friday bands, the one on Saturday was not selected by the network. Rather, this time spot was kept open for the leader rolling up the largest nation-wide record sales during the previous week, thereby creating a mystery band for the listening audience each Saturday evening. The first 'Silver Platter' winner was the Freddy Martin Orchestra which had been selected because they had amassed the greatest amount of single sales the previous month with their recording of Tchaikovsky's classic, Piano Concerto in B Flat, featuring pianist Jack Fina.
Within a relatively short time, the Spotlight Band broadcasts became the most popular big band draw on the radio dial. The result was that the network rescheduled the series into an earlier primetime slot for greater audience exposure. With the February 2, 1942, program featuring the Benny Goodman band, a change was made to 9:30-9:45 PM Eastern War Time weekdays and 9:30-10:00 PM for Saturdays.
As the series neared its twenty-six week completion, negotiations between the network and the sponsor to renew stalled. The last performance aired on May 2, 1942 and featured the Harry James Orchestra from Hollywood. (As a footnote, the James band won the most 'Silver Platters' in the first series totaling seven including the last six Saturdays in a row because of their hit recording, Don't Want To Walk Without You, featuring vocalist Helen Forrest).
Throughout the summer, negotiations with the network and Coca Cola con¬tinued but to no avail. For various reasons, the soft drink firm decided not to re-sign with Mutual. The “music trades” reported that the sponsor wished to become more involved in the war cause and were determined to return the program to the airwaves in the fall with a “new look”. By mid-August, Coca Cola had agreed to terms for a sec¬ond series with the Blue Network, soon to become the American Broadcasting Company or (ABC).
The first move toward the “new look” for the series was a name change to “The Victory Parade of Spotlight Bands”. With America now in the War, Coca Cola insist¬ed that their presentation be geared as much to the entertainment of the fighting men on both the home and training fronts as to its civilian audience. The format of six different bands each week was retained, but the nightly broadcast time was extended to twenty five minutes, 9:30-9:55 PM EWT. The last five minutes of each half hour was devoted to local news. Another important new feature was that the listening audience became directly involved with the selection of the weekly bands. A combination of two polls rather than record sales now determined which band played and where. The first involved the civilian listeners who voted for the bands they wanted to hear each week and the second was the “Victory Poll” open only to service personnel and defense work¬ers who, with their votes, determined the different nightly locations. The most signifi¬cant difference from the original series was that the broadcasts now aired directly from the various military installations, hospitals, and war plants throughout the country. Not only did Coca Cola send the bands to these locations at their expense, but, each time, the bands were booked and paid to play a three hour engagement. Also, for the first time, the radio shows in this series were numbered by the network. The importance of this notation will become apparent shortly. (Ironically, the first band to start the second series on September 21, 1942, was the Harry James Orchestra performing from the Marine Base on Parris Island, North Carolina).
On December 25th, Coca Cola sponsored a special presentation entitled, “Uncle Sam's Christmas Tree of Spotlight Bands”. This big band bonanza went on the air at noon EWT with the Sammy Kaye Orchestra from Fort Monmouth at Red Bank, New Jersey, and with few interruptions moved west and closed at midnight featuring the Tommy Dorsey Orchestra at the San Pedro Naval Base, San Pedro, California. A total of forty-three different bands, including Benny Goodman, Louis Armstrong, Gene Krupa, Duke Ellington and Fletcher Henderson, participated in fifteen minute segments from all over the country. The music marathon was the largest of its kind ever attempted on a coast to coast radio network.
As the twenty-six week contract with the Blue Network ended in March, 1943, the Coca Cola Company appeared pleased and signed on again for the next two years. At this time Armed Forces Radio Service (AFRS) became involved with their own version of the band series. AFRS began, on March 22, to record the network programs direct from radio and telephone line feeds onto acetate lacquers in their studio facili¬ties. Later the programs were remixed and edited down to a fifteen minute format elim¬inating any mention of the sponsor. A new musical introduction and announcements by an AFRS broadcaster were then added. These new versions were pressed onto 16-inch transcription discs and distributed via AFRS to radio stations within their network around the world. (As a further footnote, many of these discs have survived till today and have proved a valuable asset in logging the specific whereabouts of the hundreds of bands at the time as well as the contents of their performances).
The first band that AFRS recorded for their purposes was the Hal McIntyre Orchestra. This program was #157 in the network series and assigned #1 with AFRS. This meant that originally there was a numerical difference of 156 between the two list¬ings. However, in October a discrepancy occurred when there appeared to be no pro¬gram #177 in the AFRS series. Many theories have surfaced in an attempt to explain this error. However, to date, no explanation has held water. Therefore, from this point onward a numerical difference of 155 existed between the series. For the next two years the Victory Parade of Spotlight Bands program numbering continued through #858 on the network and #703 on AFRS until Saturday June 16, 1945 with the Eddie Oliver Orchestra. At this time Coca Cola ended its six nights a week broadcasts and long term relationship with ABC.
However, two nights later, on June 18th, the Spotlight Band programs were back on the air when Coca Cola again teamed with Mutual (MBS), their original network partner, from the fall of 1941. With this move came a cutback in airtime for the bands. Instead of six nights a week, they now only performed three nights: Monday, Wednesday and Friday at the same time. The first band to broadcast in the new week¬ly format and initiate the third Spotlight Band series was the Tommy Dorsey Orchestra followed on Wednesday by Vincent Lopez. The Friday spot was pre-empted. For the next nine months until the end of March 1946, the band series continued unchanged from various venues and military installations around the country. On March 29th, with the networks 979th program (AFRS #826), the Ray Herbeck Orchestra brought to a close the third Spotlight series.
The band show now embarked on its fourth and final association with Coca Cola. This involved three set bands, one for each of the same three nights of the week. On Monday April 1st, there was Guy Lombardo; Wednesday, April 3rd, Xavier Cugat; and Friday, April 5th, the Harry James Orchestra. Although the network at this time discon¬tinued numbering the programs, AFRS continued with theirs. Much success and radio exposure for the dozens of different big bands had transpired since the original series began in the fall of 1941, but the marketing value of these musical organizations was no longer what it had been. Coca Cola decided it no longer wanted to be in the band business and let its contract with Mutual expire on December 27, 1946. With the Harry James appearance of November 22, the great era of the Victory Parade of Spotlight Bands came to a close.
Wayne Knight, Music Historian
The British 8th Army captured Sirte.
Fernand Bonnier de La Chapelle, the French resistance royalist who had assassinated Admiral Darlan, was executed. He was rehabilitated in 1945 on the basis that Darlan's assassination had been "in the interest of liberation of France" although you apparently have to be French to grasp how.
German soldiers at Stalingrad receive their last issuance of horsemeat. The Germans had by this point slaughtered all of their horses.
Christmas dinners were held for those far away from home, including this one at the Andrew Feruseth Club on Christmas Day.
American families, like that of my father, went through their second wartime Christmas, but in some ways this one was significantly different. Various types of rationing had set in, and the war was now over a year old with no end in sight, at least no end that most people could reasonably foresee.
Canadian ones, like my mothers, were going through their fourth wartime Christmas.
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