Army Navy Screen Magazine #30

[music] [music] Heat. Heat. [music] >> [music] >> For wounds received in action, [music] for heroism in action, for gallantry in action beyond the call of duty. Decorations in every combat unit prove that men who've got what it takes are giving more than what it takes. But there's one group of men that does its big job unarmed. These are the men of the Chaplain Corps with one of the highest percentages of honors in the army. In the 34th division alone with 15 chaplain, 11 have been decorated. One distinguished service cross, four Purple Hearts, two Legion of Merits, and four silver stars. In this division and in all divisions, the work of the chaplain brings honor to themselves. And this work carries the spirit of their faiths to every front. What the Axis enjoys counting are the American soldiers killed and injured by accidents. And there's plenty to count. This sort of thing. This is saving Hitler bullets. This sort of thing. This makes the American army smaller. Lifting heavy objects the wrong way is causing hernia. And every American hernia means one soldier lost for service. >> Flimsy, sexy, no fine wonder. >> American fighting men swim where they shouldn't. [music] So they cease being fighting men. Sometimes American soldiers do rather strange things. JUST THE little pillow fight. >> And then there's always the warrior who falls asleep in his chariot. [music] These and hundreds of other types of avoidable accidents are mounting up and the sound of the accident adding machine is music to the ears of the enemy. American [music] bombers. A thousand plane raid. In a single operation of this size, the gasoline used up would keep your old family jalapy running, running, running. [music] Yep. Still running. Running running running day and night for 71 years. Hot diggity. What a ride. The story of Hill 700 began in the winter of 1938 when along the roads into Chongqing came refugees from occupied China. The people of Chongqing [music] fed the refugees, fingerprinted them, gave them ration cards for the necessities of life, shared with them the little they had. These refugees had come along the river from Nang King, a city that fell to the Japanese in December. They had seen Nang King, the capital of China, sacked and burned wantingly and 40,000 of its people slaughtered by the soldiers of the Japanese Sixth Division. They had seen women raped and butchered in the streets. They had fled from a city in which no one was saved but the dead. The news of Nang King reached the Chinese army in the field. Some of the soldiers were husbands, fathers, or brothers of the Nang King victims. to the already long list of crimes they could remember would be added those of the Japanese Sixth Division. The Western world was not at war when these pictures were taken. People back home were worried about ball scores, nylon stockings, the price of oranges. It was not until after Pearl Harbor that the threat to their way of life became real. But the Chinese soldier had already seen the Japanese dream of world dominion in the inscrable faces of the men they took captive. They had seen the Japanese dream of world dominion written in [music] smoke and wreckage and blood. For years unaded, they had fought off the Japanese strangle hold on Asia that was to have been their first step towards the conquest of a world in which Boston or Seattle or Witchah might have suffered the fate of Nank King. Then in the winter of 1944, the Japanese 6th division [music] captured a critical hill in Buganville. Hill 700 was a key to the security of the strategic airfields on the beach at Empress Augusta Bay. This time the Japs were not fighting the Chinese. They were up against one of China's allies, some soldiers from the United States. They were in that jungle. The soldiers who had bayonetted the women of Nang King cremated the prisoners, buried the dead with the living. You couldn't see the enemy. You knew they were there in the jungle when you heard rifle fire and saw the fire kick up dust. Bazookas and halftracks were brought up to nail the snipers hiding in the trees. Some of the concealed jet gun positions control the only road that could be used to feed supplies and reinforcements to the front. and recon troops had to be diverted to cover the road. Light tanks went up ahead. The troops waited for them to pound the brush with their 37s. At Nang King, the Japanese did their fighting in open streets against unarmed civilians. Now it was different. It was jungle [music] warfare, hot, wet, malarial, exhausting, and tricky. It was a war of concealed snipers, barbed wire, slow advances up steep jungle trails. and backbreaking tracks to carry the ammunition from the road up to the front lines. The country was as tough and as cruel as the enemy. And it was as hard to keep the front supplied as it was to keep the enemy in retreat. And they retreated slowly, dying at their gun positions while our troops, fighting thirst and fatigue, pushed slowly ahead. Mortar and rifle fire covered the gradual advance up the hill to the clearings left by shellfire. It was only at the end of four days fighting that the [ __ ] rivals were quiet. They looked like any other Japan in Burma atu or in the marshals. But it was more than the defeat of a division, more than the capture of a strategic hill, more than another answer to the treachery of Pearl Harbor. These were the butchers of Nang King. Perhaps the refugees in Chongqing will see these pictures someday. These men of the [ __ ] 6th division will trouble decent people no longer. Mother says it's in the groove. Daddy says it's hot. Backwards it spells Zilaboo. Now, BRETHREN, WHAT HAVE YOU GOT? You've got Jubilee. [music] An avalanche of fan mail from all fronts and outposts testifies to the popularity of Jubilee. This 30inut radio show is one of 106 recorded programs shipped overseas each week by the Armed Forces Radio Service from headquarters at Los Angeles. You said sacks in your khaki kilts and you swingy salts on your pew scooters. Batten down your GI pork pies. And now here's your master of ceremonies, JUBILEE SWEATER BOY Ernie Bubbles Quitman. [applause] >> Thank you. Thank you. Thank you, devotees of the Limpago. With your permission, I'd like to do a few invitations. First, as a familiar fellow we've all seen standing at track number five just before the 20th century pulled out of Chicago for New York, and he goes something like this. Train leaving for South Bend, Syracuse, Rochester. Coming, mother. [applause] >> Well, bless my big fat soul. How are you, Ro? >> Fine, Ernie, but I have a little problem. I brought a chick with me tonight, and I wonder if I one of you could help me out. Well, I'll be glad to take off your hand, son. >> Just a minute, big boy. That's not my problem. >> Oh, >> what I want to know IS SHOULD I BRING HER INTO THE STUDIO AND TAKE A CHANCE ON LOSING her or leave HER OUT IN THE HALL? AND LIKEWISE. [laughter] >> WELL, then by all means, bring this girl in. >> Okay, come on in, honey. Fellas, here's Lena Horn. [applause] How about us telling everybody about consequences? >> Okay, hear it, boys. [music] Life's full of consequence. That old devil consequence. He takes all the fle out of fun. [bell] When you got the [music] candle lit at both ends, the scandal it creates always keeps you on the run. Just when you weaken in, fate sends the deacon in. Crash and your pass ain't worth an ounce. Cause then comes the consequence. That old devil consequence flings you back with a bounce. [screaming] It's consequence is what counts. [screaming] [music] Life's full of consequence, but who's scared of consequence? Let's sip the honey while it's sweet. We could be messing around, but you is digressing round while I'm tossing nature at your feet. Why don't we moy around? You could be cozy around a girl who could sprinkle you with spice. [singing] >> But how about the consequence? And all there CONSEQUENCE I'VE been more than twice [screaming] AS [screaming] [applause] [applause] THANK YOU. THANK YOU ROTHA AND THANK you Lena Horn. And now, men, here comes a funk of hot right out of Hallelujah Heaven. Private Babe Wallace and Timmy Rogers. [applause] >> Well, boys, what is this mess all about? >> Well, it all happened the night Timmy and I received a letter. >> Yeah, a letter the contents of which were most serious. >> Well, now tell me, was it a love letter? >> Not exactly. It was a letter written by a group of our neighbors when they discovered that we were between the ages of 18 and 38. >> Oh, I see. >> A group of neighbors. He used the word loosely. [laughter] >> Well, you see, Ernie, it was sort of a melody in one a. This is what we sat down and wrote. >> Try it out, Timmy. >> Okay, Jack. >> I GOT MY GREETINGS THE other day and I started to run the other way. That would be wrong. Even you'll agree. But here's what Uncle Sam had to say to me. [music] Bring enough clothes for three days. Bring enough clothes for 3 days. Bring enough clothes for 3 days. Cuz they ain't going to turn you loose. Bring enough clothes for 3 days. 50 a month is all it pays. Bring enough clothes for three days. And don't bring no sad excuse. She got to realize you're a soldier now. If you don't realize you're a soldier anyhow, that little miss is up to you, brother. There's nothing that you can do but bringing up clothes for 3 days. You've got a chance to get a raise. But bringing up clothes for 3 days, cause ain't going to turn you loose. Now they may take your brother, your sister and your mother, your uncle, nieces and cousins cuz Jack THEY'RE SNATCHING THEM BY THE DOZEN. BRING ENOUGH clothes for three days. Bring enough clothes for three days. But bring enough clothes for three days cuz they going to turn you. [applause] THANK YOU BOYS. THANK YOU. THAT WAS SMOOTH as a skin on a mellow molecule. Fellas, no jubilee would be complete without batting a breeze with that horn of plenty. Lena with a nothing could be fina front piece size toward the kiloycles. Lena, >> you know fellas, we here on Jubilee use a language that might sound off the cuff to some of you when we dedicate a number to say sad sack jack from fondelac a ladone jack and a khaki sack. We say it that way because well I guess because we feel it's a little more personal. We send our hells and our songs and our laughter. Yes. in our hearts clear around the world to you wherever you happen to be. Then we say to ourselves, "We know by your letters that in your spare time, lots of those same fellas hear our jokes and our music. And that makes us try all the harder to send you week after week the kind of entertainment that you used to look for back home. So keep letting us know what it is. This is your program. Someday [singing] he'll come [music] along, the man I love. [music] And he'll be big and strong. The man I love. [singing] And when he comes my way, I'll do my best to make [singing] him stay. >> [music] >> He'll [singing] look at me and smile. [music] I'll understand. And then in a little while, [music] he'll take my hand. And though it seems absurd, I know we both [music] won't say a word. Maybe I shall meet [music] him Sunday, maybe Monday, [singing] maybe not. [music] Still, I'm sure to meet [music] him one day. Maybe Tuesday will be my good news day. He'll build a little home just meant for two from which I'll never roam. Who would you and all else above? I'm waiting for the man I love. [music] Oh, [music] [music] heat, heat. [music] >> [music] [music] >> from desert. You're as pretty [singing] as can be. [music] From deserting, don't you never ever dare deserting me. Though [music] your lingo I don't know when we kiss you make me [music] hollering over from desert [music] from desert. You're asy [music] as can be from deserty. [music] Don't you never ever dare deserting [singing] me. know your lingo. [music] I don't [singing] know. When we kiss, you make me fingo from [music] this. You're the girl for [singing] me. [music] [music] Everybody whistles in Wyoming. In [music] Wyoming, in Wyoming. Everybody [music] whistles in Wyoming with a [music and singing] naughty little twinkle in their eyes. [music] Why do people whistle in Wyoming? Wouldn't [music] you like to know the reason why everybody whistles in [music] Wyoming? When a pretty little girl walks [music] by [singing] everybody whistles in Wyoming in Wyoming in Wyoming. [music] Everybody whistles in Wyoming [music] with a naughty [singing] little twinkle in their eyes. [music] Why do people whistle in Wyoming? Wouldn't you like to know the reason [music] why a pretty [music] little girl walks by? >> [music] >> Miss [music] heard the crowded [music] couldn't bear it without you. Don't get around [music] much anymore. That visit [singing] us [music] as far as the door. and ask me about you. [music] Don't get around much anymore. for [music] darling. I guess my mind's more at ease. [music] But nevertheless, I have [music] memorories invited on the lost [music] district without you. [music] Don't get around much anymore. Miss the Saturday dance. [music] Couldn't bear it without you. [music] Don't get around much anymore. [music] Not as far as the [music] me don't get around much anymore. [music] Oh darling, I guess my [singing] mind's more at ease. >> [music] >> Never the last wonder of me invited on me [singing] [music] by the gumbly without you. Don't [music] get around much anymore. >> [music] >> Wait for me [music] till the world will smile again. Till the smile will smile [music] again and the dreams worthwhile again. [music] Wait for Mary [music] by the moon garden. [singing] my heart and I [music] was late for you. There are so many [music] things I want to tell you. Little words that I never told before and I hope that it won't [music] be hard to tell you. All the dreams [singing] I have in store. So wait for me, Mary [music] till the world will sing again. till I bring [music] my love again to you. [music] Wait for me. Feel [music] the world with smile again. Feel the smile and smile [music] again. And his dream was smile again. Wait for him. [music] by the moon [singing] ding where my heart [music] and I was waiting for you. There are so many things I want [music] to tell you. Little words I never told before [music] and I hope that is hard to tell you. All the dreams I have in [music] store. Oh, wait for me. Mary, [music] till the world will sing again. Till I bring [music] my love again to you. When the red red comes [music] popping along along, there'll be no [music] more when he starts his own sweet song. Wake up. Wake [music and singing] up your sleeping head. Get up. Get up. Get out of bed. [music] Cheer up. Cheer up. The sun is red. No laughing. [music] [singing] Only if I were blue. Now I'm walking through fields [music] of clouds. [singing] Rain may listen, but still I'm [music] for I'm just [music] a kid again doing what I did again. Sing [singing] a song. When the red red comes poping [music] along [music] [music] the red robin comes popping along along there'll be no more >> [music] >> When he starts his own sweet home, [music and singing] wake up. Wake up your sleepy head. Get up. Get up. [music] Get out of bed. Cheer up. Cheer up. The sun is red. [music] water. Now I'm walking through fields [music] of [singing] rain but still I listen for and [music] I'm just a kid again doing what I did again [music] when the red comes pop. [music and singing] >> [music]