 The Cavalcade of Music, presented by DuPont. This morning at the Aster Hotel here in New York, Mrs. William H. Corwiss, chairman of the Radio Committee of the American Legion Auxiliary, made the following award, I quote, to the sponsor of the program most acceptable and worthwhile to the general family audience, we present this, our second annual award for Radio Program Excellence, to the DuPont Company for its sponsorship of the Cavalcade of America. And it is appropriate that the award should come just at this time. For next Wednesday, the program for which it was given, the Cavalcade of America, will be back on the air. And now, we'd like to have all of you meet the ladies who made the award this morning, Mrs. Corwiss. The award is a national one in every sense. To secure a true cross-section of opinion, the American Legion Auxiliary turned the whole matter of selection over to the Women's National Radio Committee, a separate organization. That group circulated ballots over the entire country to leading women's organizations in every state in the Union. The program chosen to receive the award was determined not alone by the ballot count, but by written comment of these women leaders from coast to coast. I want to take this opportunity to thank them all for their splendid cooperation in helping to make our award truly reflect the opinion of American women as a body. We are gratified with the outcome because the Cavalcade of America we feel is in harmony with the ideals of our own organization to develop citizenship, a sense of community responsibility, and loyalty to our heritage as Americans. Thank you very much, Mrs. Corwiss. We deeply appreciate the award and are happy to have had you here with us this evening. Last week we announced that tonight's DuPont Cavalcade program would be different. We call it Don Vory's own program in honor of our musical director. This evening's show has been prepared by Don Vory, who has also written the script and who will make his own announcement. We wanted to know just what the director of a modern concert orchestra considered a well-balanced program of music. Our guest artist, the popular baritone, Conor Tebow. So without any more introduction, it gives me great pleasure to turn the program over to Don Vory. Good evening, ladies and gentlemen, and thank you, Dwight Wiest. Although as a matter of fact, ever since I was rather casually asked some weeks ago whether I would like to make our final musical program my own, that is as to its makeup, I've been trying to decide whether the opportunity to do so was a reward or a penalty. Our modern American orchestra is a really great thing in its varied possibilities, and an early keynote was struck by Paul Whiteman. Therefore, and also simply because most of you like it, we'll play whispering for you, as it remains unconsciously idealized in your memories, as though Paul's inanimate record had been able to keep step with the improvements in recording, amplification, instrumentation, and other phases of sound. Conor Tebow, one of our great baritones, in a favorite aria of mine, Vizion Fugitive from Massonet's opera Herodias. This opera was first presented in Brussels in the 90s. It was not too well received, so Massonet revised and re-orchestrated it to quite an extent, and in 1903 it was again heard in Paris. In re-orchestrating it, Massonet decided upon using the saxophone, that instrument despised by the musically hidebound in the introduction to this aria. Listen for it now and see if you don't agree with his long ago choice of tone color for an amorous love song. I'd like to show off at times, therefore a bravura number for my orchestra, of which I'm very proud. Musky Kostakov's brilliant Capriccio Espogno, and after it, something more generally familiar, but waitin' here. It's something that I've made apparent the fact that I really don't subscribe to any lines of demarcation in music. That is literally true, with the exception of a selective audience that has come to a concert hall, let us say, to hear Beethoven. You probably won't believe this, but even I wouldn't try to palm off Japanese fan-man on them, much as I'd enjoy doing so. Conor? Yes, Don? Will you sing the old spiritual standin' in the need of prayer? I'll play the counsel. One of the greatest bits of musical expression because of its simple religious fervor. A few years ago, Louis Grenberg wrote an opera based on Eugene O'Neill's play, Emperor Jones, the story of a colored murderer who escaped from a chain gang to an island where, due to his smartness and cupidity, he became the ruler of the natives. They finally saw through his abuses and tyranny, and he fled through the tropical jungle trying to reach the coast and escape. He gets lost in the jungle and the natives close in on him, Mima having brought him to play voodoo and the spirits. Grenberg must have decided that the theme of standin' in the need of prayer was unsurpassable for the purpose, for he chose it and set it with a magnificent descriptive background for the orchestra. Imagine the agony, remorse, and fear of this cringing Emperor Jones as he cries out to his maker. Sing it, Conor. Down here where these fool-bushed doggies raises me up to the seat of the money, I steal all I could. Thank you, Don Voris, and thank you, Conor Devo. I'll admit that I've enjoyed this program. Perhaps you also have a message from our sponsor, the DuPont Company at Wilmington, Delaware. No, Dwight, I think I'd better let you take care of that. All right, then, here it is. In the early days of rayon, a kindly old lady picked up a skein of a strange new yarn and said, my, my, they certainly must feed the rayon worms good things to eat to get such nice results. Today, almost everyone knows that rayon is a man-made yarn, a chemical product that comes from a factory. But even so, there's a lot of truth in what the old lady said, for, actually, rayon is made by a carefully controlled scientific diet. By one process of rayon manufacture, cellulose obtained from spruce wood and cotton linters is converted into a thick syrupy liquid called viscose. This substance is then forced through tiny holes into an acid bath where it forms filaments much finer than any silkworm can produce. This man-made yarn, rayon, has taken such a prominent place in our daily lives that it is second only to cotton and wool in annual consumption. The DuPont Company has one rayon plant at Old Hickory near Nashville, Tennessee, where 4,100 people are at work making this product which was almost unheard of not so many years ago. In other words, the chemical laboratory has created an important modern industry serving millions and providing employment directly or indirectly for hundreds of thousands. The average weekly wage at DuPont's Old Hickory rayon plant is more than 25% higher than it was in 1929. And last year the employers of that plant set a record in safety by working nearly 11.5 million man hours without a single lost time injury. This one national recognition as the best all-time safety record in the history of American industry. When the DuPont Company started this plant in 1923, the population, the little village, was 500 people. Today it has grown to a thriving city of 10,000 with its own schools, community clubs, amusements, and shopping districts. DuPont chemists have done much to improve the quality and reduce the price of rayon. In 1925, a pound of viscose type rayon yarn cost $2.30. Today the same amount cost 63 cents. Likewise, the DuPont Company has developed man-made yarns used by textile manufacturers in producing many new types of fabrics. Rayon now comes in almost any formula like fabrics that are sheer or heavy, lustrous or dull, smooth or with interesting irregular surfaces, even a wide range of beautiful velvet. At Old Hickory, Tennessee, and other DuPont rayon plants in Buffalo, New York, and at Richmond and Wainsboro, Virginia, better rayon at lower prices is being produced every day. This story of man-made yarn provides one more illustration of how the DuPont Company works to make good at pled better things for better living through chemistry. This evening's broadcast concludes the summer series in the Cavalcade of Music. We hope you've all enjoyed the music of Don Voorhees and the singing of Conrad Thiebault and Francia White. Next week, the DuPont Company announces the return of our regular fall and winter series, The Cavalcade of America. The enactment of historic events, dramatic episodes, and little-known facts in the building and progress of our country. The first broadcast will tell the life of Edwin Booth, pioneer American actor who devoted his life to the advancement of American drama. On Sunday, the period for Daylight Saving Time will end. If your community has been on Daylight Saving Time, you will receive this program at the same hour you now receive it. If your community has been on Standard Time, this program will reach you one hour later than now. The life of Edwin Booth and the DuPont again presents The Cavalcade of America. This is the Columbia Broadcasting System.