band delivering a frantic and humorous medley of "I Dug a Ditch in Wichita"/"Should I?", and a Garland performance (with classical pianist Jose Iturbi) of Roger Edens' "The Joint is Really Jumpin' in Carnegie Hall" which includes an early use of the word "rock" in a musical sense. In the phone scene with Grayson, Iturbi performs an excerpt from Franz Liszt's Rhapsodie #11. "I Dug a Ditch in Wichita", a song told from the point of view of a soldier who used to dig ditches, is the movie's underlying theme song, performed several times in the film with different arrangements and approaches, climaxing in the above-mentioned Kay Kyser performance which runs four and a half minutes and showcases several of his featured performers and including a few verses of another song, "Would I?". Grayson also sings a version, using an exaggerated (and out-of-character) "cowboy" accent, and Kelly dances to an instrumental version, using a mop as a partner. After a brief resumption (and resolution) of the earlier storyline, the film ends with Grayson leading an international chorus of men (the United Nations Chorus) in a song pleading for world peace. The song, entitled "United Nations on the March", actually predates the establishment of the United Nations political body by two years, but not the Declaration by United Nations which was made on 1 January 1942. The song used music by Dmitri Shostakovich from his famous "Song of the Counterplan" (the title song for the 1932 movie Counterplan), but an English-language text had nothing to do with the original Russian lyrics. Due to misinterpretation of the name of the song's American version, some popular Russian media (e.g. Lenta.ru) reported that Shostakovich composed "the official UN Anthem". Reception According to MGM records the film earned $3,751,000 in the US and Canada and $2,135,000 elsewhere resulting in a profit of $2,228,000. The New York Times : "a veritable grab-bag of delights. Musically there is something for all tastes, from Jose Iturbi to boogie-woogie, from Kathryn Grayson and Sempra Libera to Judy Garland and The Joint is Really Jumping!. It would have been easy for Metro's labour to result in a top-heavy production under a less resourceful producer than Joe Pasternak. His steadying hand is quite evident." The New York Herald Tribune : "a prodigal and sumptuous picture. It is [Gene] Kelly who saves the picture from being merely a parade of personalities -