June 5, 2026

Make Believe Ballroom - 6/5/26 Edition

Make Believe Ballroom - 6/5/26 Edition
Make Believe Ballroom - 6/5/26 Edition
Make Believe Ballroom
Make Believe Ballroom - 6/5/26 Edition
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On this week's edition of the Make Believe Ballroom, hosted by Jeff Bressler, a listen to some both A and B sides of records, who was Todd Rollins, a historic black female composer, and more records and reminiscences from the big band and jazz era.
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It's make Believe ballroom time.

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Put all your cares away. All the bands are here

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to bring.

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Good cheer your way.

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It's make Belief ballroom time and free to everyone. It's

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no time to friend your Dalis said Babs. Close your

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eyes and visualize in your solitude. Your favorite bands.

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Are on the stands.

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And mister Miller, what's you're in the mood?

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It's make Believe ballroom time. We are a sweet romances.

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You make the bottom common jo, the last dat last.

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Hello world, I'm Jeff Presler, turning on the lights of

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the Make Belief Ballroom and welcoming you into my Crystal

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studio for another program of classic big band music from

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the nineteen thirties and forties. Please get ready as I

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play for you some amazing jazz, swing, blues, and boogie

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woogie favorites. Folks, you're listening to the Make Believe Ballroom,

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broadcasting almost continuously since nineteen thirty five, and to welcome, Welcome,

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Welcome one and all into the Crystal studio, and thanks

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so much for joining me today. One of my favorite

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things to do here in the ballroom is to play

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both the A and B sides of seventy eight RPM Records,

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and let's start off with an E side of a

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Brunswick recording.

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The want.

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Nothing with anything, do anything. Swing me with rhadom Ah,

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That's why I live him.

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Now.

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Swing me wear rdom all, drive my blues away wall.

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When I'm feeding blue and don't know what to do.

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Give me rhythm bar and I'll swing along with you.

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Swing me get riddom or drive my blues away yes.

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From Brunswick Records. Swing Me with Rhythm by Louie Prima

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and his New Orleans Gang Vocal by Louie recorded in

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New York City, April the third, nineteen thirty five. And uh,

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that was the A side. Let's listen to Louie on

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the B side of that Brunswick record.

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Roses are red violence of blue sugar is sweet, and

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so are you.

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My love is yours, Your love is mine.

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I'll tell the world that you're divine.

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When I first looked into your eyes.

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And you died, I found paradise. Roses are red pile

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as of blue sugar is sween, So are you all

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roserved and violets of blue sugar see you?

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When I first looked into your eyes and you die.

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And I find Paradise.

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Roses are writ and violence are blue.

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Sugar is sweet and soil.

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You something to bomb the summers.

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From Brunswick. Sugar is sweet and so are You by

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Louis Prima and his New Orleans Gang. Vocal by Louis Prima,

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recorded in New York City, April nineteen thirty five. And

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you know I really enjoyed that, so well, why not

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continue my enjoyment and hopefully yours with another A and

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B side.

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I got a guy who's all is late and a

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time we have a day. But I love her, Yes,

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I love.

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He's gonna walk.

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Up to my gates.

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See if he can get it straight because he want wasn't.

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He's gonna ask.

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Her, it's you, wiz as you ain't my baby? Well,

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you're acting lady makes me die you It's still my baby, baby,

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It seems my flame and your heart's done gonaup.

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A woman is a creature that has always been strange.

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Just when you're sure of one, you find she's gone

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and made a change.

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Is you is or is you ain't?

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My baby?

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Maybe babies found somebody in me?

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Is my baby? It's still my baby?

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True?

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Is you or is you ain't My baby, baby baby.

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By the way you're acting lety makes me down.

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Yea, who's been cutting me? Still my baby, baby, baby,

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baby boy.

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It seems my flaming your heart's.

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Gone gone out black eyes.

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A woman is a creature that has all has been strange.

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Just when you're sure of one.

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You find she's gone and made a change and took

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my change.

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Is you is ea?

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Is you ay? My baby?

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Maybe baby find somebody you?

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Maybe baby's by somebody.

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My baby steal my baby? Is you or ain't You?

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My baby? Bing Crosby and the Andrew Sisters recorded as

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the A side for Deca Records back on June the

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thirtieth of nineteen forty four. Is You or Ain't You

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My Baby? Was written by a gentleman we featured on

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I think it was last week's program Louis Jordan and

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Louis Jordan and his Timpany five made a hit out

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of that song one year earlier, in nineteen forty three,

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You know, Bing Crosby and the Andrew Sisters recorded an

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amazing I think it was close to fifty songs together

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during their Well They're immensely successful partnership with the Decca

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Records that produced so many hits. Now let's listen to

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the b side of Bing and the andrew Sisters, a

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World War Two morale booster.

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There'll be a.

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Hot time in the town of Berlin when the Yanks

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go marching it. I want to be their bars, spreads

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and job when they take Old Berlin.

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There'll be a hot time in the town of Berlin

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when the.

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Brooklyn bars begins to take the Giina part and tear

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it down. When they take Old Berlin, they're gonna start

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around and show them how we paint the town back

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in cold mo. They're gonna take a hike through Hitler's

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right and change that high to watch. You know, Joe,

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There'll be a hot time in the town of Berlin

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when the Yanks go marching in.

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You can never keep them happy down.

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On the farm.

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After the take Berlin.

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There'll be a hot time in the town of Berlin

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when the Yanks go marching in. I wanna be there, boys,

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spend some joy where.

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They take over.

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LI will be your hot time in.

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The Tiberlin when the Brooklyn boys begins to take the joint.

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Of pie, tear it down.

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When they go, They're gonna start a round and show

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them how you paint the down back in the chicken.

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They're gonna take a hike through Hitler's right as the

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hill to give me some skins.

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There'll be a hot time the town of Berlin, and when.

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The Yanks go marching in, You're never going to keeping

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happy down on the parn after.

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The Burlin'll be a hot time in the town of

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burl when the Yanks go marching in.

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I wanna be there, boy, express some jo away.

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When they take Berlin the Yanks go Marchingen, will be

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your heart. Time in the town of Berlin when the

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brook when boys begin.

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The boys begin to take the.

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Jar upon, tear it down.

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Why they take Berlin.

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It'll be a hot time the town of Berlin where.

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The Yanks don marching in.

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You can never keep ha.

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A life of these would never please the shutter with

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a law now you couldn't didn't.

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There'll be a hot time in the town of Berlin.

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Written by Sergeant Joe Bushkin and Private John Devrees, Bing

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Crosby and the Andrews Sisters Orchestra conducted by Vic Shoon.

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I'm Jeff Presler, and you're listening to one of America's

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longest running programs the Make Believe Ballroom on the air

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almost continuously since nineteen thirty five, and you're I'm going

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to take a moment here, I guess when you look

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at music program longevity, it has to be the Grand

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Old Opry at number one, broadcasting to this very day,

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since I suspect it was, well, I didn't have time

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to research this. I'm just doing it off the cuff,

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but I would guess around nineteen twenty five. Then the

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second longest would probably be the Metropolitan Opera Weekly broadcasts

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still taking place to this very day during the opera season.

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Those shows hosted for so many years by the legendary

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Martin Cross, started around I guess right around nineteen thirty

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And then I think third would be this program To

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Make Believe Ballroom since February third, nineteen thirty five, and

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except for a few years in the nineteen seventies, we've

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been broadcasting in one form or another since, sometimes on

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commercial radio and with your humble host for the last

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ten years, trying not to mess things up too badly

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on publican community radio stations all across the United States

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as well as in the United Kingdom, and to help

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assure that fact I need to spend a winner for

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you here, so there'll be a hot time in the

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town of Berlin. That we just heard was written by

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Sergeant Joe Bushkin and Private John Davrees. Joe Bushkin wrote

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the song with Dvrees while in the Armed Forces during

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World War Two, but Bushkin was known in civilian life

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as a really great jazz pianist. I think he was

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also a trumpeter, and of course is a triple threat,

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as mentioned a composer. So let me play a Bushkin

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civilian tune.

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I'm not the guy who.

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Cared about love and another guy who cared about fortunes

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and such, never cared much. Oh look, you know, I

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never knew the technique of kissing. I never knew the

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thriller I could get from your touch, never knew much.

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Look at you know, you're a new man kissing over.

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With a new heart, a brand new star. I'm so proud.

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I'm busting my.

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VESE saw you're the girl who turned out a love.

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Yes, I'm the guy who laughed at those blue diamond rings,

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one of those things.

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Look at you know, he's not the guy who cared

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about love. Man, He's not the guy.

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Who cared about fortunes.

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And such, cared about much bad.

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Look at him.

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Now, I'm a lover.

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He never knew the technique of kissing.

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He never knew the thrill he could get from her touch,

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never knew much fine.

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Look at him now, man, and I really come on.

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He's a new man, that a band caressing over and

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his best rider, with a new.

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Start, a brand new hall.

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He's so proud he's busting his best.

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So he's the guy who turned out a lover.

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So he's the guy who laughed at those blue diamond rings.

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One of those things, Bud, Look at me.

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Now he's a new man, better fan, Castanova.

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He's got a new giant it's ring.

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Why I'm so proud, I'm busting my vest.

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He's a lover. Yes, we know he's a lover.

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Yes, I laughed at those blue diamond rings. Just one

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of those things.

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God, look at him, Jack, I'm ready look at him.

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Oh, look at me now. A classic by Tommy Dorsey

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and his orchestra, vocal by Frank Sinatra, Connie Haynes and

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the Pied Pipers, written by Joe Bushkin and John Davrees,

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recorded on Victor Records back in nineteen forty one. Now

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from nineteen forty one, let's go back to nineteen thirty

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four with Todd Rollins and his orchestra. Todd Rollins never

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heard of him. Don't worry about that, because most people

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never heard of him either.

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I'm going to give that junk man my broken heart,

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the broken heart I got from you. I'm going to

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give that junk man my broken heart for a load

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of thirty two. I'm going to give that junk man

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my old mad rags. I'm gonna wear the suit of black.

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You better pack your trunk out and pack your bags

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because I'm getting on your tracks now. I ain't bragging,

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no no, but you can't throw me down. I'm going

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to fix your wagon. Yeah, man, So you can't go

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to town. I'm going to do you right because you've

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done me wrong. I'm going to do you black and blue,

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and then I'll tell that junk man to come along

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and what's.

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Left of you.

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And on the budget melatone label junk Man by Todd

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Rollins and his orchestra, vocal by Chick Bullock, recorded in

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New York City, January the twenty second, nineteen thirty four.

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So Todd Rollins and his Orchestra was popular band in

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studio orchestra that recorded extensively during the mid nineteen thirties,

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particularly in nineteen thirty four and thirty five. The Orchestra

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released numerous seventy eight rpm records on budget labels like

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Banner Romeo and what We just heard Melotone Records. So

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why haven't we heard of Todd Rollins beyond the fact

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that he recorded for several budget labels. Well, that's because

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there was no Todd Rollins. The band was largely a

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studio creation, operating as a pseudonym for a collective of anonymous,

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highly skilled musicians and vocalists. Several of their notable releases

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featured vocals by famous performers of the era, such as

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Dick Robertson and Chick Bullock, who indeed did get credit

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on the record labels, not with pseudonyms, but with their

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actual names. So someone had to be fronting for the

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fictitious Todd Rollins. And who may that be?

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Is no one fond of dumb one?

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Well, no one me? You lie the dumb one.

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You leave me hord of this?

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You hold me back?

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You mean dangling on a string like a jumping jack

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is no one. I'm the one who knows it.

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You're teasing me.

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Every action shows it. You build me up for kisses,

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then you let me down with none and sweet ones,

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No One.

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Again from Melotone Records. It's No Fun by Jeane Cardos

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and his orchestra vocal by Bean Wayne, recorded in New

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York City, March the thirteenth, nineteen thirty six. And yes,

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indeed the mystery is solved. It was Hungarian bandleader Gene Cardos,

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who was also known as Todd Rollins, who made a

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series of records for Melotone, an in studio band that

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never appeared in public.

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Now.

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Cardos, if I recall, left the band business full time

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around nineteen forty, and he actually went to work for

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the postal service by day and played exclusively for many

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years at a small Hungarian restaurant. I think it was

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in New York Town or Yorkville section in New York City,

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and I think it was also called Zimmerman's. And how

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do I remember that, because probably about five or six

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years ago a listener actually sent us a menu, an

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old menu from the nineteen forties. I think it was

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called Zimmerman's Hungaria. I'm gonna have to look around to

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see if I still have that menu, but nevertheless Jeane

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Cardos aka Todd Rollins.

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Fish the Fish the.

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Right Right.

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Us from Decca Records. Blues On Parade by Woody Herman

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and his Orchestra, recorded in New York City, December the thirteenth,

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nineteen thirty nine. I'm Jeff Bresler, and you're listening to

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the one, the only, the original Make Believe Ballroom. And

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thanks for joining me today in the Crystal studio as

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I spin some great records by great bands and orchestras,

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and not many greater than this orchestra.

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The sh.

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From Them.

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00:36:20.519 --> 00:36:25.800
From Bluebird Records. Johnson Rag by Glenn Miller and his Orchestra,

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recorded in New York City, November fifth, nineteen thirty nine.

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From early Glenn Miller here on the Make Believe Ballroom.

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00:36:35.519 --> 00:36:39.679
Now let me place on the turntable a number one

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00:36:39.960 --> 00:36:43.639
record from the year nineteen forty five.

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My Shuper Cay.

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Because I'm sweet on candy, and Candy is sweet on me.

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Sheer stands me my understanding.

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00:37:24.079 --> 00:37:28.599
Candy and Candy is.

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00:37:28.719 --> 00:37:32.360
All always handy.

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When I need savebody.

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00:37:40.679 --> 00:37:47.119
I wish that fair world for of her so I

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00:37:47.960 --> 00:37:50.960
could love much more of her.

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She has taken my come sweet.

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Heart, God a sweet to for my sweetheart. Can It's

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not a be just the day I take my canby

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and make her mine all mine.

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00:38:32.719 --> 00:38:39.119
Can I call my sugar Can.

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00:38:41.840 --> 00:38:49.679
Because I'm sweet on Candy, and candy sweet on.

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00:38:55.719 --> 00:38:58.760
With that world for.

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00:39:01.599 --> 00:39:06.039
So kolmuchrom him.

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He has taken your complete hard You gotta sweet due

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for your sweet Marckety.

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00:39:21.840 --> 00:39:22.960
It's gonna be.

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00:39:24.519 --> 00:39:31.519
Just name me the God take my can.

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Jeehov A side will shot on the Tame Bcks.

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On Capitol Records from nineteen forty five. We just heard

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the classic Candy sung by Johnny Mercer and Joe Stafford

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00:40:02.920 --> 00:40:07.519
and the Pied Pipers Orchestra conducted by Paul weston a

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Billboard chart number one record back in nineteen forty five.

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I'm Jeff Bresler, broadcasting from the Crystal Studio when you're

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00:40:17.280 --> 00:40:21.159
listening to the weekly edition of the Make Believe Ballroom and,

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00:40:21.360 --> 00:40:26.760
as I referred earlier, the third oldest musical broadcast still

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00:40:26.920 --> 00:40:29.519
on the air. If you'd like to reach me, I'm

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00:40:29.639 --> 00:40:33.599
Jeff at MakeBelieve Ballroom Radio dot com. That's Jeff at

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00:40:33.639 --> 00:40:37.159
Makebelie Ballroom Radio dot com. And if we have some time.

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00:40:37.239 --> 00:40:40.000
I have a couple of requests coming your way in

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00:40:40.079 --> 00:40:44.960
a few minutes. But first a trivia question. With her

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nineteen forty one hit Walking by the River, she became

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the first black woman to have a composition placed on

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00:40:53.480 --> 00:40:56.320
a national US Billboard chart.

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00:40:57.039 --> 00:40:57.599
Who was she?

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00:40:58.599 --> 00:41:02.519
I'll give you the answer after I play said song.

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00:41:14.679 --> 00:41:17.559
There's d up on the ground.

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00:41:19.840 --> 00:41:22.599
And not a soul inside.

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00:41:24.360 --> 00:41:25.880
I'm looking by.

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00:41:25.800 --> 00:41:36.880
The river because of meeting someone. They tonight, I hear

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00:41:37.000 --> 00:41:38.079
a distant.

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00:41:38.119 --> 00:41:46.920
Song, I see a far off flight. I'm looking by.

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The river because of meeting someone.

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They to night.

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00:41:56.639 --> 00:42:00.599
Murmur water say there's no time to delay.

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00:42:01.840 --> 00:42:04.960
Hurry on your way, my friends.

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00:42:06.760 --> 00:42:10.559
If you don't get the soup, they may not be

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00:42:12.039 --> 00:42:20.960
to guide you to that happy My heart is riding high.

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00:42:23.559 --> 00:42:26.400
My blues have taken the flight.

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00:42:27.800 --> 00:42:29.599
And I'm walking by.

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00:42:29.599 --> 00:42:33.960
The river because I'm meeting someway tonight.

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00:43:00.079 --> 00:43:00.400
M hm.

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00:43:21.000 --> 00:43:23.000
The murmur want to say.

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00:43:23.559 --> 00:43:27.840
There's no time to delay, so hurry on your way,

358
00:43:28.519 --> 00:43:34.719
my friends. If you don't get that soup, it may

359
00:43:34.960 --> 00:43:38.880
not be a move to guide you to that happy

360
00:43:39.559 --> 00:43:45.280
And my heart is riding high.

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00:43:48.480 --> 00:43:54.320
My blues have taken flights, and I'm walking by the

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00:43:54.440 --> 00:43:57.280
River because I'm meeting someone there.

363
00:43:58.159 --> 00:44:09.079
To Walking by the River by Una May Carlyle Una

364
00:44:09.159 --> 00:44:14.039
May on piano, accompanied by Benny Carter with that muted trumpet,

365
00:44:14.800 --> 00:44:19.679
Everett Barksdale guitar, Slam Stewart the bass, and Zudi Singleton

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00:44:19.960 --> 00:44:24.519
on the drums. A truly beautiful song composed and sung

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00:44:25.199 --> 00:44:29.519
by Una May Carlyle, and that song, as I mentioned,

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00:44:29.599 --> 00:44:32.679
the first ever to hit the charts as a number

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00:44:32.800 --> 00:44:37.760
one Billboard song by an African American female. She was

370
00:44:37.880 --> 00:44:42.679
also the first African American to host a weekly national

371
00:44:42.960 --> 00:44:49.559
radio program, the Una May Carlile Radio Show, broadcast by ABC,

372
00:44:50.760 --> 00:44:54.719
and she learned well in her early years. She was

373
00:44:55.119 --> 00:45:02.079
discovered at seventeen by the great Fats Waller, so Unam

374
00:45:02.239 --> 00:45:08.599
Carlisle modeled her initial piano technique after his rhythmic stride

375
00:45:08.679 --> 00:45:13.880
and boogie woogie styles. She sang with the Fats Waller's

376
00:45:14.039 --> 00:45:17.400
band on the famous nineteen thirty nine recording of I

377
00:45:17.519 --> 00:45:20.840
Can't give you anything but love Baby? So why don't

378
00:45:20.840 --> 00:45:21.800
I play that for you?

379
00:45:22.119 --> 00:45:22.320
Now?

380
00:45:33.239 --> 00:45:44.199
I can give you anything but love, Bay. That's the

381
00:45:44.840 --> 00:45:48.199
baing Of've plenty.

382
00:45:48.000 --> 00:45:54.519
Of gem.

383
00:45:57.639 --> 00:46:00.760
Your own you shure you.

384
00:46:01.159 --> 00:46:05.719
Fil happenname.

385
00:46:06.519 --> 00:46:12.960
And again the whole thing you show to fine for

386
00:46:14.239 --> 00:46:16.559
she all to see you.

387
00:46:18.119 --> 00:46:22.280
Looking swell, my fail wind right outside the door, me

388
00:46:22.400 --> 00:46:29.519
looking swell anyway, dime, mbracets, woolvers dove, Sir.

389
00:46:30.079 --> 00:46:32.239
I never had bristling in my life.

390
00:46:32.280 --> 00:46:37.480
Whatever I wanted for she's that lucky day you know?

391
00:46:38.079 --> 00:46:39.960
Done where what else.

392
00:46:43.119 --> 00:46:44.639
That I can.

393
00:46:46.880 --> 00:46:47.519
Anything?

394
00:46:51.679 --> 00:46:53.199
Come here? Let me tell you something.

395
00:46:55.039 --> 00:46:57.679
I can't dish out in anything.

396
00:46:58.440 --> 00:47:09.639
Bird loves best. That's the only thing I've got planted all.

397
00:47:11.920 --> 00:47:17.679
Babe, you're talking about dreaming the wire, Give me the

398
00:47:17.800 --> 00:47:22.840
wine your shall provide.

399
00:47:25.039 --> 00:47:33.280
Happily, all those final Arabians things, your little hot pines fall.

400
00:47:33.480 --> 00:47:40.360
Yeah, skipper, I'd love to see you a little bit sweat.

401
00:47:44.320 --> 00:47:46.920
Diamond bracelet on one.

402
00:47:47.039 --> 00:47:50.559
Ain't got no business sellers, you can go to go

403
00:47:50.840 --> 00:47:56.239
carbu love well, well, well, hold till that duck eat me.

404
00:47:57.519 --> 00:47:59.280
You know who's done well?

405
00:48:00.280 --> 00:48:04.559
Well, maybe I'm pass.

406
00:48:05.920 --> 00:48:06.800
And getting off.

407
00:48:15.719 --> 00:48:19.639
I can't give you anything but love. Recorded on Victor

408
00:48:19.719 --> 00:48:25.039
Records in October of nineteen thirty eight, featuring Thomas Fatzwaller

409
00:48:25.679 --> 00:48:30.559
and Una May Carlisle. And Now as I look at

410
00:48:30.599 --> 00:48:34.079
the clock, I think we can handle a couple of requests.

411
00:48:34.159 --> 00:48:38.000
I'm Jeff at MakeBelieve Ballroom Radio dot com. Jeff at

412
00:48:38.039 --> 00:48:41.800
MakeBelieve Ballroom Radio dot com and first Up and Felder

413
00:48:42.239 --> 00:48:47.199
from Sarasota, Florida. I would assume one of the members

414
00:48:47.280 --> 00:48:53.719
of the infamous Sarasota Condo Pool Gang and asks for

415
00:48:54.000 --> 00:48:57.840
any version of Holy smoke? Can't you take a joke?

416
00:48:58.440 --> 00:48:59.559
So for you, Ann?

417
00:49:57.440 --> 00:50:01.440
What if I showed up behind the legs coming from

418
00:50:01.519 --> 00:50:02.360
another day?

419
00:50:03.119 --> 00:50:09.440
Holy smooth? Can't you take a jewel? That was no

420
00:50:09.639 --> 00:50:15.280
lipstick on my tie? That was only cherry pie? Holy smooth?

421
00:50:15.960 --> 00:50:17.679
Can't you take a Joel?

422
00:50:20.000 --> 00:50:23.480
Bet? If you wrote to bitches Fairfax and that's heir

423
00:50:23.760 --> 00:50:28.280
what to do? Bet? If you only gave her the Fairfax,

424
00:50:28.480 --> 00:50:33.639
she'd say, I love you, Honey. I didn't tell those lies.

425
00:50:34.360 --> 00:50:38.960
Must have been you other guys. Holy small. Can't you

426
00:50:39.079 --> 00:50:39.960
take a Joe?

427
00:51:32.719 --> 00:51:37.719
From Decca Records recorded on December fourth, nineteen thirty nine,

428
00:51:38.400 --> 00:51:43.960
Henry Bousse and his orchestra, vocal by Billy Sherman, Holy smoke?

429
00:51:44.239 --> 00:51:48.280
Can't you take a joke? And thank you Ann very

430
00:51:48.400 --> 00:51:51.119
much for that request. Once again, Jeff at Make Believe

431
00:51:51.159 --> 00:51:55.119
Ballroomradio dot Com. Jeff at MakeBelieve Ballroom Radio dot com.

432
00:51:55.239 --> 00:51:59.960
And now another request from our old friend in New York,

433
00:52:00.039 --> 00:52:06.119
York City, Michael Fusco, the ballroom Hunter. He writes, High Jeff,

434
00:52:06.559 --> 00:52:10.079
when you played the two Artie Shaw performances from the

435
00:52:10.239 --> 00:52:14.440
Cafe Rouge, I looked at my two terra cotta wall

436
00:52:14.800 --> 00:52:20.159
arch pieces from the Cafe Rouge and thought about how

437
00:52:20.280 --> 00:52:24.760
those original sound waves bounced off of them. I wonder

438
00:52:25.079 --> 00:52:28.840
if these are the only remaining remnants of the cafe?

439
00:52:29.880 --> 00:52:34.280
Can you play Ted Heath and his Orchestras Hindustan that

440
00:52:34.559 --> 00:52:39.960
was recorded back in nineteen forty seven for Michael of course.

441
00:53:38.159 --> 00:53:39.559
Name thank you.

442
00:54:57.639 --> 00:55:01.599
Said he didn't the stand for Michael Fusco from back

443
00:55:01.639 --> 00:55:05.800
in nineteen forty seven. And I still have more requests

444
00:55:06.360 --> 00:55:08.199
that I don't think we're going to be able to

445
00:55:08.280 --> 00:55:11.480
get to. Joel, my friend, I'll play one for you

446
00:55:11.760 --> 00:55:15.760
next week. Who else do we have? We have Larry

447
00:55:15.920 --> 00:55:20.199
Lang who wanted O Johnny from the Andrew Sisters. Likewise,

448
00:55:20.679 --> 00:55:24.880
next week for you, Larry, Hopefully you got your andrew

449
00:55:24.960 --> 00:55:28.199
Sisters fix with the A and B side record with

450
00:55:28.360 --> 00:55:32.880
Ben Crosby I played earlier in the program. Folks, we

451
00:55:33.239 --> 00:55:36.199
are out of time. The big hand on the big

452
00:55:36.280 --> 00:55:38.480
bull of a clock here in the crystal studio is

453
00:55:38.559 --> 00:55:41.639
approaching the top of the hour. Thanks so much for

454
00:55:41.800 --> 00:55:44.760
joining me today. To reach me Jeff at Make Believe

455
00:55:44.800 --> 00:55:49.079
Ballroom Radio dot com. That's Jeff at make Believe Ballroom

456
00:55:49.239 --> 00:55:51.519
Radio dot com. We want to take a moment to

457
00:55:51.599 --> 00:55:55.280
thank our syndicators and distributors for offering the Make Believe

458
00:55:55.360 --> 00:55:59.920
Ballroom cost free to commercial, free, Public, Community, and Universe

459
00:56:00.000 --> 00:56:03.639
city radio stations. They are the Public Radio Exchange p

460
00:56:03.880 --> 00:56:09.360
r X, the PACIFICA Network, and Global Community Radio. The

461
00:56:09.440 --> 00:56:15.079
program's flagship affiliate is Jazz ninety point one WGMC in Rochester,

462
00:56:15.239 --> 00:56:19.079
New York. The Ballroom is also heard on your favorite

463
00:56:19.119 --> 00:56:23.480
podcast provider, So Friends until next week. This has been

464
00:56:24.039 --> 00:56:24.880
Jeff Bresler.

465
00:56:25.719 --> 00:56:29.320
It will double my chances. I can see it your

466
00:56:29.480 --> 00:56:36.119
glance room for while we're playing and the man is

467
00:56:36.239 --> 00:56:37.159
playing music.

468
00:56:37.400 --> 00:56:44.280
Tammy show you broad tender, sweetly surrender, kill my willing up, Let.

469
00:56:45.920 --> 00:56:45.960
Go.

470
00:56:46.159 --> 00:56:48.039
It's only a small room.

471
00:56:48.440 --> 00:56:48.679
You know.

472
00:56:48.920 --> 00:56:50.360
Make me leave a room.

473
00:56:51.599 --> 00:57:19.840
Let us

474
00:57:27.800 --> 00:57:59.280
APIs the bush