July 31, 2026
Make Believe Ballroom - 7/31/26 Edition
On this week’s show: a sneaky marketing ploy involving a popular songstress, a great Bing Crosby story —this and many more great songs and tales to cherish and enjoy on the program.
On the air since 1935 and the nation's third-oldest broadcast music radio program, the show features treasured 78rpm recordings, fascinating stories of legendary bandleaders, musicians, composers, and vocalists, listener requests, and special segments that bring the era’s music and history vividly to life.
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It's make Believe ballroom time.
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Put all your cares away.
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All the bands are here to bring good cheer your way.
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It's make Belief.
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Ballroom time and free to everyone.
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It's no time to friend your Dalis.
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Said, baby.
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Yours.
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Close your eyes and visualize in your solitude. Your favorite
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bands are on this dance and mister Miller, what's you're
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in the mood? It's make Believe ballroom time.
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We are a sweet romances.
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Make it Come on, Jo, Last Dass.
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Last, Hello world, I'm Jeff Presler, turning on the lights
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of the Make Believe Ballroom and welcoming you into my
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Crystal studio for another program of classic big band music
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from the nineteen thirties and forties. Please get ready as
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I play for you some amazing jazz, swing, blues, and
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boogie woogie favorites. Folks, you're listening to the Make Believe
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ball Rope, broadcasting almost continuously since nineteen thirty five. And welcome, Welcome,
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Welcome one and all into the Crystal Studio, and thank
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you so much for joining me today. Let's start the
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Victrola spinning immediately with a couple of seventy eight RPM
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records featuring the combined efforts of two legends of jazz
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tenor saxophonist Gray Coleman Hawkins and equally as great trumpet
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player Henry red Allen. In nineteen thirty three and thirty four,
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they collaborated to lead studio bands together for number of
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record labels like The Perfect Melatone and Okay, I wonder
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I concentrate on two melotone records. Let me spend the
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first one for you now.
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Springing along on a shoe dring, I'm having a wonder
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the dies no one in the world.
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Is a great place for me.
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I don't have to pay for the moonlight. I don't
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have to pay.
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For the dune life.
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Okause I get from my baby.
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I'll be done.
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Don't I got the fight?
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Enough?
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Bowers, Blue Guys a bow, I'm the mile.
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The Megan below at a wonderful three lords?
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Who's happy?
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Amacan me?
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Just ring along?
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The choice ring with me.
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On melowtone records. Stringing Along on a Shoestring by Alan
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Hawkins and their orchestra vocal by Henry Red Allen recorded
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in New York City July the twenty first, nineteen thirty three,
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and that song was a wonderful Depression era themed tune
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recorded by Alan N. Hawkins. At the time, they were
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both featured with Fletcher Henderson and his orchestra, So a
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little sidework for Coleman and Red. Let's listen to one
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more from this dynamic duo. And also on Melotone Records,
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Shadows on the Swannee by Alan Hawkins and their orchestra,
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recorded in New York City also on July the twenty first,
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nineteen thirty three, and those two Melotone sides that I
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just played were part of a four song session led
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by Henry Allen and Coleman Hawkins. I'm Jeff Presler, and
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this is the Make Believe Ballroom. I have a couple
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of great marketing and public relations stories for you. I'll
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nineteen thirties and forties. I'll get to the first of
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those tales after this little song about an alternative to
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ice cream.
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Shoot the liquor to me, tom Boy, No, no, no, no,
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the liquor.
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Don't get it.
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I scream, you screamed.
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We all screamed for ice cream and sherbet.
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Shoot the server to me, Herbert, Shoot the sherbetto me, Herbert,
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Shoot the sherbet to me, Herbert. Shoot the sherbet to me, Herbert,
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shooted fangs. Shoot the sherbet me, Herbert, Shoot the sherbet me, Herbert.
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Shoot the sherbet to me, Herbert, shoot it fangs. You
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send me with your Jesser, send me her birds, send me,
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you make me feel the first with you. Don't let
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the don't shoot the sherbet to me, her Bird. Shoot
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the sherbet to me, Herbird. Shoot the sherbet to me Herbert,
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shooted fan.
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Hey, Tommy, what do you want, Edith? You forgot something?
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What's that you forgot to shoot Herbert?
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Oh?
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Yeah, I got.
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Him from Victor Records back in nineteen thirty nine, Tommy
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Dorsey and his clam Bake seven vocal by Edith Wright,
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who was singing, shoot the Sherbert to Me Herbert here
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on the one the only the original Make Believe Ballroom
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on the radio since nineteen thirty five. And now let's
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move to one of two shall I say, marketing efforts
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that I found to be out of the box, considering
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they took place in the nineteen forties were one in
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the forties, one in the very early fifties. So I
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played a Klambake seven record featuring Edith Wright's vocal just
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a moment ago. Now, a songstress named Anita Boyer replaced
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Edith when she left Tommy Dorsey in nineteen thirty nine.
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So Anita Boyer worked with the Dorsey for a little time,
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then was offered a job with Already Shaw that she took. Now,
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the marketing story I want to tell you happened in
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December of nineteen forty one. Now, even back then, companies
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like Pepsicola were pretty marketing savvy, somewhat crude by today's standards,
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scheming a little cunning and savage. Back in nineteen forty one,
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as they tried to promote products and as it goes,
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Anita Boyer recorded what turned out to be a failed
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attempt that was orchestrated by the Pepsicola company with the
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mission at hand to add the Pepsi jingle to jukeboxes.
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So Anita, backed by a group called Johnny Fosdik's Orchestra,
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produced to discs for juke boxes released on the fictitious
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Nocturn label. One featured an original tune titled get HEP
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on the A side, while the B side featured a
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non branded version of the company's current commercial that they
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were playing in nineteen forty one on the radio, and
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that tune was called Swinging the Jingle Now. Both saw
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ones covertly included mentions of pepsi in the lyrics as
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the company try to get the two records sneak the
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two records into jukeboxes, but machine operators saw through that
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blatant attempt at promotion, and they ended up refusing to
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order the discs. But what jukebox listeners and restaurants, bars
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and clubs couldn't listen to? I can offer to you
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right here on them make believe ballroom and let's start
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with get help.
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When boogie will.
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Gain feet, Dot Dragon long you if this zip this gone?
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When all the.
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Girls before Dot Dragon get here the sola to give
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the captain cap of tup words every bub bub bubbles,
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bob thet take a blogger kind of rock do get in.
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This go ro bowl jumping, dol a job.
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A roller roll bowler jump and John get a roller
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that cattle.
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You get the rhythm, sure to pick off and happy
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had half hepper rule just.
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For a nick nick nick nick Nickel, Yet here.
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Yet here, Let's go love.
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SIPs here saying how.
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Do you do Bola heapper rule?
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It really was remarkable, you know, in essence, a commercial
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masquerading as a pop song back in nineteen forty one,
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and there was no product idea on the label to
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make that evident. You know, it was actually a good
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song on its own with a well known female vocalist. Now,
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since this obviously could not have been played on the radio,
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which required sponsors to pay for ad time, I guess
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the jukebox ploy was the ex best alternative, even though
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that ultimately didn't work. Let's go to the next Pepsicola
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song that attempts once again to covertly be snuck into jukeboxes.
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The song may come and songs may go on for
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her Grandpa already. Oh there's one song that never stopped
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rives me while, but still it's top husking leaning noses,
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No good mun gets the head vote. Crosby sings and
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sweet or hat I what rhy them? Man hits the
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spot every time I hears the crazy melody this morning
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me I think I want.
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To holler, hey, hey.
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Even when I go to sleep after our County sheep,
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I wake right up and here's what I say, TEPTI
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Cola hits the spot well full ounces. That's a lot
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twice as much for a nickle to test.
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Cola is the drink for you.
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Every time I hear the crazy melody apponing me, I
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think I want to holler, hey, hey, Even when I
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go to sleep after our County set by, wake right up,
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and here's what I say, steps Cola hits the far
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well full ounce. That's a lot twice as much more
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an echo.
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Do Cola has a drink on you?
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On the Bogus Nocturnal label, we just heard Anita Boyer
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sing the B side of that record that featured get
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Hip on the A side. This one was called Swinging
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the Jingle with Johnny Fazdik and his Orchestra, a marketing
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ploy that was shut off at the past. I'm sure
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though that well, both Anita and Johnny Fosdick and his
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orchestra were well compensated for a record that, for the
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most part, no one ever heard. And oh, by the way,
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before I forget who was Johnny Fosdick and his orchestra,
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well old Johnny was none other than the Decca Records
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musical director, past band leader, and I think eventually the
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music director for ABC won Harry Sasnik, And you've heard
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me mention the Harry Sasnik name with the Harry Sasnick
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orchestra on this show many times. And friends. Another marketing story,
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this one a little more successful later on in the broadcast.
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How about a little World War two boogie woogie from
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Don Ray, the great boogie woogie Composer.
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We're out in Kansas City, all one two street. They
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say that there's a guy they call bigfoot Seed. He
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plays piano all over by ears can he plays all
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night for pig Steed and be he's murder on the
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eighty eight. He's a guy about double gay woof Get
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up to the state.
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He's got a cannon in his.
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Left hand and on right foot in his right. He's
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just a double belt stead and his shoes.
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He eight beats to you had a bright little Ray.
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He's just a solid wisdom. I'll tell you who he is.
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He's pick book, a boogie wool is in l His
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hands are just as big as bird in your hands.
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And when they go to work, they're lots bathroom ramp.
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And when it plays all the bottle the john rock
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a bit your thoughts.
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We have a boogie.
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It's part of the plan. You find a big.
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Man.
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We're out in Kansas City once two street.
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They say that there's a guy they called a pig
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for he pays it yain all by here they play
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call not Ana pay m. See he's got ho He's
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the guy that boga booga. We'll get up to the state.
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He's got a cannon in his up pan and a
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right foot in his right He's just.
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The double bete an issue. See eight feet to.
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You out of sudden rage.
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He's just the sort of wiz. I'll tell you who
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he is. He picks book a boogie woogie?
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Is it least his hands are justin bikers junior hands.
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And when they go to work the night back from ramp,
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and when he pays all that box the joint rocks.
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I'll tell you big to your stocks forever.
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A boogie, it's part of the pan.
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You might picko PiZZ the boogive will give.
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Me his double give the call it.
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The boogie wom.
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Pig feet Pete recorded on Decca Records in nineteen forty two.
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The vocal on that one by a commie legend who
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could also, as we heard, carry a tune they called
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her the big mouth. I'm talking about the great Martha Ray,
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who brought smiles to audiences on radio and TV and
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in the movies for over sixty years. And Martha Ray
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no relation to Don Ray that I just mentioned as
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the composer of that song Let's play I didn't intend
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on doing this, but let's play another one by Don Ray,
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who was so closely associated with Will Bradley, Freddie Slack, Ray,
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McKinley and the like. Here is one of my favorites.
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Oh where's you're going? I said you're going down the
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street the other night.
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I wannt't going away. I've been where I was going,
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all right, I didn't see it, just plumb out of side.
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Man, I should like to latch onto some of that
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boogie wiget tonight. You need some of that fat boogie woogie.
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That's what I need.
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That's what I need to Hey, if you want to
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hear some buggie and I know the planes, it's just
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a no p iron and knocked out bags.
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The drama. Man's a guy that called it bed Mac.
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You remember darking Old beating me Daddy's like man is
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