Aug. 7, 2026
Make Believe Ballroom - 8/7/26 Edition
On this week’s show: the "Mayor of Harlem," a song about a profession that helped bring black Americans into the middle class, and three crooners who caused swooning—this and many more great songs and tales to cherish and enjoy on the program.
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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 good cheer your way.
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It's make believe.
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Ballroom time and free to everyone. It's no time to
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friend your Dalis said bombs. Close your eyes and visualize
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in your solitude. Your favorite bands are on this dance and.
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Mister Miller, but you're in the wood. It's make believe
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ballroom time.
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We are a sweet romance.
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Here's your mother.
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Come on, Joleen Last das Last, Hello world. I'm Jeff Presler,
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turning on the lights of the Make Belief Ballroom and
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welcoming you into my Crystal studio for another program of
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classic big band music from the nineteen thirties and forties.
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Please get ready as I play for you some amazing jazz, swing, blues,
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and boogie woogie favorites. Folks, you're listening to the Make
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Believe Ballroom, broadcasting almost continuously since nineteen thirty five. And
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welcome one and all into the Crystal Studio. And thanks
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so much for joining me today. How about a little
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rag to get things going day? We say that that
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was eccentric rag buster Bailey and his orchestra, And what
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an orchestra. It was you had Charlie Shavers playing the trumpet,
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Buster Bailey himself the clarinet. Benny caught her very strange.
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On the record label he is listed as Bill Kyle
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playing the piano. Of course, Benny best known for the alto,
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sax and trumpet, but also a fine pianist. John Kirby,
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the Bass, Zudi Singleton the Drums, recorded in New York
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City June of nineteen forty. Buster Bailey and his Orchestra.
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Why don't I take a moment to zero win on
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the bass player on that record, John Kirby, who led
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a wonderful sex tet in the nineteen forties.
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The Lady Ny the Badger.
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On Okay Records. The John Kirby Sextent Jumping in the
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Pump Room, recorded also in nineteen forty. I'm Jeff Bresler,
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and thanks for taking the time today to listen in
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on some of the finest music of a bygun eron.
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I'm happy to keep that era alive here each and
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every week on the Make Believe Ballroom. In just a moment,
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three men who many other men well, quite frankly, sometimes
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went to jealous rages over. But first my Friends, A
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Little Benny Goodman.
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The Y, the The The.
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Taking, the.
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Law An.
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Benny Goodman and his Orchestra was Undecided, recorded on December fifteenth,
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nineteen thirty eight, in New York City for Victor Records.
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I'm Jeff Prester, and you're listening to the weekly edition
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of the Make Believe Ballroom Bing. Crosby, Russ Colombo, and
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Rudy Valley were the three biggest crooners in the early
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nineteen thirties. Their popularity soared on records but also on
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the radio. These three young crooners were the equivalent of
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movie matinee idols, and many younger women had crushes on them. Now,
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this created jealousy among their bows, so much so that
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they were considered all in fun quote unquote public enemies
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of the young men who had to tolerate their dreamy
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eyed girlfriends. Waxing poetically about the trio. The dilemma, so
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to speak, was so well documented that a song was
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written about it, and I play that for you now.
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I hoe everybody.
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There's lots of public enemies, but I know only three. Crosbie,
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Colombo and Valley.
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They've made a million married women wish that they were
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free Rosy.
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Colombo and Valley.
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Those crooning vagabonds are stealing all our blonde.
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Now I know what has become of Sally.
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And every time you.
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Kiss your girl, who is she thinking of? Crosby, Colombo
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and Valley.
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Listen on, you bachelors, all you married men, we must
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stick together once again. There's too many crooners, too many
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saxophone break up our happy home.
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Who are we? Sings about a couple of weeks the
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stars above crosbe Glumbone.
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Valley, And though I call it nonsense, they insist that
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it is love.
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Crosbeak, Alumbon and Valley.
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Before the radio, a married man could throw any gigglo
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out in the alley.
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But now who comes into your home and you.
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Can't say a word Crosbeaklumbone Valley.
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Each time I go out, all I hear him and
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talk about is the Saprosby, the Colombo and the Valley.
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You know, I buy the banana from the Greek and
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all the time I hear him speak about the Prosby
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Colombo and the Valley.
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I buy the radio and I put him a soft
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bin alow and I hear him singing. I like him too,
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By Galley.
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Everything will be okay if they sing pagliats.
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These grows Bey Colombo and the Valley.
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Our children think.
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America was first discovered by Crosby, Colombo and Valley.
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The women only laugh at me, but who can make
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them cry? Crosby, Colombo and Valleys. A girl can close
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her eyes and listen to those.
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Guys and do what you will be did to old
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Sven Galley.
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My baby can't say poppy yet, but he can play
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me say crows be Cologne.
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Bo and Balley.
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On Perfect Records, released on December nineteenth, nineteen thirty one. Crosby,
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Colombo and Valley with the vocal provided by Dick Robertson,
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and that song and the whole mystique surrounding bing Crosby,
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Russ Colombo and Rudy Valley actually led to Warner Brothers
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creating a cartoon feature, a Merry Melodies feature that appeared
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in theaters in nineteen thirty two and for decades thereafter
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when television came into vogue for many many years. You know,
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it's interesting that while Crosby, Colombo and Valley were America's
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favorite crooners and stealing all the musical headlines. The vocalist
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who sang that song, Dick Robertson, was toiling away in
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the record studios record awarding hundreds of sides over his career.
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Robertson did not have a contract or loyalty to one band.
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In particular, he was best described, I guess as a
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vocal freelancer, working as a studio singer, most notably from
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Millowtone Perfect Banner, Oriole Romeo, Crown and Bluebird Records. Dick,
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who has provided the vocals for many a record, spun
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here on the make the Lae Ballroom, was joined by
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Chick Bullock, Let's see put Scrappy Lambert in that class,
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Irvin Kaufman, Elmer, Ruffeldcamp, and a whole bunch more is
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the core of the freelance studio vocalists, especially the nineteen thirties,
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and among them responsible in totality for literally thousands of
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sides coming out of the record studio. Why Don't I
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Play One? By Chick Bullock?
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I got the world on a string, sitting on the rainbow,
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got the string around my pain? What a world? What
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a life? I'm in love? I got a song that
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I sing. I can make the rainbow anytime I move.
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My pain now gave me? Can't you see I'm in love?
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I'm is a beautiful pain as long as I hold
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a string. I do you still the towel? If I
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should ever let go? I got the world on the string,
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spitting on the rainbow, got the string around mat Why
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the bird?
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What a life?
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Time?
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In love? Life is a beautiful pain. As long as
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I hold the string, I'd be a Silney Somn's gold
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if I should have to let go. I got the
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world on a string, pitting on the rainbow, got the
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string around my pair, Watch the world?
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What the life?
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Fim in life?
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On Oreo Records, I've Got the World on a String
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Chick Bullock and his Levy Loungers, recorded on February the ninth,
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nineteen thirty three. Folks, you're listening to the one, the only,
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the original Make Believe Ballroom broadcasting since nineteen thirty five,
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and in the Record Books says the third longest running
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music radio program. I'm Jeff Wrestler, and we do two
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things here on the Ballroom. We tell stories like the
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Crosby Colombo and Valley Tale, and play some great music
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that I know you love music like this, I'm pols.
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The leaders, make them green again.
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Shake out the trees, change the scene again, sprink cleaning,
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getting ready for love.
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I'll sweep out the nook down in lover's lane, turn.
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On the book, making a run again, sprink cleaning and
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getting ready for love.
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Our dust does win. Three flowers watched them out with
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their brill showers. Cover them with fragrant flowers. Sign up
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the silvery move.
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Consume you and I am under the sky like we
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used to do, and sprink leading, getting ready for lawns,
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swing out balls, Consume you and I am.
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I'm the guy like we have to do. Ring cleaning,
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Get a readyble Love.
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Recorded on March the twelfth, nineteen thirty seven, Bob Howard
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and his Orchestra. Vocal by Bob with a pleasant swinger
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titled Spring Cleaning, from Decca Records. Let's listen now to
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a record by drummer Joe Daniels, then an occupation that
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was partially responsible for moving Black Americans into the middle class.
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A music ode to that profession in just a few moments.
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Tell me.
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Very Much.
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For Recorded in London, June the thirtieth, nineteen thirty eight,
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Joe Daniels and his hot shot in Dromnastics with ultra
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modern sway. You know you've seen them in old movies,
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read about them, maybe actually had an encounter with one
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of the members of this uh, well affable and friendly lot.
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The first red cap was worn by a black railroad
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porter on Labor Day of eighteen ninety to stand out
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from the crowds at Grand Central Terminal in New York City.
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His name was James Williams, and he wore a red
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cap to distinguish himself from railroad personnel like conductors who
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wore blue caps. Red caps, as many of you know,
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carried luggage to trains and attended to passengers other needs
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before they boarded. It is said that with limited job
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opportunities for Blacks at the turn of the century, that
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the whole red cap profession, which was pretty much an
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all African American enterprise, was responsible due to stability, good
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salary and tips. Was responsible because it became a major
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factor in Black Americans being elevated into the middle class.
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Louis Armstrong performed a song about red caps, both informational
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for the general public and need I say, a morale
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booster for the red caps themselves. Let's enjoy that record.
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Now, Red Cap Cap every day's working it for you,
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so don't rig you got to hustle now the age
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fiue d.
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Red that's what you keep shouting to the throne. It's no.
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And yet you have to tote that baggage all day long.
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When have folks go on.
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Vacation, you at the railroad station, ready to lend them
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a hand. What some of them don't understand that a
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nickel or two lack a dollar to you.
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So read Cavil save the tips you get.
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Well if you do the caravel, oh travel, perhaps some
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day you will be calling Red.
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Captain from Decca. Louis Armstrong and his Orchestra with Red Cap,
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recorded July the second, nineteen thirty seven in New York City,
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attributes to Red Caps and working hard every single day.
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And I really don't have to work very hard to
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flip that Armstrong record over to the other side.
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New kind of.
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Enemy on Newsay's course of the melody when it comes
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your way, saw the sneaks right up up on you
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kind of puts the finger on you. So look out
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for public melody number one. It should be your luck
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and it needs you face to face, in your feet
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at chucking all around the place. No use to call
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on who was g men? Why they're just a lot
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of head fmn when it comes to Public Melody number one,
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Oh Frankenstein, fun love, John Jesse, James Tachers, bet me
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gott con only your time combat the notes shot from
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hot con Net. So get on the cover, you rhythm rascals,
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and run, who you dog? I ain't no use hiding.
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I'm gonna take you line. Look out the public medine
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number one.
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All right, then, no, I don't know.
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Louis Armstrong and his orchestra with the flip side of
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red cap. We just heard Public Melody number one. You know,
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if you think that the legendary Bob Wills and his
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Texas Playboys were all about strictly Texas swing, well think again.
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This is.
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Won't you Come along with me?
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Come along with me to the Mississippi. Through the Mississippi.
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We'll take a board to the land of dreams, steaming
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down the river down.
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To oldly O.
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The Bend's gonna meet.
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Us, all our old friends to greet us old friends agreed.
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That's where the dog and the light bulb meet.
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