Jan. 16, 2026
Make Believe Ballroom - 1/16/26 Edition
On this week's edition of the Make Believe Ballroom - a scholarly way to start a band, a look at two clubs that served military members during WWII with music and cheer, Bing and Andrews Sisters duets history, in addition to many more songs and reminisces.
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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 ballroom time and free to everyone.
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It's no time to friend your Dalis said Bombas.
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Close your eyes and.
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Visual lize in your solitude.
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Your favorite bands are on this dance and mister Miller,
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what you're in the wood.
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It's make Believe Ballroom time. We are a sweet romance
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as you make believe bottom. Come on to the.
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Last das last.
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Hello world, I'm Jeff Presler, turning on the lights of
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the Make Believe Ballroom and welcoming you into my Crystal
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studio for another program of classic big band jazz from
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the nineteen thirties and forties. Get ready as I play
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for you some amazing jazz, swing, blues, and boogie woogie favorites. Folks,
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you're listening to the Make Believe Ballroom, broadcasting almost continuously
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since nineteen thirty five. Welcome, Welcome, Welcome one and all
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into the Crystal Studio, and thanks for joining me today.
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I play music that makes you want to jump and shout.
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I sincerely hope in many instances, and one of those
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instances is coming your way right now.
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Show let the ba bad thing of the passing.
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It's time that jump and shout A classic Jimmy Lunceford
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and his Orchestra tune arranged by the legendary Eddie Durham,
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recorded in January of nineteen forty on Vocalion Records. Jimmy
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Lunceford he might just have had the most unusual way
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to start his own orchestra that eventually went on to
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become one of the most successful of the big band era.
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And Lunceford's career didn't start in a nightclub or a
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a sidemen on a road somewhere with a band or orchestra.
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He actually started his music career in a classroom. Lunceford
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was academically trained. He studied music and graduated from Fisk University.
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In the late nineteen twenties. He became a music teacher
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and athletic coach at Manassas High School in Memphis, Tennessee.
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While there, Jimmy organized a student band made up largely
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of his very own pupils, and that began the blueprint
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that Jimmy Lunceford would follow during his entire career, which
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included very tight rehearsals, precision timing, and strict musical discipline.
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And you could hear that in all of his recordings
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and believe it or not. As many of those students graduated,
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Lunceford kept the group together, and he gradually turned it
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to professional. So in swing history, Jimmy Lunceford stands almost alone,
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a major big band that grew out of education rather
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than nightlife, and whose academic roots shaped one of the
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most disciplined sounds of well of the entire big band era.
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Let's hear one more from Jimmy Lunceford and his orchestra.
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Us, Give me Leaves. The leaves did leave.
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The whip Wills called whipple will he is nine. Where
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to mine Heaven? It turns it out right, old.
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Little White.
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Lead you to mine.
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You see a smile of face. Fireplace calls it bloom.
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Left on Nelson Nestles where old ness that is, where
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the rose is blue. Molly and Baby make streme itself
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is there? Mallow, Mallow and Molly and me. We're happy.
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Just we three.
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My Blue Heaven. Recorded October the twenty ninth, nineteen thirty four,
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at New York City's Decca Studios. Let Me Play one
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more record. Then we're going to take a look at
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two venues, one in Hollywood and one in New York City,
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where celebrities and band leaders ask for nothing in return
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to spread their good cheer.
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Half a society is seen. He'll not give it the
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mother name. Wing it Bugets quig, won't be jumping on round?
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Won't it tear it down?
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Wing it Bugets way? Donald Ump, Queen hadn't known enough?
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Way from Queen? Wag it brother? Are really all right?
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Whanging a night? Whang it Buggets play?
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What's the name?
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Yeah? Please take that way way.
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Three of the era's piano giants got together for Parlophone
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Records on July the thirtieth, nineteen thirty nine, to record
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the wonderful record we just heard the legends Albert Ammans,
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mid Lux, Lewis, Pete Johnson and their three pianos Cafe
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Society rag the vocal on that one by Joe Turner.
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I'm Jeff Presler, and you're listening to the one, the only,
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the original Make Believe Ballroom coming to you today from
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the Crystal Studio. So I mentioned before the record that
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I wanted to talk about a time when two venues
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one in Hollywood and the other in New York City
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featured celebrities of stage and screen and all the big
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orchestras of the big band era who asked for nothing
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in return other than to provide some entertainment and comfort
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to those doing an important job. During World War Two,
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two legendary clubs opened their doors to American servicemen. One
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revolved around Broadway and the other around Hollywood's motion picture industry.
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And they were the Stage Door Canteen in New York
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and the Hollywood Canteen in California. Now, they weren't nightclubs,
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and they weren't USO shows. What they were were free,
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volunteer run clubs where music, dancing, and human connection mattered
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more than glamour. And by that I mean these clubs
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were staffed by celebrities who weren't looking for public recognition
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but the personal personal recognition of knowing that they were
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making a small difference in the lives of servicemen and
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women during a very difficult and perilous time for the USA,
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that being World War Two. The Stage Door Canteen opened
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in March of nineteen forty two on Broadway, and that
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was run by the American theater wing, and there Broadway
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actors served food, They danced, they sang, and performed sketches
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right alongside the audience. Music at the stage door Canteen
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reflected Broadway itself, a lot of storylines, singing there you know,
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vocal numbers, comedy, familiar tunes. Swing music was present at
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the stage door Canteen, but it shared space with theater
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songs and more intimate performances of songs by vocalists, a
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lot of them having to do with World War Two.
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Let's play a couple of songs that refer to the
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stage door Canteen for your listening pleasure, and we'll start here.
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I love my rot the stage door cante.
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This cute story of army life romance by Don Cornell.
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I left my heart at the stage door County. I
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left it there with the girl maid Nally. I kept
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deserving doonahs. Tell all she had, we're gone.
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I sat there drunking donuts till she cut all. I
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must go back to the army, and.
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Every boy knows what that will me.
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A soldier boy with other heart has two strikes on
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him firmly stars.
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And my heart at the stage door Canti.
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I left my Heart at the Stage Door Canteen, that
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one written by the legendary the great Irving Berlin Swing
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and Sway with Sammy Kay and his orchestra vocal by
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Don Cornell, recorded on Victor Records back in nineteen forty two.
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One more directly related to the Stage Door Canteen.
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He had led him mone in nineteen twenty two.
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You let other women make a fool of you?
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Why don't you do right? Write some other men do?
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Get out of here and get me some money to.
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If you had prepared twenty years ago, you wouldn't be wander.
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Now from door to door.
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Why don't you do right.
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Like some other men do?
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Get out of here and get.
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Me some money to?
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Why don't you do right like some mother men do?
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Like some mother men do?
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From the nineteen forty three film Stage Door Canteen, Benny
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Goodman and his orchestra played the classic song by Kansas
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City Joe McCoy and Herb morand why don't you do
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it right? With the vocal there by Peggy Lee and
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that film. The forty three film Stage Door Canteen was
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made in support of the American war effort and contained
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many cameo appearances. By well known and lesser known stars
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of the day. You can watch the entire film on YouTube.
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It's a wonderful film. I just watched it again for
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probably about the twentieth time last week. And in that film,
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if you watch probably gee, I'd say close to one
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hundred celebrities, both superstars and lesser knowns, were featured in
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that nineteen forty three film. I'll talk in a minute
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about the Hollywood Canteen. Both canteens were open for a
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relatively short period of time that paralleling the war from
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forty two to forty five. Let's play a popular song
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of the era that was most probably played live or
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on a jukebox at either one of those canteens.
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Scott, have you anything to say to me? Won't you
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tell me where my love can be? Is there a
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medal in the middle.
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Where someone waiting to become Scott? Have you seen a
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valley green with spring.
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Where my heart can go?
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A journey.
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Over the shadows and the range to a blossom covered lane?
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And in your lonely fly, haven't you heard.
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The music of the night.
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One of them?
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Never there's a willow who as crazy.
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As lou said as a gypsy serenading Losky.
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I don't know if you can find me sting, but
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my heart is riding.
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On your winds.
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So if you see them anywhere, won't.
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You lead me there?
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Skylark Harry James and his orchestra vocal by Helen Forrest,
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recorded on Columbia Records back in nineteen forty two. I'm
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Jeff Bresler, and this is the weekly edition of The
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Make Leave Ballroom, and currently on the program, I am
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discussing two iconic venues from the era of World War Two,
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the Stage Door Canteen and the Hollywood Canteen, where celebrities,
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many of the biggest names of the era to grace
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a Broadway stage or Hollywood motion picture selflessly donated their time,
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many over and over again, to wait on tables, serve coffee, perform,
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and interact with the servicemen and women who were serving
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the United States during World War Two. I don't know
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if we could have a Stage Door or Hollywood Canteen
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today with the dynamics of today's personalities, and that's certainly
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a shame. So after the establishment of the Stage Door
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Canteen later in nineteen forty two, the Hollywood film community
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created its own canteen, and that was founded by the
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legendary actress Betty Davis and matinee idol John Garfield. The
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Hollywood Canteen emphasized dancing, and that meant that they featured
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many swing bands in addition to the hundreds of the
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celebrities who volunteered their time and talent to chat, serve food,
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sign autographs, and take pictures with military members, much like
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at the Stage Door Canteen. Very frequent visitors to the
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Hollywood Canteen and the Stage Door Canteen both not only
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to perform, but also to interact with servicemen and women
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was the andrew Sisters.
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I'm getting called on for my country at the Hollywood Canteen.
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The hardest working junior rosters she never seen. I'm doing
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my bit down here for Uncle Sam. I'm a patriotic jitibug,
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that's what i am. I'm getting called.
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For my country.
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You should see the Flounes fly.
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I'm getting down the waistline and I told.
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Even try I don't need to do berry or with
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more cord.
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Both.
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My weight's been taken over.
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By the Army Air Force.
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We're not the tea sweet John Leslie. But then we
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never mind when those tea eyes knocked us out. We're
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glad that we're the healthy guid the way those cowboys
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from the prairie expect us to sashay, I thank.
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God, rather to step with their horses.
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Any game, getting barns for our country, though the going
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is stuff.
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When we think we can go on, we find we
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can get enough to If you.
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Hear of the soldier sailor all Maureen, tell them to look.
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Gus up bad Hollywood Canteen.
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I used to be aesthetic, they say, oh yes, I was,
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Rarey I was. I built the drama, art and the ballet.
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But the Peter Hill came over and said, forget about.
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Pavlover, learn to cut a right.
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So now we're jenner By.
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I'm getting calms for my country.
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So I'm really hold in a week from now we'll
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be here with our usual of him.
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So if you him from the Bronx to Moine or Aberdeen.
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Come down the nass for a side.
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Wood again, A song about working real hard at the
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Hollywood Canteen, which the Andrews sisters also performed in Warner
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Brothers highly entertaining all star feature film Hollywood Canteen, issued
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on Decca Records Corns for My Country the Andrew Sister
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Orchestra conducted by Vic Schoen, recorded August twenty fourth, nineteen
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forty four, and much like the Stage Door Canteen, you
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could also watch the Hollywood Canteen on YouTube. Give that
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one a look.
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Also.
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One of the features great features of both canteens is
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that they were racially integrated performers and audiences mixing together,
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