Jan. 31, 2025

Make Believe Ballroom - 1/31/25 Edition

On this week's Make Believe Ballroom broadcast on member-supported Jazz 90.1 in Rochester, NY, and other fine radio affiliates across the United States as well as in the United Kingdom –Jeff Bressler spends the program catching up on listeners e-mails...

Show Notes
Transcript

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It's make believe ballroom time. Put all your cares away.

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All the bands are here to bring.

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Good cheer your way.

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

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no time to friend your Dalis.

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Said Bamba 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, but you're

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in the wood. It's make believe ballroom time. We are

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of sweet romance as you make live ballroom.

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Come on, Jim last dance.

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Let's hi, folks. I'm Jeff Presler, turning on the lights

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of the make Belief Ballroom and welcoming you into my

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crystal studio for another program of the great big band

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hits of the nineteen thirties and nineteen forties. Whether one

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of my longtime listeners or a new listener on public,

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community or university radio stations across the US as well

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as in the United Kingdom, please grab your dance ticket.

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It's free and let's listen to some wonderful big band jazz, swing,

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blues and boogie woogie classics. Hello world, and from coast

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to coast, don stations like Jazz ninety point one WGMC

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in Rochester, New York and other fine radio affiliates. I

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indeed welcome you, one and all to the Make Believe Ballroom,

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the one, the only, the original Make Believe ball rope,

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broadcasting almost continuously since nineteen hundred and thirty five. And friends,

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let's get the show off to a rousing start.

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Any and then.

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On Brunswick Records, we just heard Jan Savot and his

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Top Hatters with Blues in the Groove, recorded in New

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York City on February the fourth, nineteen forty The underrated

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in my opinion, Jan Savat one more then you know.

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Over the last few weeks, I have not been able

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to really read a lot of your request and comments

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that you so graciously emailed to me because of timing

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on those past shows. But today I promise to read

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several of them. But first, a salute to our listeners

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across the pond.

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The singing.

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Cock Cock.

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On Parlophone Records, we just heard British band leader and

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drummer Joe Daniels lead Joe Daniels and his hot Shots

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with a number called Drumnastics. Swing is the Thing, recorded

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in London during the war on October fourteenth, nineteen forty two.

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I'm Jeff Bresler, and you're listening to the Make Believe

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Ballroom and friends. How about this.

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Lenners Levers Dock.

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So ah.

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Yes, we do get letters of plenty in the form

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of emails, and I am here to deliver a few

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to you right now for a future reference. I'm Jeff

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at Makebelie Ballroomradio dot com. I'm Jeff at MakeBelieve Ballroom

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Radio dot com. You would like to join in? And

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our first email today comes from a great listener who

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listens in Italy. I'm talking about Max Katani. And Max

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mentioned in his email that he enjoyed when we played

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on the Sunny Side of the Street by the net

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King Cole Trio. We went on to say that a

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nineteen forty version, very rare, was made by the King

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Cole Quartet, and in his opinion, is very interesting. So

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Max graciously attached four recordings made by the quartet in

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early nineteen forty and he says, among these we can

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find a version of I Like to Riff, which is

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different from the Decker recording that we all know. And

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he concluded his email by saying, thank you very much

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for your kind attention and best regards. From Max, so

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Max deeply appreciated and Max Katani of the years has

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commented on and led us to many rarely played recordings.

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And I really didn't know about the quartet. Of course,

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when we think of Nat King Cole, we think of

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the King Cole trio. But let me play at your suggestion, Max,

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I like to reflect.

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If you will be like your pisom that just you're

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letting brun lipperma do that.

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I do about zipper like the rip because it makes

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feel so fine. I like the rib ptation was off

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your fine brisbeter day for me.

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You real back this, you real back this, You real

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back this ripping anything for me?

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The lot lot of little little.

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Di and stu.

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Huh right, die, I didn't you bet it?

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Did you get it?

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You didn't do it?

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And you did it? You did it?

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You ride the stire right?

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That's that I am riding stiff. That's that's what I

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d don't die. Thats the din that stick rip dinner you.

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I like the real bla cause it makes peel some spies.

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I like the reple these broubles off your play and

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stuffing you a dridee out of brown and die.

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I ride locks and Rubs and die.

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I'll ride.

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Ri and one more Max that you sent me from

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the King Cole Quartet.

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Exact.

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That was the Black Spider Stomp by the Nat King

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Cole Quartet. And thank you very much Max Catani from

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Italy for your email and sharing of music with that listeners.

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And I think if I'm not mistaken, Max listens via

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UK nineteen forties radio. I'm almost sure he does. Our

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next email is from Pat Brand, who listens to our

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program on WVEX in Midland, Michigan. Pat writes, Jeff, a

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longtime Make Believe Ballroom listener here in Michigan. I have

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a request. Several months ago you played Fletcher Henderson's down

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South Camp Meeting with his orchestra. Can you play the

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Benny Goodman version for us? I heard it recently. It

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is almost identical to Fletcher Henderson's arranged version, except at

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a little slower tempo. So for you now, Pat Brand

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here on the Make Believe Ballroom one back, folks, we

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just heard it, Pat Brand, from Michigan's request on Victor Records,

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down South Camp Meeting Fletcher Henderson arrange this time Benny

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Goodman and his orchestra recorded in Hollywood, California, August thirteenth,

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nineteen thirty six. I'm Jeff Bresler, and you are listening

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to the Make Believe Ballroom as I read and catch

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up with some of our wonderful listeners' emails to the program,

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and the next one I will share comes from one

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of our regulars in Florida. And we have, of course

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the Sarasota Contingent that listens to the Ballroom as a

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group each week on the West coast, and of course

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I deeply appreciate that. But on the Atlantic side, Davy

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Arnold holds down the Fort in Boynton Beach, Florida, and

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Davy writes, Hi, Jeff Edie sends her regards. Edie is

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Davey's wife. I like when you play music by obscure

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groups with novel names. You played a song a few

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weeks ago by Coody Williams and his Rugcutters. I forgot

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the name of the song, but the music was fantastic.

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Can you play another by this group? Signed Davey, Well,

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thanks Davey. Cooty Williams and his Rugcutters might sound novel

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and obscure, but that really wasn't the case. During the

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swing era big bands led by let's say, Tommy Dorsey,

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count Basie, Benny Goodman, Artie Shaw, and Duke Ellington. They

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all had small ensemble and those ensembles actually frequently stole

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the show from the big band as a whole in

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the ballrooms and theaters and hot small combos, as I

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just said, off and stole the show during live performances.

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But they also made records, and many of these big

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band spin offs actually began to top the charts over

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their older brothers. Now Goodman had his trio and quartet.

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Tommy Dorsey is clam Bake seven, the Crosby Band, Bob

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Crosby Band had the Bob Kats and Larreadie Shaw certainly

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had his Gramercy five. Last week, as a matter of fact,

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I played two songs by the clam Bake seven. Now

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Duke Ellington more than many of these other small combos

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actually made a career long habit of experimenting and recording

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with small groups. Now some small combo sessions were under

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his own name, and Duke in many of these recordings

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actually also played the piano, but many were led by

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one of his own sidemen, including trumpet player Coody Williams,

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who Ellington spun off as as Davy mentioned Coody Williams

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and his Rugcutters. So, Davey, thanks for the email. I

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am glad you liked when I played Coody Williams a

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while back. Let me now select another one for your enjoyment.

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Nothing but nothing happened.

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But the.

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From the.

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Same way.

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Anything at.

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Any football.

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Jubileesta Cody Williams and his Rugcutters, recorded on Vocalion Records

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in New York City, October the twenty sixth, nineteen thirty seven.

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I don't know if it's just me and I haven't

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listened to that recording in quite some time, but it

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certainly was similar in sound to by Myrvista Shane. You know, Davy.

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The song the song I just played Jubilesta was written

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by trombonist and composer Jan Tissol. He also wrote one

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of the Duke's standards, recorded in many different versions over

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the years over.

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A fever.

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That was the famous Ellington standard featuring its composer Juan

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Tizsall on valve trombone on Victor Records Caravan Duke Ellington

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and his famous orchestra, recorded in New York City, May

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the fourteenth, nineteen hundred and thirty seven. And let me

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stick with Puerto Rican born Juan Tizsoll for a minute

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as I look for another record. Here another great Ellington

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standard song is also credited to one and hang on, folks, right,

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I'm sad. Let me play that one.

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M h.

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M m.

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Me sta't of thing?

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And we.

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And we just heard Perdido by Duke Ellington and his

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famous orchestra, composed by one Tissall, recorded on Victor Records

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in nineteen forty three. And thanks Davy for your original

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question about Coody Williams and his rugcutters. I'm Jeff Bresler,

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and this is the Make Believe Ballroom coming to you

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from the Crystal Studio in New York, and I am

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so privileged that you have joined me today as I

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am currently sharing some listener emails and to email me,

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I'm Jeff at MakeBelieve Ballroom Radio dot com. That's Jeff

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at MakeBelieve Ballroomradio dot com. And now this next email

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takes some explanation, so I'm going to bring you back

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to the Make Believe Ballroom from November fifteenth, twenty twenty two,

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when I was in the Crystal studio with our producer

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Emeritis Lenny from down the block to reach us, It's

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Jeff at Makebelie Ballroomradio dot com. That's Jeff at MakeBelieve

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Ballroom Radio dot com. And someone who did use that

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email address to reach us sent us an email a

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couple of weeks ago that I would like to share

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with you right now. It reads, I enjoyed listening to

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the show that featured songs from Ralphie's Hit Parade. Well,

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actually not Ralphie's Hit Parade. It's Ralphie from Canarsi's Record

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Club list of top tunes from the Big Band era

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that was started by Ralphie and his wife Rose in

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their home in Knarsi, where they entertained friends every other Saturday.

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Over eight hundred songs they compiled for that list. The

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club started in nineteen around nineteen thirty five and ran

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all the way up to the nineteen seventies. But I'm

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digressing from the email. Let me continue. Even though you

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selected the songs randomly from mister Kalamari's Raffle Drum, each

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one you played was a gem listener. It is actually

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mister Kusamanni's Raffle drum the late mister Kusamanni who built

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a raffle drum for the Sons of Italy annual Raffle dinner,

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and Lenny inherited that drum after mister Koussomanni passed away.

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But not an important detail to your email at all.

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Let me go on, he says, I have good news

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for you. I just won the New York Daily Numbers

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lottery for five hundred dollars. I live in Hudson, New York. Well, congratulations, listener.

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That is quite an accomplishment to win any type of lottery,

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he says. I have played the same number one six

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one for many many years, but never one. I finally

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hit one six ' one is my employee number. In

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celebration of this achievement, can you play number one six

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one from Ralphie's Hit Parade aka Ralphie from Canarsi's Record

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club list and he signs it my name is Lenny two.

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Very interesting request, Lenny too, So we back live now.

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So Lenny two had he good fortune of winning the

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lottery and asking me to play song one six '

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one from the Ralphie from Canarsi Record club list. And

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took me a while to find that cut. I had

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a look through show notes from the last couple of years,

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but I finally found it in the November fifteenth, twenty

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twenty two edition. But now I do have an updated

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email from that same Lenny two, and this is, really, folks,

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quite amazing, He writes a Jeff, I have an interesting

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story to tell you. You might not remember, but a

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few years back I hit the pick three in the

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New York Lottery and asked you to play number one

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six one from the Ralphie list. That was a winning

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number for me and also my employee number. I retired.

240
00:37:54.800 --> 00:37:59.039
Last year after I won, I decided not to play

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00:37:59.599 --> 00:38:05.119
six on anymore. I started playing four one four. That

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00:38:05.360 --> 00:38:09.679
is the date I retired, April the fourteenth. Can you

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believe that number hit and I won two hundred and

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00:38:13.400 --> 00:38:17.079
fifty dollars. So hopefully, as you did the first time,

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00:38:17.639 --> 00:38:21.079
in honor of my New York Lottery win, you can

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00:38:21.159 --> 00:38:24.760
play number four one four. I think you bring me

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00:38:24.920 --> 00:38:30.960
good luck, Signed Lenny two. Well, Lenny, congratulations on your win.

248
00:38:31.159 --> 00:38:34.239
Quite an accomplishment to win the New York Pick three

249
00:38:34.360 --> 00:38:39.599
not once, but twice, and Lenny two now my pleasure

250
00:38:39.679 --> 00:38:43.159
from the Ralphie from Canarsi Record Club List to play

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00:38:43.280 --> 00:38:46.320
for you number four one four.

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00:39:01.360 --> 00:39:20.719
Little let me.

253
00:39:26.760 --> 00:40:00.119
Spen o.

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00:40:01.800 --> 00:40:28.840
That, but I don't, but I don't read, but I don't.

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00:40:21.920 --> 00:42:01.000
Do Buster Bailey and his Orchestra Pine Tops Boogie Woogie

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00:42:01.239 --> 00:42:05.039
on Varsity Records, recorded in nineteen forty and for you

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00:42:05.400 --> 00:42:09.159
Lenny two number four to one four on the Ralfie

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00:42:09.199 --> 00:42:13.159
from Canarsi Record Club List which matches your winning pick

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00:42:13.239 --> 00:42:17.800
three number of four one four and Lenny when you

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00:42:17.960 --> 00:42:23.159
won the first time with number one six one, do

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00:42:23.400 --> 00:42:27.679
you remember the name of the song that car responded

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00:42:27.880 --> 00:42:32.000
to that number. Well, if you forgot, I'm going to

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00:42:32.079 --> 00:42:33.199
refresh your memory.

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00:42:43.840 --> 00:42:48.239
Way down among rezillions coffee beans rolled by the visions,

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00:42:48.599 --> 00:42:51.719
so they've got to find those extra cups to fill.

266
00:42:53.119 --> 00:42:56.679
They got an offer a lot of coffee in Brazil.

267
00:42:58.840 --> 00:43:02.199
You can't get cherry soda because they've got to sell

268
00:43:02.360 --> 00:43:05.840
their quarta, and the way things are, I guess they

269
00:43:05.960 --> 00:43:11.639
never will. They've got a silly tons of coffee in Brazil.

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00:43:13.480 --> 00:43:14.519
No tea.

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00:43:16.000 --> 00:43:23.960
Or tomato juice. You'll see no potato juice because of

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00:43:24.159 --> 00:43:29.280
planters down in Sanners. I'll say no, no, no. A

273
00:43:29.440 --> 00:43:34.840
politician's daughter was accused of drinking water and was fine.

274
00:43:35.000 --> 00:43:40.000
The great big fifty dollar bill. They got an awful

275
00:43:40.280 --> 00:44:01.519
lot of coffee in braserve And when they're ham and

276
00:44:01.639 --> 00:44:06.880
eggs needs savor, coffee Ketchup gives them flavor. Coffee pickles.

277
00:44:07.079 --> 00:44:12.360
We outselled dill. Why they put coffee in the coffee

278
00:44:12.800 --> 00:44:21.039
in Brazil? No tea uh huh? Or tomato juice. We'll

279
00:44:21.159 --> 00:44:28.000
see no potato juice cause the platters down in sanners.

280
00:44:28.119 --> 00:44:32.719
I'll say no, no, no, So you'll add to the

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00:44:32.880 --> 00:44:38.239
local color. Serving coffee with a curler donkey doesn't take

282
00:44:38.320 --> 00:44:42.880
a lot of skill. They got an awful lot of

283
00:44:43.039 --> 00:44:48.599
coffee in Brazil. Man, they got a gang of coffee

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00:44:48.960 --> 00:44:49.679
in Brazil.

285
00:44:54.679 --> 00:44:57.679
The coffee song They've Got an Awful Lot of Coffee

286
00:44:57.920 --> 00:45:02.880
in Brazil by Frank Sinatra Orchestra, conducted by Alex Stordahl

287
00:45:03.519 --> 00:45:08.039
and recorded on Columbia Records in nineteen forty six. And

288
00:45:08.239 --> 00:45:12.760
thank you to Max Catani from Italy, Pat Brand from Michigan,

289
00:45:13.000 --> 00:45:16.679
Davy Arnold from Florida, and the Great Lenny Too from

290
00:45:16.760 --> 00:45:20.559
New York State for your emails. And once again to

291
00:45:20.760 --> 00:45:25.280
email me Jeff at MakeBelieve Ballroomradio dot com. That's Jeff

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00:45:25.320 --> 00:45:30.559
at MakeBelieve Ballroomradio dot com. I have more to read

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00:45:30.840 --> 00:45:33.400
and I will see if I have the time to

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00:45:33.519 --> 00:45:37.079
get them in. But first I have to check the clock,

295
00:45:38.320 --> 00:45:40.519
the big Bullivar clock on the wall here in the

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00:45:40.559 --> 00:45:45.000
crystal studio. And we do have time for at least

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00:45:45.159 --> 00:45:50.519
one more email. And let me go from my playlist

298
00:45:50.639 --> 00:45:54.039
screen over the screen here where I keep my emails,

299
00:45:55.480 --> 00:45:59.599
and here it is this email from Cal Maldonika or

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00:45:59.800 --> 00:46:03.239
cal Maldonica. I hope I got one of those two,

301
00:46:03.320 --> 00:46:09.800
write Cal. Cal listens on WXDR in New Orleans, Louisiana,

302
00:46:09.920 --> 00:46:15.639
great eclectic station. It plays all kinds of jazz, international,

303
00:46:15.920 --> 00:46:19.159
rock and roll, reggae, plus they play a whole lot

304
00:46:19.239 --> 00:46:22.559
of old time radio station I listened to several times

305
00:46:22.599 --> 00:46:26.480
each month. Getting back to Calough, he writes, Jeff, listen

306
00:46:26.519 --> 00:46:29.280
to your show each Saturday morning at eight am on

307
00:46:29.519 --> 00:46:36.119
WXDR Dolphin Radio. I am requesting a song called Atomic Cafe,

308
00:46:37.519 --> 00:46:40.840
which was somewhat controversial. It was an anti war song

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of sorts composed shortly after the US drop the two

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atomic bombs on Hiroshima and Nagasaki. It was sung by

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Slim Gaillard. Thanks Cal, of course, Cal I can play

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that never did on the ballroom. I'm familiar with the song,

313
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but we will play here for you for the first

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time today in just a couple of minutes. Slim Gaillard,

315
00:47:05.760 --> 00:47:10.000
who had another nickname, that being mcvoody, was a singer

316
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and songwriter. He played the piano, the guitar, the vibraphone,

317
00:47:14.639 --> 00:47:20.199
and the tenor sachs. Slim was noted for his comedic

318
00:47:20.559 --> 00:47:26.039
songs and vocales, his meaning which I guess you would

319
00:47:26.079 --> 00:47:30.320
call his vocales, his own constructed language, which he called

320
00:47:30.400 --> 00:47:34.920
a vauderini. And the best way to introduce you to

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00:47:35.400 --> 00:47:39.400
Slim Gaillard before I play Atomiccafes through an appearance he

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00:47:39.480 --> 00:47:44.599
had on Frank Sinatra's radio show in the nineteen forty six.

323
00:47:45.519 --> 00:47:49.440
And here we will hear Slim and his trio with

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00:47:49.639 --> 00:47:54.880
one of their hits, Cement Mixer. Now, folks, I don't

325
00:47:54.920 --> 00:48:00.719
know what your tolerance is for screaming teenagers who were

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00:48:01.000 --> 00:48:06.400
always present during Sinatra's performances through the forties, But if

327
00:48:06.440 --> 00:48:08.800
you could take it, if you could take the screaming

328
00:48:08.960 --> 00:48:11.719
in the background, I think you're going to enjoy this segment.

329
00:48:13.880 --> 00:48:16.960
A very very good, good evening from suburban Los Angeles Nabors.

330
00:48:17.960 --> 00:48:19.519
Seriously, Boss, who's your guest tonight?

331
00:48:19.599 --> 00:48:22.199
The most unusual instrumental and vocal outfit in the music

332
00:48:22.239 --> 00:48:26.280
biz MAB and the Slim Galer Trio. The Slim Galer Trio. Boss,

333
00:48:26.320 --> 00:48:27.800
you must be out of your mind while those guys

334
00:48:27.840 --> 00:48:30.599
are musical mad man. Well, I'll grant you some of

335
00:48:30.639 --> 00:48:33.880
that tunes are a bit neurotic, MAB. But if you've

336
00:48:33.920 --> 00:48:36.800
got to admit that Slim Gala's jive tunes cement mixer

337
00:48:36.960 --> 00:48:40.360
is really out of this universe, so is Slim Galer's

338
00:48:40.440 --> 00:48:43.440
jive talk so far out of this universe. I can't

339
00:48:43.480 --> 00:48:46.679
even understand it. I guess you just ain't a cat mark,

340
00:48:48.719 --> 00:48:52.440
all right? Do you know what malarney means? And scooterly

341
00:48:52.519 --> 00:48:57.199
rutally and vote and double vote naturally, that's nineteen forty

342
00:48:57.239 --> 00:49:01.719
six talk. Melarini is toneteen forty six ninth. What twenty

343
00:49:01.800 --> 00:49:04.119
three s could do was the nineteen twenty three and

344
00:49:04.199 --> 00:49:06.920
our Neighbors meet Three of the wildest characters whoever ganged

345
00:49:07.000 --> 00:49:08.800
up on the guitar, beat up the bull fiddle and

346
00:49:08.880 --> 00:49:12.119
dissected the drums, Slim Gald and the Slim Gala Treeo

347
00:49:17.280 --> 00:49:19.679
and nah, Slim gal let's give the customers a rapid

348
00:49:19.719 --> 00:49:25.760
explanation of your famous Hepcat language. I'm ready, heady, Slim.

349
00:49:25.840 --> 00:49:27.880
Tell me when you refer to something as being vout,

350
00:49:28.320 --> 00:49:33.519
exactly what does that mean? Well, exactly, vout means vout,

351
00:49:34.559 --> 00:49:35.679
I understand perfectly.

352
00:49:36.400 --> 00:49:39.559
Vout is the exact opposite of mac VOUTI.

353
00:49:39.920 --> 00:49:42.360
Of course, of course, folks, I must interrupt right here

354
00:49:42.400 --> 00:49:45.800
and tell you that Slim Galad actually speaks seven languages, right,

355
00:49:45.880 --> 00:49:50.360
Slim fluently. He speaks Arabian, Hindu, Greek, Egyptian, Spanish, Hebrew

356
00:49:50.480 --> 00:49:55.159
and vout right Slim right Orini. And what's more, Slim

357
00:49:55.280 --> 00:49:57.239
is now studying an eighth language. Slim, what is this

358
00:49:57.360 --> 00:50:03.239
eighth language? You're studying English? Yeah, and speak English? What

359
00:50:03.400 --> 00:50:08.719
a novelty, I'll be the life of the party. But

360
00:50:08.840 --> 00:50:10.920
the point I was going to make, Slam, is that

361
00:50:11.039 --> 00:50:13.639
you've taken seven languages and put them together musically in

362
00:50:13.719 --> 00:50:18.000
your titanic Hepcat tune cement mixer putty putty.

363
00:50:19.400 --> 00:50:25.280
Frank how's about you getting mcrutty and doing mixer with

364
00:50:25.400 --> 00:50:25.840
the trio?

365
00:50:26.000 --> 00:50:26.639
Are you kidding?

366
00:50:27.880 --> 00:50:28.320
Frankie?

367
00:50:28.719 --> 00:50:32.000
Lace up your boots, take a shadow b one and

368
00:50:32.199 --> 00:50:36.719
move into b flat cement mixer, putty putty leave us

369
00:50:36.840 --> 00:50:37.039
do it.

370
00:50:39.760 --> 00:50:41.360
I tell you I'm more of the ballad type, but

371
00:50:41.480 --> 00:50:43.239
once in a great while I do like to get

372
00:50:43.280 --> 00:50:45.280
over on the Vutarini side. So hit us with the

373
00:50:45.320 --> 00:50:48.400
vooty and outside to get mcruti. I have a feeling,

374
00:50:48.639 --> 00:50:50.880
neighbors that this may be my last show for dear.

375
00:50:50.760 --> 00:51:04.320
Og mixer, putty cement mix the what deputty cement mixer,

376
00:51:04.480 --> 00:51:05.599
but de buddy.

377
00:51:05.559 --> 00:51:08.079
I oh go loogle mack.

378
00:51:11.480 --> 00:51:17.000
Sements save it makes the buy I will.

379
00:51:17.280 --> 00:51:23.400
Trickle trickle star who jingle bell, dingle bell.

380
00:51:23.400 --> 00:51:26.440
Mama Alvolcano, you am Aco.

381
00:51:26.079 --> 00:51:28.639
Sea super Rooney by foe, where are you moving?

382
00:51:30.760 --> 00:51:31.400
Makes m B.

383
00:51:32.960 --> 00:51:37.960
Seven makes up back debutty sement mix up by buddy, Hey,

384
00:51:38.440 --> 00:51:38.719
come on.

385
00:51:38.920 --> 00:51:44.800
Moving in the river seven mixer batty seven mix them

386
00:51:44.880 --> 00:51:48.719
what Givati seven mix them by putty.

387
00:51:52.519 --> 00:51:53.039
Mix up.

388
00:51:54.760 --> 00:51:59.840
Seven mix up what deputty cement mixing Pat deputy.

389
00:52:01.880 --> 00:52:13.639
Bye praise me by student La suple Houn.

390
00:52:16.599 --> 00:52:19.320
Next, Hey, I'm a buddy for.

391
00:52:22.760 --> 00:52:28.280
Fast pay seven text by seven Next.

392
00:52:29.679 --> 00:52:30.960
I beg.

393
00:52:33.079 --> 00:52:37.239
I please voto next.

394
00:52:38.960 --> 00:52:39.920
Seven text.

395
00:52:41.639 --> 00:52:45.599
Seven text what weak a little star.

396
00:52:49.880 --> 00:52:50.920

Make Believe Ballroom - 1/31/25 Edition

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