Feb. 13, 2026

Make Believe Ballroom - 2/13/26 Edition

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Show Notes
Transcript

On this week's edition of the Make Believe Ballroom, hosted by Jeff Bressler, a look at a bygone record company, movies from the silver screen, how a Bing Crosby financial investment changed audio recording, and more records and reminiscences from the golden age of the American songbook.

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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. It's make believe ballroom

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time and free to everyone. It's no time to friend

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your Dalis said, boys, close your eyes.

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And vis you lie in your solitude.

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Your favorite bands are on the stands and mister Miller,

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but you're in the wood. Its make believe ballroom time.

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We are a sweet man.

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As you make it bottom.

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Come on, Jole the last dass last.

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

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the Make Belief Ballroom and welcoming you into my Crystal

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studio for another program of classic big band hits from

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the nineteen thirties and forties. Please get ready as I

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

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

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broadcasting almost continuously since nineteen thirty five. And welcome one

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in all into the Crystal studio, and thanks so much

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for joining me today. A lot of music and a

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lot of great stories playing for today's program, and that

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planning gets underway with this record.

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Wow Wow, Wow, way on men, were men of men,

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and where men are.

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Very sweet, that's where I want to be. That's where

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I'm gonna be way up when just once.

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Again we're having ourselves complete.

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There's just one thing I mean, and it is there all.

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Give me a hot craty hawk, give me about.

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Room and let's be wo wow wow.

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Wow. Give me a ranch, sir, give me a step

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two and let's see.

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Wow wow wow.

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Give me the way of space.

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While I'm just like pray.

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Rolling wild raby roll. Give me a prairy, give.

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Me a gatt watch and let's see wow wow wow.

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He also.

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U on Perfect Records Wowhoo by Joe Haymes and his orchestra,

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Nice Vocal by Cliff Weston and the Headliners, recorded in

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New York City, January the twenty fifth, nineteen thirty six.

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And you know I don't play many Perfect Records on

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the show. I can't remember the last one I spun

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from that label, but from its start back in nineteen

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twenty two in Brooklyn, Perfect Records was for many years

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top selling record label. The American Record Corporation AARC purchased

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them in nineteen twenty nine, and Perfect continued to be

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a successful label. A successful budget label through the thirties,

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but then the ARC dropped their entire group of cheaper

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labels in late nineteen thirty eight, and with that went

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then to be defunct Perfect Records. Let me play one

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more from the Perfect Record Company.

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Just follow me and you will see what folks in

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hormone contriguration don't mean a thing this crazy swing ladies

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swinging hormone drigaration.

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Revo, look what you want and done revo.

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You won't give me one another pray is just another grade.

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Everyone in harmon don's rage. It did if not good,

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didn't but did not go if Martin skipping.

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More fine and stringer rag but nothing but not you

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laughing numble lands incluation really.

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A word, he lucky one, but it did not love me,

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did not don't keep but that nothing me.

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On Perfect Records. We just heard Tricker ration by Cab

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Callaway and his orchestra Vocal by Cab, recorded in New

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York City, October the twenty first, nineteen thirty one. I'm

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Jeff Presler, and you're listening to the weekly edition of

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the Make Believe Ballroom, coming to you from the Crystal Studio.

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I'm going to play another record. Then two songs that

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came out of movies. One of those movies and not

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so great, and the other history making for both the

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filmmaking and the vocalist.

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He and.

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He I.

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Do the.

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Way the Digger.

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Recorded on British Decca August the twenty sixth, nineteen thirty five.

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Coleman Hawkins and the Ramblers Dance Orchestra with meditation certainly

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one of my favorite Hawkins sides with the Ramblers. Coleman Hawkins,

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of course, was the father of the Tenor Sacks, and

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we just heard a very expressive peace. I also enjoyed

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the restrained backup by the Ramblers meditation, beautiful song. Coleman

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Hawkins and his Ramblers Dance Orchestra. I am not the

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father of the Tenor Sacks, but I am indeed a father.

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And you're listening to Jeff Bresler and the weekly edition

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of the Make Believe Ballroom. So back in nineteen thirty six,

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March fourth of that year, to be precise, Republic Pictures

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released a film titled Laughing Irish Eyes. It was released

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with the Republic just being founded about a year before that.

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In nineteen thirty five. The studio didn't make big budget films.

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Their bread and butter was to churn out Western's cliffhangers,

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serials and b films Laughing. Irish Eyes was about. It

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was about an Irish boxing promoter and he goes back

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to Ireland and he finds this big, burly blacksmith who

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he thinks he can make into the next heavyweight champ.

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And that film, as many of Republic's films were, was

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under an hour long. It was cheaply promoted, to mixed

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reviews from the critics, and for the most part, it

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appeared on the screen as fast as it left now.

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One song that came out of that film was recorded

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just a month after the film came out, and unlike

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the lackluster film, this song ranked number two on your

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Hit Parade.

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Oh my Life, I'm waiting for you, my wonderful one.

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I've begun living all my life. Oh my I love

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has been waiting for you.

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My life is sublime now that I am giving.

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Oh my Lord, you seem so lovely so far of me.

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I'm almost afraid of the girl.

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But I tell you I praised be all you are hard.

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That's an open book.

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All my life.

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Day O me close the yard.

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But all else above, Oh my.

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Lost Darling on my name Dad.

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Lovely about me?

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I'm Almo played a loo, but I know you I've

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played before you had that not book.

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Yeah, Oh my Life.

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From Victor Records, All My Life by Fats Waller and

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his rhythm vocal by Fats, recorded in New York City,

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April the eighth, nineteen thirty six. So Laughing Irish Eyes

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was basically a short lived, cheap budget film that didn't

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get much traction in the theaters. But on the reverse,

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the song I'm about to play came from an early

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film that was historic in its making, and equally as

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historic for this song and this artist.

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I'm just a woman, an only woman waiting all the

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weary short.

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I'm just a woman that's.

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Only human one.

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You should be sor more.

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Welcome this morning.

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I known about dawn without a warning, our bounding.

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How could he do it?

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Why should he do it?

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He never done it before?

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And my blue and my blue.

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Ain't these tears? And his eyes telling you.

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And my blue.

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Why you'd be too.

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If each plan when your man's done fell through.

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There was a time.

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When I was his only was, But now the sad

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and lonely one, Lord was a game.

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I tell you that.

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Now he's gone.

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And with you, my Blue?

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I know it's he is in Chicago and I'm.

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Down here in Burmanham trying to get the money to

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go and find my money. I am, Yes, indeed I am.

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I've got the blue in my heart and my shoes

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wanta dark, and I'm in a jail, a terrible jail.

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I don't ask me.

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I'm a blue?

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Why do you ask me?

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I'm my blue?

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Ain't he telling you? How can you ask me my blue?

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Why would you be you?

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Your man had done so me?

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Don't I remember the time.

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When I was his only one.

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One?

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Look at me?

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Now done that?

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And no, I did not used to be game.

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Jill you nay.

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And with you am up dream.

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On Columbia Records, Am I Blue by Ethel Waters with

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Studio Orchestra, recorded in New York City, May the fourteenth,

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way back in nineteen twenty nine. Now, Am I Blue

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came from an early talkie film named On with the Show,

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which was released on Made the eighth, nineteen twenty nine.

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It was a musical film that was produced by Warner Brothers,

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and even though it was nineteen twenty nine, it was

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filmed in two color Technicolor. Yes, they had a process

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for color motion pictures as far back as a nineteen

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twenty nine and the film On with the Show became

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the first all talking, all color feature length film ever.

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Ethel Waters sang am I Blue in the film, and she,

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as a result of that, became the first female vocalist

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to ever sing and an all Technicolor film. Of course,

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the first to sing on a film was Al Jolson

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a couple of years earlier. I think it was nineteen

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twenty seven in The Jazz Singer. That was basically a

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black and white silent film with some talking sections that

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included singing by Jolson. So you may be asking if

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there was color back in nineteen twenty nine in a

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mass produced film. In all films in the nineteen thirties,

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for example, appear in technicolor, and it's a good question.

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There are some answers. The Technicolor process was well, it

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was extremely time consuming and it also needed some very

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expensive equipment to process the film. The cost to produce

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Technicolor films was pretty much cost prohibitive and considered a novelty,

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and only a studio as big as Warner Brothers was

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able to produce a film like that, and also another

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reason is the quality was not good, which many producers

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felt created distraction to the story on the screen. So

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two records that I played, both evolving from motion pictures.

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I'm Jeff Bresler and you're listening to the one the only,

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the original Make Believe Ballroom broadcasting almost continuously since nineteen

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thirty five. Another record, then a listener's request.

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I'm an old gitle. I feel like cutting up a run. No,

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I'm over sixty five. I've got to jump on the

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joke by the time. Don't you move, I've got both

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feet in the group on me. Don't see blow your home.

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I know you never booke home.

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MM.

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When a listening to Glenn Miller, I could listen to

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m When I'm doing that, Can Filler shoots the John

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on the floor. I'm no flowed. I'm a killer ron

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the cow. I'm not again, I'm no month. I'm the

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hold of the bus, stop.

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A bus.

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I'm a no holding a bus drinking for her hummed.

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You hit a jug wh I love jumping jiving band

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because I'm reviving my glass and the tones of Rombo

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give me plenty of hormone. Wha am strictly swing the room,

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baham about her little session with you when a lady

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is too Fox Travish put her down as a hit

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kick hick and whenever she wants to shot his shoot

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the Mickey dor Quick Silver Tressmung the Gold. Here's the

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song that leaves me cold? Why take dancing as a drug?

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I'm gonna holding a bun buz bug bug whoah bud

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bug bug bug. Woh bu buzz buzz buzz bou buz

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buz buz.

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I'm just that you hit a bot.

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We just heard comedic movie actress, radio personality and vocalists

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the Deadpan Virginia O'Brien with im and hold Jitterbug, recorded

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on Columbia Records back in nineteen forty. Friends, you know

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on the Ballroom, I try to pack so much into

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an hour that I quite frequently forget to promote our

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own website, where past shows, or at least many past

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shows in the series are housed in podcast form. Make

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believe Ballroom is first and foremost the radio program, but

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when it clears all of our dozens of stations around

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the US as well as in the United Kingdom, I

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convert the shows to podcast form. So I guess there's

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about I haven't checked, but there's probably about two hundred

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and fifty or so past shows in the archives, and

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you can hear them at MakeBelieve Ballroom dot com, MakeBelieve

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Ballroom dot com, or you could just tune into your

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favorite podcast provider and put make Believe Ballroom in the search.

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Now on Makebelie Ballroom dot com, if you go to

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the right lower corner of the homepage on your computer screen,

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you could press a little microphone icon and request the song.

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And I received one of those verbal requests just a

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few short days ago, and let me play for you

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the request than the song.

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Hey Jeff, this is Jerry clanbil Out of White Plains,

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New York, and I would like to hear Nat King

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Cole's version of Stardust.

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And now the purple dusk of twilight time steals across

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the meadows of my heart. High up in the sky,

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the little stars climb, always reminding me.

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That we're apart.

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You wandered down the lane, and following.

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Leaving me a song that will not die.

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Love is now the star dust of yesterday.

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The music of the years come b sometimes I wonder.

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I spend.

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The lonely eye dreaming of a song.

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The melodee haunts my reverie, and I am once again

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with you when our love was new, and each kiss

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and inspiration.

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But that was long ago.

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Now My consolation.

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Is in the starness of a song beside a garden wall,

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when stars our bride.

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You are in Maud. The nightingale.

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Tells his fairy tale, A paradise square roses green. Though

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I dream infl in my heart, it will remain my

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stardust melody the memory.

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Of love.

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Reframe The impeccable Nat king Cole would star Dust, the

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classic nineteen twenty seven jazz standard composed by Hogi Carmichael.

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Lyrics were later added by Mitchell Parrish twelve years later

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in nineteen thirty nine, and it was most popularly recorded

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by Nat king Cole, although Frank Sinatra also had a

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00:32:22.759 --> 00:32:26.759
pretty memorable version that gave Nana run for his money.

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So thank you.

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Jerry Glanville Out of White Plains, New York, the home

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of the late great wrestler, the Golden Boy himself, Arnold Scoland,

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who remembers Arnold Scoland, Step up to the microphone with

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your own request, as I mentioned the little mike in

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the lower right hand corner of the homepage of MakeBelieve

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00:32:48.440 --> 00:32:54.519
Ballroom dot Com to record a request. Of course, most

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of our requests and comments come via Jeff at make

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Believe Ballroom Radio dot com. That's Jeff at Makebelie Ballroom

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Radio dot com.

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Let's now go back to.

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World War Two. Then, a famous crooner who, for leisure

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00:33:11.839 --> 00:33:17.559
and profit, helped perfect the technological wonder with roots dating

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back to the nineteen forties.

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00:33:25.200 --> 00:33:28.880
Oh well, time to turning lovely soft army blankets on

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mticu Jdas. Oh he lived a sheltered life, adored his

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little wife. It seemed that nothing ever could go wrong.

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His lot was so serene. Each day the same routine

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until his call up notice came along. Oh how he

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00:34:34.039 --> 00:34:41.679
misses his missus since he became a military man. Oh

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how he misses her kisses and all the little things

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she used to plant. He rushes home on leave whenever

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00:34:52.519 --> 00:34:56.400
there's a chance he misses more than anything.

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Is rational or romance.

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Oh how he.

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Misses his missus since he became a military man.

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Now, what's the matter with you?

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Breeze Homesick Colstone, The closed Sword and I don't know

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miss my missus holds in miss sock.

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No, where is he not water bottling me by blome up?

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What are you grasping about you again?

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I'll leave Tomorranger, Yes I am, and once more I

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ain't coming back again.

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Ah, you ain't fair and might diehardsquire of course I'd

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been given in me. Notice I can't go without me

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00:35:31.199 --> 00:35:33.519
a little bit of ou comfort? Will I mutually leave?

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00:35:33.559 --> 00:35:33.599
You?

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00:35:33.719 --> 00:35:34.679
Got fourteen days?

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00:35:34.800 --> 00:35:35.000
Yes?

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Right when I might range for you have fourteen days?

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He be instead.

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00:36:19.760 --> 00:36:24.400
From British Rex Records back in nineteen forty one, Billy

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Cotton and his band, Oh how he misses his misses?

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00:36:29.800 --> 00:36:33.079
And I told you before Billy Cotton that a famous

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00:36:33.199 --> 00:36:38.679
skrooner for leisure and profit, helped perfect the technological wonder

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with roots dating back to the forties. Let me play

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00:36:42.039 --> 00:36:45.159
one of his songs first, then the story.

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Dina, Is there anyone far.

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00:37:06.840 --> 00:37:11.880
In the state of Caroline? If there is an you

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00:37:12.159 --> 00:37:15.000
know her, showre to me.

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00:37:16.639 --> 00:37:23.440
Dina got those Dixie eyes, Blazer, How I love to

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sit and gaze.

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00:37:26.519 --> 00:37:34.960
To the eyes of Dynahe every eye. Why do I

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00:37:36.360 --> 00:37:51.119
shake with brides cause my dynamit change your mind? About me, o, Dina, would.

335
00:37:50.920 --> 00:37:57.000
You wander to Charin? I would hop an ocean liner

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00:37:58.320 --> 00:37:59.559
just to be with Dine.

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00:38:03.360 --> 00:38:08.639
Is there anyone final in stead of Carolinas.

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00:38:07.199 --> 00:38:10.000
The s and you know, you know showed me died

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00:38:10.760 --> 00:38:11.840
where the next year's plays?

340
00:38:11.920 --> 00:38:14.199
And I'm when I'm saying, gazing.

341
00:38:16.280 --> 00:38:17.559
My Dna every night?

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00:38:17.880 --> 00:38:21.880
Why should I shake a bright because my dynamite change

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00:38:21.920 --> 00:38:22.639
your mind about me?

344
00:38:24.480 --> 00:38:29.320
Dina? If you want to do China Hamnamos miner just

345
00:38:29.760 --> 00:38:49.840
Dia later every night? Why do I shake with frid?

346
00:38:50.360 --> 00:38:53.199
How's my dynamo change your mind about me?

347
00:38:54.559 --> 00:38:56.760
The name of this song is dynast If the name

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00:38:56.800 --> 00:38:58.880
of this song is dynastagging, the name of this.

349
00:38:59.000 --> 00:39:04.920
Song is died Henny. The name of this song is Donna, Dona, Honor.

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00:39:04.679 --> 00:39:08.559
Du China Nate of Camelana, Then you.

351
00:39:08.559 --> 00:39:13.159
Know we're I have got those X eyes blaze. I

352
00:39:13.239 --> 00:39:13.679
went up to.

353
00:39:13.760 --> 00:39:27.480
Engageing to the eyes of DYNAMU. Should you honor?

354
00:39:28.840 --> 00:39:29.599
Would give me a.

355
00:39:35.079 --> 00:39:41.079
From Brunswick Records, the classic Dina Bing Crosby with the

356
00:39:41.159 --> 00:39:47.639
Mills Brothers and the Brunswick Studio Orchestra, conducted by Benny Krueger,

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00:39:48.239 --> 00:39:53.599
recorded in New York City, December the sixteenth, nineteen thirty one.

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00:39:55.239 --> 00:39:59.920
There's two things that are synonymous with Ben Crosby, and

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that he liked investing in real estate and businesses, as

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00:40:04.480 --> 00:40:09.159
well as his leisure time, which was usually spent on

361
00:40:09.360 --> 00:40:13.280
the golf course or at the racetrack. But probably his

362
00:40:13.920 --> 00:40:18.079
greatest time spent was with his family, which he found

363
00:40:18.159 --> 00:40:25.039
to be precious. His first foray with technical innovations stemmed

364
00:40:25.119 --> 00:40:31.800
from his growing dislike for doing live radio shows. If

365
00:40:31.840 --> 00:40:34.880
we go back to nineteen thirty six, it was the

366
00:40:34.960 --> 00:40:39.760
year that Bing became the host of the Craft Music Hall,

367
00:40:40.239 --> 00:40:44.880
which was a musical variety show was on the radio

368
00:40:45.000 --> 00:40:47.639
for many years. If I'm not mistaken, it was also

369
00:40:47.760 --> 00:40:52.639
on a resurgence on television, maybe back in the seventies

370
00:40:52.719 --> 00:40:57.000
or eighties, but for over a decade the Craft Music Hall,

371
00:40:57.159 --> 00:41:02.440
which aired on the NBC Radio network, remained a very

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00:41:02.599 --> 00:41:09.960
popular feature on listeners radios, and those shows were always

373
00:41:10.719 --> 00:41:14.719
as was the case with almost every radio show back

374
00:41:14.800 --> 00:41:18.480
in the thirties, they were almost always broadcast live. Now

375
00:41:18.559 --> 00:41:22.320
by nineteen forty five, Bing felt that the time commitment

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00:41:23.800 --> 00:41:27.480
of a weekly live radio show would become a burden

377
00:41:28.119 --> 00:41:30.559
on the time he could spend at home with his

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family and pursuing his leisurely loves, which I mentioned a

379
00:41:35.159 --> 00:41:39.320
couple of moments ago. So Bing went to NBC executives

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to discuss different alternatives, and even though Bing was a

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00:41:44.320 --> 00:41:48.119
huge star, they refused to consider any option other than

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a live broadcast. So Being actually and it was a

383
00:41:53.559 --> 00:41:58.000
top rated show, refused to do the show and NBC

384
00:41:58.280 --> 00:42:04.079
sued him, which forced him to finish the nineteen forty

385
00:42:04.159 --> 00:42:08.639
five forty six season of The Craft Music Hall. Looking

386
00:42:08.719 --> 00:42:11.639
to increase its ratings and paying attention to what was

387
00:42:11.719 --> 00:42:16.320
going on at NBC, ABC approached Being with an offer.

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00:42:17.239 --> 00:42:20.880
They said he could pre record his own show, but

389
00:42:21.079 --> 00:42:24.719
with one provision, and that was that the quality had

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00:42:24.800 --> 00:42:30.039
to be as good as a live broadcast. So Crosby accepted,

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and he immediately threw himself into using the recording technology

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of the day, unfortunately electrical transcriptions, which we discussed just

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by coincidence on last week's show, which was, as I'd mentioned,

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the phonographic disc format, which had been developed for radio

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in the late nineteen twenties. Crosby's new show at ABC

396
00:42:54.880 --> 00:42:58.880

Make Believe Ballroom - 2/13/26 Edition

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