Paul Whiteman

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Paul Samuel Whiteman (1890-1890 – December 29, 1967), an American musician, composer, orchestral conductor, and violinist, Whiteman made recordings that were hugely popular in the United States during the 1920s and early 1930s, and newspaper notices often referred to him as "the King of Jazz."

"Whispering," "Valencia," "In A Little Spanish Town," and "Parade Of The Wooden Soldiers" were among his most popular songs.

As in Paul Whiteman's debut of Rhapsody in Blue, "Mississippi Mud," "Rhapsody in Blue," "Mississippi Mud," "Mississippi Suite," "Mississippi Mud," "Mississippi Mud," "Live Guitars" ("He's Got Hot Lips When He Plays Jazz), "Misso

He co-wrote the 1925 jazz masterpiece "Flamin' Mamie."

His fame faded during the 1930s swing music revival, and by the 1940s, he was semi-retired from music.

With his own network television production, Paul Whiteman's Goodyear Revue, which ran for three seasons, he saw a revival and a comeback in the 1950s.

With Paul Whiteman, he also hosted On the Boardwalk, an ABC talent competition show on the Boardwalk in 1954. The Whiteman's place in early jazz history is somewhat ambiguous.

Detractors claim that his ornately orchestrated jazz was jazz in name only, lacking the genre's improvisational and emotional depth, and that he coopted the genre's innovation.

Defenders claim that Whiteman's love for jazz was sincere.

He worked with black artists as much as was possible during a time of racial segregation.

His bands featured many of the era's most respected white musicians, and his orchestra performed jazz with a nimble touch in a diverse collection that included everything from pop tunes and waltzes to semi-classical works and jazz.

[...] Many of his albums (particularly those with Beiderbecke) have been reissued numerous times and are more enjoyable than his detractors would have expected. "Paul Whiteman was known as the King of Jazz," Duke Ellington wrote in his autobiography, and no one as yet has come close to wielding the position with more certainty and dignity."

Early life

In Denver, Colorado, a whiteman was born. He came from a musical family: Wilburforce James Whiteman, his father, was the music director for the Denver Public Schools, a position he held for fifty years, and his mother Elfrida (née Dallison) was a retired opera singer. Paul's father insisted that he learn an instrument, preferably the violin, but the young man chose the viola. According to Chris Popa, Whiteman was Protestant, Irish, English, and Dutch ancestry.

By 1907, Whiteman's viola skills earned him a spot in the Denver Symphony Orchestra, which was followed by the San Francisco Symphony in 1914. The Mare Island Naval Training Camp Symphony Orchestra, conducted by Whiteman in 1918. (NTCSO). He founded the Paul Whiteman Orchestra after World War I.

He was the head of a well-known dance band in the city this year. He and his band accompanied him to New York City in 1920, where they first started recording for the Victor Talking Machine Company. These albums' success brought them national recognition. He used the phrase "Paul Whiteman and His Ambassador Orchestra" in his first five recording sessions for Victor, August 9-October 28, 1920, perhaps because he had been playing at the Ambassador Hotel in Atlantic City. He began using "Paul Whiteman and His Orchestra" in November 3, 1920.

Whiteman became the most popular band director of the decade. Whiteman commanded a more imposing group of six to ten men in a time when most dance bands were composed of six to ten men. By 1922, Whiteman had already owned 28 ensembles on the East Coast and was earning over $1,000,000 a year.

Paul Whiteman was on tour in Vienna, Austria, when he was approached and interviewed by Billy Wilder, a young and aspirant journalist who was also a fan of Whiteman's band. Young Wilder was so beloved that he brought him with the band to Berlin, where Wilder was able to make more connections in the entertainment industry, leading to his work as a writer and producer before settling in Hollywood.

The Whiteman orchestra supported Hoagy Carmichael in 1927, with him appearing and performing on a compilation of "Washboard Blues" in 1927. In May 1928, Whiteman signed Columbia Records, but he resigned the brand in September 1930 after refusing a salary cut. He resurfaced as RCA Victor in 1931-1937, 1937.

In the 1920s, the media referred to Whiteman as "the King of Jazz." Whiteman emphasized the way he approached jazz music's well-established style while still arranging its composition and style in his own style.

Although most jazz players and followers agree thatimprovisation is vital to the musical style, Whiteman believed that the art of it could be enhanced by orchestrating the best of it, with formal written arrangements. Eddie Condon chastised him for attempting to "make a lady" out of jazz. Whiteman's albums were widely distributed both critically and commercially, and his style of jazz was often the first jazz of any style that many Americans heard during the time. More than 3000 arrangements were created by Whiteman.

For more than 30 years, Whiteman, referred to as "Pops," has searched and encouraged promising musicians, singers, composers, arrangers, and entertainers. He commissioned Rhapsody in Blue, George Gershwin's masterpiece in 1924, with the composer at the piano. Ferde Grofé's Grand Canyon Suite was another familiar work in Whiteman's repertoire.

Bix Beiderbecke, Frankie Trumbauer, Joe Venuti, Joe Venuti, Eddie Lang, Steve Brown, Gussie Mueller, Wilbur Hall (billed by Whiteman as "Willie Hall"), Jack Teagarden, and Bunny Berigan were among Whiteman's finest jazz musicians for his band. He encouraged upcoming African musical talents and planned to recruit black musicians, but his boss advised him that doing so would jeopardize his career due to racial tensions and America's segregation of the time.

He performed for six Broadway shows and made more than 600 phonograph recordings. José Padilla's "Valencia" album dominated the charts for 11 weeks, beginning in 1926, becoming the No. 1 in a crowded world. 1926 is the first record of 1926.

In 1932, Red McKenzie, the Mound City Blue Blowers' leader and cabaret singer Ramona Davies (billed as "Ramona and her Grand Piano") joined the Whiteman group. In 1931, the King's Jesters were with Paul Whiteman. In 1933, Whiteman had a No. 1 on the charts. Ann Ronell's "Willow Weep for Me" debuts on Billboard's top charts.

Whiteman began recording for Capitol Records in 1942, co-founded by songwriters Buddy DeSylva and Johnny Mercer and music store owner Glenn Wallichs. "I Discovered a New Baby" and "The General Jumped at Dawn" were two of Whiteman and His Orchestra's first single releases. Billie Holiday's 1942 "Trav'lin Light" was another notable Capitol performance he made (and it was billed as "Lady Day" due to her being under contract with another brand).

Whiteman appeared in the 1945 film Rhapsody in Blue on George Gershwin's life and career, as well as in The Fabulous Dorseys, a bio-pic starring Jimmy Dorsey and Tommy Dorsey. In the Paramount Pictures short "Thanks a Million (1935), as the bandleader in Thanks a Million (1935), and the revue musical King of Jazz (1930).

Whiteman appeared on stage during his 1920s appearances during his prime years in the 1920s, but he was involved in several early prestigious radio stations, putting precedence on stage appearances. On January 4, 1928, Whiteman and his troupe appeared in a nationwide television broadcast financed by Dodge Brothers Automobile Co. and known as The Victory Hour (The program introduced the new Dodge "Victory Six" automobile). It was the most common hookup at that time. Will Rogers acted as MC and joined the West Coast's service, while Al Jolson arrived from New Orleans. Variety was not impressed, adding, "As with practically all of the most essential and high-priced commercial broadcasting services under N.B.C., we were left disappointed." The Dodge Brothers' Victory Hour at a reputed cost of $67,000 was disappointing and not commensurate in the sense of the financial investment. However, the publication noted that there were some similarities. "The reaction to Paul Whiteman's grand radio plug for "Among My Souvenirs"...was a flurry of orders received by wire from dealers the day after the Dodge Brothers Victory Hour broadcast."

Since being a part of the NBC network's second Dodge Brothers radio show, which was branded Film Star Radio Hour, Dodge Brothers must have been content with the show's results. Several other Hollywood celebrities were on display, including Charlie Chaplin, Douglas Fairbanks, John Barrymore, and several other famous Hollywood celebrities. United Artists Pictures arranged for additional loudspeakers to be installed in their theaters to allow audiences to hear the actors in silent movies that had only been seen in silent movies before. "On Mr. Paul Whiteman's involvement in the pretentious scheme, only the best can be said," the New York Herald Tribune said. Mr. Whiteman's orchestra is seldom heard on radio, and its infrequent broadcasts have sparked widespread jubilation, despite the presence of tenors and vocal harmonists in most of the Whiteman versions."

Whiteman decided to participate in a weekly radio show for Old Gold Cigarettes, which cost him $5,000 per show. On Tuesday nights, Old Gold Presents Paul Whiteman and His Orchestra was an hour-long show on CBS from station WABC in New York. On February 5, 1929, the Whiteman Hour began on February 5, 1929, and it continued until May 6, 1930. He was paid $325,000 for 65 radio episodes on May 7, 1930.

His shows were:

Whiteman served as a music director for the ABC Radio Network in the 1940s and 1950s, after he had disbanded his orchestra. On ABC-TV from 1949 to 1954, he also hosted Paul Whiteman's TV Teen Club in Philadelphia. The program lasted an hour for the first two years and then as a half-hour segment on Saturday evenings. In 1952, a young Dick Clark read the advertisements for Totsie Roll. The Whiteman's TV-Teen Club, as well as Grady and Hurst's 950 Club, inspired WFIL-TV's afternoon dance performance called American Bandstand.

He has also performed as a guest conductor for several concerts. His demeanor was disarming; he began each program with something like, "Well, that just about slaps the cap on the old milk bottle for tonight." Whiteman appeared in Las Vegas in the early 1960s before retiring.

In a Denver, Colorado, actress Margaret Livingston married for the fourth and final time on August 18, 1931. Livingston was unable to have children, so the couple adopted four.

From 1938 to 1959, Whiteman lived at Walking Horse Farm near the village of Rosemont, Hunterdon County, New Jersey. Whiteman's family moved to New Hope, Pennsylvania, for his remaining years after selling the farm to agriculturalist Lloyd Wescott.

Paul Whiteman died of a heart attack in Doylestown, Pennsylvania, on December 29, 1967, at the age of 77. He was revived by Livingston.

Personal life

Whiteman married Margaret Livingston for the fourth time in his career on August 18, 1931. Livingston was unable to have children and the couple adopted four.

From 1938 to 1959, the Whiteman lived at Walking Horse Farm in Lemont, Delaware Township, New Jersey. Whiteman, who sold the farm to agriculturalist Lloyd Wescott, migrated to New Hope, Pennsylvania, for the remainder of his life.

On December 29, 1967, Paul Whiteman died of a heart attack in Doylestown, Pennsylvania, at the age of 77. He was rescued by Livingston.

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Career

By 1907, Whiteman's viola skills culminated in a spot in the Denver Symphony Orchestra, and he appeared in the San Francisco Symphony in 1914. The Mare Island Naval Training Camp Symphony Orchestra, conducted by Whiteman in 1918. (NTCSO). He founded the Paul Whiteman Orchestra in the aftermath of World War I.

He was a member of a well-known dance band in the area this year. In 1920, he and his band migrated to New York City, where they began recording for the Victor Talking Machine Company. These records' success brought national recognition. In his first five recordings sessions for Victor, August 9-October 28, 1920, he used the name "Paul Whiteman and His Ambassador Orchestra," evidently because he had been playing at the Ambassador Hotel in Atlantic City. "Paul Whiteman and His Orchestra" was used by him from November 3, 1920, until his death in November 3, 1920.

Whiteman became the most well-known band director of the tensions of the decade. Whiteman led a more imposing group that attracted as many as 35 musicians in a time when most dance bands consisted of six to ten men. By 1922, Whiteman had already owned 28 ensembles on the East Coast and was earning over $1,000,000 per year.

Paul Whiteman was on tour in Vienna, Austria, when he was approached and interviewed by Billy Wilder, a young enthusiastic newspaper reporter who was also a fan of Whiteman's band. Young Wilder was enough to take him with the band to Berlin, where Wilder was able to make more contacts in the entertainment industry, eventually ending up in Hollywood.

The Whiteman orchestra supported Hoagy Carmichael's singing and playing on a record of "Washboard Blues" in 1927. In May 1928, Whiteman joined Columbia Records, but he resigned as a labor activist in September 1930, when he refused a pay cut. He returned to RCA Victor between September 1931 and 1937.

The media referred to Whiteman as "the King of Jazz" in the 1920s. Whiteman emphasized the way he approached jazz music while still arranging its composition and style in his own style.

Although most jazz players and followers agree that improvisation is essential to the musical style, Whiteman believed the genre could be enhanced by orchestrating the best of it with formal written arrangements. Eddie Condon chastised him for attempting to "make a lady" out of jazz. Whiteman's albums were both highly regarded critically and commercially, and his style of jazz was often the first jazz of any form that many Americans encountered during the period. More than 3000 arrangements were designed by Whiteman.

For more than 30 years, Whiteman, also known as "Pops," has sought and rewarded promising musicians, singers, composers, arrangers, and entertainers. He commissioned George Gershwin's Rhapsody in Blue in 1924, which was premiered by his orchestra with the composer at the piano. Ferde Grofé's Grand Canyon Suite was another familiar piece in Whiteman's collection.

Bix Beiderbecke, Frankie Trumbauer, Joe Venuti, Eddie Lang, Ed Brown, Gussie Mueller, Gussie Mueller, and Bunny Berigan were among the best jazz players for his band, including Bix Beiderbecke, Frankie Trumbauer, Joe Venuti, Joe Venuti, Eddie Lang, Mike Pingitore, Gussie Mueller, Wilbur Hall (billed by Whiteman as "Willie Hall"), He encouraged young African musical talents and planned to recruit black musicians, but his boss told him that doing so would end his career due to racial instability and America's segregation of that time.

He performed for six Broadway shows and he's released more than 600 phonograph recordings. José Padilla's "Valencia" album debuted at No. 1 for 11 weeks beginning March 30, 1926, becoming the No. 1 in the charts for 11 weeks, beginning on March 30, 1926. 1926 was the first record of 1926.

Red McKenzie, the Mound City Blue Blowers' leader and cabaret singer Ramona Davies (who is billed as "Ramona and her Grand Piano") joined the Whiteman group in 1932. In 1931, the King's Jesters were with Paul Whiteman. Whiteman had a No. 30 in 1933. Ann Ronell's "Willow Weep for Me" made it to the Billboard charts.

Whiteman began recording for Capitol Records in 1942, co-founded by songwriters Buddy DeSylva and Johnny Mercer and music store owner Glenn Wallichs. "I Found a New Baby" and "The General Jumped at Dawn" were the label's first single release on the label. Billie Holiday's 1942 "Travlin Light" was another notable Capitol achievement he made (although it was billed as "Lady Day" due to her being under contract with another brand).

In the 1945 film Rhapsody in Blue about George Gershwin's life and work, Whiteman appeared in The Fabulous Dorseys, a bio-pic starring Jimmy Dorsey and Tommy Dorsey. In the Paramount Pictures short The baby in Nertz (1929), the bandleader in Thanks a Million (1935), as himself in Strike Up the Band (1940), and the revue musical King of Jazz (1930).

Whiteman appeared on stage during his 1920s appearances, but he was also active in some of the first prestigious radio programs. Whiteman and his crew appeared in a national NBC radio broadcast titled "Victory Six" by Dodge Brothers Automobile Co. and named as The Victory Hour on January 4, 1928 (The program introduced the latest Dodge "Victory Six" vehicle. At the time, it was the most popular hookup ever attempted. Will Rogers took over as MC and joined the West Coast's program, with Al Jolson coming from New Orleans. Variety was not impressed, saying, "As with virtually all of the most important and high-priced commercial broadcasting services under N.B.C." The Dodge Brothers' Victory Hour at a reputed cost of $67,000 was disappointing and not commensurate in the sense of the financial outlay," amidst outrages in the recent past. However, the journal noted that it was not true. "The reaction to Paul Whiteman's grand radio plug for "Among My Souvenirs" was a flock of orders from wire from dealers the day after the Dodge Brothers Victory Hour broadcast" was broadcast."

Since Whiteman appeared in his second Dodge Brothers radio show on NBC, which was titled Film Star Radio Hour, Dodge Brothers must have been content with the show's conclusion. Charlie Chaplin, Douglas Fairbanks, John Barrymore, and several other Hollywood celebrities were among the featured guests. United Artists Pictures has arranged for additional loudspeakers to be added to their theatres so that audiences could hear the stars they had only seen in silent movies before. "Of Mr. Paul Whiteman's involvement in the pretentious scheme, only the best will be able to be said," the New York Herald Tribune said. "Mr. Whiteman's orchestra is seldom heard on radio, and its infrequent broadcasts are the subject of widespread jubilations, despite the presence of tenors and vocal harmonists in most of the Whiteman renditions."

In 1929, Whiteman agreed to appear on a weekly radio show for Old Gold Cigarettes, for which he was paid $5,000 per show. On Tuesday nights, Old Gold Presents Paul Whiteman and His Orchestra was an hour-long show on CBS from station WABC in New York. On February 5, 1929, the Whiteman Hour became the first broadcast in the United States, and it continued into May 6, 1930. He was paid $325,000 for 65 radio episodes on May 7, 1930.

His shows were:

Whiteman worked as a music director for ABC Radio Network in the 1940s and 1950s, after he disbanded his orchestra. He appeared on ABC-TV from 1949 to 1954 as Paul Whiteman's TV Teen Club in Philadelphia. The spectacle lasted an hour for the first two years and then as a half-hour segment on Saturday evenings. A young Dick Clark first read the commercials for sponsoring Tootsie Roll in 1952. Whiteman's TV-Teen Club, as well as Grady and Hurst's 950 Club, inspired WFIL-TV's afternoon dance competition called American Bandstand.

He has also appeared as a guest conductor for several concerts. His demeanor on stage was disarming; he began each program with something like, "Well, that just about slaps the cap on the old milk bottle for tonight." Whiteman appeared in Las Vegas in the early 1960s before retiring.

In a Denver, Colorado, actor Margaret Livingston married for the fourth and final time on August 18, 1931. Livingston was unable to have children and so the couple adopted four.

From 1938 to 1959, the Whiteman lived at Walking Horse Farm in Delaware Township, Hunterdon County, New Jersey. Whiteman, who sold the farm to agriculturalist Lloyd Wescott, migrated to New Hope, Pennsylvania, for his remaining years.

In Doylestown, Pennsylvania, Paul Whiteman died of a heart attack on December 29, 1967. He was saved by Livingston.

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