Quincy High School - Goldenrod Yearbook (Quincy, MA)

Page 21 text:

THE KING OF JAZZ An Interview with Paid Whiteman By William Coleman V—-f FTER leading stage man- s' I agers and secretaries a 2--1. merry chase throughout the backstage of the Keith- Boston Theatre, I finally and thank- fully found myself in the dressing room of Paul Whiteman, “The King of Jazz.” It was a typical dressing room, such as is now found in all the countries’ biggest theatres,—large and clean with at least ten mirrors placed at different angles around the walls. Here in the midst, Paul Whiteman was busily and efficiently making up his rotund face to appear before the glare of the spotlight. The so-called “ice was broken” when I ventured that it was not so hard to see him as would be supposed. Was it because he was not so “big as he used to be?” (I recalled his famous diet.) At this bit of would-be humor, Mr. Whiteman graciously but heartily laughed, putting me fully at ease. Feeling that we had both properly introduced each other, Mr. White- man decided that we should “get down to business” and prepared himself for the usual questions that are asked by interviewers. From him I learned that his father is supervisor of music in the Denver, Colorado Schools. Paul began his own musical career as first viola player (whatever that is) in the Denver Symphony Orchestra; in 1915 he held the same position in the World’s Fair Orchestra in Chicago. (This was only a fair orchestra.) It fared well, however, and gave him a fine local reputation. During the World War he led the U. S. Navy Band and then formed his own orchestra in San Francisco. It was while he was there that he originated the style of playing that was to earn him the title “The King of Jazz.” Whiteman has been generous in backing ambitious radio stars, the most famous of these being the incomparable Bing Crosby. Crosby was first with Mr. Whiteman as a member of a trio named the “Rhythm Boys.” It was while Bing was with the group that he attracted the attention of (Continued on page 35)

Page 20 text:

AUTUMN SONG Hurrah, it is autumn! The wind is about, The rollicking, frolicking breezes are out, And all of the leaves, when the North Wind heaves. Go sailing to Kalamazoo! Hurrah, it is autumn! The bonfires glow, The blushing and flushing red apples must grow Till they hang on the trees like lazy old bees. Just ready to drop to the ground. Hurrah, it is autumn! Deep blue is the sky, The hurrying, scurrying squirrels frisk by. And all is a rush, with no time to hush, Till winter comes stealth’ly to stay. But oh, and hurrah! It is autumn to-day, The airiest, merriest season, I say! And life is just fine—no reason to whine— Be happy! It’s autumn—hurrah! Margaret Higginbotham.

Page 22 text:

HERE TIS An Interview with “Little Jack” Little By Ed Pearlin and Joe Ford QS “Little Jack” sauntered off the stage of the “Met” after his performance, we knew his nickname was indeed appro- priate as he stood but five feet four inches. His shoulders, however, were large enough to put a taller man to shame. His increasing popularity is easily understood when one has an opportun- ity to speak with him. His very engag- ing and magnetic personality, and pleasant face put us at ease as he said he'd be glad to answer our questions. Mr. Little told us that he came from Kansas City about fifteen years ago as one of the original “Tinpan Alley” composers. With radio popularity he was one of the first musicians to achieve a name for himself. He modestly told us that his songs were so poor that no publishers would ac- cept them, and he was forced to introduce them over the radio. It is hard for us to believe this, knowing that he is the author of some of the most popular hits including, “Jealous,” “Oceans of Love by the Beautiful Sea”. “Shanty in Old Shanty Town”, “Baby Parade”, and “The Wooden Soldier and the China Doll.” His forte as everybody knows is the piano, but he also plays the violin and several wind instruments. Confidentially, he is a golf bug, and shoots around in the seventies, but he has been so busy that, though he brought his clubs, he has not had a chance to play. He is married and claims New York as his home city where on his re- turn he will start a steady run with his present orchestra at Hotel Lexing- ton. His present group of boys is the first orchestra he ever organized. In our opinion they are equal to any contingent we have ever heard. “What do I think of Boston? Well, I have only been here twice playing five and six shows a day, so----.” Still thinking of his meaning, we shook hands and left, but not before promising a chance to see himself in Golden Rod print.