Quincy High School - Goldenrod Yearbook (Quincy, MA)

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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.

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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)

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ON THE AIR LISTENIN’ IN As this issue carries out the radio motive, it is an appropriate if not good idea for this writer to express her latent views on a pet topic of our day—radio as an aid to education. That radio is fast becoming an almost essential factor in education there is little doubt. Its benefits are numer- ous, and, fortunately, available to most students. Regarded as a supple- ment to, rather than as a substitute for, book-learning, regularly spon- sored programs, not to mention “special features,” offer to the student capable of applying it a wealth of knowledge—facts of current history which oral delivery vitalizes more than books and records ever could, and past history clearly interpreted in a manner far more expressive, and thus impressive, than the printed page. Authoritative talks and lectures em- bracing a variety of subjects from insects to foreign affairs are sent over the air waves to enrich our leisure moments, while the ever-handy news flashes and commentaries aid many a Problem of Democracy student in appearing well-informed on timely economic and social questions. And finally radio serves to elevate the American speech. We have become word- conscious because such announcers as Bill Haye, Carleton Dickerman, and John Holbrook have taught us correct pronunciation and inflection, often by sending us scurrying to Webster’s, only to find that culinary is right.. If your beliefs are similiar, reach for the dial instead of a balcony ticket. ••NERTZ” Over almost every broadcast from station Q. H. S. we hear the battle cry of equality from the Nertzies. “Five cents for ice-cream” is the war song. And why shouldn’t it be, say the sympathizers. This is a country founded on equality, our ancestors fought for it, and here are we on the noble battle ground ready to take up arms against the foes. “Nertzies for all, all for the Nertzies.” Still some spirit in the bodies of youth, isn’t there? But wait, there must be some solution. If a world war could end in a box car, then shouldn’t the differences-of-a-penny war be ended within the four brick walls of—no, not prison—but Quincy High School? We went to headquarters to interview Maestro Collins on this great and momentous question and we gained the following information: Our high school is run on a basis that aims to make accounts balance each year—no more, no less. Senior High’s cafeteria is of necessity run on a larger scale than any other schools in our city. There are more helpers, larger scale production, two hot dishes instead of the usual one, larger and richer bowls