I first met Margaret Whiting in 1981 while I was performing at Ted Hook’s, Backstage Restaurant on West 45th Street and 8th Ave. in New York City. It was a rainy night and Margaret had been out front of the restaurant trying to hail a cab. After having no success she came back in to the club and asked Ted if he wouldn’t mind calling a taxi for her. She was soaking wet, her hair, without style from the weather, slicked back. After Ted made the call, Margaret said she was going to wait for the taxi under the awning outside. As soon as she left, I turned to Ted and said, “Who was that?” Ted replied, “Who is that? That’s only one of the most famous singers in the world, Margaret Whiting!” Up until that point, the only thing I knew about Margaret was her version of the song, “Moonlight in Vermont.” Maggie was a regular at Backstage, and over the course of the next two years, I got to see her and spend a lot of time with both she and Jack Wrangler. As anyone performing around New York City could tell you, Margaret was most generous, and accessible to those of us first starting out. She was actively performing all over the city and all around the country yet she always found the time to attend friend’s performances, me included. Even years later, once I had relocated to the San Francisco Bay Area, Margaret made of point of showing up to hear me at the Cirque Room in the Fairmont Hotel. I recall reading an article once from columnist, Herb Caen in the San Francisco Chronicle. He said he was on a cable car one day and Margaret Whiting happened to get on a few stops later. At one point, the cable car operator rang the familiar cable car bell and spontaneously, Maggie got up and sang the “Trolley Song” from start to finish, delighting everyone who was along for the ride. Herb Caen said it was one of his most favorite moments. If I had been there, it surly would have been one of mine too.
Recently I was on a trip to New York to see my family and catch a few shows. As I was walking down West 57th Street, I mentioned to a friend that Margaret Whiting lives just up the block. I said I had been meaning to send her a note. He then told me that he was pretty sure he read that she had passed away just a couple of weeks before. Sure enough when I checked, I read the news. There will never be another Margaret Whiting. She had a unique, lovely style that only comes along once in a lifetime. There are a lot of terrific singers out there, but only one Margaret Whiting. I hope where ever she is, that along with Jack, there is a smooth sounding baby grand piano and microphone…..
Following is an obituary taken from Legacy.com. I’ve also included a few photos and some vocal highlights of Margaret’s career.
Sources: youtube, wikipedia, legacy.com
With Johnny Mercer, “Baby It’s Cold Outside”
Her signature song, “It Might As Well Be Spring” from the musical, State Fair
“Taking My Turn”
Margaret Whiting, the sweet-voiced singer who sold millions of records in the 1940s and ’50s with sentimental ballads such as “Moonlight in Vermont” and “It Might as Well Be Spring,” has died at age 86.
She died Monday at the Lillian Booth Actors’ Home in Englewood, N.J., home administrator Jordan Strohl said. She had lived in New York City for many years before moving to the home in March.
Whiting grew up with the music business. She was the daughter of Richard Whiting, a prolific composer of such hits as “My Ideal,” ”Sleepy Time Gal” and “Beyond the Blue Horizon.” Her family’s home in the posh Bel-Air community in Los Angeles was a gathering place for such songwriters as George and Ira Gershwin, Frank Loesser, Jerome Kern, Harold Arlen and Johnny Mercer.
It was Mercer, her father’s lyricist and close friend, who inspired the young Whiting to take years of vocal training when he told her following an early audition, “G row up and learn to sing.”
After Whiting’s father died in 1938, Mercer remained close to the family. When he became a founding partner in Capitol Records in 1942, the 18-year-old Whiting was the first singer he put under contract.
Fifty-five years later, Whiting and her fourth husband, Jack Wrangler, honored Mercer with a musical tribute called “Dream,” which ran for 133 performances on Broadway.
It was Mercer who had coached the teenage Whiting through her first recording, of her father’s “My Ideal,” and although Maurice Chevalier and Frank Sinatra had already recorded the tune, her version sold well.
She followed it with a remarkable procession of million sellers: “That Old Black Magic,” ”It Might as Well Be Spring,” ”Come Rain or Come Shine” and her biggest seller and signature song, “Moonlight in Vermont.”
She was asked in 2001 what separated a good singer from a great one.
“Being a great actress, being very dramatic,” she replied. “S ome people sing beautiful songs, but they don’t put all the meaning into them, and that’s the important thing. To read a lyric, to make the words come alive, that’s the secret.”
Like most recording stars of the 1940s and early ’50s, her career was eclipsed by the rock ‘n’ roll revolution, although she continued to find work in such Broadway productions as “Pal Joey,” ”Gypsy” and “Call Me Madam.”
She also toured regularly with the big bands of Freddy Martin, Frankie Carle and Bob Crosby and sang in cabarets, in auditoriums and with the St. Louis Symphony. With Rosemary Clooney, Helen O’Connell and Rose Marie, she crossed the country in a revue called “4 Girls 4.”
In all, she recorded more than 500 songs during her career and was one of the first mainstream artists to delve into Nashville, Tenn., combining with country star Jimmy Wakely on the hit “Slippin’ Around.” She also recorded rock, novelty and sacred songs.
Whiting, born in Detroit on July 22, 1 924, moved with her family to Los Angeles after musicals became the rage and her father headed west to write for them. He turned out songs for Chevalier and Bing Crosby while at Paramount and composed “Hooray for Hollywood” and “Too Marvelous for Words” for Warner Bros.
Whiting recalled in 2000 how she came home from school with an all-day lollipop while her father was trying to write a song for a Shirley Temple movie. At first he was annoyed by the sticky kisses, but then inspiration struck.
He called lyricist Sidney Clare and said, “How about ‘The Good Ship Lollipop’ for Shirley?”
Whiting’s romance with Wrangler turned heads in the 1970s: He was an openly gay porn actor 22 years her junior. But he told the Chicago Tribune they “see things the same way, comically, professionally and romantically.” He turned his attention to theater and cabaret, crafting Whiting’s cabaret acts and several shows. Their marriage lasted until his death in 2009.
“One For My Baby…..”
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