Margaret Whiting Pop Singer Mentored by Johnny Mercer

Margaret Whiting
In a career that spanned seven decades, Margaret Whiting recorded more than 700 songs, including 'That Old Black Magic' and 'Come Rain or Come Shine,' and had a dozen gold records. Margaret Whiting started working with Johnny Mercer when she was 7.

Margaret Whiting, a pop singer for television, film, cabaret and Broadway whose recordings of such standards as “That Old Black Magic" and “Come Rain or Come Shine" sold millions of copies in the 1940s and '50s, has died. She was 86.

Whiting died Monday at the Lillian Booth Actors Home in Englewood, N.J., said Jordan Strohl, administrator for the retirement home. The cause was not given.

Blessed with a distinctive voice and a warm, insightful singing style, Whiting had a career that stretched over seven decades. She recorded for the first time while she was still in her teens and was still performing as a cabaret artist in her 70s and 80s.

Her duet with Johnny Mercer on “Baby It's Cold Outside" continues to be heard every holiday season. And as recently as 2009, her 1947 recording of “Time After Time" was heard in the film “Julie & Julia."

Whiting was born July 22, 1924, in Detroit. Her father, Richard “Dick" Whiting, was a songwriter. Her mother, Eleanor Youngblood Whiting, managed singers such as Sophie Tucker. Her aunt, Margaret Youngblood, was a vaudeville artist.

Raised in New York City, where her father wrote for musicals, and in Los Angeles, where he was active in films, Whiting was surrounded by entertainment-world icons. Judy Garland was a childhood friend. And on any given night she heard new songs from the likes of Cole Porter, Jerome Kern, George Gershwin and Harold Arlen.

One of the most important of those show business friends was Mercer, who began partnering with Richard Whiting in the '30s, writing, among other songs, “Hooray for Hollywood" and “Too Marvelous for Words." After starting to sing, with Mercer's encouragement, as a child, Whiting began working with him when she was 7. When her father died in 1938, Mercer—already her mentor—also took on the role of surrogate father.

Whiting often mentioned the advice Mercer had given her when she announced her youthful ambitions to become a singer.

“One night when I was about 7 or 8," she told The Times, “my mother asked him to listen to me perform. When I finished singing, he called me over and said, 'I've got two words of advice for you: Grow up.' Then he said I should try and find a style that was uniquely my own."

It was advice that Whiting took to heart. Barely out of her mid-teens when Mercer and two partners formed Capitol Records in 1942, she became one of the new label's first signings. Her wartime recordings, her performances at USO concerts and her appealing, girl-I-left-behind charm established her as a favorite of young men in the armed forces.

Her first hit song, Mercer and Arlen's “That Old Black Magic," was recorded with the Freddie Slack Orchestra a week after Whiting's 18th birthday. A year later, she recorded her late father's “My Ideal," written in 1930. A string of her hits—"It Might as Well Be Spring," “Come Rain or Come Shine" and “Guilty" among them—followed, resulting in more than a dozen records that sold more than a million copies each.

But what was to become one of Whiting's signature songs, “Moonlight In Vermont," with the Billy Butterfield Orchestra, almost wasn't recorded, because, she said, “I've never been to Vermont." Nonetheless, in Whiting's hands, the song—with its unusual six-bar phrases and lack of rhymes—became a hit and an American songbook classic.

Continue Reading...

Shop Jazz & Support AAJ!

comments powered by Disqus


Sponsor: Nonesuch Records | BUY NOW

Enter it twice.
To the weekly jazz events calendar

Enter the numbers in the graphic
Enter the code in this picture

Log in

One moment, you will be redirected shortly.
Email Local Jazz Events!

Email Local Jazz Events

News Search

or search site with Google