Hubert Prior Vallée (July 28, 1901[1] – July 3, 1986),[2] known professionally as Rudy Vallée, was an American singer, saxophonist, bandleader, actor, and entertainer. He was the first male singer to rise from local radio broadcasts in New York City to national popularity as a "crooner".
Early life
Vallėe was born in Island Pond, Vermont on July 28, 1901,[1] the son of Catherine Lynch and Charles Alphonse Vallée. His maternal grandparents were English and Irish, while his paternal grandparents were French Canadians from Quebec. He grew up in Westbrook, Maine. On March 29, 1917, he enlisted in the US Navy in Portland, Maine to fight in World War I, but authorities discovered he was only 15 and had given the false birth date of July 28, 1899. He was discharged at the Naval Training Station in Newport, Rhode Island on May 17, 1917, after 41 days of active service.[citation needed]
Career
Music
Rudy Vallée, c. 1929
After playing drums in his high school band, Vallée played clarinet and saxophone in bands around New England as a teenager. The popularity of the saxophone and an unexpected reply from his idol Rudy Wiedoeft prompted Vallée to perfect his technique. He paid Columbia Records to make four "personal records", which he used for audition purposes with a number of bands. From 1924 to 1925, he played with the Savoy Havana Band at the Savoy Hotel in London, where band members discouraged his attempts to become a vocalist.[3] He returned to the United States, briefly attending the University of Maine. While at the University of Maine, he initiated into Sigma Alpha Epsilon Fraternity on December 5, 1921. He transferred to Yale University in 1924, from which he earned a bachelor’s degree in philosophy in 1927. As a Yale student he led the football band and was the lead saxophonist in the Yale Collegians with Peter Arno, who became a cartoonist for The New Yorker magazine.[4]
After graduation, he formed Rudy Vallée and the Connecticut Yankees, having named himself after saxophonist Rudy Wiedoeft.[5] With this band (formed in 1928),[6] which included two violins, two saxophones, a piano, a banjo, and drums, he began singing as a member of a trio and as a soloist. He had a thin, wavering tenor voice and seemed more at home singing sweet ballads than jazz songs. But his singing, saxophone playing, and the innovative arrangements he wrote for his band attracted attention from a rapidly increasing number
of listeners, especially from young women.[7] In 1928 he started performing on the radio, first at New York station WABC, leading his Yale Collegians Orchestra,[8] and then on WEAF and the NBC Red Network beginning in February 1929.[9]
Vallée megaphone crafted in between shows at the New York Palace in May 1929
He became one of the first crooners.[7] Singers needed strong voices to fill theaters in the days before microphones. Crooners had soft voices that were suited to the intimacy of radio; the microphones, in this case, promoted direct access to "a vulnerable and sensuous interior," or in other words, "a conjured intimacy".[10]
Vallée was one of the first celebrity radio vocalists.[7]Flappers pursued him wherever he went.[7] His live appearances were usually sold out. Contrary to popular belief, he did not have screaming girls at his appearances. However, his voice still failed to project in venues without microphones and amplification, so he often sang through a megaphone, a device he had used when leading the Yale football band. A caricature of him singing this way was depicted in the Betty Boop cartoon Poor Cinderella (1934).[11] Another caricature is in Crosby, Columbo, and Vallee, which parodies him, Bing Crosby, and Russ Columbo.
In the words of a magazine writer in 1929,
At the microphone he is truly a romantic figure. Faultlessly attired in evening dress, he pours softly into the radio's delicate ear a stream of mellifluous melody. He appears to be coaxing, pleading and at the same time adoring the invisible one to whom his song is attuned.[12]
Vallée had his share of detractors as well as fans when his popularity was at its height. Radio Revue, a radio fan magazine, held a contest in which people wrote letters explaining his success. The winning letter, written by a man who disliked Vallée's music, said, "Rudy Vallee is reaping the harvest of a seed that is seldom sown this day and age: LOVE. The good-looking little son-of-a-gun really and honestly LOVES his audience and his art. He LOVES to please listeners—LOVES it more than he does his name in the big lights, his mug in the papers. He loved all those unseen women as passionately as a voice can love, long before they began to purr and to caress him with two-cent stamps."[13]
Vallée made his first commercial recordings in 1928 for Columbia's low-priced labels Harmony, Velvet Tone, and Diva. He signed with RCA Victor in February 1929 and remained with the company through 1931, leaving after a heated dispute with executives over song selections. He then recorded for the short-lived Hit of the Week label which sold rather poor quality records laminated onto a cardboard base. In August 1932, he signed with Columbia and remained with the label through 1933. Vallée returned to RCA Victor in June 1933; his records were initially issued on Victor's low-priced Bluebird label until November 1933, when he was back on the standard Victor label. He remained with RCA Victor until signing with ARC in 1936. ARC issued his records on the Perfect, Melotone, Conqueror and Romeo labels until 1937, when he again returned to RCA Victor.
With his group the Connecticut Yankees, Vallée's best-known recordings include "The Stein Song" (a.k.a. University of Maine school song) in 1929[14] and "Vieni, Vieni" in the latter 1930s.
His last hit record was a reissue of "As Time Goes By", popularized in the 1942 film Casablanca. Due to the 1942-44 AFM recording ban, RCA Victor reissued the version he had recorded in 1931.[15] During World War II, he enlisted in the United States Coast Guard to help direct the 11th district Coast Guard band as a chief petty officer. He was promoted to lieutenant and led the 40-piece band to great success. In 1944, he was placed on the inactive list and returned to radio.[16]
In 1929, Vallée began hosting The Fleischmann's Yeast Hour,[20] a popular radio show with guests such as Fay Wray and Richard Cromwell in dramatic skits. Vallée continued hosting radio shows such as the Royal Gelatin Hour, Vallee Varieties, and The Rudy Vallee Show through the 1930s and 1940s.
When Vallée took his contractual vacations from his national radio show in 1937, he insisted his sponsor hire Louis Armstrong as his substitute.[21] This was the first instance of an African-American hosting a national radio program. Vallée wrote the introduction for Armstrong's 1936 book Swing That Music.
In 1955, Vallée was featured in Gentlemen Marry Brunettes, co-starring Jane Russell, Alan Young, and Jeanne Crain. The production was filmed on location in Paris. The film was based on the Anita Loos novel that was a sequel to her acclaimed Gentlemen Prefer Blondes. Gentlemen Marry Brunettes was popular throughout Europe at the time and was released in France as A Paris Pour les Quatre("Paris for the Four"), and in Belgium as Tevieren Te Parijs.
From 1948 to 1952, Vallée owned Vallee-Video, a television production company formed in the early days of national TV broadcasts. The company was incorporated on April 3, 1948.[24] Vallée made 16mm film shorts for television, including These Foolish Things and Under a Campus Moon, in which he appeared himself. Ed Wynn, Pinky Lee, Buddy Lester and Cyril Smith also appeared in Vallee-Video productions.[25] Comedy sequences in the productions featured dubbed-in laughter.[26]
In 1949, Vallee-Video produced one of the first cartoon shows on television, Tele-Comics.[27]
Vallee-Video's breakthrough in 1952 would have been a 15-minute television show based on the Dick Tracy comic strip starring Vallée's friend Ralph Byrd, who played the character in four successful Dick Tracy theatrical serials from 1937 to 1941. Vallée sold the show as a pilot to NBC. Vallée and Byrd also worked on a proposed radio show based on the comic strip Hawkshaw the Detective.[28] However, Byrd died in August 1952, bringing the Dick Tracy production to a halt, and spelling the end for Vallee-Video.[25]
Personal life
Vallée was a Republican who strongly supported Richard Nixon's 1968 presidential campaign, saying: "Every chance I get I sound off for Nixon. I'm advocating that Reader's Digest reprint 'Cuba, Castro and JFK,' a very brilliant article. I also send in checks from time to time." Nixon had written the Reader's Digest article in November 1964.[29][30]
Vallée died of cancer at his Los Angeles estate known as Silvertip on July 3, 1986 while watching the televised centennial ceremonies of the restored Statue of Liberty. His wife Eleanor said that his last words were: "I wish we could be there; you know how I love a party."[32]
Relationships
Vallée was married four times. During his divorce from his first wife Fay Webb, she alleged that "Vallée is possessed of a violent, vicious, and ungovernable temper, and given to the use of blasphemy and the use of intemperate, vile, and vituperative language, particularly when applied to [her]". She accused him of committing adultery with three women, including actress Alice Faye. Vallée denied the allegations and charged infidelity on her part. The judge found him "not guilty of any misconduct or maltreatment of Webb which detrimentally affected her health, physical or medical condition."[33]
He married Jane Greer on December 2, 1943 in Hollywood, but they separated after three months and divorced on July 27, 1944. His fourth and final wife Eleanor wrote a memoir titled My Vagabond Lover.[citation needed]
Temperament
NBC announcer George Ansbro wrote in his memoirs that Vallée "had quite a temper and a very foul mouth... almost always the butt of his nastiness was the orchestra... his outbursts were mean-spirited, and he didn't care who overheard".[34] However, Alton Cook wrote, "Vallée may be fuming at his orchestra, but a Vallée hour rehearsal never quite loses its air of being a gathering of old friends... Rudy is grimly serious about rehearsal. He sometimes has his band spend a quarter-hour going over one short passage that doesn't satisfy him. On those occasions his temper wears thin..."[35]
In a heated dispute with producer George White on the set of the 1934 film George White's Scandals, White struck Vallée in the jaw. Dorothy Brooks wrote in 1936, "Other stars on the air have their troubles, their disagreements, and yet you don't read about their ending in black eyes. Only Rudy Vallee seems to figure in endings of this kind." In an interview with Brooks, Vallée claimed he found fighting "savage and stupid" and "the wrong way to try to solve problems, because it never solves them." When asked why he fought, he replied, "I just lost my temper. I'll admit I have a too-quick temper."[36]
