Makin' Whoopee

"Makin' Whoopee!" is a jazz/blues song, first popularized by Eddie Cantor in the 1928 musical Whoopee! Gus Kahn wrote the lyrics and Walter Donaldson composed the music for the song as well as for the entire musical.

The title is a euphemism for sexual intimacy, and the song has been called a "dire warning", largely to men, about the "trap" of marriage. "Makin' Whoopee" begins with the celebration of a wedding, honeymoon and marital bliss, but moves on to babies and responsibilities, and ultimately on to affairs and possible divorce, ending with a judge's advice.

Other versions

Makin

Makin may refer to:

See also

Whoopee!

Whoopee! is a 1928 musical comedy with a book based on Owen Davis's play, The Nervous Wreck. The musical libretto was written by William Anthony McGuire, with music by Walter Donaldson and lyrics by Gus Kahn. The musical premiered on Broadway in 1928, and introduced the hit song "Love Me or Leave Me", sung by Ruth Etting.

Synopsis

In California, Sheriff Bob Wells and the daughter of a rancher Sally Morgan are getting married. She is in love with Wanenis, whose part-Indian heritage presents social difficulties for their romance. Sally abandons Sheriff Bob and their wedding, catching a ride with Henry Williams. As a hypochondriac, Henry has problems of his own, but Sally adds to his problems when she leaves a note saying they have eloped. A chase ensues, with the jilted Bob; Mary, Henry's nurse who is in love with him; and a cast of others. Along the way they arrive at the Indian Reservation where Wanenis lives. The movie star Leslie Daw enters the proceedings and sings the torchy, sentimental "Love Me, or Leave Me."

Baker Boys

Baker Boys may refer to:

See also

Louis Armstrong

HIDDEN ERROR: Usage of "Spouse" is not recognized

Louis Armstrong (August 4, 1901 – July 6, 1971), nicknamed Satchmo or Pops, was an American jazz trumpeter, composer and singer who became one of the pivotal and most influential figures in jazz music. His career spanned from the 1920s to the 1960s, covering many different eras of jazz.

Coming to prominence in the 1920s as an "inventive" trumpet and cornet player, Armstrong was a foundational influence in jazz, shifting the focus of the music from collective improvisation to solo performance. With his instantly recognizable gravelly voice, Armstrong was also an influential singer, demonstrating great dexterity as an improviser, bending the lyrics and melody of a song for expressive purposes. He was also skilled at scat singing.

Renowned for his charismatic stage presence and voice almost as much as for his trumpet-playing, Armstrong's influence extends well beyond jazz music, and by the end of his career in the 1960s, he was widely regarded as a profound influence on popular music in general. Armstrong was one of the first truly popular African-American entertainers to "cross over", whose skin color was secondary to his music in an America that was extremely racially divided. He rarely publicly politicized his race, often to the dismay of fellow African-Americans, but took a well-publicized stand for desegregation during the Little Rock Crisis. His artistry and personality allowed him socially acceptable access to the upper echelons of American society which were highly restricted for black men of his era.