Bing Crosby: A Pocketful of Dreams - The Early Years 1903 - 1940 [Englisch] [Gebundene Ausgabe]

Without Bing Crosby, popular music would not sound the way it sounds today, it's that simple. When he first started singing with Paul Whiteman's band in the 20's as a member of the Rhythm Boys, all vocalists sounded the same: weak-kneed tenors warbling through megaphones, ala the insufferable Rudy Vallee. Bing's mellifluous, effortless baritone became the standard by which every other singer strove to emulate: Sinatra, Como, Dean Martin and every other singer initially copied Bing.

Giddins correctly emphasizes Bing's influence on 20th century pop culture. He was a vocal innovator par excellence and his jazz phrasing, timing and cadence remains unmatched. Giddins also explores in great depth Crosby's numerous affairs, his tortured marriage to the alcoholic Dixie Lee, and brings out some interesting gossip: did you know Bing smoked pot regularly with Louis Armstrong in the early 30's? No more Mr. Goody Two Shoes!

I've loved Bing Crosby all my life and have waited a lifetime for an intelligent and readable biography. Gary Giddins is an excellent writer and researcher and he has created a minor masterpiece. This is an essential addition to any Crosbyphile's bookshelf.

What struck me early on was the instant recognition of Bing's ability by the big names as well as his peers. Though he was not a dependable, responsible youngster (early 20's), he still was instantly sought after. His voice was so extraordinary; it paved the way for him. I particularly enjoyed reading of his early days with Bix Beiderbecke and Frankie Trambauer, their escapades as well as their music. In less than a year, Bing was well known in musical circles and played with Paul Whiteman (whose patience with Bing was saintly!). There's no denying Bing was lucky as well as gifted. Never have I read of a guy who was in the right place at the right time more than Bing.

Bing, apparently at the behest of wife Dixie, did a turnaround in attitude and consumption of alcohol (and probably marijuana as well) and became an incredibly hard working solid citizen. Alas, this left little or no time for his marriage and sons, for when Bing was not on the job, he was an obsessive golfer, outdoorsman, and competitor. One thread that carries over everything he did was he didn't like to lose. It is hard to comprehend just how one man could be as continually successful at whatever he turned his hand to. His positives were he never forgot an old friend, his modesty, generosity, and delightful cool sense of humor. His negatives were his total detachment, a dogged stubbornness and lack of forgiveness. You never got a second chance with Crosby.

This is a remarkable biography. It contains a discography, filmography, endnotes and index. I admire Mr. Giddins' avoiding any trace of attempting to psychoanalyze his subject. However, I wouldn't have minded an occasional opinion as to the "why" of some of Bing's actions, but Mr. Giddin's resolutely sticks with his Joe Friday persona. The book is lengthy and requires close attention, but is well worth your while.
-sweetmolly-Amazon Reviewer

Gary Giddins is out to change much of that. He convincingly argues that Crosby was one of the key figures among American singers -- or even entertainers in general -- in the 20th century. Giddins argues that Crosby was the first to fully understand the change caused by the widespread introduction of records and to adapt his technique accordingly.

This book is extremely well researched, but Giddins is such a superb writer that he never allows the details to bog down the narrative, a fault common to academic biographers who seem to be incapable of leaving out the smallest detail about their subjects. Moreover, Giddins has extensive knowledge about popular culture of the period that allows him to put in Crosby in the perspective of his time.

Crosby turns out to be a better person than many might think. He seems to have lacked any racial prejudice; he was a great admirer of Louis Armstrong and worked to get in him into films when black entertainers were either shunned or forced into Uncle Tom roles. He was, if anything, excessively modest about his own abilities, giving the credit to others for his success. He was for the most part easy to work with in the studio or on a film set, only balking when his reasonable requests were ignored. He was generous to people he had known in the past who had fallen on hard times.

Yet Giddins is careful not to ignore Crosby's faults as well. As friendly as he could be, he did not open up to people, even those he had known for years. His first marriage slowly turned into something of a disaster as his wife developed drinking and other mental problems. (Several people are quoted as saying that the drinking problems were the result of helping Crosby break his own drinking problem, but I'm not sure I understand the logic of that and Giddins is no help on this point).

For all of that, Crosby comes across as an admirable person. Perhaps this book and its successor will spur a greater interest in Crosby the singer. Whether this happens or not, anyone interested in American entertainment in the last century will want to read this book.