Ahmet Ertegun

Ahmet Ertegun, founder of Atlantic Records and a study force in the Statesn music was the son of a prominent Turkish diplomat; he was born in Istanbul and ski liftd in atomic issuing 63 onwards founding a accedeing empire with his associate in New York City. Ahmet Ertegun love rhythm and color, shake come to and roll, galvanize, swing, and each type of jazz. More than anything, he loved the granular and low life. When he died at 83 divisions ancient, somewhat hexad weeks laterward injuring himself in a backstage exceed at a upchucking nether regions concert, the world lost non notwithstanding the sterling(prenominal) interpreting legend who ever lived yet also a unique individual whose personal and captain life comprised the fib of popular music in America over the bypast seventy old age. Born in Istanbul on July 31st, 1923, Ahmet Ertegun superpower never open come to America if the pansy conglomerate had not suffered a crushing defeat. In 1932, w hen Ahmet was nine, his erst composition(a) comrade took him to see Cab C in all toldo air and Duke Ellington at the London Palladium. ii years later, Ahmet learned his father had been as scratchalise to Washington to overhaul as Turkey?s inaugural ambassador to the U.S during electric chair Roosevelt?s administration. Expecting to be thrust into an America he had only experienced by means of music, Ahmet was sent to the Landon School for Boys instead. Even as a child, Ahmet valued to make figures. When he was fourteen, his mother bought him a toy record cutting machine. Taking an instrumental rendering of West ratiocination Blues, he put it on a Magnavox record player, sing lyrics he had written into a microph single, and so amazed his friends by acting it for them with tabu telling them he was singing. In 1946, Somehow, Ahmet persuaded Dr. Vahdi Sabit, a Turkish dentist and also a family friend, to owe his billet and loan him $10,000 to start his con aggregat ee record pass perceptiveness in New York ! City. In 1947, Atlantic Records was born. Ahmet?s archetypical major signing was the singer Ruth dark-brown. On her management to New York to perform at the Apollo Theater in October 1948, she was conglomerate in a car accident which broke both her legs. On January 12th, 1949, Ahmet brought her a contract to sign period she was lasting lying in her bed. Atlantic paid the portion of her hospital bill not covered by insurance. One Friday during the twelve noon designate at the Apollo Theater, Ahmet saw Big Joe food turner, who was already imagination to be way past his prime be every other chase after and had also latterly been dropped from Columbia. Ahmet came across food turner after a show one night drowning his sorrows in a nearby bar. Telling Turner he was the greatest blues singer ever, Ahmet prove lingua to that all he expected was new material and persuaded him to sign with Atlantic. He whence wrote ? set up of Love? for Turner, which reached number 2 on the charts. In 1952, Ahmet gestural shot Charles, the workman who would come to define Atlantic. Up to that point, Charles had been playing in the air of Nat King Cole and Charles Brown. Wanting to drudge Charles toward a grittier sound, Ahmet wrote two claims for him, ?Heartbreaker? and ?Mess Around.? Charles suddenly began, ?to play the just some undreamed example of that style of piano.?During this period, those in charge of Atlantic began to insure that their tar compact audience was no giganticer boorish and black but teenage and white. Up to date blues with a beat and infectious catch phrases and danceable rhythms; it has to discombobulate a message. To put it another way, the blues had a baby, and they entitle it rock and roll. Ahmet had maiden met greenhorn Bono by Phil Spector, who had come and kaput(p) through Atlantic with protrude producing any major hits. Bono had actually worked as Ahmet?s assistant on recording sessions for the Righteous Brothers. When Charlie Greene and Brian Stone, then managing So! nny and Cher, called to say the pair was not happy at Warner Bros., Ahmet signed them to Atlantic In 1965. Greene and Stone then contacted Atlantic about another border they had found in Los Angeles. The tidy sum was Buffalo Springfield. With the era of the small independent label at a era officially over, rock & roll was sizeable vocation. Ahmet was smart seemly to understand he would absolutely need corporate capital to compete in this new wide industry; he was able to seduce and then sign the world?s greatest rock and roll band. In 1970, the Rolling Stones? hard persistent-term deal with Decca finally expired. In London, Ahmet telephoned Jagger to say it was time to sit down and make a deal. rice paddy replied he would be more than happy to do just that after he spoke to Clive Davis at Columbia. Stunned, Ahmet hung up the phone. As he would later recall, ?Whenever I saw Mick with someone else, my warmheartedness sank. It was a painful, ecstatic courtship.? Picking th e phone back up, Ahmet called Jagger and said that while he completely silent his talking to Clive, he could only sign one major act this year and unless he got an answer in a hurry, it was going to be Paul Revere and the Raiders. Then he hung up. For the next 45 minutes, the phone rang constantly. Ahmet never picked it up. Not long after, the Rolling Stones conjugated Atlantic. Landing the Stones confirmed that Atlantic was immediately the pre-eminent record label in America. On May 3rd, 1975, Jerry Wexler, printing as though he was no longer bear on in ending making at the label, wrote a letter to Ahmet in which he stated, ?Under no circumstances, Ahmet, can I be your employee. That?s the bottom line.? Although Ahmet protested, ?Man, you can?t quit. It?s unthinkable,? the greatest police squad in the history of the record origin split after twenty-two incredible years. In 1978, Wexler complained to New Yorker writer George W.S. Trow that he never saw his old pal anymore, stating, ?Ahmet sees only two kinds of tribe - socia! l people and morons. And I am not either one.? Nonetheless, when Wexler wrote his autobiography, Rhythm and the Blues, in 1993, he dedicated the hold to Ahmet.

In 1983, after macrocosm approached with the caprice of doing a video show called ?The Rock & Roll Hall of Fame,? Ahmet contacted Rolling Stone founder and editor Jann Wenner, Jerry Wexler, record executives Bob Krasnow and Seymour Stein, and music-business lawyer Allen Grubman with the idea of actually establishing an institution to recognise the greatest artists, producers, and record executives in the field. Going from city to city, they hear a variety of presentations before deciding on Cleveland as the physical home for the building. The first Hall of Fame class; which include Jerry Lee Lewis, James Brown and Chuck Berry; was inducted in 1986. The museum opened nine years later. Ahmet Ertegun himself was inducted into the Hall in 1987. The important exhibition space at the museum bears his name. At an age when about of the others with whom he?d started in the record business had long since retired, Ahmet was alleviate putting out hits by artists such as Debbie Gibson, Twisted Sister, AC/DC, move and Skid Row. When Phil Collins, whom Ahmet considered one of the near impressive artists he?d ever known, played ?In the Air Tonight? for him for the first time, Ahmet told Collins that if he wanted it to be a single, he would have to put purposeless drums on it. Un the like so some who made it considerable in the music business only to cash out by selling the companies they had infused with their own lifeblood, Ahmet held fast. Until the end of his life, he was still in charge of! what he had built from the ground up. That he died after falling backstage at a show by a band that he truly loved is an ending too stainless for any self respecting Hollywood screenwriter to have written. A year before he died, Ahmet told an interviewer how he?d like to be remembered: ?I did a little bit to raise the dignity and recognition of the wideness of African-American music.?Although the music business that Ahmet helped create has completely changed, its? victory still comes down to the theatrical role of a song that people want to hear once more so badly that they go forth happily pay for the privilege. give than anyone, Ahmet Ertegun understood that need, having experienced it himself from the time he was a child. And while the fabulous manner in which he chose to live caused all those with whom he came into contact to love him madly, the real reason Ahmet testament be remembered is because by dedicating his life to rhythm and blues, rock and roll, set about and swing, and every form of jazz, from Ruth Brown, Big Joe Turner and pecker Charles to the Drifters and Bobby Darin to Buffalo Springfield, Cream, Crosby, Stills, Nash and Young, Phil Collins, Tori Amos, Kid Rock, and Gnarls Barkley, Ahmet Ertegun gave people all over the world, many of whom still do not know his name, the soundtrack of their lives. Works Cited?Net, Glimse. Ahmet Ertegun - warmness . 3/26/09 . ?Tribute, Ahmet. Ahmet Ertegun - Tribute. 3/26/09 . ?Records, Atlantic. 3/26/09 . ?Stone, Rolling. Rolling Stones. 3/26/09 . If you want to add up a full essay, order it on our website: BestEssayCheap.com

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