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RUDY VALLEE - TYPED LETTER SIGNED 07/27/1932 - HFSID 147700

RUDY VALLÉE Rudy Vallée writes a letter correcting the inaccuracies of an article that was written about him. Typed letter signed: "Rudy Vallée", 3p, 7¼x10½. New York City, New York, 1932 July 27. On his personal letter head to Mrs. Ruth L.

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Condition: lightly soiled, otherwise fine condition
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RUDY VALLÉE
Rudy Vallée writes a letter correcting the inaccuracies of an article that was written about him.
Typed letter signed: "Rudy Vallée", 3p, 7¼x10½. New York City, New York, 1932 July 27. On his personal letter head to Mrs. Ruth L. Wallgren, Portland, Maine. Begins: "My dear Mrs. Wallgren" In full: "Thank you for your very cordial letter of the 15th and the article, THE CROWN PRINCE OF RADIO. I have read the article very carefully, and would like at this time, in case the article is ever used at any time, to point out a few discrepancies which evidently did not occur to Kathleen and others who might have read it. Of course the conversation on my arrival at Orono was nothing like that. In fact, I arrived very quietly, with no one noticing that I had a saxophone under my arm, and went first to the S.A.E. House, where u was instantly pledged, being brought there by an S.A.E. from Westbrook, Theodore Touranjou. It was not until months later that I moved down to the University Inn. I never practised (sic) at the Inn itself, but in the cold Town Hall nearby, empty during the day and night, except for certain engagements on some evenings, so I was able to use it as a place to practise (sic). Another thing about the article - it gives the impression that at the time I went to Maine my sax playing was very embryonic, but the reverse was quite the case. I had already appeared at the Strand Theatre in Portland, soliciting many favorable comments on the solos I played there, and my practise (sic) at the Town Hall was to further perfect my technique and to keep my control of tone well in hand. There were no curses when I practised (sic), except the long tones I held, which were not unmusical but rather monotonous due to the regularity of each note being held almost a minute, and going up through the entire register of the horn. I did not major in Spanish at the University of Maine; it was not until I reached Yale that I shifted to that course. At Maine I did not major in anything, as major courses were not chosen until the sophomore year. I do not recall ever having had a dream that carried me to the Tropics, and just what your intimation was at that particular point in the article I am at a loss to understand. I had played hundreds of dances before I entered Maine, and at Maine I was used at once by the dance orchestra there to play, and later on organized my own University of Maine dance orchestra, which I called the Commodore Orchestra. I ususally (sic) received much more than $5; in fact, on my own engagements I sometimes made considerable profit. Your whole article concerning the University of Maine would have been more accurate had you had me the lion of the evening from the moment I entered the S.A.E. House. This may sound rather boastful, but the fact is quite true. At the University of Maine I was the big frog in a small puddle; at Yale my popularity as a saxophone player and musical leader did not come until my last two years. The little plays and picture shows that I used to show as a child are very accurate. The house where we now live, which evidently is the one that you describe in your article, was not one in which I lived from my 7th year, but one to which we moved in about 1918, which would be the house I lived in from my 17th year. One very important thing I wish you would correct in your article, and that is that I shelved my own name of Hubert and told all comers that I wished to be called "Rudy." When asked by the S.A.E. boys what should be my nickname, I suggested "Bert," the last part of Hubert. The was the "crack" of one of the brothers who, observing all the Wiedoeft pictures on the wall and the many records that I constantly played, called me "Rudy," that started the Rudy business. Once it became the byword at the S.A.E. House I realized it was a great name to associate with Vallee, and let them continue to use it. Since that time it has always been associated with me, and I have never attempted to correct anyone calling me Rudy. Of course, today it is part of my trademark. The dance article was quite correct, with the exception of the fact that I did not go dancing after all, even though I did learn a great deal from Harry Belyea. In fact, I never danced with a young lady whom I seemed to have lost by not being able to dance with her. Your article is very flattering, very fair and very interesting, even though it is about a very bad subject. I was not a bit surprised to find the Philadelphia newspaper you refer to preferring to have some unsavory details of my youthful life; most newspapers in general prefer to crucify with sensationalism and evidently this paper was one of those. Some day I am writing a book called HEADACHES AND HEARTACHES OF A CELEBRITY, and will incorporate your experience after writing your article, without mentioning any name, unless you wish it. The book will not be published for several years, until I am completely out of the fray, but it will certainly enlighten the public as to what really goes on in the life of a celebrity! I sincerely hope that your effort in writing the article has not been in vain, and some day you will be able to do something with it. I am sure there are newspapers who would like to know something of my background and home life, and you have described it fairly accurately and should find a market for your article. Thank you for writing it. We would like to receive a carbon copy of the article as it stands, and any corrections you may make, for our scrapbook. Sincerely," From the mid-1920s to mid-1950s, Rudy Vallée (1901-1986) enjoyed a successful career on radio (where he hosted a popular variety show from 1929), in movies, in Broadway musicals and with a solo nightclub act. The first singer to be called a "crooner", he was known for carrying a small megaphone. He made a fine comeback in the Broadway hit How To Succeed In Business Without Really Trying (1961). Lightly creased at corners. Fold creases through signature. Lightly soiled at blank edges. Otherwise, fine condition.

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