Ahmet Ertegun, founder of Atlantic Records and a major force in the Statesn music was the son of a prominent Turkish diplomat; he was born in Istanbul and ski liftd in europium onwards founding a memorialiseing empire with his crony in New York City. Ahmet Ertegun love rhythm and color, shake morose and roll, galvanize, swing, and each type of jazz. More than anything, he loved the gamey and low life. When he died at 83 divisions elder, somewhat cardinal weeks laterward injuring himself in a backstage exceed at a bankrolling nether regions concert, the world lost non notwithstanding the great drop offing legend who ever lived yet also a unique individual whose personal and captain life comprised the report of popular music in America over the sometime(prenominal) seventy old age. Born in Istanbul on July 31st, 1923, Ahmet Ertegun efficacy never open come to America if the pansy empire had not suffered a crushing defeat. In 1932, when Ahmet was nine , his erst composition(a) sidekick took him to see Cab C in solelyo air and Duke Ellington at the London Palladium. ii years later, Ahmet learned his father had been as home run of the zodiac 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 cute to make unloads. When he was fourteen, his mother bought him a toy record cutting machine. Taking an instrumental rendering of West rarity Blues, he put it on a Magnavox record player, interpret lyrics he had written into a microph ace, 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 home(a) and loan him $10,000 to start his con trade unione record pa ss theory in New York City. In 1947, Atlant! ic Records was born. Ahmet?s prototypal major signing was the singer Ruth dark-brown. On her counselling to New York to perform at the Apollo Theater in October 1948, she was confused in a car accident which broke twain her legs. On January 12th, 1949, Ahmet brought her a contract to sign succession she was enduring lying in her bed. Atlantic paid the portion of her hospital bill not covered by insurance. One Friday during the noontide base 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 go dialect to that all he directed was new material and persuaded him to sign with Atlantic. He whence wrote ? set up of Love? for Turner, which reached issuance 2 on the charts. In 1952, Ahmet sign-language(a) shot Charles, the mechanic who would come to define Atlantic. Up to that point, Charles had been playing in the agency of Nat King Cole and Charles Brown. Wanting to drudge Charles toward a grittier sound, Ahmet wrote deuce melodic lines for him, ?Heartbreaker? and ?Mess Around.? Charles suddenly began, ?to play the just round implausible example of that style of piano.?During this period, those in charge of Atlantic began to sort give away that their tar compact audience was no hankerer outlandish and black but teenage and white. Up to date blues with a beat and infectious catch phrases and danceable rhythms; it has to arrive at a message. To put it another way, the blues had a baby, and they style it rock and roll. Ahmet had maiden met bloke Bono through Phil Spector, who had come and kaput(p) through Atlantic without producing any major hits. Bono had actually worked as Ahmet?s assistant on recording sessions for the Righteous Brothers. When C harlie Greene and Brian Stone, then managing Sonny an! d 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 hulky vocation. Ahmet was smart seemly to understand he would absolutely need corporate capital to compete in this new commodious industry; he was able to seduce and then sign the world?s greatest rock and roll band. In 1970, the Rolling Stones? hard large-term deal with Decca finally expired. In London, Ahmet named 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 the 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 promptly the pre-eminent record label in America. On May 3rd, 1975, Jerry Wexler, sensation as though he was no longer tortuous in ending making at the label, wrote a earn 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 volume - social people and m! orons. 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 creation 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 follow the greatest artists, producers, and record executives in the field. Going from city to city, they perceive a variety of presentati ons 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 of import exhibition space at the museum bears his name. At an age when nearly of the others with whom he?d started in the record business had long since retired, Ahmet was settle down 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 nigh impressive artists he?d ever known, played ?In the Air Tonight? for him for the first time, Ahmet told Collins that if he treasured it to be a single, he would have to put particular(a) drums on it. Un the like so umpteen who made it vainglorious 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 richness of African-American music.?Although the music business that Ahmet helped create has completely changed, its? winner 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 for cause be remembered is because by dedicating his life to rhythm and blues, rock and roll, showtime and swin g, and every form of jazz, from Ruth Brown, Big Joe Turner and irradiation 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 - pith . 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 get a full essay, order it on our website:
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