Johnnie Ray was one of the first to make me really open my ears. That was like 2 or 3 years before Elvis. -Rolling Stone Bill Wyman

Johnnie Ray was born in Dallas, Oregon in 1927.  He wrote The Little White Cloud That Cried, his first hit, while a teenager in Oregon. In December 1951, after serving an apprenticeship in a Detroit night club, he recorded that song for Okeh Records in New York. It went to the top of the charts.

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From fansite  www.johnnieray.com: The executives at Capitol Records heard a Johnnie Ray demo record and thought the vocals were by a black female blues artist. Johnnie was thought at first by the radio listening audience to be a black blues singer, but soon it was revealed that he was a tall, thin, very fair complected, handsome boyish looking man of 24. Johnnie’s first Okeh release was a quick Detroit recording of “Whiskey & Gin”, a stomping R&B number, and ”Tell The Lady I said Goodbye”, a torchy ballad, both recorded May 29th, 1951, possibly in a radio station, with Maurice King and the Wolverines.

Ray skyrocketed to the top despite multiple challenges. A childhood accident left him deaf in one ear. He came out in public as a deaf person by wearing his hearing aid on stage but was unable, due to the times in which he lived, to come out as a gay man. He battled alcoholism.

Polite and soft spoken in person, on stage Ray was a physically uninhibited performer who prowled the stage, manhandled the microphone, threw himself on the floor, and attacked the piano as Jimi Hendrix would later attack his guitar.

A more sedate version of Ray’s stage persona is seen in There’s No Business Like Show Business (1954). His singing provides the only honest moments in that enormous, greedy, gaudy turkey.

Portland has never been as remote – geographically, socially and spiritually – from the rest of the country, as it would like to believe.

In 1923, a young Ernest Haycox was living in Greenwich Village, writing his first western.

In 1923, a young George Olsen was appearing on Broadway in Kid Boots, with Eddie Cantor.

In 1923, a young Mayo Methot was appearing The Song & Dance Man on Broadway, opposite George M. Cohan.

In 1923, a young Lee Morse was startling audiences with her deep bluesy voice in the Artists & Models, a musical review on Broadway.

In 1923, a young Mark Rothko moved to the Upper West Side to study painting, after being upstaged in a Portland acting class by the future King of Hollywood.

I have no idea if Mark Rothko liked jazz.

If he did, whenever he felt homesick he could have taken a quick stroll down Broadway to see his fellow Portlanders George Olsen, Lee Morse, and Meyo Methot performing onstage.