Joshua Daniel White (February 11, 1914 - September 5, 1969) was an American singer, guitarist, songwriter, actor and civil rights activist. He also recorded under the names Pinewood Tom and Tippy Barton in the 1930s. White grew up in the South during the 1920s and 1930s. He became a prominent race records artist, with a prolific output of recordings in genres including Piedmont blues, country blues, gospel music, and social protest songs.

White was born on February 11, 1914, in the black section of Greenville, South Carolina, one of the four children of Reverend Dennis and Daisy Elizabeth White. His father told him that he was named after the Biblical character Joshua of the Old Testament. His mother introduced him to music when he was five years old, at which age he began singing in his church's choir. White's father threw a white bill collector out of his home in 1921, for which he was beaten so badly that he nearly died, and then was locked up in a mental institution, where he died nine years later.  Two months after his father had been taken away from the family, White left home with Blind Man Arnold, a black street singer, whom he agreed to lead across the South and for whom he would collect coins after performances. Arnold would then send White's mother two dollars a week. Arnold soon realized that he could profit from this gifted boy, who quickly learned to dance, sing, and play the tambourine. Over the next eight years, he rented the boy's services to other blind street singers, including Blind Blake and Blind Joe Taggart, and in time White mastered the varied guitar stylings of all of them. In order to appear sympathetic to the onlookers tossing coins, the old men kept White shoeless and in ragged short pants until he was sixteen years old. At night he slept in cotton fields or in horse stables, often on an empty stomach, while his employer slept in a black hotel.  While guiding Taggart in 1927, White arrived in Chicago, Illinois. Mayo Williams, a producer for Paramount Records, recognized White's talents and began using him as a session guitarist. He backed many artists for recordings before recording his first popular Paramount record as the lead vocalist and lead guitarist on "Scandalous and a Shame", billed as "Blind Joe Taggart & Joshua White", thus becoming the youngest artist of the "race records" era. He was still shoeless and sleeping in horse stables, with all his payments for recordings going to Taggart and Arnold. After Williams left Paramount to start his own label in Chicago, he threatened that if Taggart did not pay White for his recording services he would call the authorities and have Taggart arrested for indentured servitude and keeping the boy out of school. For a few months after Taggart released him from servitude, White shared a room with Blind Blake at Williams's home before finding his own room in a boarding house. Finally, he was being paid for his recordings and for the first time in his life was able to buy proper clothes and shoes. For the next two years, White continued an active recording schedule in Chicago, until he had saved enough money to return to Greenville and take care of his mother and younger siblings.  Late in 1930, ARC Records, based in New York, sent two A&R men to find White, the lead boy who had recorded for Paramount in 1928. After several months of searching, they found him recovering from a broken leg at his mother's home in Greenville. They persuaded her to sign a recording contract for her underage son, promising that they would record only religious songs and not the "devil's music" (the blues). White then moved to New York City and recorded religious songs for ARC, billed as "Joshua White, the Singing Christian".  In a few months, having recorded his repertoire of religious songs, White was persuaded by ARC to record blues songs and to work as a session musician for other artists. White, 18 years old and still underage, signed a new contract under the name Pinewood Tom in 1932. This name was used only on his blues recordings. ARC used his birth name for new gospel recordings and soon added "The Singing Christian". ARC also released his recordings under the name Tippy Barton during this period. As a session guitarist, White recorded with Leroy Carr and Scrapper Blackwell, Buddy Moss, Charlie Spand, the Carver Boys, Walter Roland, and Lucille Bogan.  In February 1936, he punched his left hand through a glass door during a bar fight, and the hand became infected with gangrene. Doctors recommended amputation of the hand, which White repeatedly refused. Amputation was averted, but his chording hand was left immobile. He retreated from his recording career to become a dock worker, an elevator operator, and a building superintendent. During the time when his hand was lame, he squeezed a small rubber ball to try to revive it.  One night during a card game, White's left hand was revived completely. He immediately began practicing playing the guitar and soon put together a group, Josh White and His Carolinians, with his brother Billy and close friends Carrington Lewis, Sam Gary, and Bayard Rustin. They soon began playing private parties in Harlem. At one of these parties, on New Year's Eve 1938, Leonard De Paur, a Broadway choral director, was intrigued by White's singing. For the past six months, DePaur and the producers of a Broadway musical in development, John Henry, had been searching America for an actor, singer, and guitarist to play the lead role of Blind Lemon, a street minstrel who wandered back and forth across the stage narrating the story in song. Their initial auditions with native New York singers were unsuccessful, so they looked through previous race record releases to find a suitable artist. They eventually narrowed their search down to two people, Pinewood Tom and The Singing Christian, both pseudonyms used by White.  The Cafe Society nightclub, located in New York's Greenwich Village, was the first integrated nightclub in the United States, where blacks and whites could sit, socialize and dance in the same room and enjoy entertainment. It opened in late 1938 with a three-month engagement of the Fletcher Henderson Orchestra, Billie Holiday and comedian Jack Gilford, immediately making it New York's hottest club.  One day, John Hammond asked White to meet Barney Josephson, the owner of the club. As soon as Josephson heard White and saw the charisma he exuded, he told Hammond that White was going to become the first black male sex symbol in America. It was Josephson who decided at that first encounter, on the stage apparel he would have designed for White--which would become a trademark for years to come--a black velvet shirt open to the stomach and silk slacks. While starring at the Cafe Society over the next decade and becoming exposed to audiences, performers and beautiful music from around the world, White expanded his musical interests and repertoire to include various styles which he would subsequently record. He had remarkable success in popularizing recordings in diverse musical genres, which ranged from his original repertoire of Negro blues, gospel and protest songs to Broadway show tunes, cabaret, pop, and white American, English and Australian folk songs.  The Greenwich Village club was so successful that Josephson soon opened a larger Cafe Society Uptown, at which White also performed, gaining him recognition by the New York Times as the "Darling of Fifth Avenue". The Roosevelt family, New York society, international royalty, and Hollywood stars regularly came to see White at the Cafe Society, and he used his fame and visibility to create, foster and develop relations between blacks and whites, making him a national figure and voice of racial integration in America.  He was thought to have had numerous romantic liaisons with wealthy society women, singers, and Hollywood actresses, but the rumors were never substantiated. The women in question always referred to White as their close friend, and Lena Horne and Eartha Kitt also referred to him as a mentor.  The Cafe Society made White a star and put him in a unique position as an African American. However, because of the club's unique social status of mixing the races, it also became a haven for New York's social progressives, whose politics leaned to the left. As it played a vital role in White's ascendancy to stardom, it would also one day play a crucial role in his fall from grace.

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