Forefront of city’s entertainment
tively illuminated for the use he Paramount’s patrons, who using private dining rooms airs and did not wish to walk n a flight of steps to the main e floor. There were two pridining rooms in the place, large enough to accommolarge parties. ang added that it was an stor named Gu that gave the room both English and Chinames.
With the intention of building the ultimate, No. 1 music hall he Far East, he named it “Bai Men,” literally meaning the way to 100 pleasures in Chi, which was easy to remember had a good meaning,” Zhang
seems the Paramount Ballm had a fitting name and rave reviews after its grand ning. he ballroom with its soft ts, beautiful walls has an llent floor for gliding feet. enchanting dance orchestra charming star entertainers uly a gateway of a hundred sures, as its Chinese name suggests. All means of luxand comfort that appeal to ern men and women of good e are happily and harmoniy assembled in this ball. I am that friends present here and y others that will frequent the oom in the future find it the place in which to spend their re hours with the maximum unt of enjoyment,” a guest quoted in the preview of the ballroom in 1933. the opening, the Paramount room had a hotel section ch was fitted with a large ber of suites, all decorated fitted out on a lavish scale. e suites were each fitted with n porch and verandah, giving pants an accommodation few blishments could boast of at time. And in the tower of the ding there is a bridge room
three or four tables. he paramount establisht was not only a Chinese stment, but the building was gned by a Chinese architect ed Yang Xiliu. a lecture on the Shanghai tices of modern Chinese arcts last year, Tongji University professor Zheng Shiling introduced Yang who graduated from Nanyang College, predecessor of today’s Jiao Tong University.
“He was an excellent architect, an architectural teacher and editor-in-chief of an architectural journal named ‘The China Builder’ which was an important reference book for studying modern Shanghai architecture,” Zheng said.
“Like other Chinese architects of his time, Yang not only conducted design work as a profession but also taught lessons in university. So he was good at both theoretical research and design practices. His signature works include a Christian church named Hong De Tang, the Nanking Hotel, the Paramount Ballroom, the Stadium of Nanyang College, to name just a few.”
Zheng added that among them, the Paramount Ballroom was Yang’s most famous work, which had encountered many historical changes and was renovated from top to bottom in recent years to be far different from the original style.
“Yang used a lavish style of sound, light and electricity and a spring floor to design this building. It was an early practice of entertainment architecture designed by a Chinese architect, his exploration of modern Chinese style,” Zheng said.
He notes that many of Shanghai’s historical buildings are the work of China’s remarkable first general of architects. Other examples include the Majestic Theater by Fan Wenzhao and the Shanghai Concert Hall by Fan Wenzhao and Zhao Shen along Nanjing Road.
He explains that traditionally the profession of an “architect” did not exist in China — only builders and craftsman. But things changed after the first series of Chinese, who studied architecture overseas, returned to the country in the 1910s and took advantage of a building boom that was just under way.
The city was undergoing massive architectural changes as more people poured into the “Paris of the East” and places for living, working and entertainment were built with amazing speed.
When Chinese students returned from overseas with architectural degrees, they joined foreign architectural enterprises, or later opened their own companies like the Allied Architects.
There were also Chinese architects who received training at home and designed excellent buildings like the Great World Amusement Center in the vicinity of the People’s Square.
“The work of Chinese architects has been undervalued and lesser known to the public compared to foreign architects like Park Hotel designer Laszlo Hudec,” the professor said.
Yang’s career was long and he participated in the 10 signature buildings of new China designed after 1949.
The well-designed Paramount Ballroom used to be an expensive nightclub for the upper class.
“Paramount Ballroom was a ‘money-squandering den’ where the working class could not afford the entertainment. A cup of green tea was priced at a half yuan which could buy 4.5 kilograms of flour at that time. A steak cost 1 yuan and a bottle of champagne 16 yuan. So guests were mostly the wealthy or notables. It was where General Chennault, commander of the Flying Tigers during World War II, and Anna Chan engaged,” Zhang said.
He mentioned the most famous incident in the ballroom was the murder of its most renowned dancer Chen Manli
“As the most popular dancer in the Paramount, Chen was taken as a concubine by one of her guests, bibliophile/banker Liu Huizhi, the Shanghai branch manager of the National Industrial Bank of China,” Zhang said.
The North China Herald reported Chen later returned to her profession of “taxi dancing” after her husband Chu Shui-fu, manager of the Kiu Fu Company, died.
A gunman fired five shots at her as she sat at a table with two Chinese men friends. One friend was fatally wounded, while the other escaped with a slight injury.
Chen died a day after the attack on February 26, 1940, from wounds to the abdomen, back, neck and shoulder.
It is still a mystery why she was killed. The Paramount Ballroom did not churn out a profitable business for long and it encountered twists and turns in the following years.
“Although it successfully gained the cultural brand of ‘King of the Dance Halls,’ in terms of business operation, Shanghai Paramount lost money for a long time due to internal and external factors. Between the imaginary Paramount and real Paramount, there exists a considerable gap,” scholar Ma Jun from Shanghai Academy of Social Sciences wrote in his essay named “Light and Shadow: Founding and Operation of Shanghai Paramount.”
In the spring of 2017, after a three-year lavish renovation, the ballroom threw open its doors to the public again for ultimate enjoyment of music and dance.
“Many of our guests, Chinese or expatriates, have some roots or a nostalgia link with old Shanghai,” said Chi Guorong, general manager of Shanghai Paramount Culture Entertainment Co Ltd.
ARRIVING here today on the Empress of Japan will be Styrl Wilson and his new Paramount Ballroom Orchestra, direct from a long engagement at the Leeland Hotel, Detroit. The orchestra has been featured over the National Broadcasting Company.
Styrl Wilson and his music have made numerous recordings for the Victor Company during the past year. One of the most locally of these recordings was “My Blackbirds are Blue Birds now.”
The orchestra was booked to open the winter season at one of Chicago’s newest night clubs when the management of the Paramount offered them a contract to come here to open Shanghai’s luxurious new ballroom. With the decision resting between Chicago and Shanghai, the former didn’t have a chance, and here the boys are bringing with them the sort of smooth, danceable rhythms that will make the Paramount a mecca for those who really love to dance.
Among the Paramount artists arriving today is Mr Bromleigh House, possessor of a baritone voice that is said to be exceptionally smooth and rich. He has just completed an engagement at the Michigan Theater, Detroit. Another is Mr Billy Heads, whose sparkling humor and sensational dancing is expected to secure him a place in the hearts of pleasureloving Shanghai.
Mr Heads has been featured by both Duke Ellington and Paul Ash. Persons who know good entertainers should appreciate this record as promising entertainment out of the ordinary. The Paramount will open early in December.
The China Press, November 21, 1933