Josh White (Blues Singer) – Overview, Biography

Name:Josh White
Occupation: Blues Singer
Height:179 cm (5′ 11”)
Birth Day: February 11,
Death Date:Sep 5, 1969 (age 55)
Age: Aged 55
Birth Place: Greenville,
United States
Zodiac Sign:Aquarius

Josh White

Josh White was born on February 11, 1914 in Greenville, United States (55 years old). Josh White is a Blues Singer, zodiac sign: Aquarius. Nationality: United States. Approx. Net Worth: Undisclosed.


He was featured on a set of four thirty-two-cent U.S. commemorative postage stamps in the Legends of American Music series, which was issued in 1998.

Net Worth 2020

Find out more about Josh White net worth here.

Does Josh White Dead or Alive?

As per our current Database, Josh White died on Sep 5, 1969 (age 55).


HeightWeightHair ColourEye ColourBlood TypeTattoo(s)
179 cm (5′ 11”) N/A N/A N/A N/A N/A

Before Fame

He sang in his local church’s choir at a young age. He helped introduce largely white audiences to folk-blues music.


Biography Timeline


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.


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.


After that first White House command performance ended, the Roosevelts invited White into their private chambers, where they spent more than three hours talking about White’s life story of growing up in Jim Crow South, listening to his songs written about those experiences, and drinking Café Royale (coffee and brandy). At one point during that evening, the President said to White, “You know, Josh, when I first heard your song ‘Uncle Sam Says,’ I thought you were referring to me as Uncle Sam….Am I right?” White responded, “Yes, Mr. President, I wrote that song to you after seeing how my brother was treated in the segregated section of Fort Dix army camp…. However that wasn’t the first song I wrote to you…. In 1933, I wrote and recorded a song called ‘Low Cotton,’ about the plight of Negro cotton pickers down South, and in the lyrics I made an appeal directly to you to help their situation.” The President, interested and impressed at the candor of his response, then asked White to sing those songs to him again. A friendship developed, and five more command performances followed, in addition to two appearances at the Inaugurations of 1941 and 1945; and the White family would spend many Thanksgiving and Christmas holidays with the Roosevelts at their Hyde Park, New York mansion (Springwood). The President sent White to give concerts overseas as a “goodwill ambassador”, and he was often referred to in the press as the “Presidential Minstrel”. More importantly, it was White’s songs of social protest, such as “Uncle Sam Says” and “Defense Factory Blues”, which caused the President to begin exploring how to desegregate the U.S. armed forces. Meanwhile, White’s recordings of “Beloved Comrade” (the President’s favorite song), “Freedom Road”, “Free and Equal Blues”, and “House I Live In (What Is America to Me)”, were great songs of inspiration to the Roosevelts and the country during World War II. After the President’s death, White’s younger brother William White became Eleanor Roosevelt’s personal assistant, house manager and chauffeur for the remainder of her life.

In 1933, White married Carol Carr, a New York gospel singer. They raised Blondell (Bunny), Julianne (Beverly), Josh Jr., Carolyn (Fern), Judy, and a foster daughter, Delores, in their home in the Sugar Hill section of Harlem, New York. White’s younger brother Billy (who he moved up from Greenville) and Carol’s mother lived with them in the White household. His father died in a South Carolina mental institution in 1930, the result of beatings at the hands of Greenville deputies a decade earlier. His mother, Daisy Elizabeth, a stern and religious woman, remained in her hometown of Greenville and lived into her 80s. She came to visit White in New York several times a year, and he traveled to see her in South Carolina, but she didn’t allow his nonreligious recordings in her home. Except for his childhood performances in her Greenville church in the 1920s, she never again saw her son perform, refusing to attend concerts where he sang non-sacred songs. His brother Billy and (future civil rights leader) Bayard Rustin, Sam Gary and Carrington Lewis performed and recorded with White as Josh White and His Carolinians (from 1939 to 1940) and appeared with him in the Broadway musical John Henry. After World War II, Billy became Eleanor Roosevelt’s house manager and chauffeur for the remainder of her life.


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.


The Café 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 month later, White and the Golden Gate Quartet performed at the inauguration of President Roosevelt in Washington. White refashioned his music, performance and image with his re-emergence on the entertainment scene in 1939 and 1940. The industry and audiences alike no longer saw a southern black country boy, but instead a mature, self-educated, articulate, outspoken and sophisticated 26-year-old man, who possessed a strikingly handsome and sexual bearing and personality both on and off the stage. He soon became the first blues performer to attract a large white and middle-class African-American following and was the first African-American artist to perform in previously segregated venues in the US, as he transcended the typical racial and social barriers of the time who associated blues with a rural and working-class African-American audience, while performing in nightclubs and theaters during the 1930s and 1940s.

Paul Robeson, a former All-American football player, was a Columbia University-trained African-American attorney fluent in 12 languages, who lived most of the 1920s and 1930s in London and was active in world human rights and the movement to decolonize Africa. However, he was best known as an international star of recordings and film, the most celebrated stage Othello in history, and the highest-paid concert performer in the world. He also was the most respected and admired artist-activist throughout the world, with friendships that included the leaders of many countries including the Soviet Union, where Robeson was considered a cultural and social giant and iconic figure. To the social progressives in America, he was the most respected and important voice of truth and social justice in the world. In 1939, at the onset of World War II in Europe, Paul Robeson and his family returned to America and maintained a residence in Connecticut. Robeson had been White’s friend and artistic collaborator for many years and was the godfather to White’s daughter Beverly. They did not always agree on everything politically, however White held great respect for Robeson. Years later in a radio interview, White stated that Robeson never once mentioned the Communist Party to him, and in fact advised White not to get too involved with any political party. Robeson supported America’s war effort and was considered a patriotic champion of freedom and liberty after his national radio broadcast concert performance and subsequent record album Ballad for Americans. However, when American Negro soldiers returning from the war were still confronted with government sanctioned segregation, racism and even lynchings, it became evident that Robeson was greatly disappointed with the American government. In the postwar years, his socialist belief structure seemed better aligned to the Soviet Union, which had been America’s ally in the war, but by 1947 had become their bitter enemy. In 1949, America’s media and press reported a speech Robeson had made in [Paris], alleging that he said if a war would ever take place between the USSR and America that American Negroes would not fight in America’s army (the U.S. media and press version of the speech has since been found to be inaccurate and slanted).


After months of rehearsals and out-of-town productions in Philadelphia and Boston, John Henry opened on Broadway on January 10, 1940, with Paul Robeson as John Henry and White as Blind Lemon Jefferson. The musical did not have a long run, but it boosted White’s career. He began working with Woody Guthrie, Lead Belly, Burl Ives, and the Golden Gate Quartet in the CBS radio series Back Where I Come From, written by folk-song collector Alan Lomax and directed by Nicholas Ray. Ray later produced live engagements and recordings for two historic duos of which White was a member. The first of these was the duo of White and Lead Belly, who had a six-month engagement at New York’s Village Vanguard nightclub, teaming the young and virile city blues singer—the “Joe Louis of the Blues Guitar”—with the older, white-haired country blues singer—the “King of the 12 String Guitar” (appellations given to them by Woody Guthrie in his Daily Worker newspaper review of their show). “Josh White & Lead Belly” achieved great publicity, the excitement of sold-out shows, positive reviews, recordings, and film shorts. Forty-five years after the event, Max Gordon, the owner of the Village Vanguard, wrote in his memoir Live at the Village Vanguard, “The greatest conversations ever heard at the Vanguard was the carving out of the guitars between Lead Belly and Josh White.”

The second duo produced by Ray teamed White with Libby Holman, a white “torch singer” of the 1920s, who was branded an immoral woman for allegedly killing her millionaire husband. Their pairing created more publicity and controversy for White, as they were the first mixed-race male and female artists to perform together, record together and tour together in previously segregated venues across the United States. They continued performing off and on for the next six years, while making an album and a film together. White and Holman frequently requested that the War Department send them overseas during World War II to give USO concert performances for the troops. Despite a letter of recommendation from Eleanor Roosevelt, they were repeatedly rejected as “too controversial”, considering that the U.S. Armed Forces were still segregated throughout World War II. Meanwhile, White’s album Harlem Blues: Josh White Trio (with Sidney Bechet and Wilson Myers, on the Blue Note label) produced the hit single “Careless Love”, and his controversial Columbia Records album Joshua White & His Carolinians: Chain Gang, produced by John Hammond, was the first race record ever forced upon the white radio stations and record stores in America’s South and caused such a furor that it reached the desk of President Franklin Roosevelt. On December 20, 1940, White and the Golden Gate Quartet, sponsored by Eleanor Roosevelt, gave a historic concert in Washington, D.C., at the Library of Congress’s Coolidge Auditorium to celebrate the 75th anniversary of the Thirteenth Amendment to the Constitution of the United States, which abolished slavery (the live recording of this concert was released on CD in 2005).

Beginning in 1940, White established a long and close relationship with the family of Franklin and Eleanor Roosevelt, and would become the closest African-American confidant to the President of the United States; and the Roosevelts were the godparents of Josh White, Jr. (born November 30, 1940). In January 1941, White performed at the President’s Inauguration, and two months later, he released another highly controversial record album, Southern Exposure, which included six anti-segregationist songs with liner notes written by the African-American writer Richard Wright, and the subtitle of which was An Album of Jim Crow Blues. Like the Chain Gang album, and with revelatory yet inflammatory songs such as “Uncle Sam Says”, “Jim Crown Train”, “Bad Housing Blues”, “Defense Factory Blues”, “Southern Exposure”, and “Hard Time Blues”, it also was forced upon the southern white radio stations and record stores, caused outrage in the South and also was brought to the attention of President Roosevelt. However, instead of making White persona non grata in segregated America, it resulted in Roosevelt asking White to become the first African-American artist to give a command performance at the White House, in 1941.


In 1945, with the success of his hit single “One Meatball”, in addition to his national radio show, his appearance in the film Crimson Canary, and publicity from Café Society, White became the first African-American popular music artist to make a national concert hall tour of America, with the Jamaican singer and dancer Josephine Premice as his opening act. Subsequent concert tours included Ethel Waters, Willie Bryant, Timmie Rogers, the Katherine Dunham Company, the Hall Johnson Choir, Mary Lou Williams, Lillian Fitzgerald, the Chocolateers, and the Three Poms. The success of this tour created a demand for a return tour of American concert halls the following year. On this second tour, the opening act was the innovative dancer and choreographer Pearl Primus, who had worked with him at the Café Society. Primus had choreographed several performance pieces to the music of White, and on this tour they performed these numbers together. She performed these pieces in concerts for the rest of her career.

As an actor between 1939 and 1950, White appeared in dozens of radio dramas, including the classic Norman Corwin plays, and star or co-star on the New York stage in three musicals and three dramatic plays, in addition to appearing in several films. In February 1945, Paramount Pictures in Hollywood optioned John Lomax’s projected autobiography, Adventures of a Ballad Hunter, with Bing Crosby to star as Lomax and White as Lead Belly. Lead Belly stayed in California until the end of the year, hoping to be involved in the project, but the film never got past the preproduction stage. White appeared in other films, including The Crimson Canary (1945), in which he portrayed himself; the soundtrack of the film Hans Richter film Dreams That Money Can Buy (1947), in which with Libby Holman he sang the song “The Girl With the Pre-Fabricated Heart” (the film won the Special Prize at the Venice Film Festival and was a contribution to the avant-garde film movement); and the John Sturges film The Walking Hills (1949), in which White co-starred with Randolph Scott, John Ireland, Ella Raines, and Arthur Kennedy, in one of Hollywood’s first films in which an African American was portrayed as an equal character in the story.


As an actor, White acted several more times on Broadway in the late 1940s. In 1947 he appeared in German artist and avant-garde filmmaker Hans Richter’s Dreams that Money Can Buy, co-starring Libby Holman along with the participation of Max Ernst, Marcel Duchamp, Alexander Calder, Darius Milhaud and Fernand Léger. It won an award at that year’s Venice Film Festival. He also appeared in John Sturges’ 1949 western The Walking Hills with Randolph Scott, Ella Raines, Edgar Buchanan, and Arthur Kennedy, in which his character, an itinerant musician, was not a stereotype but on an equal footing with the white characters. He was still young and very handsome and it hard not to speculate on what might have been had the blacklist not put an end to his budding movie career.

For a decade, White had been a leading voice of black America and a voice that reminded Americans of social injustices, while also becoming a major pop star and sex symbol from his platform at the Cafe Society. However, when Barney Josephson’s brother and attorney Leon, who was also a lawyer for the communist-created International Labor Defense, was brought before the House Un-American Activities Committee (HUAC) in 1947 and refused to testify, he was sent to prison. The right-wing media publicity centered on the Cafe Society as a hotbed of communists. By December of that year, the original downtown club had to close, and by 1949, the uptown club was forced to shut its doors. Virtually every artist who regularly worked at the club had contributed to left-leaning benefits and was suspected as being a communist sympathizer.


With work rapidly drying up in America, White relocated to London for much of 1950 to 1955, where he hosted his own BBC radio show, My Guitar Is Old as Father Time, resumed his recording career, with new successes, such as “On Top of Old Smokey”, “Lonesome Road”, “I Want You and Need You”, “Wanderings”, “Molly Malone” and “I’m Going to Move to the Outskirts of Town”, and gave concert tours throughout Europe and beyond. However, back in the United States—the country of his birth—the McCarthy anti-communist hysteria had already greatly dismembered White’s career as early as 1947, when he lost his record contract and his national radio show, and was barred from appearing on other radio shows. His Hollywood blacklisting began in 1948, after completing his final film role in The Walking Hills, and he would not be allowed to appear on U.S. television from 1948 until 1963. Meanwhile, the 1940s politically Left-leaning social progressives who had survived the Red Scare, had begun reviving the folk music industry in America. They would keep White shut out from their folk festivals, their folk magazines, their emerging record companies, and their media and press for most of the remaining years of his life.


In 1949, Fisk University honored White with an honorary doctorate; and the local Chicago NBC radio series Destination Freedom, written by Richard Durham, aired a half-hour dramatized biography of White’s life entitled “Help the Blind”. In 1950, Eleanor Roosevelt (then the United Nations ambassador in charge of war relief) and White made a historical speaking and concert tour of the capitals of Europe to lift the spirits of those war-torn countries. The tour built to such proportions that when they arrived in Stockholm, the presentation had to be moved from the Opera House to the city’s soccer stadium where 50,000 came out in the pouring rain to hear Mrs. Roosevelt speak and White perform. All during this tour, audiences across Europe enthusiastically requested White to sing his famed anti-lynching recording of “Strange Fruit”, but on each occasion he would respond, “My mother always told me that when you have problems in your background you don’t give those problems to your neighbor….So, that’s a song I will sing back home until I never have to sing it again, but for you, I would now like to sing its sister song, written by the same man (‘The House I Live In’).”


White had reached the zenith of his career when touring with Eleanor Roosevelt on a celebrated and triumphant Goodwill tour of Europe. He had been hosted by the continent’s prime ministers and royal families, and had just performed before 50,000 cheering fans at Stockholm’s soccer stadium. Amidst this tour, while in Paris in June 1950, White received a call from Mary Chase, his manager in New York, telling him that Red Channels (who had been sending newsletters to the media since 1947 about White and other artists who they warned were subversive) had just released and distributed a thick magazine with subversive details regarding 151 artists from the entertainment and media industries whom they labeled communist sympathizers. White’s name was prominent on this list. There never had been an official blacklist—until now. White immediately went to discuss the situation with Mrs. Roosevelt—to ask her advice and help. With great empathy, she told him that her voice on his behalf would hinder his efforts to clear his name. She explained that if she wasn’t the widow of the president they would also be crucifying her. She continued that the right-wing press had been calling her a “pinko”, citing her social activism and friendships with non-whites. That night, White called his manager and alerted her that he would be flying back to America the next day so that he could clear his name. Upon arriving at New York’s Idlewild Airport, the FBI met him, took him into a customs holding room, interrogated him, and held him for hours while waiting word from Washington as to whether White, who was born in the United States, would be deported to Europe.

White was not a communist and was not active in any political party. However, when he was told that people’s human rights were being threatened and asked to participate in a benefit or a rally, he was always willing to lend his voice to the cause. Whether it was the plight of African Americans in the South or oppressed people in Yugoslavia, it was all the same to him. Since his return from Europe in June 1950, White had been interrogated every week, and was threatened that his career would be finished and that he would lose his family. Controversially, in a fervent desire to defend his reputation, and challenge his accusers and the blacklist (while under intense pressure from his manager and his family), White told the FBI that he would go to Washington, appear before HUAC and set the record straight.

On September 1, 1950, White, appearing with only his wife Carol at his side, sat down before HUAC in Washington, D.C., regarding communist influence in the entertainment industry and African-American community. He did not give the HUAC Committee names of Communist Party members. At length, he told them of his life story as a child, seeing his father beaten and dragged through the streets of Greenville by white authorities, and having to leave home at the age of seven to lead street singers across America in order to feed his family. He defended his right and responsibility as a folksinger to bring social injustices to the attention of the public through his songs, and then passionately read the chilling lyrics of one of his most famous recordings, the anti-lynching song “Strange Fruit” (written by Abel Meeropol) which was then placed into the Congressional Record. He also included his words about Paul Robeson regarding the alleged statement Robeson had made in Paris.


However, in 1955, the brave young owner of a new American record company, Jac Holzman, who wasn’t afraid of the political pressure from the right or the left, offered White the opportunity to record again in his home country. He could only offer him $100, but he promised him artistic control and the best recording equipment available. They recorded the Josh White: 25th Anniversary album, which established Elektra Records and slowly began reviving White’s career by finding a young, new audience who made it possible for him to work again in America. Accordingly, his name and reputation in America has only begun to recover in recent years.


At the same time the UK guitarist and entrepreneur Ivor Mairants worked with White to create The Josh White Guitar Method (Boosey & Hawkes) in 1956. This was the first blues guitar instruction book ever published, and was an influential book for the fledgling UK blues and folk scene. The UK guitarist John Renbourn and the American guitarist Stefan Grossman (who was living in the UK at the time) have cited it as a critical influence on their playing, and in 1961 he starred in The Josh White Show for Granada Television (a franchise holder for the commercial ITV network) in the United Kingdom.


In 1961, White’s health began a sharp decline after he had the first of the three heart attacks and the progressive heart disease that would plague him over his final eight years. As a lifelong smoker he also had progressive emphysema, in addition to ulcers, and severe psoriasis in his hands and calcium deficiency, which caused the skin to peel from his fingers and left his fingernails broken and bleeding after every concert. During the last two years of his life, as his heart weakened dramatically, his wife put him in the hospital for four weeks after he completed each two-week concert tour. Finally, his doctors felt his only survival option was to attempt a new procedure to replace heart valves. The surgery failed.


White’s blacklisting in the American television industry was finally broken in 1963, when President John F. Kennedy invited him to appear on the national CBS television’s civil rights special “Dinner with the President”. Kennedy told him how his records had inspired him when he was a college student in the Roosevelt era. Later that year he was seen again on national television performing for the masses on the steps of the Lincoln Memorial at the historic March on Washington.

Carol White vividly recounted to White’s archival biographer, Douglas Yeager, that in 1963 and 1964 the engineers of a new guitar company in development spent several months with their paperwork and drawings on her dining room table, as White and the engineers designed the first round-bodied guitar. Upon completion, the first Ovation Guitar was called the Josh White Model.


In 1964, White gave a command performance for Lester Pearson, the Prime Minister of Canada, and in January 1965 he performed at the inauguration of President Lyndon Baines Johnson. In his final years, he would make American television appearances on The Merv Griffin Show, Hugh Hefner’s Playboy’s Penthouse and Hootenanny, among others. Meanwhile, he starred in two concert specials for national Swedish television in 1962 and 1967; starred in the 1965 ITV Network special Heart Song: Josh White in the United Kingdom (with guest artists Julie Felix and Alexis Korner); was a guest star on the Canadian CBC-TV program Let’s Sing Out with Oscar Brand in 1967; and made his final television appearance in May 1969 on the CBC-TV variety show One More Time.


The Guild Guitar Company in the US worked with White on a signature model in 1965. This fact was confirmed in a TV program, The History Detectives, by Mark Dronge, whose father, Al, was one of the founders of Guild Guitars. Dronge took White to the Guild factory in 1965. A guitar made to White’s specifications was meant to become a signature guitar for White, but it was never mass produced. Dronge explained that “The scene was starting to change. The Beatles were so influential and all these bands came out and the electric music was getting bigger and the plans for Josh White model just kind of fell by the wayside, unfortunately.”


According to the “Ovation Original Program” White played the Josh White Model Ovation guitar at the Hotel America, in Hartford, Connecticut, on November 14, 1966.

An article in Music Trades magazine in December 1966 stated that


From the mid-1950s until his death in 1969 from heart disease in Manhasset, New York, White primarily performed in concert halls, nightclubs, and folk music venues and festivals around the world outside America.

White died on the operating table on September 5, 1969, at the North Shore Hospital in Manhasset, New York.


On occasion in the early 1940s, when the grandmother watched the children, Carol would join White in singing, performing and recording with the folk collaborative group, the Almanac Singers. In the late 1950s and early 1960s, Carol was a guest on Eleanor Roosevelt’s television talk show, and in 1982 she was a featured speaker at the Smithsonian Institution’s 100th anniversary celebration of the birth of Franklin D. Roosevelt in Washington, while her son, Josh White, Jr., performed a musical program of songs his father had presented at one of his White House command performances. Josh White, Jr., a successful singer-songwriter, guitarist, actor, educator, and social activist for the past 60 years, performed and recorded with his father as a duet from 1944 to 1961 and performed with him in two Broadway plays (Josh White, Jr., won a 1949 Tony Award for the play How Long Till Summer). At various times in the 1950s and 1960s, White’s daughters Beverly, Fern, and Judy also performed, recorded and appeared on radio and television with him. In 1964, when new anti-segregationist legislation made it easier for African Americans to purchase real estate in previously all-white neighborhoods, White and his wife bought a duplex in the Rosedale, Queens section of New York City. His daughter Beverly and her family lived upstairs, and White and his wife couple lived downstairs. White lived in this semi-suburban home for the rest of his life. Carol White continued to live there and worked until she was in her 80s, first as manager of a clothing boutique manager and then as a social worker serving people in nursing homes, until her sudden death in 1998. One week before her fatal heart attack, she received final confirmation that the United States Postal Service would honor White in 1998 with a postage stamp. When shown a mock-up photograph of the stamp by White’s estate manager, Douglas Yeager, she expressed joy, gratitude and a long-awaited satisfaction that after all those painful years of social isolation in the McCarthy era, White would be receiving this recognition. She felt that she could finally go in peace.

🎂 Upcoming Birthday

Currently, Josh White is 107 years, 9 months and 28 days old. Josh White will celebrate 108th birthday on a Friday 11th of February 2022.

Find out about Josh White birthday activities in timeline view here.

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