What a beautiful and bizarre film! I am grateful to TCM for airing this. Of course its take on jazz as having come primarily from Italian, German, Scottish, Irish, and Russian sources (!) is part of the oddity, but then this was the end of the 1920s: not an era known for its critical eye on American culture. I was surprised, though, at the wealth of cheesy tunes, but then I realized that Whiteman made a lot of money on cheesy tunes like Ramona and other Boles vehicles. There were no hints of his earlier successes like Cherie or Moonlight -- perhaps because they were recorded when he had a contract with Victor, and at the end of the decade, he signed on with Columbia, who helped finance the film. Within a few years, he was persona non grata with Columbia, and young people thought of Whiteman as "old people's music" as early as 1932. He tried to come back with "Paul Whiteman's Swing Wing" with a much smaller, cheaper band, but this was an admission of defeat. Truly, this movie is the absolute pinnacle of his career. And the pinnacle of Paul Whiteman's career is the summit of American music in the 1920s.