Book Description
"The best book ever produced about Louis Armstrong by anyone other than the man himself."—Terry Teachout, Commentary
In the early twentieth century, New Orleans was a place of colliding identities and histories, and Louis Armstrong was a gifted young man of psychological nimbleness. A dark-skinned, impoverished child, he grew up under low expectations, Jim Crow legislation, and vigilante terrorism. Yet he also grew up at the center of African American vernacular traditions from the Deep South, learning the ecstatic music of the Sanctified Church, blues played by street musicians, and the plantation tradition of ragging a tune.
Louis Armstrong's New Orleans interweaves a searching account of early twentieth-century New Orleans with a narrative of the first twenty-one years of Armstrong's life. Drawing on a stunning body of first-person accounts, this book tells the rags-to-riches tale of Armstrong's early life and the social and musical forces that shaped him. The city and the musician are both extraordinary, their relationship unique, and their impact on American culture incalculable. 16 pages of illustrations.
Customer Reviews:
A very, very great book.......2007-06-08
Thomas Brothers has pulled off the near-impossible for a youngish man living in the 21st century. He has managed to dissect and explain most of the complex social and musical interactions in New Orleans as they existed in the years when Louis Armstrong was growing up, coming of age, and learning his way around the horn and the music business. He adroitly explains how the social and cultural climate of New Orleans was exactly right for not only the formation of the music we call jazz, but also how it trickled down from the uptown African-Americans to the downtown Creoles.
I only give the book four stars, however, for one reason. Mr. Brothers does not include or describe the jazz music created by Jack "Papa" Laine, Tom Brown and THEIR bands in the further downtown white districts. Laine was leading jazz bands from the mid-1890s on, and his graduates included virtually all the better-known white jazz musicians such as Nick La Rocca, Larry Shields, Eddie Edwards and Alcide "Yellow" Nunez. While it is true that the "Original" Dixieland Jazz Band claimed credit for music that was not their own, the same was true of "blues composer" W.C. Handy, whose wholesale theft of folk material was exposed by Jelly Roll Morton in 1938; of Clarence Williams, who routinely stole songs from everyone (Brothers even blithely credits him with stealing "I Wish That I Could Shimmy Like My Sister Kate" from Armstrong); and of Benjamin and Reb Spikes, who stole songs from EVERYBODY, black, Creole or white. As a matter of fact, the ODJB's original clarinetist, Alcide "Yellow" Nunez, even stole "Livery Stable Blues" from his former bandmates, copyrighting it under his name and that of white bandleader Vincent Lopez! So much for honor among thieves.
Despite this oversight, the book is excellent in every respect. Armstrong's development, musically, intellectually and socially, is explained in painstaking detail. (One of my few complaints is that Mr. Brothers overuses the word "hegemony" as much as Gene Santoro overuses th word "zeitgeist.") Very well written, thoroughly researched, and a full explanation of exactly "how" jazz developed, especially in New Orleans, and how this development affected the greatest early jazz soloist of them all. Highly recommended.
Satchmo and the context of New Orleans.......2006-10-14
It is amazing, beautiful, and triumphant that African Americans, who at the beginning of the 20th-century were mostly despised by the dominant White culture and subject to wanton and homicidal violence in the South, should at the same time have created jazz -- the only original American music and which, in its origins, is essentially happy and upbeat.
In Mr. Brothers's superb new book, he examines the reasons for this aspect of jazz, as well as many other aspects. As he says in his introduction to "Louis Armstrong's New Orleans", it is not so much a biography of Satchmo as it is an attempt to place him and jazz in the historical, social, political, and musical contexts into which the man and the music were born.
Satchmo was the perfect person in the perfect place at the perfect time. The aftermath of the defeat of Reconstruction and the institution of Jim Crow laws was the impetus for 40,000 ex-slaves to flee the plantations and move to New Orleans. Among their possessions they brought their music. This music and its players fused African rhythms and tonalities with Western instruments. The old plantation bands, which were composed mostly of string instruments, began the tradition of "ragging" the tune; that is, taking the melody, breaking it apart, and riffing on it.
When this music arrived in New Orleans, it was translated into wind instruments such as the clarinet and trombone, but especially the cornet. Blues structure also developed at the same time. At the beginning of the 20th century, brass bands were flourishing in New Orleans. Buddy Bolden, a cornetist who played the blues, became the first jazz soloist. The music took off. Into this fecund world, Louis Armstrong was born (1901).
The son of a teenage mother and absent father, Louis roamed the streets of New Orleans selling newspapers, carrying the instruments of band players, and getting himself into trouble occasionally. Trouble sent him to school where he got his own instrument and emerged as a cornetist who, at the age of 14, was good enough to be a substitute in bands. By 17 he was renowned in his hometown and by his mid-twenties he had moved to Chicago as part of the Great Migration of Blacks to the north. He had come to Chicago by invitation of his cornet mentor, Joe "King" Oliver. Soon, Satch would be cutting the records -- with his Hot Five and Hot Seven bands -- that first made his reputation and then made him a planetary legend.
All of this Mr. Brothers tells in a literate, compulsively readable style. But he brings more to the table. What is crucial in his book is the understanding of the many strands of context so important to a full picture of any artist's achievement. One example: Mr. Brothers highlights how important the cornet was to the origins of jazz in New Orleans because it was a brass instrument that could be played LOUD and with dexterity. In fact, everybody who remembered Buddy Bolden remarked on the fact that he played loudly (Bolden went insane around 1907 before he could be recorded). This was important because the music mostly took place outdoors in the streets and could be heard a mile or two away. Thus audiences flocked to the bands. Of equal importance in this analysis is that jazz developed before there were automobiles; consequently, cities were quiet enough so that a band could be heard from two miles away.
Another thread of analysis Mr. Brothers foregrounds: The established Creole musicians of New Orleans. They lived downtown on the west side of Canal Street. They were of French heritage and classically trained because of it. They looked down on the "raggy" people, i.e., Blacks, who lived uptown on the other side of Canal. Eventually the Jim Crow laws caught up with the Creoles, and so there grew some empathy between the groups as outsiders trapped by White racism. This social and political dynamic eventually brought the musicians together and benefited both ethnic groups. Many Black musicians learned to read music from the Creole example, and many Creole musicians learned how to "rag time," i.e., play jazz. Sidney Bechet (note the French last name), the greatest of early jazz clarinetists, is the most famous example of a Creole jazz musician. Jelly Roll Morton may have been partly Creole as well.
There is some examination of jazz in Mr. Brothers's book that requires an understanding of very basic music theory. It is helpful to know the fairly rigid and repetitive musical structure of 12-bar blues. It is also of use to know that 4/4 "flat" time means that every beat in a 4-bar measure is of equal weight -- unlike European music in which the first and third beats are accented. Knowing what a melody is and that the heart and soul of jazz is to take the melody apart ("rag" it) is also necessary. I confess to being a musician, but still, these are minor matters, not major ones in appreciating this terrific book. Finally: One highly recommended companion to "Louis Armstrong's New Orleans", is Lee Friedlander's book of photographs, "The Jazz People of New Orleans."
A Good Dose of Music Theory .......2006-08-18
I'd really rate this book at a 3+ stars. It was a great deal more music theory than I had expected. There were just enough really interesting history tidbits buried in the explanation of arpeggio's, syncopation to keep me reading. New Orleans at the turn of the century must have been much like a musical, folks burst into song at every opportunity!
Average customer rating:
- Must read for New Orleans and/or Literature Fans
- listen to the tune, not the words
- Like pulling up an armchair and jawin' with Louis
- Interesting, but incomplete...
- To Louis Armstrong And All Who contributed,THANKS!
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Satchmo: My Life in New Orleans (Da Capo Paperback)
Louis Armstrong
Manufacturer: Da Capo Press
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Louis Armstrong, In His Own Words: Selected Writings
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Satchmo: The Genius of Louis Armstrong
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Louis Armstrong's New Orleans
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Treat It Gentle: An Autobiography
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Swing That Music
ASIN: 0306802767 |
Book Description
"In all my whole career the Brick House was one of the toughest joints I ever played in. It was the honky-tonk where levee workers would congregate every Saturday night and trade with the gals who'd stroll up and down the floor and the bar. Those guys would drink and fight one another like circle saws. Bottles would come flying over the bandstand like crazy, and there was lost of just plain common shooting and cutting. But somehow all that jive didn't faze me at all, I was so happy to have some place to blow my horn." So says Louis Armstrong about just one of the places he grew up in, a tough kid who also happened to be a musical genius. This story of his early life, concluding with his departure to Chicago to play with his boyhood idol King Oliver, is a fascinating document. Contrary to popular belief, it turns out that life in New Orleans was an amazingly eventful and a basically happy experience for Louis Armstrong-and he ought to know-for in no other city in the world at the time could a boy discover and learn about the music that he loved, for this was New Orleans, and he was Louis Armstrong.
Customer Reviews:
Must read for New Orleans and/or Literature Fans.......2007-07-03
Bought and read it twice in a couple weeks. Terrific imagery into old New Orleans. Get it- you'll love it.
listen to the tune, not the words.......2005-12-30
This book is a quick and enjoyable read, but the reader needs to be ready for a very simple and unpretentious telling of Satchmo's early years. Some of his writing is charming in its simplicity, but some of it is pretty clunky.
For example, here is part of the dialog he documents between him and his mother, after he abruptly got married without her knowledge. Armstrong, defending his decision, says to his mother, "You must realize that I didn't go any further than fifth grade in school myself. But with my good sense and mother-wit (sic), and knowing how to treat and respect the feelings of other people, that's all I've needed in life. You taught me that, mother." A fine philosophy of life, put in humble and concise manner. But then he goes on to write, "Then she said, 'You must bring your wife to me; I want to meet her.' With a palpating heart I gave a big sigh of relief and said: 'Oh, thanks, mom.'" (page 160)
Adding some additional information, such as notations explaining some of the other characters and some of the background to the colorful scenes he describes, would make this a great book. As it is, it is a fun and quick read that fans of jazz shouldn't miss.
Like pulling up an armchair and jawin' with Louis.......2003-11-05
What shines through this recollection of Louis Armstrong's youth in New Orleans is the essential positive outlook this man seems to have been born with despite the hardship of his early years. This "life-force' for lack of a better term is what drove his musicianship to such heights that he is the most revered American musician of the 20th century. While this is no scholalry biography it is written with the feel of an oral history and reading it is much like having Satch relate these tales over a few drinks. Not only does it shed much light on the real person that Louis Armstrong was but it also reflects an era in old New Orleans that is absolutely fascinating to read about in the words of someone who lived there. This is a hugely enjoyable book on numerous levels and for fans of Armstrong it is indispensible.
Interesting, but incomplete..........2001-10-21
I have always believed that Louis Armstrong was one of the more animated and vibrant characters in 20th century culture. "Satchmo," Louis's semi-auto-biography, does nothing but reaffirm this belief. He goes into great detail about his childhood memories, recapping on the rough, New Orleans street life and the beginnings of his musicianship. Little else is covered however, which I thought to be rather dissapointing; after all, it was written later in his life. If a childhood expose is all you're after, pick up this book. The writting is fine for someone who only got through the 5th grade.
To Louis Armstrong And All Who contributed,THANKS!.......2001-08-02
You left you music to carry on so majestic, so elogant. Your music makes the song bird sing, while traveling in rainey and sunny New Orleans skies. Your music makes southern bees dance and fly. When I here your music, I just let my mind give over to your music. When I want to relax, your music, I choose it. It's jazzy, calm and cool. Your music makes me feel like I'm retiring on a raft in a pool. Your music is a real jewel.
Customer Reviews:
A wonderful story about Satchmo growing up in "Storyville".......2000-07-20
I read this book in 1959 when I was in High School. I have been wanting to read it again, because I found it so interesting. What wonderful exciting times those were in New Orleans. It was very funny, what a wild man! I had a difficult time relating the young man in the book, to the later very famous "Ambassador". A book I'd like in my "library".
All With A Smile.......2000-04-07
Love Loius Armstrong? How could you not? This is his childhood in New Orleans in Satchmo's own words. The reading is as colorful as his music, full of vitality and fun. Satchmo's take on life is clearly illustrated in this book. He greets life with a smile and takes troubles all with a smile. This book is an absolute joy to read. I can hear the music and feel the energy of those days in New Orleans by looking at the old photo on the cover. Young Louis Armstrong grew up dirt poor. But young Satchmo even as a young boy faced the world with a smile. His neighborhood nickname was, "Dipper" and at different times lived with his mother and her lovers (whom Louis called his, 'step-dads'), the Colored Waifs Home for Boys where he became the bugler and then leader of the band, and eventually, with his father. The passage where Louis describes how he became to play the cornet at the Colored Waifs Home for Boys is touching. I read as if I were sitting in a movie theater. Life in New Orleans was colorful and dangerous. Louis lived among the 'sportin' life -- pimps, prostitutes, honky-tonks, gambling, violence, and of course, music. Louis Satchmo Armstrong found his inspiration in this extraoridnary environment to become not only the most seminal figure in jazz in the twentieth century, but a most beloved man. Read this book slowly, you will want it to last.
Average customer rating:
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With Louis and the Duke: The Autobiography of a Jazz Clarinetist
Barney Bigard
Manufacturer: Oxford University Press, USA
ProductGroup: Book
Binding: Hardcover
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ASIN: 0195204948 |
Book Description
"There was something different about him. Ellington made you feel so much at ease. Just like he was going to turn the music business upside down and you would be part of it." Clarinetist Barney Bigard was a part of it, and With Louis and the Duke is his own story of life at the top of the
jazz world.
A member of the band from its early days, Barney Bigard played with Duke Ellington for fourteen years, stopping only when the pace of international touring began to tire him. A few years later, in Los Angeles, he began a long association with Louis Armstrong's newly-formed small band, the All
Stars. Without resorting to technical language, Bigard is able to analyze the different musical approaches Armstrong and Ellington took, and to make the reader feel the vitality of the jazz form as it was practiced by its two greatest geniuses.
In direct and rhythmic language that recalls his own playing, Bigard introduces the reader to hundreds of jazz musicians, from "Kid" Ory and Jelly Roll Morton to Jack Teagarden and Charlie Mingus. With Louis and the Duke give the intimate feel of witty and loving remembrances, as well as classic
"backstage" stories. It includes Bigard's personal collection of photographs, many of them never before published.
About the Author:
Barney Bigard was a major jazz clarinetist. He died in 1980 after writing and dictating this book, which was edited by Barry Martyn. Barry Martyn has been a bandleader and drummer for almost thirty years and has written extensively on New Orleans jazz and jazz musicians.
Product Description
A lively autobiography of the jazz pioneer's life from birth in 1900 until 1922, when he left New Orleans for Chicago.
Average customer rating:
|
Cultural Studies: Volume 9 Issue 3
Lawre Grossberg
Manufacturer: Routledge
ProductGroup: Book
Binding: Paperback
Pop Culture
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ASIN: 0415123801 |
Book Description
Cultural Studiesis an international journal committed to exploring the relationships between cultural practices and everyday life, economic relations, the material world, the State, and historical forces and contexts.
Book Description
Beatrix Bastl: Clothing the Living and the Dead: Memory, Social Identity and Aristocratic Habit in the Early Modern Habsburg Empire
Penny Edwards: Restyling Colonial Cambodia (1860-1954): French Dressing, Indigenous Custom and National Costume
Ragnar Johnson: The Anthropological Study of Body Decoration as Art: Collective Representations and the Somatization of Affect
Efrat Tseelon: Fashion Research and Its Discontents
Eugenia Paulicelli: Book Review: Reconstructing Italian Fashion: America and the Development of the Italian Fashion Industry by Nicola White
Andrew Hill: Book Review: Cool Rules: Anatomy of an Attitude by Dick Pountain and David Robins
Nell Irvin Painter: Book Review: Stylin’: African American Expressive Culture from Its Beginnings by Shane White and Graham White
Cathy Taylor: Exhibition Review: Fashion Lives. The Goldstein: A Museum of Design, University of Minnesota
Call for Papers: Uniforms for Civilans: On the History of Uniforms as Symbolic Communication
Book Description
Father Peter Clifford's arrival in the rural Irish town of Ballykissangel was something of a shock to both himself and the residents. The quirky hamlet is hardly the sleepy backwater he'd envisioned, and the cast of colorful characters who parade in and out of the church provide pithy repartee.
Customer Reviews:
If you like the show, you will like the book........2001-10-02
If you have seen every episode of year one, you will find nothing new. However, if you haven't taped all the shows and watched them three times over you will enjoy going back a wee bit in time to rural Ireland--the Ireland without bombs and the IRA. A delightful place to spend your spare time.
A good read full of wit and humor!.......1999-06-11
My Ballykissangel books arrived on spring break from college and I was thrilled to have the time to "devour" them. The characters are so genuine and lovable- I can't wait for the next book to continue the heartwarming journey of a rural village that has become like family to me. Thank you to the writers for a delightful tale.
Average customer rating:
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Ballykissangel: A Sense of Place
Hugh Miller
Manufacturer: Ulverscroft Large Print
ProductGroup: Book
Binding: Audio Cassette
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ASIN: 1842832581 |
Average customer rating:
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Ballykissangel: A Sense of Place (Soundings CD Library)
Hugh Miller
Manufacturer: Ulverscroft Large Print
ProductGroup: Book
Binding: Audio CD
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ASIN: 184283519X |
Book Description
The User Manual Manual is a master's course on software manuals. It describes the grammar, style, techniques and tricks needed to write a manual the gets read. It explains how to understand and target readers, technicaly inclined or not--even if they're kids. Plus, it covers special topics including: dealing with rush projects, preparing for internationalization, and handling projects with multiple writers, multiple platforms and multiple bosses. The User Manual Manual is a guided tour through the entire process of creating a user manual from initial concept through writing, testing, editing and production to postmortem. It contains sample documents, worksheets and checklists to help writers work smarter and faster.
Customer Reviews:
Only for beginners.......2004-12-16
I bought this book along with several other books about "technical writing".
My general impression was very poor.
It does not really give much information about how to write a good user manual (how information should be structured, how to make sure that your readers are given clear instructions about using a given product, etc.)
On the other hand, it focuses more on social or organizational issues like "what should I do I nobody wants to edit the user manual I have written", "what should I do if the development team does not provide the technical specs of the product", etc.
For people interested in a very good book about how to write user manuals (or technical documentation in general), I strongly recommend "Developing Quality Technical Information : A Handbook for Writers and Editors (2nd Edition) (IBM Press Series--Information Management) ISBN: 0131477498.
A Must for Project Managers.......2004-01-06
Whether you are in the technical field or not, this book is a MUST for all Project Managers. This book was not only helpful as a Project Manager, but helped me in general. This book is great for beginners (which is what I am), but I think even an expert can pick up a tip or two from this book. Excellent!!
Great for the novice, fair for the experienced.......2003-01-29
I had this book on my wish list for at least a year and received it at Christmas. I have been writing user's manuals for a few years now and I was expecting to get fresh ideas from this book. I read it all the way through to only say to myself, "well that was interesting but how much did I get out of it?" I realized that I already knew most of what is in the book. So, am I disappointed? No. Bremer has done a great job of explaining the process of writing good user manuals. It is well organized and gives good examples. It reminded me of what is important in a good manual. The one exception that I have though is, Bremer often writes about the technical writer who writes the text and then turns the project over to a designer to format the manual. These days, it is the writer who often does the writing and formatting. I do not know too many writers who does otherwise. This book is a must for anyone who has not written a software manual. For the people who have written successful manuals, they will not get a lot out of it.
Great for the novice, fair for the experienced.......2003-01-29
I had this book on my wish list for at least a year and received it at Christmas. I have been writing user's manuals for a few years now and I was expecting to get fresh ideas from this book. I read it all the way through to only say to myself, "well that was interesting but how much did I get out of it?" I realized that I already knew most of what is in the book. So, am I disappointed? No. Bremer has done a great job of explaining the process of writing good user manuals. It is well organized and gives good examples. It reminded me of what is important in a good manual. The one exception that I have though is, Bremer often writes about the technical writer who writes the text and then turns the project over to a designer to format the manual. These days, it is the writer who often does the writing and formatting. I do not know too many writers who does otherwise. This book is a must for anyone who has not written a software manual. For the people who have written successful manuals, they will not get a lot out of it.
If you're going to write users' manuals, read this first........2001-03-28
I got this book last year just before I was called for an interview for the position I hold as Senior Technical Writer for a small software firm. I read it twice through, and paid close attention to the examples. With the help of what I learned I got the job, and have been successfully writing all our documentation since. With the help of this book I was able to capitalize on my writing skills and education, and make the transition smoothly into technical writing. It gave me a step-by-step guide with examples to planning and creating the type of publications I would be expected to produce, and outlined all the processes thoroughly. I have reccommended this book to several of my colleagues.
Book Description
This digital document is an article from Technical Communication, published by Society for Technical Communication on February 1, 2001. The length of the article is 758 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.
Citation Details
Title: The User Manual Manual: How to Research, Write, Test, Edit and Produce a Software Manual.
Author: Rhonda S. Lunemann
Publication:
Technical Communication (Refereed)
Date: February 1, 2001
Publisher: Society for Technical Communication
Volume: 48
Issue: 1
Page: 85
Distributed by Thomson Gale
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