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Satchmo : my life in New Orleans door Louis…
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Satchmo : my life in New Orleans (origineel 1954; editie 1954)

door Louis Armstrong, Thomas C. Dent (Former Owner.)

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”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 lots 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, a tough kid who just happened to be a musical genius, about one of the places where he performed and grew up. This raucous, rich tale of his early days in New Orleans concludes with his departure to Chicago at twenty-one to play with his boyhood idol King Oliver, and tells the story of a life that began, mythically, on July 4, 1900, in the city that sowed the seeds of jazz.… (meer)
Lid:ThomasCDent
Titel:Satchmo : my life in New Orleans
Auteurs:Louis Armstrong
Andere auteurs:Thomas C. Dent (Former Owner.)
Info:New York, N.Y. : Da Capo Press, 1986, c1954.
Verzamelingen:Jouw bibliotheek
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Trefwoorden:Geen

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Mijn jeugd in New Orleans door Louis Armstrong (1954)

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This was fascinating, both as an autobiography and as uniquely filtered socio-economic essay of New Orleans circa 1900-1921, encompassing the 21 years that Louis Armstrong spent growing up in the city.

The first thing you notice is that this doesn't appear to have been edited in any way - not for grammar, not for consistency, and certainly not for "political correctness." Louis tells his story in his own words, stream of conscious-style, through the lens of the morals and ethics he learned growing up in the seediest neighborhoods of New Orleans. His casual acceptance of such things as institutionalized racism (cops who would knock blacks in the head with their "licorice sticks" if they were foolish enough to talk back), domestic violence (which went both ways - in Louis's world, the women were as dangerous as the men), prostitution (his mother and his first wife were working girls; he himself "ran" a girl for a while), and abject poverty (scavenging through trash for food and things to sell) are as important a part of the story as events he is retelling.

The story also provides some fascinating insights into New Orleans culture at the time, from the institutionalized vice of Storyville (deliberately maintained by the city as a profit center) to the seedy honky-tonks that serviced levee workers, pimps, and whores; from the railroad tracks where his mom harvested herbs to combat TB and lockjaw (tetanus being a constant presence in a neighborhood where no one could afford shoes), to the turpentine factories that ripped away the linings of workers' lungs; from the "Colored Waifs Home" where Louis was incarcerated (no trial, no conviction - just an indefinite sentence until such time as his family could manage to round up a white person to vouch for him), to the endless stream of funerals, picnics, balls, and street parades that gave birth to a generation of brilliant jazz musicians.

Seriously, if you're interested in learning more about the life of Louis Armstrong, this should be included in your "must read" pile. While this self-serving autobiography almost surely sugar-coats or omits all manner of traumas, you won't want to miss out on this opportunity to hear Louis tell his story in his own words, though his own chosen filters. ( )
  Dorritt | Feb 16, 2024 |

Reconhecimento, admiração e fama sempre efervescente acompanharam Louis Armstrong desde os vinte anos. Seu status de superstar era totalmente merecido, embora dificilmente suportável no dia-a-dia. O Orfeu moderno não precisava ser dilacerado pelas harpias.

Estas que eram batizadas com novos nomes na era moderna: fãs amontoadas na entrada e saída de cada clube; jornalistas, fotógrafos, caçadores de autógrafos, curiosos profissionais ou amadores, anfitriões de “amigos e parentes” que exigiam ajuda financeira e favores, chantagistas, psicopatas e até conspiradores.

Assim, o charmoso e afável Satchmo não teve escolha a não ser erguer um muro de secretárias e recorrer ao poderoso bíceps de um guarda-costas para se defender da própria popularidade e conseguir trabalhar em paz… aos olhos da maioria, isso tornava o indivíduo mais azedo; o mundo descobre e usa isso contra ele. Seus velhos amigos, aqueles que ainda se lembram do ídolo de outrora, acham totalmente imperdoável.

Eles balançam a cabeça tristemente e dizem: “o cara está cheio de si, subiu à cabeça dele”, em suma, a mesma velha história. Não posso deixar de pensar que Armstrong escreveu (ou melhor, ditou) suas memórias com os olhos voltados para todas essas pessoas e com a firme intenção de abrandá-las e bajulá-las. “Ei pessoal, escutem”, parece dizer desde a primeira página, “todos os que vivem em Nova Orleans, negros ou brancos, vivos ou mortos, eu nunca perdi a cabeça, nunca me esqueci de vocês: leiam e divirtam-se com estas boas palavras que guardei para cada um, embora no fundo saibam que não são verdadeiras. E para a maioria de vocês, meus amigos músicos para quem as coisas nem sempre correram bem, não só lembrarei seus nomes e apelidos, mas também prestarei uma solene homenagem aos seus dons musicais, às vezes até superiores aos meus, e digo que se eu sei alguma coisa, certamente aprendi com vocês. Tive apenas mais sorte, embora às vezes isso também seja um incômodo para mim; por isso peço humildemente o vosso perdão...”

Este é o tom de suas memórias.

Nobre e comovente.
Sincero? Não sejamos mesquinhos. Procurar sinceridade em um livro de memórias é sem sentido. Seria melhor perguntar qual visão de si e do mundo o autor escolheu representar — já que sempre há espaço para escolha.

Por exemplo, você poderia pegar sua caneta e não ter uma única palavra boa para falar sobre ninguém. É mais comum do que pensamos; mas dificilmente transforma-se em livros.
— Projeto Tradução Wislawa
  RolandoSMedeiros | Aug 1, 2023 |
Biografia colorita e "picaresca", che si ferma alla prima parte di vita di Armstrong e di fatto non ne tocca la musica. Offre al più qualche aneddoto sui alcuni musicisti dell'epoca. ( )
  d.v. | May 16, 2023 |
Louis Armstrong's story of growing up in New Orleans during the early 1900s. The man is interesting and the time and place likewise so. I was much surprised when I realized what a wild place the current Central Business District was with gangsters, gamblers, and prostitutes making up most of the population - Armstrong himself was actually a pimp for all of 15 minutes (until his "chick" stabbed him and he ran home to his mom so that she could get rid of the girl for him). Also interesting, from a contemporary standpoint is, of course, how casually the racism of the time was accepted (sort of an "oh, well" is all it gets from Armstrong) - luckily times have changed, but not enough, obviously. ( )
  -Eva- | Feb 25, 2019 |
Although school systems did nothing for the man, and he grew up in appalling poverty, Armstrong became a great trumpeter and "entertainer". He became rich without hurting anyone. (His competitor, the great Duke Ellington, makes this extraordinary observation.)

As an adult, Armstrong carried a dictionary around and typed almost every day on a typewriter. This is his autobiography. ( )
  keylawk | Jun 20, 2010 |
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» Andere auteurs toevoegen (11 mogelijk)

AuteursnaamRolType auteurWerk?Status
Louis Armstrongprimaire auteuralle editiesberekend
Morgenstern, DanIntroductieprimaire auteuralle editiesbevestigd

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Wikipedia in het Engels (3)

”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 lots 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, a tough kid who just happened to be a musical genius, about one of the places where he performed and grew up. This raucous, rich tale of his early days in New Orleans concludes with his departure to Chicago at twenty-one to play with his boyhood idol King Oliver, and tells the story of a life that began, mythically, on July 4, 1900, in the city that sowed the seeds of jazz.

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Nagelaten Bibliotheek: Louis Armstrong

Louis Armstrong heeft een Nagelaten Bibliotheek. Nagelaten Bibliotheken zijn de persoonlijke bibliotheken van beroemde lezers, ingevoerd door LibraryThing leden uit de Nagelaten Bibliotheken groep.

Bekijk Louis Armstrongs biografische profiel.

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