Louis Armstrong and His Role on The 20th Century Music

In the early month of August 1901, Luis Armstrong was born in Louisiana, home of the Saints. His mother raised him in a neighborhood that suffered the effects of poverty and discrimination of race. This neighborhood was labeled 'The Battlefield.' Louis held a grim early life. The father of Mr. Armstrong worked in a factory during his first years. Mr. Armstrong's father left the family stranded without support soon after Mr. Armstrong's delivery. Although Mr. Armstrong's mom desperately needed funds, she would turn to prostitution. While his mother was out, she would frequently leave him, along with his grandmother. Unfortunately for Mr. Armstrong, who felt obligated to quit his academics during the fifth grade and begin working to gain income. Mr. Armstrong's first jobs were collecting junk and distributing coal. One night during a New Year’s celebration party in 1912, he shot off his stepfather's shotgun, Mr. Armstrong immediately sent to a Colored Waif’s Home for Boys. While in jail, he obtained lessons on a musical cornet, this is when he fell in love with music. At age 14, Mr. Armstrong was release home, Mr. Armstrong began working on his music dream, Mr. Armstrong began producing a reputable status as an excellent melancholy performer. Throughout his career, he began to attract different types of audiences through his music. Mr. Armstrong was also no stranger to racial prejudice. 1957 marked a year of a public statement made by Mr. Armstrong that grabbed attention from all over.

During the 1920s, from the Southern edge to the far North, there was a massive migration of blacks, which began a colored cultural revitalization. This renaissance obtained its title after a neighborhood in New York called Harlem. Mr. Armstrong began building popularity through his musical talent at this time. He eventually fled Louisiana and arrived in Chicago to play with “King” Oliver’s Creole Jazz band. “King” became Mr. Armstrong’s first tutor and one of many great cornet players around. As both Mr. Armstrong and Mr. Oliver began to make Jazz music popular, both whites and blacks began to listen to their music, and they thoroughly enjoyed it. His “scat” style singing inspired musicians to listen and take notes regarding his soundtracks to gain knowledge on what a horn could do. From Chicago, he moved to the big apple. While in New York, he made an influence on the Fletcher Henderson Orchestra. In 1926, he returned to where he became a headliner on records, radio, and in jazz clubs. Mr. Armstrong opened a path for Americans of color who were working to obtain defeat of discrimination during the 1920s. Mr. Armstrong did not make a big deal about his culture. He wanted people to know that his music was of an abundance more importance than his color. His music helped people feel fearless and freedom.

“During World War II, many African Americans were ready to fight for what President Franklin D. Roosevelt called the “Four Freedoms”-Freedom of speech, freedom of worship, freedom from want, and freedom from fear”. Through the beginning of this time, Louis Armstrong aided as an 'Ambassador Satch,' meaning he spread kindness for the United States throughout the globe, including State-sponsored tours and broadcasts during the 1960s. Mr. Armstrong became appreciated in the self-regulating realms of Africa, appointed by a 1956 concert celebrating Ghana’s independence, which brought more than 100,000 Louis Armstrong fans who participated. By the 1950s, Mr. Armstrong became known as a universal celebrity. Which he also became idol towards performers and enthusiasts of jazz music. By 1959, The civil rights movement stood in full blow. Mr. Armstrong's magnificent grin and upbeat manner represented something less threatening to the status quo.

In May 1954, the U.S supreme court dominated in Brown vs. Topeka Board of Education that segregated are ‘inherently unequal.’ In September 1957, consequently, multiple African-American students registered at Central High School in Little Rock, Arkansas. There was a continuous struggle between the State of Arkansas, the federal government, President Dwight D. Eisenhower and Arkansas Governor Orval Faubus, had become known in today's history as 'The Little Rock Crisis.' When Louis Armstrong heard about the incident, he immediately canceled his tour to Russia. His flareup relating to the Little Rock incident obtained assorted evaluations from all races. His combined analysis from fans varied due to his years of silence. He was finally openly vocal about Civil rights. After he spoke about civil rights, Mr. Armstrong showed proof that white and black audiences could unite under the same cause: music. His character taught a realization in both artists and audiences alike that music was the connection between all people regardless of background.

Louis Armstrong spent countless years influencing musicians an audience all around the world. Over the years, he was a bandleader, soloist, film star, and trumpeter. He held a charismatic stag presence both in the jazz universe and in prevalent music. Armstrong remained ever-smiling through the civil rights movement and remained soft-spoken. The civil rights did not affect Mr. Armstrong’s interaction with his audience or society. Ultimately Mr. Armstrong’s music signified a statement of race competence and uniqueness in a racist society, which carried African American foundations to the focus of American music. Mr. Armstrong is one individual who is a greatly appreciated figure within the 20th-century music. His music is still appreciated and acknowledged currently and will continue to be acknowledged for eras to come.

References

• “Armstrong, William, Baron Armstrong of Sanderstead (1915–1980).” Oxford Dictionary of National Biography, 2018, doi:10.1093/odnb/9780192683120.013.30767.
• 'Breaking Racial Barriers: African Americans in the Harmon Foundation Collection,' https://npg.si.edu/exh/harmon/.
• History.com Editors. “Black History Milestones.” History.com, A&E Television Networks, 14 Oct. 2009, https://www.history.com/topics/black-history/black-history-milestones.
• “Little Rock Incident.” Louis Armstrong, http://49846282.weebly.com/little-rock-incident.html.
• “Louis Armstrong.” Biography.com, A&E Networks Television, 9 Sept. 2019, https://www.biography.com/musician/louis-armstrong.
• “Louis Armstrong and Civil Rights - Dallas Henderson.” Google Sites, https://sites.google.com/site/dallasahenderson/home/louis-armstrong-and-civil-rights.
• “Louis Armstrong: The First Great Jazz Soloist.” Smithsonian music, 22 Oct. 2018, https://music.si.edu/story/louis-armstrong.
• Schwartz, Ben. “What Louis Armstrong Really Thinks.” The New Yorker, The New Yorker, 18 June 2017, https://www.newyorker.com/books/page-turner/what-louis-armstrong-really-thinks.