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Celebrating Jazz Architect, Genius and Legend Louis Armstrong to Close Out #JazzAppreciationMonth (LISTEN)

Celebrating Jazz Architect, Genius and Legend Louis Armstrong to Close Out #JazzAppreciationMonth (LISTEN)

By goodblacknews on April 30, 2022

by Lori Lakin Hutcherson (@lakinhutcherson)

We end our celebration of #JazzAppreciationMonth today with a short tribute to a seminal architect of the sound, the legendary New Orleans son, Louis Armstrong.

To read about Armstrong, read on. To hear about him, press PLAY:

[You can subscribe to the Good Black News Daily Drop Podcast via Apple Podcasts, Spotify, Google Podcasts, rss.com or create your own RSS Feed. Or listen every day here on the main page. Full transcript below]:

Hey, this is Lori Lakin Hutcherson, founder and editor in chief of goodblacknews.org, here to share with you a daily drop of Good Black News for Saturday, April 30th, 2022, based on the “A Year of Good Black News Page-A-Day Calendar” published by Workman Publishing.

Today, we’d like to close out #JazzAppreciationMonth, with a short tribute to a primary architect of the sound, the legendary New Orleans son, Louis Armstrong:

[“St. Louis Blues” by Louis Armstrong]

“No him, no me,” is how jazz innovator Dizzy Gillespie described the impact of musician Louis Armstrong.

Widely believed to be the first great jazz soloist, Armstrong’s improvisations on the cornet and trumpet influenced every jazz musician after him and elevated the musical style to a new, exciting standard.

Born in August of 1901, during one of the more challenging times of his childhood, Armstrong was sent to a home for boys in 1912 after firing his stepfather’s gun in the air during a New Year’s Eve celebration.

While at the “Colored Waifs Home for Boys” as it was called, Armstrong learned how to play the cornet. When Armstrong was released, as he worked odd jobs he was mentored on his horn by one of the best players in town — Joe “King” Oliver – and eventually replaced Oliver on cornet in Kid Ory’s band.

Armstrong soon reunited with Oliver when Oliver formed his own band in Chicago, which lead to Armstrong’s first recorded solo on record, 1923’s “Chimes Blues.”

[Excerpt of “Chimes Blues”]

Armstrong soon left his mentor to join Fletcher Henderson’s Orchestra, the top  Black big band in New York. But the big city lifestyle and creative restraints Armstrong encountered lead him back to New Orleans to play with his wife Lil Armstrong’s band at the Dreamland Café.

Armstrong also began recording with his studio band – first the Hot Five and then Hot Sevens – even though they weren’t who he played with for live performances.

These recordings with smaller groups of musicians were an early influence on what would that become the norm after the swing band/orchestra’s hey day in the 1930s that ushered in the bebop era in the 1940s.

Armstrong’s stop-time solos on numbers like “Cornet Chop Suey” and “Potato Head Blues” changed jazz history, featuring daring rhythmic choices, swinging phrasing and incredible high notes.

[Excerpt “Potato Head Blues”]

Armstrong also innovated with his vocals, and his riff-style “scat” singing was emulated by popular singers like Ella Fitzgerald and Billie Holiday.

[Excerpt of “Heebie Jeebies”]

Armstrong’s influence on other musicians was impactful and immediate. A young pianist from Pittsburgh, Earl Hines, assimilated Armstrong’s ideas into his piano playing, and together, they made some of the greatest recordings in jazz history in 1928, including their duet on “West End Blues”:

[Excerpt of “West End Blues”]

“West End Blues” proved without a doubt that popular dance music like jazz music was also capable of producing high art.

As Armstrong’s reputation grew, he toured in Europe, began recording hit songs of the day and appeared in Hollywood movies such as Pennies From Heaven and High Society with Bing Crosby, The Glenn Miller Story with Jimmy Stewart and New Orleans with Billie Holiday. Armstrong also recorded with a smaller six-piece combo, the All Stars.

The personnel of this combo would frequently change, but Armstrong would perform live with his All Stars until the end of his career. Members, at one time or another, included Jack Teagarden, Earl Hines, Sid Catlett, Barney Bigard, Trummy Young, Edmond Hall, Billy Kyle and Tyree Glenn, among other jazz legends.

During this time in the 1940s and 1950s, Armstrong had hits with his versions of songs such as “That Lucky Old Sun,” “A Kiss to Build a Dream On,” “Blueberry Hill” “La Vie En Rose” and one of the biggest hits of his career, his version of “Mack The Knife”:

[Excerpt from “Mack The Knife”]

As times advanced and changed, Armstrong’s style was seen as outmoded and outdated. He received criticism for remaining silent on politics and not lending his voice to the fight against racism and for civil rights.

Even when Armstrong did speak up, as in 1957 when he called out President Eisenhower for allowing Governor Orval Faubus to use the National Guard to prevent the Little Rock Nine from integrating Little Rock Central High School, he was met with criticism from whites and Blacks alike – the former for saying anything and the latter for seeming to speak out too late.

Yet and still, Armstrong kept on with doing what he wanted to do musically and defying all odds and at the height of the British invasion of the rock and roll era, he scored a #1 Billboard pop hit in 1964 at the age of 63 with his version of “Hello, Dolly”:

[Excerpt of “Hello, Dolly”]

In 1965, Armstrong started performing the Fats Waller tune “Black and Blue” live again a decade after removing it from his repertoire. He changed a lyric from being “I’m white inside” to “I’m right inside” and turned it into a protest that he would continue to play for the rest of his life:

[1965 version of “Black and Blue” from East Germany]

Three years later however, Armstrong’s version of “What A Wonderful World” did not get the same reception in the United States. But it was a number one hit overseas in England and South Africa in 1967, and after its appearance almost two decades later in the 1986 movie Good Morning, Vietnam, “What a Wonderful World” became a signature tune and perennial favorite of Armstrong’s, known the world over to this day.

[Excerpt of “What a Wonderful World”]

Armstrong’s home in Corona, Queens, which he shared with his fourth wife Lillian from 1943 until his passing in 1971, was declared a National Historic Landmark in in 1977. Today, the house is home to the Louis Armstrong House Museum, which annually receives thousands of visitors from all over the world.

Even though his most famous nickname was “Satchmo” for his “satchel mouth,” New Orleans native Armstrong was more lovingly known among musicians as “Pops,” as he was the father of it all.

[excerpt from “When The Saints Go Marching In”]

To learn more about Louis Armstrong, check out his 1936 autobiography, Swing That Music, his 1954 autobiography Satchmo: My Life in New Orleans, 1999’s Louis Armstrong in His Own Words, and other written offerings such as Satchmo: The Genius of Louis Armstrong by Gary Giddins from 2001, Pops: The Life of Louis Armstrong from 2009 by Terry Teachout, and All of Me: The Complete Discography of Louis Armstrong by Jos Willems from 2006. And of course, buy or stream his music.

You can also watch the 1957 documentary Satchmo the Great which is currently posted on YouTube, Ken Burn’s Jazz miniseries on PBS, and be on the lookout for what Apple Original Films announced last year would be the definitive Louis Armstrong documentary produced by Imagine Entertainment where the story will be told entirely through Armstrong’s own words titled Black & Blues: The Colorful Ballad of Louis Armstrong.

And speaking of Louis Armstrong’s words, let’s hear a bit of him speaking about love and life from an audio clip posted on louisarmstronghouse.org:

[Clip of Louis Armstrong speaking]

This has been a daily drop of Good Black News, written, produced and hosted by me, Lori Lakin Hutcherson.

Intro and outro beats provided by freebeats.io and produced by White Hot.

Excerpts from Louis Armstrong’s music are included under fair use.

If you like these Daily Drops, follow us on Apple, Google Podcasts, RSS.com, Amazon,Spotify or wherever you get your podcasts. Leave a rating or review, share links to your favorite episodes, or go old school and tell a friend.

For more Good Black News, check out goodblacknews.org or search and follow @goodblacknews anywhere on social.

Sources:

(amazon links are paid links)

Welcome to Jazz Appreciation Month 2022 (LISTEN)

Welcome to Jazz Appreciation Month 2022 (LISTEN)

By goodblacknews on April 1, 2022

by Lori Lakin Hutcherson (@lakinhutcherson)

No fooling, in the U.S. April 1st denotes the start of Jazz Appreciation Month (aka “JAM”), where the art form born out of Congo Square in New Orleans became a unique and true African American and American musical expression that continues to evolve across the decades and centuries.

Started by the Smithsonian Museum of American History in 2001, “JAM is intended to stimulate and encourage people of all ages to participate in jazz – to study the music, attend concerts, listen to jazz on radio and recordings, read books about jazz, and more.”

To hear our Drop about it, press PLAY:

You can follow or subscribe to the Good Black News Daily Drop Podcast through Apple Podcasts, Spotify, Google Podcasts, rss.com or create your own RSS Feed. Or just check it out every day here on the main website. Full transcript below:

Hey, this Lori Lakin Hutcherson, founder and editor in chief of goodblacknews.org, here to share with you a daily drop of Good Black News for Friday, April 1st, 2022, based on the “A Year of Good Black News Page-A-Day Calendar” published by Workman Publishing.

No fooling, April 1st in the United States also kicks off Jazz Appreciation Month. It’s a time to savor the musical gumbo first cooked up in early 20th century New Orleans by master chefs including Jelly Roll Morton, Sidney Bechet, King Oliver, and Louis “Pops” Armstrong.

During the 1930s and ‘40s, bandleaders such as Lionel Hampton, Chick Webb, Count Basie and Duke Ellington swung the nation and defined the sound­–as did singers Ella Fitzgerald, Billie Holiday, Sarah Vaughan and Billy Eckstine.

Dizzy Gillespie, Charlie Parker, Miles Davis, Thelonious Monk, Charles Mingus and John Coltrane were the vanguard through the 1950s and 60s, leading to the free jazz of Ornette Coleman, Taj Mahal, the Jazz Messengers and today’s pot stirrers Kamasi Washington, Esperanza Spalding and MacArthur “genius” Cecile McLorin Salvant.

To quote Wynton Marsalis, the most famous trumpet player in modern times and the managing and artistic director of Jazz at Lincoln Center:

“Jazz is the nobility of the race put into sound; it is the sensuousness of romance in our dialect; it is the picture of the people in all their glory.”

To learn more about Jazz music and its history, read Jazz: A History of America’s Music by Geoffrey C. Ward and Ken Burns, which is the companion book to the 10-part documentary miniseries Jazz on PBS, read Downbeat Magazine’s The Great Jazz Interviews – A 75 Year Anthology edited by Frank Alkyer, check out jazzinamerica.org’s timeline on the development and evolution of jazz, the 1987 album from Smithsonian Folkways entitled The History of Jazz by Mary Lou Williams.

And if you are feeling hands-on and adventurous, check out Herbie Hancock’s MasterClass in Jazz online.

Links to these sources and more are provided in today’s show notes and in the episode’s full transcript posted on goodblacknews.org

This has been a daily drop of Good Black News, based on the “A Year of Good Black News Page-A-Day Calendar for 2022,” published by Workman Publishing.

Intro and outro beats provided by freebeats.io and produced by White Hot.

“Dippermouth Blues” by King Oliver’s Jazz Band and composed by Oliver and Louis Armstrong is used with permission under Public Domain.

If you like these Daily Drops, please consider following us on Apple, Google Podcasts, RSS.com, Amazon, Spotify or wherever you get your podcasts. Leave a rating or review, share links to your favorite episodes, or go old school and tell a friend.

For more Good Black News, you can check out goodblacknews.org or search and follow @goodblacknews anywhere on social.

Sources:

(paid links)

MUSIC: Celebrate Mardi Gras 2021 with a Collection of New Orleans Funk and Soul (LISTEN)

MUSIC: Celebrate Mardi Gras 2021 with a Collection of New Orleans Funk and Soul (LISTEN)

By goodblacknews on February 16, 2021

Today’s Mardi Gras is unlike practically any other in recent times. With the COVID 19 pandemic still rampant in the U.S. and most of the world, no parades are scheduled, public gatherings are prohibited, bars are shut down and most significantly, Bourbon Street in New Orleans, the epicenter of U.S. Mardi Gras celebrations, is closed.

For those who still want a way to celebrate safely as they enjoy king cake, Good Black News is happy to re-post a playlist by Marlon West entitled “Working in the Coal Mine: A Collection of New Orleans Funk and Soul”:

[spotifyplaybutton play=”spotify:playlist:3LmULvnXA8bfhxtSrhhGoP”]

As Marlon wrote in his original post:

This collection of New Orleans Funk features acknowledges masters next to some of the earlier artists who shaped the meaning of funk. It covers the period from the emergence of New Orleans Funk in the early 1960s through to the present day.

[This] mix offers The Meters, Queen Ida, Eddie Bo, Professor Longhair, Lee Dorsey, Wild Magnolias and many more.

New Orleans is a port town. Originally owned by the French. Many of the Africans who ended up there came from Haiti and brought with them the religion of Voodoo and its drums and music.

The Crescent City became one of the first parts of America to develop a strong African-American culture leading to the invention of Jazz.

This playlist offers the sound of the New Orleans Funeral March Bands, Mardi Gras Indian Tribes and Saturday Night Fish Fries.

We hope this playlist helps you access the spirit of New Orleans and Mardi Gras. We also hope that in 2022, you can do so in a communal way as well.

Enjoy!

#AAMAM: Celebrating New Orleans Funk and Soul (LISTEN)

#AAMAM: Celebrating New Orleans Funk and Soul (LISTEN)

By goodblacknews on June 22, 2020

As Good Black News continues to celebrate African-American Music Appreciation Month, today we get regional. In GBN contributor Marlon West‘s words:

“This collection of New Orleans Funk features acknowledged masters next to some of the earlier artists who shaped the meaning of funk. It covers the period from the emergence of New Orleans Funk in the early 1960s through to the present day.

My third #AAMAM mix offers The Meters, Queen Ida, Eddie Bo, Professor Longhair, Lee Dorsey, Wild Magnolias and many more.

New Orleans is a port town. Originally owned by the French. Many of the Africans who ended up there came from Haiti and brought with them the religion of Voodoo and its drums and music.

The Crescent City became one of the first parts of America to develop a strong African-American culture leading to the invention of Jazz.

This playlist offers the sound of the New Orleans Funeral March Bands, Mardi Gras Indian Tribes and Saturday Night Fish Fries.

Enjoy. Stay safe, sane, and kind, you all.”

[spotifyplaybutton play=”spotify:playlist:3LmULvnXA8bfhxtSrhhGoP”/]

(FB: marlon.west1 Twitter: @marlonw IG: stlmarlonwest Spotify: marlonwest)

Marlon West (photo courtesy Marlon West)
Birdman and Slim Williams of Cash Money Records Partner with New Orleans Mayor to Pay June Rents Amid Covid-19

Birdman and Slim Williams of Cash Money Records Partner with New Orleans Mayor to Pay June Rents Amid Covid-19

By goodblacknews on June 8, 2020

According to Black Enterprise, Bryan “Birdman” Williams and Ronald “Slim” Williams of Cash Money Records partnered with New Orleans Mayor LaToya Cantrell to cover rent for the month of June for New Orleans residents living in low-income housing.

The Williams brothers have donated over $225,000 to Forward Together New Orleans (FTNO), a nonprofit providing resources to the most vulnerable during the COVID-19 pandemic.

Since the inception of Cash Money nearly 25 years ago, Birdman and Slim have given back to under-resourced communities in the area through The Johnny and Gladys Williams Foundation that is named after their parents. Over the years, the brothers and their team have provided residents with health screenings, thanksgiving meals, and other resources.

Read more: https://www.blackenterprise.com/cash-money-partners-with-the-mayor-is-new-orleans-to-pay-rent-for-residents-amid-covid-19/

Composer Jon Batiste Turns Jean-Michel Basquiat’s Life Into a Broadway Musical

By goodblacknews on September 30, 2018
Jon Batiste and Jean-Michel Basquiat. Black-and-white image of Black man in black leather jacket and shirt in front of background with text. Black-and-white image of Black man with black dredlocs in suit on white wall
Jon Batiste and Jean-Michel Basquiat. (Brad Barket/Getty Images; Andy Warhol/Colorlines Screenshot from Facebook)

Composer Jon Batiste is set to bring the life of artist Jean-Michel Basquiat to the stage via a new Broadway musical. The New Orleans-bred musician and bandleader of “The Late Show with Stephen Colbert” announced the show on Tuesday (September 25):

Deadline reports that Batiste will collaborate with stage producers Barbara and Alan D. Marks (The Encounter”) and director John Doyle (“The Color Purple” revival) on the untitled project. The team partnered with the late Haitian- and Puerto Rican-American artist’s estate, which granted rights to use his original art and personal archival material in the musical.

“Over the years, many people have approached us about telling our brother’s story on stage,” sisters Lisane Basquiat and Jeanine Heriveaux, who administer their brother’s estate, told Deadline. “But having discussed this project with the Marks over many months, our interest was piqued once we understood that their approach to telling our brother’s story treats his life, his art and his legacy with respect and passion. With Jon Batiste and John Doyle leading the creative team, we are thrilled with the possibilities. We cannot wait to begin the developmental process. Broadway is a new world for us, and we look forward to sharing our brother’s life and art.”

Batiste wants the musical to both capture Basquiat’s story and inspire other artists to channel his creative spirit.

“I want people to leave this show inspired to create. I want them to not only learn about Jean-Michel Basquiat, an innovator, but to also feel the visceral thrill of the creative process and to deepen and discover their own creativity,” he told Deadline. “We have an opportunity to tell a truly profound story, full of emotional highs and lows, with unbelievable art at the center. I’m honored to work with veteran storyteller John Doyle, the Marks and the Basquiat family. We are assembling a team to help craft a boundary pushing masterpiece inspired by a true American original.”

Source: https://www.colorlines.com/articles/jon-batiste-turns-jean-michel-basquiats-life-broadway-musical

U.S. District Judge Rules Orleans Criminal Court Can No Longer Jail Anyone for Failing to Pay Fines or Fees Without Neutral Hearing

By goodblacknews on August 6, 2018
Carvings on the Orleans Parish Courthouse read: THE IMPARTIAL ADMINISTRATION OF JUSTICE IS THE FOUNDATION OF LIBERTY. (Photo by Seth Gaines)

by  via theadvocate.com

Everyone who owes fines and fees from criminal convictions in Orleans Parish must have the chance to plead poverty in a “neutral forum” before landing in jail for failing to pay, a federal judge ruled Friday.

Barring an appeal, the ruling from U.S. District Judge Sarah Vance marks the end of a three-year legal battle over the so-called “debtors’ prison” lawsuit brought by a handful of criminal convicts who were jailed for days or longer in Orleans Parish without a chance to prove they couldn’t afford to pay the fines and fees they owed.

Vance broadened the scope of the case Thursday with a 35-page order granting class-action status to anyone who owes court-issued fines and fees now or in the future.

On Friday, Vance declared that “undisputed evidence” shows the 13 judges of Orleans Parish Criminal District Court have “a policy or practice of not inquiring into criminal defendants’ ability to pay before those individuals are imprisoned for nonpayment of court debts.”

She also declared that the judges have an “institutional conflict of interest” in making such poverty determinations themselves. That’s because the proceeds from fines and fees go directly to the court’s Judicial Expense Fund, a kitty controlled by the judges that can be used for a broad range of judicial expenses. Fines and fees have contributed about $1 million a year to the court’s coffers.

Vance ruled that the court’s failure to “provide a neutral forum for determination of such persons’ ability to pay is unconstitutional.” The decision appears to leave it up to the court to decide how to set up a mechanism for such decisions.

Vance telegraphed her final ruling with a preliminary decision on key issues in the case in December.

On Friday, she cited a 1983 U.S. Supreme Court decision that found the 14th Amendment to the U.S. Constitution bars states from arresting or detaining a defendant solely for failing to pay court costs, without determining if that failure was willful.

For years, the Orleans Parish court’s collections department — and individual judges — routinely issued arrest warrants for people who failed to pay fines and fees assessed after a conviction. Civil rights groups claimed that practice created an “unconstitutional and unjust modern debtors’ prison.”

In response to the legal attack, court officials recalled thousands of arrest warrants issued solely on the basis of unpaid fines or fees, writing off about $1 million in debts in the process.

Other warrants remain in place, such as those involving failure to appear in court or lapsed restitution payments to victims. Vance settled most of the issues from the federal lawsuit in December. But on Thursday, she ruled that her decision applies to a broad class of people: everyone who now owes money from fines and fees, and everyone who will incur those debts in the future.

However, she threw out a separate claim by the plaintiffs, who argued that it is unconstitutional to jail people who fail to pay criminal fines when those who owe fines from civil judgments don’t face the same threat.

Regardless, attorneys for the plaintiffs claimed a big win Friday.

“This is a victory for the people of New Orleans and for those committed to fixing the breaks in the criminal justice system,” said Kristen Clarke, president and executive director of the Lawyers’ Committee for Civil Rights Under Law.

“America treats being poor as a crime, disproportionately victimizing people of color. This ruling ensures that people can no longer be thrown in jail in Orleans Parish for their poverty alone.”

Read more: https://www.theadvocate.com/new_orleans/news/courts/article_92c18cda-9754-11e8-8ab4-d326e5f47bbc.html

Howard University Alumni Damon Lawrence and Marcus Carey Open The Moor, a Hotel Dedicated to Black Culture

By goodblacknews on July 3, 2018
Marcus Carey and Damon Lawrence of Homage Hospitality (Photo credit: Kim Davalos)

by Lori Lakin Hutcherson (@lakinhutcherson)

According to blavity.com, while attending Howard University, Damon Lawrence worked in the hotel industry as a front desk agent, and decided he would own his own hotels one day with one exception–his business would cater exclusively to blackness. “Black culture leads American culture and American culture leads global culture, so [we] think it’s time a hotel property reflected the best of black culture,” Lawrence.

The young entrepreneur, along with his business partner and co-founder of Homage Hospitality, Marcus Carey (also a Howard alum), opened the doors to The Moor in New Orleans, Louisiana, this week. The upscale 10-room hotel pays homage to the Moors of North Africa  through its architecture aesthetic. (You can use the promo code “Launch” through July 4th for 60% off your stay.)

https://www.instagram.com/p/BktbVPoHK8o/

Lawrence and Carey plan to open locations where black “culture is thriving;” such as Washington, D.C., Brooklyn and Detroit. The duo plans to open a 102-room property called The Town Hotel in Downtown Oakland by 2019. Even sooner, they plan to launch another property in the Treme section of New Orleans called The Freeman; it is known as the first place in the U.S. black people could purchase property.

“We want to go everywhere that culture exists and thrives, so there’s plenty on the plate”, Lawrence says.

To learn more about these men and their mission, check out their recent interview with Rolling Out.

LaToya Cantrell Elected New Orleans' 1st Woman Mayor

By goodblacknews on November 19, 2017

New Orleans Mayor LaToya Cantrell (photo via nola.com)

by Kevin McGill via abcnews.go.com
LaToya Cantrell, a City Council member who first gained a political following as she worked to help her hard-hit neighborhood recover from Hurricane Katrina, won a historic election Saturday that made her the first woman mayor of New Orleans.
The Democrat will succeed term-limited fellow Democrat Mitch Landrieu as the city celebrates its 300th anniversary next year. “Almost 300 years, my friends. And New Orleans, we’re still making history,” Cantrell told a cheering crowd in her victory speech. The leader in most polls before the runoff election, she never trailed as votes were counted.
Her opponent, former municipal Judge Desiree Charbonnet, conceded the race and congratulated Cantrell late Saturday. Later, complete returns showed Cantrell with 60 percent of the vote. “I do not regret one moment of anything about this campaign,” Charbonnet said. The two women led a field of 18 candidates in an October general election to win runoff spots.
Landrieu earned credit for accelerating the recovery from Hurricane Katrina in an administration cited for reduced blight, improvements in the celebrated tourism economy and economic development that included last week’s announcement that a digital services company is bringing 2,000 new jobs to the city.
Cantrell entered the race as the perceived front-runner, leading in fundraising and in various polls. She had an 11 percentage point lead in a poll released last week by the University of New Orleans. It showed 46 percent of 602 voters surveyed from Nov. 1-8 favored Cantrell over Charbonnet, who had 35 percent; 20 percent were undecided. Former state civil court Judge Michael Bagneris, who finished third in last month’s race, endorsed Cantrell, as did Troy Henry, a businessman who also ran for the post last month.
UNO political science professor Edward Chervenak said the endorsements appeared to help Cantrell overcome revelations that she had used her city-issued credit card for thousands of dollars in purchases without clear indications that they were for public purposes. The money was eventually reimbursed but questions lingered about whether she had improperly used city money for personal or campaign expenditures.
Voters also made history in a New Orleans City Council race.
Cyndi Nguyen defeated incumbent James Gray in an eastern New Orleans district. An immigrant who fled Vietnam with her family when she was 5 in 1975, Nguyen is the organizer of a nonprofit and will be the first Vietnamese-American to serve on the council.
To read full article, go to: http://abcnews.go.com/US/wireStory/latoya-cantrell-orleans-1st-female-mayor-51252667

R.I.P Fats Domino, 89, Musical Legend, Rock 'n' Roll Hall of Famer and New Orleans Native

By goodblacknews on October 25, 2017

Mr. Domino performing in 2007 on NBC’s “Today” show. (Photo Credit: Richard Drew/AP)

Jon Pareles and William Grimes via nytimes.com
Fats Domino, the New Orleans rhythm-and-blues singer whose two-fisted boogie-woogie piano and nonchalant vocals, heard on dozens of hits, made him one of the biggest stars of the early rock ’n’ roll era, has died in Louisiana. He was 89.
His death was confirmed by his brother-in-law and former road manager Reggie Hall, who said he had no other details. Mr. Domino lived in Harvey, La., across the Mississippi River from New Orleans. Mr. Domino had more than three dozen Top 40 pop hits through the 1950s and early ’60s, among them “Blueberry Hill,” “Ain’t It a Shame” (also known as “Ain’t That a Shame,” which is the actual lyric), “I’m Walkin’,” “Blue Monday” and “Walkin’ to New Orleans.”
https://youtu.be/xbfMlk1PwGU
Throughout he displayed both the buoyant spirit of New Orleans, his hometown, and a droll resilience that reached listeners worldwide.He sold 65 million singles in those years, with 23 gold records, making him second only to Elvis Presley as a commercial force. Presley acknowledged Mr. Domino as a predecessor. “A lot of people seem to think I started this business,” Presley told Jet magazine in 1957. “But rock ’n’ roll was here a long time before I came along. Nobody can sing that music like colored people. Let’s face it: I can’t sing it like Fats Domino can. I know that.”
Fats Domino in 1956 (Photo: Associated Press)

Rotund and standing 5 feet 5 inches — he would joke that he was as wide as he was tall — Mr. Domino had a big, infectious grin, a fondness for ornate, jewel-encrusted rings and an easygoing manner in performance; even in plaintive songs his voice had a smile in it. And he was a master of the wordless vocal, making hits out of songs full of “woo-woos” and “la-las.”Working with the songwriter, producer and arranger David Bartholomew, Mr. Domino and his band carried New Orleans parade rhythms into rock ’n’ roll and put a local stamp on nearly everything they touched, even country tunes like “Jambalaya” or big-band songs like “My Blue Heaven” and “When My Dreamboat Comes Home.”
Antoine Dominique Domino Jr. was born on Feb. 26, 1928, the youngest of eight children in a family with Creole roots. He grew up in the Ninth Ward of New Orleans, where he spent most of his life.Music filled his life from the age of 10, when his family inherited an old piano. After his brother-in-law Harrison Verrett, a traditional-jazz musician, wrote down the notes on the keys and taught him a few chords, Antoine threw himself at the instrument — so enthusiastically that his parents moved it to the garage.
He was almost entirely self-taught, picking up ideas from boogie-woogie masters like Meade Lux Lewis, Pinetop Smith and Amos Milburn. “Back then I used to play everybody’s records; everybody’s records who made records,” he told the New Orleans music magazine Offbeat in 2004. “I used to hear ’em, listen at ’em five, six, seven, eight times and I could play it just like the record because I had a good ear for catchin’ notes and different things.” He attended the Louis B. Macarty School but dropped out in the fourth grade to work as an iceman’s helper. “In the houses where people had a piano in their rooms, I’d stop and play,” he told USA Today in 2007. “That’s how I practiced.”
In his teens, he started working at a club called the Hideaway with a band led by the bassist Billy Diamond, who nicknamed him Fats. Mr. Domino soon became the band’s frontman and a local draw.“Fats was breaking up the place, man,” Mr. Bartholomew told The Cleveland Plain Dealer in 2010. “He was singing and playing the piano and carrying on. Everyone was having a good time. When you saw Fats Domino, it was ‘Let’s have a party!’ ”He added: “My first impression was a lasting impression. He was a great singer. He was a great artist. And whatever he was doing, nobody could beat him.”
In 1947 Mr. Domino married Rosemary Hall, and they had eight children, Antoine III, Anatole, Andre, Anonio, Antoinette, Andrea, Anola and Adonica. His wife died in 2008. A complete list of survivors was not immediately available.
To read more, go to: https://www.nytimes.com/2017/10/25/obituaries/fats-domino-89-one-of-rock-n-rolls-first-stars-is-dead.html?hp&action=click&pgtype=Homepage&clickSource=story-heading&module=second-column-region&region=top-news&WT.nav=top-news&_r=0