On October 31, 1965, Louis “Pops” (or “Satchmo”) Armstrong gave his first performance in New Orleans, his home town, in nine years. As a boy, he had busked on street corners. At twelve, he marched in parades for the Colored Waif’s Home for Boys, where he was given his first cornet. But he had publicly boycotted the city since its banning of integrated bands, in 1956. It took the Civil Rights Act of 1964, to undo the law. Returning should have been a victory lap. At sixty-four, his popular appeal had never been broader. His recording of “Hello, Dolly!,” from the musical then in its initial run on Broadway, bumped the Beatles’ “Can’t Buy Me Love” from its No. 1 slot on the Billboard Top 100 chart, and the song carried him to the Grammys; it won the 1964 Best Vocal Performance award. By the time the movie version came out, in 1969, he was brought in to duet with Barbra Streisand.
Armstrong was then widely known as America’s gravel-voiced, lovable grandpa of jazz. Yet it was a low point for his critical estimation. “The square’s jazzman,” the journalist Andrew Kopkind called him, while covering Armstrong’s return to New Orleans for The New Republic. Kopkind added that “Among Negroes across the country he occupies a special position as success symbol, cultural hero, and racial cop-out.” Kopkind was not entirely wrong in this, and hardly alone in saying so. Armstrong was regularly called an Uncle Tom.
Detractors wanted Armstrong on the front lines, marching, but he refused. He had already been the target of a bombing, during an integrated performance at Knoxville’s Chilhowee Park auditorium, in February, 1957. In 1965, the year Armstrong returned to New Orleans, Malcolm X was killed on February 21st, and on March 7th, known as Bloody Sunday, Alabama state troopers armed with billy clubs, tear gas, and bull whips attacked nearly six hundred marchers protesting a police shooting of a voter-registration activist near Selma. Armstrong flatly stated in interviews that he refused to march, feeling that he would be a target. “My life is my music. They would beat me on the mouth if I marched, and without my mouth I wouldn’t be able to blow my horn … they would beat Jesus if he was black and marched.”
When local kids asked Armstrong to join them in a homecoming parade, as he had done with the Colored Waif’s Home in his youth, he said no. He knew the 1964 Civil Rights Act was federal law, not local fiat. Armstrong had happily joined in the home’s parades in the past, but his refusal here can be read as a sign of the times. The Birmingham church bombings in 1963 had shown that even children were not off limits.
And yet little of what Armstrong said about the civil-rights struggle registered. The public image of him, that wide performance smile, the rumbling lilt of his “Hello, Dolly!,” obviated everything else. “As for Satchmo himself,” Kopkind wrote, “he seems untouched by all the doubts around him. He is a New Orleans trumpet player who loves to entertain. He is not very serious about art or politics, or even life.”
* * *To be fair to Kopkind, and many others who wrote about Armstrong, they did not know much of what Armstrong thought, because, at the time, Armstrong’s more political views were rarely heard publicly. To the country at large, he insisted on remaining a breezy entertainer with all the gravitas of a Jimmy Durante or Dean Martin. Fortunately, that image is now being deeply re-examined. This month, the publication of Thomas Brothers’s Louis Armstrong: Master of Modernism and the Off Broadway opening of Terry Teachout’s Satchmo at the Waldorf (which follows his 2009 biography, Pops: A Life of Louis Armstrong, which was reviewed by John McWhorter) provide a rich, nuanced picture of what was behind Armstrong’s public face.
Armstrong’s thoughts were scattered about in uncollected letters, unpublished autobiographical manuscripts, and tape recordings. He brought a typewriter with him on the road, and an inquisitive fan who sent a letter stood a good chance of getting a reply from Satchmo himself. When reel-to-reel tape decks were introduced, he bought one so that he could listen to music, study his own performances, and record conversations with friends and family to get down his own version of events. Scholars and researchers have been studying his writing and recordings for a number of years. Teachout’s play, a one-man show starring John Douglas Thompson, is based on more than six hundred and fifty reels of tape stored at Queens College, all of which reveal an Armstrong who did indeed take art, politics, and life seriously.
Detractors wanted Armstrong on the front lines, marching, but he refused. He had already been the target of a bombing, during an integrated performance at Knoxville’s Chilhowee Park auditorium, in February, 1957. In 1965, the year Armstrong returned to New Orleans, Malcolm X was killed on February 21st, and on March 7th, known as Bloody Sunday, Alabama state troopers armed with billy clubs, tear gas, and bull whips attacked nearly six hundred marchers protesting a police shooting of a voter-registration activist near Selma. Armstrong flatly stated in interviews that he refused to march, feeling that he would be a target. “My life is my music. They would beat me on the mouth if I marched, and without my mouth I wouldn’t be able to blow my horn … they would beat Jesus if he was black and marched.”
When local kids asked Armstrong to join them in a homecoming parade, as he had done with the Colored Waif’s Home in his youth, he said no. He knew the 1964 Civil Rights Act was federal law, not local fiat. Armstrong had happily joined in the home’s parades in the past, but his refusal here can be read as a sign of the times. The Birmingham church bombings in 1963 had shown that even children were not off limits.
And yet little of what Armstrong said about the civil-rights struggle registered. The public image of him, that wide performance smile, the rumbling lilt of his “Hello, Dolly!,” obviated everything else. “As for Satchmo himself,” Kopkind wrote, “he seems untouched by all the doubts around him. He is a New Orleans trumpet player who loves to entertain. He is not very serious about art or politics, or even life.”
* * *To be fair to Kopkind, and many others who wrote about Armstrong, they did not know much of what Armstrong thought, because, at the time, Armstrong’s more political views were rarely heard publicly. To the country at large, he insisted on remaining a breezy entertainer with all the gravitas of a Jimmy Durante or Dean Martin. Fortunately, that image is now being deeply re-examined. This month, the publication of Thomas Brothers’s Louis Armstrong: Master of Modernism and the Off Broadway opening of Terry Teachout’s Satchmo at the Waldorf (which follows his 2009 biography, Pops: A Life of Louis Armstrong, which was reviewed by John McWhorter) provide a rich, nuanced picture of what was behind Armstrong’s public face.
Armstrong’s thoughts were scattered about in uncollected letters, unpublished autobiographical manuscripts, and tape recordings. He brought a typewriter with him on the road, and an inquisitive fan who sent a letter stood a good chance of getting a reply from Satchmo himself. When reel-to-reel tape decks were introduced, he bought one so that he could listen to music, study his own performances, and record conversations with friends and family to get down his own version of events. Scholars and researchers have been studying his writing and recordings for a number of years. Teachout’s play, a one-man show starring John Douglas Thompson, is based on more than six hundred and fifty reels of tape stored at Queens College, all of which reveal an Armstrong who did indeed take art, politics, and life seriously.