In addition to the organized, political, and personal resistance to Jim Crow, African Americans attacked white supremacy in non-political but defiant cultural expressions.  The new musical forms of ragtime and jazz presented an in-your-face side of black culture that had grown up largely in the shadow of segregation and Jim Crow.  The distinctive richness of jazz syncopation and its adaption of African and plantation-based rhythms to European harmony defied white expectations and the stereotypes presented in the so-called "coon songs" of the Jim Crow minstrel shows.  Both musical forms expressed the joyful exuberance of a complex and sophisticated black culture based in the urban centers of the American South, such as New Orleans.

The rural-based blues music of the Yazoo and Texas deltas spoke more of coping with misery and the "low-down and dirty" side of living as penniless sharecroppers and field hands in the Jim Crow South.  The message presented by blues singers in hundreds of southern "juke joints" was one of desperation, anguish, and perseverance.  They sang of a pervasive sadness that was always present.  At the same time, the blues also celebrated the human joys of black community, including love and heroic actions in the midst of hard times.
 

A Cultural Legacy: Louis Armstrong

Armstrong was born in one of the poorest sections of New Orleans on Aug. 4, 1901. "He was a prodigy," says art historian and curator Marc Miller, "a hard-working kid who helped support his mother and sister by working every type of job there was, including going out on street corners at night to sing for coins." At age 7, he bought his first real horn--a cornet. When Armstrong was 11 years old, juvenile court sent him to the Jones Home for Colored Waifs for firing a pistol on New Year's Eve. While there, he had his first formal music lessons and played in the home's brass band. After about 18 months he was released. From then on, he largely supported himself as a musician, playing with pick-up bands and in small clubs with his mentor Joe "King" Oliver. Oliver was one of a handful of noted musicians in New Orleans--along with Jelly Roll Morton, Sidney Bechet and others--who were creating a distinctive and widely popular new band music out of blues and ragtime. Soon, sheet music publishers and record companies would make jazz a household name.


Although he was no stranger to racial prejudice himself, Armstrong rarely made public statements. In 1957, however, he publicly condemned the violence that swept Little Rock over school integration and how it was handled. "Do you dig me when I say, 'I have a right to blow my top over injustice?'" he said. For this statement, Armstrong was called a firebrand in newspapers across the country.


By the '50s, Armstrong was an established international celebrity--an icon to musicians and lovers of jazz.
 

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